Everett Shinn

This painting is so realistic and painted with such precision and detail that he must’ve wanted us to see this place exactly how he did, with great beauty and light. The local colors are vibrant and cool yet still make you smile because it reminds you of a warm summer day. The use of two contrasting colors, the blue of the water and sky and the tan of the cliffs and couds, make the tan color stand out creating such a visually pleasing and dynamic effect. The organic fluffy clouds and the ripples in the water convey a peaceful sense to the scene. The pompous cliffs stand solidly contributing to the historical importance of this location. The artist captures the illusion of depth through atmospheric perspective; as the object gets farther it encompasses less detailed contributing to the descriptive nature of it. Since the left side of the painting is much heavier than the right this painting is asymmetrical. Your eye tends to gravitate towards the cliffs on the left because of their size and bright color which emphasize the cliffs. This emphasis creates a focal point that the viewer is immediately compelled to look at.

My analysis of how successful and how did this artwork affect the society and culture as its target

Through the use of techniques and themes, a composer is able to create distinctively visual images when describing the setting and characters in detail which help us to understand and form meaning of what the composer is trying to convey in their texts. The use of techniques such as body language, symbolism, lighting, music and photographic background slides create distinctively visual images same with themes that are being used within the texts such as truth which is evident in the dramatic text ‘The Shoe-Horn Sonata’ by John Misto, the song ‘Lose Yourself’ sang by Eminem, and the film ‘The Eye’ directed by David Moreau and Xavier Palud featuring Jessica Alba. These three texts demonstrate how the responders are impacted and what is

However, the desert scene and mountains suggest that this was painted in Southern California. In the background, one can see a man leading a pack animal, a woman, and an infant along a road towards the church, identified by the cross on the rooftop. There are no shadows to define form in the background. This is, again, a contrast to the shadows made by the Madonna in the foreground. The lack of shadows, however, does not make the background look flat. The Impressionist styled painting and the lack of detail in the background creates a distant look that gives depth to the painting. The numerous contrasts between the background and the foreground allows the artist to subtly draw the viewer?fs attention towards the foreground. These contrasts help grab the viewer?fs gaze and direct it to the most important part of the painting: the woman and baby.

At first glance, the Red Fish looks like a decoration piece that someone would hang in their home or lake house for decoration. However, with a more in depth look, viewers will see that this painting illustrates much more than it appears. In 1990, Leonard Koscianski used a piece of canvas, 64’’x46’’ to paint the image of a fish out of water. Koscianski used oil and dark shades of red, orange, blue, green, and white to create the Red Fish. The Red Fish was painted vertically with the fish as the main focus point. Behind some green blade grass, a large red- orange fish appears to be leaping out of the water. The size of the fish helps show that the fish is the center piece of the painting. Behind the fish there is a small patch of land, filled with blade grass with two white house’s sitting off in the distance. Directly behind the houses is a section of woods. From left to right, the tree tops seem to follow and up and down pattern. The dark blue sky begins at the tree line and ends at the top of the painting. Throughout the sky there are patches of clouds that are an off white color. The contrast between the colors used by Koscianski show a lot of detail, but did not take away from the huge red- orange fish. Along with the color scheme, Koscianski used lines to add detail to the fish and to provide depth to the painting. With proper use of colors and lines, Koscianski was able to create the Red Fish. In 1991, the Montgomery Museum of Fine Arts

The artwork is a complex mixture if colors, shapes, and tints. In the painting, there are eight figures. Seven that is to the center and left of the painting and one on the right. The seven persons on the left are all either touching each other or interlocked with someone. Of that seven, six are men and one is a female. There is a man in

Living with five other brothers is hard when you all have to share one bathroom. Thomas Michael Everett was born on April 4th,1949 at St. Joseph’s Hospital in Flint, Michigan. He is the son of Wilton and Helen Everett. Thomas has four older brothers, Bill, Bob, Joe and Don. Mike is his younger brother. He was named Thomas Michael after St. Thomas and St. Michael because he grew up Catholic and went to a Catholic school. Thomas shared a room growing up with his brothers. One bathroom, two beds and one desk for six boys to share. One of his memories of his siblings growing up was selling strawberries in the neighborhood.

This work of art is titled, Monterey Bay from Santa Cruz Pogonip. The artist who created this piece is Tom Killion, and its creation came to be in 2002. The piece is a wood stamp press, these presses are hand carved into wood and linoleum blocks. Each variety of color that is present in the piece, a new block has to be created to ensure that the color doesn’t blend in ways the artist would not want it too. In the framed final piece, the stamp is separated into two different frames to gives focus to the the, Monterey Bay and then Santa Cruz. In this piece, Killion uses this chance to portray Santa Cruz in a landscape narrative, he uses depth to enable the landscape. The piece’s foreground is the mountain in Pogonip, a hiking area in the northern part of Santa Cruz County; then it starts spreading out to a horizontal view of the ocean, and at the bottom of the mountain, Santa Cruz is located. In the depiction of the town you see the shadows of the Big Dipper, an amusement park attraction and the historic Holy Cross Catholic Church.

Just like everything else in life, art has its critics. Art criticism is the expression used to describe the act of making selective judgments, both positive and negative, about an art piece. Just as art is so diversely expressed and interpreted, those who critique it also have various methods and use various standards when criticizing an art piece. There are many theories critics use to evaluate art but there are three basic theories most commonly put to use by professionals. The three basic theories are: formal theories, contextual theories, and expressive theories. Formal theories focus on the formalities of art. Critics using formal theories pay close attention to the making of a piece, how each section of the art piece works to form a visual experience that may or may not attract the attention of those who come across it. Formalists’ attention is centered on the formal organization rather than the themes, which they deem irrelevant. Contextualists, on the other hand, value the theme and its relevance to the times in which the artwork was created. The contextual theories deal with the context in which an art piece is used; what it symbolizes concerning the culture and values of the environment. Lastly, there are the expressive theories. Expressionists are more concerned with the artist and the personal expression put into the work. Also, because art is a method of communication, expressive theories

The horizontal lines of the land represent calmness and te diagonal and vertical lines of the sea represents power and ever changing . There is a contrast with these two such as the sea is ever changing and the land that is hard slow to change. Next I looked at the shapes of the painting. With landscapes, such as this painting, there is organic shapes that show the chaos and never ending change of the ocean and storm that is pounding the land that is calm. I then looked at the contrast of the waves and land then the sky and storm. The waves are dark with the land being light with the opposite light above the dark waves and dark above the light land area. It makes it seem like the storm clouds are passing with the rising of the

The piece I choose to critic is titled “Buscado por su madre” or “Wanted by his Mother” by Rafael Cauduro, no year. This piece is an Oil on Canvas painting that measured 48”x36” located at the Long Beaches MoLAA. The work is presented as one of a few Mexican artists that share an interest in their painting primarily figurative style, political in nature, that often narrated the history of Mexico or the indigenous culture. The painting is one of the first viewers see as they enter the Museum. It is at eye level and demonstrates a superb use of illusionistic realism that it creates the illusion of being real. The painting is of a old Missing poster of a man on a brick wall. What made it stand out in my eyes was the fact that it looked to be a three dimensional object on what looked like real bricks with the words wanted by mother on the top. Cauduro’s piece, in my eyes looked like he literally took a chunk out of a wall, and placed an old torn missing poster of a man on the front and put it out for display. Cauduro uses texture to represent the look of brick by applying thick strokes of paint creating a body of its own as and mimics the look and shape of brick. He also makes applies the same technique on the wanted poster by implying that it is old and torn by again layering his paint to create the

Yet the setting implies otherwise: audiences see beach amenities in each cell and a comforting chance of seeing past the idea of being in a cage and reclaiming it as beach- visitors occupy cells and the space is defeated as the cage becomes volleyball nets, family spaces and convenient borders. The space is overruled by the greater social architecture and leisure seeking- alluding to the ‘reclaiming the beach’ ideations of the 2005 Cronulla race riots. Schneider states it was the influence behind the work and so too Guantanamo Bay’s architecture. The structure of 21 Beach Cells is a grid made from typical local fencing. By virtue of the grid, the work is presented as a mere fragment from an infinitely larger fabric. Thus the grid operates from the work of art outward, compelling acknowledgement of a world beyond the

When I was looking through 17th-18th century European artwork in the Norton Simon Museum, there was one piece of art that really stood out to me. That beautiful art piece was the Bay of Naples by Claude-Joseph Vernet. This piece stood out to me because of the beautiful scenery that is displayed and the deep serenity the piece gives me when I look at it. The Bay of Naples is a painting of a landscape that captures the daily life of the bay. The materials used for this painting was oil on canvas.

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this