Fantisek Kupka Essay

By comparing Girl with a Mandolin (1910) (Figure 1) by Pablo Picasso (1881-1973) and Georges Braque (1882-963)’s Man with a Guitar (1912) (Figure 2), this paper will demonstrate that both artists used the same subject matter (analytical cubist) and employed a similarly repetitive process they convey two different ideas; no means totally devoid of realism in Picasso and comforting exploration in Braque. Girl with a Mandolin, this work depicts a naked girl holds a mandolin, and her head turns to the left and presents the right side of face to the viewer, but the rest of her body is directly facing the viewer. She looks down at the front of the mandolin and seems to be playing. Pablo Picasso uses different shapes and colors such as squares, cubes,

The primary focus of this section is to explain the “act of painting.” Flack begins her book with notes on the creative process and what it means to be an artist. Everything from the perception of color to confronting a blank canvas is addressed in this section. Audrey Flack briefly touches on the spiritual

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

In the paper I would like to focus on a painting that is almost 120 years old, however it appears provocative even today - in the world of contemporary art, where there seems to be no room left for astonishment. What I find so special about this beautiful painting is the technique and the artist’s vision of the scenery. Even though the second half of the 19th century was the time of rebelliousness in the art world, Henri Matisse managed to find his own niche and create his own style of painting. While “Still Life with Oranges II” appears as a primitive piece of work that neglects canonic rules of proportion, shade and volume, it opens doors to the personal world of the artists, where there is a place for imagination and flirting with the audience. Bright colors and swirls of brush strokes celebrate life and create an uplifting mood, which we often under appreciate in a painting.

Looking back in time at the great composers of the world, only one foreign composer stands out for his many contributions to classical music and in helping America to find its own music. Antonin Leopold Dvorak was born on September 8th, 1841, in a small village of Nelahozeves in Bohemia that lies on the bank of the Mauldau River. The village Dvorak was born into was in good company and surroundings however also retained much of its native luster even through the worst times of political oppression (1).

When I first saw this painting I knew it was the one I wanted to do for my formal analysis paper because of how abstract and unique the piece was. This painting can be taken in so many different ways, which is one thing I love about abstract art; not everyone is going to see the same thing. It fits into this class because it was from 1912, not from any recent time period. Kandinsky’s painting shows that since before 1912 people often times judge others, or objects, from their appearance rather than their inner

Itzel Zendejas is the daughter of Mayra Gonzales and Mario Zendejas. Itzel is involved in the soccer team. She plans on going to college after high school to study in criminology. She is inspired by her mom, who has been through alot in the past and still managed to be a strong women. She would like to thank her family and also her friends who voted for her.

Identified as one of the great American artists of the 20th century, Robert Rauschenberg was a profound individual with a curious mind for disruption. Known for his radical experiments, ranging materials and mediums, and efforts to explore the boundaries of what constitutes art, Rauschenberg was an artist interested in not just the outcome, but the process. His “Combines” in the early 1950s established his “Neo Dadaist” label as his works incorporated found objects and photographs, breaking down the barrier of sculpture and painting. His interest in avant-garde art and provoking methods caused a lot of stir during his lifetime. However, Rauschenberg diverged and literally erased critics precedent, and continued to pave the way for numerous movements and artist to come; changing the art market forever.

Cathrin Klingsöhr-Leroy's Surrealism introduces us to dozens of creative visual artists who transformed the art world (and the world at large) with their mesmerizing paintings and sculptures. Along the way Klingsöhr-Leroy treats us to a veritable mini-history of Surrealism with a critical introduction that situates the movement with regard to Art History and History in general. Using Klingsöhr-Leroy's writings as my point of departure, I will, in these pages, seek to draw a connection between the work of the surrealists and the writing of Junichiro Tanizaki in The Key. One of Klingsöhr-Leroy's key theses is that surrealist artists sought to incorporate Sigmund Freud's theories on their splendid canvases; similarly, Tanizaki can be seen to reveal

Chagall often used his home village of Vitebsk as a focal point in many of his paintings as he loved his home even when he was in exile; this is why I used my childhood homes as two of the prominent elements in my work as I am often nostalgic and home-sick when I am at school. Chagall’s use of cubism is also prominent in my painting, seen in the street and by my grandma’s house, as I found his version of cubism emotive and unique. I was also moved by Chagall’s stain glass work and tried to incorporate this in the texture of the sky, ocean, and cubist sections and also through a heavy use of the color blue. Furthermore pertaining to my use of color, Chagall’s subtle use of expressionism inspired me to pay attention to color, which led me to use a vibrant and rich yet cool and calm color scheme to further represent the nostalgia I have for the figures. Finally, in my last subtle homage to Chagall, I incorporated flowers into my piece similar to how Chagall used traditional Russian flower patterns in his work. By studying the life and work of Marc Chagall, I was able to create a work that means a lot to me and that I am able to be genuinely proud

Artists use colour as a form of expression, this has become a common aspect of contemporary art. Colour today in art is not usually regarded as an embellishment for form but rather as the essential material from which form is created. This changing role of colour has keynoted a general revolution in human thinking, leading to greater visual perceptions. (Sloane, n.d.) Early as 1966, Gerhard Ritcher has created paintings purely based on colour charts, to some this was a complete “indifferent composition” to produce, however it was seen to perform like a “great classical masterpiece” (Lubbock, 2011)

This creates a different meaning and subject matter with each new audience. Rauschenberg plays with the ideas of the artist’s role in determining the meaning, or subject, of a piece of art. ‘White Paintings’ is free of any mark of the artist exploring the idea of a painting that looks untouched by the human hands, as though that was the way it began its life in the world, pure. The context of this artwork, once again, is during the Cold War, this could have been designed to allow people to take a moment and reflect on the time period they are living in, or to think about the world and its issues. Rauschenberg is forcing the viewer to respond to the art through thought and their own

Near France’s revolution of the 18th century, Neoclassical artists looked for their works to reflect the imperatives of those times and adopted a more committed and connected art representation. (Gersh-Nesic, n.d., p. 3).

Out of the collision of ideals derived from Romanticism, and an attempt to find a way for knowledge to explain that which was as yet unknown, came the first wave of works in the first decade of the 20th century, which, while their authors considered them extensions of existing trends in art, broke the implicit contract with the general public that artists were the interpreters and representatives of bourgeois culture and

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.