Goblin Art Fair

Like the painting, the sketch exhibits a number of West 's finest imaging and clearly and convincingly depicts all of the feeling of a frightful scene. The larger oil on canvas work isn 't one portrait, but rather, a

The Chicago World Fair was an extraordinary attraction during the contrasting Gilded Age as innovations were constantly forming and shifting the world into a new age of technology. Celebrating Columbus's discovery of America, millions of people and many familiar faces such as Helen Keller, Jane Addams, Thomas Edison and etc., came together in the “White City” to witness a dream-like fantasy. Furthermore, the fair was an impactful influence that was formed by the architect, Daniel Burnham, and created a proud unification within the country. However, the fair was also the making of one of the first serial killers in America, H.H Holmes. Holmes trapped people inside his “hotel” and committed murder to an estimated count of 200 people. The unimaginable

“David Slaying Goliath” by Peter Paul Rubens is an example of Renaissance art. This painting depicts a well-known Bible story of a young Israelite boy named David who kills the giant, Goliath, with a slingshot, and chops off his head with a sword. Rubens has chosen to illustrate this Bible story at the moment when David is about to hack off Goliath’s head with the giant’s sword. In addition, we see armor-clad soldiers rushing into battle in the background. In “David Slaying Goliath,” Peter Paul Rubens uses color, value, and line to illustrate the dynamism and energy within the painting that makes it look realistic. In addition, these elements contribute to the sense of excitement and anticipation of the event depicted.

I chose to write about L’Envouteuse (The Sorceress) by Georges Merle. Merle’s father was also a painter, and since Merle did not sign some of his early work it was often confused to be done by his dad. George himself was known by his talent of painting the body form of women. Merle painted this during the time of 1883. This painting is 57 ½ inches x 45 inches making this a fairly large piece. When painting this he used oil on canvas. I found L’Envouteuse (The Sorceress) while I was browsing through The Birmingham Museum of Art. Above all pieces of art I saw in the museum, this painting seemed to be the most captivating. As soon as I laid eyes on it my attention was immediately taken by this mysterious piece of art. I grabbed a stool and began writing down my observations. Looking at this painting on paper cannot even compare to actually seeing it in person. Pictures I have seen online of L’Envouteuse (The Sorceress) do not justify the great detail and vigorous colors that are more easily seen while actually standing in front of the painting.

Various pieces of art found thousands of years ago depict characters based on certain events and legends. I will be analyzing two works of art: The Sound Box of the Great Lyre, a wooden music box (33 x 11 cm) found in present-day Iraq c. 2600-2500 BCE, and Lapith Fighting a Centaur, a high metope relief (1.42 m) on the side of the Parthenon in Ancient Greece c. 447-432 BCE. The former represents a bull with a low relief under its head, depicting animals mimicking the lifestyle of humans. The latter exemplifies a nude man struggling against a mythical creature that is half-man half-horse2. Although these works are from across the world with completely different cultures, they both have similar

It is almost a reflection of the man’s trident. That same pitchfork shape also appears in the window of the house that sits in between both figure’s heads. Repetition can also be seen in the dotted pattern of the woman’s outfit, which also appears in the material of the curtain that hangs in the house’s window. The echo of verticals in this painting is also strong. The faces and bodies of the figures seem to be stretched, and narrowed. The pitchfork’s slender prongs and the green stripes on the man’s shirt also add to the elongation of their frame. The copious amounts of vertical wood boards that make up the house and the barn, keep the viewer’s eye moving up and down the picture plane. Wood’s use of verticality in this painting is overwhelming.

The inspiration for the piece was due to the chaotic nature of the lines to create a creature that could inflict terror to the audience. The first image that kept invading my mind was the hair, I wanted to create a creature with that element. Since I was so obsessed with the idea of hair I started to look into horror icons that have inflicted fear on me since I was a child. The first creature that successfully inflicted terror on me was The Grudge because of how she presented herself by making disturbing sounds because her neck was broken, and how it moved about in a distorted manner; broken bones. Unfortunately, the creature in The Grudge was not enough to show what I had imagined my creature to look like because it's always dressed in a white

At first, I only gave this painting a glance because I thought the colors looked very boring to me. It was not pleasing to the eye because it was your average

I think the painter view it as a heroine by placing the swords in his hands with armor on.

For example, the piece starts in pianissimo which gradually builds to fortissimo and I attempted to represent this dynamic with a gray and brown blend to represent the quiet darkness in the beginning of the piece. Then I added in shades of red to show a comparison between the increasing loudness and a gradually spreading fire. Additionally, as the music increases to fortissimo, it also picks up in tempo, which I demonstrate through the movement of the winged trolls in the work. Lastly, I broke the painting into 4 panels to display my mental image of the story as it correlates with the changes in the music and drew the figures with a scribble technique to represent the imagination in the middle of the experience. Overall, the main concept I tried to show in "The Troll Dance" is the theme of what building anticipation and excitement can do to the

The two pieces of art I have drawn symbolizes some of the decisive moments and characters in Bram Stoker's blood sucking novel, Dracula. The first picture I drew was a picture of the blood sucking demon himself, Dracula. As I was drawing the vampire, I felt it was important to draw a picture of him because every story has a plot problem, and in Bram Stoker’s Dracula, Dracula was the problem. Without the vampire himself existing, there would be no story. A book or movie is based of a problem that has occurred, and without having Dracula who plays an important role in the story, there would be no story. My next picture was a picture of Lucy Westenra after she was bit by Dracula herslef. When Dracula bit Lucy, the entire story had changed and

Although it is hard to use all of these elements Van Gogh did it in an excellent manner, with nothing in this painting being overpowering to the viewer's eye. This may be the reason for the great success for Van Gogh and his piece. This piece was so different for the era that Van Gogh did not live to see his paintings success, even though he was not successful in his lifetime most of his pieces are still remembered today for their strong composition and

I was assigned Botticelli, one of the great masters from the Early Renaissance. Botticelli was known for his highly realistic, especially for the time, religious paintings and being a member of the Golden Age art movement in the 15th century. He utilized a style known as “Gothic Realism” where flight of fancies and interpretation were not taken on the works of art, but rather accurately depicting scenes with realistic surroundings and figures were what was optimal to translate to the viewers. It could be said that the study of the antiques that Botticelli did that influenced his work, influenced the whole Renaissance period as we saw much more evidence of realism taking a role into paintings, sculptures, etc. Unlike many masters, which he became

Topic1: Certain narratives have inspired visual artists time and time again. Choose a tale and compare/contrast illustrations made in reference to one of them. Consider how artistic vision was affected by the ideals, stylistic affectations and technology of the images’ era. fig.3 fig.4

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