Henri Cartier Bresson - Arts

Another significant reason that has played a vital role in photojournalism of recent times is the emergence of imaging technologies. Imaging technologies has undoubtedly played a major part in the works of a photojournalist today. Based on earlier accounts on how photography itself is an inherent manipulation, the question is no longer directed on ‘how has imaging technologies manipulate photojournalism' but ‘how much more has imaging

In “A Guide to a Renamed City” Joseph Brodsky wrote that at a certain point Saint-Petersburg became dependent on its reflection in the mirror, namely the literature. After walking Moscow's streets this June as much as I did in my university years, I made sure for myself what the Moscow's reflection is. It's a nightmare, full of unworked-through traumas and fears, which it tries to bury again, this time in memory, with the help of multiplying asphalt layers and myriads of fake facades and squares.

The essay will make use of the works of photographic artists who engage in one of the two schools of photography, Pictorialism and Modernism. The artists that will be used for this essay are Paul Strand who has been selected for the Modernist development together with a Russian artistic photographer Alexander Rodchenko and As White remained rooted to Pictorialism, his stance on his methodology and set up in the 1920s and 1930s led to occurrence of the stirring up of quite a number of understudies to handle his visualization style which was fresh and innovative (White, Clarence H., Jr. and Peter C. Bunnell 1965). In the process of talking about the two schools of photography, Pictorialism and Modernism rather than focus on the clash and disagreements that occurred from Pictorialism and Modernism it is more suitable to examine the merits in both the method and styles used in the two schools of

In the 1950’s and just after World War II, the United States and the former Soviet

A painterly quality with an otherworldly aesthetic is what set pictorialism apart from other photographic practices at the time. This notion of perfection is what really captures my attention. What I find quite interesting is that looking into this aesthetic every man

the image. It is essential to note that the shutters of the house are closed. This is an

The photo can stir something within us; make us look within our being. The photo should not frighten or stigmatize, rather it should be reflective to cause a revolution (Barthes, Camera Lucida, 38). For the contemplation component of examining photography begins only after it executes a feeling within us (Brown, 29). There are photos that we view that make us say “this one is saying something for me” or “this exists for me”. Diana Markosian, photographer of the project 1915 did exactly this in her work. Markosian is a photojournalist who captures photos by immersing herself into the community in which she is photographing. Her photos are very intimate and bring in a mystery of past times, the place between the dimensions of memory and place

In 1908, Henri Cartier-Bresson was conceived on August 22nd in Chanteloup, Seine-et-Marne and instructed at the Lycée Condorcet, Paris. In 1926, he considered painting under Andre Lhote. Takes his initially photos. 1931: Finds a photo by Martin Munkacsi in expressions of the human experience magazine Expressions et Metiers Graphiques and chooses to concentrate on photography. In 1935, Shows with Manuel Alvarez Bravo at the Palacio de Bellas Artes, Mexico and after one month at the Julien Impose Exhibition with Walker Evans and Manuel Alvarez-Bravo. 1936: Acts as second aide to Jean Renoir on Une partie de campagne (A Day in the Nation) and La strive est a nous. In 1937, He coordinates two documentaries: Victoire de la strive (Come back to Life) on the medicinal care of Republican Spain and With the Abraham Lincoln Unit, on the American soldier's' life amid the Second World War. 1944: Takes a progression of photographic representations of essayists and craftsmen for Versions Braun (Henri Matisse, Pablo Picasso,

CLS- He captures immense images because of the great scale in the composition appears powerful to the viewer and to observe the natural aspects in the overall

Russia under Stalin was a country that had just undergone extensive social and political change in an abrupt and intense manner, going from one extreme of governance – absolute monarchy - to another, communism. This violent shift in Russia’s societal infrastructure had created a major lack of movement and evolution in Russian industry, and Russia was lagging behind the rest of Europe in manners of trading, production and technology. Lenin had fostered a dream of having the entirety of Russia lit up by electricity and modern means of communication in ten years. However, this was not just a dream of an advanced society: Lenin was sure that without this lurch forward to meet and contend with the competition of other countries, they would not last, and this was echoed by Stalin when he came into power; “We are fifty of a hundred years behind the advanced countries. We must make good this lag in ten years. Either we accomplish this or we will be crushed.” After Lenin’s death, Stalin as the figurehead of communism and leadership in Russia now faced meet the promises of an untested system – a free, functioning Russia as spearhead of the communist movement.

Returning to Benjamin, he writes that, “Even the most perfect reproduction of a work of art is lacking in one element: its presence in time and space” (Benjamin II) which corroborates the speaker of the poem’s stance that, “Meaning takes place in time” (Solie 38). Although Benjamin’s thoughts focus more on the ubiquity and lack of authenticity that occurs with mass image production and reproduction, “Bitumen” shares some of these concerns, tracing the development of modern proliferation of images from the first imagining techniques of Joseph-Nicéphore Niépce, to the “photochrome postcards” (32) of late 19th century, up to video- sharing websites. The speaker of “Bitumen” looks to construct a timeline of image mediation alongside the aestheticization of catastrophe. Even calamitous weather events, which “Bitumen” ties to the “unseasonable” (34) weather that results from global warming, becomes a sublime, photogenic spectacle with the ubiquity and quotidian character of modern image and film: “tornados on YouTube relieve us of our boredom” (“Bitumen” 33). The speaker of “Bitumen” argues that these mediations pacify rather than invigorate, and replace what should be fear and action with awe and

No artist expresses more freedom than the brut artist of the 20th century. Many of this work was based on perception and interaction that came from different surroundings from which the artist was exposed, and the work was not properly recognized to the believe of being work of a much lower quality. This essay will primarily cover Chapter seven, eight, ten, eleven, twelve, thirteen, fourteen and fifteen from the book Raw Creation Outsider Art and Beyond. It will also cover some of the artwork form the book mainly focusing in composition.

Visual art has been highly appreciated and has become popular since the second half of the nineteenth century, during which the public gradually get familiar with the visual art and its applications. In the late nineteenth century, when artists began to utilize distinctive materials and various techniques on their work, there are a lot of innovative works done by masters whose names have been marked ever since. Their stories passed down through generations. Henri Michaux is one of the most well-known artists in that period of time. Michael always made metaphor for objects mentioned in his painting. His paintings always remained figurative, in-spite of all tendencies towards abstraction. His inspiration was from the real world but even

In its simplest terms collage is when a piece of artwork is made from an assemblage of various forms, creating a new entity. A collage tends to include, newspaper and magazine clippings, paint, bits of paper, ribbons, and sometimes pieces of other artworks glued to a piece of paper or a canvas. Throughout history, there have been examples of artists using techniques found in the art of collage, but the pieces of art produced wouldn’t be considered a collage artwork. For example, in tenth-century Japanese caligraphers would paste the text of their poems onto different surfaces. The method of using gold leaf panels, which became popular in 13th Century Medieval Europe, could be argued as a collage method. In the 19th Century, the use of photo albums began to emerge, some experts claim that this is where Picasso and Braque got their influence to create the modern definition of collage art.

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.