How Did Edgar Degas's Use Of Visual Impairments

always been known for the risky and powerful movements which are often why dancers retire from the company. The dancer’s movements were often very intense and emotive, such as the “throws” across the stage in which the dancers would, almost violently, launch themselves across the stage in different forms (leaps, falls and flips to name a few). Another section where the movements were emotive is where the dancers were thrusting their hips in different positions to perhaps show sexuality in “self”.

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Edgar Degas’ Four Dancers (1899) on a canvas, National Gallery of Art, Washington, D.C. The composition accentuates the shapes and arms of the dancers with bold dark lines in dramatic lighting on the dancers through green and orange tones. The reflection of color on the dancers’ backs is juxtaposed with that of the set design’s painted background. Notably, the dancer nearest to the front of the painting makes a “trapezoid” shape with her lifted arms. The two dancers next to her are perfecting other versions of the same angle of the arms. Oddly, each dancer is drawn in an almost perfectly symmetrical manner as if they are permutation of the same person. They all appear to be of the same size as well. The dancer behind them has an extended arm, which helps to frame the other dancers by creating a rectangular frame, encasing the dancers in the painting and bringing together all the elements of the painting as a whole.

Edgar Degas’ Little Dancer Aged Fourteen is a symbol for all little girls with dreams bigger than themselves. The Little Dancer is a statue of a young girl made from all natural materials, created by the artist Edgar Degas. The Little Dancer has a small head with small features; Degas was not trying to emphasize her face, but her minute features display an expression of hope, almost jovial in a way. The air of her expression conveys the quiet discipline of a dancer and therefore her passion and love for ballet. The legs of the dancer are long compared to her torso, turned out, as a dancers always are. This turnout becomes natural after working strenuously every single day, trying to perfect the dancer’s art; standing parallel feels abnormal.

The next minute the man pushed with his legs the woman as they were getting into an argument. The music “God Help the Girl” complimented the dance with its quick beat. Another interesting part of the dance was when the two dancers sat around the table as most people in the world do during dinner time. Moreover, the man put his legs on the table and as he was waiting for dinner to be served. This reminded me of how many cultures around the world are patriarchy oriented where the men are the bread makers and the women’s role is to take care of the children and all the house work. However, the woman’s costume was a representation of how women in the twenty-first century have grown to become career and goal oriented and not settling for the “Homemaker” position that society is used to. Another interesting part of the dance “Folie a’Deux” reminded me of something I learned in Dance 1010 class and it was a dance similar to the Lindy Hop. The duet came to the front of the stage, between the table and the couch, very close to each other and started hopping and moving very quickly. However, their upper bodies were also moving and their arms were flopping back-and-fourth. Overall, the dance moves were concentrated in the middle and upper space. Their bodies were straight while stepping heavy on the floor turned towards the audience. The dancers made eye contact with the public but also

Chuck Close is well known for his art, but he is also known for overcoming his ailments and concerning his dreams of being an artist. In this paper I will discuss his early life,and his later years. Chuck Close is an abstract artist who has severe dyslexia, facial blindness and neuromuscular(affect the nerves that control your voluntary muscles also known as the ones your control). Chuck has many disabilities, but despite these listed and the ones not listed he still creates facial abstract artwork.

Sol LeWitt was a pioneer in Modern Art. He was a father to Minimal and Conceptual art styles, both of which have a huge impact on much of the art done today. If not for his family, however, he would never have become such a huge impact. DeWitt’s mother took him to art classes at Wadsworth Atheneum as a child, which led to him receiving a Bachelor of Fine Arts degree at Syracuse University in 1949. We have Sol’s mother to thank for his influence on art today, as it was her who got him to take classes for it in the first place.

Their dancers connect with the dance tradition embodying feelings of existential human anguish and references to specific geographic places, dancing focused on surreal situations, body use and the relationships between stage and

The dancers run out onto the stage and form two straight lines consisting of three girls in the front and three girls in the back. As the piece progresses this formation does not vary other than to switch lines. Once on stage, the music finishes the introduction and the happy, lively, carnival type music begins. The dancers throw confetti onto the audience members and begin their variations of shimmying, hip thrusting, being overly dramatic and movements that were highly sexualized. Each movement seems as though it was choreographed in order to make the dancer’s body shake specifically within the bosom and the buttock. The dancers’ facings were both front and back displaying the entirety of the female body. Within the clip at 28 seconds the camera focuses only on the female’s buttock as it its shaking from side to side in time with the music. By 37 seconds colored streamers fly down from the stage as the dancers walked dramatically in unison

The dancers’ movements throughout the performance seem to challenge and uphold gender binaries at the same time. At the beginning, when only female dancers are present their movements are agentive, strong, quick, and athletic-characteristics not usually allowed for female dancers. Their movements are similar to the wild and physical movement of Louise

This formal art analysis will compare and contrast the line, color, light, and composition of "Gertrude Stein by Pablo Picasso and “The Toilet Of Venus" by Francois Boucher. The formal qualities of these paintings provide a classically orientated approach to the individual subject, which provide similar methods of composition and line. However, Picasso tends to chose earthy color tones in contrast to the brightly colored image provided by Boucher of Madame de Pompadour. More so, Boucher provides a much more lighted environment for his subject, which is dissimilar to the muted light of Gertrude stein in an interior setting. In essence, a comparison and contrast to the line, color, composition, and lighting will be formally analyzed in

In this essay the following contemporary painters are going to be examined: Marlene Dumas, Wendy Sharpe, and Euan Macleod. Besides, I will analyse the ways in which these artists engages in dialogue with current social or cultural concerns, focusing on specific ways that the medium influences the effectiveness of visual communication.

Frida Kahlo, Pablo Picasso, Vincent Van Gogh – all great artists, such different art styles, yet all of them have been through troubling experiences. Must one suffer to create masterpieces? Peter Wilmot from Chuck Palahniuk’s Diary seems to concur with this notion. But is he right? Many artists throughout history are famous because of their incredible skill and vivid imaginations, and many of them have suffered quite a deal. Some of the best art works throughout history feature personal stories of hardship told by the artist. And why is it that people tend to gravitate towards depressing, morbid art? This essay will explore the belief that one must suffer to create good art, by taking a look at artists that have suffered, how their pasts

The early work of Carl Milles was Two Girls Dancing in 1917. The sculpture shows two women poised on tiptoe in a turning movement. He was enthusiastic about free dance, which was developed at that time. He attended many performances in Paris and Stockholm. So, he sculpted two dancing women. He was interested in the concept of turning and lacking gravity when he created this sculpture because dancing meant the turning movement and the dancer lost contact with the ground momentarily. And later his

In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.