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’ 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.
Visual opulence, creativity, inimitable vision, and a style that is highly influential are the many characteristics of an admired movement in art history, that being of the Post-Impressionism movement (1875-1892). This movement, which was a by-product of the Impressionism movement, is the bridging gap between the two movements known as Realism and Expressionism. Post-Impressionism takes on some of the stylistic characteristics of these movements; however, it does not contain the all too glossy visuals of Realism or the heavily fantastic visuals of Expressionism, rather it is the intermediary of these two poles. My paper will discuss why this link was absolutely essential to the history of art movements, and I will be specifically using the
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.
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
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
When having to choose two works of art to compare and analyze, it had occurred to me that one of my all time favorite artist has always been Vincent Van Gogh. After searching through countless of Van Gogh’s magnificent works of art, I knew I wanted to analyze ‘Houses in Auvers’. Once I chose my first painting, the second piece fell right into place. Since Van Gogh was a painter in the post impressionist movement, deciding to choose another painter from that movement worked out well. I chose, ‘Auvers, Panoramic View’, painted by Paul Cezanne. A majority of people admiring these paintings would realize at least two elements: houses, and the beauty. Although, looking beyond the beauty of the town, there are many more comparisons.
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.
Explanation: This oil pastel image is two-dimensional, and has both real and implied lines. The implied lines exhibit the movement of the dancer. The contour lines expose the figure’s legs while the tutu and torso have gesture lines because of its loose and indefinite shape. The gesture lines entertain with the idea of light and shadow in the torso and tutu. However the tutu has more of an influence than the torso and signifies the bulk of the movement in the image. The wild twisting of the tutu implies an erratic
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.
Walter Benjamin looks into the shift in perception and its affects at the beginning of film and photography in the twentieth century. He writes about how a sense changes within humanity’s way of looking at visual works of art. Having its differences now and its consequences remain to be determined. Benjamin attempts to underline something exact about the modern age and of the effects of modernity on the work of art in particular. (Benjamin, 222)
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