Javacheff The Skin

Ocularcentrism and individualism were the fundamental building blocks of Modernity, an era of change, those world views were reflected in the epoch’s art and architecture. To define the scopic regime-way of seeing-of that period, Martin Jay suggests that an in-depth analysis, comparison and evaluation of all the ocular fields, the visual subcultures, of the period is necessary. He believes that there is no hierarchical arrangement of the ocular fields, but rather they are all correct and equally important. In his work “Scopic Regimes of Modernity”, in Vision and Visuality he chose to explain and focus on two contrasting visual subcultures: the Renaissance’s Cartesian Perspectivalism and the Baroque.

Francisco Goya’s The Executions of May 3, 1808, is a remarkably interesting piece of art. This piece represents a protest against the Napoleon Occupational Army in Madrid. There are various visual elements and design principles in the art, which will be covered. The beginning of this ILO will contain the visual elements first, followed by the design principles, and what they mean in the artwork.

God has created the world beautifully by making the combination of many natural colors, and other things. The images of the natural work of art and animals address the reality of the life as how it begins and at what stage we are now. To create your better understanding the book “Exploring Art: A Global Thematic Approach” written by “Margaret Lazzari, Dona Schlesier” has highlighted the principles and importance of the art work by relating it to the past working of art and modern work of the artists. It increases the level of understanding of the viewers and makes it easy to give their opinions on the situation or concerns addresses in the

Both the whole arrangement of the exhibition and artworks are effective for showing the main idea of the exhibition. The different wall colorings in different rooms in this exhibition can give viewers fruitful visual experiences. The warm color atmosphere around the exhibition makes us forget about the fear and sorrow of death. Different rooms have different mediums of artworks. This gives the exhibition an outstanding rhythm that is different from normal exhibitions, which would not make this exhibition stiff. The artworks in this exhibition do not only reflect the theme but also make a good interaction with the viewers¬—especially the sculpture work We are Earth and Earth with Fire makes Stone: Ayotzinapa lives, the struggle continues. The exhibition taught me a new exhibition arrangement and also taught me what is Mexican “day of the

This paper will provide a formal visual description of le-ver-de-porto. The painting describes an injunctive atmosphere created by a lovely couple around an almost rectangular table with round edges inside a dark room with a few sources of light. The painting applies the best technique of handling that portrays visible brush strokes to present a coarse kind of a portrait. The painter uses very fade lights to define the boundaries of the objects and bring the portrait in a real life picture. He also uses a strong contrast between the bright colors, which appear to mimic one another and dark ones as can be seen on the tabletop, the skin colors, the walls and ground surfaces. What appears to be a dark room receives sufficient illumination

Art is one of the most fascinating attractions that the world has to offer us. From its smallest art pieces to its enormous architectural designs. Art doesn’t have an age, whether it was made during the time of our ancestors the Homo erectus or as new as our present day. Art is a way of expression, to tell someone a story about a person event or thing. In this research essay I will be describing the Art work which I have researched that are most fascinating to me.

Installation art is an embodied and immersive experience, which can affect the way people navigate and experience a particular space. It has the ability to activate the viewer’s mechanisms of perception and ultimately awareness of a place. This occurs through the stimulation of the senses by interaction or awakening one’s perception through disorientation. Installation art directly presents the elements texture, space, light and so on for us to experience. Artist works hard to express and experiment with feelings, emotions and viewpoints through various medium that can influence and enlighten people. They break the limitations of conventional architectural practice through its “exploration of sensory stimulation and spatial perception”. Phenomenal

There are also, however, important references of an art-historical nature that is expressed through the presence of the painter himself and the paintings hanging on the rear wall, while the inclusion of the mirror makes this work a reflexion of the act of seeing and ensures that the viewer reflects on the laws of representation, the limits between painting and reality, and his or her own role within the painting. This richness and variety of the content, combined with the complexity of the painting`s composition and the variety of actions represented, make Las Meninas a portrait in which the artist displays representational strategies and pursues aims that go beyond the habitual ones in this genre, bringing it closer to history painting.

THE proof of the endowment of a true artist is always to be found in the fact that his work of art expresses the general will of a period. Perhaps that is most clearly shown in architecture.... The religious mystical world of the Christian Middle Ages, turning inwards upon itself, found forms of expression which were possible only for that world - for that world alone could they be of service. A Gothic stadium is as unthinkable as a Romanesque railway station or a Byzantine market hall. The way in which the artist of the Middle Ages, of the beginnings of the modern world, found the artistic solution for the buildings which he was commissioned to create is in the highest degree striking and admirable. That way, however, is no evidence that the conception of the content of life held by the folk of his day was in itself either absolutely right or absolutely wrong; it is evidence only that works of art have rightly mirrored the inner mind of a past age. It is therefore quite comprehensible that insofar as the attempt is made to carry on the life of that past age, those who search for solutions of artistic problems can still seek and find there

Piero’s art is centred around mathematics and he was convinced that the highest beauty was found in those forms that have the clarity and purity of geometrical figures. The Flagellation shows Piero’s accurate sense of linear perspective; the tiles show the orthogonals and transversals as well as the blue sky and clouds that were drawn in perspectives. The use of foreshortening is minimal, and can be seen in the feet and arms of the middle figure at the front of the picture. One of the key elements is light which helps to create a perspectival depth. For example, the supernatural light above Christ and an external light source which casts the shadows. It was said that Piero made models and clothed them to study the fall of light on drapery folds before he began his paintings as can be seen on the 8 figures in the painting. Through his action, we realize the value he has placed on the use of light to create form in his figure construction. The fall of the drapery helped enhance a 3-D form to the figures. This light and line of columns show the separation between these two views of life. Like Alberti has suggested in every painting, there is a variety of poses in The Flagellation. This is demonstrated

When people encounter an artwork and try to understand it, some would refer to the artist’s intention, but some may think it is not helpful. This interpretation is concerned as one essential component of aesthetics, both in the philosophical perspective and in common sense. They two kinds of people have their official name for what they believe. The debate here is about whether the artist’s intention can influence the interpretation of the art.

The title of the exhibition is Urban Studies, artists Simon and Tom brothers use the quoting words from Walter Benjamin, as a cue to lead visitors to form their transformative experience. There are three transformations managed to reach, the curatorial habit which is used to regarding as gallery space; the materials from construction to artistic production; viewing experience from closed space to an open and interactive relationship.

Art is an important part of civilization, which makes people’s lives to be better. Art always uses its graceful behavior to influence people’s daily lives. The history of art reflects human beings’ evolution. It recorded most necessary events during the history of past thousand years. Eiffel Tower, Khufu Pyramid, Venice and Taj Mahal; these artworks demonstrate their specific charm. They are the marvelous spectacles in the world, and they are representatives of the art realm. However, there are also some special master pieces, which always be ignored in ordinary people’s daily lives. Oil painting is a kind method to give rein to one’s imagination which coalesce fantasy and reality for artists. They are come from the life, but beyond life. Especially for portraitures which is the miracle of oil paintings. Drawing a figure on paper is not simple because it is not only drawing a person’s appearance, but also showing the social status and positions of this person. This figure on the paper could be some people real exist. But it also could be the expectation. A painting master must use his extraordinary skills to create a figure on a paper and give the soul to the character, which helps others to understand this character. There are two paintings could be representatives of these extraordinary drawings. The María Teresa del Castillo, painted by Zaragoza who lived in Spain during 1734 – 1795. And the Portrait of the Dwarf Michol, by Avilés who came from Spain in the year 1614 –

The book consists of twelve chapters that propose this idea that designers should explore the nature of our senses’ response to the spatial built forms that people invest their time in. It tries to cover a specific topic in each chapter that in order to deconstruct the book, it is necessary to cover each chapter individually.

Paintings are mute in themselves and ekphrasis brings them alive. Auden lives in a world that is so bleak that one can no longer find expressions – people resign to their current condition and totalitarianism represses people’s voices. Also, when we look at paintings, we “feel” instead of “describe” – the process of verbalization takes more efforts. Very few are willing to take a step further and take an active stance. It’s a boundary that only a few attempts to take. Auden breaks the silence by using ekphrasis; He adds another layer of sensation– auditory aspect that forces us to take notice of the situation. In Musee des Beaux Arts, Auden uses onomatopoeia like “splashing” and “forsaken cry,” as if he is calling our attention to the fall of Icarus in reality. His use of progressive verbs “walking…waiting…skating… falling” and repetitive sound of “ing” imply that it is up to our responsibility to stop this continuous insensitivity. In The Shield of Achilles, he uses consonance – “column … column ... cloud” -- to create a cacophonous effect that stirs unease within us, raising our awareness of the severity of current condition. Moreover, by reading the poems without seeing the paintings, Auden suggests that we can envision, construct, and reshape our own paintings. After all, our own realities are creations of our