‘And Most Slow Have I Been’ is a current exhibition at Lipscomb University by Karen Seapker. The gallery features a concise body of work; approximately ten to fifteen pieces in size. Many of her paintings depict bold, vibrant colors contrasted against dark muted ones. A recurring technique that Seapker utilizes is creating lines that appear to be executed in one brush stroke. These compositions are often subtly defined by these dynamic brush strokes. Seapker then creates void like spaces by filling the remaining negative space with contrasting colors; in comparison to the brush-stroke in the foreground. Another technique used alongside the strong brush strokes is a simulated gradient effect by applying two or more colors to her canvas and meticulously …show more content…
Then as I made my way around the gallery I noticed a myriad of her works contained radically simplified or abstracted figures. Segments of a hand or a pair of legs are incorporated into the composition delicately like puzzle pieces. Seapker’s painting named ‘Cradle’ demonstrates these figurative elements. A massive hand-like form dominates the center of the composition. The calligraphic brushstrokes in this form create a powerful sense of movement. Therefore, I found this painting quite intriguing. In the bottom left portion of ‘Cradle’ there appears to be two beige colored legs. To the right of them, a contrasting turquoise, gray pair of legs support the beige pair in a similar manner that a chair would hold one’s body. Most notably, the turquoise legs disintegrate into a pastel pink field; on the far right. Bits of gray paint are splattered in an upward motion on top of the pastel pink area; they are barely noticeable but enhance the impression of movement nonetheless. The ambiguity of the figures allows the viewer to gather a more subjective perspective on the content. Seapker’s visual language suggests something unsettling within the paintings, but I could not draw any
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
Many artists explore their personal journeys within their artworks, as a way of understanding their emotions and the world around them, as well as discovering their identity. Sarah Fordham’s art is inspired by her experiences including her travels around the world, and also as a way to make sense of her thoughts, ideas and emotions. These elements are displayed in bright colours, incorporating symbols and patterns in her work. Her two artworks being analysed are called “The Big Call” and “Pokeepskie”.
TXT- She incorporates symbolic imagery into her paintings in her series of self portraits, especially relating events of her past life and integrates them into the paintings with the help of Surrealism. Pg 367
Escher’s early works are an odd mix of cubism and traditional woodcut. From these beginnings, one could already note Escher’s fondness for repetition and clean shapes. While simple and exploratory, these works were the signs of a nascent art career.
The viewer can see and feel the bond between the mother and the child. I also think the artwork is beautiful and makes a deep impression on the viewer, because of the innocence and peaceful appearance of the infant. The woman has such an intense gaze with the way she is looking at the infant; it gives each viewer an opportunity to interpret it in their own way, concern or admiration, all part of motherhood. The woman’s body language is intriguing because she is replicating the infant’s arm position, maybe to find her own peace. In my search, I discovered that Berthe Morisot was a famous female artist in the 19th century, and in making a choice, this piece of art quickly caught my
The contrast between the light cream background and the maroon blouse have successfully drawn in viewers attention. The contrasting colours have made the overall artwork standout. The viewers eyes are snatched towards the vibrant red then it is directed to Kramer’s peaceful expression. Her expression is identified as the focal point of the painting. It encapsulates the meaning of stillness expressing the relaxation and tranquilness. Greensmith had chosen to use a variety of different colour tones to help sculpt and emphasis Kramer’s features. The use of darker shades towards her left side creates a shadow, indicating her angled sitting position.
Every painter has a certain style of painting, whether it's intentional to paint abstract or unintentional to paint as a modernist. I analyzed Abigail Kuchar’s artwork. She is an artist at Western Washington University. Currently, she is enrolled as a student and working on her Bachelor of Fine Arts. Recently, she exhibited her work in a Symbiotic Qualia, Western Gallery (group BFA Thesis Exhibition). Her ideas on visuals are very unique as compare to another artist. Her work is heavily influenced by reoccurring natural forms and patterns, representing, the specific shapes that have been successful in a variety of different applications. For example, the formation of bubbles, lichen, barnacles, anemones, spores, pollen, and seed pods, all have similar compositions. By creating work that includes these forms, the viewer is presented with something unusual, but vaguely familiar. Her material used in the artwork is environment-friendly.
Another attracting feature of this painting is that it appeals to your emotional side. Personally, I have an elder sister and we share a connection that is really rare. I have a picture of her, holding me as a baby with a huge smile on her face and this painting ultimately reminds me of that; giving me nothing but pleasant memories. That is what William is trying to do here. He uses the soothing and caring facial expression of the young lady together with the tenderness of the sleeping baby to capture his viewers and appeal to their caring and emotional side.
The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a
Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her
The painter makes the effort to apply geometric shapes, but does not quite make it a sincere effort. For example, the three haystacks seem like they are oval, but their bases are either swallowed into the ground or covered with hills or vegetation—hence we are unable to see their full shapes. All of the other shapes are also asymmetrical. Due to the form of the painting not having a definite shape, it would not be three-dimensional, but free-flowing. The expression of emotion in German expressionist painting provides a visual experience that is distinct from traditional painting art. In the minds of expressionists, painting is not a reproduction of nature or even a reflection of the beauty of life. The strong emotion of the painter makes it impossible for him to believe in artistic harmony in the natural point of view. In his view, it is not about the composition of the rules, but the expression of the work of the carrier and tools through a purely metaphysical abstract process. This results in a deformation of the shape of this existence, in the sense of distance between deformation and harmony, to express an anxious
The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink
This article is about the author, Mary Kaye Schilling, introduces an artistic project from a famous French conceptual artist Sophie Calle, which she prepared some props for herself to pretend that she has been pregnant for eight months, and she wants to give birth to her cat, who named Souris and died three years before the author wrote the article. After that, the author introduced many Calle’s artworks about her family members and tricks to create different feelings. Her artistic creation is often misunderstood by audiences who do not under her attitudes and opinion towards sexuality and reality. She also preserved many interesting taxidermy animals and used them to create projects. I am still not quite understanding the conceptual art and
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
The idea of this piece is to show the connection between mother and daughter being painted. It shows the time and the classic style of the