Key Design Elements In Interior Design By Piero Fornasetti

Wood’s use of glazes is not the only reference to early Italian painters. It is clear that Wood was inspired by Northern

In Gehry’s house, he used big openings, unique wall surfaces and light conditions in a large room or visible framework, they all showing the postmodern style and making relationships between architecture and its origin. Gehry tried to “make a very tough sculptural

Interior design and architecture are essential, and often overlooked, aspects of everyday life. In modern society people rely on function, durability, and visual appeal when selecting designs for their homes, businesses, and places of leisure. The way that a space is designed influences such things as mood, which, in the case of a business, can impact the productivity of employees and either draw or repel customers. In residential design, the design becomes very personal and, to be considered a successful design, must properly reflect the home owner while at the same time offering some practicality that makes the space livable. An effective design, for any space, must solve some problem, be it function, flexibility, or some other criteria. Simply solving a problem would not please the customer, however, unless it offered some visual appeal. Creating function with style is the real job of any interior designer, and is essential in a content society.

The masterworks of Bernini and Canova shared similarities along the lines of the sculptors’ works were crafted with precision and a keen eye for detail and were successful in giving their works a realistic effect. Both workers were masters in their own time and were able to manipulate marble to as though they were constructing a painting. They both incorporated classical forms in their works, depicting great scenes from mythical stories that could be viewed in great detail at a 360-degree angle.

One of the most famous painter and sculptors of the Italian Renaissance, the age of renewal and cultural achievement circa 1500, was the artistic genius Michelangelo Buonarroti. The man that desired nothing but perfection often reached it in his work. He captured the motion of the human figure and the anatomy of muscles in a way that was increasingly beautiful and startlingly realistic. Whether because of one of the most famous sculptures in history, “the David” or the paintings on the ceiling of the Sistine Chapel, that became the textbook examples for the art period of High Renaissance, Michelango’s art changed the world and he will continue to be studied with awe throughout history.

Edgar Degas once stated, “A painting requires a little mystery, some vagueness, and some fantasy. When you always make your meaning perfectly plain you end up boring people” (Frank). Degas style of painting reflects this quotation from him. He keeps a yearning within the audience to understand the true meaning of his paintings. The mystery of his paintings is part of the reason that he is popular. This paper will discuss the painting The Interior, and why it fits the mystery of Degas.

Giovanni Battista Piranesi is best known for his etchings of ancient and baroque Rome and grandiose architectural constructions of his own imagination. One of his etchings, plate 53 of Antichità Romane. He signifies three supplemental views on scrolls of paper hung behind the primary scene, while playfully undermining the illusion he has created by making the hook on

These three busts of women in the 1600s are exceptionally different than those before this time. Women portraits in the 1600s have obvious influence from these sculptors, but also lack the focus to detail and movement. Andrea Bolgi sculpted St. Helen which is housed in St. Peters. The sculpture has movement expressed through the drapery which is used by Bernini in a copious amount of his sculptures and Algardi used this in his bust of Olympia Maidalchini Pamphilj. Also in St. Peters Basilica, Francesco Mochi takes the same approach to his sculpture of St. Veronica. St. Veronica is portrayed in a dramatic way, with multiple folds in her dress and the cloth with Jesus’s face is blowing in the wind. Taking a page from the book of Bernini, Mochi

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

Indeed, it is not possible to imagine someone could compete with Gianlorenzo Bernini in feeling of the Baroque style in sculpture. Thus, the most prominent works of the artist, known for

Before analyzing Giambologna's use of diagonal lines to create various focal points and energy in the work; first, the most compelling aspect of the sculpture must be examined which is his utilization of implied textures. For instance, there is an implied texture of thickness and body to each character's hair which is achieved through fine grooves to show individual locks as well as deep grooves to create shadows and thus the idea of the hair's volume. In comparison, a similar concept is seen in the beards of the two men where the deep grooves and shadow give the appearance of a thick beard in the

Art is all around us. There are many different forms of art. It can be something created, captured, or it can be already existent. Not a single person is to say what makes something art because there is a different definition for everyone. However, there are a couple factors that come into mind whenever someone decides to declare something as art. In this essay I will be comparing and contrasting four different pieces of art. I will be discussing each art piece’s form, time period of creation, intention or purpose, and value. These four pieces of art are Michelangelo’s Pieta, Fountain by Marcel Duchamp, Mark Rothko’s No.61, and the “Oyster Dress” by Alexander McQueen. These works of art come in all different shapes and sizes but they are valued

The work of Antoni Gaudi falls under the movement of Modernism and therefore is wrapped in the traits of exuberant forms, ornamentation, great attention to detail, vast use of plant motifs, and the preference to curvilinear and asymmetrical line. Along with his attention to great detail Gaudi integrated the use of ceramic tile, stained glass, wrought iron works and master crafted carpentry which ultimately enhanced the unique innovative design concepts in which he became noted for. Gaudi introduced new techniques to the architectural world such as trencadis, which is a type of mosaic made of waste ceramic pieces and which is one of the design details incorporated throughout his work, one example being the spires of the Sagrada Família. Gaudi's work always involved a distinctive use of materials in particular the use of texture and color arrangement which was almost always included along with his imaginative style using ornamental ironwork. His wrought-iron designs were arrived at independently and frequently in advance of the comparable experiments of mainstream Art Nouveau (Arnason and Mansfield 101). Gaudi

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what

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.