Klein Blue Essay

During the Holocaust, Jewish people were submitted to the vilest and most inhumane conditions the world had ever seen. Their most basic freedoms were taken from them. At first, all they lost were items such as flour, eggs, sugar, and cocoa. Later, they were stripped of their land and businesses and separated according to their ability to be productive slaves to Hitler's Third Reich. Those that were deemed unfit were sent to slaughter houses. Entire families were torn apart, much like what happened to Gerda Weissman Klein's family. Despite watching her mother, father, and brother being taken from her, knowing that she would never see them again, she found the strength to survive three years in German labor camps through her family,

Franz Marc was a German artist and printmaker, and also one of the key statistics of the German Expressionist movement. Franz Marc was born in February 8, 1880 in Munich and past away in March 4, 1916, eventually Marc was only 36 years old. Wilhelm, the father, was an expert landscape painter; his mother, Sophie, was a strict Calvinist. Marc began to study at the Academy of Fine Arts, Munich in 1900. In 1903 and 1907, he spent time in France, intensely in Paris, visiting the city’s museums and copying many paintings, a conventional way for artists to study and improve technique.

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

Have you ever thought about what it would be like not to be free? What would it be like not to be able to make choices? What would it be like not to be able to do what you want? It's scary to think about not being free, but even in the world today some people don't even have basic human freedoms. Lois Lowry shows us in her books The Giver and Gathering Blue what it would be like not to have freedom and how important it is that we have it.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

Paul Klee was one of the most unique and influential artist’s of his time period. Klee was born in Münchenbuchsee, Switzerland on the 18th of December 1879. Klee, being born in Switzerland and creating a majority of his work in Germany, was considered both a Swiss and German artist. As a child Klee was extremely interested in drawing and music. His parents pushed music in their household however the rebellious Paul viewed music of the time as “meaningless” and stuck to the path of drawing and art. Paul Klee’s artwork was heavily influenced by movements in art that included expressionism, futurism, cubism, and surrealism. Although widely known for his physically small, abstract artwork that resembled hieroglyphic puzzles, Klee will long be

Color field painters used a different abstract strategy and focused on controlled shapes rather than a randomized effect. Abstractism in the 1940’s paved the way for Pop Art in the 1950’s by challenging traditional values and definitions of art work. Abstract Expressionism inspired the entire creative community, including sculptors, poets, photographers, and film-makers.

Impressionism, in contrast, strove not to capture the toils of society in a moralistic setting like Realism did, but to evoke a general mood in the viewer. Painting was transformed from the idea of capturing a moment on canvas to creating a moment on canvas; painting was reduced to its own surface, “no longer transparent means but opaque ends” (Schneider 43). This was exemplified by Manet’s own ideas of painting not as “sight” but as “insight” into the human condition, driven by an artist’s intuition. Manet and the impressionists began painting en plein air, outdoors in the fresh air where they were closer to their subjects and captured the light of fleeting moments like sunrises and sunsets with quick brushstrokes intended to evoke general mood in the viewer based on the capture of light and tones in the painting, leading to the namesake “impression” left by the movement.

An Old Master’s painting provides for the viewer the possibility of being part of the space created as an illusion of depth by the painters, and this in itself characterizes how these painters found their own different way of challenging painting compared to what it previously used to be, by breaking the limits of painting defined by the medium. And on the contrary, Modernist paintings focusing on the flatness of the pictorial plane give the viewer the possibility to travel through the painting “only with the eye” (experienced by Manet and Impressionist painters). But, Greenberg insists that being self-critical doesn't suggest that leading painting into the extreme abstraction is the answer to Modernist painting (he gives the example of Kandinsky and Mondrian).

Abstract Expressionism is making its comeback within the art world. Coined as an artist movement in the 1940’s and 1950’s, at the New York School, American Abstract Expressionist began to express many ideas relevant to humanity and the world around human civilization. However, the subject matters, contributing to artists, were not meant to represent the ever-changing world around them. Rather, how the world around them affected the artist themselves. The works swayed by such worldly influences, become an important article within the artists’ pieces. Subjectively, looking inward to express the artist psyche, artists within the Abstract Expressionism movement became a part of their paintings. Making the paintings more of a representation

Kandinsky transformed colour into a completely abstract art absolutely divorced from subject matter. The fauvists and expressionists shared an appreciation of the pure and simplified shapes of various examples of primitive art, an enthusiasm that was generated by Gauguin and extended to Picasso, Brancusi, Modigliani, Derain, and others.

and green. Blue as discussed earlier was represented as the color of the God and other religious concepts, so the major incorporation of the color blue in the reliquary chasse indicated the spiritual significance it carried. Envisioning blue on the chasse unified people to Jesus Christ. Many of the reliquary chasse of the 12th century narrated a story; this individual one narrates the crucifixion of Christ. There are several key figures engraved throughout the exterior of the chasse, however since the crucial scene of the execution are shown on the front face of the chasse, that indicates that this chasse was primarily to be seen from the front rather than the sides. If viewed from the front, the top has three figures designed on it. In the center is the God the Father and on his either sides are two unknown saints. All three figures are represented in mandorlas however in different colors. The God of Father is displayed in the blue mandorla while the saints are shown in green mandorla. Here we can interpret a sense of hierarchy because the God of Father is shown in blue, which represents a divine color, however the saints are represented in green that is a mix of blue and yellow. So, blue still exists and represents divinity, yet the mixture of blue and yellow to produce a different shade of blue signifies that the God of Father is above and more important than the saints.

Art has evolved and regenerated itself many times during our human existence. These differences are defined through changes in styles under various theories. During the nineteenth and early twentieth century, a style known as Expressionism became popular. During this movement the artists were trying to use their artwork as a tool of expression toward life. It was mainly dominant in the nonrepresentational arts, such as abstract visual arts and music. It also was probably one of the most difficult movements to understand because the whole point of the piece lay within the artist. Not only was it a movement, it defined the act of art as a whole. From the beginning of time, each work of art, excluding replicas, show a way of expressing

Before minimalism in the 1950s, the dominant art movement in the United States was Abstract Expressionism. The artists at that time’s goal were to express their personal emotions through their artwork (“Introduction to Minimal Art”). One popular branch of Abstract Expressionism was called Action Painting. This style of painting was spontaneous; paint would be

During the time when polytheistic religions were widely practiced in Europe, colors represented ideas associated with the paranormal and the spiritual. In many cases, the color blue represented safety and protection. It was believed that if someone wore or carried something blue, the bearer would be protected from evil spirits. Over time, as patriarchal societies formed, the welfare of the male child took priority over the welfare of the female child. Since male children were more important, parents surrounded their sons with blue objects. This explains the common association of males and the color blue that exists even in modern society.