In The Handmaid's tale, Margaret Atwood uses repetition in her writing to emphasize meaning. For example, on page 72, it says, "Her fault, her fault, her fault, we chant in unison." This event occurs when the handmaids are in
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
On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.
The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, “There could be no better word for how Nevelson composed her work than bricolage—a French term that means making do with what is at hand.” (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements.
Cathrin Klingsöhr-Leroy's Surrealism introduces us to dozens of creative visual artists who transformed the art world (and the world at large) with their mesmerizing paintings and sculptures. Along the way Klingsöhr-Leroy treats us to a veritable mini-history of Surrealism with a critical introduction that situates the movement with regard to Art History and History in general. Using Klingsöhr-Leroy's writings as my point of departure, I will, in these pages, seek to draw a connection between the work of the surrealists and the writing of Junichiro Tanizaki in The Key. One of Klingsöhr-Leroy's key theses is that surrealist artists sought to incorporate Sigmund Freud's theories on their splendid canvases; similarly, Tanizaki can be seen to reveal
Escher tessellation is called, “reptiles” which is actually a tessellation inside of another drawing. In this drawing, there is a tessellation drawn on the table, made up of lizards. Then, the lizards appear to be coming out of the drawing and wrap around back into the tessellation. This tessellation is made up of many geometric shapes; such as many circles, squares and triangles, but the main geometric figures used to create this tessellation are thousands of dots and lines. This drawing is a mezzotint which is made by hatching, layering lines and dots. The mathematics behind this certain tessellation can get pretty complicated. Escher’s work mainly involves the mathematics of the geometry of space and planes. In this tessellation, it is evident how the planes change as the lizards go into the tessellation and leave. “Lizards” would be classified as an irregular tessellation, something that Escher was very interested in, where the tessellation interacts and often leaves the
The driving force behind life is the constant process of change. We see the process of metamorphosis on all levels. We see days turn into nights, babies grow into adults, caterpillars morph into butterflies, and on an even grander scale, the biological evolution of species. The process of metamorphosis connects two completely diverse entities, serving as a bridge between the two. Day and night are connected by evening, the slow sinking of the sun in the sky. In a typical life cycle, birth and death are bridged by various life stages, including infancy, childhood, adolescence, adulthood, and finally old age. Black can be morph into white through a series of graduations of shades of gray. The
When observing Elizabeth Murray and M.C. Escher their styles were similar. Once viewing Murray’s art noticeably, she creates layers on flat planes or canvases by painting and drawing. “The Beer Glass 1986” displays a flat surface with four caves layers to create abstract description of bar scene. Escher typically drew his work without color displaying some reflections portraits. “Hand with Reflecting Sphere,1935” exemplifies his work were Escher draws a self-patriate, creating the illusion of reflection through a glass ball. In addition, both artist typically utilized Fine art with Two dimensional elements. However, Elizabeth Murry exploits more shapes compared to Escher using realistic objects. Nevertheless, both artists created abstracts
His work can take on many mediums, but the bar I chose is a fine example showcasing his education in architecture and industrial design. Heavily influenced by Ernst Fuchs and Salvador Dali, his strange, dreamlike and atmospheric creatures in eerie landscapes, realized his desire to combine man, creature and machine (Williamson, 2014). The H.R. Giger Museum opened in June 1998 and the bar was a 2003 addition, which complimented the gothic architecture already in the Château, creating a cathedral effect (Giger,
Art is created and enjoyed by various individuals across the world for different reasons. An Artwork expands and extends our shared visual language and helps in developing new ways of seeing familiar things (Tomaž 29-32). It also assists in interpreting events and new situations through different perspectives. The values and focus of artwork in the new world are finding their footing and taking completely new directions. In the new world, there are echoes of artistic movement and postmodern tradition that is mainly considering originality over a technicality when it comes to artwork (Sooful 2). Today, especially with improved technology, artists have designed new artistic skills that facilitate them to develop an artwork that is highly skillful and unique at the same time. The field of artistic has greatly expounded and has accommodated individuals with varying skills that have significantly improved the artwork (Sooful 5). Here are the top 3
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
In the video, NOVA describes fractal odd looking shape people have seen before. Therefore, fractal is a never ending pattern. Fractals are infinite complex patterns that are similar to different scales like shown in the video. These fractals are created by repeating a simple process over and over again in a feedback loop.
Just after the turn of the 20th century, Frantisek Kupka freed himself from the confines of pictorial representation and pioneered the world of nonobjective abstraction. Kupka exhibited a selection of completely non-figural works at the Salon d’Automne in 1912 including Discs of Newton and Fugue in Red and Blue (both 1912). It was to these pieces Guillaume Apollinaire first applied the term “orphism.” Kupka’s works in the 1910’s then shaped and exemplified Apollinaire’s definition of orphic cubism.
The use of geometric shapes in this painting allows the subject to be viewed in both a recognizable and unrecognizable state at the same time. Overall, geometric shapes and patterns play an essential role in what the viewer sees, which is further supported by a powerful color palate.