Painting Style In Spain And Doña Maria De La Padilla

Both of these paintings show the love and desire to hold on to ones heritage and family traditions which is extremely important in Hispanic families. Both with vivid colors and images. In Kahlo’s “Self Portrait on the Border Line Between Mexico and the United States”, even though she is a Mexican woman living in a non-Mexican country, she is able to accept both sides and hold on to her own Mexican heritage and culture which it seems she preferred. In Garza’s “Camas Para Sueños”(Beds for Dreams), Garza is showing the love and closeness she had with her sister and how her mother allowed them to dream and reach after those dreams as they kept

This exhibition showcases art from the fifteenth century and early sixteenth century with Lord of Texcoco and the Texas Fragment. These two pieces represent post-Conquest art, and how indigenous figures were represented with European influence. In the seventeenth century, Antonio Rodriguez painted The Portrait of Moctezuma as well. His representation of Moctezuma showcases traditional clothing with European influence of modeling figures. This exhibition also features Miguel Cabrera, who was trained in European techniques and styles in Mexico during the eighteenth century under the patronage of Archbishop of Mexico, Manuel Joseph Rubio y Salinas. The exhibition features various artists from the nineteenth century as well, such as Felix Parra, Leandro Izaguirre, and Juan Cordero from the Royal Academy of San Carlos in Mexico City. Artists in the academy were trained in European styles of Neo-Classical forms to create their historical subjects. The purpose of the academy was to provide an outlet for legitimacy through the visual arts, and to reflect a nation's history. Often times, these paintings were political in nature, and reflected the patrons' wishes. This exhibition will link the representations of indigenous figures that appeared in Latin America through art in Mexico from the fifteenth to the nineteenth century and showcase how art

One of my favorite art works is La Molendera, or The Woman Grinding Maize, by Diego Rivera. The medium of this painting is oil paint on a horizontal canvas that measures 106.7 x 121.9 cm. When I first see this painting, the woman dressed in white with her hair split in two braids, grinding maize on a stone, is what stands out to me the most. It is traditional for women in Mexico that make tortillas to grind the maize, corn, on a rock. In the background I see three already made tortillas baking on top of a ceramic dish. The colors used in the atmosphere are cool toned, which gives you a sense of calm and a soothing sensation. The main colors used here

The dark blue left eye and light blue right tells me that Pablo Picasso may have used her actual eye color. Her body is almost as if she had her back to Picasso and turning her torso toward him; such as in most contrapposto art. In the original sketch you can clearly see her arms and the detail of her body. She is not looking back at Picasso, but instead looking toward the opening curtain. The hair of the young lady is also more visible as it drapes down her back. By repositioning her arm and adding the mask he completely changed her appearance, not only in her face but her body as well. Picasso gave her a double point of view, as you look at her nose and the angles it provides. The hand under the chin gives it an almost claw like feature, with what seems to be her fingers going to her eye to her the opposite side of the chin. With the sharp angles and mask and all the distortion it would be difficult to truly see just the young lady. It is almost as if she is shards of glass pieced together to make a

‘Calavera, Skull 4’, 2009, is a series of plasticine on wood type of artwork by Grupo Mondongo is one of the most eye catching pieces of art at the Museum of Fine Arts. Grupo Mondongo is a group of Argentinian Artists; Julian Laffitte, Agustina Picasso, and Manuel Mendanha. They have created many other similar types of art that is just as spectacular such as , but nothing caught my attention like ‘Skull 4’. I chose this piece because it is not only beautiful from afar but also up close.

Both paintings represent the Madonna (the Virgin Mary) with the baby Jesus on her lap. In the previous painting, the arch vault and throne on which the mother is seated is stylized very realistically along with the saints surrounding them are all in proportion to themselves and to each other. In the later painting the pose of the Madonna is elongated and exaggerated, the baby in the later painting is quite large and the angels in the picture are crammed to one side with a "prophet" on the opposite which is very small not coming up to the Madonna's knee.

In the painting The Immaculate Conception (Figure 1) painted by Antonio de Palomino y Velasco, there is a prominent central figure found in the middle of the canvas. The figure is a woman draped in white and blue garments with red accents and surrounded by cherubs and doves. The woman is the Virgin Mary and has a crown of 12 stars around her head. Both cherubs and doves are often used as religious symbols and this piece of art is Biblical in that it illustrates Mary very much like she is described in the book of Revelation. Revelation 12:1 reads that “…a great sign appeared in heaven: A woman clothed with the sun and, the moon under her feet, and on her head a crown of twelve stars.” During the time period that Antonio Palomino created this piece, there were countless other artists painting similar works with their own spin on things. Notable artists include the likes of Juan de Valdes Leal and Bartolome Esteban Murillo. In this time period, the counter-reformation was taking place and I believe that, as a response to the protestant reformation, the painting of religious images was used to reignite growth in the Catholic Church.

The murals depicted what we have been talking in class since the beginning of the first week. They were just a graphic representation of the struggle of the Chicano Movement and the Chicana Feminism. The painting on the wall showed that the Chicano History was more that a simple fact it was alive and it is still alive. I think that all the painting there was an expression of what Moraga call re-membering. Even though, I am not part of the chicano community, throughout those painting, I feel like I was re-membering the struggle that they faced at this time. I understood where the story started from and where it is going.

Article #1 first discusses how the piece uses a tilma, or a woven cloak, as the canvas for the creation of the Virgin of Guadalupe painting. The tilma uses two different types of fabric and could be described as a cape-like due to its length. The native painters used tempera and oil to create the painting on the cloth piece. Guadalupe's skin color and black hair are both important factors to consider during the interpretation of the painting, as no other image in the Spain had depicted Mary in this way. However, over the years, the image has been altered quite a bit due to cracks and fading of color in the painting. Her artistic meaning contained such as powerful message that she was also used by sailors in overseas missions as a means for

In conclusion, West Mexico has a few common thread running through their works of art, one of them happens to be the use the tri-color pallet, which we found covering the Standing Male Figure and in a color scale from lightest too darkest on the Seating Female Figure. As well as the meaning of nudity, in the male sculpture it represents authority and in the female sculpture it signifies fertility. Lastly, art for art sake, what if we are reading too much into these pieces what if they just served no actual purpose but just to look good and adorn a home. Mesoamerica a mixing of styles from earlier civilizations that have come before, there is always going to be an inklings of prior civilization that have integrated into newer civilizations and

Today we will take a look at some paintings from colonial Mexico and see some of the ways they were portrayed. Topic 1 17th Century: From Mannerism to baroque.

The author began by educating the reader about a few major event and background information that affected Picasso. Firstly, Berger mention that’s Spain is a feudal county, which meant that it was very old fashioned and it still used the feudalism system. According to the Oxford Dictionary feudalism mean the dominant social system in medieval Europe, in which the nobility held lands of the Crown in exchange for military service, and vassals were in turn tenants of the nobles, while the peasants (villeins or serfs) were obliged to live on their lord's land and give him homage, labor, and a share of the produce, notionally in exchange for military protection. This meant that Spain was undeveloped compared to the country surrounding them. Spain at the time also lacked many major industrial companies, thus made them very poor. As a consequence of this people were fed up with the lack of changes. This spark the idea of anarchism, which means the abolition of all government and organization of society. On top of all this, Spain was a very

Velazquez and Picasso made two similar painting’s, both named las meninas. Both of the painting’s represent a princess being helped by her maids or helpers. While Picasso’s was very abstract, Velazquez's was very realistic. While Picasso’s painting focused more on the princess, Velazquez’s painting focused more on the maids/helpers.

The Renaissance time period was home to many new ideas in art. This includes new artists bringing forth ideas that had yet to be discovered and made popular. New themes and types of art were also being brought forward during this period.

When viewing the painting, I found its composition to be quite interesting. The painting is fairly dark - dealing with a very dark, simple background, which allows emphasis on the two figures. Besides the white of the bodies, the only two accents of colors are red/ pink and blue, while the rest of the painting consists of cold colors with dark undertones. The dark background allows an emphasis on the “girlish whiteness of her body” as well as his (Ovid, 8 A.D). The red and blue accents belong to the scarfs covering Atalanta and Hippomenes. The way the scarfs are painted helps to show that the figures are in motion. The painting is quite balanced, having Atalanta on the left side of the painting and Hippomenes on the right. Furthermore, the composition consists of multiple diagonals that start with Hippomenes body and carry on through Atalanta’s. For example, Hippomenes arm is creating a diagonal that continues through the painting with Atalanta’s arm. The figures legs overlap in the center of the photo, which shows a sense of depth - making it clear that Atalanta is behind