Roberto Cavalli Articles

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

There have been and still are hundreds of fashion designers in the world. But only a few of them have had any major impact on fashion industry today. And even fewer have revolutionised the fashion industry completely. One of these revolutionaries is the renowned Christian Dior. He reestablished Paris as the centre of the fashion world, and created his name as a symbol of elegance, quality, and modernity. I will be looking into how Dior’s context informed his practice, by using three of his most iconic and popular designs; The Bar Suit, Venus Dress and the Cygne Noir dress. And how these were a direct representation of 1945-1950 France.

Barna da Siena’s Mystic Marriage of Saint Catherine and Other Scenes from 1340 is vastly different in content, composition, and a number of other attributes from Fra Carnevale’s 1467 painting Presentation of the Virgin in the Temple. It is clear between the roughly hundred years between when the two were painted that advancements in realistic painting soared and a further appreciation for realism and humanism developed. The need to portray more than just the holy subjects, and to show how far painting had evolved is evident in the differences between Barna and Fra Carnevale’s works. Although, the emotion behind Barna’s work, and its significance are, in my eyes, far greater than that of Fra Carnevale’s.

In the realm of art, the portrait is one of the most intimate and relatable subject matters to the average human. In the past, the main purpose of the portrait was to capture the essence of the person that commissioned the work. The beauty of art is the fact that every artist views the world in a different light, which is reflected and understood when many works of the same subject are compared. No matter how hard one attempts to emulate someone else’s work, their own personal touch will innately shine through the piece. Many artists’ styles are so distinct that the viewer will instantly recognize their work, which is the same idea that great musical artists’ work can be identified within the first few seconds of a song. In order to develop a style that is exclusive to one person, they must first master the basic and essential aspects of the visual arts such as composition and the creation of still life pieces. Getting a solid understanding of the world and the skill of close observation is a step that mustn’t be skipped in the development of a personal style or look. Amedeo Modigliani’s portraits can be identified almost immediately, because of the distinctive features he incorporated into his subjects. His diligence in art school and his general desire to become a better artist were crucial aspects of him eventually finding and solidifying his iconic style.

The purpose of this essay is to evaluate two art pieces that were created by two tremendously gifted individuals during the Baroque to the contemporary period. Masters of their movements, both sculptors were able to create masterpieces that revealed an unfolding event that could be read by their viewers from all sides.

The value of color in every object is presented with different shades of light and darkness to present both texture and how light is played in the piece. For example Hede uses different shades of a color on the table cloth to show both texture and chiaroscuro. The texture painted on the bronze tableware show that its patterned using metal art such as filigree, and cloisonné.

Vito Acconci and his art were influenced by the minimalist movement, in fact Acconci often refers to minimalism as his “father-art”, however Acconci tried to make a clear distinction between his own art and minimalist ideals. Acconci creates a source in his art, by including his body in the artwork the viewer clearly understands that everything

Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

Fashion has been around ever since ancient times, since the time of the Romans, it survived the world wars and is yet today a business with rapid changes. Fashion started off as an art form, a way for the riches to show their social status with unique and innovative designs that only they could afford. It was a way to separate the social classes of the society. In this paper I will include the creator of haute couture, and how the following designers developed couture, as well as having leading names in today’s ready-to-wear industry. The list is long, but I chose to focus on the three most important designers of the modern fashion industry.

This unique blending of fresh ideas and rejuvenating classical ideas defined Masaccio’s artwork and more importantly the art of the early renaissance.

Giorgio Vasari is known for being the first Art Historian. He wrote the seminal work The Lives of the Artists. But why did he write it? Of course every book is written for a purpose but I don’t think Vasari was writing just to inform people of art and artists. At the beginning of the 14th Century the value of artists and their craft began to rise. They had been a member of the guild system along with other valued members of the medieval economic system certainly but suddenly wealthy people not just the clergy saw buying art and dedicating it to God as a way to pay for past sins and show their esteemed colleagues that they were actually doing something to ensure passage to heaven. This rise of humanism is continuing theme into the next two centuries when it reaches Vasari. If Art has reached its zenith in realism and can go no higher. How then can Vasari increase his worth and that of his fellow artists in the world’s estimation? Write a book detailing the lives of great artists and explain how they received their genius from God and made startling contributions to the many great religious and civic efforts of Italy and Florence in particular. This was going to help him increase his own power if he could connect his talent to the greatness of God and those who needed God’s Grace more than most; the rich and powerful.

Paul Poiret was born on April 20th, 1879 in Paris, France. His contributions to twentieth-century fashion has earned him the title in many people’s eyes as the “King of Fashion”, because he established the principle of modern dress and created the blueprint of the modern fashion industry. Poiret’s designs and ideas led the direction of modern design history. He was born into a working class family and his natural charisma eventually gained him entry into some of the most exclusive ateliers of the Belle Époque. Jacques Doucet, one of the capital’s most prominent couturiers, hired him after seeing promising sketches he had sold to other dressmakers. Furthermore, he was hired by the House of Worth and was put to work to create less

The passageway of modernism has introduced innovative components in the development of an individual's personality. The identity character as a social construct is highlighted through the effect that fashion has brought in, experimenting, producing and changing individual identity. The style and appearance of an individual is a portion of the fashion's period and usually refers to the possibility of people to utilize fashion industry products. This takes place just like any other consumer good that can be modified with respect to the prevalent societal codes. The modifications can be made either through surpassing or through copying them. Modern fashions are part of postmodernism. This is in the view of the fact that developments and growth in the fashion industry accompany and express development of the society through embracing postmodernism. Developments in the fashion industry offer options regarding styles, image and clothing through rejecting the options presented in modernism. This paper discusses Versace designs and their relationship to postmodernism.