Steinberg Oil Pastel Analysis

The use of theatrical elements in Jiri Kylian’s dances is a defining characteristic of his style as a choreographer. He chooses to use plain, often nude coloured costumes in all his dances, for example in ‘Sarabanade’ and ‘Petite mort’, the dancers look naked. This is a personal choice and was done to reinforce his views that dance should be about ‘dancing not the costumes’. Also this nude costuming matches the

The first thing you notice about sculpture is the texture of it, it feels smooth, like its made of a clay yet it has a lot of depth and value, the skull itself isn’t proportional since it is tilted to

This comparative essay will thoroughly examine two extremely interesting conceptual sculptures. Gemma Smiths Radiant and Ron Robertson–Swanns Vault will serve as focus and stimulus for the description, analysis, interpretation and evaluation.

Looking at the sculpture carefully I did not observe many shapes, but I did see specific lines which were meant to emphasize smoothness and beauty. For example,

The space, time and usage of dynamics were powerful yet elegant-elements that added to the overall quality and tone of the work. The solo dancer used her body to perform various movements with specific ranges of motion, showing her ability to control, express and properly connect to the audience through her performance. In this performance, there seems to be a spiritual side when the dancer, Marilyn Banks, sits on the bench and starts to swing her arms in wide semi-circles to show looks of anguish and despair. Ms. Banks also varied movement by quivering her hands-movements such as a shaking or slight trembling with her hands when reaching outwards. She also used a lot of ornamentation or embellishment through her movements. Her body and her path of movement embellished her gestures since she was performing spins across the stage.

“Into the Deep” by Stephanie Faleski is a naturalistic, oil painting showcased in a simple black frame, which measures roughly four feet in length and three feet in width. Its’ frame successfully manages to serve as an outline for the work without serving as a distraction. On either side of the painting there are two correspondingly painted ocean scenes. It depicts two sea turtles, each surrounded by a group of several medium sized fish around them. Each of the fish, except for the one directly behind the main turtle which is only half visible, have four fins in view, with their dorsal fins displaying a separation above their gills. Altogether, there are three separate types of fish, with two of them both displaying brown stripes, and all three of them are grey in color. The main thing that distinguishes the different types of fish are their body structures. The fish along the bottom of the ocean are smaller and oval in shape while the ones above the primary turtle are larger in size with tail fins that are arrow

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

Their dancers connect with the dance tradition embodying feelings of existential human anguish and references to specific geographic places, dancing focused on surreal situations, body use and the relationships between stage and

Trajectory – moving in or representing straight lines, arches or curves or the movement of objects through the air.

The material that the sculpture is made from is stainless steel placed on top of each other in different positions to express his thoughts. In other words words the artist did not produce or create these objects, he probally just told the

The dancers run out onto the stage and form two straight lines consisting of three girls in the front and three girls in the back. As the piece progresses this formation does not vary other than to switch lines. Once on stage, the music finishes the introduction and the happy, lively, carnival type music begins. The dancers throw confetti onto the audience members and begin their variations of shimmying, hip thrusting, being overly dramatic and movements that were highly sexualized. Each movement seems as though it was choreographed in order to make the dancer’s body shake specifically within the bosom and the buttock. The dancers’ facings were both front and back displaying the entirety of the female body. Within the clip at 28 seconds the camera focuses only on the female’s buttock as it its shaking from side to side in time with the music. By 37 seconds colored streamers fly down from the stage as the dancers walked dramatically in unison

Curving figurative contour lines fill the center of the canvas with movement. Two idealized figures are seen in the center of the piece engaging on a classic roman lectus. The figures are emphasized in front of a clouded, white, ornate entablature

Laban started professionally studying the body as an art form when he was a student at Ècoles des Beaux Arts, a college located in Paris, France, where his main educational focus was architecture (Preston-Dunlop). While at Ècoles des Beaux Arts, Laban began to deeply analyze and seek the purpose behind many dancers’ movements, and did so by taking both the physical structure of the human body and cultural background of each dancer into consideration (“Biography of Rudolf Laban”).

The Dancer Parache is a beautiful bust watercolor painting by José Tapiró y Baró. It showcases a profile of a dark-skinned man in a headdress made of fabric and clams. The detail in the face and the shading really bring the painting to life. José Tapiró y Baró was deeply interested in other cultures and spent a few years in North Africa painting and exploring his surroundings, before officially settling down in Tangier. The beauty he found in Tangier and Morocco is clearly seen in this painting and in all of his other beautiful paintings too. He was not afraid or deterred to paint a culture completely different from his own and he captures it so well it takes my breath away. The Dancer Parache is a great piece of artwork that displays an exquisite

Part of the beauty of Greek pottery is its symmetry. Because the paper was folded in half, both sides of the vase are mirrored versions of the same shape. What other man-made and natural shapes are symmetrical? If your students created Traveling Artist Journals, include drawings of symmetrical objects, making sure to indicate their lines of symmetry, in today’s entry.