Stories behind the Complex Compositions: Sculpture Comparison

Therefore, this introduction and analysis of fifteenth-century Italian painting arises from looking at social relations. Through the institutional authorization, Baxandall examines the integration of social, cultural and visual evaluations. The author explores visual art not only from a social construction, but also looks at the major role it plays in social orders such as interactions between individuals or between larger social groups.

In Jean-Honoré Fragonard painting The Happy Lovers (appendix: fig. 1), viewers are able to get a glimpse into the light-hearted, playful Rococo period. The Happy Lovers is a 35.5 x 47.75 in. oil painting, that was created between the years 1760–5 in France for an unnamed aristocrat; however, it can now be found in the Norton Simon Museum in Pasadena, California. The Rococo period was a result of artists resisting the stiff monarchy, and desiring open expressionism–this was particularly emphasized through nature. The two great artists from this period are Fragonard and François Boucher, Fragonard’s teacher. A result of Boucher teaching Fragonard, specifically in the continuation of pastoral, Boucher was a great influence. This is obvious when The Happy Lovers is compared to Boucher’s The Bird Catchers (appendix: fig. 2). Both paintings include subjects of women holding bird catchers and doves, ultimately symbolizing woman’s ability to control relationships. More specific to The Happy Lovers, the woman dangles the cage above the boy, who is carrying a dove, a symbol of Venus–the goddess of love. However, in the bottom left quadrant of the painting there is an even larger cage with more doves, hinting at the idea that women can easily capture many men. This further expands the sensual intention Fragonard creates. In placing this scene within a secluded landscape, Fragonard emphasizes the flirtation and secretiveness between the two lovers–creating an unstructured, blissful

Edgar Degas’ Little Dancer Aged Fourteen is a symbol for all little girls with dreams bigger than themselves. The Little Dancer is a statue of a young girl made from all natural materials, created by the artist Edgar Degas. The Little Dancer has a small head with small features; Degas was not trying to emphasize her face, but her minute features display an expression of hope, almost jovial in a way. The air of her expression conveys the quiet discipline of a dancer and therefore her passion and love for ballet. The legs of the dancer are long compared to her torso, turned out, as a dancers always are. This turnout becomes natural after working strenuously every single day, trying to perfect the dancer’s art; standing parallel feels abnormal.

In this essay, the difference between Northern Baroque and Italian Baroque styles of painting, the differences between a male and a female interpretation, the narrative differences, and the psychological dilemmas they present to the viewer will be discussed.

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.

Hamilton’s sculpture stands as a representation of the Civil War’s many brave and courageous United States colored troops also known as the (USTC) One side of Ed Hamilton’s sculpture has the title “The spirit of freedom,” On the other side there is a text that says “Civil War to Civil rights and beyond.” The memorial honors more than 200,000 who severed In the Union army and navy during the Civil War. The 209,145 names inscribed on the walls the surround the sculpture honors the fighters of freedom. On the highest wall in the memorial there is an 1863 quote by Fredrick Douglas: "Who would be free themselves must strike the blow. Better even die free than to live slaves.” The United States began the organization (USTC) in 1863, the enlistment

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

Race is the product of illusion, yet it also is the cause of social status disparity, segregation, discrimination, oppression and hatred. It has been, as an un-detachable part of our society, constructed, developed, and reformed, together with the history of America. Regarding the matter of race, in this article, I would like to find out the differences between academic and practical discourse of race, and how racial categorization affects people’s lives. To support the article, I will incorporate studies from anthropologists with information gathered from the interviews with three white males of the same generation. They are all students at the University of Minnesota age from 19 to 21, two of which are also in the Marines. While three white male can’t speak for all white people, I wish to somewhat understand how consistent or inconsistent they, the white people, are on a certain matter of race.

The Renaissance was big part of the past era even today we still have festivals celebrating the Renaissance. I am going to compare and contrast the difference between three different paintings and sculptures that were a big part of the Renaissance era.

The sculptures “Apollo and Daphne” and “Two Women” share elements and principles with one another, such as shape, size and texture. Bernini’s work is a life size piece that complements the figure of the two characters. The facial expressions, hands, feet and hair of “Apollo and Daphne” are in reasonable detail; however there are no lines on the bodies to create depth and texture. On the other hand, Mueck challenge’s the viewer by changing the scale of his work, with “Two Women” minute and in incredible proportion with the features and figure of the women.

Finally, the depiction of figure is perhaps the most interesting and intellectually challenging element in this piece. The figure, while emotionally withdrawn from the viewer, is physically imposing. She is looking down and away from the viewer, as if the isn’t aware that she is being watched. Her mask-like facial features also do little in the way of conveying emotion. Her body, however, is quite different. The dark thick lines shaping her muscles and limbs, the detail in the curls of her hair, the placement of her fingers, and her exposed breast all demand the attention of the viewers’ eye. The bold lines that define her legs, waist, and hip, make her seem intrusively part of our space. The awkward placement of her

One of the most controversial books in the history of childhood, Philippe Aries’s Centuries of Childhood argues that childhood as a concept did not exist in the medieval society. This thought-provoking argument invites us to take a similar close look at Roman art to examine its validity in ancient Rome of whether childhood is simply an extension of adulthood or a distinctive phase of its own. Children and childhood as a subject matter can be commonly found in Roman iconography, as could be seen from the terracotta sculpture of Anchises, Aeneas and Ascanius, the procession relief on Ara Pacis, and the Amiternum relief depicting funeral cortege. This paper intends to explore the representation of Roman children primarily through a single marble portrait, a statue of a young boy from the 1st century AD, from the Art Institute of Chicago. Through visual analysis of the face and the hair, we could find evidence that childhood is treated prominently and delicately as a distinctive transitional period rather than as a phase that mimics miniature adults.

Gothic style came about in the middle of the twelfth century. It was named after the Goths that controlled France during that time. It was developed as a result of Christian ideals. Christian leaders wanted big, tall, ornate churches to represent their strong faith. Later it was also used for non-religious buildings such as castles, walls, bridges, and gates. Citizens of the time period wanted striking, rich looking churches to represent their success and wealth, also leading to Gothic style. Common Gothic features include the pointed arch, the rib vault,

He was determined that this year, he would have a successful outcome over Parr. The first exhibit was a decorated earthenware group titled La Folie Bergère (RA1575). This figure group could be seen as a progression of his composition Leap Frog of 1924 (Fig. 55). It is fair to assume, that Vyse, with two previous models depicting a similar subject, may have decided to model a final attempt at a more satisfactory composition. Of the three, the later 1927 version is perhaps the most pleasing outcome. As already discussed previously, this type of composition involving two figures is fraught with technical difficulties. The very nature of the medium is against the modeller reaching a satisfactory conclusion in suggesting the movement of a faun caught in the act of leaping over a larger faun’s back is difficult to say the least. The suggestion of flight through the air by the upper figure, while firmly securing it to the back of the lower figure, has to be set against what in reality is achievable simply and quickly from moulded slip-cast parts. Had Vyse made the design for a one-off figure group, no doubt he would have mastered the technical problems with aplomb. He was, however, in the business of making several editions from each set of piece-moulds, and as such, he designed figures to suit this end. La Folie Bergère depicts a faun tenderly shielding his lamb from possible injury from the flying feet of the Greco/Romano boy is at once endearing to the viewer. Vyse, may have intended the collectors of his allegorical figures to speculate was this the same boy in a yellow tunic and plum-coloured cloak, without his Macaw and Cat, now climbing onto the back of a faun for a pick-a-back ride Fig. 49. This figure group exists in just two colourways and illustrated here (Fig. 78). Vyse’s second exhibit, Tug of War (RA1592), he had introduced in 1924 (Fig. 54). At

The era of Mannerism is renown for its increasingly complex works of art, much like the High Renaissance before it, and the discipline of sculpture is no exception. Out of this period comes more intricate poses, forms, and emphasis on the illusion of movement which is perhaps most evident in Giambologna's "The Rape of the Sabine Women". His sculpture depicts a young man attempting to carry a struggling young woman as he stands over the contorted body of an older man, either the woman's husband or father. What is interesting about this work is not only the realistic human forms and perceived chaos of the moment, but also the lack of a dominant side from which this sculpture would be viewed. In order to achieve these features, Giabologna utilizes a combination of various textures and diagonal lines to create the complete illusion of muscle, flesh, energy, and multiple focus points.