Summary Of Gericault's Severed Heads And Limbs

Like many of Dix’s generation in Germany during the 1920s, he drew from the German expressionist movement in his use of distortion, directness, media and subject matter in plate 1. German expressionism involved directness, frankness and a desire to startle the viewer. Their works embraced printmaking and focused on the emotions expressed rather than reality. Dix heightens the emotions effects through his meticulous rendered, horrific images. The brilliant white bones stand out against the darker background. He experimentation with printmaking and used multiple acid baths to eat away at the image, to mimic decaying flesh. This horrifying focal point does startle the viewer through its direct disposition. Expressionists often felt the need to confront the devastating experiences of WWI, as plate 1 documents through it’s shocking yet realistic representation of the war and its effect. The common expressionist technique of distortion is utilised to exaggerate the skull and expose it as disgusting and confronting. Otto Dix’s attempt to confront the viewer through the depiction of emotions rather than reality. Dix’s incorporation of German Expressionist characteristics and techniques, the art movement of the time, in Plate 1, is a documentation of cultural art practises in the

Introduction: Rembrandt and Eakins The similarities, and differences, between Rembrandt Harmenszoon van Rijn’s Anatomy of Dr. Tulp (1632) and Thomas Eakins’ The Agnew Clinic (1889) are both uncanny and unprecedented. Painted in 1630’s Amsterdam during the Dutch Baroque period, Rembrandt sought to preserve the rare occasion in which a real human body was used as an academic tool in order to prove anatomy theories. On the contrary, Eakins piece was painted in 19th century America during the realist movement to memorialize a retiring professor. However, it is their similarities that make them comparable; they were both commissioned by academic institutions, they both depict a surgery in progress, they both celebrate the careers of notable

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

The most influential artist to me in this exemplary in this pursuit for the appropriated traditions is Kehinde Wiley. In his opening speech for the New Republic gallery show he expressed that things such as his work was evolved around the working of chance . In his case, he manipulates the chance of the representation of the black demographic in traditional work. Modifying the figurative works to create the chance for relating a body that is familiar. I see contemporary painter, Kehinde Wiley as a comparable to my work in regards to the topic as well as the manipulation of the human figure. The admirable features I see in Kehinde Wiley’s work in addition to these is the fantasy elements that are incorporated. These features are best exhibited in his piece, “Bound”. The work is a bronze sculpture that stands approximately four feet tall and two-and half feet wide. The composition is inviting as it includes busts of three identical women that have African descent features that are placed on a rounded triangle base. The expressions on all of the faces are of a staring and wondering nature that have a nature of regality as their faces are turned to the right at an approximate forty five degree angle as their all have their back facing each other to form a guard of the leaves the a laid on their base. The bodies are cut organically as it rounds off from shoulder to shoulder, just enough to form the upper torso to see the corset like dress that encompass the figure. Expanding

Daniel Ridgway Knight was an odd American artist who loved to paint relaxed French peasants in luscious landscapes. Ironically, he lived during a stressful time when the Industrial Revolution displaced numerous farmers and polluted the environment. He seemed to ignore the harsh truth and shut himself in his imaginary serene world. For instance, In the Premier Chagrin, translated as The First Grief, Knight paints two healthy girls conversing on a stone wall in front of gorgeous fields. At first, it appears as merely a pretty painting that is nicely contrasted to show depth and realism. Yet, with a closer look, this contrast in the colors and lines of the landscape and the figures creates tension to suggest the painter’s conflict between longing for serene freedom and feeling trapped within the stiff society.

Prior to the time period of 1793-1795, the less radical group of the two branches of Jacobins, known as the Girondists, led the Legislative Assembly to declare war on Austria on April 20, 1792. This declaration of war against Austria further led to France’s war with Western Europe which included

In 1560, Arnaud du Tilh - the imposter who posed as Martin Guerre - was hanged, with his body burned after his death. Today, execution is a controversial issue, and mediaeval and early modern executions (especially public executions) are viewed through the lens of enlightenment rationalism. However, this is not how public execution was always seen. When studying history, it is important that the historian does not view history through the lens of their own time, but instead the lens of the time they are viewing. This is one of the aims of studying microhistory - to provide the lens through which to observe a place and time. This is how I shall endeavour to use the fascinating case of the faux Martin Guerre - as a lens through which to view the attitudes, methods and reasoning behind public executions, including the execution that claimed the life of Arnaud du Tilh. It was the attitudes towards and legal philosophy of the time towards crime and punishment that led to Arnaud du Tilh’s sentence, so the fundamental question that this essay seeks to answer is why Arnaud was given the sentence that he was. Execution as an institution was not an extension of the state, as it is often seen today, but was instead an extension of the community that was seen as a normal part of the ‘divine order’. Arnaud du Tilh was executed by hanging and then burned due to the specific Christian and folk beliefs and symbolism surround methods of execution, and the execution was public not as a

In Abstract Expressionism - a certain construction of the world we call “individuality” is revealed in its true, that is to say, contingent, vulgarity. And so is painting; or rather, so are paintings like Hofmann’s “The Garden” and Adolph Gottlieb’s “Black, Blue Red” - done as they were under the sign or spell of such a construction, by “individuals” believing utterly (innocently, idiotically) in its power.

Brancusi's imprint on contemporary sculptural practice ranges from the dissemination of furniture-oriented sculpture and the emerging topos of architectural folly to new paradigms for public art. At the same time many postwar artists engaging in a dialogue with his legacy have read and productively misread Brancusi's work. Through the

Art and Sex In Modernist literature, the artist is the most important occupation that a person can pursue. The artist is the person who is responsible for holding a mirror to the culture of the community. It is thus their responsibility to show that community exactly what the community was truly about, especially if that truth were particularly harsh or ugly. Paris, France is famous for being a location wherein one could indulge in every kind of sin, the more lascivious the better. This aspect of the city is often depicted in literature, but never as an exploration of that lifestyle, but instead as a comment on the true hollowness of such an existence. In the earliest half of the twentieth century, a growing number of people became dissatisfied with the world they had been living in following the First World War. These people became dissatisfied with the government, with their lives, and with the status quo. In the United States, women were abandoning their roles as wives and mothers in attempts to find an individual identity as a single human being. Men and women were finding themselves attracted to members of the same sex and, for the first time in American history, were unashamed to act on their feelings, although they would often have to keep their orientation a secret from the public world for fear of ostracism or violence. This new concept of sexuality and the belief of the artist as modernist critics are all interrelated. This is evident in the books Tropic of

The status depicts a woman. It is made out of marble and pentelic. It is an off-white/yellow color, and it is 71½ inches, almost 6 feet tall. It was used as a grave monument. The sculpture is slightly larger than a real human would be. The the body and the clothing

Clark begins by stating how art produced during the mid-nineteenth century was seen as deeply political, explaining how the ideas of the avant garde were intrinsically linked to the wider social and historical conditions. Looking to the work of Courbet, Clark states that the artist was influenced by the Realism of the French avant garde, yet asserts that Realism itself was influenced by Positivism, which in turn is the result of ‘Capitalist Materialism’ (10). In order to uncover the relationship between art and its social context, Clark argues that one must deal only with ‘overt’ analogies between form and context, as these can be criticised directly (11). Such analogies, Clark asserts, must be considered alongside two key ideas. First is the artist’s relationship with the public, which Clark compares to the idea of the unconscious, implying that the artist possesses an innate awareness of society’s ingrained values and beliefs. Second is the notion of art’s independence from history, by which Clark refers to the aesthetic traditions which remain, unlike aesthetic ideologies, unaffected by the conditions in which they are

Guernica, the title of the painting, is a town in Basque Country, Spain. It was the target of terror bombing during the Spanish civil war because it was the northern bastion of the Republican resistance movement. First, war is depicted as devastating and it cares no one – men, women,

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.

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.