The Above Picture Is Drawn By Alan Turcotte

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

The objective of this study is to post the names of three visual artists such as painters and sculptors that were the most influential during the 1960. After identifying the visual artists, a URL will be posted so that the reader can link up to review their work. Finally, a brief commentary will be offered on each of the artists in regards to why they are so influential.

An artwork piece by Timothy Kobs was called Frankster. Many of people may have called it Frankenstein. As a child Timothy Kobs enamored of monster movies. The most iconic was Frankenstein from 1931. The very old movies were made in black and white.

​Leonardo Drew's artwork is brilliant and very original. He uses lines perfectly to dictate the flow of the peices he is working on. This causes his artwork to not at first have meaning but the longer you observe the more the art takes on different ideas. He also use shapes very efectivly with peices of wood and debris. From the tiny slivers of particle board to gigantic branches every peice is important to the overall work. He uses these peices to create an overall shape based off of an image or idea. His artwork takes up entire gallarys with large fences and rusted metal objects.

As I walked to The Art museum to observe a few of the art work. There were many canvases, but one particular canvas that caught my attention was an oil painting. The oil painted canvas is of a realistic mysterious woman and a phonograph, by the artist named Robert Bean. The woman shown in this painting has short dark brown hair with a long black beautiful one shoulder dress; her skin color is very light that gives that beautiful glow. Her long black dress has a mixture of dark blue and white. She is standing with her arms semi-crossed with one hand holding a small white fan. The small fan has a design of brown flowers. She is standing sideways on the right of the canvas with a piece of light green fabric around her arms; the light green material has a tent of light blue and

A river lies in the foreground. A lot of green crops were planted beside the river. Infinite mountains were lighted by the sun makes this paint looks high key. Hills are pretty arid, comparing to the river. Fire and smoke break the quiet atmosphere in the valley. On the top of the painting, a great part of smoke means that the threat is coming and may swallow and destroyed the entire valley. Ross Edward Dickinson may want to express the anxious feeling on American future by drawing this painting. All the hues in the painting make people nervous and watchful.

This glazed earthenware was made by Michael Lucero, he was born in 1953. Michael named the artwork Green Cliff Dweller, and he made it in 1984. Now its belong to the Ted and Ruth Nash Collection. The shape looks like a human face, he painted the landscape around the cliff.

Artists all around the world have used metaphor in their pieces of work to convey meaning. “A figure of speech in which a word or phrase is applied to an object or action to which it is not literally applicable.” Most if not all pieces of art you can see in a museum or out on the street have remanets of metaphor beneath them. Artists use metaphor in their work to tell a story or a time period or in this case meaning. As the old saying goes a picture is worth a thousand words. The artist distorts the image to the way he or she wants to see it or would want others to see it. For example, Otto Dix and James Gleeson are artists that are known for having and using metaphor and spirituality in their pieces of work. Otto Dix has

Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"Frans Hals (Dutch, Antwerp 1582/83-1666 Haarlem)Date: 1623Medium: Oil on canvasDimensions: 41-1/4 by 31-1/4Classification: PaintingsCredit Line: Bequest of Benjamin Altman, 1913Accession Number: 14.40.602Location: Gallery 615, The Metropolitan Museum of ArtRetrieved from http://www.metmuseum.org/Collections/search-the-collections/110001059Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"Frans Hals (Dutch, Antwerp 1582/83-1666 Haarlem)Date: 1623Medium: Oil on canvasDimensions: 41-1/4 by 31-1/4Classification: PaintingsCredit Line: Bequest of Benjamin Altman, 1913Accession Number: 14.40.602Location: Gallery 615, The Metropolitan Museum of ArtRetrieved from http://www.metmuseum.org/Collections/search-the-collections/110001059

3. His approach to the issue of of “Design in Nature” is that there is no sufficient condition to guarantee the nature of the world we experience. James tells us that the arguments of the past for intelligent design are no longer supported by our experience and, therefore must be false under all probable possibilities. He then explains that theologians have now reinterpreted their systems under the effects of Darwin’s Theory of Evolution and found that there is no sufficient guarantee that the world was not, in fact, created. In other words, the world could very well have been created by God and evolution offers merely more information ot come to understand God’s creation.

Annie read her first nonfiction book, The Natural Way to Draw by Kimon Nicolaides, when she borrowed the drawing book from her friend’s father. She was fascinated by it, stating, “I was amazed that there were books about things that one actually did,” and took up drawing almost every day. Throughout August and the fall season the, “book ran my life,” Annie explains, making a tremendous effort to try to follow its rigorous daily drawing routines. While her father was away on his trip, Annie converted the family’s attic bedroom into a studio and moved in. Annie describes that at eight o’clock every summer or weekend morning she would tape, “that day’s drawing schedule to a wall,” and since she did not have a model, she would draw her baseball

To begin, I’ll be discussing question number one. Clearly, the artist Richard Caton Woodville had an “ambivalence regarding the war,” as Francis K. Pohl states

The timeless message that is being represented in this drawing is that anyone can betray you it doesn't matter how close you are to that person. The drawing shows Cassius on the left that has wounded Julius first and his brother Brutus on the right wounding their fallen friend Julius. Just because they were afraid of what he has to bring as a king. They betrayed him as friends and stabbed him to his death. It represents what can happen in the real world not literally, but anyone you know can betray you and it feels like you get backstabbed because you've known them for a while and then they turn their backs on you when you least expect it.

The early Timurid art displayed strong Chinese influences. T. Lentz and G. Lowry found that cursive and poetic lines and contours in Persian manuscripts might be the outcome of Persians' study of the Chinese literati paintings. Some of the Chinese sketches on Buddhist monks or birds such as hawks were reproduced in the Timurid Court. The admiration of the Chinese styles was more evident in the paintings by Kamal al-Din Bihzad whose advocacy of Romanticism and Naturalism had their references to pre-modern Chinese still-life and landscape paintings. Besides paintings and manuscripts, the record of trade transactions in Turfan specifies that the major export from the Central Asia to China was horses, while the imports were robes, silk and paper money. In this case,

In his text entitled “Modernist Painting”, Greenberg focuses on the development of painting between the 14th and 19th century and emphasizes on what distinguishes Modernist painting from previous forms of painting, particularly those of the Old Masters. Greenberg begins by relating Modernist art to Kantian philosophy claiming that, the same way Kant used reason in order to examine the limits of reason, Modernist art is when art became self critical because it uses the technique of art to draw attention to its status as art. Indeed, he explains how without this self-examination similar to that of Kant’s reflection on Philosophy, art would’ve been “assimilated to […] therapy” like religion, because