The Aesthetics Of The Sublime

In Berthe Morisot’s painting, she uses colors ranging from blue to green to yellow to orange. She uses paint thinly but in big brush stroke but her color was dull. Her brush strokes are in a cross hatching manner. This method of cross hatching creates depth and shadows on the foreground. Intermixed, in her piece are signs of dry brush strokes. Morisot’s figure is enticing to the viewer by staring back at the onlooker. Morisot’s painting looks very freeing as that is what she longs for. She has a sketch like quality about her painting.

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.

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

Students through the process of art appreciation will build connections through the exploration of textures, lines, colour and shape when describing, analysing, interpreting and judging the artworks before them (3 chosen images). They are asked to describe what they see, the artist’s use of colour, lines, shapes and texture. They then move onto analysing; what catches their eye, is the composition balanced and do the paintings look flat or do they have depth. The discussion then progresses onto interpretation where students are able to express what type of emotion they feel when looking at the pictures, perhaps the kind of sounds they might hear if they could step into it, and why they think the artist chose this particular subject to paint and what may have inspired the artist.

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

The engulfing size of the painting (250.5 x 159.5 cm) drives the audiences mind into a hypnotic frenzy as they are overwhelmed by bright and sensual colours, which, have the ability to evoke deep emotions and realisations. Kandinsky has portrayed this through the disorientation of his own personal visions of society during the industrial revolution. The rough yet expressive outline of buildings, a rainbow and the sun gives reference to realism as it allows viewers to connect and understand underlying motifs and shapes yet is painted abstractly to move away from the oppressive and consumerist society. Thus, Kandinsky breaks boundaries through his innovative approach to his art-making practise concluded from his personal belief of ‘art for arts sake’. He believed that art should mainly convey the artist’s personal views and self-expressionism that translated a constant individuality throughout his work from an inner intentional emotive drive. This broke traditional boundaries as art in the renaissance period was meant to be a ‘narration’ or an artwork where an audience could learn and benefit from. This is evidently shown in Composition IV as it exemplifies Kandinsky’s inner feelings towards the industrialised society

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work to target cultural, and artistic principles that have persisted over many generations leading to a transformation within the subject of art (Dudek 105). Furthermore, modern art set out to obtain new visions of reality as witnessed within the Cubist

The essay will make use of the works of photographic artists who engage in one of the two schools of photography, Pictorialism and Modernism. The artists that will be used for this essay are Paul Strand who has been selected for the Modernist development together with a Russian artistic photographer Alexander Rodchenko and As White remained rooted to Pictorialism, his stance on his methodology and set up in the 1920s and 1930s led to occurrence of the stirring up of quite a number of understudies to handle his visualization style which was fresh and innovative (White, Clarence H., Jr. and Peter C. Bunnell 1965). In the process of talking about the two schools of photography, Pictorialism and Modernism rather than focus on the clash and disagreements that occurred from Pictorialism and Modernism it is more suitable to examine the merits in both the method and styles used in the two schools of

It showcases the dense, extensive and delicate connections in the artist’s experimental practices, which includes performance, installations, prints, photographs, films and paintings. The show reveals the transgression with the thematically structured six main galleries with an impressive display of Parr’s diaries in the foyer, films in the theatre and the artist’s archive, ‘Information Centre’. According to Parr, he said, “But in the foyer, I must say, there’s this rather beautiful pop-up space, which is nearly confined entirely to language pieces, and outside this space on the curved wall we’ve got 40 beautiful vitrines..and I’ve displayed 45 years of diaries. So the foyer’s got all of this text, and it’s very intimate.” The diaries were a very clever idea that gave a lot of help to the audience in terms of better understanding of the

Often times misunderstood and, at times, even complex to understand, Abstract is a category of artwork that challenges the viewer’s intellect through its array of bold color schemes, extracted ideas, and conceptual viewpoints. Expressionism is a sub-category of Abstract artwork, which encapsulates the philosophical, intellectual, and emotional stimulation it hopes to create in the observer, which frequently, is the objective of the artist who created the conceptual piece. Three artists who embody the abstract principles are Joan Mitchell, who was one of the first women expressionist painters who focused on landscape-type portraits, and a successive artist to similar abstract painters such as Mark Tobey, and also preceded by modern sculptor Lynda Benglis who literally “cements” abstract painting concepts into unique dimensional sculptures. Yet, Mitchell’s artwork is “special” to me

Analyzing Rodin’s work at first glance can enable a person to tap into their creative side without the use words, but physical expression to display emotional content. Of course, Rodin work was initially unappreciated, but it did come with accolades. He marked the birth of a transformated and novelty form of art in the 1890’s and since then is a laudable artist that we cannot forget.

The analysis of art and visual culture has many analysts divided into different camps. From formalists to Marxists, there are as many different forms of art analysis as there are art movements. Different forms of analysis can divide theorists, driving them further apart. But different analyses can actually collaborate to create a stronger analysis. In Marina Abramovic’s piece Dragon Heads, different forms of analysis open the work up to deeper meaning. New meanings and interpretations are formed through the process of various different forms of analysis.

The different time periods of the works inside The Met allow one to see how painters of different eras valued different types of methods. In some works, the object they are painting is very clear, and in others, it is construed so much to allow an interpretation.

The painter makes the effort to apply geometric shapes, but does not quite make it a sincere effort. For example, the three haystacks seem like they are oval, but their bases are either swallowed into the ground or covered with hills or vegetation—hence we are unable to see their full shapes. All of the other shapes are also asymmetrical. Due to the form of the painting not having a definite shape, it would not be three-dimensional, but free-flowing. The expression of emotion in German expressionist painting provides a visual experience that is distinct from traditional painting art. In the minds of expressionists, painting is not a reproduction of nature or even a reflection of the beauty of life. The strong emotion of the painter makes it impossible for him to believe in artistic harmony in the natural point of view. In his view, it is not about the composition of the rules, but the expression of the work of the carrier and tools through a purely metaphysical abstract process. This results in a deformation of the shape of this existence, in the sense of distance between deformation and harmony, to express an anxious

Introduction: For many years, France has been playing an important part in the culture of European life. The art of French has influenced tremendously in this area. Looking from the work of Gothic Cathedral, to the work of the middle ages, down to the modern painters. The contribution of the French art can never be over-emphasized in the universe of the Western people. The works of painting that took in dimension of flat and bright colors triggered rapid revolution in the world of painting in France in the 1900’s. This was led by inspiring painters, with the use of color for purely self-expression.