Essay on The Art and Philosophy of Balance at Constantin Brâncusi

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

In addition, because Géricault studied the human anatomy very closely throughout his lifetime, he was able to outline the passengers’ bodies in The Raft of the Medusa with intricacy. Ultimately, Géricault was able to configure the passengers’ precise muscle definitions and skin tones through his meticulous use of oil, pigment, chalk, varnish and wax (“Géricault’s Expenses” 638). In addition, the dimensionality and accurate portioning of the humans’ bodies enhances the scene’s intensity. This Romantic appreciation for histrionics and naturalism greatly differs from the ideals supported during the Neoclassical Period. The Neoclassical Period renewed an admiration for the classical antiquity, which incorporated the subjects of ancient art. For example, in comparison to Angelica Kauffman’s Mother of the Gracchi, the skin definition and tone differences are evident. In Kauffman’s piece, the characters display unnaturally smooth and relatively undefined complexions. However, in The Raft of the Medusa, the characters exhibit defined, and properly positioned and configured bodies in relation to another. Thus, Géricault’s appreciation of human anatomy and configuration creates a naturalistic and lifelike scene within the painting.

The inclusion and value of ‘external evidence’, information concerning the artist and his interpretation and reasoning of his piece, has frequently been debated by philosophers. Many argue that external evidence should not be considered in the interpretation of a piece of art; better yet, the audience would seemingly benefit from not having any prior knowledge of the artist or his implications. Other theorists counter that while we should not judge a piece with the artist in mind, having some general knowledge does give important insight into the culture that is expressed through the piece.

Artists consider an increasing amount, the relationship with the spectator this is clearly shown in the picture of the trinity and tribute money by Masaccio. Although Masaccio did not display this particular characteristic in any of his known paintings many Florentine artists made religious figures depicted with an individual appearance. Again the painting of the Trinity depicts another characteristic and that is that of adding weight by using classical features and forms. There is a very strong depiction of emotions and human feeling which is a very effective feature in paintings; again Masaccio visibly portrays this in the expulsion from Eden. Last of all there is a clear innovation and development of mathematical system of perspective.

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.

Ancient sculptures bring on endless philosophical arguments regarding what is an appropriate form of perfection, defined as a fit body guided by a keen mind. This paper will approach a visual essence of the sculpture of The Lansdowne Athlete, by Lysippos, Rome 340-330 B.C. marble after a bronze original, that I viewed at the LACMA. This sculpture is located in the left wing of Greek exhibition Building, 3rd floor. I selected this sculpture as an example of an idealized body. Therefore, I will be explaining the historical background of the sculpture and address why I think it would make a good addition to our text. I will provide an analogy with other sculpture of idealized body from our textbook chapter 12 on “Mind and Body” mainly. I will impart more information about the essence of idealized human form as well as cultural ideals during this time period in Greece.

In this essay, I will compare and contrast two different sculptures from two different contexts of art. The first being an Olmec Colossal head (monument 1), from the context of “Art of the Americas,” and the second sculpture being ahead from Rafin Kura. The head from Rafin Kura comes from the context of “Art of Africa.” Both sculptures come from two different time periods and parts of the world. They also are both made with natural materials and have their own symbolic meaning.

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.

As he describes his reasoning for delineating art history in three volumes, he states that for “painting and sculpture of former times, they must have developed on such similar lines that the that the history of one could stand for the history of the other with only a change in their names” (85). As he draws comparisons and explains why this assertion makes sense, he dismisses early Greek classical art as low quality and undeveloped. In doing so, he continues to equate it with the first period of Renaissance art, but lacks the warmth and context he gives artists like Giotto. While early Greek sculptures are simply described as “hard and lifeless,” Vasari notes that first period Renaissance art contains “glimmerings of excellence” (85, 89). Possibly due to a type of cultural shame, he needs to reinforce how much praise this art deserves in its innovation and struggle against outdated

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.

The paper serves as a critical analysis of Thomas F. Mathews’ “The Mistake of the Emperor Mystique” chapter in his book The Clash of Gods: A Reinterpretation of Early Christian Art. The scope of the analysis extends only to the chapter, the works included in the chapter and some supplemental sources by other art historians. It examines Mathews’ central argument and auxiliary claims, paying attention to his use of sources. Additionally it probes the validity of his assertions, drawing comparisons to other works or historians.

The selection from Leon Battista Alberti’s On painting is mainly divided into 5 paragraphs numbered 25 through 29. Just as the title suggests, the text deals with the art of painting and its virtues. It talks about the benefits painting offers to the artist and why they are valuable, as well as showing the importance a work of art gives to the object being painted. While referring to many examples in history, Alberti also compares painting to the other “crafts” and explains why it is more noble, as well as more enjoyable and self-satisfactory.

Arthur C. Danto in “The Artworld” provides us with the argument that, “To see something as art requires something that the eye cannot descry-an atmosphere of artistic theory, a knowledge of the history of art: an artworld.” Danto shows us the importance of the artworld in order to know that a work of art is more than just what we can plainly see. Danto provides two theories he calls the “IT” (Imitation theory) and the “RT” (Reality theory). With these two theories, Danto explains how we can define art and why “The Artworld” is needed to help understand art, because after all, “these days one might not be aware he was on artistic terrain without an artistic theory to tell him so.”

When we look at the history of the Middle Ages and the Renaissance, we always like to use the confinement of thinking and the liberation of ideas to sum up the two, especially in the art, the medieval paintings are often used in dark colors, deformed three-dimensional concept Showing the real world, and often less a bit human nature. And after the Renaissance, the painting masters are the opposite of it. I am not here to comment on their good or bad, but from the artistic point of view, to explore whether a good form of art needs to reflect the community and a wide range of civilizations

As literary critics, Plato and Aristotle disagree profoundly about the value of art in human society. Plato attempts to strip artists of the power and prominence they enjoy in his society, while Aristotle tries to develop a method of inquiry to determine the merits of an individual work of art. It is interesting to note that these two disparate notions of art are based upon the same fundamental assumption: that art is a form of mimesis, imitation. Both philosophers are concerned with the artist's ability to have significant impact on others. It is the imitative function of art which promotes disdain in Plato and curiosity in Aristotle. Examining the reality that art