The Forge Of Vulcan, By Baptiste Marie Pierre 's Work

Martin Robertson and Mary Beard’s manuscript, Adopting an Approach, focuses on the study of Athenian pottery. The manuscript begins, by describing Sir John Beazley and his revolutionary method of studying Greek vases. The Beazley Method focuses on the technical conventions of Greek Vases such as naming the artist, dating the pieces and then grouping them based off of similar characteristics. Beazley “provided for the first time a comprehensive framework of analysis for Athenian painting, and a way of dating and classifying.” (Pg. 16) However, what Beard’s main argument suggests is that it is not the artists that help us understand the importance of the vases because even if a vase is assigned to a specific time period or artist, there is

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.

While both pieces of Art have men as their main focus the techniques used to bring the pieces to life are greatly different

This piece is called, Mars Venus and Vulcan: The Forge of Vulcan, it is an oil canvas done by John Singleton Copley, done in 1754. The era that this piece most represents is the Eighteenth- and early nineteenth-centuries of art in Europe and North America. This is because of the brief use of nudity and the use of children that are shown as little angels. The artist also used a sense of time and motion. It is as if the figures in the piece are moving themselves. The use of 3-D and kinetics allows this sense of movement in this piece. Also the artist used repetition and rhythm. The viewer’s eye is constantly moving because of this sense of repetition and rhythm

Greek mythology played a large role in Greek artistic styles and functions. In the case of this study, the mythological god Apollo is the subject of the artistic works of the votive known as the “Mantiklos Apollo” and the statue of “Apollo” that was found in Pireaus. These figures show a natural progression in style and technique. They are important because they represent the sacred beliefs and superstitions of their respective cultures and time periods.

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.

The appreciation of art: taking in what is in front of oneself by analyzing the many facets that are intricately placed in a sculpture, painting or anything that is to be considered art; within this paper will be explained the three subjects, analysis, content, and function of Volaire’s work on The Eruption of Mount Vesuvius that allow one to have a true appreciation for the arts. It is through these three subjects that one can see how valuable art truly is. Without these subjects all is lost and the woman without a grasp of them is ignorant of a great chunk of the world around her for it is indeed true that art is all around us. The artists that paint, and sculpt, see this natural beauty and replicate it through the many mediums available to them, giving us eternal beauty that can be held onto forever. Volaire has done that with his piece dealing with Mount Vesuvius.

Modern figurines of art stem directly from the hands of the ancient’s. The organic forms of modernly sculpted artifacts can most likely be directly referenced to the movements of prehistoric artworks. There seems to be an ongoing transition on how cultures no matter how stretched apart through time, contrasted by ethnicity or religious views; can all be somewhat related to each other by the methods or principles portrayed through their artworks. In fact, I saw that very transition; within two works in which are extremely different in meaning, craftsmanship, time, culture and so on. However, I was still able to find similarities within the artifacts. In this paper I will examine Venus of Willendorf, a Paleolithic carving in limestone; which can fit in the palm of one’s hand. As well as, The Sacrifice of Chacmool, which are a plethora of Mesoamerican statues emulating rituals of sacrifice.

The first painting was of a women painting inside the painting, and it looked liked she was in Egypt, and in one hand the women was holding a compass and in the other was a paper with math on it. The second painting looked like a family traveling somewhere in the 17th century. Both of these paintings were representational art. And both of these artworks also tell a story in a unique way. And there also seems to be hidden messages scattered around these paintings but if you look closely they open a hole new meaning to the art. The second painting looked like it belonged to an artistic tradition due it being English. The first painting was called the Allegory of Geometry, and the artist who made this was Laurent de la Hyre. The second painting was called Landscape with Country Carts, and the artist who created this was Thomas Gainsborough. Thomas Gainsborough personality played a role in creating the art, he was a landscape painter, draughtsman, and printmaker. He also surpassed his rival Sir Joshua Reynolds to become the dominant British portraitist of the second half of the 18th century. After doing a visual analysis of the artwork I noticed that the Allegory of Geometry was more sharp than the Landscape with Country Carts, it had more detail in it. A formal analysis can be useful to tell an artist's use of aspects such as color, shape, line, mass, and

The two pieces of artwork being compared in this paper are two different ships made via the use of different mediums. These pieces, while similar in concept, are different in their executions. Through these two pieces, people will see that the two different mediums can achieve similar lifelike results.

In Fred Kleiner’s Gardner’s Art Through the Ages, he has listed some of the oldest and most ancient works of art discovered from different archeological site, which were later transferred to various museums. As we delve deeper into the chapters, we discover how art forms evolve across different time lines – from the art of the Paleolithic period to the arts of the near-East and Egypt. The works of art across the different timelines also indicate the kind of culture people have, because such culture can be seen in how they present their arts. Therefore, there is a clear development that is happening back then, because of the evolution of the arts and the presentation of the artists based on their culture. Taking everything into consideration, this project aims to discuss how arts develop throughout the different timelines – the Paleolithic period and the Ancient near-East and Egypt – and how such art forms present the cultural context of the artists.

What stylistic similarities can you find between the Bull Leapers fresco and the cave paintings at Lascaux? How are they

This paper will discuss relative points and insights relating to sculpture of the Paleolithic era, specifically the Venus of Willendorf, through the essays of Christopher Witcombe.

The first is a medieval painting, created by the Italian painter Duccio creation, we can see that his paintings are characterized by a typical dark tones, because it is the early Virgin image, painting skills are not too mature, more oil painting Has not been born, cannot be repeated stacking, repeated changes, and thus in the character image of the expressive force is not perfect, it is not a strong light and shadow effect, but on the basis of flat painted slightly darker blooming, so that the face of the Structure and clothing pattern to show the bumps. However, as time goes on, the earlier the icon on the image, the less the effect of three, the basic lines are outlined in the plane, with color is simple and bright. But the phenomenon of rigid expression until the 16th century when the image has not been

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.