The Munch Show

The artist depicts an initial confusing and weirded-out thought for the viewer at first glance, but as one deeply examines the art, the subject matter begins to become more clear. The vision being shared in this non-objective painting has a context of placing one in the standing of Mr. Man by gaining height and freedom from the (white) bars that are rising on each level that represent conflict which traps one in a “cage” of misery. The unbalanced symmetry of having the left side take up more space with little action, and the right side being smaller with the action unraveling, makes the viewer break down each composite perspective. For the left side, the mysterious female muse, Moon-Face, has an unproportional face that is almost blushing with shades of light pasty orange, with the mouth wide open. The energetic mood is amplified by the tone of yellow that is splashed in the mouth, representing a loss of words or at a state of disbelief. The female’s lower half is created with tints of red that enhances the curves on her body, as if chiaroscuro connects the light and dark contrast to show outline of the breasts, stomach, and hips in

Today was a beautiful day for a drive to Chicago. My purpose would be to visit my first art museum, The Art Institute of Chicago. The Art Institute of Chicago is a must visit. I was tasked to choose a piece of art, study the piece, and then write about this piece. It was a very difficult task, to choose just one single piece. The Art Institute is the home to an enormous amount of art work, from paintings to pottery, from Impressionism to Contemporary, from Van Gogh to Monet, and the list goes on. I did however choose one piece, Georges Seurat’s; A Sunday on La Grande Jatte (1884).

One of the most visually intriguing pieces in the exhibit is the Portrait of Père Bouju by Maurice de Vlaminck. It was painted around the year 1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In this oil on canvas portrait the man is wearing a

Specific Purpose: To inform the audience about the importance of Edvard Munch’s contribution to modern art.

In my recent trip to the Metropolitan Museum of Art, I visited two different galleries, including European Paintings 1250-1800 and 19th century and early 20th century European paintings and sculptures. The artworks are filled with history and beauty. There are many artworks that caught my attention including Vanitas Still Life by Jacques de Ghyen, The Third Class Carriage by Honore Daumier, Rehearsal of the Ballet on Stage by Edgar Degas and The Garden at Sainte-Adresse by Claude Monet.

The contrast of the loose application of paint in the background to a more rigid foreground helps carry this illusion in the composition. The strategic arrangement of the figures also contributes to the breakdown of the social order. The fair-skinned woman is clearly placed in front; she occupies a larger space than her servant who’s placed behind her. This deliberate placement of figures substantiates the idea of racial hierarchy. We see a plate of inscription on the lower left corner of the painting that is elucidating the scene. There are several letters positioned near certain objects throughout the composition. The content of these objects are explained in text, which also supports the idea that the artist wishes the viewer to grasp a certain meaning from the work. These annotations aid the artist’s manifestation of the New World and an idealized social

The Metropolitan Museum is extraordinary because it displaying artwork from all over the world, and reveales 5000 years of history through its exhibitions. The museum also shows pieces of art from our ancestors and our contemporary artists. “The mission statement of this museum for the past 140 years is to establish

The use of colors and its monochromatic scheme is prominent in the painting. The painting is mostly different shades and tints of blue, used for every

Munch’s theory on art is that “art is the opposite of nature”, it isn’t supposed to be an exact replica of what is being seen but rather using what one is seeing as inspiration for one’s emotions (Chipp pg. 114). The idea is that nature is not supposed to be replicated because nature is its own great realm that one must not interfere with. Art is supposed to be a reflection of the artist and their emotions and how the natural world they are in makes them feel. This is a more drastic shift away from impressionism than the post-impressionists. Instead of slightly changing the world that surrounds them, like the post-impressionists, Munch, and other symbolists, completely changed the world to reflect their feelings.

vard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious aspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters. Munch came of age in the first decade of the 20th century, during the peak of the Art Nouveau movement and its characteristic focus on all things organic, evolutionary and

Munch’s main style of work focused on post-impressionism. One of his most legendary paintings of all being The Scream. In 2012, this jewel sold for a record of $120 million. The Scream is a painting of an actual experience in Munch’s life. Through his work he describes his thoughts of a piercing scream with art nouveau. Some of his other works, like The Sick Child, also conveys moments of his past. In this piece, Edvard expresses his utmost love for his older sister while she’s on her sick bed. Throughout his time, Munch recreated this piece in six different variations, in several formats. His perceptions of intricate emotions and despair has become the icons of our

The Scream has four versions and they are oil, tempera, pastel, and crayon on cardboard. The dimensions of the piece is 91 cm x 73.5 cm or 36 in x 28.9 in. Again, because this is another well-known piece it was the first I thought of when thinking about expressionism. When looking at this, it makes me feel lost or very anxious. When someone is screaming they can be either in trouble or very scared as well. Munch uses long simple brushstrokes or lines to make this have simplicity. The style is simple, which lets the artist utilize minimal strokes to achieve a lot of expressiveness. It consists of three main areas: the bridge, which extends at a steep angle from the middle distance at the left to fill the foreground; a landscape of shoreline,

Edvard Munch is regarded as a pioneer in the Expressionist movement in modern painting. At an early stage Munch was recognized in Germany and central Europe as one of the creators of a new movement in art. Munch and many artists of the time needed to express their feelings about all the change that was happening around.

Another Contemporary Abstract Expressionist Artist within the exhibition is Torben Giehler. Like Grotjahn, Giehler’s work is in comparison to a Modern Master, Mondrian. Born in Bad Oeynhausen, Germany in 1973 he

This painting is divided into three equal parts by the arches in the background and the characters correspond to each of these arches (TV12). The father is in the middle portion of the painting. The lines of perspective created by the tiled floor, draws our attention to the swords that the father is holding and the vanishing point lies just behind the handles of the sword. Our angle of vision is such that we are looking directly at the main figures groups, particularly the father. A single light source from the left of the picture illuminates the characters and also focuses our attention to the father holding the sword. This creates a ‘theatrical’ effect. The background is simple and stark so our attention is focussed on the figure groups in the painting. The painting has a wide tonal range that makes the composition logical and balanced. The colours used in this