Usf Contemporary Art Museum : Visit Museum

In this art piece, the artist incorporates mixed media. Utilizing, acrylic paint, resin and “photographs of various limbs, insects, and flowers.” The figure in the midst of the artwork is a naked woman. Tomaseli was known for intricate paintings he created within the “late 1980s.” This artist used real objects within his work, such as medicine pills, marijuana leaves, insects and other cutout elements. This artwork can be located at the James Cohan Gallery. “Tomaseli lives and works in Brooklyn,

painting are scantily clad. The garb that both people are wearing, would remind you of

Also, collaged images of woman 's genitalia were cut out and spaced all around the portrait. The spaces were carefully used to show that the collages were floating around the woman. The artist used overlapping technique to show certain collage cut-out appear closer to the viewer. He pasted some collage over and some behind the woman that you could see through with the overlapping. The collage images were abstract that you could barely tell that they were buttocks until you zoom in and see them close up.

At first, I didn’t want to go to the museum. That day, I was exhausted after finishing school, so going all the way to San Francisco wasn’t exactly my idea of relaxing. Thankfully, my mom insisted we go that day, since it was my dad’s day off. I felt frustrated that we had to go right then, but my mom forced us.

This particular artwork could be interpreted as symbolic for identifying a future for sexual freedom of women; women being able to discuss themselves sexually, accept who they are and their individual beauty and the freedom to express female sexuality art, removing the stigma

CRN 71523 - ONLINE Valeriia Baumgard Museum Report – The J. Paul Getty Museum Vincent van Gogh – Irises, 1889, oil on canvas Perhaps illness so influenced the artistic style of Van Gogh, but the picture turned out completely different to all that the artist wrote so far. This is not a Van Gogh, who was known. In the canvas, there is tension, anxiety, dense colors and warm shades of olive-mustard. On the contrary, here there is some kind of lightness, airiness, and transparent weightlessness. On the manner of execution, the pattern resembles Japanese prints: iris field full of peace, a lightness, and transparency. "Irises" are simple and unique, they are striking in their serenity and the ability to remove the internal stress of everyone who saw at least reproduction. Painting simply breathes watercolor, translucency and make to look at it more than one hour.

The artwork is one of the main ways to express the culture of a region or a country. Therefore, art has played a very important role throughout history. When talking about art, the first thing that comes to most people’s minds is probably that art is a painting or it is a sculpture. However, art has many forms of expression, and it closely connects to human’s daily life. Besides paintings and sculptures, art is everywhere around us. I am always interested in how people have linked art with daily life throughout history. For this reason, the two pieces of artwork I chose from my visit to the Museum of Fine Arts are both objects that can be used in everyday life: one is the mixing bowl and the other is an incense burner. Though they are from different cultures, have different making processes, and have a different purpose in usage, they both are good examples to show how artists tried to apply art using different techniques to human’s daily life.

Sherman’s Untitled Like Untitled #225 (Blond Woman), Sherman’s Untitled portrait #198 (Feather Mask) also stirs a sense of uneasiness. The portrait is a color photograph created in 1989. A woman with an open salmon colored shirt exposes both artificial breasts as she sits with a large, blue feather mask covering her face, as if to cover her identity for fear of being mocked for being a woman. Dark, black eyes peer from beneath the mask, and appear to follow the viewer while one examines the portrait. There’s seems to be no reason for her shirt to be open and her breasts on display, unlike Sherman’s Untitled #225 (Blond Woman) portrait, who seemed to have a definite reason. The fake, jewelry-like nipples on the breast are a deep ruby red color that match with a red pedant hung around her neck. A white tulle skirt covers the lower half of her body as she sits in front of a green printed fabric with red tassels that is hung loosely behind her.

In this production by Gerald Laing, a young and fit woman can be seen. She appears to come from a model background as she has a toned figure that is slender and curvy. She is standing in a confident posed position with a hand on her hip. It appears the artist attempts to position her short lengthened, dark hair in a way that portrays the wind is blowing it. She is wearing a swimming suit that covers minimal. She is placed on the right half of the portrait. The artwork does not contain any other people or objects in the piece. Laing completes the print using only three shades of color: gold, grey, and dark grey/black. The gold background quickly catches the eye. Also, the gold is the color of the swimming suit that covers the model’s bottom half and chest suggesting that the artist wanted to draw attention to these specific body parts. Overall, the print is organized and has a neat appearance.

This artwork by Ally Sutton, like most major artworks, raises more question than it answers. The art shows a distorted figure of what is clearly a women. The face of the figure is hidden, perhaps it is an allegory to censorship. The woman is overall nude and the body

This influence and style continued at the Kimbell Art Museum in Fort Worth Texas. Louis Kahn is a modern architect that designed the Kimbell Art Museum. Kahn emerged from the Beaux-Arts movement but became one of the foremost American Modernist architects of the 1950’s and 60’s (Kimball, 1990). Kahn created a building for the Kimbell Art Museum that also complimented the art and did not distract the viewer (Kimball, 1990). He was commissioned to design the Kimbell Art Museum from 1966-1972). “Kahn’s museums are individual to the point of idiosyncrasy, yet they remain transparent to the works of the art they house (Kimball, 1990).” The Yale University Art Gallery, designed by Kahn, has an intimate studio feel as employed at the Museum of Modern Art (Binns, 2004 p. 17). Kahn also utilized similar materials that Goodwin and Stone incorporated. The Yale University Art Gallery is made of large pieces of glass and steel (Binns, 2004, p. 17). Many of the materials used at Kahn’s three museums are glass, steel, concrete, and brick (Eliasoph, 2009, p. 317). During the 2005 remodeling, the team attempts at restoring much of Kahn’s original design elements at it considers it a very important part of architectural history (Binns, 2004, p. 17).

The oil painting is an attempt to map the motion and energy of the body. It is a sequential depiction of movement split into a series of about twenty different static positions that show a nude figure descending a flight of stairs. The nude, like the notion of the painting, is abstract, composed of conical and cylindrical shapes and elements, assembled in a way that suggests the rhythm of the body when going downstairs. The colours used are those typical of Cubist paintings - ochres and browns. This is because Cubists felt that using a

The artwork is a realistic portrait of a women. It is abstracted with asymmetrical balance with exotic and vibrant colors. As if the women is sitting in the corner with two

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The portrait is displayed horizontally with a gold trimmed frame. The subject is a female that looks to be in her early 20’s sitting upright on a large brown chair. If the viewer travels up the painting the first indication of the woman’s class is her satin, blue dress. The saturated blue shines and falls in the light like water. Paired with the dress are her exceptionally detailed endings to her sleeves. The lace is even painted as though it is translucent, allowing a little of the blue dress to show through the sleeve. Flowers throughout history have symbolized innocence of a woman and her virginity. The repeating theme of flowers, in the sleeve cuffs and ribbon) in the woman’s attired suggests her purity or innocent nature. Another very details section of the painting includes the corset/torso details. The sewing suggests texture in the torso with small beading in between. Towards the top of the chest in the center, the female seems to bear an extravagant, ribbon piece with a tear drop bead in the center. The light pink