Essay about Willem de Kooning

The poem lacks many of the inclinations that Koch discusses in Chapter Three. O’Hara almost puts away all personification and lies to make sure that everyone pays more attention to the emotion. He uses these emotions to ensure the

Just like everything else in life, art has its critics. Art criticism is the expression used to describe the act of making selective judgments, both positive and negative, about an art piece. Just as art is so diversely expressed and interpreted, those who critique it also have various methods and use various standards when criticizing an art piece. There are many theories critics use to evaluate art but there are three basic theories most commonly put to use by professionals. The three basic theories are: formal theories, contextual theories, and expressive theories. Formal theories focus on the formalities of art. Critics using formal theories pay close attention to the making of a piece, how each section of the art piece works to form a visual experience that may or may not attract the attention of those who come across it. Formalists’ attention is centered on the formal organization rather than the themes, which they deem irrelevant. Contextualists, on the other hand, value the theme and its relevance to the times in which the artwork was created. The contextual theories deal with the context in which an art piece is used; what it symbolizes concerning the culture and values of the environment. Lastly, there are the expressive theories. Expressionists are more concerned with the artist and the personal expression put into the work. Also, because art is a method of communication, expressive theories

The question of seeing is a crucial element in the understanding of ekphrastic writing. O’Hara’s role as a poet, critic and curator offers extensive insight into the necessity of seeing in the procedure of ekphrastic writing and the relationship between painting and writing. His personal relationships with painters such as Larry Rivers not only affect O’Hara’s work, but also offer a glimpse into the endobiotic nature of ekphrasitc writing. O’Hara’s ekphrastic work thrives from within the artistic realm and work of painters, gaining a foothold and moving beyond and completing the artistic idea. O’Hara’s poem ‘On Seeing Larry Rivers’ Washington Crossing the Delaware’ not only displays this interconnection between Rivers’ painting

question John Berger, critic of art and author of the Ways of Seeing, raised in his essay, and it is

Kenneth Burke, in “Psychology and Form” and “Lexicon Rhetoricae,” two brief essays in his book Counterstatement (Berkeley: University of California Press, 1968), writes that the most profound effects of a work of art are created by the repetition of form; the creation of expectations in a reader through repeated and carefully varied devices, as well as through information, enhances our excitement about information by baffling our emotional expectation, and finally satisfies us with increasingly complex style and devices as well as with plot complications. Language, symbolism, and dramatic action fuse at the end of the work. Burke cautions us to beware of the tyranny of the informational, as characters, and even authors—especially the humorist

Vincent Van Gogh was an artistic genius with a nightmare for a life. He suffered both mental illness and the scorn of others.

A great artist once wrote, “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced”. This artist was Vincent van Gogh, soon to be an appraised artist known all around the world for his works, such as Starry Night. He is one of the very first artists of the post-impressionist style than is now adored in every continent. However, there is much more to the man than one painting. Creating a full timeline that stretches beyond Gogh’s life, this paper will discuss the life of Vincent van Gogh and the impression he made on the world.

This artist has done many works of art that some people just may not seem to understand why it was made. Some people find an interest in certain paintings while others may not find that exact attachment to the painting like others. I have chosen to write about this artist because of the many and beautiful arts of work he has created through many years. Although some I may not find a meaning to or why he would make a piece of art the way he did, they still seem to catch my attention to some.

In 1874, Exhibition of members of the Private Company of Artists: Monet, Pissarro, Renoir, Morisot, Degas and Sisley perplexed the society with the dematerialization of the reality in their paintings and signified the birth of the Impressionism as a new movement. However, a decade later, the concept of capturing of the immediate illusion exhausted itself, and crisis of Impressionism appeared with changes in painterly manner of Renoir, Degas interest in three-dimensionality, and Monet’s involvement with subjectivity of the perception. The new tendencies emerged: Cezanne experimented with perspective, color and visual mass, Seurat and Signac worked on color theory in its application to divisionism. These developments in painting remained innovative

Around the 1920’s and 30’s, art became a trending hobby in Germany after years of little popularity. Sadly, during this same time in Germany, Adolf Hitler was in control over the Jewish population. This mix-up of contrasting events led to turmoil in the creativity community.

In his text entitled “Modernist Painting”, Greenberg focuses on the development of painting between the 14th and 19th century and emphasizes on what distinguishes Modernist painting from previous forms of painting, particularly those of the Old Masters. Greenberg begins by relating Modernist art to Kantian philosophy claiming that, the same way Kant used reason in order to examine the limits of reason, Modernist art is when art became self critical because it uses the technique of art to draw attention to its status as art. Indeed, he explains how without this self-examination similar to that of Kant’s reflection on Philosophy, art would’ve been “assimilated to […] therapy” like religion, because

Most people probably think of Leonardo Da Vinci as just a painter but in reality he was actually also a expert drawer, an ingenious inventor, and a marvelous scientist. Over a period of twenty-five years Leonard dissected around thirty human bodies as well as cows, birds, frogs, bears, and monkeys. Of these bodies he made over two hundred tedious drawings. Another thing to remember is beings the process of drawing took so long the bodies would start decomposing before he was finished with all of the drawings in which he intended to make.

Rembrandt van Rijn was born on July 15, 1606 in Leiden, Netherlands. He came from a large family where he was the ninth child. His father was a miller and saw to it that Rembrandt had an excellent education. Rembrandt began attending the University of Leiden, but really wanted to study art. Eventually he left school to become an apprentice to the artist Jacob van Swanenburgh. He also was a student of the painter Pieter Lastman. Company Frans Banning Cocq and Willem van Ruytenburch , known as the Night Watch is a Rembrandt painting which dates from 1642. It is a company of the bourgeois militia Musketeers Amsterdam , Frans Banning Cocq controlled , leaving weapons of a building. This painting is in New Rijksmuseum in Amsterdam, which is

This implies that painting, rather than 'using art to conceal art' (ibid) by creating illusionistic space and depth, should rather use art 'to call attention to art' (ibid), that is, to emphasise the unique characteristics of the medium; 'the flat surface, the shape of the support, the properties of pigment' (ibid). Greenberg states that such a process would render art 'pure', that is, autonomous, free of any extraneous elements deriving from other arts, such as theatricality or narrative. The impact of a painting should thus derive from those technical aspects characteristic of painting, such as colour, form and composition. An example of the sort of painting Greenberg was advocating at the time may clarify this. Morris Louis's painting Alpha-Phi (pl.D10) is exactly contemporary with the publication of 'Modernist Painting'. It consists of bold, ragged, diagonal streaks of pure colour against an off-white ground; Louis's use of acrylic paints, which soak into the canvas, means that the colours appear integrated with the ground and hence do not disrupt the flatness of the picture plane. Its effect depends upon the arrangement of colours and the large scale of the painting which makes it occupy 'so much of one's visual field that it loses its character as a discrete tactile object and thereby become that much more purely a picture, a strictly visual entity' (Greenberg, 'Louis and Noland', p.28). It is apparently devoid of references to

Modernism has found new expressions in art which in turn have changed how people critic and understand art, in this essay I am going to focus more on abstract expressionism. Debates in this movement have gone as far as influencing many artists and the two well-known critics who have made this movement more remarkable and have changed the art world completely are Clement Greenberg and Ronald Rosenberg. On the writings of these two gentlemen about art I will try to draw out the differences in the idea of what abstract expressionism is and what it is supposed to be, compare and outline the similarities and the differences between the two critics.