Abstract This paper explores the concept of beauty in Witkin's photography. It looks at the techniques he uses to create pictures like paintings. It discusses some early childhood influences on his work and the difficulty of classifying him as any particular type of photographer. It studies the relationship between his work and glass (the properties of glass) and analyzes his picture entitled "Glassman". Next, the paper moves on to another work of Witkin?s, entitled "Waiting for De Chirico", discussing its comment on surrealism and use of foreground, middle-ground and background. The paper then moves on to an analysis of Witkin's "Daphne and Appollo", exploring its message about love. The paper concludes by highlighting the commonalities between the three above-mentioned paintings.
From the Paper "While Joel-Peter Witkin may well be a virtuoso technician pushing the envelope with his creative skills, it is seldom his technique that causes people to stop and stare at his work, as well as very frequently stop people from looking at his work altogether. To call him the master of the macabre is to think of him as a storyteller in the fashion of Poe. However, unlike Poe, he is no romantic; he is not interested in ironic twists but rather presents himself as a reporter on the human condition, and on the bubbling unconscious of humans trapped in this world of so many contradictions."
Tags: photography, techniques, picture, influences, glass, Glassman, ?Waiting, for, De, Chirico?, surrealism, analysis, ?Daphne, and, Appollo?, commonalities
Abstract This essay investigates whether the natural materials and technology available influenced the development of Egyptian art. The essay argues that the wealth of natural materials Egypt had in its possession provided the Egyptians with access to a range of mediums with which they could develop art. An argument is put forward that the technology and techniques used by the Egyptians greatly influenced and contributed to the development of Egyptian art. This essay begins by looking at the earliest materials and technologies that were used during the prehistoric period followed by an examination of how these materials and techniques developed over time. Evidence is provided throughout the essay to support these arguments.
From the Paper "Pottery was also one of the earliest forms of artwork in Egypt dating back to the Prehistoric Neolithic and Predynastic Periods. In 1985 Sir Flinders Petrie discovered a variety of Predynastic pottery vessels ranging from Badarian handmade vessels to decorated pottery from the Naqada Period that showed evidence of "exquisite craftsmanship" (Romer 1982:38). The natural materials that allowed for the creation of such pottery included Nile river silt clay, limestone and clayey shale from the cliffs (Romer 1982:45). The early technology used to produce pottery included polishing the pottery with a pebble to give a burnished red or black appearance before being fired in a kiln (Shaw & Nicholson 1995:226). Other
decorative characteristics included rippled lines that were produced by running another natural material, fish bones over the wet clay (Hart 1995:30)). Improvements in ceramic technology and the introduction of the potter's wheel allowed an increase in the range of shapes that could be produced (Quirke & Spencer 1992:178). However J. Romer (1982:70) states that the use of the potter's wheel led to a decline in the quality of Egyptian pottery. He argues that the potter's wheel, although allowing larger vessels to be made quickly and easily from clay, ultimately led to pottery becoming more utilitarian and of less artistic quality. Therefore although the standard of art declined, this is still evidence of how the technology available influenced the development of Egyptian art."
Abstract The paper examines how humankind has always had an inherent need for expression and this need has been fulfilled through various media such as art, literature, poetry and music. It looks at how the field of art has always been a fascinating form of human expression in that it blends aesthetics with the artist's comment or interpretation of culture, history, politics and other aspects of society. It describes how art historians study art from two primary angles: the quality of artistic rendition and the historical reflection of the artist's time. It evaluates the theories of some famous philosophers such as Plato, Aristotle and Kant on how an art historian needs to develop objectivity in interpreting the life and times of the work being studied and the artist's own intended expression.
From the Paper "Another epistemological assumption underlying art is that it necessarily has to be concerned with producing something of beauty, as defined by social standards. This is a natural fall out of the underlying theory that knowledge of vision, coded to recognize aesthetics and beauty, is necessary to appreciate art. An opposing philosophy exists wherein great art critics like "John Ruskin, Herbert Read, Morris Collis and Eric Newton would judge art from a wider angle". Any object may be called beautiful"feelings which one obtained in the aesthetic contemplation of it are pleasurable feelings" (Ijele Web site). This is in line with Kant's Critique of Pure Reason, where he dealt with aesthetics as if it only has to do with perception."
Abstract Henri Rousseau is considered the first and the greatest of the naif or primitive painters and the single most important predecessor to modern surrealism. This paper discusses Rousseau's life and looks at a number of his pieces. It examines his connection with modern art developments and his peers, evaluates the life experiences that influenced his paintings and critically analyzes one of his most important works, "The Anglers".
From the Paper "Henri Rousseau is best described as an unusual figure in late nineteenth and early twentieth-century French art history. For many years art critics had difficulty "placing" him and explaining his work, but it is agreed today that he was a major influence in modern art. One must remember that this was an era, early in the modern art movement, when traditional shapes and ordered standards were on the way out and artists were looking for new inspirations and forms of expression. In painting this sometimes came in the form of art that had always existed but never been taken seriously- children's art and "primitive" art. Today we know that Henri Rousseau was the first and the greatest of the naif or primitive painters, and the single most important predecessor to modern surrealism. Rousseau is best remembered for solving the initial problem that surrealists had by giving form to the irrationality of this modern style of painting (Hughes 227)."
Abstract This paper discusses "Changing Hands", an art review of a major Native American art exhibit at the American Craft Museum by critic David Revere McFadden. It opens with an overview of the exhibit itself and its highlights. The review, and the critic's "authority" to report on the exhibit are then discussed. Finally, there is a commentary of the effect the critic's piece has upon one's desire to view the exhibit.
From the Paper "Changing Hands, the exhibit features several art forms of Native America. The artists who have displayed their work have given examples of both traditional and more contemporary pieces ? for example a reconstructed earthenware vessel of the type that might have been used centuries ago for water or other liquids. The several art forms shown by the Changing Hands exhibit include wool rug and vegetable dye; gold bracelet work inlaid with larimar, lapis lazuli,sugulited, shell, coral, obsidian and opal; earthenware sculpture; an acrylic collage on wood; glass and copper vase; cottonwood root sculpture; leather beltwork of silver, coral, turquoise, and serpentine; coral necklace with gold and pearls; pendants of gold, wood, silver, coral, turquoise, opal, shell, and lapis lazuli; earthenware canteens and jugs; hinged silver buckles; earthenware tiles of sand, copper, and oil on a wooden panel; sand media on wood."
Abstract This essay describes how the art and culture of ancient Mesopotamia was defined by its climate and geographical locations. It also shows how the weather and geographical conditions affected wars and power in the region - and the reflection of this fact through art and artifacts found in the region.
From the Paper "Many believed that the south was the cradle of civilization until settlements dating back to around 5,000 B.C. were found in Northern Mesopotamia. Jarmo was the earliest of these settlements and was superseded by a series of cultures, Tell Hassuna, Samarra, and Tell Halaf. Tell Halaf was the most advanced of the early cultures (Mesopotamia pg). It is famous for Halaf ware, which is regarded as the finest prehistoric pottery in Mesopotamia (Mesopotamia pg). Halaf ware can be found at sites such as Neneveh and Tepe Gawra. While the north was making great advances in culture, ?civilization was just beginning in the south, particularly at Eridu."
Abstract This paper discusses how Hellenistic Art was primarily influenced by Alexander the Great's conquests, which introduced the culture, arts and philosophies of foreign lands into the Greek milieu and how it mirrored Alexander's pride, his vision and his stature. It looks at how the term "Hellenistic" describes the arts that fuse the Greek with Asian traditions and reflects a shift in Greek consciousness away from the pantheon of gods toward a private, wealthy sector of art collectors. It evaluates how while the Classical arts of Ancient Greece adorned temples, Hellenistic art decorated the palaces of kings and of the private houses of wealthy connoisseurs.
From the Paper "New dynastic centers like those at Pergamum and Alexandria promoted large-scale palace architecture influenced by Oriental styles and scale. New royal patronage for the arts differed from that of Classical Greece city-state patronage. Instead of the anonymous, religious statues like that on the Athenian Parthenon, statues honored war victories, new syncretic deities, and portraiture of royal families. The faces and figures of gods and goddesses changed, influenced by the religious traditions of Egypt, the Far East and the Middle East. In short, Greece was less important to Greek art. The Classical period climaxed and left a legacy as grand of that of the Athenian Parthenon. Towns were already established, their architecture preserved."
Abstract The paper discusses the types of equipment used the Civil War period. The paper presents photographers: Mathew Brady, Alexander Gardner, Timothy O'Sullivan, Andrew Joseph Russell and Jay Dearborn Edwards. The author pointed out that the study of their portraiture offers an in-depth look at the men and women who made a significant contribution to the development of the United States.
From the Paper "Although photography had existed for only two short decades when the War broke out, from the start, the pictures the early photographers created fascinated the public. Their images seemed, unlike drawings and paintings, to capture reality. When the war began, hundreds of photographers began to cover the conflict. In both their studios and in the field, they took numerous portraits of common soldiers and then sold them in a popular card-size format. The Civil War photographers traveled to Army field headquarters and returned with images of the war's heroes. When they went into the field to take their photographs, they carried not only a camera, but also a portable darkroom that was used for the delicate process of wet-plate photography."
Abstract This paper discusses how no two artists have captured the essence of the Native American Indians as inspiringly as George Catlin and Edward S. Curtis. It shows that while most of the world considered the Native Americans as savages and godless people, Catlin and Curtis have managed to bring the truth home in incredibly detailed pictorial journals. It describes how the vivid colors of Catlin's work is a sharp contrast to the black and white photography of Curtis. Catlin's style and his use of colors enhance the fantasy world in which he viewed the Native Americans living in whereas Curtis, used his camera to capture the realism of the Native people and their lifestyle.
From the Paper "There is hardly a book published on Native Americans that does not contain a Curtis photograph. While Catlin's landscapes had a whimsical quality to them, Curtis? photographs capture the wholeness and wonder of the land. He had a remarkable eye for composition. "Canon de Chelly, Navajo" shows the majestic rock formations towering above the horseback riders below. It is a perfect example of how minute humans are in comparison to the earth (McLuhan 1971). "Piegan Sun Dance Encampment" a photograph of a camp of teepees on the prairie, again captures the majesty of the land."
Abstract Gaugin's "Ia Orana Maria" and Reni's "The Immaculate Conception" are two very different representations of the Virgin Mary. The paper explains that by utilizing more classical composition techniques, smooth, curving lines and rich, strong colors, Reni portrays Mary as an idealized version of Baroque femininity in a heavenly setting. It shows, in contrast, how Gauguin adheres to the primitive tradition, illustrating Mary as a native woman, a naked Christ child set on her shoulders. His use of asymmetrical composition in a cluttered, unplanned scene provides a feeling of energy and naturalism, a striking contrast to the serenity of Reni's work. The paper shows therefore that in illustrating the Virgin Mary in their works, each painter adheres to the very different sensibilities of their time periods.
From the Paper "Paul Gaugin's "Ia Orana Maria," translated as "Hail Mary," treats a similar subject matter, in that it illustrates the Virgin Mary with adoring attendants. However, this is not the Mary of the Immaculate Conception, but with Christ who is perched upon her shoulders. Painted in the post-impressionist genre known as Arcadia, which exemplifies scenes of blissful simplicity and retreat from the complex, this work was completed in 1891 and hangs in the Metropolitan Museum in New York. It is not a large work, only 44 inches by about 36 inches. In keeping with its primitive tradition, and in stark contrast to "The Immaculate Conception," the composition is highly asymmetrical, with the central Mary figure set off to the right of the picture. The poses are unstudied, casual and almost accidental, with Mary and the Christ child looking at the viewer, and the two prayerful, adoring native women gazing at them. This casual approach may be an attempt of Gauguin to emphasize the "naturalness" of the scene, despite the obviously supernatural halos."
Abstract A pieta is described as a painting or sculpture of the body of the dead Christ being supported by the Virgin, often with other mourners present. This paper analyzes how the painting "Pieta" follows the conventions of a pieta by depicting all of the above. The paper shows too how Crivelli's own unique style is apparent in the work, seen in the attention to detail and the gothic elements. This style of Crivelli's is related to his own background as an artist. By looking at the artwork further, the paper shows how the work is a reflection of Crivelli's background and influences as well as a product of the cultural context at the time of its creation during the Italian Renaissance.
From the Paper "Another aspect of the Renaissance that is apparent in Crivelli's work is the focus on religion. It has been noted that, ?While the political power of the church declines during the Renaissance... the Renaissance artists, remained devout Catholics.? This aspect meant that biblical scenes continued to be popular subjects for paintings. This is reflected in Crivelli's work with all of his works being religious in nature. As in the example Pieta, Crivelli maintained the religious subject but changed the way it was approached, adding his own perspective to the work, just as the trend was in Renaissance."
Abstract This paper discusses four different pieces of art, all of nude women and all done by different artists during the late nineteenth, early twentieth century. It looks at "Reclining Nude" by Amedeo Modigliani, "Woman with a Towel' by Hilaire-Germain-Edgar Degas, "Nude on a Sofa" by Fritz Steinmetz-Noris and "Woman with a Cat" by Fernand Leger. Each painting is described in turn looking at style, color and possible story lines. Pictures of the paintings are included in the paper.
From the Paper "Woman with a Towel is unquestionably impressionistic in style, showing visible brushwork, vague shapes and unblended colors. The painting offers a study in shadow more than light and shadow. The woman's face is not visible, which seems an unusual perspective for the artist to take. Her body is voluptuous and sensual with only one full breast exposed. The draping of the towel, exaggerated in size, twisted and as the lightest area of the painting, draws attention and is especially sensual. The painting is the study of a pose and of a mood. The figure is mysterious. The viewer must wonder what sort of expression she has on her invisible face. Has she just stepped out of a bath shared with her lover?"
Abstract Discusses "LES DEMOISELLES D'AVIGNON." Surveys scholarly notions regarding Picasso's sources and influences for this 1907 painting. Meanings attached to the picture. The developing iconography of the piece. The panting as a turning point in Picasso's art, and as an example of the proto-Cubist painting. Relevance of "Demoiselles" to Picasso's life.
From the Paper "Because Picasso's Les Demoiselles d'Avignon (1907) has come to be regarded by many as perhaps the major turning point in twentieth-century painting there are few modern pictures that have been subjected to such intense scrutiny or produced so many interpretations. The influences and sources, the iconography (both private and public), the relationship between the painter's life and his work, and all other aspects of the painting's meaning have been debated. Some explanations have been directly opposed to each other, but many others are complementary or, at least, not mutually exclusive. The richness of the picture, the number of witness statements, the painter's own conversation, and a perhaps unparalleled wealth of preliminary sketches have provided ample room for so much work. This essay surveys a number of the most important scholarly notions regarding ..."
Abstract Analysis of the Greek pottery work. Attribution of the 515 B.C. pot to the painter Euphronius. Value of the Sarpedon Boy as an example of a subject matched to the pottery vessel's shape. Description of the piece as an example of red-figured painting as a complex set of images.
From the Paper "The Sarpedon Boy Krater of the Euphronius Painter
The Ancient Greeks were masters of sculpture and architecture, but they also excelled at painting, particularly in the decorative painting of ceramics used in both daily life and rituals. Over twenty thousand pots have survived to present what Wood, Cole and Gealt (1989) have characterized as an excellent overview not only of the functional uses to which the Greeks put such items, but also of the major philosophical, historical, cultural and religious currents shaping Greek life. This brief report will consider one such work ? the Sarpedon Boy Krater, attributed to the painter Euphronius, and made about 515 B.C.
The Krater of the Sarpedon Boy is an excellent example of ..."
Abstract Discusses how art is used to assist integration of presonality. Variety of practices with different aims. Use of art therapy with physically disabled persons, the mentally ill, temporary injured persons, anorexic patients, cancer patients. Qualifications of art therapists; their techniques. Creative art and working out of conflicts. Artistic expression and self esteem.
From the Paper "Even though art therapy has been used in some fashion since at least the first half of the twentieth century its range of helpful effects is still only partially explored and therapists constantly invent new ways to use the arts to assist people with physical disabilities and psychological problems. The depth of possibilities inherent in this therapy are expressed by one art therapist who asks that the reader imagine a medicine so powerful that "it could revitalize your spirit, giving you a dose of self-esteem and a joyful purpose in life" while also "induc[ing] deep meditation, allowing you to forget your pain and resolve any fears about the future, thereby boosting your immune system" (Longman, 1994, p. 64). But in many instances there is a lack of knowledge about art therapy--among caregivers as well as among those who could benefit from it. As Ulman (2001) points out, the ..."
