Abstract This paper takes a look at the notable masterpieces of the artistic Renaissance in Northern Europe. The author pays close attention to the new styles of the times, the use of oils, light and shadow, and how expressing inner emotions became more prevalent than outer appearances on the canvas. The author looks in particular at the portraits " The Arnolfini Portrait" by Jan van Eyck, and "The Ambassadors" by Holbein the Younger.
From the Paper "While the Southern renaissance is better known, the countries of the north" Germany, The Netherlands, France, and England? also enjoyed a rich artistic renaissance, though slightly delayed. Historians dispute reasons as to why this so. Some argue that for reasons such as the bubonic plague and economic depression, it took the Northern countries a longer time to emerge from the dark ages. Another argument is that Northern artists were simply more reluctant to switch from the Gothic style they used in the past. In any case, European patrons and artists prized their work and they were praised for their talents in working with oils and their mastery of detail. Northern art managed to progress at a surprising pace despite it's delays. The two paintings used as references in this portfolio, "The Arnolfini Portrait" by Jan van Eyck and "The Ambassadors" by Hans Holbein the Younger, stand as examples of this. With only 100 years difference between them, it is important to examine what accounts for the changes by comparing the paintings in areas of characterization, chiaroscuro, medium, and artistic symbolism. In this way, the differences between Early and Late Northern renaissance art can be clearly defined.
Tags: arnolfini, eyck, van, holbein, ambassadors, chiaroscuro, gothic, oil, canvas
Abstract This paper describes some famous artists including Rembrandt, Renoir and Sargent. The author gives particular emphasis to artists who painted on canvas and concentrated on portraits of women.
From the paper:
"Rembrandt Harmensz. van Rijn was considered to be the greatest artist of the Dutch Baroque Era. Rembrandt lived from 1606 until 1669. He specialized in portraiture and was a master of light and shadows. Woman with a Pink, an oil on canvas, was painted by Rembrandt in the early 1660s. The unidentified woman in this warm but somber portrait offers a pink (or carnation), symbolic of marriage, to her husband in Man with a Magnifying Glass. This painting is dark and slightly haunting, with the woman seeming to be lost in deep meditative thought."
This paper discusses the meaning behind four great works of art: Felguerez's "Entre Dos Almas", "Fernwood Figures", "Sculpture of Vishnu", and Westall's "The Bard".
Abstract The first piece reported in this paper is an oil on canvas, painted by Mexican artist Manuel Felguerez and titled 'Entre Dos Almas', created in 1992. The next art piece is "Fernwood Figures". It originated from Vanuatu, Melanesia, in the late 19th century to early 20th century, and represents tribal ancestors.The author states that the "Sculpture of Vishnu" originates from India during the Pala period,12th century. The final piece is "The Bard", an oil on canvas, painted by a British artist Richard Westall (1765-1836). Illustrations.
Table of Contents
"Entre Dos Almas"
"Fernwood Figures"
"Sculpture of Vishnu"
"The Bard"
From the Paper "In Felguerez's paintings, it is very apparent that the he is quite fond of abstractionism. His work, on this media and beyond, is constantly exploring and playing with the primary geometrical shapes like the circle, square and triangle. Around the early seventies, the computer began to influence Manuel's work. The paintings produced by the artist around this time were almost mechanical looking in their composition. Color schemes usually contained a mechanical grayish background color, which was perceived to have derived from his interest in the growing world of computer-generated graphics. Also found in many of these earlier works was the design principle of rhythm and repetition while remaining unified."
This paper provides a visual analysis and comparison of two works of art and design from the Metropolitan museum:"Woman" by Willem de Kooning and "Celia" by John Graham.
Abstract In this article, the writer studies two works of art that are displayed in the Metropolitan museum. The writer notes that Willem de Kooning's "Woman" is an oil and charcoal rendering of an anonymous woman on canvas, composed in 1944. It is a flat-looking depiction of a female nude against a background that looks like a home. The writer compares this work to "Celia" by artist John Graham. The writer points out that Graham's work is a far softer looking painting, as it is painted in oil, with casein, charcoal, chalk, pencil, pen and ink on Masonite rather than pure, flat oil on canvas. The writer discusses that it showcases "Celia," a woman with a classically hourglass figure and long, soft hair against a black background more reminiscent of a 19th century or classical nude than a modernist depiction of a woman, even though the painting was created at the same time as "Woman."
From the Paper "The space seems cramped, given her position, although there is no distinctive sense of location to the picture, other than the fact that it is indoors. The painting is classified as abstract expressionist in its color scheme, and its use of a mask-like face, which is reminiscent of some of Picasso's cubist works. Although this work is recognizably human, it seems like a grotesque rendering of the human form. The work seems more like smears or swirls on a canvas rather than a suggestion of someone one might know in life. The smile on the woman's face while she assumes an uncomfortable position, and the cartoon-like yellow, orange, green, and blues make it seem as if the work is a parody of a woman, as if the woman's image is being made intentionally ugly or distorted. Even if this was not de Kooning's intent, the artist's emphasis is on the arrangement of form, line, and color not the character of the woman herself. The woman exists as a subject, a series of surfaces, rather than a unique personality."
Abstract This paper discusses the painting, "Mao", acrylic and silkscreen ink on canvas, that Andy Warhol painted in 1973 at the height of Mao's power in China. The author states that this painting is more realistic than many other Warhol paintings, but it is clearly his "style". The author believes that this painting is very interesting because of the two different mediums used and all the hidden meanings that seem to be buried in the colors and shapes.
From the Paper "The painting is over 15 feet high, and so Mao looks down at the viewers as if he is looking over a group of children. Mao's face is not what you would expect, except from someone like Warhol. The face is done in bright oranges and yellows, to show his Asian ancestry, but even more, to make him look vibrant and alive. Warhol has also given him bright red cheeks and lips, so much so that he looks like a woman wearing a lot of make-up, especially blush and bright lipstick. There is blue eye shadow over his eyes to enhance the look of make-up, too."
Abstract This paper provides a brief examination of the oil canvas named "View at La Fert?-Saint-Aubin, near Orl?ans", painted by Troyon in 1837. It describes the scene set in the painting, the materials used and the painting's composition. It also discusses what the artist was trying to portray and which emotions he wished to stir in the viewer.
From the Paper "The Los Angeles County Museum of Art's View at La Fert?-Saint-Aubin, near Orl?ans (c. 1837) is a very large oil on canvas (129.0 x 192.0 cm) by the French painter Constant Troyon (1810-65). The painter depicted a quiet rural scene that features a great deal of human activity. The people in the picture are, however, shown on a very small scale and the principal impression produced by the work is of the beauty of the towering trees and a sky studded with drifting clouds. The museum's explanatory placard asserts that Troyon's "choice of the subject is incidental, his goal being rather to extol the simple beauty of the site." Yet, as the explanation continues, the composition is also "invested with a majestic grandeur" and the choice of how to portray the "simple beauty of the site" is more complex than it might seem from this description."
Abstract The paper discusses one of the most impressive pieces shown in the Denver Art Museum, Claude Monet's 1904 painting, "Le Bassin des Nympheas". The paper relates that this painting may not be the most famous, but it carries all Monet's trademarks and is just as beautiful as any other painting of his. The paper portrays how, as with other impressionist works, the striking element remains the brushwork and the way in which the mixing of vibrant colors on the canvas creates such shapes and feelings inside the viewer.
From the Paper "The painting in discussion is more than a century old, having been done in 1904. Proportionately it is a square and, as the title suggests, the painting is a landscape whose main "character" are some water lilies of different colours, floating on the water that reflects the landscape around. The view is concentrated on the water surface, and the surrounding landscape can only be quested by its reflection, thus pointing out to the subject of the painting. The reflection in the water is hazy, so you can't really see what it is that is reflecting, so by contrast the water lilies appear clearly, even though they aren't more clearly painted, the brushwork hasn't been changed."
Abstract This paper discusses how Giovanni Battista Moroni's "Gian Lodovico Madruzzo" and Francisco de Goya's "Portrait of General Jose Manuel Romero" exhibit a number of similarities and differences. It looks at how both paintings depict a similar type of subject in the same medium of oil on canvas as well as how, despite these similarities, the paintings are quite different in terms of style and the ways that the subject is shown. More specifically, the paper relates that Moroni attempts to show the personal side of his subject while still maintaining respectability. but Goya emphasizes the military and social role of his subject by minimizing his subject's surroundings and maximizing the subject's image within the framed portrait.
From the Paper "The posing of each figure is also important and is closely related to their placement. The long robes of Moroni's subject are most effective in a standing subject. Here, he poses without implied action of any sort, allowing the long lines of the robe fabric drape naturally around his person. His hands are visible, with his left hand pointing slightly to extend the lines of his arm, again lengthening him within the canvas. Much of the positioning of the subject is done to improve his image within the painting. Much more simply, Goya's subject stands in a formal military pose with his right hand tucked into his sash. This very clear and simple pose does well to again emphasize Goya's ambivalence toward his subject as he attempts to paint him as he truly appears. "
Abstract This paper discusses Jusepe de Ribera's oil on canvas painting of "The Penitent Magdalene" (circa 1612). It describes the scene in the painting and what is portrayed of Mary and her life. The paper discusses how the painting seems to represent Mary's feelings of resentment towards herself and her own transgressions. The paper also presents the writer's opinion of the work.
From the Paper "I don't see this painting as one of beauty but rather as thought provoking. As beautiful as Mary is in it, I wouldn't say that any subject shown in mourning should be considered "beautiful." Although, I must admit the method in which Ribera has painted her hands is amazingly life-like and quite impressive! The way he has her right fingers tucked underneath her chin, cocking her tired, miserable head to the right, looks picturesque. Her left fingers, as they curve around the skull and are mottled by shadows, appear distorted. The contrast of lighter and darker shades of paint, the curve of her head, neck, shoulders, and the skull she holds all contribute to giving this piece a rounded shape. The distinction between colors help to show Mary's only movement during this particular moment: in a heavy weep and an overshadowing depression."
Abstract Pointillism is often thought to be a relatively congruent painting style, utilized to create a sense of an object, often realistically without ever utilizing real forms and lines as a tool. This paper discusses how two accomplished pointillists, George Pierre Seurat and Tim McWilliams are far from contemporaries, as they are from two very different periods in two differing nations and how both embraced pointillism as their style of choice but with significant differences in style and completed results. By comparing the style and technique of Seurat's "Sunday Afternoon on the Island of La Grande Jatte" (oil on canvas, 1884-1886) with McWilliams' "Chicago Skyrockets" (acrylic on canvas, 2004), it attempts to show how the artist's distinct characteristics become evident.
From the Paper "In a play on Words McWilliams calls his art form, neo-pointillism, as he feels he embodies the neo-impressionist movement, with a whole new modern flair of the dot, utilizing the very recognizable imagery of modern artists such as those of Andy Warhol. Many of McWilliams works reflect the style of Warhol in content, as one of McWilliams's favored subjects are the faces of iconic figures, such as Elvis and Einstein and to a lesser degree the iconography of the Chicago skyline, as is seen in the work detailed here. As McWilliams is a contemporary working artist, there are only limited literary representations of analysis of his works. In a local newspaper an article that depicts the nature and inspiration of his admired works, Hostettler summarizes the manner in which McWilliams works. "I'm pushing it (pointillism) toward its limits with color use." McWilliams said. "My work has been influenced by so many things since then." McWilliams said "...About 15 colors, which are used straight from the tube for maximum potency, are blended onto the canvas to produce the painting." (Hostettler NP) "
Tags: Chicago, Skyrockets, Island, of, La, Grande, Jatte
Abstract This paper describes and analyzes William-Adolphe Bouguereau's painting entitled "Orestes Pursued by the Furies," after relating the Orestes myth upon which the painting is based. The author describes the painting's complex composition and how its actual and implied lines continuously redirect the observer's attention to different parts of the drama being performed on the canvas. The author analyzes the use of color and tone and their effect in the painting. The author concludes that the fact that both the canvas and figures are larger than life may reflect the painter's conviction of the importance of the moral lessons depicted in the painting.
From the Paper "Bouguereau balanced this painting, creating unity as well as discord via many methods including the use of several perceived triangles. Traditionally, the main character would be placed at the apex of the triangle thus creating a hierarchy of people within the painting. In this painting there is an inverted triangle with Clytemnestra and the three Furies creating the long line of the triangle and the lower point of Orestes' white robe creating the apex. There may be many reasons for the inverted triangle, however, it makes sense that Orestes would be the apex as he is the center of the story, the inversion of the triangle creates a discord in the theme of the painting. A triangle created by Orestes' legs on the ground serves to visually stabilize the painting as is traditional in classical painting."
Tags: chiaroscuro background palette, focal point, dramatic vengeance Clytemnestra pain
Abstract This paper studies and praises the painting "L?Yerres, Effet de Pluie" by Gutave Caillebotte. It gives a brief history of his life, his influences, and an overview of the impressionist era. It then gives a detailed analysis of the work and the artist's individual style employed.
From the paper:
"Impressionism was, of course, contemporaneous historically with the ascendancy of the city and the machine. Certainly the Industrial Revolution and the processes of urbanization had been in full swing for a number of decades before Monet and Manet and Renoir set pigment and imagination to canvas. But by their generation, it was becoming suddenly clear to everyone that the ancient rhythms of the agrarian world and the far-more ancient domination over human life of nature's cycles was being cast aside."
Abstract This paper covers many complex ideas relating to the way that we view databases in our culture. It proposes that the database will be the canvas of the future for artistic and cultural exploration. This paper also includes many references from leading scholars in the field.
From the Paper "Hail, hail to the menu driven computer interfaces that we have come to expect. These well made navigational systems of logical menus and clearly written labels, three button mice and ergonomic keyboards give us one of the most important technologies of our time the human computer interface (HCI). The HCI and the Graphical User interface (GUI) have been thought about and redefined as every new piece of computer hardware and software have been created. (The terms HCI and GUI will be used interchangeably as we are addressing the notion of interface.) The creation of the HCI has now mostly become the task of the new media artist. This becomes a very limiting constraint on the artist when the interface is the only element of a new media object that has any hope of becoming seen as a relevant area to create art. There are at least two other clearly definable media objects, the data and the database. I will focus here on the database. It is my contention is that a new media art piece can consist solely of a database without the need for the involvement of an interface. "
Abstract This paper discusses Ringgold's background and her work. In addition to other media, she uses quilting as an art form to tell stories that show the difficulties of being black and a woman. Through her canvas and quilts, she has made lasting changes in the worlds of black women artists and folk art. Her work is shown in galleries and exhibitions all over the world.
From the Paper "Ringgold was born in New York City on October 8, 1930. She grew up in Harlem. Her mother, Willi Posey Jones, was a fashion designer, and when Ringgold was young, she spent a lot of time at home, watching her mother work. She learned how to sew from her mother, and learned about working with different kinds of fabrics, and about drawing. The family was poor, but they were very interested in art and culture, and often took her to local museums. She grew up with people in her neighborhood like Duke Ellington and Ella Fitzgerald, who influenced her in black culture and what blacks could accomplish."
Abstract This paper provides a brief bio of Salvador Dali, his life, and works. It looks at the important contribution he made to the surrealism era of art. It looks at the significance of his work and painting and the depth of study needed to understand the true meaning of his work.
From the Paper "The artists of the Surrealist movement researched and studied the works of Sigmund Freud and Carl Jung, determined to explore ways in which to express their art through the world of dreams and the unconscious. Some expressed their art in the abstract tradition, others, in the symbolic tradition. Although, surrealism and certain forms of abstract art share similar origins, they diverge on interpretation of what those origins mean to the aesthetic of art (History pg). The accumulation of knowledge is the root, the basis, to push beyond the frontiers into the unknown. Dali was one artist whose approach to art during the Twentieth Century used that accumulated knowledge, built upon it and mastered it (History pg)."
