...Flowers and Bones in the Desert As one of America’s renowned modernist artist, Georgia O’Keeffe brought in an exploration of the way in which American modernism was engaged into the Southwest. In the nineteenth century, O’Keeffe captured the western landscape and the spiritual mystique of the New Mexican badlands. This exhibition revealed the artworks of Georgia O’Keeffe. For this exhibition, the following three artworks being used are: Red Hills with Bones (1927), Red Hills with Flowers (1937), and Black Place II (1944-45). These paintings gave a good representation of O’Keeffe’s life and presented some historical relevance from the perspective of American modernism through the landscapes of the American Southwest. The range of works in the exhibition provided the opportunity for an installation of groupings by themes such as balance of life and death, simplicity in detail, and sublime beauty of the American Southwest near Santa Fe, New Mexico. Among these themes, this exhibition captured the spiritual beauty of the Southwest. Both nature and its environment are the focus of creative experimentation of composition, form, and the properties of light, color, and infinite space. Even the balance of nature in the desert inspired Georgia O’Keeffe to explore the New Mexico’s universal nature. This exhibition challenged the viewers to focus on the simplicity in O’Keeffe’s compositions as well as the bold colors and light in these artworks in a two-dimensional space. Also...
Words: 2783 - Pages: 12
...Biblical Book of Judith. The legend states that the widow Judith endears herself to an enemy general, Holofernes, and subsequently beheads him as he lies drunk in his bed (Artlex, 2010). The death of their leader overwhelms the Assyrians and they disband leading many to the conclusion that the widow’s actions save Israel (Artlex, 2010). This representational piece is a two dimensional oil on canvas painting that exhibits soft tones in most of the image. The deeper or more vibrant shades of red near the bottom of the dress worn by the heroin stand out against the earthy browns and greens of the landscape of the scene. The pale pink of the skin of her bare foot which she has propped atop decapitated head of the general emphasizes the grayed and dying body part. The minimum contrast, or gray of the general’s head devalues it and makes it a part of the background while the viewer’s eye is drawn more to Judith and the light to dark shading of red or chiaroscuro of her dress. The landscape behind the courtyard is soft and almost appears monochromatic; it nearly blends into the horizon. There are natural shapes that are prominent in the painting but the sword at Judith’s side has sharp straight lines and details that make an impact when compared to the lines of the rest of the piece. The calmness if the heroin and the stillness of the surrounding courtyard do not indicate the severity of what has just taken place with the murder of the enemy general. The beginning of the Renaissance...
Words: 885 - Pages: 4
...place and exhibited to the public or if they are an active partner. Even though the intended reaction to the picture is unclear, the presence of the nude controls the viewer's emotional response. The presentation of the figures in soft focus and broadly painted landscape promoted severe criticism. Also, the loose manner of painting contradicts the crisp forms with the bright clothes and food in the left corner. In the main figures, there are only a few lights and darks, which makes them distinctive from the background. On the contrary, the painting of Titian's Pastoral Symphony, both mysterious in meaning and authorship, has been known as one of the most influential paintings of the nineteenth century. The main figures are two men who are seated on the grass against a vast countryside setting. Titian had been interested on landscapes in his early career, and later on reduced the amount of visual landscape. The theme is as enigmatic as the lighting, as the figures are modulated by the smoky shadow. In the setting here, the man on the left is dressed in red clothing worn by nobles of the period and is playing a lute, while the man on the right wears a brown costume which is typical of peasantry. The men turned towards each other seem oblivious to...
Words: 495 - Pages: 2
...been gone for a long time but pop art brought it up -comprehensible, straight forward -Roy Lichtenstein - Robert Rauschenberg, canyon – abstract, consumer culture and materials of everyday mixed -tom wesselmann, landscape no. 4 – reproduces Mt. Hood (albert berstadt), typical landscape of foreground/middle/background, faces in car not carrying about the scenery of nature, car represents machine -mark Rothko -warhol’s 50’s work – contrast, rigorous serial composition, confident line work -andy warhol’s brillo box vs. duchamp’s fountain: -> brillo box just fake found object, no mediation, just the damn box but Duchamp turned urinal upside down to create interest ->brillobox stacked in gallery ->warehouse? -warhol starts to hand paint in 60’s -> later his style gets more edgy, sharp (tomato soup, etc) -everything you eat and wear, mass produced -pop art seem ambivalent, recognizable but hard to read the meaning -jan davidsz, sumptuous Still Life with parrorot vs. tom wesselmann, still life ->parrot still life is very realistic vs. flatness of t.w’s still life -> wildlife fruits vs. daily life packaged factory products -warhol’s Marilyn Monroe series: gold halo (her hair) represents the religious/celebrity, repetition represents exposure -warhol’s red race riot: mistitled this work, piece is about technology of production, we were made not to feel outraged of man’s inhumanity because the imagery makes viewers’ eyes move around and read it as a whole ->some say...
Words: 281 - Pages: 2
...sailboat with a green and red sail in the sea underneath an enormous, majorly, pink cloud in the light blue sky with two other red sailboats and purple steam boats. The enormous pink cloud and the light blue sky is reflected into the sea and the purple sailboat has a dark reflection in the sea as well. The sailboat is in the center of the painting while the cloud is above and behind the sailboat. The other sailboats are to the right and behind the main sailboat and the steam boats are all the way to the right in the far distance. The time of day in the work, which can be determined from the color of the cloud and sky, appears to be sunset and the sun is off canvas at the top left corner. The viewer is meant to be looking at this view of the boats and massive cloud from land and to be peering at the landscape from the very edge of the water due to no land being shown. The primary focus of the painting is the sailboat that is located within the foreground of the painting. The focus divides the painting nearly symmetrically, the sky and the lake are almost even and the boat is right in the center to keep the painting balanced. The sailboat also in a way creates a dark arrow that makes the eye go to the pink cloud. The painting contains primary colors (blue, red, and yellow). There are many hues of purple for darker clouds, pink for the cloud, light greens for the sea and sail, various blues for the sky and shadow for the pink cloud, some dark reds for the sailboats and dark...
Words: 1597 - Pages: 7
...spread of Communism has always struck fear in the heart of the American citizen. “Are you now, or have you ever been, a member of the Communist party?” is a question as prevalent in American history as Kennedy’s plea, “Do not ask what your country can do for you, but what you can do for your country.” America, paranoid of the “imminent” Communist overthrow, has lived in constant fear. The culprit of the Red Scare, Joseph McCarthy, was actually the senator of Wisconsin. On February 9, 1950, McCarthy delivered his Wheeling speech, announcing he knew the identities of 205 undercover Communist Party members working for the United States government. His speech swayed an American populace that was already keenly aware of a Communist China and a Stalin-controlled Eastern Europe. McCarthy was thrust into the spotlight, setting fire to the political landscape, and pushing America to the edge. McCarthy, now in a position of influence, called for the phenomenon known as the Blacklist Years that stifled American freedoms. The Red Scare was a time of uncertainty and distrust. Neighbor turned on neighbor, friend against friend, all afraid the person beside them was a Communist revolutionary. Blacklisting, in this case, is suppressing people,...
Words: 642 - Pages: 3
...morts” that was written by Boileau Narcejac. Jimmy Stewart who was portrayed “Scottie” was stellar in this film as well as Alfred Hitchcock’s presence and directorial style; paramount. Cinematography, which is the combined art and technology of films and how it is created, was evident in this film (Cinematography). One of the features that Alfred Hitchcock is heavily noted for is the use of color to draw in feeling and emotion within a scene. For instance, in the opening scene of Vertigo, the first thing you will notice is the use of red, blue, and green. The colors shifted from one to the next with the changing of objects and certain panning techniques that were used to focus the audience on a certain point of the frame and color significance. Most importantly, Hitchcock used those colors as a lead in to the rest of the entire movie, which they are used throughout every scene and have a specific meaning and connection. For an example, the color red was used in a matter that would have the viewer assume that emotions like that of terror, fear, and horror. However, throughout the film the same color is used in flowers, wallpaper, and other scenery, which had a different meaning as in warmer emotional feelings. The color blue was used in connection with Scottie’s case of vertigo, paranoia, guilt, and supernatural like elements. It was also common throughout the film to see him wearing blue suits and specific focus on the color of his eyes during different scenes where emotion was...
Words: 1443 - Pages: 6
...towards the exit. William paused when he reached the sliding glass doors and turned to face the agent. “How long have you been with Movement security?” “This is my second year.” “Do you know how to keep your mouth shut?” “Yes, sir, discretion is my middle name.” “It had better be,” William said, turning and walking through the sliding glass doors leading to the street. The Town Car was idling curbside. The agent opened the back door and waited for William to settle in the backseat. He closed the door and sat in the passenger front seat. “Good evening, Mr. Blake,” Mario said, looking at William in the rearview mirror. “Where are we heading?” “Hello, Mario. Usual spot - Asylum and Constitution.” The Town Car pulled away from the office building. William stared out the window at the urban landscape. The Town Car cruised through downtown Hartford, a neighborhood hopping with trendy nightclubs and restaurants. The urban landscape altered as the car ambled through the city’s college district. The University of Hartford and Trinity College campuses were quiet - only a handful of summer school students co-mingled in coffee shops and open-air bistros, sipping iced lattes in the still-baking heat of the evening. A chill of excitement tickled the nape of William’s neck as the car rolled into the city’s red light district. Two fluorescent green crosses glowed in the night, marking the border of Hartford’s red light district. The green crosses hovered over a storefront where marijuana...
Words: 1505 - Pages: 7
...in the air. The other hand is accepting the cup, while his face is looking the other way with a calm and confident expression. In Poussin’s piece we see the Sabine Women being abducted. It is a frozen image, capturing lots of movement and different thing going on. We see men kidnapping the Sabine women while their husbands try to fight them, while another man is standing on the top of a platform watching the scene. He has his hand raised and is wearing a vibrant red robe. Both of the artists use light in a very effective way to emphasize and highlight what is important in the image. David’s light source is coming from the ceiling and illuminates Socrates and also the man handing him the cup of poison. The other figures are darker and not as well lit, and the red color of the robe of the man handing Socrates the cup is very vibrant and strong. Two of the grieving figures to the right...
Words: 852 - Pages: 4
...Jean Fouquet: Etienne Chevalier Presented by St. Stephen Van Eyck's realism soon enjoyed international renown. In Italy, Bartolomco Fazio extolled the Flemish artist in 1455/56 as the "prince of our century's painters". In France, too, where Burgundian art was already well known, the new style quickly won favour, becoming known as "la nou-velle pratique". Traces of its influence can be felt in the work of Enguerrand Charonton, and in the celebrated Pieta of Villeneuve-les-Avignon, painted c. 1470 by an anonymous master of southern France. The donor, whose face is realistically represented, is shown kneeling in an attitude of prayer at the bottom left of the Pieta. His white robe, as well as the attribute of oriental architecture (the Church of the Holy Sepulchre in Jerusalem) against a gold background, suggest he has travelled as a pilgrim to Jerusalem. The artist has given powerful dramatic expression to the grief of the mourners, and the intention to introduce the donor into their company seems obvious enough. Nevertheless, the gaze and gestures of the donor have not (yet) made any impression on the holy figures themselves, so that he remains outside their gestural narrative. Although part of the painting, the donor thus seems somewhat isolated within it. His gaze is intended to be directed towards the events taking place, but in order meet his patron's demands, the artist has painted him looking less into the centre of the painting than diagonally out of it. Etienne Chevalier's...
Words: 2936 - Pages: 12
...Art Timeline XXXXXXXX Axia College of University of Phoenix Introduction to Art ART 101 Introduction Breaking free of the naturalism of Impressionism in the late 1880s, a group of painters sought independent artistic styles for expressing emotions rather than simply expressing visual impressions, concentrating on symbolic meaning. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late nineteenth century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others (The Art Industri Group, 2002). Although often consciously at odds with one another and quite different in style, these artists are grouped under this common label that propelled art into the modern era. Rejecting the limitations of Impressionism and its strict and rigid beliefs, Post-Impressionism artists abandoned traditional subject matter and defined form with short brush strokes of broken color, thick, dark outlines, and simplified colors. In this timeline of Post-Impressionism oil paintings, the artwork exhibited will show the early stages of this French movement in early modernism, and the different techniques and uses of shape, color, outline, and form these artists incorporated to convey symbolic meaning and personal emotion. [pic] Fig. 1 1879 Apples, Peaches, Pears, and Grapes Paul Cézanne Oil on canvas Hermitage, St. Petersburg, Russia Apples, Peaches...
Words: 3515 - Pages: 15
...the the image away with the waves. “Ralph!” He got up from his hut and stumbled. He saw two boys run into the forest. As he followed he saw the trees go ablaze. “Piggy!...Simon!” His distraught cries echoed through the dying forest. The sound of crashing branches and crackling leaves intensified, he was surrounded by fire. They turned around and stopped, in the distance they stumbled toward Ralph. “Simon, Piggy I thought you were...thought you were dead.” Their shadowy figures dragged their feet, allowing the red sparks to soil their legs. Soon their dirty faces appeared while the bright orange followed. Then the heads were attached to sticks, and the sticks to hands, and the hands to savages. “Sacrifice! Sacrifice! Sacrifice!” The savages began to surround Ralph, they danced and screamed and placed the head’s of Simon and Piggy in the middle. He tried picking up a stick but grabbed, the limb dead arm of Piggy. “Give it back!” The head of Piggy screamed, his eyes a black abyss staring into Ralph’s, his mouth a bottomless pit. “Sacrifice! Sacrifice! Sacrifice!” They began to chant once more. Then a dark figure emerged from the red and black landscape, the fire moved to the sides, the figure immense and much bigger than any of the boys. The beast walked and the earth shook, the beast breathed and Ralph’s heart dropped. As it approached its head unable to be seen. Ralph looked up paralyzed. But as the beast looked down, he saw many heads, each one of the boys on the island. He...
Words: 547 - Pages: 3
...Art History: Name: Institution: Course: Prometheus Bound Description Artist: Thomas Cole Style: Romanticism. Material: Canvas Start date: I846 Completion date: 1847 Genre: Mythological Painting. Dimension: 244 * 163 Gallery: Private Collection. Prometheus bound was a painting that was done with oil by Thomas Cole. In his painting, he is able to achieve among many things, the central theme; suffering. Through the theme of Prometheus bound, major artists such as Thomas Cole embarked on artistic works (Noble). Through Thomas Cole, a generation of American painters especially on landscape such as the Hudson River resulted. Thomas Cole was born in Bolton-le-moors, England in 1801 (Noble)....
Words: 2382 - Pages: 10
...Zurich, one of those wonderful arts institutions of which Europe seems to have so many. Every six months they selected one writer, from anywhere in the world, to stay in the apartment they ran with a foundation. When I received the invitation, I felt as though I’d won a raffle I didn’t even know I had a ticket for. Switzerland: The place comes with an easy set of mental associations. But I suspected there was more to it than its reputation for calendar-pretty landscapes, secretive bankers and regular trains, and here was a chance to see for myself. Besides, I had a manuscript to work on, a nonfictional narrative of Lagos, Nigeria, the city in which I grew up. Where better to write about chaotic, relentless, overpopulated Lagos than in modest, quietly industrious Zurich? There would be so little else to do in Switzerland anyway (according to my less-than-enthusiastic friends) that I would be mainly absorbed in writing during my time there. Perhaps I might even continue my photographic exploration of landscape and memory, a project that comprised images from many countries I had visited over the past few years. I arrived in June. The apartment was in a peaceful neighborhood of the compact and elegant city. The writing desk faced a row of windows, and there were mountains in the distance. I grew up mountainless, close to the lagoon and the sea, in a...
Words: 4640 - Pages: 19
...From the beginning of the Second World War, Adolf Hitler had a set of goals that he looked to accomplish; establish the Aryan Race as the supreme race over all others, abolish the Treaty of Versailles, expand German territory (Lebensraum), and defeat Communism. To manipulate the German people, he utilized propaganda regarding previous grievances such as Germany’s outcome from World War I and the economic situation of Germany to twist the general consensus into the hatred of Jews, “gypsies”, and other races deemed inferior to the Aryans. As for military strategy, Hitler felt that the best way to go about gaining territory was keep it as a “one-front” war, because it would keep the Wehrmacht from spreading out itself too much and overextending it’s supply lines. In addition, he devised the Blitzkrieg or “lightning war”, which meant that his forces were concentrated into a cohesive unit, so that the Panzer tanks would swoop in first, causing panic among enemy soldiers, and then these tanks would continue moving while the German foot soldiers took advantage of the confused enemy and pick them off. While both his propaganda and innovative military strategies worked for a stretch of the war, Hitler’s strategy’s began failing from 1940 until his suicide in 1945 that were ultimately responsible for Germany’s loss in World War II. Hitler’s first began making mistakes when, in 1940, Hitler missed two major opportunities to defeat Britain when it was weakest. In June, when the allied...
Words: 1748 - Pages: 7
