Ivan Le Lorraine Albright was born in Chicago in 1897; he was the son of a painter that had previously studied under Thomas Eakins at the Pennsylvania Academy of the Fine Arts. Albright’s father trained him form an early age to draw in the academic tradition, studying models and plaster casts. This along with his later enrollment in art schools provided Albright with the foundation for his finely crafted paintings.
In 1929, after completing some painting classes at both the Pennsylvania Academy of the Fine Arts and The Art Institute of Chicago, Albright achieved an Honorable Mention at the Annual American Art Exhibition at The Art Institute of Chicago. The success inspired him to continue pursuing his art career, and in 1927 he and his twin brother Malvin, who specialized in sculpture under the name Zsissly, began coexisting in a studio in an abandoned church in Illinois, where they worked together for twenty years. (www.cmoa.org)
Albright started his career as a realistic painter. However, his painting gradually evolved to incorporate realism with a dark unearthly mood. The progression is evident in his painting Among Those Left done in oil on canvas, measuring 73 by 36 inches, Painted in the summers of 1928 and 1929 in his studio in Warrenville. Working with oil paints allows the artist to build up the colors in layers; this allows the artist to make colors and texture more intense than other mediums. The painting depicts a blacksmith with cheerless eyes and an expressionless face, wearing wrinkled clothing, who wields tongs and a hammer. Albright’s model for the painting was Hugo Kleinwachter, an immigrant blacksmith who spoke little English. The title Among Those Left relates to the disappearance in America of craftsmen suc...
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In the painting Albright took a literal approach, in the rendering of the shapes he used throughout the canvas. This gives the viewer a realistic perception of what the artist was studying. Because, Albright painted this in a realism fashion he must have an adequate knowledge of the antimony of the human form as well as how the muscles would react to the pose he has chosen for his model. Since this is in fact a piece done by Albright some abnormalities can be founds. The most noticeable irregularity is how the artist betrayed the light source. When you first examine the painting your eye is instantly drawn to the man’s face, than the eyes move down the canvas with the left arm acting as a guide. From there your eyes move down to the man’s legs and feet, after that your eye will move around the wheel back to the face.
Gallery 19 of the Museum of Modern Art features Pop Art trailblazers of the early 1960s, ranging from Roy Lichtenstein’s “Girl with Ball” to Andy Warhol’s “Gold Marilyn Monroe.” Alongside these emblematic works of art, there hangs a more simplistic piece: a six foot square canvas with three yellow letters, entitled “OOF.” The work of art, created by Ed Ruscha in 1962, is a painting that leaves little room for subjective interpretation as does the majority of his work. Ruscha represented the culture in the 1960s through his contributions to the transition from Abstract Expressionism to Pop Art, efforts to redefine what it meant for a painting to be fine art, and interpretation of the Space Race.
History plays a very important role in the development of art and architecture. Over time people, events, and religion, have contributed to the evolution of art. Christianity has become a very common and well established religion, however, in the past it was hidden and a few people would worship this religion secretly. Gradually, Christianity became a growing religion and it attracted many converts from different social statuses. Christian art was highly influenced by the Greco-Romans, but it was immensely impacted by the establishment of the Edict of Milan in the year 313 AD. The Edict of Milan was so significant that scholars divide Christian art into two time periods, time before and after the Edict of Milan of 313.
Lie spent much of his youth studying art in Paris and Norway (Rollins 2). While studying in Paris, Lie found great inspiration from the works of Impressionist artist, Claude Monet. After returning from Paris, Lie moved to New York City, giving art classes for aspiring young artists (Caldwell 2). During this period, Lie painted Dusk on Lower Broadway, and through this piece, one is able to see the heavy influence of Impressionism and the techniques of Claude Monet reflected beautifully.
The subject does not accurately depict the human anatomy. In fact, while studying this figure, one may notice that geometric shapes make up many of the limbs. For example, the artist uses ovals to represent the palm of the hands, the shoulders and the knees. The man's chest is in the form of squares with rounded edges and with perfect little white circles as nipples. This...
He got a lot of his inspiration from his mother. She loved painting with water colors and making
Josef Albers, a prominent artist of the 20th century whom created astounding paintings that evoked his passion and curiosity for color. He mastered a wide range of mediums and continually shared his explorations with his students. Josef Albers is an idol the art community will never forget.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
At the beginning of his life Lie studied art among close friends and family and attended art schools in Europe, until 1893, when he joined his mother and sister in New York City after his father passed away (Gong). He continued to attend art and design classes, while his paintings started to become recognized. A few of his paintings were recognized in New York City at the Armory Show in 1913 (Afterglow). Although New York City may have reflected the joyful beginnings of his career, there may still be sadness located in the memory of it. In the event that, shortly after his father died he moved there to be with his mother and sister, in turn the city could be a reminder of this dark period in his life. In conclusion to this, Dusk on Lower Broadway could have been inspired by this period of grief in his
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
Richard Estes was born on May 14, 1932, in Kewanee, IL. Although still living, his legacy lies in his precise detail and invisible brushwork. Estes studied Fine Art at the Art Institute of Chicago.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Since my first encounter with Kandinsky's art I was amazed by their complexity and always wondered about the creative and intellectual mind, which was responsible for them. The few books I managed to find on Kandinsky were extremely useful as they outlined his entire career and had a substantial amount of illustrations. There were also a number of websites available on the Internet, which contained critiques from other art historians, critics and fellow artists from around the world. But there is not a large number of his paintings available in Britain therefore could only experience his art at first hand on three occasions. If I were to attempt this coursework again I would perhaps try to widen my research by travelling outside of the U.K. and experiencing at first hand some of Kandinsky's more grand pieces, in order to fully feel their effects.
The painting has an order and there are different shapes and angles. Rectangular shape is main trend around this piece, including the wooden chest, the leg rest and the canvass. Also things overlap, creating the illusion of the shape look closer to viewer than the shape behind it. The example in this piece would be the chair on which Adelaide Labille Guiard sits be close to viewer than the girls behind it. This adds depth to the space. Also due to linear perspective girls behind the chair are smaller due to being farther away.
The artwork I chose for the art criticism project was ‘The Survivors’ by Kathe Kollwitz. The piece was created in 1923 in Berlin, Germany, where she resided with her husband. She and her husband resided in a poorer area, and it is believed to have contributed too much of her artwork style. ‘The Survivors’ is currently displayed in two museums, the MoMA and the Kathe Kollwitz Museum. In the piece there is a woman directly in the middle, with sunken in cheek bones is draped in a black cloak. Her arms are around three small children, who look very frightened. On each side of her body there are an additional four small children who convey sadness upon their innocent faces. Also, they are outstretching their arms as if they are begging for her to give them something. In the background, on the top left side, there are two elderly men with their heads down, looking as if they are very sad and
...tal aspects to understand who the female subject is. Miller doesn’t used repetition; in fact, he doesn't use geometric or organic shapes at all. The lack of the use of shapes and repetition mimics the way a woman would put on makeup. Typically, makeup isn’t put on in perfect shapes, much less organically shaped patterns. The impressionist style reflects the message of this painting more accurately than a more classical style, like Cenni’s, could.