Analysis of John Stuart Ingles painting, Still Life with Rose and View Art 105 Kyle Darnell Christopher Rogers 11-15-2015 John Stuart Ingle was born in Evansville, Indiana in 1933. He later moved to Arizona while his father fought in World War II. Ingle later attended the University of Arizona where he received a degree in Art. Ingle then traveled to Europe to pursue his art. He then married his wife Germaine, and they lived in Brussels for several years. In 1967, Ingle returned to the United States and furthered his Art degree at the University of Tucson. He then became a professor at the University of Minnesota- Morris where he was the professor of painting and drawing until 2003 (Obituary). Ingle was well …show more content…
The lighting on the painting emphasizes the antique glow the painting has. The natural colors and dull texture further elicit the antique feel of the wooden cabinet and drapery. The picture itself depicts a classic poem “Roses are Red, Violets are Blue” with both a rose and violet present within the painting. This again relates the painting to an older and more classical time. The cup also present on the cabinet could represent another part in the poem where it discusses “sugar is sweet.” The cup’s content very likely would have had a type of beverage that most generally required sugar, such as tea or coffee. Ingle, according to his colleagues and students, was an elegant man. He enjoyed gardening, fencing, horseback riding, and classical music and would often be seen wearing tweed. This could be reasoning behind the antique and classic finer things in life often depicted in his paintings. Because he was also apart of the photorealism movement, this painting could be a depiction of certain memories of his past (“Plaque”). The type of wood being portrayed for the cabinet could verily represent historical aspects of American history because dark mahogany was known as a native
The central focus on the table, in the painting, is what it appears to look like a book of Sor Juana. Sor Juana Inés de la Cruz, is a huge Mexican, feminist icon. During the seventeenth century, while the Spanish still occupied mexican territory, The catholic church had a significant amount of power. Sor Juana challenged the church by being a controversial figure at the time by her being a well-educated woman, nun, and poet/writer, during a time where men were
... the visitor. Conspicuous consumption is exemplified through this painting and the museum because it was basically all created by overbuying and greed. It can be said that the single very reason anybody sees that painting hung on the wall of a misfit room in a disorganized museum is only because of one man’s extreme case of money flaunting in an age where everything needed to be big and flashy. Also this painting was created smack dab in the middle of the Gilded Age. The painting itself has no direct connection to this era but it makes an argument for why the piece is hung in the museum.
The color on the floor are very different, she is holding a twig she look down. The style and dark background add to a sense of feeling. At the back of Virgin Mary, the closet was old but looks clean, with all the furnishing. The clothes they wear were very simplicity, with all the light colors. The mixed color of the curtain with all the stripe, the panel was almost certainly commissioned as a private devotional image , not as part of a large structure. This was one of the most celebrated masterpieces in the Robert Lehman Collection. Angel Mary wears yellow with pink apparel on the top, she looks very serious as she look at one perspective. The painter used rough brushes on the ground makes it more realistic. In the Sandro Botticelli painting, the window looks proportion, and the window illuminated the scene of the tree, with light blue and green. In addition, on the top of the ceiling, the light blue and yellow mixed fits perfectly, The characters are focused on one event, the body are proportional as the bend their knees. The deep background of the frame gives a sense of the perfect event. The way paint was applied on the thick, such as the curtain, and
Marisela Esteves creates a work of art directly influenced by silk garment and fabric dyeing. Her, Hollywood Home painting, essentially promotes the use of fiber, textiles, and color theory. Displayed at the top of the silk garment is a vibrant, bright color which represents saturation, it displays a background that is meant to stand out and create a dimension that is pulsing with energy and enthusiasm. The rusted, chipped, latte tan house that is centered in the middle of the silk fabric has distinguish features which embody the representational work. Starting, with the alloy orange angular tilted roof, that appear distorted, but is really an allusion of deception of depth is centered at the top of the house. Then, there is the latte tan house
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
This painting of the industrial revolution is very thought provoking, and causes a person to think about of what was happening during the industrial revolution. He shows the horrors of the factories and the serenity of the nature. He makes someone want to go back in time where things were peaceful, and there was just nature. Everything was in it’s own natural state and peaceful. This painting gave viewers a small glimpse into the past of the United States and the industrial revolution. Even though this picture showed a small glimpse of the past, a picture (or painting) is truly worth a thousand
The painting is a large painting it is almost five feet tall and four feet wide. It is an oil painting on traditional canvass. The color choice is very dark and gloomy. It serves the purpose of putting the viewer in a somber mood. From the first glance you can tell that this is a sad setting. To some viewers Ida might bring a feeling of disgust, however, after closer inspection of the painting, the inner beauty seeps out. The black backdrop works to bring Ida out to the viewer. The fact that Albright was able to take a young and pretty model, transform her into an almost “Walking Dead” type creation from his own mind, shows that Albright had a very creative mind. The patterns of the carpet, along with a tear in the fabric beneath the chair she sits on give the carpet a life of its own, distinct, yet worn from time and abuse, much like Ida herself. The texture of the vanity behind her is duller. He gives no real definition to the outline of the lower drawers, there was nothing in there of any significance, but it works as a great background for Ida's leg.
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
John Trudell was born in Ohama, Nebraska on february 15,1946 where he was raised in small towns in Northern Nebraska near the southeast corner of South Dakota. The tribe he associates himself with is the Santee Sioux tribe (Nichols). In 1963, John was 17 years old in high school when he was called up to the principals office and was told that he had a lot of potential but that he needed to study hard to make something of himself. John felt disrespected because he felt like he had already made something of himself so after he left the meeting, he dropped out of school and this is when he joins the U.S. Navy. He served during the early years of the Vietnam War until 1967, where he would then go to college at San Bernadino Valley College in San Bernardino, California to study radio and broadcasting (Nichols). Years after that he will become a Native American Activist while joining two organizations named The Indians of All Tribes and the American Indian Movement.
In this painting there is a strong presence of the color element. There is a strong contrast in lighting between the mother and child and the angels worshiping on the outside. The mother and child are painted in a vibrant pinkish rose hue while the surrounding angels are a slightly darker mix of green shades. The painting also offers a good variation of saturation when it comes to the fading yellow brick background. The pallets used
Artist Roy Lichtenstein was born in New York City in 1923. As a young boy Lichtenstein had a passion for science and comic books. In his mid- teens he found interest in art. He often took art classes as a teen and in
The surreal scene takes place in the early morning while the moon is still out. Heavy brush strokes and a limited color palette gives the painting a more abstract feel rather than a realistic one. The vastness of the early morning sky depicts a sense of grandeur and remarkable beauty. The light of the sun is just starting to creep over the mountain range in the distance. At the foot of those mountains is a sleepy little town. There is a little white chapel on the edge of town. You can almost hear the church bells ringing telling the townspeople it’s time to wake up. A few townspeople must have heard the bells because some of the little houses have candles burning
by his aunt Mimi after his parents divorced. He attended an art school after doing very poorly in all
This was an oil painting completed in 1881. This painting still remains to be the most popular work of art at The Phillips Collection. Renoir enjoyed painting busy scenes filled with people doing what they loved. In this painting the people are eating food, sipping wine, and mingling amongst each other. Upon looking at the painting our eyes go directly to the colors. Renoir used contrasts of colors such as deep blues, greens, and reds. There seems to be well thought out texture in the clothing of the people and in the background. The people all seem to be doing something, most are talking, and others are looking about. There seems to be a great deal of light coming from the opening in the background and sunlight beaming off the table. Renoir made sure there was a sense of movement, a way your eye follows the canvas. The brushstrokes seem to be heavy and thick with additional smaller ones to add composition. There is also a great sense of balance throughout the painting. A certain amount of people in the front of the canvas closely similar to the back of the canvas. This painting shows great deal of Impressionist style work. This is a scene from the modern life of some friends enjoying a Sunday
Virgin and Christ Child painting with St. Elizabeth, John the Baptist and two Angels is a painting by Rosso Fiorentino Giovanni Battista di Jacopo in Cinquecento, Italy. The painting is dated back in 1521. The painting is currently at Los Angeles County Museum of Art. The painting is made on an oil panel whose dimensions are 161.29 by 119.38 centimeters. The painting is available for public view at Ahmanson Building, third floor. Rosso Fiorentino painted asymmetrical and emotionally charged compositions. The painting is unfinished and its subject remains unknown.