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Art history movement essays
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Art movements essay
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The twentieth century was the bloom of art movements in the Western Countries. The art community was gifted with the emergence of important figures and remarkable artworks that benchmarked the turning points in art history. However, in the spring garden of blossoming flowers, the complementing beauty of grass patches are often overlooked. Many failed to notice the art of the less developed country in the world, as these regions did not get as much coverage and chances to take part in the ‘happening’ in the center of art world then. Nevertheless, it does not mean that the artworks of these people were less prominent. On this occasion, I would like to shed a light on Balinese art and its revolutionary progression in the twentieth century.
Balinese art do not fall under the classification of Western art movements. As much as they do not qualify to fit into any of the style, it is more likely that Balinese art takes on different vision compared to those manifested by Western artists. This is due to the massive disparity in cultural background of the worlds. Furthermore, the original purpose of artwork produce also coined a contribution to native artists’ perception and illustration of aesthetical value.
Regardless to the later peaking popularity, the real beauty of Balinese art can never be fully understood without appreciating its historical and cultural influences. Complexity is a word that can describe Balinese art, as it was and still exhibit meticulous attention to minute details. Furthermore, Balinese art usually showcased odd and whimsical looking creatures along with this bizarre detailing technique. These elements of Balinese art were not only the proof of talent and creativity, but were also part of the narration and cultur...
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... of such influence in connection to the cultural and social context of Bali, thus creating a priceless peculiar originality that is still dynamic and innovative.
Works Cited
Bali Wood Resort. (n.d.). BaliKamasan: The Realm of Balinese Traditional and Classical Artforms. Retrieved May 30, 2014, from http://www.baliwoodresort.com/kamasanexhibition.htm
Belo, J. (1956). Balinese Village Art. Washington DC: Library of Congress.
Covarrubias, M., & Luce, C. B. (2006). Island of Bali. New York: Alfred A. Knopf. (Original work published 1937)
Höhn, K. D. (1997). Reflections of faith: the history of painting in Batuan 1834-1994. Netherlands: Pictures Publishers Art Books.
Mccauley, A. P., & Djelantik, A. A. (1988). Balinese Paintings. The Journal of Asian Studies, 47(4), 934.
Vickers, A. (2011). Balinese art: paintings and drawings of Bali, 1800-2010. Tokyo: Tuttle Pub.
I learned about many significant artwork and artist in this class. This class provided me with a better understanding of the history of the world Art, but also helped me understand the development of art style. However, among all of these precious pieces of artwork, there are two special ones that caught my attention: The Chinese Qin Terracotta Warriors and The Haniwa. Each of them represents the artist’s stylistic characteristics and cultural context. Although they represented different art of rulers, historical values, and scenes, there were visible similarities.
Art can mean many different things to many different people and was one of the earliest ways in which man has expressed him or herself to others, whether it was through cave drawings or hieroglyphics. It does not begin or end with just drawing or painting, items typically considered art, or the many other recognized facets of art including architecture, drama, literature, sculpting, and music. My research is based on Vincent van Gogh art, and two art paintings that I choose to study is The Starry Night, 1889, and the second art is The Sower 1888. Vincent van Gogh’s is known for Impressionism, that occurs to us in these times, much more to affirm close links with tradition, and to represent
The Editors of Encyclopædia Britannica. "Luminism (painting)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 31 Mar. 2014.
Kleiner, Fred. Gardner's Art Through the Ages: A Global History. International ed edition. Wadsworth, January 2008.
Stokstad, M., Michael, W. and Asher, M. F. (2010). Art History, Volume 1. California: Prentice
Sayre, H. M. (2010). A World of Art: Sixth Edition. In H. M. Sayre, A World of Art: Sixth Edition (pp. 511, 134, 29, 135, 152, 313-314, 132). Lake St., Upper Saddle River, NJ: Pearson Education, Inc.,.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Art is a very realistic aspect among the Native Americans. In fact, what we call primitive art is actually symbolic objects from the process of a sacred ceremony. This concept is one not easily understood. Furthermore, this concept by Sam Gill is explained in Native American Religions. Sam Gill shows that Native American Art is different in meaning because of its contents then what modern societies consider art. Nonliterate people produce objects of beauty through ceremonial performances and rituals that keeps the cosmos in order, while modern societies over look these factors.
Jarves, J (1984) A Glimpse at the Art of Japan Charles E. Tuttle, Tokyo, Japan.
The first art that interested me was the art of Indonesia which in this exhibit depicted the culture, history and art of Indonesian people. For instance, Bali a small island in the Indonesia valued most of its art based on the rich resources they occupied such as most art was composed of gold, diamond and sapphires which people of Bali believed that it will resemble their higher standards in the society. Art of Bali amazed me the most when it came to their “King’s crown” and “Queen’s crown” which was completely “fashioned in pure gold with diamonds, rubies, and sapphires” (Bali). The king’s crown was much simpler compare to queen’s crown which contained many varied of gold decorative that looked like gold flowers, and all of its designs such as rubies or sapphires were perfectly horizontally lined to each other that sort of depicted as a shiny necklace. The Bali’s art that I observed was very interesting know about the society they lived in those centuries with representation of their upscale society (Bali).
Trans. By Donald Richie. Yale University Press, 1972. Kincaid, Mrs. Paul, Japanese Garden and Floral Art. New York: Hearthside Press, Inc., 1966.
Kasfir, S. L. (2007) African Art and the Colonial Encounter: Inventing a Global Commodity, Bloomington: Indiana University Press.
The first time I came across Wayang Kulit, its ghostly forms left a lasting impression on me. At a time when animation is exploring unparalleled new arenas of realism, it is amazing that these comparatively simple, silhouetted puppets were able to be so memorable. As I delved into my research on this subject matter, I found that this ancient Indonesian art form has transformed and been transformed by the various cultures it touches. At the same time, however, the decline in popularity of this art form among Indonesians has traditionalists worried. In a shrinking world, the threat of uniformity and the diminishing interest in cultural forms worries everyone. People are starting to move out of rural areas into city blocks, which in some urban areas are indistinguishable from those on the other side of the world. People watch the same TV shows, and read the same information online. Diverse belief systems are being replace with science. As cultures being to learn about each other, to learn to live together and to relate to one another, they also have the potential to sacrifice what makes them unique. So, where is the place for wayang in a world that is growing increasingly small?
Subsequent to the study of different philosophies of art, as well as completing projects asking for personal preference in art as well as objective “fine art,” a personal philosophy may, by necessity, include subjective and objective facets. In determining what fine art is, the quality of universality is important. There also does not have to be a traditional presentation of beauty for a work of art to be fine art. Contrary to R. G. Collingwood’s philosophy, for fine art the culture and setting in which art is created should not matter, because if art is universal and timeless, meaning endures outside of where and when it was created. Evaluation of art can be subjective, but fine art is universally appreciated regardless of understanding background,
The term “Filipino artist” is taken literally in this paper in the context that “Filipinos are the cumulative result of their past history”, meaning that we are the product of our colorful past dating from our indigenous ancestors to the Spanish regime and the American influence to our culture, and “artists including all creative people such as painters, poets, dramatists, cinema directors, and other creative types”, implying that artists are those people who craft objects of beauty as a result of their own self.