This 11th-15th century Chimu Vessel found at the Minneapolis Institute of Art, is thought to be a depiction of their Corn God. The Chimu people were located in Peru, and were eventually taken over by the Inca empire. This ceramic piece is small, standing at only eight inches tall. The vessel depicts a person, assumed to be a god, surrounded by some sort of plants, that seem to be corn. Even though this piece is fairly old, the craftsman was probably thinking about the same elements and principles of art that are still commonly used by most of the artists today. This piece uses movement, texture, and symmetry to create a well balanced and unified piece of artwork. Movement is used in this piece by having two holes placed above the head …show more content…
There is a simple, smooth texture near the top, but at the bottom is where it becomes more interesting. The corn near the bottom of the piece is made up of a bunch of small, protruding circles. This can either be seen as corn kernels or the corn husk. Either way, this texture helps the viewer understand that the main figure is surrounded by corn, which helps tell the story of what he is doing in this situation. Corn was very commonly grown in the area and was considered sacred, so it makes sense that this is what is being …show more content…
It also shows the god-like appearance of the figure in the piece. It takes much more skill to create a symmetric piece than a piece without symmetry, due to the fact that you have to recreate the same forms on either side of the piece. This is simple in the digital days of today, but back when everything was made by hand this was much more difficult to pull off. The symmetry in the figure gives him balance, and makes him more noticeable as a god. Even today symmetric faces are usually seen as more attractive. This was also noted back when this piece was created and since they wanted their gods to be perfect forms they would make them symmetric. These aspects of the piece all work together to create unity and balance in the piece. Balance is noticeably seen since the piece is symmetric. There is equal weight and mark making on either side of the piece because of this symmetry. The movement and texture make the piece feel unified. There are multiple areas that lead your eyes around the piece, so you don’t focus on one area for too long. There are also common marks, the texture of the corn for example, found in large areas of the piece. These both make every aspect of the piece seem to all fit together, and nothing seems out of place in the
The colors used in the painting are dark and some parts bright illustrating a focal point being the skull in the center as well as the quill, both surrounded by darker colors in comparison.
The black background contrast with the predominate colors of blue and red gives these colors intensity. The red and green are complementary colors that give the painting visual appeal. The green juxtapose above the blue and red gives the artwork color balance as well as implies a triangular shape. The triangular shape and pattern is repeated throughout the painting by; the bend of the flute player's elbow, the head and shoulders of the guitar player, the head and shoulders of the lady whose back is to the viewer, the body of the guitars and the location of the three right-most musicians
When visiting the McKissick Museum I was engrossed by the American Folk Art, ceramic Face Jugs, also known as ugly or grotesque jugs. There are gaps in the history in regards to how the face jugs were made, what they were used for, and the meaning of the face vessel pottery. However it is believed that these vessels were original, useful, creative expressions of the African slave culture of the time created as early as the seventeenth century. Few artists of face jugs have been identified and their inspirations for producing the vessels are not completely known. According to Hirst, it is believed that this art form originated in Edgefield County South Carolina, from African slaves who worked on the plantations as potters. They worked on these jugs after work and it’s believed that they were a product of the heritage and tradition from Africa and held a spiritual connection for the potters. Hirst also stated that, Dave Drake, a slave and employee of a pottery factory is the only known producer to ever be allowed to sign and put the date of manufacture on some of his face jug work.
The most emphasized part of this image is the man lying on top of the child and leaning against the bed, part of the body being directly in the center and seems to take up the most space, this is where the eye tends to linger. The negative space is made interesting by including a turned over chair, and rumpled sheets on a bed and other homely objects, which indicates that this is set in a home. The contrast that is shown in this artwork is through the use of value since Daumier used implied light, the brighter and darker areas create a contrast against each other. While this piece is not symmetrically balanced, it is balanced asymmetrically. It is asymmetrically balanced through a man and most of a bed being placed in the center, on the right is a small child, the upper torso of an older looking man, a chair next to him, and the rest of the bed; on the left of the man is most of what seems to be a woman, and other less detailed furniture. There is a sense of repetition through the positive shapes of the people lying on the floor, this is also shown through the use of line that creates the entire lithograph. This provides a sense of cohesiveness and unity throughout the
Sculpturing is all about expression, as the image form has depth as well as width and height; three-dimensional display. Deborah's innovative and intellectual ideas are seen in the horse with its pose and energy; alert and ready to react to whatever comes its way. The form is organized to create the image; each branch represents a part of the horse's physique.
The original design was done by Barbara on a piece of cardboard and later ones were hand painted on pieces of stiff canvas. The design is representative of several aspects of the Quapaw culture. Including; the four eagle feathers that represent the cardinal points of the land and the eagle is very sacred to the Quapaw people as it flies highest in the sky and closest to the creator. The red and blue colors of the background are representative of blankets used in Native American Church worship, and the word O-Gah-Pah is how people say the word Quapaw in our
There is a lot of repetition of the vertical lines of the forest in the background of the painting, these vertical lines draw the eye up into the clouds and the sky. These repeated vertical lines contrast harshly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, is quite static and flat, whereas the foreground and middle ground of the painting have quite a lot of depth. This static effect is made up for in the immaculate amount of d...
This piece is acrylic, oilstick, and spray paint on wood panel that is 186.1 centimeters in height and 125.1 centimeters in width. This piece features a human-like figure in the center that is mostly half red and half black. This figure has a gray head with one yellow eye and one light gray eye and above its head is a black halo. The background consists of patches of various colors such as light blue, black, dark red, light green, beige, turquoise, pink, and yellow. On the bottle left corner there is a figure drawn that looks like a fish and has a strip of mustard yellow painted through it. Also towards the bottom right of the artwork, there is some drawn on letters that almost look like words but are messily painted over with a desert sand color. This piece is my favorite because I find it aesthetically pleasing. There is a lot going on in this piece that makes looking at it genuinely interesting. The colors that Basquiat choses for the background go very well together and overall compliment the figure in the center. I like how incredibly expressive this piece is and it makes me want to buy a canvas and start painting that I desire. I also like how the human-like figure is drawn. One could see what looks like an outlined ribcage on the figure, which makes me believe that the head is actually a skull. Upon further research I learned that Basquiat was
The cultura madre civilization of the Olmec is characterized by its primitive and eccentric works of art, such as that of the Kunz Axe. Comparable to the Ceremonial Axes, the Were-Jaguar masks are found all over the gulf coast of Mexico, and both works can be easily discerned by their carvings from jade, almond eyes, human and man-jaguar style, deformations, and clefts. Themes of Maize and the Were-Jaguar are also prominent within this Olmec civilization, so we can see how the Were-Jaguar figure and the Kunz are greatly associated. All of these similar attributes, which are Olmec-specific, enable us to compare Olmec art to the art of the Aztecs through figures like the Coyolxauhqui Effigy Mask. Museums such as the J. Paul Getty Museum take
This cult statue represents the Anatolian mother goddess Cybele, one of the many Roman goddesses as for Roman religion was polytheistic. Cybele was introduced later in Rome, during the second Punic War in the late third century and lingered on still beloved until early christian times. Unlike many deities of this time period who were present but not recognized, Cybele had been given rites as part of the official recognition of state, being a goddess whom was even worshipped in private ministries. She had even been given a temple on the Palatine Hill, one of Rome's most sacred spots. Her followers mainly women and farmers knew her as the goddess of untamed nature, fertility and protection in war. In this particular piece, when examining Cybele closely you can notice she is wearing a chiton, a crown, a veil or cloak of a sort that overlays the crown, and has pierced ears, though no actual earrings as for most of this piece is no longer here. Her crown is square like, in the effort to symbolize fortress walls as she is a protector of the
She looks like she is balancing all her weight on the top of the harp. There is also the use of symmetrical balance. The way the woman and harp are placed gives a visual symmetry to the piece. The horizontal balance is also visually apparent. The woman and harp are placed exactly in the middle of the painting and the space above and below them are also of equal distance giving a nice vertical balance as well. The focal point the painting is the woman. The use of colors, brightness, and the position she is in puts her at the forefront of the painting. The eye is immediately drawn to her. There is a natural rhythm to the painting as well. Sully does not use a lot of variance in patterns or colors to this piece, so the rhythm flows well. Everything in the painting appears to be of a regular scale and proportion. Nothing seems too large or to small in contract to each other. Overall the painting has a nice design that is pleasing to the
The overall appearance of the table and chairs shows a rectangular shape with very definitive, sharp vertical and horizontal presence. The piece plays with your eyes as it takes you upward and then back horizontally. It is like its breathing up and then across. The thick lines of the table hang strongly over the edges at each end. These strong line reinforce the supports at each corner crossing pillars which appear to be holding up the tabletop. When you look below you see four base pedestals which also support the tabletop and they are placed at angles, which I believe is just to skew your eyes to the overall straight lines the piece eludes at first glance. But when you look at the details of the banding at the base of each leg and support you are tied together again visually by the base ribbon created about the bottom of the piece which ties it all together. Further, at the top of the piece the tops of the chairs equates to the tops of the square portion of the light fixtures at each corner. On purpose there is this line created visually to tie the piece together. It creates a visual circular pattern around the entire 'rectangular' table. You see this on the base and the top of the piece as well as at all angles you look at this table and chairs. There is a sense of unity that just brings you around and around the table and chairs. The unity of this band draws you into the intimacy of the piece. It envelopes a sense of security, drawing you in as if you are a part of the furniture itself
The artist was able to emphasis the frog by using color and space. The background was in the color black while the frog was in a vibrant color of green with a hint of yellow. Moreover, the colors used in the drawing gave the frog a realistic look, which brought more emphasis to it. Another element that was used was space. The frog was big and at the center of the piece of artwork, while the green spots were small. Also, since there was a lot of negative space in the drawing, it emphasized the green frog. Another principle of design that was included was harmony. Harmony was created with shape and color. Around the frog were oval shaped spots that formed a big oval. This created harmony because it brought everything together. Without the oval shaped spots, it would be a frog in a black background and that would be very striking. With the spots, the frog and the background seem to go well with each other. Another way harmony was created was color. Since the frog and the oval shaped spots were both green, the viewer would be able to see the accordance within
Overall the artist does make a unified scene in this composition. Birch used these principals of design to make his composition more effective like balance, movement, repetition and unity. The composition seems balanced because most of the subjects in the painting are all equally distributed and proportioned.
Each drawing. Each painting. Each sculpture. It can give you a glimpse of what is going on in the artist’s head. Take the painting “El Autobus” by Frida Kahlo as an example. It has been said that the painting is in reference of the accident Frida Kahlo had where she got impaled by a metal handrail. The painting is of a bench with people sitting on it just before boarding the bus. This kind of artwork, where the artist puts a little bit of him/her self in it is something I strive for. I want to make art that reflects me, or that means something to me. I don’t want to make something just because, I want it to be where the viewer could possibly see the hard work, the passion, the emotion behind it. Things that most times get