In what ways do formal qualities used in Nina Zur’s artworks enhance the idea of transition?
Exam session: May 2015
Subject registered in: Visual Art
Candidate name: Darina Sokolova
Candidate number:
Word count: 3226
Abstract This essay is about how formal qualities enhance the idea of transition in Nina Zur’s artworks. Nina Zur is a Russian artist specializing in figurative and naturalistic works with a high degree of detail It is focusing on four artworks of the same artist that were produced in the same time period and style. Interestingly there works are very different from the usual style of the artist and they all share the same idea of transition. It is present in all of the works, but ways of communication in those
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Triptych «Life is a road»
Zur, Nina. Life Is a Road. N.d. Oil on Canvas. Vienna. 60x70 80x70 60x70 cm
A triptych «Life is a road» represents the idea of transition already by its meaning, because the word road itself is a symbol of travelling and transition. A road goes on for a very long time as well the life does. The title compares a road with a life, because in this particular context they have the same meanings. They are both unpredictable as well as they constantly change. Life of a person goes through different phases that change the personality and the perception of the world. This artwork portrays a figure that is very blurred as the surroundings are. It looks like a figure is crossing a border between two worlds, it seems as if the person who is crossing it changes as well as the surroundings. The person is like a chameleon who changes depending on the surrounding and the
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. “An Unexpected Appearance” is a late evening raining scenario, an ordinary street with cars parked. As the title says, there is something unexpected happening. A golden, glowing silhouette of a woman appears to be moving and the windows on the house reflect the light emitted by the silhouette. The entire painting is painted in a blurry way; there are barely any crisp lines. This is something that a person with bad vision would see without glasses. Also there is an impression that the blurriness is caused by the silhouette, because it takes away all of the energy from the surroundings. One point perspective enhances the silhouette, by drawing attention to it. Also the viewer gets a feeling as if he or she were just about to step into the painting. One point perspective is essential to this composition, because it creates an illusion of a never-ending road, it even seems like a labyrinth, because all of the houses look very similar as well as cars
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Subject: Our docent, Mary, shared with us that this artist loved to paint the human body and was well known for his painting of the human body and skin. This piece certainly highlights those skills. The colors of the hair and skin are incredibly life like.
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
Eric Fishl’s Scarsdale is a painting that is done on three canvases. When placed together, they appear to make one whole picture. The focal point of the painting is the woman, dressed in a white gown and veil. It appears that she is wearing a wedding dress, since the dress is white and includes a veil. To the left is a cat and to the right is a dog. The woman represents the focal point, not only because she is the largest figure in the painting, but also because everything else is slightly in darkness. Fischl’s cat and dog can only be made out if one looks at the painting carefully. Fischl also paints the woman so that she almost appears to be floating in air. One can see that she is sitting on a chair, but the dog is directly under her, and he does not really use perspective to make it clear that the woman is not floating in midair.
As the German painter and sculptor, Kathe Kollwitz conveyed in her statement that the art she created held the burden of transfiguration. The fixation of sorrow and hardship that occurred while she sat huddled with the children was the driving force of her drawings. Her realization that art could not only be an escape from the horror happenings in Germany such as the rationing of food and the starving-to-death children at that time was also a way to voice her opinion of change and revolution. It was the quest, in which she enamored in her drawings and it is this feeling that I value from it. I choose this artist because she delineated the various circumstances surrounding the human individual, she took into account perspectives that involved life with its tragedies, and the lives of little angel children. Her drawings and sculptures were prepared to emulate and capture what her eyes had seen while she was in Germany and this is why I had taken a likening to her drawings. The two artworks that I am specifying in this research paper is the drawing labeled “Germany's children starve!” and”Self-Portrait, Hand at the Forehead (Selbstbildnis mit der Hand an der Stirn)”.
The state of Florida defines secondary transition as “Secondary transition refers to the process a student with a disability goes through as they move from high school to whatever comes next, including postsecondary education, employment and independent living. “Secondary transition is the process that provides students with special education services for post-school living. The services are provided by the IEP team in partnership with the student and family during the ages of 14 through 21 and sometimes even younger. The areas of service that can be provided to the student include instruction (classes), community involvements opportunities, an employment and post-school adult living plan, and learning living skills and vocational skills when
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
As might be expected of one of her background and artistic gifts it is in the Part Three "The Guide" we see poetic, rhythmic and musical qualities at its best. She uses words with a keen sense of their rhythmic and musical potentialities: her style is richly figurative.
... though employing a familiar subject (the female form), shows the transformation from busy mosaics with gold embellishments to a brighter palate of colors and the use of stronger, bolder lines. The piece exemplifies his versatility as an artist.
Introduction Upon my first encounter with Kandinsky's painting, my eyes and indeed my mind were overcome with a sense of puzzlement, as it seemed impossible to decipher what lay beneath his passionate use of colour and distorted forms. Kandinsky hoped by freeing colour from its representational restrictions, it, like music could conjure up a series of emotions in the soul of viewer, reinforced by corresponding forms. Throughout this essay, I will follow Kandinsky's quest for a pure, abstract art and attempt to determine whether his passionate belief in this spiritual art and his theories on its effects on the soul, can truly be felt and appreciated by the average viewer, who at first glance would most likely view Kandinsky's paintings as simply abstract. Kandinsky was indeed a visionary, an artist who through his theoretical ideas of creating a new pictorial language sought to revolutionize the art of the twentieth-century. Regarded as the founder of abstract painting, he broke free from arts traditional limitations and invented the first painting for paintings sake, whereby the dissolution of the object and subsequent promotion of colour and form became means of expression in their own right.
Life is a journey, a cycle. We start somewhere and end somewhere, we are on a round trip. We experience different seasons and grow both physically and mentally. But some point in life all of us realize that we want last, live forever. From a very early age on we are being told that we all one day will pass away and be buried in the ground. The short story:”A Journey”, written by Colm Tóibin, takes us on a journey together with a young boy called David and his mother Mary.
This paper will explore Vladimir Tatlin and Naum Gabo's differences in the role of the Avant-Garde artists and how their beliefs influence the kind of work they produce. A pioneer of Russian design, Vladimir Tatlin is a representative of Russian Realism. He left home when he was fifteen and served on the shipboard. When he became a painter, he often represented sailors in his pictures. Art and culture in Russia after Revolution was a tool for creating industrially aesthetic reality.
The contrasts between depth and surface, figure and landscape, promiscuity and modesty, beauty and vulgarity all present themselves in de Kooning’s Woman and Bicycle. Although the figure is a seemingly normal woman out for an afternoon with her bike, she becomes so much more through the artist’s use of color, contrast, and composition. The exotic nature of woman presents itself in her direct stare and slick buxom breasts in spite of a nearly indiscernible figure. It is understood that, on the whole, de Kooning did not paint with a purpose in mind, but rather as an opportunity to create an experience, however, that does not go to say that there isn’t some meaning that can come of this work. Even Willem de Kooning once said that art is not everything that is in it, but what you can take out of it (Hess p.144).
Russian Avant-Garde was born at the start of the 20th century out of intellectual and cultural turmoil. Through the analysis of artworks by Aleksandr Rodchenko and El Lissitzky, this essay attempts to explore the freedom experienced by artists after the Russian Revolution in 1917. This avant-garde movement was among the boldest and most advanced in Europe. It signified for many artists an end to the past academic conventions as they began to experiment with the notions of space, following the basic elements of colour, shape and line. They strove for a utopian existence for all, benefited by and inspired through the art they created.