On December 7, 2013, the MOMA museum exhibited The Mystery of the ordinary (1926-1938), famous art works of Rene Magritte. Magritte, Belgium’s only surrealist painter describes his works as “de-familiarizing the familiar”, taking everyday situations and tweaking them with a contrasting object. As soon as you step into the exhibit there is a 59 1/4" x 6’ 4 7/8" (150.4 x 195.2 cm) painting on a canvas. In oil paint, Magritte expresses what looks like a violent murder, as a naked dead woman disturbing the interior peace of a room. This sets a contradictory mood for the viewer as they continue observing each art work within the gallery. Walking through the exhibit you pass all sorts of people; from different backgrounds to different age groups, all unifying in conversation trying to interpret and comprehend the art. “I felt that the world. That life could be transformed and made more in keeping with thought and feeling”-Magritte.
“There exists a secret affinity between certain objects.”- The Secret Life of Objects. This two dimensional, 21 1/4 x 25 9/16" (54 x 65 cm) canvas, hangs in the wall of the exhibit. It was the most exquisite art work by Magritte. The artist takes a regular egg sitting on a table and gives it life in his painting. As if seeing the future, he paints the egg not as it is but as what it will become. In the painting is Magritte himself looking at the egg with this intensity trying to grasp
Rodriguez 2 every detail as if he were painting nothing more than what it is, however when you observe what he is tr...
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...e different art pieces throughout the gallery I felt a little overwhelmed because there were so many, and most of them were not easy to understand. The art works that had what appeared to be random and unrelated to the paintings bothered me because even though I spent time looking at them in different perspectives and reading the blurb about them I couldn’t understand them; for example the “Omnipotence of the dream”. Other than that I felt that I was constantly walking into different situations as I stared at different pieces. Like if I was present in each event, I think it had to do a lot with the size of the canvases and the light and shadow aspects that played a huge role in making the paintings look more realistic. To me personally I felt that Magritte was presenting the different life he can give each object to control the way the viewer perceives the painting.
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
..., the broader feel of the scene. He wants us to take in the entirety of the painting but have a moment to catch the individual scenes within it, like the couple dancing, the man in the corner rolling his cigar, or the women in the front talking to the man. We do get places where our eyes can rest, but in general your eye takes in the swirl of modern life and pleasure.
As I look at the painting of The Adoration of The Shepherds, two artists, Andrea Mantegna and El Greco, showed it different ways with same subjects. First, the title of the paintings is about Jesus's birth. Andrea mantegna artist had lived from ca 1430 to 1506. He established his reputation when he was 20 years old. This painting is the evident of his highly individual style. He worked it during ca 1451 to 1453. He painted it in horizontal format with 153/4x217/8(40x55.6). He used tempera on a canvas that transferred from a wood. In difference, El Greco(Spain 141-1641) worked it with oil color on canvas by vertical format. The size is 125 5/8x707/8(319x180cm). In Greco's painting, the objects are full on the canvas that big two angels and others are placed on top of the middle place, and the people are placed in triangle position based on the landscape. The landscape is very detail. The people I find it that Holy Maria is standing in the middle and the mountain is placed behind of Maria among the landscape things.
The Metropolitan Museum of Art came about as an idea from Jon Jay in Paris, France in 1866 with the idea of “national institution gallery of art” within the United States. Once this idea was proposed, it was immediately moved forward with his return to the United States. With the help of the Union League Club in NY they began to acquire civic leaders, businessmen, artists, and collectors who aided in the creation of the museum. For over 140 years, the visitors who go here have received everything the mission of the institution states.
The Whitney Museum of American Art has often been referred to a citadel of American Art, partially due to the museums façade, a striking granite building (Figure 1), designed by Bauhaus trained architect Marcel Breuer. The museum perpetuates this reference through its biennial review of contemporary American Art, which the Whitney has become most famous for. The biennial has become since its inception a measure of the state of contemporary art in America today.
As strolled through New York City?s Museum of Modern Art , one particular painting grabbed me , shook me , then through me to the ground to contemplate its awesome power. Like a whirlwind of art , Les Demoiselles d?Avignon , by Pablo Picasso , sent my emotions spinning. I felt extremely uncomfortable glancing at it , let alone staring at it closely for twenty minutes. The raw sexuality and tension that Les Demoiselles d?Avignon radiated was absolutely overwhelming yet very confusing. Other art lovers in the room also expressed discomfort as they glanced at the enormous 96x92 inch painting. Most people would only allow quick glances in between long stares at the more typical paintings on the other walls. I even heard one girl remark ?it?s so gross!!? in a nervous and uncertain voice. I had to know why Les Demoiselles d?Avignon was doing this to me and the others in the room.
With exhibitions of the most thought-provoking art, The Museum of Contemporary Art in Chicago is one of the Nation’s largest facilities devoted to the art of our time (“About the MCA”) . The mission of the MCA is to offer a direct experience to the public of modern day art and living artists. German architect Joseph Paul Kleihues designed the new building with seven times the square feet of its previous facility (“The Building”) . October of 1967 the museum opened its doors to the public for the first time. The Museum of Contemporary Art is a symbol of modern art, culture, and the artist of our time. It is a stepping stone in history and will leave footprints in the heart of Chicago for many generations to come.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
Items displayed in museums hold historical significance and are representative of society’s culture. Preserving valuable collections for education and enjoyment is a primary role of museums. While fulfilling this role, the architecture of the museum is also an important factor. Historical buildings are converted into museums and architects must consider the use of the space and the museum’s purpose during their initial design. Other museums are built with a clear purpose in mind. As museums are designed, many characteristics are determined. Display and storage spaces as well as visitor services impacts museum’s functionality. Based on the function of a museum, architectural requirements are different.
I first visited the Guggenheim Museum two weeks ago with Claus, my friend from Germany. We had the MOMA in mind but I guess talking, talking we must have passed it by. Half an hour from the MOMA we found ourselves in front of the Guggenheim, the astonishing white building that was Frank Lloyd Wright's last project. Why not? We said to ourselves. And so we walked right in.
Rene Magritte a Belgian surrealist artist created a painting of a pipe with the words “Ceci n’est pas une pipe” at the bottom. The phrase translates to “This is not a pipe.” The painting challenges the idea that a visual representation of something and a physical object are the same thing. The image is not a pipe, but a picture of a pipe. This paper will discuss three ideas on why people tend to believe the painting is in fact the same thing as a pipe. First, that reality is a social construct, then the idea of master vs. slave and finally the idea of bounded ethicality.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
“I had seen paintings before, but never so many” thinks Griet as she first enters (Chevalier 17). This is the first step in her awakening of artistic expression. Of course, Griet’s father was a tile painter so she has seen her fair share of paintings but not the amount or kind that is in this home. She sees a “picture of Christ on the Cross […] Christ had thrown his head back in pain, and Mary Magdalene’s eyes were rolling. I lay in bed gingerly […] every detail was fixed in my mind” (Chevalier 30). Griet is not used to seeing works of this intensity, especially religious ones, and is made uncomfortable by it. It depicts Jesus as he is being crucified, which disturbs her. As Brieber explains in his article, “context affects the experience of art, the amount of time people spend on art, and, in turn, that viewing time is related to art experience” (Brieber 7). Art experience is more than just first impressions; it is the amount of time one spends with the artwork and the context one comes from. Griet is at first shocked by the piece because of her background, adding to her art experience. Over time she may develop entirely different perceptions about the art around her, changing her artistic experience and
This exhibit was put on in a studio in Paris that was owned by the famous photographer Nadar and featured around 30 different Impressionist artists (Lewis 149). In the beginning of the impressionist 's “career” as impressionists, they were mocked and not always credited as real artists, but they accepted the name of Impressionist 's, turning the derogatory term into one to identify themselves with. The entire Impressionist art movement was “an unthinking form of naturalism” and also “… the fruitful renovation of the French schools…” (Lewis 23, 155). This oppression can be seen as synonymous with that of the actual oppressed people of France of which Karl Marx was calling to change their future. Impressionists took control of their own art and didn 't back down when mocked, they found the passion inside themselves. They were mocked since Impressionism was a shift of creativity that was now “…identified with the individual, not within the social…” (Lewis 26). When one looks at an impressionism painting from that period of time, the passion and emotions of the scene come through the painting causing the viewer to feel how the artist felt when they experienced this scene while painting
As I enter the Gioconda and Joseph King Gallery at the Norton Museum of Art the first thing that Caught my attention was a painting measuring approximately at 4 ft. by 10 ft. on the side wall in a well- light area. As I further examine the painting the first thing I notice is that it has super realism. It also has color, texture, implied space, stopped time, and that it is a representational piece. The foreign man sitting on the chair next to a bed has a disturbed look on his face and is deep into his own thoughts. It’s as if someone he loved dearly just experienced a tragic and untimely death. He is in early depression. I could feel the pain depicted in his eyes. A book titled The Unquiet Grave lying open on the floor by the unmade bed suggesting something is left unresolved. The scattered photos and papers by the bedside cause redintegration. The picture of Medusa’s head screaming on the headboard is a silent scream filled with anger and pain, yet it cannot be heard. I feel as if I am in the one sitting in the chair and I can feel the anger, and regret.