Discussion on Bond of Union Lithograph Painting
M.C. Escher was born in June 1898 to March 1972. He was a Dutch
Graphic Artist most recognized for his repeating geometric patterns
(tessellations) and incredible technique for illusions. He was studied
and greatly appreciated by respected mathematicians and scientists yet
he had no formal training in math or science. All of his work requires
more than just a quick glance as you never know what you might miss
the first time around. He is one of America's top selling artists.
M.C. Escher's talent is obvious and unquestioned. In M.C. Escher's
Bond of Union artwork, it not only tells a story, they pull the viewer
into the emotional life of M.C. Escher creation.
The painting is called 'Bond of Union' by M. C Escher. The painting
was set in the surrealism movement.
The painting is of two people, but is distorted as if the face was a
orange peel. It doesn't seem ralistic but more futuristic and surreal,
because the faces seem simple, but more robotic in some way and the
floating spheres make it seem more futuristic. The painting could tell
a story, But it makes the viewer really think as to what they are
looking at, as the paintings meaning is not straight forward and could
confuse the viewer. The painting is more about the shapes and patterns
it forms, rather than the colour as the painting is only black a white
and doesn't use colour to express its emotions. It could be something
frpm imagination or a type of illusion. It is hard to define what kind
of mood it gives, because theres no colour to the painting and the
faces of the two people, doesn't really show any expression, they just
seem neutral, but more happy than sad. The painting itself, to me,
seems very unusual and bizarre as the the painting doesn't show a
background or layout of where the painting is set in, but the objects
of the painting seem to be floating in mid-air somwhere. The painting
is detailed mainly on the facial features and the tonal balance, but
The double Portrait ( Happy Birthday, Dear Eshter) was created by Abraham Rattner in1974. It’s an oil paint on Masonite and the size of artwork is 29.5 x 28 in. This painting has two figures who are Rattner’s second wife, Eshter and Rattner himself. The scene is Rattner is painting the portrait of Eshter and Rattner, himself is half of the paining. Rattner is stadning foreground. He is holding paint pallet by left hand and he is facing sideway. Eshter is painted in the painting frame, thus she is a kind of slightly background position. This was a part of her birthday gift from Rattner. The year painted for this double portrait was their 25th wedding anniversary after they married in 1949 and he was 81 years old. He painted on Masonite which is made from a mixture of wood fibers that have been broken down and molded into a board using heat, pressure and the natural adhesion
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
The Madonna and Child, created by Cenni di Francesco di Ser Cenni between 1410 and 1415, is an iconographic painting of the Virgin Mary (left) and a chubby baby Jesus (right). The panel is painted with tempera and the halos around Mary’s and Jesus’s heads are made from goldleaf. La Toilette, painted by Richard Miller in 1910, is an Impressionist painting of a woman putting on her make up. He uses this subject to compare putting on makeup to applying oil paint on a canvas. In order to create the desired impact on the viewer of their paintings, Cenni and Miller use similar stylistic techniques to portray their female subjects.
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
Perhaps this is a direct response to the eroticization of owning a painting produced by a woman; the representation’s realism prevents the presumably male audience from viewing her face in entirety. Her body is shown in action and foreshortened, removing any possibility for it to be compared to the perfectly proportioned female figures so often used to
The Crucifixion artist is unknown. The time of the painting is circa 1170. In this painting it involved a main person of interest who is said to be Jesus Christ being crucified on a cross. There are two people on the side of him. The person on the left is said to be stabbing him with a lance while the person on the right is offering a sponge soaked in vinegar. The person on the far left is Mary and on the opposite side of her is Saint John and those two are said to be mourning Jesus’ death. The semi circles rights besides the arms of the cross are Life; the one on the left personified as a young woman and the right is death appearing as a demon. It isn’t certain what the bottom and the top of the painting represents, maybe heaven and hell?
Another painting by Kiefer is Deutschlands Geistesbelden or in English Germany’s Spiritual Heroes. He uses bi-lateral symmetry. Each side of the hallway has the same amount of support beams and a large dish filled with some type of kerosene or oil that is burning on each beam. Under each candle there is a name written in black paint, and maybe these are the German Spiritual Heroes. The flaming dishes run all the way down the hallway and it leads to a door. The door that the hallway leads to is the center of the painting.
"Girl Before the Mirror" is created in 1932 and it is said that the girl in the painting is his at the time girl friend Marie Therese Walter. No matter who is drawn in...
At first glance the painting contains images of American television and movie icons on the left and various Muslims on the right. The left imagery includes Fonzie, Robocop, Mr. T and Waldo, many of whom were idolized during their TV and movie
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
The Arnolfini Double Portrait was dated 1434, and was likely completed in the same year. The medium for the painting was oil paint on oak panel, and is one of the few surviving panels from fifteenth century northern Europe. While the identity of the sitters for the painting is still a subject of debate amongst scholars, it is typically accepted that the male subject is Giovanni Arnolfini and the female subject was his wife. After all, Arnolfini was a successful Italian merchant with the means to commission such a painting, and was later used as a sitter for another of Van Eyck’s painting. The general consensus in the ...
Throughout history different artists have practiced the art of portraiture. These are expressed in different ways due to the different time periods, history and cultural backgrounds. These artists ‘Frida Kahlo’ and ‘Pablo Picasso have shown the art of portraits as there know way.
Arnolfini Double Portrait was painted in 1434, by Jan van Eyck; who hard already gained attention and admiration through earlier works, such as the Ghent Altarpiece. The subject of Arnolfini Double Portrait, also known as The Arnolfini Portrait, is the italian merchant Giovanni Di Nicolao Arnolfini and his first wife inside of a room filled with objects teeming with symbolism. The depth is divided into a familiar three layers, a foreground, which is composed of a dog and a pair of sandals; a middle ground which features the two main subjects of the painting; and background, which contains the rest of the objects in the painting. The painting is symmetrical and the vanishing point is not far from the center of the painting along the horizontal. The paining is filled with symbolism and items meant to portray the subjects' distinguished lifestyle. Although, what some of the objects actually symbolize can be interpreted in slightly varying ways. To begin, many of the ob...
The painting are from two different time periods. Abaporu dates from 1928. The name of the artist is Tarsila do Amaral from Brazil. The painting is oil on canvas. Portrait of a Lady dates from 1490 by Domenico Ghirlandaio from Italy. Portrait of a Lady is tempera and oil on panel.
There are five long oval shaped figures which one could assume were 'masks' from the implying title of the painting. The masks, which all differ in size and shape, are displayed asymmetrically throughout the composition. One could instantly notice the negative space which fills the bottom left corner of the painting. It also occupies the space around the masks, as well as the holes in the e...