As you walk into the Los Angeles County Museum of Arts (LACMA), the sheer amount of paintings to view can be overwhelming but each is a masterpiece of its own as you pass by each art frame by frame from all different time. Francois Boucher, one of the greatest artist in the 18th century, was born in Paris, France on 1703 and later died on May 30th 1770. A painting that stands out is the Monument to Mignard, a painting Francois Boucher created around 1735 using oil on canvas with the dimensions of 28 ½ x 22 5/8 in. (72.39 x 57.47 cm). The Monument to Mignard has a lot of visual elements as you take a closer look and with imagination; people can conjure up the content of this masterpiece. The artwork is very interesting as the painting is very detailed and have a strong sense of symbolism behind the center piece. The content of the Monument to Mignard can be looked at a grieving woman thinking about her husband on a platform of a monument. There is two cupids grieving to the left of the man and in front of the woman. One cupid sitting on the edge of the platform clutching a dead bird on its arm, symbolizing that there is death between the two lovers. The other cupid that is standing up crying holding its right hand against the side of the man, which symbolize that the man has passed away and not among the living. There is an angel looking down at the vicinity of the man, woman, and the two cupids. The angel himself could be the angel of death, which takes the dead to heaven. The painting takes place inside building that is probably around the roman era because of the perfect arches and their integration of the Greek Doric columns. There is a total of eight columns, four on each side that supports the arch in the upper middle par... ... middle of paper ... ...tion of the monument. The person can clearly see that the angel is looking directly down towards the man, in thus making the man as the implied shape of the Monument to Mignard painting. The Monument to Mignard by François Boucher is a great painting to admire because the contents and symbolism an individual can conjure. The painting is very detailed and will astonish some of how much more detail can be seen as one looks at it closer in person. Visiting the Los Angeles County Museum (LACMA) at first can be overwhelming because of the amount of art that is available but as one looks around, a painting or a piece of art will demand more attention just like the Monument to Mignard had demanded my attention. It is a painting definitely worth seeing when visiting the Los Angeles County Museum (LACMA) and a painting worth calling an excellent work of art, a masterpiece.
I found the photography piece “From the Road to Tepeyac,” by Alinka Echeverria intriguing. This photography piece was a man kneeling down with a sculpture tied to his back. The woman in the statue had a green flag with multiple stars draped around her. This woman appeared to be the Virgin Mary. Underneath the Virgin Mary was an angel with green, white and red wings. The colors on the flag around the Virgin Mary and the angel’s wings represent Mexico. Also, the stars on the flag present the repetition constructed in this photography piece. There is no physical line for the foreground; however, this piece directs the eye from one point to another by implication. When I first saw this photography piece, I questioned why the statue of the Virgin Mary and an angel were on the man’s back. I realized the Virgin Mary and ...
He also illustrates principles of design. If you were to place a vertical line on the picture plane the two sides would balance each other out. The painting can also be divided half horizontally by the implied divisional line above the horses head and the sword of the man who St. Dominic has brought back to life. Contour horizontal lines that give the expression that the dead man on the ground is sliding out of the picture plane, and dominate the bottom of the painting. On the top of the picture plane, behind the spectators is the brightest intermediate color, which is red orange that gives the impression of a sunrise.
First, the size of the painting drew me in before all. It measures at 339.1 by 199.5 cm, surrounded by a large golden frame. The size alone is enough to bring in any person passing by. Once getting close, the really wonder happened. The story told by the painting
The Los Angeles County Museum of Art, or LACMA as it is commonly known, is among the world’s largest art collections in North America, and to be specific enough the most prevalent artwork in the western United States (Compton 165). This massive art museum has a collection of over 100,000 artworks, which extends from the ancient times to present days (Gilbert and Mills 174). These collections, which are mainly from Asia, Africa, Europe, Latin-America and America itself, are grouped into several departments within the museums buildings, depending on the region, culture, media, and time period. This paper analyzes the different genres of art and explains the main features that make the Islamic artworks distinguish themselves as historic masterpieces, by using stylistic and interpretive analysis methods.
This sculpture is quite spectacular. According to the display plaque, the sculpture shows four events happening all at once. On the far left is St. Peter who has just cut off the ear of Malchus (the servant of the high priest and seated in front of St. Peter) is "sheathing" his sword. He seems to be very content with what he has just done, but then if you look closely at the right side of Malchus' head, you can see a hand holding his ear. That seems to be Ch...
Both of these pieces of art have much in common. Their functions are almost identical. Both were used to mark burial sites and to honor the deceased buried there. The body language of both the pieces’ figures are similar, with one seated and several others standing around them. Neither has color, but unlike the grave stele, the funerary banquet does show some degree of emotion. The figures in the banquet scene have slight smiles. These pieces played an important role in their times, honoring those who had passed on to the afterlife. For both of these people, it was important to memorialize them very similar to our practices today.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
I went to the Gorman Museum on Sunday to check out the artwork for this assignment. Initially, I was expecting like the Crocker Art Museum in Sacramento with many mediums of artworks such as sculpture, oil paintings, water paintings, etc. When I got there, it was a small room. Perhaps, a bit spacious than a single car garage. There are handful of different artworks and there were a few that caught my attention.
Leniaud, Jean-Michel and Francoise Perrot. The Sainte Chapelle. Paris: Centre des monuments nationaux, 2007. Print .
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
From the bottom of the angel’s right leg is a vine that curves in. Next to it is another vine curving in creating symmetry for the figure between them. Above and between the vines is a head of an elderly man. The elderly man has facial hair that resembles leaves and the expression of his face is lively and vibrant. On top of his head seems to be a basket filled with bread and a vine of grapes on each side of the
To his dismay, he is unimpressed, accusing the old man, “who looked more like a huge decrepit hen,” (Marquez, 2) as imposturous. This statement suggests the appearance of the “angel” was the least of what the priest had expected. To him, “…nothing about [the old man] measured up to the proud dignity of angels,” (Marquez, 2), as he surveyed the worn and grimy feathers of the old man’s wings. He concluded “that if wings were not the essential element in determining the difference between a hawk and an airplane, they were even less so in the recognition of angels,” (Marquez, 3). In conclusion, the priest supposes that the old man is rather a fake than what he'd believed real angels
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
The piece was built around the love story of Cupid and Psyche and the moment when love overpowered everything, even death. In the sculpture, Canova captures two sides of love; its incredible strength and its fragility and tenderness. The power of love is displayed through the base, the position of the couple, and the body language of the figures. The base of the sculpture is a rock, a solid, unbreakable form. The couple, placed on the rock, is positioned in a pyramid, one of the sturdiest structures. Psyche’s figure appears to be weak, but Cupid, though he has no defined muscles, has an athletic build. Theirs arms are an excellent example of strength as they surround each other in a firm embrace. Cupid’s arms hold the majority of Psyche’s weight as he pulls her toward his body and Psyche’s arms are firm as she wraps them around Cupid’s head. The strength of love in this sculpture is not found in the visible fitness of the couple, but in their actions. Cupid exhibits something similar to hysterical strength, which is the strength that occurs when someone is in a life or death situation. In this case, Psyche is facing death. This strength that Cupid experiences can be seen in the way the muscles in his legs are bulging forth and his feet are digging into the stone beneath him. This strength is followed by an unforgettable tenderness. The fragility and tenderness in the statue is seen most prominently in the couple’s hands. Within