Ad Reinhardt Abstract Painting 19601965
Ad Reinhardt's painting, Abstract Painting 1960-65, is at first glance' a black square canvas. The subject matter seems to be just what it is, a black painting. There are no people. No event or action is taken except for the fact that Reinhardt has made the painting. The title only provides us with the information that we are looking at an abstract painting. The only other information that the artist gives you is the time period, in which it was conceived, 1960 to 1965. In the least amount of words possible, we could describe the painting as an abstract color field. It is possible that a narrative is expressed through the piece, although, we can not be certain what it is. There is nothing narrated through conventional means in any way.
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 visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
Since the painting focuses on depth, the picture is read near to far, starting with the obvious painstaking details in the foreground, and ending with the massive background.
“We stuck to who we were at Motown, and the world came around…” Berry Gordy, the founder of Motown records relayed at the Occidental College’s 125th commencement ceremony in 2007. Motown was “the new voice of America” due to its great impact and influence on the music industry and society. Numerous events were happening in America at that time and Berry Gordy identified several of these factors to target the music of Motown and its artists to young audiences in specific ways. There were various social, musical and cultural factors that were critically important and of these factors, Gordy identified the segregation and the civil rights movement, the music and cultural aspects of the black community at that time. These factors had huge impacts
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.
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...
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
The framing of this painting is so important because it really makes the viewer think about what is truly important in life. Rockman used the vibrant
Edward Hopper exemplifies the zenith of 20th century American Realism. After training under Robert Henri at the New York School of Art, Hopper worked as a commercial illustrator for the first half of his life. In fact, although Hopper sold a variety of prints and watercolors on the side, he did not achieve his first artistic success until he was forty-three. At the Rehn Gallery in 1924, all of Hopper's works on display were purchased. From that point on, Hopper's use of light, isolation, and narrative in his works would define him. Hopper's impact was so dramatic that Alfred Hitchcock would later use his painting, The House by the Railroads, for inspiration on his classic film, Psycho ("Edward Hopper"). Nighthawks is Edward Hopper's most famous work. The title itself refers to the night-going characters that reside in the painting, sitting at the table of a diner. This painting is an American classic, appearing in the pop culture of its time and in examples that are more current. Just by doing a quick search on Google images, an abundance of parodies can be found, replacing the figures in the original with ones from Star Wars, The Simpsons, CSI, and more recently, The Walking Dead. There is no doubt that Hopper has affected the American art scene with this masterpiece, and there are numerous reasons it has become so prominent. Edward Hopper's distinguished painting, Nighthawks, is a representation of the pinnacle of the American realism, the attitude of Americans during the Second World War, and the expansion of New York City.
On January 12, 1959, a young African-American songwriter, Berry Gordy, Jr., borrowed $800 from his family and founded a new record company. At that time America's music business was racially segregated. Major record companies released R&B music on special independent labels. However, Gordy recognized that the popularity of this type of music was increasing. He entered the field at an opportune
own painting. He sees some figures, along with a castle and somewhat of a landscape. The artist
Art is a very realistic aspect among the Native Americans. In fact, what we call primitive art is actually symbolic objects from the process of a sacred ceremony. This concept is one not easily understood. Furthermore, this concept by Sam Gill is explained in Native American Religions. Sam Gill shows that Native American Art is different in meaning because of its contents then what modern societies consider art. Nonliterate people produce objects of beauty through ceremonial performances and rituals that keeps the cosmos in order, while modern societies over look these factors.
In this piece Benny has depicted himself in the artwork creating another piece of artwork. He is standing at a 45° angle as if he has been interrupted by us, the viewer. This is how Benny engages us, the viewer into his painting. As if we are just as much a part of it as he is. When looking at his painting from a distance it seems as if it is just another oil painting but upon closer observation you can clearly see the different fabrics that he uses to create the collage and which gives the painting its textures. He shows space in the painting by leaving the wall on which the canvas hangs, bare, as is the floor with the exception of the box of rags that he uses in his collage.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
The death penalty has been around for centuries. It dates back to when Hammurabi had his laws codified; it was “an eye for an eye, a tooth for a tooth”. Capital punishment in America started when spies were caught, put on trial and hung. In the past and still today people argue that, the death penalty is cruel, unusual punishment and should be illegal. Yet many people argue that it is in fact justifiable and it is not cruel and unusual. Capital punishment is not cruel and unusual; the death penalty is fair and there is evidence that the death penalty deters crime.