Constable: Weymouth Bay: Difficulty with Landscapes
John Constable was born into a wealthy family in the English countryside. It was originally suspected that he would take over his father’s buisness because his older brother was mentally handicapped. However as his interest in painting grew his mother realized that this was a course he was choosing and he was good enough to pursue. Ironically when Constable turned to landscapes, his mother worried about his finances and urged him to turn to portraiture. In his lifetime Constable rarely sold any paintings despite being inducted into the Royal Academy of Art.
Constable has talent, yes, absolutely. I could never capture his landscapes and ‘Weymouth Bay’ is a gorgeous recreation of what Constable saw. It is not an idealized version it is exactly as he saw it. This is where my problem with landscapes begins. I cannot find myself excited by them. It has taken me weeks of procrastination about how to write this paper.
‘Weymouth Bay’ was painted by Constable during his honeymoon in 1816. The scene is Dorset. There is another version of this painting in the Louvre. I think that the painting is easy on the eye. It would have been simpler to write about a Turner because his work in my opinion contains pieces of originality that Constable fails to achieve. His work is straight forward, an almost perfect recreation of exactly what Constable saw. Experts believe that the view in ‘Weymouth Bay’ is from an angle towards the west; west of Redcliff Point. It is a barren picture, the land is empty, cold. If landscape instills feeling of environment, Constable achieves that. When the painting was exhibited at the British Institution in 1819 the New Monthly Magazine wrote that the painting was, “a clear, well-colored picture.”
To this description, yay. I do not aspire to be a critic of art and even now as I type this paper, I find myself increasingly nervous to the hail of criticism I’m opening myself up to. However, as I wandered through the halls of the National Gallery the urge to challenge myself and write about something that caught my eye because of the simplicity of it not because it was thought provoking was too much. Simple is not a bad thing. However if all art was simple it would in my opinion cease to be relevant. But would Constable be a relevant painter today?
Frederick Varley and all the other members of the Group of Seven were working towards creating a new Canadian Style of painting in a time where Canada was desperate to show how independent and different from Britain they were. Varley’s Stormy Weather Georgian Bay is a perfect example of art mirroring society. With this piece we can see the use of new, vibrant colours and loose flowing brush strokes to symbolize the new role that Canada was pushing to play as an independent nation on the world
Born in Bolton, Lancashire, England in 1837, Thomas was taken to the United States at the age of 7. (Ency. Bio. Vol. 11). He was educated in Philadelphia public schools for his elementary years and then indentured to a wood engraving firm in 1853-1856. (Am.Nat.Bio.Vol 15). He had three brothers who were artist, but he learned to paint from his brother Edward Moran. He did do some watercolors during his apprentictionship and in 1856, he painted his first oil painting titled, Among the Ruins There He Lingered. (Vol.11). Moran still working closely with his brother became an informer student of Philadelphia marine artist James Hamilton. Hamilton may have introduced him to the work of J.M.W, turner and a belief in close study of nature in his foundation of panting. (Vol.15) Moran exhibited landscapes at the Pennsylvania Academy of the fine arts for the first time in 1856 and then later elected academician in 1861. He continued to exhibit there through 1905. (Vol.15). 1862 Thomas married Mary Nimmo who had always thought to be her husbands student. (Vol.15). The beginning of his life had just started and didn't know that he would accomplish so many feats with his artwork of nature.
Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
ABSTRACT: British Avant-Garde art, poses a challenge to traditional aesthetic analysis. This paper will argue that such art is best understood in terms of Wittgenstein¡¦s concept of "seeing-as," and will point out that the artists often use this concept in describing their work. This is significant in that if we are to understand art in terms of cultural practice, then we must actually look at the practice. We will discuss initiatives such as the work of Damien Hirst, most famous for his animals in formaldehyde series, and that of Simon Patterson, who warps diagrams, e.g., replacing the names of stops on London Underground maps with those of philosophers. Cornelia Parker¡¦s idea that visual appeal is not the most important thing, but rather that the questions that are set up in an attempt to create an "almost invisible" art are what are central, will also be discussed. Also, if we concur with Danto¡¦s claims that "contemporary art no longer allows itself to be represented by master narratives," that Nothing is ruled out.", then it is indeed fruitful to understand art in terms of seeing-as. For application of this concept to art explains what occurs conceptually when the viewer shifts from identifying a work, as an art object, and then as not an art object, and explains why nothing is ruled out.
When we consider a blind person and a person with eyes, we usually deem the latter to be more knowledgeable. This is because they have the gift of sight and can therefore perceive the world around them and have more knowledge. This assumption is proven wrong in the play Oedipus Rex by the Greek writer Sophocles. The plot is about a baby who is born to the king and queen of Thebes with a terrible prophecy hanging above his head. The oracle of Apollo had predicted that the boy would grow up to kill his father and marry his mother. Afraid of the prophecy, the parents decided to kill the boy. But, he survives and lives to fulfill the prophecy. The main part of the play is his quest for his identity and what he does when he learns the truth about his life. The thesis of the play is that sight is not a prerequisite for knowledge. Three characters from the play that can be used to prove the thesis are Teiresias, the shepherd, and Oedipus.
Mr. Vickers created this work by using oil paint on a canvas. His strokes follow the luminist style of hidden strokes with mixed hues. The subject is stated obviously in the title as the work is about the serene and beautiful view of the River Severn as it continues towards a mountainous backdrop and eventually disappears.
In summary, each of the five plays that we have studied throughout this semester have examples of characters using the themes of loyalty, honor and duty to maintain either a positive reputation, a righteous self-image or both. The reason for this being prevalent among all five plays is to show the audience that the image we want for ourselves has a direct correlation with our actions.
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
First lady Macbeth showed bipolar disorder by showing the symptoms of inflated or self-esteem grandiosity. Lady Macbeth believed she should be queen. Lady Macbeth was already a noble wife. She wants the Queens crown so bad, she would do anything to make sure she got that crown.
Being a visual artist required talent, but, for the African-American artists, talent was not enough. This was nineteenth century America and race determined who could be trained in the arts. There were no special schools or places where African-Americans could freely exhibit their talents for art. These talented artists were excluded from the academies, associations, and teaching institutions available to white artists. In rare cases, beneficent white families broke the rules and provided knowledge, direction, and resources to budding African-American talents in the visual arts. Many of these white patrons were among the abolitionists of this pe...
Painted by Vincent Van Gogh during a final burst of activity in Auvers before his suicide in July, Houses at Auvers features many of the characteristic elements typical of Van Gogh; the experimentation with color, texture, and thick brush strokes. This painting depicts the view and landscape in early summer, highlighting the patchwork of houses and the rolling greenery. Van Gogh’s unique, thick brush strokes lead the eyes through the painting, create texture and patterns and also highlight and shadow objects in the early summer sun, while his experimentation with color creates contrast and a bright, vibrant image.
In the mid 1800’s realism was developed as a style of painting to replicate the world as it was seen in a traditional artistic style. This allowed for a new style of art to be created that was based of a real moment or scene but to forget the traditional artistic laws such as distinct lines and forms. Approaching art from this impressionistic view Monet’s painted “Impression, Sunrise” bringing to life a natural scene of a hazy harbor using quick, short brush strokes and defining uses of color and natural light. Van Gough’s “Starry Night” uses similar impressionistic styles to paint a natural scene using vibrant contrasting colors, yet he embellishes the scene to create art that in not merely a landscape but a piece of self expression and shifted
Oedipus was blind in more then one way. He was blind to the truth about his own life. Oedipus had no idea that his real parents were Laius and Jocasta. He was so blind that he got mad at anyone who was foolish enough to suggest such an idea.
“John Constable, The Haywain, 1821” as per the John Constable and book point of view freshly perceived landscapes
It is also possible to sense some dissolution in the Moonlight. The portrait indicates a nocturnal landscape that somehow completes a part of the chronicle from his personal life and struggle. It is also easy to relate the portrait to the artist’s personal struggle with the coherence of the landscape, with main focus being the artist’s sense of crisis that subjectively attempted to explain his disenchanted history.