Rosie Gascoigne, is an artist who has aspired an appreciation for undiserable remnants and utilised with them in purpose to produce an assemblage of work that sees into a reflection of the past and present landscape of Australian society. Her growing motivation has taken further interest and development as the founding layers of her work through her deliberate perception, subject to the preservation of the environment and surrounding landscape. Gascoigne’s work offers an insight into deep country outback life of an Australian individual and introduces conceptualities that mirror a focus situated about ‘re-using’, ‘ recycling’ and understanding the insightful meaning present within everyday remnants. Her work is a collective gathering of selected materials to form a composition or an
Although often inspired by natural landmarks and places, crafted landscapes are separate from the land the pieces attempt to depict (Andrews 1). A piece of artwork is a vessel to judge how an artist or culture saw, felt and depicted nature. As of a result, citizens of similar cultures may depict similar themes in their work in a variety of different styles. Both Barret’s 1785/1819 Untitled (Landscape) and Lacroix’s 1763 A Shipwreck display distinct European attitudes towards nature while attempting to captivate the audience in a similar way.
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
Davies, Penelope J.E, et al. Janson’s History of Art Eighth Edition Volume 1. Upper Saddle River: Laurence King Publishing ltd, London. 2011. Print.
Aboriginal art is widely associated with the primitive and primordial nature of the Australian Indigenous culture. However, as it has become more popular globally, one must consider the authenticity of the Aboriginal art sold on the contemporary market. Eric Michaels essay, ‘Bad Aboriginal Art’ (Michaels, 1988) exposes his concerns with how we define certain art as being genuinely ‘Aboriginal’ and questions what external influences exploit and influence the validity and authenticity of Aboriginal art. The essay summons readers to question what they identify with Australian culture and whether or not White Australians have disordered the meaning of Indigenous art.
Gagnon employs a vivid palette, delicate treatment of light and atmosphere, and loose Impressionistic brushwork in his painting to represent the cultivated landscape, in which nature has synthesized with agriculture and local settlements. His enriching picture, conceived through his sympathetic understanding of his land and his people, immortalizes the beauty of the rural winter scene. The image, in essence, is a single whole that documents Canadian life; charming to the enthusiast of design and colour, but beyond value to the natives of the
image in the mind of the reader, the image of a typical town on a normal summer
Max Dupian was born in Ashfield Sydney in 1911, he lived there all of his life, photographing the city from the late 1930’s through to just before his death in 1992. Dupian photographed the architecture, the landscape, the beaches and the cities of Australia. For many Australians, Dupains photographs define our beach culture, and it was the beach that was the inspiration for his most famous and enduring images including The Sunbaker, At Newport and Bondi all capture a moment in time. His 1937 photograph the Sunbaker is arguably his most famous work. For many, it is an iconic image of what it means to be Australian.
Romanticism can be described as the overwhelming flood of powerful emotions recollected in tranquility. This painting evokes feelings of accomplishment, individualism, loyalty, and an awe for nature. All of these feelings were clearly felt by Sanford Robinson Gifford while he created this piece. The feeling of accomplishment comes from the man who now turns back to look over the vast mountain range that he has now summated. He shares this pride with both his peers and his loyal companion. A strong sense of individualism is also portrayed by the group's remote location and independence from society as represented by the kindling of their own fire. This is a difficult task which requires mastery of the elements and represents power in the hands of those who wield it. Finally, the awe for nature comes in with the man's obvious respect for what lies in front of him (Gifford, Sanford R). He stands, head tilted back, tracking the progress of the sun as it approaches the blanket of hills where the land and sky blur together. One cannot help but share in this wonder for the beauty of the
Synopsis of print, Goldsworthy's piece "Kaede" leaves around a hole, yellow to reds, afternoon, overcast, going dark, 14 November 1987. Is a very bright piece. There are many colored leaves around a hole. This piece reminds me of a sun burst. It has such bright colors. It is a wonderful piece.
Roy Liechtenstein, (fig 1) was born in 1923 into to a middle class Hungarian family living in New York, there was no artists on either side of his family and throughout Liechtenstein’s schooling there were no art classes. He used to paint in oils and draw, sometimes sketching musicians he saw playing in Harlem and the Apollo Theatre as a hobby. It was not until ‘1939’ the summer of his last year at high school that he enrolled in art classes in the Art Students League run by a man called Reginald Marsh. Liechtenstein’s influences regarding his painting style at this time had been the European avant-garde artists such as Picasso. These cubist and expressionist styles were rejected buy by Marsh who favoured painting the masses of New York life such as carnival scenes, boxing matches and the subways catching the detail in fleeting brush strokes, in a non-academic easily recognisable way. This style of recognisable American art that used everyday scenes are directly related to the consumer orientated Pop Art that Liechtenstein was to develop later in his life.
A symbolist of the late 1800’s, the abstracted works of Odilon Redon contain a sense of mystery and somberness that accentuate the connections they have to their traditionally darker themes. A “prince of dreams” and a “creator of nightmares,” Redon’s later works have been known for their expressive, whimsical colors and unique abstract style. The Cyclops (circa 1898), a painting from Redon’s later works, is a prime example of such skilled crafting and in a way was the stepping stone towards his signature colorful pastels and paintings. If one were to examine Redon’s older body of work, it would give them a better understanding of how this artist came about his meticulous ideas and how The Cyclops was in a way, a prototype to Redon’s future works.
A widely known style of painting called Impressionism emerged into the art scene and carved its way into art history during the late nineteenth century. This art style was unlike its predecessors. In fact, it was so different, a lot of people rejected it and refused to call it “art.” Impressionist artists would paint something or someone in a scene as if they just caught a glimpse of it. These scenes would usually be outdoors. For example, an impressionist would possible paint a picture of a couple having a picnic outside in a park scene. Impressionist artists used bright, vibrant colors and painted their pieces without a lot of detail. Instead of taking colors and blending them together, impressionist artists took these bold colors and in a sense, spotted them on their easel. In this technique, these artists were able to show effects of light emerging through their paintings. The primary goal of impressionist artists were to capture the feeling of an overall scene instead of capturing feeling in specific parts of the painting (Shafa 2007.) In this research essay, I will elaborating on the Impressionism period, its rich history, and two very influential Impressionist artists of the time: Claude Monet and Edgar Degas.