Matthew Brandt is a landscape photographer based in Los Angeles, California. Born in 1982, he received his BFA from Cooper Union and his MFA from UCLA. His work can be found in multiple galleries like the Cincinnati Art Museum and the Los Angeles County Museum of Art. Brandt explores the natural world and its destruction based on many of his different series but it is most prominent in his series, Lakes and Reservoirs. These images are taken from many different national parks and lake and they reflect the works by 19th century Hudson River School painters. The main image shows the whole landscape and the beauty of this environment. But what he does that is so different than those traditional paintings is that he puts the source of the image directly onto the print. For example, in his work, Skinner Reservoir CA 6, he used the lake water from the lake and during the printing process; he developed the print using some of the lake water. The results are manipulating, melting shapes that leave this bubbling, colorful shapes that emerge into the landscape. It looks as if the print was destroyed or was caught on fire by the chemicals or sources from the lake. He does this with many different lake sources and they all have different successes. His work is based on chance and is never going to know what the resulting image will look like. The technique and process is more important than the resulting image. Some of the prints have this cosmic dotting, which is what he prefers because it does not really destroy the rest of the print but adding this top layer of sediments from the water. A lot of his other work contains different techniques he used to create the print while it was developing.
Skinner Reservoir CA 6, C-print soaked in Skin...
... middle of paper ...
...t. He had said that 19th century Hudson River School painters, like Frederic Edwin Church, inspired him when he created his landscapes. But his works seem so much different than these beautiful surreal landscapes. These painters celebrated the beauty of nature and the capturing this essence. Brandt was trying to do the same thing but he is adding on this destructive force onto the print that is not showing this beauty in the landscape. It seems as if the landscape is not even the main subject in his prints but the deformation of the water is. Church is showing the isolation away from humans and there is no human presence shown and Brandt is clearly showing the hand of humans and they’re footprint into the landscape. Matthew Brandt may have looked at these traditional artists when he was photographing but the ending result is not successful but the complete opposite.
Upon returning to his studio Storrier picks a photograph that can be associated in a variety of ways. He makes works similar in subject matter, but which give different overall impressions. 'I never work from photographic documents. The little polaroids are just mental records. I paint pictures about, not from, photographs.' He explores the concept, and makes preliminary sketches and small studies of his ideas to decide the colour and tone. He chooses the size to make his artwork oncer he has his idea.
Brian Doyle’s, “The Meteorites” was a short essay about a camp counselor and his unforgettable summer. Doyle uses very poignant arguments to explain his love for his campers. Each camper is introduced with a short synopsis, allowing the reader to get a feeling for what the children are like. The counselor was in charge of a flock of 5-6 year olds. The second paragraph introduces the main argument: how this summer camp made him love the boys as if they were his own. The paragraph goes continues the counselor is pulled aside by one of the shyest and quietest that was speaking up for the most outspoken of the group. He was asking for help because one David (outspoken on) had an accident in his pants and needed to be clean. This puzzled the
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
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...
Edward Burtynsky is landscape photographer who focuses on finding unique locations that are barren with environmental degradation. He is concerned with the current state of our world and wants to change it by using photography as a medium. Burtynsky 's photolistic style often shows incredible scale and detail within his photos by using multiple vantage points. Burtynsky approaches his subject in a very urgent manner, each and every photo is taken to create a deep impression from its viewer. His work is housed in more than 50 museums including the Guggenheim Museum, the National Gallery of Canada, and the Bibliothèque Nationale, Paris.
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
I chose this particular piece of art to critique because of the fact that I walk past it six times a week. The composition and its contents spoke to me, making me want to study it further. After all, North Bay is the city in which I grew up in and this painting contains some of North Bay’s history.
"It was called the Earthboy place, although no one by that name (or any other) had lived in it for twenty years."(166)James Welch in his fictitious allegory, "The Earthboy Place," presents the idea of how assimilation has caused many Indians to stop continuing with their lives as a native. Consequently, they leave their homelands to earn a living in another "world" which shows adaptation to the Westerners' culture; likewise to the writing of McNickle's.
John Taylor’s picture of the signing is very realistic, especially when compared to Wolf’s picture, which is in a much more abstracted form. In Taylor’s picture the viewer can easily recognize natural objects shown in their true form. For example, the landscape in the background of the piece is easily recognizable as a forest. The layout is filled with tall trees and wavy grass. The
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
Landscape painting was extremely important during the middle of the nineteenth century. One of the leading practitioners of landscape painters in America was Thomas Cole. He visited many places seeking the “natural” world to which he might utilize his direct observations to convey the untainted nature by man to his audience. His works resolved to find goodness in American land and to help Americans take pride in their unique geological features created by God. Thomas Cole inspired many with his brilliant works by offering satisfaction to those seeking the “truth” (realism) through the works of others.
Moreover, the effect achieved by the current painting technique is often that of a human face behind glass or of a reflection rippling in the water surface: for instance, Shirley (2007), Susan (2011), Self-Portrait (1997) and others. Although these gridded paintings look fragmented from the small distance, they form an easily recognizable and identifiable figurative whole. The tendency towards application of pixelization in painting might be perceived as a skillful allusion to the legacy of Gustav Klimt, for Klimt, an Austrian Secessionist of the early 20th century, often ‘infused’ geometric elements similar to Close’ marks into his paintings. In other words, Close seems to have revived use of geometry in figurative depiction as he entered the third stylistic phase and endowed his photorealistic vision with more complex optical
Twain's detailed images of the "gold," (1) "tinted... opal," (1) and "silver" (1) river, paint the beauty he finds in the surroundings. The "graceful curves, reflected images, woody heights, soft distances; and... marvels of coloring" (1) depict the opinion Twain has of the river. This beauty has been learned and appreciated through the years of living along the river and is revealed through his images.
With Cole, landscape painting took on a stature in America like that which history painting traditionally possessed in Europe. He was able to “transfer the heroic aims of history painters to the landscape category, where at ...