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Recommended: Essay on abstract art
Carol Brown Goldberg is a 20th century artist. Her abstract piece on display at the Reading Public Museum entitled, Michael Welzenberg, Where Are You? creates a lustrous environment for inquisitive deliberation. The massive piece, done using acrylic on canvas and pulverized glass, was completed in 2007 and stands roughly seven feet by eight feet. Everything about the piece completely engulfs the viewer’s attention with its use of colorful design, size, and over all layout. At first the colors used in the image allude to a state of confused happiness. The perfectly aligned purple dots establish a sense of order, while also transitioning from dark to light and back to dark, only stopping to create a non-dotted focal point. This gradient adds depth to the work, while the focal point allows for a space in the piece for viewers to individually interpret their own feelings and opinions. …show more content…
These points are presented in a vivid golden color and are done to create a contrast to the organization that the purple dots represented. Not only are these points stenciled in amongst the dots, but also in the non-dotted focal point as well. This gives a sense of disorder to the previously established order by the dots, and even disrupting the clarity provided by the non-dotted focal point. Goldberg then goes on to portray usage of action painting by splattering multiple different colors all over the canvas. This creates a feeling of almost chaos to the order portrayed by the dots. Even the golden designs are splashed with paint in opposition of their detail. This adds a sense of inner confusion or conflict. While the other two elements of the painting, though conflicting, have a sense of order and design. The usage of action painting portrays inner anguish or turmoil with absolutely no rhyme or reason at
Throughout centuries, art has been one of the best ways that people use their imaginations. Paintings like many other ways have been used to represent those imaginations. Due to the evolutions in materials and painting skills of the artists, artworks have become almost lifelike scenarios that force the mind to create the illusion of the actions. These paintings were painted with the same technique and they both have a lot of movement all around them. it is very catchy how they move the attention from one side to the other especially when looking carefully, it gives the idea that that the artists almost had the same feeling when they were painting these compositions. Though artists may have used similar styles and techniques, these works can
The visual devices used were concentric circles and rectangular buildings I stated the visual art elements were intertwined with the principles of design. The tall rectangular shapes portrayed skyscraper towers in New York City. Industry was portrayed through the smoke and the man with the suitcase stepping up the cog wheel. I saw a man figure in the middle playing a saxophone and assumed he was the subject matter. There was a use of gestural lines to create form of a 3-D effect with the buildings, as well as the smoke floating in the air, the people figures, the shadows, and the wheel of life. There were uses with the secondary hue green, which has value starting with a light green by the statue of liberty in the concentric circles darkening with each circle. The green cool color with a use of a neural color of brown for the buildings was how the picture was portrayed. Great space was used for overlapping objects, like the people and buildings. The buildings had a two-point perspective due to the angles they are pointing at. Symmetrical balance was achieved with the use of colors, line, and shapes (to take up space). There was a sense of movement with the man holding the briefcase, which looked like he was walking up stairs. Unity and Variety were accomplished using the use of color, shape, line, etc. The painting is
The upper left of the artwork contains a bright pale yellow glow that is casted upon the city and onto Zed’s back. Shadows are also very much visible in this image. Zed himself is actually a human-like representation of a shadow. In the background there is a dark silhouette of his figure that is actually a tangible shadow resembling a positive space to the background. The image depicts tenebrism in it’s use of light and shadow because there are incredibly strong highlights on the back and metallic parts of Zed while there are strong shadows on his garments. It also includes the intense light beaming out from in between the faint clouds into the darker value city. The location that Zed appears to be in looks as if there is constant darkness because of the absence of bright colors and the abundance of desaturated colors. The image is consisted of primarily dark dull colors and minimal bright colors. Blunt is able to create a sense of space by primarily using the complementary colors red and green. He used a desaturated and high value green for his background and a bright satin red for details in the foreground. Because cool colors appear to move away from us, Blunt chose to use a dull green as his primary color for his background because it gives the background a sense of descending space. Also, because warm colors appear to move towards us, he used a satin red as his main color for details on Zed because it makes the figure stand out in front of the background. Blunt also portrayed space and balance using detail and color. The image is very side-heavy considering the fact that the focal point of the image is primarily on the right side. Blunt created two focal points on the foreground, one being the up-close shuriken to the left and the other being Zed. The weight of the shuriken to the left balances out the intense focus on Zed which brings unity to the image. The beam of light through the clouds also
Underlined by the laborious work employed in its production, Seurat’s choice of dots to make up a whole against the use of generous brush strokes was the beginning of a breakaway from the traditional method by which art was produced and perceived. The visual impact of distance for image cognizance meant that observers and art enthusiasts had to spend time journeying through the details at both close range; where everything appeared as random dots of varied colors, and further away from the painting; where images were recognizable. An attempt can therefore be made here to the claim that Pointillism employed in A Sunday on La Grande Jatte is the precursor to modern outdoor two and three dimensional graphic advertising that rides on the same principle of using individual minute pieces to make a recognizable whole .
James Henslin (2015) defines social location as “the corners in life that people occupy because of their place in a society” (p.2). Also it states that “sociologist look at how jobs, income, education, gender, race-ethnicity, and age affects people ideas and behavior.”(p.2).
The random paint splatters on the canvas are meant to evoke visualizations of their creation and their creator. The creator, or writer in Goldsmith’s case, makes “all of the [plans] and decisions beforehand and the execution is a perfunctory [or mindless] affair. The idea becomes a machine that makes art”(lewitt, “uncreative writing” 4). The choosing of the colors, the canvas, the brushes…etc. and the order of the colors, the amount of color, and the instruments used, is the part of the art that holds the most significance. The machine, or the creator, and the process are what are on display rather than the resulting
All of the photos are amazing but this is my favorite. I had to do a double take to see that all the pink and red dots are individual people. This is a perfect example of his ability with scale and clarity. (The color was so much brighter and rich on google FYI)
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
Yi Hao painted all over the paper and described his painting as fish moves in and out of the water. When he painted at the corner of the paper he describes it as fish go away. When he painted in the middle of the paper he described it as fish came back. Yi Hao was able to articulate his painting creatively. His imaginary skills are well developing at the right pace.
The painting achieves unity by use of proximity, creating a relationship between the elements by placing figures engaged in various activities closely
The drip technique has been widely debated for its art historical origins, but it is also the source of debate as to the spontaneity of Pollock's work. To whatever extent Pollock harnessed his use of automatism; he certainly gained experience and knowledge of the physical limitations of paint through experimenting with the technique. A close relationship between the artist and the medium is obviously to be gained through practice, but what is more important than issuing Pollock's ability with paint is asserting the act of painting. Pollock would not have been able to complete most of the drip paintings in one determined effort, but used intuition and a close involvement with the work to engage existentially with the process of painting. Pollock's handprints become marks of productive vitality and ambition. The chaotic totality becomes the product of many intuitive acts. With each mark came a new decision. The process of finding and corrupting the balance of the work kept the painting in flux, alive, and changeable. Pollock's decisions in each new situation are inherent to his own subjectivity; his own perspective of the canvas, and the changes he would enact would thereby construct a realm consisting only of
‘Savage Beauty’ was an exhibition that pushed the boundaries of museology, in its artistic, social and critical undertakings. The questions brought to bear by the exhibition of contemporary art and culture in various situations is something I am interested in researching further with a degree in curating.
Pointillism clearly influenced this painting, even though, unlike Seurat, Klimt never expressed an interest in utilizing optics in his work. Nine-tenths of this piece is a solid mass of foliage, thus if not for the tree trunks and strips of grass at the bottom, this composition would be completely abstract. The naturalistic elements of this piece are offset by Klimt’s decorative mosaic of green, blue and yellow dots, which are rendered representational only with the aid of the piece’s lower
Painting not only has various techniques of execution, but it must also have elements that are the building blocks that artists must wield. The elements of painting consist of line, form, color, mass, and textures. Line helps to identify form and show the boundary between areas of color and shapes or forms. This element is unique because it helps to create unity and emotional value in the artist work. Color is a characte...
there are used of blending the different color dots together, giving the picture more reality.