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Mona lisa critical analysis
Mona lisa critical analysis
Da vinci mona Lisa analysis
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Olympia on the Sierra Nevada
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. The subject of Olympia (1863) is a woman; who’s name is presumed to be Olympia. She is a prostitute is laying in a bed, looking out at the viewer. Olympia is a master at her profession, as can be told by the bouquet of flowers that have been gifted to her. Judging by the state of the sheets on the bed, it is quite apparent that she has recently entertained a client. Unlike most previously made nude paintings, the subject is in control, rather than the viewer having complete domain. Olympia allows one to fix their gaze upon her but, she is in control of anything else that is going to happen. If the viewer wishes to interact with Olympia, it is by her grace, on her command and it I not going to be free. The subjects of Bierstadt’s Sierra Nevada Mountains (1868) are the mountains. The viewer is separated from the mountains by a valley. Positioned high above the valley, the viewer can see all it contains, this
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Sierra Nevada Mountains makes the viewer feel in control making them feel as if they are the ruler of all they survey. Olympia creates a feeling of near professionalism and obedience. Olympia is clearly in charge, she is confident, serious and knows she has what the onlooker wants. The viewer can look as long as they wish at Olympia, but they will get nothing else unless they pay and Olympia allows it. Both paintings however, allow their audiences to feel varying levels of control, pleasure and desire to engage with the painting
(“Facts about mountains for kids) (“Mountains - geography games and videos for kids.” ) Mountains influence the weather and climate around them immensely. They break up wind flows, so the wind either has to go above or around the mountains. The air that is forced up becomes cooler, and condenses into rain, snow, fog, or mist. (Simon, Seymour pg. 21) The western sides of mountains are typically much wetter than the eastern side where very little rain falls at all. This is caused by the rain shadow effect. (Simon, Seymour pg. 21) Mountains also have the ability to create rain forests and deserts. They store water and then release the water in the form of rivers that help with growth of vegetation. The rivers can be used as drinking water or they can be harnessed to create electricity. (Simon, Seymour pg. 27) Some mountains are more prominent in the world’s geography than others. There is a mountain on Mars, Olympus Mons, that is the tallest mountain on any planet on this solar system. Olympus Mons is 14 miles tall. (Hartston, William) The longest mountains are the Andes and the highest mountains are the Himalayas. (“Facts about mountains for kids”) ( Morris, Neil pg. 28) The Mid-Ocean Ridge is an underwater mountain chain that stretches 47,000 miles long. Not all of these mountains were formed in the same
The Appalachian Mountains in the nineteenth century landscapes are often depicted in a grand, glorious, and often spiritually uplifting form. The Hudson River School artists painting in the romantic style engages viewers to tell a story through naturally occurring images as well as interior knowledge of the times at hand.
The canyon is a part of what is now the Yellowstone National Park in Wyoming, an area of land first acquired through the Louisiana Purchase. In this painting, the observer may notice many features which stand out. In the background, the image depicts a large, rocky ravine, occupied by a river and rows of trees. The river leads to a large orb of light, presumably stemming from a fire. In the foreground, two men are seen standing on a cliff above the ravine, presumably in awe at the wondrous land they have just discovered in the distance. Behind the men is an untraveled area of
A lot of the paintings done around the 1800 and 1900’s were expected to sell to higher-class citizens that targeted more of a male audience. While Edward Manet’s, Olympia seems to do just that, it actually takes a different turn than what his predecessors, Titian and Giorgione to be exact, with the same pose are doing. There the models in the paintings are depicted as goddesses whereas with Olympia the model has become the goddess herself. What’s even more controversial is when Yasumasa Morimura makes his own Olympia and titles it Portrait (Futago), and puts his own body into the painting saying that he is now the goddess. These two paintings have many similarities overall, but the main issue that both are trying to get the viewer to see is the reality of this world where you don’t see in earlier reclining nude paintings.
Metamorphic art is a new innovative style which blends Dali like surrealism with landscape realism. Each picture is a complete landscape in of itself. This technique “superimposes and juxtaposes realistic and figurative” details within images he creates. Only upon closer scrutiny do you actually realize that each facet of the work is something else. In Metamorphic art flowers become faces. Mourners over coffins become the face of Christ, a bicycle becomes a pair of celebrity glasses. His works are full of symbolism. Each is endlessly fascinating, revealing something different to each new viewer. And each new viewer looks a second time, and a third. The longer a person stares at a painting, the more one sees. Faces come into focus at a distance and “metamorphose” into something entirely different under close observation.
As the art world moved away from Renaissance ideals, the way women were shown in the art world began to shift. In 1863, the french painter Edouard Manet used Venus of Urbino as inspiration for his radical painting Olympia, in which he challenged the limited way women were depicted in art. For one thing, he paints a prostitute, rather than an aristocrat. He paints a prostitute who is unashamed of her work, and unwilling to conform to classically idealized form. Even more radical however, is the way he painted her. Olympia meets the viewer’s gaze head on, and stares almost defiantely. She is positioned slightly above the viewer, and gazes down powerfully. She is wearing just enough to not be considered a nude figure. Instead she is a naked one,
Crowther’s main point is that, if visual art is to be understood in ways going beyond the spectatorial viewpoint alone, art must be examined within both the analytic and phenomenological traditions of philosophy (page). He offers critical discussions of Wollheim, Heidegger, Merleau-Ponty, Lacan and Dufrenne to demonstrate this. (Curiously, he omits from his analysis Ingarden’s work, Bachelard’s poetics of space and Nietzsche, whose philosophy could have helped him to develop a connection between picturing and eternal recurrence more effectively.)
Ever since the arrival of the Renaissance, new ways of approaching art physically and emotionally have been introduced by some of the most prominent men of the rebirth and by many lesser known people. The innovators of the Renaissance have brought into the art world many new characteristics and techniques to paintings and sculptures. From experimentation, to observation, to getting in touch with the human body and mind, artists of the time period were able to learn and build upon that knowledge. The information and innovations they contributed sculpted the modern world of creativity for us to learn, use, and develop our own styles for future generations in the light of artistic encouragement.
Albert Bierstadt’s “The Rocky Mountains, Lander’s Peak” uses scaling and illumination to demonstrate that nature is more important than civilization. This painting is typical to Durand because he has done many paintings with typical subject matter. The Rocky Mountains influenced him to paint a different mountain. His painting emphasizes fog, clouds, and mist to show the height of the mountains. He references Manifest Destiny where the Rocky Mountains represent pristine beauty and challenge to western expansion. He uses light at the bottom and guides it up to demonstrate going up a mountain is a challenge to western expansion. The mountain is sharply pointed and the clouds that are lighten, float above the serene green scene. The painting
The organic shape of the plateaus shows a naturalistic view at the top of the mountain. On-lookers would interact with this painting and have a sense of what it would be like to be on the top of the mountain with the fellow hikers, they can feel the wind cooling them, feel the tension slowly leaving their bodies and calmness by the look and feel of the day. Balthus used oil paint to create a realistic and representation painting of the Swiss Alps for his viewers. He used implied texture so the spectators have the ability have a familiar feeling of what he felt when he went with his mother during his teenage years and every time he went back and
Manet’s Olympia (Fig. 1) was a scandalous piece of art that exposed the bourgeoisie use of prostitutes. It shows a woman that is naked, which at first seems to be the scandal, but when you examine it you see details that point to prostitution. In addition, this piece closely resembles Titian’s Venus of Urbino (Fig. 2), but it is in the details where we see the different message of being a flâneur of the times. Prostitution dates back much farther than the nineteenth century, but at this time it became much more a part of everyday life. Manet’s Olympia and is modeled after Titian’s Venus of Urbino. Both paintings contain a nude woman lying on a bed with a pet at her feet and a servant in the background. The similarities between the two works, however, are not as essential as the differences. Titian’s painting is almost goddess like, as if the woman is outside of the audience’s world. Olympia on the other hand is stiff, wearing heels and a choker, as well as the kimono on the bed point to the modern fashion. Unlike Venus, Olympia is a real person that the viewer is confronted with on a daily basis. By making Olympia realistic, rather than ideal, Manet expressed the idea that prostitutes were no longer hidden from society; rather, they were a ‘business’
In a famous fresco painting called the school of Athens with an interpretation in a book called “Understanding Rhetoric: A Graphic Guide to Writing (Elizabeth Losh, 2014)”, The Authors painted a different version showing Aristotle and Plato are shown in different ways. In the books version the authors changed the color, the body language, and even add themselves to the painting. Books always have interpretations of famous paintings and even change it up a bit to fit the book needs but just because they change the painting doesn’t mean they change the main focus of the painting. The Painting “The School of Athens” is paint as a Fresco painting. Fresco meaning it an oil painting painted on a wall. The interpretation painting given of the School of Athens in “Understanding Rhetoric: A
She was real, and clearly a prostitute. This is evident through several details within the work; the orchid in her hair, her black neck ribbon, her bracelet and pearl earrings, the oriental shall in which she rests upon, the black cat at the edge of her bed, as well as her name itself, which was common among French prostitutes in the 19th century. All of the aforementioned are symbolic and relate to the prostitute at the time. Olympia is a vision into the lifestyle of a prostitute. Manet’s model is a young woman of the people. Her legs are short, her knee is distorted, her skin is pale, and the sole of her slipper is worn. The skin of her face is coarser than that of her body, a disconnection shown by the black ribbon that circles her neck. Her hand is not slightly hiding her genitals but rather forcefully defending them from your sight, a symbol of the new Olympia's sexual independence. While Manet romanticizes his subject by rendering this prostitute in a similar form to that of the goddess in Venus of Urbino, he shows the truth of the prostitute by giving Olympia a direct gaze. Gone is the coy turning of the head to the side, instead she confronts the viewer with the stark reality of a woman
The accumulation of weathers acting on the canvas created a new means of mark making that was, once again, detached from the physical hand of the artist, but attached to the artist in its application through conceptual ideation and manifestation. It was not his interest to be involved in the painting’s process. He was most interested in being the creator, not the maker.
This composition titled Rocky Mountain, Lander‘s Peak was created by Albert Bierstadt. The dimension of this painting is 73 1/2 x 120 3/4 inches. His composition is 2-D, it is 2-D because you can‘t walk around this or feel it. The texture of this composition is visual. It is visual because they used oil instead of paint , therefore you can only feel the flat paper. In the middle ground of his painting he used lighting from the mountains. Which he used cool colors to give light to the water fall. The water fall is where it bring the focus of the eye of the person. Albert Bierstadt used vertical lines on the mountains, some trees trunks. His mood for this composition is it is filled with energy, full of motion, and life. His composition has analogous