To begin with, one should note that Robert Cottingham’s works are products of twentieth century's era of combination between realism, minimalism, and pop art. While understanding the essence and artistic nature of his work, explicitly based on perception of American Hi-Fi, the drawing made in 1971, it is crucial to explore particular elements of the picture's composition, subject matter, and meaning along with techniques of how the artist masterfully used light, color, distribution of focal points, lines, and symbols to deliver a particular message about the signified nature of specific historical and cultural period of the United States. The piece of art made by Cottingham is a unique example of how a painting can not only have a symbolic …show more content…
It is necessary to mention that photorealism intended to mix reality with something fictional. The same technique is used in American Hi-Fi. The author draws unremarkable setting with utmost care and precision. Moreover, Cottingham uses dramatic angles, which are often employed in sketches, to present the drawing from some unrealistic perspective, where it seems that the vinyl plate is spinning. In contrast, the typography of neon signs along with steady shades captures the stasis of the moment that seems can frezze the time and transfers it to the …show more content…
As to the color, Cottingham uses contrasting colors like red, yellow, black, and gray to distinguish between primary and secondary focal points. He uses red to highlight the central object to conctrast with the black color of the turn-table. Such approach emphasizes the original meaning of the piece, showing that the vinyl plate is a central cultural symbol that the artist wanted to portray. Moreover, in his work, Cottingham unifies colors and lights to present details in three-dimensional space. When it comes to lines, they are drawn with attention and preciseness. It seems that the artist wants to deceive audience and create an impression that the objects on the canvas are real. Furthermore, while speaking of texture, it is important to make emphasis on how smooth the objects are drawn. In addition, the grinding technique used in photorealism shows the objects similar to what a person can observe in real life setting. As to the value, the artists uses contrasting colors and shadow-light correlation not only to highlight different focal points but also to emphasize the smallest details and curves of the
Evan Penny takes a completely different approach to hyperrealism. He manipulates the space where the object resides in. This technique shows the audience that a 3D space can change with the right type of effect on a sculpture. As he distorts his works of art in the space, it has an effect with the relationship between the viewer and
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Chapter 4 of Practices of Looking: An Introduction to Visual Culture deals with the many different types of realism in art. The chapter also largely focuses on how time has played a key role in the way realism is viewed and how photography and perspective revolutionized the way realism is seen in art. Technological and scientific innovations have created shifts in realism: from two dimensional Egyptian hieroglyphics, to renaissance style reproduction of reality, then photography, and then towards a less realistic more objective form. Therefore, the thesis of this chapter is that the definition and value of realism changes over time, and relies on the viewer.
On Saturday, March 15, 2014, I visited the Metropolitan Museum in New York. The gallery #753, which is a part of so-called American Wing, features oil paintings of the revolutionary period in America. The paintings seen in this gallery celebrate heroes and hard-fought battles of the new nation. The most popular type of painting of that time remained portraiture. Portraits in extremely large numbers figured in interiors, where they were arranged to convey not only domestic, but political messages as well. Hence, it is natural, that such iconic figure like George Washington became a model for numerous artists of that era, including Gilbert Stuart and Charles Willson Peale, for whom Washington actually sat. Two exceptional portraits of Washington, the general and the the first President of the United States are highlighted in this paper.
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
Surrealist painting can be difficult to approach as a career. People may use their imagination to rely on their paintings, and others might even rely on substantial objects or figures. This movement demands creativity and creativity. There have been many surrealist artists who have contributed to their country in a state of pride. Having new knowledge of Surrealism, I have learned many profound ideas about this movement in this novel.
... be the woman 's fitted blue dress with a lace trim around the collars and pleads laying vertically down the front. The three sewing pins in the shoulder and the rolled up sleeves also add to the dress. On the table I have already mentioned the spoon, but the details in the fruit as well leave an impression of realism. The way the apples shine, the shading on the peaches, the crumbs left on the table, and the rings in the onion slices all appear to be real enough you can reach out a grab them. The cloth Spencer painted draping half on half off the table showing the stitches in the fabric represent an exquisite component to the still life.
Hopper’s use of light and shadows creates an obvious contrast that highlights the division between modern and old-fashioned ways of life. The lightly colored sky echoes the vacancy of the home, and enhances the abandonment of an outdated era. Through his painting, Edward Hopper communicates the seclusion of an old fashioned country awakened through the transformation of America into an industrial
Looks like they – the subjects – were inspired by how things are like under the microscope. While in I Will Still Go On Living has only two color: blue and reddish brown, Talks of a Flower Garden looks colorful, she used mainly light blue and orange which are really contrast, besides that, the subjects are in darker blue, green , orange, with texture on them. Another subject that appears in a majority of her works is pumkin. She has a series of screenprint in different colors, sculptures, or painting on cast, etc.
John Berger notes that, ‘original paintings are silent and still in a sense that information never is’. This observation is not different in the case of Vincent Van Gogh's Cafe Terrace at Night (1888). While visiting a museum, I stumbled across this painting, one of Vincent Van Gogh’s great works. My next move was to engage with the painting, with the aim of understanding critical information in relation to its meaning, significance and importance in both the traditional and modern context (Whitney et al, 360). This is to ensure that we learn more about the eye-catching paintings hanging on the walls of museums. In addition, this approach is vital in understanding both the literal and hidden meaning of such a painting, as intended by the artist. The name of the picture speaks volumes in relation to its context and setting; it is a night scene. From a literal perspective, the picture shows a large establishment where people from the region can enjoy their coffee by night. On the other hand, the picture also focuses on the expression of an important meaning in accordance with the intention and the aim of the painter in its composition. For instance, Van Gogh focuses on expressing a beautiful event aided by the stars and the bright sky. In addition, the painting integrates bright colors to express a peaceful encounter during a bright night (Brower 200).
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.