In this essay am going to talk about an oil painting called ‘Joseph Sturge’ by an artist ‘Alexander
Rippingille’. ‘Joseph Sturge’ is a businessperson, English Quaker, abolitionist, activist and leader
of the ‘Birmingham Anti- Slavery Sociality’ created in ‘1826’. ‘Joseph Sturge’ worked in ‘radical
political’ actions supporting the pacifism, working class right and finally universal emancipation of
slaves. Year 1830 ‘Joseph Sturge’ published books that contained information about apprenticeship
system in Jamaica this helped persuade the British parliament to adopt an earlier full emancipation
date. Finally, he would find villages free with ‘Baptists’ to provide the living area for free slaves.
It was the positioning of the
painting that drew me to
seeing it and behind that wall
so as you walked to the next
room you will see it. In
addition, the way the black
boys was positioned made me
wonder on why he was there
in the first place because you
can see the scary emotion to
having suggesting he is scared on what’s happening. In addition, Joseph Sturge does not have a
shammed emotion he has a straight face expression suggesting he does not care.
I know that the painting is an oil painting because it is the texture quality of
it suggesting oil paint looks old but still shows that detail as well. In
addition you can tell that it is an oil paint because of the smell you see that
every type of painting has its distinct smell to it. I can actually see evidence
of mark making because you can see little lines over the background of the painting suggesting the
curator of the painting has done each line to succeed. For example you have an image and you
zoomed the fullest then you will see the s...
... middle of paper ...
...ry”. (Stephen Hobhouse, 2013, p.35)
Stephen Hobhouse. (2013). Emancipation in West Indies. In: Forgotten Books JOSEPH STURGE His Life AND Work.. London: Forgotten Books. p35.
Stephen Hobhouse. (2013). Emancipation in West Indies. In: Forgotten Books JOSEPH STURGE His Life AND Work.. London: Forgotten Books. P37.
Benziger, August. (2013). Portraits of Great Men and Women of Our Time. London: Forgotten Books. (Original work published 1917)
Hurll, Estelle M. (2013). Portraits and Portrait Painting. London: Forgotten Books. (Original work published 1907)
Hurll, Estelle M. (2013). PAINTING IN ITALY. In: Hurll, Estelle M PORTRAITS AND PORTRAIT PAINTING. London: Forgotten Books. P15.
August Benziger . (2013). Paints Worlds Elect. In: August Benziger Portraits of Great Men and Women of Our Time. London: Forgotten Books. P7.
“President”. (August Benziger, 2013, p.7)
Goldner, George R., Lee Hendrix, Gloria Williams Sander, N. J. L. Turner, and Carol Plazzotta. "Andrea Schiavone." In European drawings: catalogue of the collections. Malibu, Calif.: J. Paul Getty Museum, 1988. 114.
Chambers, Glenn A. . "From Slavery to Servitude: The African and Asian Struggle for Freedom in Latin America and the Caribbean." Herbert S. Klein and Ben Vinson III. 36.
---. A Portrait of the Artist as a Young Man.. Ed. Chester G. Anderson. New York: Viking Penguin, 1977.
Osborne, Harold. The Oxford Companion to Twentieth Century Art. New York: Oxford University Press, 1981.
Seidel, Linda. "Jan van Eyck's Arnolfini Portrait": Business as Usual? Critical InquiryVol. 16, No. 1 (Autumn, 1989), pp. 54-86 Published by: The University of Chicago Press Article Stable URL: http://www.jstor.org/stable/1343626
The Editors of Encyclopædia Britannica. "Luminism (painting)." Encyclopedia Britannica Online. Encyclopedia Britannica, n.d. Web. 31 Mar. 2014.
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.
Klein, Martin A. “French West Indies.” Slavery and Colonial Role in French West Africa. Cambridge:
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
difference in this painting is that it has brighter colors and takes on more of a feminine
9. Bouguereau, William A. Psyche et L'Amour. 1889. Private Collection. Art In the Picture. 2014. 25 Jan. 2014 .
The painting has realistic 3 dimensional space by the use of linear perspective and chiaroscuro. It also looks to be 2 dimensional as well, because it almost looks like some influence on the Japanese print, like flat patches of paint. The lines converge from the edges of the paint to the center letting off the effect of a background and a foreground. It looks as though the trash is in the foreground and the man is in the background. In the back of the painting, it is darker which also adds to the effect of the 3 dimensional space.
enough for it to be classed as art? To understand this we have to look
When I imagine an artist, I picture a Parisian dabbing at a sprawling masterpiece between drags on a cigarette seated in an extravagantly long holder. He stands amid a motley sea of color, great splashes of vermillion and ultramarine and yellow ochre hiding the tarp on the studio floor. Somehow, not one lonely drop of paint adorns his Italian leather shoes with their pointed toes like baguettes.