1. Pick any painting and analyze it from the points of view of the (a) formalist, (b) the expressionist, (c) and the philosopher of “aesthetic experience”. Which perspective, if any, do you find most convincing?
I chose a piece by Francis Bacon, an Irish artist born in 1909, called the Study after Velázquez's Portrait of Pope Innocent X. (a) From the point of view of a formalist, this piece would be examined in different perspectives such as the dark tones, shapes, and lines that the piece has, to the context and reasons of why Bacon decided to paint it as a re-modernization of the classical painting of Velasquez, exploring all the textures and dimensions of the painting to determine its artistic value. (b) I think an expressionist would say that this piece tries to transmit an emotion of feeling of anguish seen from the dull and dark colors Bacon used in it, and although the books says it is hard to determine if the feelings expressed in the painting are coming from the audience, the pope, or bacon, I think it would be clever to interpret those emotions from the point of view of the pope, who appears to be vanishing in the painting while screaming like if he were disappearing in one of his nightmares. (c) The philosopher of “aesthetic experience” would evaluate the whole experience of seeing the picture and its attributes as a whole where the experience becomes an aesthetic contemplation of senses explaining Bacon’s piece from various points depending on the personal experience such philosopher may get.
I do not find a perspective more convincing than the others, on the contrary, I think creative human expressions such as art or music cannot be classified with written and uniformed parameters or predetermined views becaus...
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...fferent views. For instance if two different people called A and B look at the same painting of an American soldier dying in war, the painting is going to generate different sensations in them according to the experiences they have had with those kind of images in their lives. If A’s father was an honorable war hero who died in combat when A was relatively young, the painting might generate feelings of nostalgia, pride, and melancholy to A, but on the other hand, if B is a Vietnamese kid who saw how an American soldier shot his father in the head, B is obviously going to absorb feelings of resentment, hatred, and even antipathy from the image. In conclusion, I think art has become another relative concept where people are the ones in charge to define as art or trash, to me art can be anything since simplicity and complexity are both beautiful in their own worlds.
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
... find the authors’ of my articles arguments very convincing. By weaving both visual and literature evidence together the authors support their arguments almost scientifically. The articles go into more depth than the Gardner text book. Gardner does not provide as much contextual evidence to support his arguments. In this manner the articles I read are a more progressive form of art history. Also, Gardner’s text discusses Witz’s intense focus on realism, but does not discuss his important departures from realism. In actuality, Witz’s departures from realism represent the most significant aspects of the painting. Although we have learned to not read into a work too much, Witz’s hyper deliberate nature requires attention to every detail and is well suited to more than surface level analysis. My analysis of the painting reflects, and supports the author’s conclusions.
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
For the Formal Analysis Essay, the following artist and work of art to discuss is: Artemisia Gentileschi (Italian 1593-1653), Judith and Maidservant with the Head of the Holofernes, c. 1625, oil on canvas, approx. height: 72 1/2 x 55 3/4 inches. Detroit Institute of Arts. The following will mention the subject of the artwork, elements of design including: line, shape, and color. In addition, the principles of design will be discussed in termed of movement, emphasis, and balance.
People can have many different opinions depending on a topic, but what is truly difficult is getting a complete level of understanding from every opinion, or understanding the point of view of each opinion. Even accepting the points of view can be difficult for some people, who believe that their opinions are right. Luckily, people can learn about the other person’s frame of reference, and at the very least understand the topic or the person a little better. This particular topic is art, which is known for its multiple possible perceptions or its many different messages that it can send a person or group of people. In this way, people can learn more about the thought processes and feelings of others. Unfortunately, with differing opinions,
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.
Art is a language of its own and with out he proper understanding, people are like expression goes “left on the outside looking in”. In other words, people without the proper understanding of art, technique and form as well as other elements can’t appreciate a work of art as much as when you understand why an artist painted in the way they did and what they are trying to get across to his audience. Despite artists attempts to try and make their works as viewer friendly as possible, without the understanding and knowledge gained from an art class as this one people will never fully understand the a work of art as it is meant to be.
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…
In my view, art is the representation and transmission of thought. It is the representation of the thoughts or experiences of an artist, created to transmit and subsequently evoke the same thoughts or experiences vicariously in an audience, via the artist’s creation. I believe art is based on the fact that people, through their own perceptions, can experience the same thoughts or feelings as the artist. I...
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
In addition, the development of the elements of the artwork will be described such as line, color, texture, space, and form and how they were used by the artist will be reviewed. Finally, the aesthetic value of the painting will be evaluated and why this artwork is inspiring, meaningful, and valuable to me personally will be discussed. 5.4 Museum Visit Final Critique A general description of the museum visit.
For this formal analysis paper I would like to talk about a painting done by the artist named Peter Paul Reubens. The piece itself is entitled, "The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610." The painting was completed in the year 1610, and today it is on display at the Louvre in Paris, France. This painting was one of many that I had to choose from when I was deciding on what to write about. Many internet sites across the world had so many pieces from which to look at, but when it really came down to it, I wanted to write a paper over a topic on which I have held great interest in, that which of course is the Baroque style of painting. Peter Paul Reubens (1577-1640) exemplifies the Baroque style in painting, as did another type of artist from that period who excelled in the art of sculpting. That artist which I speak of, is of course Bernini. Both men were very prolific workers, and according to the text, were the favorites of very powerful rulers. Yet aside from his artistic prowess, I find Reubens' usage of religious themes in his paintings to be very appealing, and I think that is why I liked his work entitled, "The Apotheosis of Henry IV and the Proclamation of the Regency of Marie de Medicis on May 14, 1610," so much. In addition, I was amazed at his mastery of implying the elements and principles of art, which in essence made this work achievable. Therefore, f...
Throughout the history of , which is arguably the length of time held within the universe, not much has been distorted. Art, along with is an incredibly difficult subject to comprehend, due to the varying nature of themes, opinions, and judgments. Not to cite all the societies, time periods, ethnicities, age and gender biased opinions. It is neither a science, nor a philosophy. It is both. within itself is a beauty, which will forever perplex the minds of the world. Art, placed in the neighborhood of philosophy and science reveals its innate inclination, (although undefined) to forever intrigue and perplex both the scientific and philosophical minds.
Neither Formalism nor Neo-Formalism is the defining answer to the questions raised in the nature of art. As before, we are left to wonder, what theories will be created and indeed shot down by the philosophy community in relation to the nature of art next?
Art can be defined in many ways by an individual. One can say that any creative output by a person is considered art. Others contend that art must conform to a societal standard and the basis of the creation should be understood by most intellectual people. For example, some contend that computer-generated images, such as fractals, are not art due to the large role played by a computer. E.O. Wilson states “the exclusive role of the arts is to intensify aesthetic and emotional response. Works of art communicate feeling directly from mind to mind, with no intent to explain why the impact occurs” (218). A simple definition may be that art is the physical expression of the ideals formed by the mind.