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Factors that influenced modern art
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This dissertation considers the approaches and techniques used to create depth, realism and illusion, which are all recognised in Seventeenth Century Johannes Vermeer and Twenty-first Century Eloy Morales. My methodology for this dissertation will be to examine Vermeer’s Girl with a Pearl Earring and a works from the series ‘Paint In My Head’, by contemporary portrait artist Eloy Morales. Comparing these two artists from different centuries alongside each other will develop and lead into further enquiries and questions, which will impact my own practice. I focus on the technique and methods of both artists, some of which are still used today and others not, the advancements and developments artists have in the modern world and how this impacts
Two of the most extensively analyzed works of art are Diego Velasquez's Las Meninas and Jan Van Eyck's Arnolfini Double Portrait. Both of these artist's talent won them recognition not only during their lifetime but after as well. Both Velasquez and Van Eyck have a justly earned title as the most talented artists of their respective times. A detailed examination of the details and intricacies of these artist's respective masterpieces, their similarities, and what sets them apart not just from each other but from other paintings from their time period and style, will lead the viewer to a better understanding of the mentalities of these gifted artists and how they transcend their respective genres and contemporaries to create their own artistic identities.
I observed a very unique series of photographs by Vik Muniz called Seeing is Believing. Vik Muniz’s images are not simply photography but are pictures of complicated pieces of art he has produced at earlier times. Utilizing an array of unorthodox materials including granulated sugar, chocolate syrup, sewing thread, cotton, wire, and soil Muniz first creates an image, sculpturally manipulates it and then photographs it. Muniz’s pictures include portraits, landscapes, x-rays, and historical images.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
Johannes Vermeer was born on October, 31st 1632, in Delft, Netherlands, and died December, 16 1675. Jan was one of the best artists during that period of time. He, had many successes, but one painting that capture everyone’s attention was, Girl with a Pearl Earring, an 18 ¼ x 15 ¼ in. Size portrait, painted in 1655, and represented to be an oil on canvas painting. This portrait can be viewed in Mauritshuis, The Hague. The genre of this painting is a historical fiction, as in the subject it was about daily life situations, and an ordinary girl. Johannes Vermeer made this painting be a representational, because it showed is emotions, patients, and dedication. Also, it represents a woman and how this painting became to be. Girl with a Pearl Earring,
Contemporary illusion is excessively demonstrated in the modern world. There is a variety amount of sculptures, buildings, religious figures, etc., that can relate to modern works that were created in the past. For example, the building named “Hanford Civic Auditorium” has many artistic similarities to what the Romans created in 114-117 AD. The Hanford Civic is located in a small town named Hanford in California. Many people do not notice the slightest things in buildings or different artworks that are constructed now in day. Artworks from the past and modern art allude in various ways but of course, have some differences as well. Despite the fact that people may walk into a building not knowing the background to it. Art is such a unique
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
A formal analysis of these works of art reveals style that is consistent throughout his pieces of arts. For instance, his arts use figures that have real life. For instance, these figures had natural faces and experienced real emotions. Besides, he has given the characters real space to move about and given them real life poses. H...
John Berger presents a multifaceted argument regarding art, its interpretations, and the various ways of seeing. Berger asserts that there is gap between the image that the subject sees and the one that was originally painted by the artist. Many factors influence the meaning of the image to the subject and those factors are unique to the subject themselves. Seeing is not simply a mechanical function but an interactive one. Even the vocabulary is subject to specialized scrutiny by Berger; an image is a reproduction of an original product, while only the product itself may truly be a ‘painting’. Images are seen at an arbitrary location and circumstance – they are different for everyone – while the product, which is in one place, is experienced
From its conception Baroque art, especially painting, has been designed to overwhelm and wow the viewer. Artistic devices of spatial illusion were developed during the Baroque in response to cultural anxieties occasioned by revolutionary scientific discoveries, revolutionary religious upheaval, and the new taste for virtuosic visual display. A spectacular painted phenomena, quadratura painting, make Baroque paintings seem to reach beyond their architectural limits into the viewer’s space. This trend of illusionistic painted surfaces begins early with Andrea Mantegna’s fresco Camera degli Sposi in 1465. With a di sotto in su, or “seen from below”, perspective the illusion of winged puttos, a peacock and some women lean out into what appears to be a third dimension. Viewers and painters alike grasped onto this illusionistic perspective in painting and ran with it. It was the Baroque era that really explored and perfected the techniques of illusionistic painting. From Mantegna to Pozzo and beyond, to this day illusionistic painting of the Baroque era still leaves viewers in awe.
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)
The colors Picasso used in Girl Before a Mirror play a huge part in stimulating emotion and providing balance. The natural focal point of this painting is the girl’s face. Picasso used a light yellow for her hair, a more intensely bright yellow for one half of her face, and a oval of green and white stripes surrounding her hair and head separating her from the boldly colored dazzling jewel like b...
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).
As Stephen becomes aware of his surroundings, his perception of art begins to change. In chapter two, the protagonist’s eager tone leads him to develop a different understanding of the qualities of art. The author makes a literary allusion to Alexander Dumas’ The Count of Monte Cr...
In A Portrait of the Artist as a Young Man, Stephen Dedalus defines beauty and the artist's comprehension of his/her own art. Stephen uses his esthetic theory with theories borrowed from St. Thomas Aquinas and Plato. The discourse can be broken down into three main sections: 1) A definitions of beauty and art. 2) The apprehension and qualifications of beauty. 3) The artist's view of his/her own work. I will explain how the first two sections of his esthetic theory relate to Stephen. Furthermore, I will argue that in the last section, Joyce is speaking of Stephen Dedalus and A Portrait of the Artist as a Young Man as his art.