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The relationship between art and history
Art history quiz
Art history analysis essay
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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 …show more content…
One example that shows how she is doing this is when she refers to a paper titled 'Remarks on the Method of Art History' by "the marxist art historian Frederick Antal" (Pollock, 1980, pg.58). In this paper, she pulls out a relatively long quotation based on how Antal claims that if any other field of study were introduced to how art history is read, it would be rejected by art historians. Later, Pollock explains that Antal believes there are only two ways of describing its history and nothing more; either the artist’s life explains the works or a collection of artworks is depicting the artist (Pollock, 1980, pg. 58). After citing the quotation, she goes on to explaining her remarks on the example and how it is fairly common to see similar explanations in other art history …show more content…
She uses sources from researchers and historians from different areas of study. Some art historians she quotes from include Fredick Antal, Fritz Novotny and A M Hammacher whom explains Van Gogh’s artwork based on his emotions and feelings. She also quotes researchers such as doctors, philosopher like Karl Jaspers, Rey and Peyron as well as writers such as Meyer Schapiro who tries looking at his works on a psychological level. The quotes she takes are relatively long and can take up as much as half a page and are quotes which she later disregards and argues that it is incorrect. By doing this, she is proving her point that she is right and those researchers have to look deeper into the meaning. The tone of voice that Pollock use in her article is a formal yet strong persuasive voice. For much of her writing, she takes on a quote from her source and counter-argues against it, which some readers may question who is correct. She also consistently refers back to Van Gogh as well as points she previously made to try to get point across. Pollock refers back to her previous points possibly to try to emphasis the point she is trying to make as well as emphasis their important to art
Painters paint what they feel. Whether it is at that very moment, or how they have felt for the past five years - an artist’s work is always about how they feel. That is why anyone can tell all there is to know about Krasner and Pollock’s relationship just by viewing their artwork. One reason why I chose them is because I heard a joke about Jackson Pollock in my favorite TV show, Archer. Another reason is that one of his paintings, “One: Number 31,” looks to me like the Vatican’s “Thrown of Satan.” The foremost reason why I chose this couple is that their mutual attractiveness matches, making for a pleasant picture. Although Jackson and Lee’s relationship was charming on the surface, it was volatile. The nature of this might have helped Pollock’s work elevate, but it definitely affected Krasner’s work negatively.
2 is otherworldly. Because the subject matter, emotion, is an entity that cannot be observed, its depiction results an equally confusing and incomprehensibility. Seen under the same light used to see the world, the image cannot be more ambiguous: it resembles nothing. But there is an artistic purpose to this madness. While Kandinsky seeks to capture music, Pollock aims to capture his changing emotional states. The incomprehensibility, however, adds another dimension to the painting. Faced with nothing familiar, the viewer is forced to question not the painting but the painter’s mind itself, leading to a deeper understanding of the depicted emotions. What could he have possibly been
The pictures say a lot, however, with petite information. The artwork she displays are somehow complex, and one gets to understand their meaning over time as she uses vivid imagination to bring out facts and fiction together.
This realistic and demanding movie gives a very detailed and emotional look into the painter Jackson Pollock’s life. Director, and main character, Ed Harris released “Pollock” in September 2000. This was Harris’s personal project after reading a biography on Jackson Pollock. Harris does an excellent job at recreating the artwork of Pollock and really showing what it is like to be an alcoholic dealing with the demons of your work and home life.
Here, Morrison not only states that political art is better than art which is simply beautiful, but also implies that it is the responsibility of the artist to create art whic...
Jackson Pollock was an American abstract artist born in Cody, Wyoming in 1912. He was the youngest of his five brothers. Even though he was born on a farm, he never milked a cow and he was terrified of horses because he grew up in California. He dropped out of high school at the age of seventeen and proceeded to move to New York City with his older brother, Charles, and studied with Thomas Hart Benton at the Art Students League. Thomas Benton was already a great artist at the time in which Pollock studied with him. Benton acted like the father figure in Pollock’s life to replace the original that wasn’t there. Benton was known for his large murals that appear on ceilings or walls. “Jack was a rebellious sort at all times,” recalls his classmate and friend, artist Harold Lehman. He grew his hair long and helped pen a manifesto denouncing athletics, even though “he had a muscular build and the school wanted to put him on the football team,” says former teacher Doug Lemon. Pollock always was upset with himself in his studies because he had troubles drawing things like they were supposed to look. From 1938 to 1942, Jackson joined a Mexican workshop of people with a painter named David Siqueiros. This workshop painted the murals for the WPA Federal Art Projects. This new group of people started experimenting with new types of paint and new ways of applying it to large canvas. People say that this time period was when Jackson was stimulated with ideas from looking at the Mexican or WPA murals. Looking at paintings from Picasso and the surrealists also inspired Jackson at this time. The type of paint they used was mixing oil colors with paint used for painting cars. Jackson noticed that the shapes and colors they created were just as beautiful as anything else was. Jackson realized that you didn’t have to be able to draw perfect to make beautiful paintings. Jackson started developing a whole new way of painting that he had never tried before and his paintings were starting to look totally different from before.
Art is defined as the expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power. Jackson Pollock does an amazing job creating art. Pollock’s works are not as big as some of the other artists like Monet’s paintings but his works are still large enough to engulf the viewer.
Jackson Pollack and Vincent van Gogh are some of most famous artist before and after their time. Each artist has a similar and different painting methods that they use when painting pictures. There most well-known paintings are called “Number 1” and “The Starry Night”. The paintings give off emotion by how they look, but each one is painted in different ways. The public did not find their paintings wanting when they were made. The difference was how long it took for them to get recognized for their work. Lastly, the paintings gave different and similar reactions to people that have changed over the years of their existence.
The word art is an encompassing one, vastly interpreted and with multiple definitions. In the case of Picasso's painting Guernica, art informs, educates and expresses. Its power lies in its ability to capture and compel an audience nearly six decades after the modern world's "other" day of infamy. To understand fully the painting that evolved out of the Spanish painter's outrage, one must know its context. "Why do you think I date everything I do? Because it is not sufficient to know an artist's works--it is also necessary to know when he did them, why, under what circumstances" (Picasso). An appreciator who knows the saga of Spain's historical fishing village is given a depth of experience that only a genius like Picasso could portray --"it may well be the most terrifying document on the horrors of war ever to be produced by an artist" (Wertenbaker 126).
Throughout John Berger’s writings, the common themes that arise from his short essays are “urgency” and “confidence.” He states that “when things are easy and not urgent, there is no confidence.” In one of Berger’s selected essays, “Gauguin’s Crime,” Berger raises the need for urgency and confidence through Paul Gauguin, a French Post-Impressionist artist whose experimental techniques with color influenced numerous modern artists such as Pablo Picasso and Henri Matisse. According to John Berger’s novel, Ways of Seeing, often times, when we observe certain artists and their art, we tend to view them with a narrow, rigid view because “the way we see things is affected by what we know and what we believe.”(Berger, 8) Berger states that often times the preconceptions of what we know and believe can hinder what we “see” and how we observe
Sarah Thornton has described, in detail, various people during her experience in the art world. Her description of each individual is supposed to be of an unbiased opinion. While reading, it is shown that such writing is not always presented; leading the readers to have a biased opinion formed for them. This is shown as she stumbled on Hans Ulrich Obrist; an art curator, historian, and critic. Thornton quickly jumped to a conclusion of Obrist’s attitude towards the art world; making her “nonjudgmental participant observer” (Thornton 256) hard to come by.
My understanding of action painting coming into this class was nonexistent. I had heard the name Jackson Pollock before and had seen some of his different paintings, but I hadn’t heard the term ‘action painting’ before. It wasn’t until this last week that we reached the portion in the book that even mentions Jackson Pollock or action painting. Despite how new the term is to me, and how little I had really looked at any of Pollock’s work, it’s honestly a fascinating style of art.
Conversely, upon investigating the artwork’s factual information such as the painting’s context, the artist’s background, the genre and the school or movement associated with the painting, it is possible to obtain knowledge that combines objective information and subjective opinion, confirming that some degree of objectivity, albeit with our ‘cultural imprint’, is possible as an art observer.
Barrett Terry. Criticizing art: understanding the contemporary. (UTSC library). Imprint New York, NY: McGraw-Hill, 2012. Print.
...ns something when it imitates nature and delivers facts of history or culture. Art is the exploration of what it is to be alive, to be human and struggling to understand one’s role within society and identity in general. By stretching the limits of what is acceptable, the artist questions preconceived ideas of what is ugly and beautiful, important and unimportant. These ideas in art and society are influenced by the emergence of new technologies that expand human understanding. Since technology improves and human understanding is bolstered by these theories (both philosophical and scientific), then art will always have a place. The artist’s place is to criticize and express the tendencies and attitudes of himself and of society. Even if those feelings are marginalized, their expression makes the audience aware of them, and begs them to ask questions of themselves.