Show the Links Between Dada/Surrealism and Pop Art.
AN ESSAY TO SHOW THE LINKS BETWEEN DADA/SURREALISM AND POP ART. Art comes in a great variety. Different periods inspire different movements, reflected in the work of the artists. However some of these movements do have their linkages. By looking aspects such as stimulation and influences of these movements is seems clear to establish the fact that many periods are linked to each other, some more obviously than others. Surrealism and Dada were the first chronologically out of the two. The first movement dated to the years of World War 1. After the war art in France split up into two styles. Both of the styles were linked to different ideas of ideologies. The first was Purism. Purism was the movement which promoted the idea that we should 'return to order' in both art and society. This was reflected in the works of artists which used Purism in their work. Purism as a whole rejected the more extreme work of the abstraction of cubism. However, very controversially, the Purists work was actually closely related to Cubism, although it was distinctly clear that the Purists works were considerably closer to the actual form than the Cubists. The Purists interests lay with the aesthetic qualities of machines. Despite the Purists' theoretical interest in machinery, the still-life's that they painted depicted more conventional, technologically unsophisticated subjects, as in Le
The Metropolitan Museum of Art Case Study.
The Metropolitan Museum of Art Case Study Overview: The Metropolitan Museum of Art, located on the east side of Central Park, New York, NY, is a privately funded nonprofit institution. The state of New York established the museum on April 13, 1870, by granting a charter to a group forming a corporation in the name of the Metropolitan Museum of Art (MET). The corporation was formed for the purpose of "establishing and maintaining in the city of New York a museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacturing and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction and recreation." The mission remains unchanged to date with one exception - the word recreation has been removed. The city of New York owns the building housing the museum, but the collections are the property of the corporation that operates the MET. The city continues to appropriate funds to the museum to be used for maintaining the building as well as providing utilities at no charge to the Metropolitan. The allocation in 1991 totaled $15,633,609, which is 9.3 percent of the total operating revenue for the year. The Metropolitan Museum of Art must rely on external sources of revenue, including interest on endowments, gifts, governmental appropriations, and
How did Pop break down the barriers between 'high' and 'low' culture? Discuss with reference to specific practitioners and their work.
Sarah Wakefield 0303927 BA (Hons) Graphic Design Critical and Theoretical Studies FFC1002: Introduction to Graphic Design History and Culture How did Pop break down the barriers between 'high' and 'low' culture? Discuss with reference to specific practitioners and their work. Pop art originated in the 1950s/1960s as a reaction to the post war consumer society. The movement was a result of changing tastes and the increasing influences of American society and culture on Britain. During the Second World War, Britain suffered huge economic losses which had a direct effect on the growth of mass culture. In contrast, America was able to maintain economic growth and this meant that there was rapid growth in consumerism. At this time there was a distinct difference in what the classes considered 'entertainment' which was referred to as 'high' culture and 'low' culture. Low culture was considered to be kitsch - things in low culture were popular with the masses and in poor taste, these included things such as popular music and cinema. High culture was considered to be things which attracted the upper classes, such as fine art and theatre. During this essay I will be looking at several British Pop Artists and their work and referring to some American pop artists and their work, to help illustrate the differences between the social classes after the second world war and to show
The Renaissance began in Italy during the 1400s, a period of time called the Quattrocentro.
The Renaissance began in Italy during the 1400s, a period of time called the Quattrocentro. During the Quattrocentro, in the town of Florence, poets, painters, sculptors, and architects achieved some prominence, especially because of the patronage they received from the town's wealthy. Those people considered wealthy descended from respected soldiers (called condotteri), natural leaders, or wealthy ancestors. Florence's greatest economic success came from its part in the wool trade, which was imported from England, and spun into cloth around the Florentine countryside, and sold universally. In addition to this industry, Florence rose to prominence for three other reasons- the political structure in Italy, the Medicis, and the series of local artisans and writers that called the city home. Italy at this time was made up of five separate states, each vying with their neighbors for control over the countryside. Florence was able to remain neutral from many of these conflicts, yet engaged in combat when it was necessary. Cosimo de Medici was able to end most of the conflict in 1454 through The Peace of Lodi. This truce ended a war between Milan, Florence, and Venice. Establishing alliances within the trio created trust, and because Florence, Naples, and Milan had previously worked together, and Venice had a similar arrangement with the Papal States, Italy was able to
Exploring moods, atmospheres and stories in paintings.
Art Dissertation Exploring moods, atmospheres and stories in paintings. This year I have decided to base my projects on visual communication. I intend to investigate how artists are able to communicate stories through paintings. I will also consider any moods and atmospheres they create in these paintings. At AS level I looked at nightlife and the social environment of pubs and clubs. I enjoyed doing this and I think this may influence my A2 work as well. I would like to develop my Unit 5 problem solving unit to looking at different situations - different stories, atmospheres, moods, etc. I may look at paintings creating happy atmospheres and compare them with paintings, which create unhappy, tense atmospheres; like 'The Scream' by Edvard Munch. To enable me to complete this properly I will use this Unit 4 contextual study to develop an understanding of the work of several relevant artists. Some of these artists are Edvard Munch, Kathe Kollwitz, Rita Duffy, Terry Bradley, etc. This should give me an insight into the different ways that different artists use to create strong atmospheres and moods. I think colour, line, style and tone will be the main ways in which this is done, but how? Edvard Munch A gifted Norwegian painter and printmaker, Edvard Munch not only was his country's greatest artist, but also played a vital role in the development of German
Discuss arguments for and against the view that Conceptual Art should be regarded not simply as a break with previous conventions of visual art
Discuss arguments for and against the view that Conceptual Art should be regarded not simply as a break with previous conventions of visual art, but as a category of art - with reference to specific works from the period 1965-75 Conceptual Art has become the term given to works intended to convey an idea or concept to the perceiver, in the spirit of resistance to traditional materialist views of art works as precious commodities. Conceptual Art was first recognised as a movement in the 1960s. Art objects were rejected entirely, and replaced by analysis - concepts. A new intellectualism was sweeping through the art world, and art objects alone were no longer enough, a meaning was suddenly imperative. Conceptual Art is so dependent upon its supporting text that the original point of creative work sometimes appears to have been entirely subsumed in textual exegesis. The question is to what degree works with so little of art about them can still be named, or understood, as art. And if we cannot understand them as art, how are we to understand them? Fried's 1967 essay Art and Objecthood will form the backbone of this essay. The seminal and highly controversial work was a kind of riposte to Judd and Morris, who he decried as literalists, coining the term to describe attitudes in opposition to his abstractionist interpretation of Modernism. For Fried, its theatricality has always
Wang Wei: Father of the Wu School
Jessica Montello Art 383 Prof. Kent Final Paper Shen Zhou Father of the Wu School During the Yuan Dynasty (1279-1368) painters had a great deal of freedom to cultivate individual styles. They birthed innovative approaches to painting that digressed from the earlier superficial style that painters of the Song Dynasty(1127-1279) had focused on. After the fall of the Yuan Dynasty, the Ming Dynasty(1368-1644) was established under the Hongwu emperor. He ordered all existing master painters to court where he would be able to slowly mold their individual styles to conform to the style of paintings done by Song masters. The style of the Ming court that resulted was known as the Zhe School. The Wu School far from the capital, which was moved to Bejing just after Hongwu's reign ended, and thus far from inperial influence, gave rise to a subversive style that prided individual style and championed scholar painting.(Liscomb 215-254) Shen Zhou is considered the 1st great Suzhou master of the Ming Dynasty and the founder of the Wu School. Born in Xiangcheng, northeast of the city of Suzhou in Jiangsu province, Shen Zhou was a member of the landed gentry. His family's wealth traces to the late Yuan period when Shen Zhou's great-grandfather attained a large plot of land after the dissolution of Mongol Rule. When the Yuan Dynasty fell and the Ming Dynasty was established, the head of
The Female Form in Art. Contextual study Unit 3
Introduction – The Female Form I believe Art is the expression or application of human creative skill and imagination taking form. This is, typically in the visual Arts such as painting or sculpture, producing works to be appreciated primarily for their beauty or their ability to provoke a reaction. Art is also evidence of history and a reflection of the people in it, for example my theme; how women have been portrayed, in Art, over the years. As the world has developed and changed, Art has been one approach of recording this. It’s only been recently that Art has been separated from being just a chronicling of man’s life, to being in a constant state of flux ever changing. Throughout this constantly changing subject, which we loosely refer to as ‘Art’, I believe there has been one constant element; The Female form. Throughout the centuries the female form has dominated across many different disciplines, this is what I am going to investigate and why the women’s body has been appreciated and recorded by artists so thoroughly. The Art world has clearly enjoyed the curves, elegance and beauty of the female form, more than that of the male. This is clearly evident in the sheer volume of work that has been produced. Are women more valued as they have the power to produce? All of this has encouraged me to research further into my chosen theme to find out why the female
Techniques of the Selected Works of Two Comic Strip Authors (L'Autoroute du Soleil by Baru and Journal d'un Album - L'anne dernire by Phillipe Dupuy)
Bande Dessinée: Techniques of the Selected Works of Two Comic Strip Authors (L'Autoroute du Soleil by Baru and Journal d'un Album - L'année dernière by Phillipe Dupuy) Abstract As Ms. Teresa Torres Eça so aptly puts it: Reading comics needs a constant reflection about the underlying ideologies and a very wide knowledge of literature, history of art, mythology and general history in order to completely understand the explicit and hidden references that are constantly used in comics. Interpreting and making comics is a form of knowledge about internal stylistic, metaphoric, iconic, formal or expressive means. It develops drawing, narrative and creative skills while providing the opportunity to express personal visions of the world. Although reading comics has several layers of understanding, interpreting comics is not superficial; it needs careful attention and disciplinary knowledge, especially if it is going to be used as a learning tool. (2004) Hopefully this paper will meet the objective of demonstrating a growing understanding of what the reading, viewing and interpretation of comics and -more specific to our topic- bande dessinée, really means, as well as some of the techniques that are involved in both the creation and appreciation of two francophone comics in particular: L'autoroute du Soleil by Baru and L'annee Derniere by Phillip Dupuy.
Is TV Art a challenging and contemporary form of artistic practice?
Is TV Art a challenging and contemporary form of artistic practice? My desire for this work is for it to incorporate the modernity of TV Art and the practice of video art as thought-provoking forms of artistic practice. In this piece I will be mainly looking at the modern day examples of animation adverts for television channels and music videos that are shot in an artistic form. To gain a foot onto the established art ladder, however, I will also look at progressive artists such as Sam Taylor-Wood and Tacita Dean. "...We are faced with a contradiction: on the one hand we are witnessing the demise and fragmentation of traditional notions of video art, while on the other there is an exciting proliferation and diversity in the use of video amongst both artists and institutions. [It has an] ability to challenge established parameters through a process of mutation and innovation which can be seen across the variety of its forms, from single channel work to installations."i At the outset, it may be useful to define the terms used throughout this essay. Philip Haywardii goes some way to explain what is meant by the term 'TV Art'. To summarise what Hayward, has previously written we can see TV Art as a medium for an artist's work on screen. This is either represented on a cinema screen, television screen or on specially constructed projection (in the case of video artist's work