. Neil Young Ways in which visual images of artists c.1400-1900 reflect artistic aspirations regarding status? The conventional portrayal of the artist as creative and solitary genius as exemplified in the aura that surrounds artists like Van Gogh today is, as Barker, Webb and Woods note in the Historical Introduction (Book 2, pp.723), indeed a 'myth' that has taken hold of the general consciousness. But it is to some extent a myth based on historical reality (Ibid. p.9). As art history evolves over time it is evident that, in a similar manner, the identity of the artists also evolves. In this essay I will be looking at a selection of images c.1400 - c.1900 that provide primary evidence of how a variety of identities are represented, or aspired to, that together culminate into the general construction of this myth. In my analysis of these images I shall consider only qualities, or values, that relate directly to the question of artistic status, and concentrate largely on examples by Dürer. Towards the end of the nineteenth century we can see in a painting by Courbet, entitled The Painter's Studio (1855) (Beckett, p. 530), a reference to the myth of the artist as an isolated but exemplary member of society. Courbet's realism depicts the artist himself in his studio painting a realistic landscape surrounded by, as he claims, 'all the people who served my cause' (Ibid.). In
Martin Jay contrasts Renaissance and Baroque approaches to visuality in his article 'Scopic regimes of modernity'. Identify the central characteristics of both systems, and discuss how they apply to 2 or 3 prescribed paintings.
VSA1000: Introduction to Visual Culture First Essay Martin Jay contrasts Renaissance and Baroque approaches to visuality in his article 'Scopic regimes of modernity'. Identify the central characteristics of both systems, and discuss how they apply to 2 or 3 prescribed paintings. Tutor: John Gregory Time: Monday 4pm Centuries of studying visuality has given birth to several methods of visual analysis. These "scopic regimes" as defined by Jay are quite simply systems for organizing vision. This essay will focus on the two main systems discussed by Jay: Renaissance and Baroque. Both systems arose during similar time frames, and consequently contain some similarities. Yet, each approach is clearly different. Renaissance's central themes of order, reason and Cartesian space are clearly in contrast to the themes of the Baroque system, which is far more spectacular and sensational. Images from each regime will be used to illustrate the differences between Renaissance and Baroque. The Renaissance period lasting between the 14th and 16th centuries was a stark cultural shift from the preceding Middle Ages. Born out of European culture - notably Italian - "Renaissance" means "rebirth", which suggests how radical this period was for its time (Web Museum, 2004). The Renaissance denoted the rise of individual and social values, and strong growth in scientific exploration (Web
How we consume signs, compare the Coca-Colas advertisements and graphic design of two countries; one is UK, the other is Taiwan
AA2621 Contextual and Critical Studies: Mini Programme 3 Consuming Signs Tutor: Lesley Scott / Andrea Peach Yeuk-kei Chan (Gillian) 0407009 Design for Digital Media Stage 2 20 July 2005 How we 'consume signs', compare the Coca-Cola's advertisements and graphic design of two countries; one is UK, the other is Taiwan. How we 'consume signs', compare the Coca-Cola's advertisements and graphic design of two countries; one is UK, the other is Taiwan. In this essay I will compare how the Coca-Cola Company produces the same goods using different graphic design in two separate countries. These two countries "UK" and "Taiwan" have companies that make the same popular beverages. The reason I choose these two countries is that Taiwan is where I grew up, and the UK is where I currently study. I found their graphic design styles have wealth variety. In the book "Media Semiotics an Introduction" Jonathan Bignell said: "The signs in ads very rarely just denote something. The signs in ads also have connotations, meanings which come from our culture, some if which we can easily recognise consciously, and others which are unconsciously recognised and only become clear once we look for them."1 Bignell points out an important idea in that strongly attractive advertisements or signs may make customers interested in looking at products even if they are from a different culture. This
To begin with, the first thing we can observe from the photo advertisement shown above is the linguistic message included in the ad. The word “Lancôme”, depicted at the top of the image, is the name of one of the world’s leading beauty company, located in Paris, France. The location of this beauty brand can also be understood due to the mentioned word “Paris”, which can be seen right under the organization name, on the top of the advert. Moreover, the name of the new Lancôme perfume fragrance “Idôle” is written in large and well prominent letters, right in the middle of the photo advertisement. “Idôle” is a confidence, courage, and steadfastness, which are on the verge of sensuality, daydreaming, and femininity. The tagline “I can, we will” can be seen right under the perfume’s name. Idôle is a perfume for a generation that dreams of the unattainable. This is a fragrance for strong and outspoken women, who will become the leaders of tomorrow. As per denoted message in this ad, we can see a breathtaking woman, an American actress, singer, and model Zendaya Maree Stoermer Coleman. Sitting on the white horse, Zendaya wears a peach-colored dress which is blowing in the wind. The color of her gown is perfectly matching the luxury aesthetic of the image itself, as well as the golden rose palette of the Idôle bottle, which can be found on the right side
The way in which the human form is depicted in different cultures can vary greatly on which values that culture holds in highest esteem, whether it be the importance of fertility, authority or family.
Art is a means of communicating human experiences and cultural values. Different cultures portray the human body in different ways which is meaningful and evocative to that particular culture. The way in which the human form is depicted in different cultures can vary greatly on which values that culture holds in highest esteem, whether it be the importance of fertility, authority or family. In Japan, there is one popular archetype we see presented time and time again, that of the divine boy. Whilst it is important to note that depictions of the divine child are seen across the world, most notably perhaps the depictions of Christ as a child, Japan is one culture that we see hold this archetype above many others in importance. This highly spiritual culture is heavily influenced by its dominant religions, Buddhism and Shinto, and this spirituality has affected its representations in art heavily. In order to analyse why the archetype of the divine boy is so influential on Japanese art we first must look at some of the most popular examples. Images of Chigo Daishi, a Japanese cultural hero who was in his later years a high priest, as a boy are incredibly popular. (Guth. 1987. p2 ) In one of the most well known depictions Kobo Daishi (Kukai) as a Boy (Chigo Daishi) (fig.1) the child is depicted as youthful and innocent, his hands held together in prayer. This pose shows his
One of my favorite earliest filmmakers would have to be Georges Melies. The first time I saw A Trip to the Moon I was completely awe-struck. The way Melies, within that film, practically created the genre of science-fiction is utterly brilliant. Arguably considered the father of science-fiction, Melies forever changed the cinema timeline with his own innovations. Originally a magician, Melies used technologies within film to enhance his career not as a filmmaker, but as a magician. Working at the Theatre Robert-Houdin as a magician, it was after observing the Lumieres' camera that prompted his interest in film. It was then in 1897 that Melies decided to open his own studio. He then went to direct films where the actors would stand in front of painted sets that he created and were inspired by his love for magic. The story of Melies' learned love for special effects is indeed one to be told. While he was shooting one of his many films in a city street one day, the camera jammed. While the camera was originally rolling, a carriage was passing through the frame. But only after the camera had jammed and then been repaired, as soon as the camera started rolling again, a hearse was now in the exact same place as the carriage had been placed previously. This gave the effect that the carriage was instantly changed into a hearse, and thus, special effects were born.
De Mesa Bettina De Mesa (Page 1) Holmes Art History 100 6 November 2012 Coronation of the Virgin Altarpiece Preceding the illustrious masters of the Renaissance, Guariento di Arpo demonstrated his adroitness as a painter by forming a grandiose version of the Coronation of the Virgin. Chronicling the experimental era of art in the 1300s, the altarpiece’s 86 by 104-3/8 inch stature certainly awed the religious figures who commissioned this ornament for their church. Created in an era where most citizens were illiterate, the altarpiece probably served as a visual narrative for the church attendees who were deprived of the knowledge needed to read. Painted on numerous panels, this polyptych utilizes the use of Tempera paint and gold leaf to resemble the Byzantine influence on Guariento. However, since the Gothic influence lethargically invaded Italy there was an infusion on both art styles that exudes the experimental nature of di Arpos mind. Relying on my amateur perspective of the painting, the central panel seems to be focused around Jesus and what I presume to be the Virgin Mary. Holistically, this altar painting is a devotional piece of work that is meant to praise the story of Jesus while simultaneously inciting a feeling of repentance for those who view this art work. Since it was created with the sole intent to be placed within an altar, it was di Arpo’s duty
Renoir's Large Bathers. The paintings of Renoir (1841-1919) are commonly known for their strong lines and bold color palette
Hill Marissa Hill AAH 3003 Brody 20 November 2012 Renoir’s Large Bathers Paper #1 As a student in a suburb of Philadelphia, I have had the opportunity to visit the Philadelphia Museum of Art on multiple occasions over the last two and a half years. On some visits, I spend my time staring at Van Gogh’s Sunflowers while other times I dedicate my time to admiring the Sculpture Garden; but one thing that stays the same through every visit is my shameless staring, dare I say gawking, at Pierre-Auguste Renoir’s Large Bathers. This 1887 oil on canvas is the epitome of late 19th century European art, combining aspects of mid-19th century Impressionism, the frivolity of 18th century Rococo, and Classical nudes. Though I cannot quite place my finger on what draws me to this piece, I do know that the cheerful pastels, sensual lines, and lighthearted subject make Large Bathers one of the top paintings I have had the pleasure of viewing. The paintings of Renoir (1841-1919) are commonly known for their strong lines and bold color palette. He created his own genre of art, mixing his trademark bright and cheerful disposition with daring and distinct lines, showing movement of the focus element. He was passionate about painting people, especially female figures. Renoir’s paintings, throughout his career, often evoke sensuality with clothed and nude figures alike.
TMA 02 There are many differences which I see between Cezannes Bathers and Vecchios Bathing Nymphs which make them both interesting yet very different pieces.
TMA 02. There are many differences which I see between Cezanne’s Bathers and Vecchio’s Bathing Nymphs which make them both interesting yet very different pieces. Firstly, both Cezanne and Vecchio use colour very differently to create two extremely contrasting pieces of art. Cezanne has used a restricted palate of cool colours with only a splash of warm hue; this creates a dark and almost cold feeling to the figures in the foreground. Vecchio on the other hand has used a more wide range of both cool and warm hues to give the cooling effect of nature and the warmness of the models. Vecchio also gives each figure incredible life like qualities by highlighting detail vividly with colour. Cezanne and Vecchio both use light, but they use it differently. Cezanne has used a weak light source which appears to be coming from the viewpoint of the spectator and it is carefully highlighting the outline of the figures. The light source in Vecchio’s Bathing Nymphs on the other hand is rather difficult to pinpoint. It appears to be coming from the top left of the painting, highlighting the background landscape and buildings. The middle ground of the painting appears to be darker, as if overshadowed, but Vecchio’s use of colour vividly picks out the figures. This use of light gives a dramatic contrast between light and dark. The perspectives of the two paintings appear to be
The 80's were a time of economic growth and global power it is also the setting for Tony Kushner' play, Angels in America. In Kushner's play it was at a time of gay revelation.
Vanessa Rojas December 16th, 2012 Professor Gallo Final Paper Angels in America Everyone has his or her own personal faults in life. Some are looked down up more for their issues than others are. Homosexual relationships are considered sacrilegious and unethical, so much that we ridicule people in general for having those relations. We as a society should not look down upon down upon individuals whose sexual preference is different from our own. The 80's were a time of economic growth and global power it is also the setting for Tony Kushner' play, “Angels in America”. In Kushner's play it was at a time of gay revelation. Reagan's reforms and policies gave homosexual people the power and courage to be more open sexually. Throughout this play, “coming out”, is a very new evolution, one that Kushner bases his play on. In the story, many of his characters are homosexual, and the truth about their sexual preferences comes out. Roy Cohn is a successful lawyer in New York, who is dying of AIDS because of his sexual relationships he keeps having freely. He keeps his love relationship separate from his professional life for the simple fact that if he were exposed to the wrong people it could damage his reputation. This information could be used against him in court. He lies to people, telling them he has cancer to conceal his homosexuality and prevent them from