He also neutralized the gap between life and art. Once that was realized the question of is it a flag or art didn’t matter anymore. Jasper Johns also seemed to be in love with his paintings.1 Only a real art
Explain how your chosen mentor artist’s conceptual and material practise links to your body of workExplain how your chosen mentor artist’s conceptual and material practise links to your body of work My chosen mentor artists Edvard Munch and Kathe Kollwitzboth have a strong impact on my conceptual and material practice. Munch’s conceptual intention of finding purpose in life by creating artworks that explore life and death, loss, sickness and pain has made a big impact on my Body of Work. His material practise contains distortion of space would be a great way to present my ideas and also his use of aggressive brush techniques interest me and have become an essential part of my body of work idea. His most famous artwork and the one that has influenced me the most was The Scream, 1893 and I have also adopted ideas from his painting Vampire, 1893-1894. Similarly, Kollwitz’s theme of adversity and its effects on people have also inspired me.
David is very famous for his work of art called Oath of the Horatti. In this picture you see David trying to show off the bravado in the scene which many artists liked to do on their canvas. Realism comes into place and is known for the subjects as they appear in everyday life. It’s what the eye can see with stuff that is going on like real life characters, situations and true life occurrences. Courbet was a French painter who led the realist movement.
This style was originally controversial and opposing artists thought of impressionists as not skilled with incomplete works. However, the pursuance of being in the exact moment, light was skillfully placed to give radiance from the sun and reflections were realistic enough to give you the time of day the scenery took place. This can explain why it was more effective for artists to capture their subjects in the great outdoors. The incompleteness was rather helpful in achieving an instant vision and was done by using primary colors without blending. In order for this style to be clarified artists used short brush strokes, dotting and smearing techniques.
You start to realize that they are not exactly as they seem. You start to see their strengths and their flaws, their reds, their blues, their fears and what the love and cherish. Only then can you truly see who they are as a person and an individual. To me, everyone’s life is like a painting, a beautiful, unique piece of art. The more you get to know someone, the more intricacy and detail you start to see upon their canvas.
“As a creature of habit, my art is where I find my spontaneity. I take a reactive process by allowing the medium to do the 'talking': I splatter paint around aimlessly then later paint the images I see in the random composition, as if viewing a rorschach inkblot test. My work is heavily driven by emotion, the things I've read, heard, or experienced, and what it means to be human. I am constantly on a search to find a happy medium: between the
The greatly differing art from era to era presents an issue of greater meaning. Going into perception of any individual’s reasoning of emotion from observation of something that can be judged with grace or ill regard should be considered only to those viewing the piece. The artist should actually care for his work and carry an essence of narrative to it to be considered well crafted. Although if the one taking in the piece fails to make any connection or perceives it to be something totally different does the validity of the piece to be considered good art change? It may.
In creating a majestic artwork, it is often the artist who imposes certain molding so that the craft will appear according to the message the artist wants to convey. He performs every stroke and every pinch considering the objects future form and the thoughts that will soon linger amongst the gazers. However, sculptress, Julie Lluch took her dedication to artistry to a very personal level. She permitted the medium to have its way of expressing its views about the world. Thus, Thinking Nude encompassed the qualities of a truly individualistic opus.
The artists of the Renaissance, masters such as Raphael and Michelangelo, studied the human form and nature for inspiration. Their art was balanced and harmonious. The proportions of their subjects were authentic and their art was often religious in nature. Mannerists, however, often painted their subjects with disproportionate features, such as elongated necks and limbs. Open spaces were filled with objects or figures that were often unnecessary.
Artists were commissioned to produce works of art to reflect this fervor with “clarity and directness” (Culture and Values 373) through “strong emotional statements, psychological exploration, and the invention of new and daring techniques” (Culture and Values 375) giving glory to God with grandeur and vibrancy. Two Baroque masterpieces that reflect this grandeur and vibrancy are Bernini’s Saint Teresa in Ecstasy and John Donne’s sonnets. --- Although the violent context of Bernini’s display is startling at first, the astonishment is somewhat softened by Saint Teresa’s passive body position and surrendering facial expression. Like the golden arrow, the viewer can pierce right into her psychological essence which Bernini has laid out for all to see. Her half closed eyes and mouth form an almost audible moan to reinforce the notion of joyful submission, as do her languid hands and feet.