I sat on the grainy wood floor of the art studio, dog-earing pages of Van Gogh’s early charcoal sketches of poor, working men. With few lines and simple shape, he was able to convey an entire existence. With sweeping and curved strokes, he created cypress trees in motion, swaying back and forth. In my own work, I wanted to replicate the masters. I relished the slow and concentrated process of drawing and painting, the mixing and layering of color, the shading underneath a cheekbone or on the crease of an eyelid, all to represent exactly what I saw. This past summer I was confronted with a new way of thinking about art. Make a monument to anything. Create an image of a memory you have. At Cowhouse Studios, an intensive summer art program, I was asked to respond to prompts like these. This was exactly what I hadn’t wanted. It didn’t help my shading or brush strokes, it didn’t require intensive focus or precision. These were flimsy, unfinished, temporary exercises…and yet, I ended up with a few memorable images: a tall, thin French kid named Paul standing unassumingly on the base of a stone monument; a man with a mug of coffee for a head, the coffee running into his intestines; an image of a pair of scissors crafted out of tape, water, and holes in the paper. Seeing these works laid out on the floor alongside those of twenty other kids made me question my perspective. …show more content…
Must art have some aesthetically pleasing quality, or can it just be a visual representation of an idea? How much information should be included when artwork is presented, and is that information itself an aspect of the work of art? Is an artwork’s visceral or intellectual effect more
Philosopher Alain De Botton uses Vincent Van Gough to persuade his audiences into seeing and embracing our environments so that we can full understand the extent of their impact on society/us, “It was for Van Gogh the mark of every great painter to allow us to see certain aspects of the world more clearly” this evaluative statement highlights De Botton's and Van Gough's attempt to convince the respondents of their neglectfulness to their elements in their travels and everyday lives. As Van Gough’s distinct style of representing forms expresses his emotions of society, “Artists could paint a portion of the world and in consequence open the eyes of others to it”, said by Alain De Botton suggests that artists eyes are open to the world and it is those that we see it through. Like wise in Ljalkaindirma, Albert Namatjira uses his cultured beliefs of traditional Aboriginal customs demonstrated by his use of vector lines and light to give the painting depth and meaning connecting it to the traditional Aboriginal relationship between their land and culture. Namatjira builds upon this through his use of vector lines, which immediately draw the respondents towards the centre of the mountains allowing the respondents to allow themselves to identify the other aspects of the painting that extend the landscape
Nevertheless, brush strokes go deep. They scratch our thin optimism when he brings us the treasures of the humble: their little joys-so joyous in their constant misery-so appalling-their daily ways, goings and comings. And he has beaten out a style of his own to render these surfaces, a style that is still and somber-he can represent absolute repose in a curiously suggestive manner. He paints dark pictures-there are only three or four light ones in this exhibition; and he has a feeling for night, for the mystery and fear of strange corners.
Vincent Van Gogh is an artist whose work had a far-reaching influence on 20th century. He’s work includes portraits, self portraits, landscapes, and still life of cypresses. In 1881, Van Gogh briefly lived in Etten, where he created a number of drawings of local peasants and laborers performing routine and humble tasks. As you can see in his artwork the man with a broom sweeping on the street lined with pollard willows is an example of characteristic. The outline in his drawing shows a great form of contour line.
I sit on the edge of my seat, as I wait for my professor to explain the next bit of symbolism hidden in Jan Van Eyck’s, Ghent Altarpiece. To me, the silence of the classroom screams of suspense, even if, a few classmates are sleeping. Each detail painted or formed by the artist represents a conscious effort to communicate beyond words. Their work joins in the eternal quest to define a specific reality, to capture an ephemeral moment. I have never enjoyed a course more than my first art history course.
Our actions and attitudes would change as soon as we learned the facts. But logical reasoning alone is never enough to get anybody to change” (107). Instead, people’s actions depend on their attitude and is a result of their actions. I chose to revise my memoir and turn it into a piece of found art because I am re-purposing it for my own uses. I will first explain why I converted my memoir into a painting, then I will talk about why I used dark colors and different shapes in my
My goal was to research and analyze the effects Vincent Van Gogh's life had on his art and make an interpretation of one of his pieces. I wanted to do this as my project because I believed it would give me a deeper understanding of the connection artists have with their art and how they present themselves through symbolism. I chose van gogh specifically because he was known to have a lot of emotional baggage and internal struggles which he showed through his art. Analyzing his style was challenging because it branches into a part of artistic interpretation that I had never experienced. Before this I had no real understanding of how to look at another artist's work and see the differences in brush strokes, or that a complete work can be pulled apart and analyzed to get
I paced each breath I took in front of the masterpiece, soaked in the unnatural colours and accentuated shapes, noticed the start and end of each brush strokes life span on the canvas and fell in love with each one. Despite just standing in front of me, Vincent displays his passion with swirling action and dominant skill. The whooshing of the wind that blew the field could still be heard and the kiss of the sun still fell on my face. A moment later and the tears were being rubbed out of my eyes while the painting grew smaller and the shuffling feet became softer.
Artwork is what gives our life much more flavor to it. Life without art would be dull, and lackluster. Everything would be so basic, bare, and simple. Creativity is what really makes artwork amazing. People really enjoy some artists artwork, and are very passionate about it.
It is also a great reminder on how far art has grown and learn from ancient Greek art in it’s techniques and evolution in mastering the human body. Although this could be the type of story that our society has outgrown
Within Vincent Van Gogh’s infamous Oil painting (65 cm x 54 cm) the main focus is of Vincent himself. The portrait contains Vincent surrounded by the dominant colours of pale turquoise and a shade of absinth green. The attention is drawn to his face and eyes glaring while he seems to be wearing a suit. A series of delicate painting techniques have been used in order to create realism throughout the face. The use of light brush strokes in a spiral motion were used for an extricate background.
I learned a lot, and I enjoyed all the artwork while I was there. Writing this essay is probably one of the more difficult essays I have written in a while. Mostly because I’am trying to understand the meaning behind an artwork. There is no right or wrong way to interpret art. Each person has their own interpretations.
Between doodling, sketching, and making videos, I loved to get my hands dirty and create new things with my friends, all of which really took form in ninth and tenth grade at SSS, where I took my first art classes and created my first real works—my first portrait and my first short film. However cringe-worthy now, I’m thankful, as those experiences really sparked my passion for creating art. Over the past four years, portraiture has become my favourite type of art, as well as pen and ink, charcoal, and pencil becoming my preferred media. I find something so fascinating and fun about building up a lifelike face, or hand, or body from a 2D sheet of paper; it’s challenging and different every time.
Van Gogh’s paintings often portray a sense of movement. Upon viewing the work, I was able to identify the movement through his brushstrokes. Additionally the unrefined brush strokes within the work pointed me towards Van Gogh. The line work in this piece creates movement as I move
This week the senior class at Lynchburg College was treated to a lecture by art professor Richard Pumphrey (2016), a wonderfully enthusiastic character rarely seen outside of his studio in Dillard. His lecture was entitled Art in the dark, which while being intentionally provocative was also an accurate description of what was presented. Pumphrey (2016), the skilled sculptor, began on discussing the history of LC’s of Hall Campus Center, shocking many by recalling the jogging track where the financial offices now stand. He quickly moved on to his main focus, art, and in order to engage his audience he did as the title suggested and dimmed the lights in the ballroom. The works he discussed were strikingly well developed, deeply personal, and
Vincent Van Gogh’s art work can be classified by subject matter into four groups which are landscape, people, still life, and cityscape. The first group of Vincent Van Gogh’s paintings is a landscape. It means the land or the area where there is no construction or just a little, but most of the time, it is always focused on nature such as trees and flowers. Nature is one of the component of landscape’s theme which did not present only in the spring (Spence, 2001).