Through the use of color, Matisse shows the viewer his mental mindset, his emotions, while creating this painting which adds a subjective lens to his interpretation of the subjects. The intense colors illustrate a “feeling” that would not otherwise come through if the colors were directly representational of the real natural world. The bright colors seem to evoke a sense of happiness and pleasure. There is a sense that everything occurring in the picture is alright and everybody is enjoying themselves. This painting has Matisse’s identity tied with it because it represents his individual depiction of the scene.
How has artwork transformed itself with the use of metaphors? With many different artwork pieces we have seen through museums or within our textbooks, most would include an underlying meaning. The underlying meaning of the artwork is depicted by the audience and how they would choose to interpret the artwork. For instance, in Frida Kahlo’s self-portrait piece with a thorn necklace and a dead hummingbird, it signifies certain objects to show her own characteristics. Aside from the hummingbird, which could have meant light transcendent or escape, there are also different animals and objects surrounding her in her artwork piece.
The woman’s hair is falling out of frame, bringing her into our world. This forces the audience to become incredibly close to their own fears as they can almost imagine themselves as the girl on the table. This artwork is unsettling and leaves the viewer feeling empty and incredibly close to that emptiness. The visual elements of colour, shape, space, and light working together to push these feeling forward into the light. This revelation means viewer realises that they must confront their darkness or be consumed by
This painting appears to be set sometime in the past, the outfits the people are wearing appear to be very outdated. This painting is obviously a representational artwork, because it clearly depicts an event that could have actually occurred. There is no odd parts or unusual events occurring in the painting that could make it an abstract piece of art. The painting
INTRODUCTION This research chooses pointillism technique in painting as a key area of study. Pointillism is one of the style in impressionism that is known as a technique of painting which using a small distinct dots of color to form an image. This technique was developed by Georges Seurat and Paul Signac in 1886. . In Gestalt theory, there are four principles which is known as proximity, similarity, continuity and closure. This theory had a relation principles with pointillism technique.
History and memory are relational but two distinct concepts. To make their distinction clear in this study, I will use Pierre Nora's conceptualization of history and memory. Nora (1989) describes memory as “in permanent evolution, open to the dialectic of remembering and forgetting, unconscious of its successive deformations, vulnerable to manipulation and appropriation, susceptible to being long dormant and periodically revived” and history as “reconstruction, always problematic and incomplete, of what is no longer” (p. 8). Memory bonds us to the present as history is a mere representation of the past. Memory is multiple, every group / individual has their own memories.
Courbet presents his image in extreme close-up, staring squarely at the viewer. Pulling at his hair, eyes wild and wide, blood risen in his cheeks, his choice of representation begs the question: Why so desperate? The bonds that tie the visual arts among them, especially painting and photography, cannot break no matter how the artists are trying themselves. Another report of the Metropolitan Museum of New York which marks the completion of a market's new acquisitions for the completion of the section Photo Foundation, again raises an old question without adequate response to date: The two arts complement each other, or simply reflect a similar intake of the world at a particular time by other means? When the practising of art of photography has started it Eight Elvises, 1963, Andy
The repression theory is held to be more applicable to explaining morbid forgetting. According to this theory, we forget the things we do not want to remember by burying them in our unconscious. The theory of interference is able to explain all types of forgetting. According to this theory, we forget things because of the interference of other things. Proactive inhibition occurs when earlier learning interferes with the later learning.
Memory depends on one hand of the group in which one lives and, on the other, to the status one holds in that group. To remember, one therefore needs to situate oneself within a current of collective thought. In the process of our day to day life, everything cannot be remembered. But something ought to be remembered in a selective method. Memory depends on valuation and valuation depends on our historical memory.
When this memory ceases to be merely an individual experience and integrates with the established notions of a generation, it stakes claim to become part of a collective domain. This explains the significance of cultural memory in both Historiography and Culture Studies. The former looks at the process of establishing this memory while the latter deals with their implications and objects. In short, cultural memory is a concept where the present is shaped by our understanding of the past and therefore the past does wield enormous influence on the present. BasavarajNaikar’s novella, Jakkanna is the recapping of the life and history of the AmarsilpiJakkannacharya, the renowned architect of the Hoysala dynasty.