The two pieces of art I will discuss is Edouard Manet’s ‘Olympia’ and Mary Cassatt 's ‘Woman in Black at the Opera’. Manet’s Olympia was not critically accepted, the reaction to his painting was negative, only four critics out of sixty were favorably disposed to Olympia. Olympia was a derivative of Titian 's Venus. In 1863 the critics and the viewers didn’t know how to take Olympia, “they were unable to cope with so many novel factors and so they were unable to categorize the picture and so were unable to analyze it or understand it in any context” (Laurence, 2012). Nowadays we are more open minded and are able to see the painting in a different light. Olympia was created in 1863, it is believed to be a painting of a prostitute. Manet created Olympia during the Victorian era of the nineteenth century, “sexuality didn’t have a public place any longer, in other word it was a repressed period for sexuality”(Nikpour, 2013). Nude paintings in Manet’s time, were known for being represented in a soft subtle style. Manet replaced the stereotypical painting that showed women as perfection rather than what real women are… real. He moved from the light, hairless women and painted them with flat colours,hard dark edges and signs of hair under the armpits, legs and stomach. Manet replaces the dog in Titian 's Venus and replaces it with a cat, this could represent the fact that she is free in her choices. The most interesting point of this painting is the fact that she is looking straight
Human expression from early civilizations provides insight into the culture of the party creating it, and additionally offers a glimpse into what ideas and beliefs captivated the minds of such groups. Without a direct line of communication, however, it is difficult to definitively construct the meaning of the creation. In "The Trouble with (The Term) Art," 2006, Carolyn Dean argues the phrase, "primitive art," and other labels used to describe non-western works before the concept of art developed, are troublesome because the definition of art itself is flimsy. In addition, Dean questions whether western civilization is doing a disservice to pieces from regions such as Africa, the Americas, and Oceania, by attempting to decipher their significance from a notion that was not established "until at least the 18th century." She further explores the idea that art scholars perhaps say more about themselves then the pieces they study when interpreting ancient fragments of communication, and she encourages the discussion of western influence in the field of art history,
The turning point that highlighted the change of feelings and thoughts about Benin art started to take place after the First World War. New interest of objects, including the sculptures of Benin, was come to light. The acceptance of the African art was inescapable. The Europeans who defined the Benin art as primitive were the first who supported it. To demonstrate, it was claimed that there is no artwork without cultural content; and the society in which such artworks are produced must not be neglected. Moreover, there is no substantial difference between European art and the art of other civilizations. There is no doubt that the definition that the Europeans gave to the art of Benin was changing whereas that art stood its ground.
The purpose of this book is to discuss how important of humans in the art worlds. Howard Becker describes that arts worlds are constituted by some people instead of individual and these people bring out the rules of the art worlds due to culture or resources.
The Renaissance movement was the bridge because it was the beginning of individual thought, and appreciation of literature and the arts. People began to think for themselves, people started to come up with many great ideas, rebirth, and cultural expansion. In this time period with your enemies your suppose to be tough and with others be cool, and everyone needed to be good at writing, latin and greek, poetry, speaking and history. As it says in (Document 1). The ideas that have given civilization the drive to rise from a period where the fallow of social, cultural, economical regression.
In a small room in a guest house in France the clicks and clacks of a typewriter echo and the mechanical sound of artistic creation livens the air. This home is known as Saint-Paul-de-Vence and will be a destination for artists and travelers alike. For within this home there is a sturdy typewriter, but more importantly there is a man in exile with the mind and inspiration to use it. He is many things, an expatriate, an African American, and a homosexual. Most importantly though he is an artist and he is creating. This man was James Baldwin, and he authored many influential works in a state of cultural and political exile in Paris. James Baldwin is the quintessential artist in exile and his Parisian years and writings embody the artistic inspiration
In his Highbrow/Lowbrow The Emergence of Cultural Hierarchy in America (The William E. Massey Sr. Lectures in the History of American Civilization, 1986), Lawrence Levine reviews the American public culture in the nineteenth and early twentieth century. He believes that American public culture was shared across classes through the mid-nineteenth century. By the later nineteenth century, the upper classes began to divide culture into hierarchal categories, and labels of "high" and "low" came to expressive culture, such as Shakespearean drama, opera, and orchestral music, as well as institutions such as museums.
In the book, Chicana Sexuality and Gender, Cultural Refiguring in Literature, Oral History, and Art by Debra Blake reveals the various experiences and perspectives many Chicanas endure growing up with the culturally symbolic female figures: La Malinche, La Llorona, Mexica goddess, and La Virgen de Guadalupe. Blake describes the multiple forms Chicanas refigure and reimagine these powerful figures that are originally used to confine and marginalize women by providing the oral history and insight of the working class and semi-professional Chicanas and Mexican Americans. Blake emphasizes how these female figures need to be preserved and redefined to dismantle the heterosexist and patriarchal narratives since they have a profound effect on the
Throughout history, art has existed. Art has existed throughout the regions and time, as such the marble statue of a Kouros and the palette of Narmer are good examples of art. Kouros in Greek means boy, the statue is made of marble and is nude (no clothes). Palette of Narmer is a palette that tells the story of the Egyptian king Narmer who rejoined Upper Egypt and lower Egypt to be together again. These two works of art may be a bit different but share common similarity.
Throughout the film “Tim’s Vermeer”, the audience begins to question what the meaning of art is, often being altered by each viewer's perspective. There are many things that contribute to the meaning of art, many having to do solely on the audience. Art and the meaning are determined by our society and each person's input, what the audience considers art. For example the way that Vermeer's work was in watercolor, work like paintings, sculptures and drawings are typically considered art. Although, when the added knowledge of how Tim, and possible Vermeer’, painting was made comes up the audience begins to question if it should still be art. Because the audience determines what is and is not art, the viewer
Bridget Mullen is an amazing and innovative artist. She did an artist talk at the University of North Georgia (UNG) on August 27th at 2pm. The presentation of her art was held at the Gainesville Campus Art Gallery in the Performing Arts building. Recently I also saw Hsiu-Ching Yu at the University of North Georgia at the Gainesville Campus. She was there doing an Art Talk on October 1, 2015 and she had an art gallery set up as well.
My thesis asserts that Christian art must display a Christian worldview. Gasque believes that Christian art does not need to have a Christian artist, but that it does need to display a Christian worldview. Gasque says that Christian art “may not be made by professing Christians, but it exhibits explicitly or
Throughout mankind, the concept of art has developed and changed. We have observed a variety of artistic forms and styles through paintings and sculptures. Numerous amount of cultures and time periods we 're established in history from art. Some include the Greek, Roman, Early Christian, Gothic, Renaissance, and Baroque time periods of art. During each of those time periods, new artistic styles were created and transformed. Thousands of paintings and sculptures were made in these periods of time. In this essay, I will imagine myself being a curator of an art gallery that has a Greek room, a Roman room, an Early Christian room, a Gothic room, a Renaissance room, and a Baroque room. I will select two pieces for each room and discuss why I would put those paintings and sculptures in each room at the gallery.
M.H. Abrams’s The Mirror and the Lamp: romantic theories and the critical traditions is one of the most influential books in the field of western criticism. It was published in the year of 1953. The title of the book refers to the two contradictory metaphors used to portray the artist – one comparing the artist to a mirror which reflects nature as it is or perfected whereas the other compares the artist to a lamp that illuminates the object under consideration. Professor Abrams in his book illustrates the transition of the perspective of the theorists on the artist from one to the other and the ramifications of the latter in aesthetics, poetics and practical criticism. The essay “Orientation of critical theories” is the first chapter of this book. It provides a condensed history of the evolution of critical theories and discriminates between them with the aid of a simple diagram.
Throughout history, art has been created by the material most easily available to the artists. Spanning the globe, certain marbles, pigments, and clays define cultural artifacts. However, within the traditional western world, art transformed into a strict vocation and a hierarchy of materials such as oil paint and marble became the pinnacle substances of genius. As a rebuttal against the institutional canon began in the mid-19th century, artists have combined various materials in order to articulate expression and commentary on the changing political and social spheres. In addition, the material used for a piece of art has become as important in the narration of the work as the subject itself. The contemporary Indian artist, Sheela Gowda, uses unusual mediums, such cow dung, human hair, and found objects, as a source of commentary on the labor of marginalized people of India. Through formal and cultural analysis, Jessica Morgan, in her article Material Concern, inspects various works created by Gowda and argues that there is vital importance between the unity of material and substance within her oeuvre.