Aesthetics

Fashion is something that is in vogue. This particularly refers to clothing, hairstyle, footwear and various accessories. People these days are very particular about staying in style and thus follow the fashion trends religiously. Various kinds of fashions come in trend around the world every now and then. India is a land of varied culture and thus different fashion trends are followed in different parts of the country.

Indian fashion industry saw boon, post liberalization in the 1990’s. In the succeeding decades, fashion industry in India has progressed to becoming multimillion dollar industry which gives employment to thousands. Delhi, Mumbai and Calcutta act as the fashion hubs of India, while many other major cities like Bangalore and Hyderabad also have production and rental facilities.

Long and Short Essay on Fashion in English

We are providing below long and short essay on Fashion in English, of varying lengths to help you with the topic in your exams/school assignments.

These Fashion essay will take you through the beginning and progress of fashion industry.

You will also get to know in details about the industry.

You can select any Fashion Essay as per your need and interest during your school/college assignments, essay writing, debate or discussions.

Short Essay on Fashion – Essay 1 (200 words)

Fashion is anything that becomes a rage among the masses. We see different fashion trends pouring in and taking the market by storm. Clothing is especially one such arena that sees changing fashion trends that are followed by vast number of people.

People these days love to dress up well in order to look presentable in the society. To keep up with the changing times, people upgrade their style according to the latest trend in the market.

Women are particularly inclined towards following the fashion and thus keep a tab on the latest trends. A few years back long kurtis were in fashion. Almost every woman, especially those living in the urban areas, was seen wearing long kurtis in different designs, patterns and style. After a few years, the trend of wearing short kurtis came in and women instantly switched to short kurtis. Anyone wearing a long kurti while the shorter ones were in trend looked rather weird. In today’s times, people have become very particular about the fashion as it gives them a sense of belonging. It makes helps them be one with the society and not look the odd one out.

Fashion has thus become more than a style these days and almost has become a necessity of everyone.

Essay on Fashion among Students – Essay 2 (300 words)

Introduction

Fashion has become extremely important among the students. Gone are the days when parents kept their kids away from the world of fashion and made them wear simple clothes so that their entire focus could be on their studies. These days, parents encourage their children to follow the latest fashion to look smart and presentable. They buy new clothes and accessories for their children and ensure they dress up smartly.

Parents Responsible for Fashion Craze among Students

Everyone wants to look good these days and it is not a bad thing. However, too much of it can have a negative impact especially on the students. In their age when they should be encouraged to study and participate in extra-curricular activities to explore their interest, parents often grow concerned about their looks.

Our society is becoming a place where everyone wants to show off. People want to show of how well-off they are, how good they look, how they have all the knowledge about the latest fashion trends and how they are equipped with the latest gadgets. They dress their kids in the best of clothes not only during social gatherings but even as they head to the nearby mall or park. They also buy the latest gadgets for their kids.

Fashion among College Students

Colleges have always been a place where students get the freedom to wear what they want. Everyone wants to look good and thus looks for the best clothes, footwear, accessories and bags which are in-line with the latest fashion. Both girls and boys are seen wearing beautiful fashionable clothes. They are also seen wearing smart watches and using latest mobiles that are in vogue.

Fashion trends keep changing frequently and the college students shop as frequently to change their wardrobe and flaunt the latest trend.

Conclusion

Students these days have grown very particular about fashion. They love flaunting the latest fashion trends and create a style statement of their own.

Essay on Fashion and Youth – Essay 3 (400 words)

Introduction

The youth of our country follows the fashion trends like no other generation. Unlike the elderly people, the young people love experimenting with their looks. They do not hesitate in trying new things and accepting change. Hence, they are always on the lookout for new fashion trends.

Fashion and Youth

The Corporate Culture

The youth in our country has never been as conscious about fashion as it has become in the current times. The culture in our country is changing by the day. People these days work in corporate offices that follow the culture of socialising. Corporate parties and social gatherings are thrown every now and then. People come dressed up in the best of their clothes in these parties in order to impress their colleagues and clients.

A person’s appearance goes a long way in making an impression and hence a lot of importance is given to dressing up well. Now, dressing-up well has become synonymous to dressing up as per the latest fashion, keeping in mind the place and occasion. The young lot especially takes out time to shop for fashionable outfits, watches, bags/ wallets and footwear to look their best not only during special events but even on a regular day.

The Role of Social Media

Social Media has also increased the fashion craze among the youth. People, especially the young lot, flaunt everything on the social media. They post their pictures wearing trendy clothes, using the latest gadgets and chilling out at the most happening pubs and restaurants. All this has become fashionable in today’s times. Posting pictures and viewing the pictures posted by others is the favourite past time of the youth today. They inspire each other to look fashionable by way of such pictures and posts. They purchase fashionable clothes and visit happening places in their town and show it off via social media platforms.

Feel Good Factor

In today’s times, when there is so much competition and stress all around, fashion offers a sense of release from all these things. It is rightly said, when you look good you feel good. The youth follows this mantra religiously. Following fashion and staying in style renders a feel good factor and the youth is thus inclined to take on this path.

Conclusion

For the youth, following fashion has become a way of life. They keep a tab on the latest fashion trends by way of the internet and incorporate them in their lives. They are highly inspired by the celebrities and try to imitate their style to look like them.

Essay on Fashion Trends – Essay 4 (500 words)

Introduction

Fashion Trends change with every passing season. People who dress up according to the latest fashion trends are considered up to mark while those who stick to the old ones are called outdated. In today’s times our fashion and style reflects our personality to a large extent.

Fashion Trends among Young Girls

Young girls come on the top most position when it comes to following fashion trends. They are also the ones who have a plethora of choices when it comes to fashionable clothes, accessories, bags, footwear and hair styles.

While in the earlier times, young girls used to take a cue about the latest fashion trends from the fashion magazines, latest television shows and movies in today’s times it has become much easier to find out what’s in vogue. While the internet made it easy, the advent of the social media has made it easier. Young girls follow fashion forums and blogs to know what is trending in the world of fashion. They also follow their favourite celebrities on social media platforms such as Instagram and Facebook to view their latest pictures. They are inspired by the beautiful dresses, hair styles and accessories of the celebrities and try to incorporate them.

Denim jeans have been in vogue for the young girls since decades and continue to be in fashion even today. However, a number of new western dresses are in fashion these days. Girls are seen wearing skirts, spaghetti tops, shorts, short dresses, ripped T-shirts, crop tops, off shoulders and a lot of other stuff. Different kinds of T-shirts and dresses with different cuts and designs come in fashion from time to time and the market is flooded with the same.

Fashion Trends among Young Men

Young men these days have also grown quite fashion conscious. They also follow their favourite celebrities on the social media and try to look as cool as them. These days, young boys have started going to the salons more than ever. They get their hair coloured and nails trimmed.

They also look for latest fashion clothing and dress up accordingly. Young men are especially fond of watches and shoes. They keep a track of the latest watches launched by different brands and flaunt them to amp their style. Likewise, they also keep a tab on the latest shoe trends and incorporate them. Many men look up to certain celebrities and dress up like them.

Fashion Trends among the Middle Aged People

Not just the youth of the country but the middle aged people are equally fashion conscious. They hate being called old and outdated and thus follow the latest fashion trends consistently. There are a whole lot of options when it comes to the middle aged men and women and these trends keep changing too.

While the clothes and accessories for the youth is more vibrant and loud, the fashion wear for the middle aged people is more subtle and renders them an elegant look.

Conclusion

Fashion trends are ever changing. While dressing up as per the latest fashion makes us look good however before following any trend blindly we must ensure that the particular style suits us.

Long Essay on Importance and Role of Fashion in Today’s Life – Essay 5 (600 words)

Introduction

Fashion has become an integral part of our society in the modern times. We belong to a society where people give importance to the look of a person more than anything else. A person’s social status and personality is judged looking at his outward appearance. People follow the latest fashion trends to look and feel good and impress others.

Fashion: To Keep Pace with the Society

People these days have become extremely judgemental and more than a person’s mannerism and character, they give importance to his/ her physical appearance. A person who dresses up according to the latest fashion and style is liked by everyone around. Everyone likes to befriend such a person. He/she becomes an inspiration for the others. People mistake this outward beauty for intelligence and seek opinion from such people and like to socialise with them.

It is as if following fashion has become essential to keep up with the pace of the society. A person who is well-dressed as per the latest fashion is looked upon by others.

Different Places; Different Fashion Trends

India is a land of varied cultures. The culture of a place plays an important role in setting the fashion trend of that place. While the Kanchivaram saree is in fashion in Tamil Nadu, short kurti and patiala salwar is in vogue in Punjab. Likewise, tunics, churidars and pherans are in fashion in Kashmir while lungi is in style in Kerela. The cuts and patterns of these attires keep changing with times and people follow these latest trends.

Fashion: Inspired by Celebrities

While the fashion trends in different regions of India are different, people living in the metropolitan cities in the country follow a rather common trend mostly inspired by Bollywood celebrities.

New fashion trends come to life with new movies and television shows. New look is rendered to the actors in every new release in order to make their characters look different. New kinds of attires, hair styles and accessories are introduced and they become a rage among the people.

The people in our country look up to the Bollywood celebrities as style icons. They keep a tab on every new trend followed by them and try to incorporate them. Many a times, the T-shirts, dresses, suits, shoes, belts and jewellery worn by the celebrities become extremely popular among the masses. Replicas of their designer wear are made available in the market and are sold like hot buns.

These trends stay for a few weeks or months and are replaced by new ones. People do not hesitate changing their wardrobe with the changing fashion.

Fashion: Inspired by the West

Today, most of the fashion trends in India have been inspired by the west. Gone are the days when people only wore sarees, salwar kameez and kurta pyjamas. The youth of the country is inspired by the western culture and this does not only reflect in their thinking but also in the fashion trends they follow.

The girls are seen wearing different types of western outfits including jeans, T-shirts, skirts, frocks and shorts among other clothing items. Boys also prefer wearing trousers, shorts, denim jeans and T-shirts rather than the Indian attires. The western clothes appear more liberating and comfortable and these have thus become a fashion here.

Indian Fashion Designers: Inspiring the West

We haven’t only drawn inspiration from the west but have also inspired them when it comes to fashion. The comfortable cotton kurtas and designer Indian sarees have become quite popular in the western countries. Flaunting a bindi has also become a fashion trend among the women in the west.

Conclusion

Thus, fashion holds an important place in the life of people today. It has become a way of expression. As Bill Cunningham puts it, “Fashion is the armor to survive the reality of everyday life”.

The Romanesque structures examined this essay reveal how Roman-era architectural principles were developed and extended to create a whole new style of architectural masterpieces. The Roman era drew much of its inspiration from Greek and Etruscan art, extending the principles of those styles into a new philosophy of architecture. However, Romanesque designs were developed from Roman and Greek art, which placed a greater focus on construction and artistic needs, with additional elements of illumination and decoration – principally paintings, open spacing, wide windows, and mosaics – of design brought in to enrich the aesthetic of the architectural creations.

The establishment of these artistic concepts shows the major historical developments in art during the Romanesque period. Romanesque architecture displays a distinctive progression from the Roman period: a progression rooted in aesthetics. Aesthetics is defined as the visually attractive features of artistic pieces, and the principal evocative ideas behind their creation. The significant contrast between Roman and Romanesque art lies in the aesthetic values of the architecture, painting, and mosaic designs, which all convey notable qualities of space, aeration, texture, and illumination.

Romanesque Architectural Development

Romanesque art has distinct characteristics in architectural designs. Romanesque architecture adopts the Byzantine and Roman features in developing unique designs that define its primary characteristics. For instance, Romanesque has higher construction quality than its predecessors. Besides, the era experienced large towers, groin vaults, round arches, arcades, buttresses, study piers, domes and thick walls.

Besides, every building of this age had a well-defined symmetrical plan. These two generations of architecture had experienced numerous changes to their design philosophies due to modifications in the materials used in the construction process. These new materials allowed builders to create structures that had greater structural support and that incorporated ever more elaborate additions and features to improve the aesthetics of the buildings. The new Romanesque style of architecture drew on the Roman era’s celebration of artistic features, but expounded this art form by adding value according to their clients’ changing needs and desires. These designs provided beauty and improved the social value and structural integrity of existing works of construction.

In Figure 1, The Saint-Étienne building shows a classic example of Romanesque architecture. The image shows the characteristic round arches on the sides of the Cathedral. Moreover, the designers left spaces that were closer to the roof. This design choice is critical for the improvement of the aesthetic features of the building.

Unlike its predecessors, Romanesque architecture constructed its vaults from stone and not concrete. The Roman Empire had originally built its vaults using reinforced struts made from timber. However, the destruction of the Canterbury Cathedral in 1174 during a large fire led to an architectural shift towards construction of vaults using inflammable materials, namely stone. The monks aimed at building a new church that was fireproof, hence inspiring the construction of stone vaults (Bertolesi, Elisa, et al. 67-65).

Thus, the replacement of timber with stone may appear as a measure of disaster prevention; however, Romanesque architecture also considered the aesthetic and construction value of stone as a material in its architectural designs and artistic philosophy. Rib vaults are imperative for supporting the heavy weight of the roof. These architectural structures transfer the weight of the roof downwards and outwards through a connection of thin stone ribs. These stone ribs further join the pillars and columns, thus distributing weight more evenly and culminating in a stronger, more reinforced building. The ribs within the interior roofing also play an influential role in establishing the beauty of the building.

Continuing this discussion on vaults, the main difference between the two styles of architecture could be found in their formation and shape. Romanesque architectural design comprises groin vaults, while Roman architecture’s primary structures are typically barrel vaults. Groin vaults are two barrel vaults joining each other at 900. This intersection results in four curved planes that meet the center. This junction creates ribs that convey an aesthetic value. The visual analysis of these structures emphasizes the role of ambiance in architectural development. In comparison, barrel vaults occur through the bulging of a single curve along a certain distance or direction. In some cases, a pair of curves may result in a barrel. The curves take circular shapes, causing the full design to have a semi-cylindrical nature.

Since Romanesque arches were mostly semi-circular, the designers faced a design and structural challenge in handling the ribbed vault. The major obstacle that arose was that the diagonal p exceeded the normal transverse p. To overcome this challenge, Romanesque architects ensured that the diagonal ribs intersected at the highest central point. All surfaces’ infill sloped up towards the central point, resulting in a dome: a sophisticated design choice that further improved the interior beauty of the building. The combination of the rib, groin, and barrel vaults produced a beautiful scene though its striking use of geometry and symmetry, especially when the cathedrals later introduced illumination within the buildings.

While dealing with challenges of the rib vaults, Romanesque designers developed the pointed arched vault types. These vaults’ structure and appearance enabled the architects to consider pointed ribs that improved the relationship between transverse and diagonal ribs. The two positional ribs had proportional heights. For instance, the Durham Cathedral (Figure 3) depicts the beautiful nature of pointed ribs. The Cathedral has varied Romanesque structures and features.

The building is among the first to have rib groin vaults located on top of a “three-storey” nave. The architects designed the structure by replacing groin vaults within the tribune with four-sided arches. These features formed the buttresses of nave vaults. The introduction of this new structural design helped to improve the beauty of the building; what’s more, this new building style helped it to accommodate a higher number of people.

While there was no major change to the existing domes of the Roman style, the Romanesque period did add features to this common structure. The domes of this era were mainly located in the crossing towers. Romanesque designers placed the structure where the church’s transept and nave intersected, a design choice that resulted in the external concealment of the domes. These domes have a blind arcade closer to the rooftop.

The architects and designers of this period used octagonal domes and corner squinches in their construction to add to the beauty in the buildings. This development arose from the prevalence of Roman domes, which were mainly semi-circular. Roman structures had originally developed these domes to create open spaces within their structures, a need borne from the religious purposes of these buildings. Worshipers who visited these buildings needed a good flow of air. Romanesque domes were more sophisticated than the Roman constructions, thus improving the building’s aeration and more adequately fulfilling the needs for open, well-ventilated constructions.

The Roman Pantheon (Figure 4) underscores the central concepts of Roman architecture. The dome has an opening at the top to allow light into the building: a feature that introduced a concern for changes in weather, especially during rainy seasons. The Cathedral Complex at Pisa, Italy (Figure 5), developed in the Romanesque period, enhances the value of aesthetics in domes. The top of the dome is enclosed, and thus the structure receives light from the vaults and arches.

Another critical aesthetic feature of this architectural period is the buttress. Romanesque architecture often used buttresses in their designs, while the Roman style opted for different architectural designs (Janson and Janson 165-170). Buttresses were a structure of support, balancing the ceiling’s weight-load onto the walls (Sarkisian et al. 302-307). They have semi-arches extending towards huge piers, distant from the wall. While erecting the flying buttresses is cost-effective, much more focus was placed on their light nature and ability to act as formidable fortresses (Cain). However, in Roman architecture, the support structures of buildings were mostly large pillars contrived inside the construction itself.

The major reason for buttresses in the Romanesque period was the need for larger, more accommodating buildings. Various religious groups of this period, especially the Catholics, planned to construct large cathedrals, which could contain a great number of people inside. Religion played a crucial role in this shift in design requirements, as the growing number of worshipers pushed designers to create more elaborate, larger places of worship.

The Romanesque style developed with a concern to build massive stone housing with adequate aeration. In order to provide the necessary support to these buildings, the architects developed buttresses to effective distribute the weight of ever larger buildings. This structural purpose was relevant in promoting the aesthetic nature of the Romanesque era. For instance, the requirement for open spaces with ideal lighting was crucial for this period, which sought sublime, open-air places that befitted the needs of a house of gods.

Romanesque architecture boasts of columns as a primary feature. Colonettes – examples of columns – and shafts were significant in structural decoration. These features of construction were evident in Early Christian and Roman architecture (Fernie 407-416). Columns were designed in different styles to create and improve the building’s aesthetics, and were usually located between highly-structured piers. Salvaged columns were reused in portico-interiors of churches. Another common feature is the alternation between columns and piers. The alternation provided greater aeration and contributed to the beauty of the interior.

Romanesque architecture established the capitals, a structure that designers developed from the Corinthian style. The capital is usually bottom-rounded as it rests on circular columns. The top is square so as to provide support to the arch and walls. Romanesque artists continued this trend by following the rectangular shape at the top, but chose to change the bottom to an octagonal design. The foliate capitals introduced during this period represented a revolutionary new method of improving aesthetics within the whole building.

To achieve appropriate lighting, the architects relied on reinforcing the high roofs. The cathedrals were lofty and thus ensured ample light and space for the building interior. The introduction of buttresses enhanced the use of spacing within the exterior parts of the cathedrals. For some architectural buildings, there is an open space found below the buttresses. This space has a similar role to the clerestory located inside the Cathedral. The spatial feature enabled viewers to peer through the arches.

Furthermore, the buttresses extending to higher limits are akin to the interior church pillars. These structures create a space in the upward reaches of the structure, resulting in an increased aeration for the building. Windows are another development in the architectural aesthetic value. The Roman style emphasized flat and single-dimensional spacing. Roman architecture also had small windows with wooden window frames, making the interior of the cathedrals seemed darker.

While the Romanesque period also valued the need for space, it placed a greater focus on improving structural strength and creating a more pleasing aesthetic in the final building The Romanesque period experienced significant improvements to the buildings’ openings, especially to the windows. The fitting of these windows further improved aeration, and allowed extra light to penetrate into the Cathedral, giving the interior an airy quality.

Religious groups of the Romanesque architectural period had increased the aesthetic value of the buildings by improving decorations. Roman structures had few decorations that were simplistic in nature. Romanesque architecture, on the other hand, had decorations both in the interior and exterior of the building, with most sculptural decorations being located on the exteriors. One specific example is the “acanthus-leaf decoration.” This leaf-like formation expressed the value of aesthesia in Romanesque art.

These were conceived of in the fashion of traditional architecture. The figures were curved, drilled, and then spread onto a great platform. Moreover, the artists developed acanthus structures by incorporating foliage designs into their decorative works.

Mosaic art was another significant art form in the Romanesque period, and was an artistic feature closely linked to the great love of open window designs. The artists designed these mosaic images for religious purposes, using different materials as technological improvements were discovered. Traditional Roman style mosaics used stone, but with time the Romanesque period showed a deep love for stained glass. While Roman art had experienced the introduction of glass, it did not have the sophisticated tools and techniques required to create complex mosaic formats.

The artists in this age used broken glass shards in developing basic mosaics; later in the period, the Roman Empire used tesserae for the specific production of mosaic art. Romanesque art, in comparison, utilized stained glass in the construction of various artistic designs, with specific kinds of glasses determining the types of image created. The mosaic objects developed during this era showed a deep value for vibrant color. One key component of aesthetics is color: color blending advances the expression and theme of beauty. For instance, the stained-glass window in the “Chartres Cathedral, Chartres, France” depicts specific historical or religious events while conveying a strong sense of beauty.

Conclusion

The principal features of the Romanesque artistic period can be found in the aesthetic prominence of the architecture and other structures. These art forms include architectural structural decisions, paintings, and mosaic designs that capture and convey space, aeration, texture, and illumination. The primary characteristics delineating the two eras of Roman and Romanesque art additionally include the distinct differences in their architectural designs.

The disparities in the shapes of the arches identify the development of Romanesque architecture from the preceding principles and practices of Roman art. These architectural features include buttress, decorative structures, capital, piers, and vaults. The more sophisticated aspects of architectural designs during the Romanesque period emphasize its love of aesthetics over mere functionality.

The structures that define the style of this period were devised to be a source of both structural support and aesthetic beauty. Spacing was also a primary design factor, which was highly relevant to the improvement of aeration within the cathedrals. The glass windows, together with improved aeration, also contribute towards the overall illumination and building aesthetics. Decorations of the buildings, too, signify the transition from Roman to Romanesque, with specific focus being placed on the texture of the artworks. Therefore, keeping all these features in mind, Romanesque art provides for greater aesthetic value as compared to the Roman artistic process.

Work Cited

• Bertolesi, Elisa, et al. “Research and practice on masonry cross vaults–a review.” Engineering Structures 180 (2019): 67-88
• Cain, Cashion Alexander. “Defining Romanesque Architecture as Exemplified by Durham Cathedral, England”. Diss. 2016.
• Fernie, Eric. “Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day.” A Companion to Medieval Art: Romanesque and Gothic in Northern Europe (2019): 407-416.
• Kleiner, Fred S. Gardner’s Art Through The Ages: The western perspective. Vol. 1. Cengage Learning, 2016.
• Sarkisian, M., et al. “Reinforcement of Masonry Vaults for Seismic Loading. “Structures Congress 2018: Buildings and Disaster Management”. Reston, VA: American Society of Civil Engineers, 2018.

Elements of Art

Color

•  In this poster, he used his inspiration from Japanese woodblocks and created a flat space with a small build-up of hues on the faces of the figures to create a slight feeling of depth.
• Bonnard relies less on shading to depict the people and their clothing. The detail on the bodies of the figures are lost with shapes being simplified/abstracted: Unmodulated color.
• The black and white hues create the highest contrast possible in the poster, though the white has now become dull and brownish, it still creates an intense contrast between.

Space

• A small street urchin is standing in front of a fashionable looking woman (who is the famous Misia Natanson) wearing a large hat with flowers on it and some kind of drapery, behind her is rearview of a top-hatted man reading the posters on the wall behind them.
• The hue shifts in the faces of the urchin, the woman, and the back of the dark top-hatted figure help give the feeling of depth. This helps to distinguish between the background, foreground and middle ground of the poster. The shifts of color show us that the urchin is directly in front (foreground) of everyone and is receiving the most light. The darkest figure is in the background and is the darkest due to the lack of light reaching him. The woman has a mix of the darkest and lightest tones put together, presenting her in the middle of the composition.
• The design on the urchin’s scarf is very flat. Bonnard’s influence from Japanese woodcut prints can be seen here. The pattern denies the illusion of space because the pattern does not overlap or go back into space.

Value

• This work has different degrees of light and dark. The reason this was done was to create contrast. For example, the faces of the figures, that we can see, pop off the page because they are both surrounded by black, while the man in the background is surrounded by white so that he does not get lost in the poster. By having this large range of values in the poster helps catch the eyes of viewers.
• The face of the urchin is lighter (white) than the woman who has a middle grey face, while the man is black and is the darkest.

Line

•  The woman figure is holding a copy of the magazine ​La Revue Blanche ​ in her hand, the small urchin boy in front of her is pointing at it with his thumb signaling the viewer to look at it. Both of the figures are looking to the right, creating an invisible diagonal line or an implied line that the viewer’s eyes follow.
• The poster’s lettering is shaky and continues the theme of Bonnard’s loose line style throughout the poster. This type of line can be seen in the urchin’s face.

Form

• The organic forms in the poster are the people. Bonnard made the faces of the figures not symmetrical in the faces and made their bodies curvy. Not only does this type of form happen in the figures but also the flowers on the woman’s hat.
• The geometric forms are nonexistent in the poster because nothing is made to be put in perspective, which wouldn’t work for the style Bonnard was going for. The figures are flat and the square posters are made to be flat as well.

Principles of Art

Emphasis

• Bonnard emphasizes the importance or dominance of the woman is this piece by making her the largest and most detailed figure in the poster. She is also shown as an important figure because she is the only one holding the La Revue Blanche magazine.
• Bonnard also makes the woman the spotlight by making the urchin boy plain and untidy looking. If you compare those to figures together you can see the attention and time he took to make the woman look good, while the boy’s face looks quickly drawn with a messy appearance. ( stressing the differences between those two figures)

Gradation

• Bonnard combines elements by using a series of gradual changes in those elements. (large shapes to small shapes, dark hue to light hue, etc)
• The urchin boy in the foreground is the figure with the most information given, due to the fact he is the only one showing his legs. By giving this information it implies that he is the closest to the viewer ( large shape)
• Once again I will mention the gradual change in the faces of the figures creates depth. For example, the light hue to the urchin boy’s face shows he is in front of all the other figures and is receiving the most light, while the woman behind him is receiving half as much light as him, creating a mid-tone between the lightest and darkest shade being the man in the background.

Movement

• The stylish woman is clutching a copy of ​La Revue Blanche ​ in her hand, the urchin boy in front of her is motioning towards it with his thumb. Both of the figures are looking to the right, creating an invisible diagonal line or an implied line that the viewer’s eyes follow.
• The implied line created in the poster creates a guide that leads the viewer’s eye throughout the work.
• The first thing people viewing the poster would look at is the words because our eyes are automatically drawn to it. By starting with the words the viewer will begin to look at the urchin boy, due to the fact he is directly in the words or just behind the words. The gesture of his hand leads the eye to the woman. The woman’s eyes are slightly looking to the right which causes us to look at the man in the top hat.
•  Movement is also made by the urchin boy’s legs. We can only see one of his legs in the poster, while the other is off the page implying he in mid-movement or walking.

Balance

• This poster uses asymmetrical balance to create tension by using contrast. This makes it more visually appealing to the viewer. For example, This poster catches the viewer’s eye because it’s abstract since there are no perfect mirror images. Instead of making the poster symmetrical, Bonnard is using different visual weights, such as line weights, in a way that balances the poster out.
• Both the woman and the black top-hatted figure are made to be the heavier components on the poster causing them to leap out at the viewer, more than the untidy and less detailed urchin figure who appears lighter than all the other figures. This makes the urchin boy is an afterthought in the poster.

Proportion

• The poster’s lettering helps separate the figures. For instance, the letter b helps to identify the side of her dress, while the I creates an illusion of separation between the women and the urchin boy.
• The figures are stacked on top of each other. The figures are all connected by their black clothes, but you can distinguish who furthest away by the slight hue changes in the figure faces.
• The fashionable lady is the predominant figure in this composition. Bonnard loved to include this woman in his work and put her in the spotlight of this poster to highlight her importance. She also is the only figure in the poster he has the cleanest and detailed face, which moreover makes her the dominant figure ​.

Subject matter

Bonnard made this poster originally as an advertisement for the Parisian Magazine called ​La Revue Blanche ​. This lithograph poster features a stylish woman wearing a big hat, carrying a copy of the Parisian Magazine with a petite urchin boy in front of her. Behind them, in the background, a black silhouette of a man in a top hat is seen reading the posters on the wall.

The posters read: “The White Magazine Appears Each Month In 100-page Deliveries For Sale Everywhere,” and has the magazine’s address above the heads of the figures. The poster’s main lettering spells out the magazine’s name coming from the woman and some of the letters are playfully around her hand (people often say it looks like she’s holding an umbrella) and thigh.

The trend in History

Bonnard entered a Post-Impressionist group full of artists known as the Nabis, who was massively inspired by Japanese woodblock prints. Lots of artists during this time including Bonnard became heavily influenced by these woodblock prints. After discovering this type of art Bonnard’s art became full of bold colors, drawn forms, no use of perspective, and interesting figures wearing some form of loose clothing, which can be seen in a majority of Japanese woodblock prints. This influence can be seen in his lithographs in the Parisian literary magazine ​La Revue Blanche.

Content or meaning of the artwork

• Bonnard created this poster as an advertisement for the Parisian Magazine called ​La Revue Blanche ​.
• Bonnard set a standard for future magazine covers and marked the start of commissioning artists to create covers and advertisements that caught the eyes of viewers.
• He was heavily influenced by Japanese woodblock prints and applied there style of drawing and creating figures within this poster.
• This distinct type of art was not seen in France at the time, making it appealing to people causing this cover of the magazine to become super popular in later covers for the magazine.

References

1. ​https://nga.gov.au/bonnard/detail.cfm?IRN=157446&MnuID=1
2. https://www.metmuseum.org/art/collection/search/337141
3. http://collection.imamuseum.org/artwork/36845/
4. https://www.wellesley.edu/davismuseum/artwork/node/49841
5. https://artsandculture.google.com/asset/la-revue-blanche-pierre-bonnard/fQE8dEcEP
   rovVA?hl=en

Aspects of all the avian-garden movements contributed to the emergence of expressionism. Expressionism refers to art that is the result of the artist’s unique inner or personal vision that often has an emotional dimension. This contrasts with art focused on the visual description of the empirical world. This was a rejection of Renaissance sensibilities that had governed the western art world for the previous 500 years. The term expressionism was popularized in the avian-garden Journal Deer Strum.

The editor Hearth Walden proclaimed: “We call art of this century Expressionism in order to distinguish it from what is not art. We are thoroughly aware that artists of previous centuries also sought expression. Only they did not know how to formulate it. ” There are several movements of the 20th century that are classified as expressionist. Some of this expressionist art evokes visceral emotional responses from the viewer, whereas other such artworks rely on the artist introspective revelations.

Often the expressionists offended viewers and even critics, but the sought empathy – connection between the internal states of artists and viewers – not sympathy. Dada With war as a backdrop, many artists contributed to an artistic and literary movement hat became known as Dada. This movement emerged, in large part, in reaction to an insane spectacle of collective homicide. They were “utterly revolted by the butchery of the World War. Dada was international in scope beginning in New York and Switzerland and spreading to other areas.

Dada was more off mindset or attitude than a singular identifiable style. The Dadaists believed reason and logic had been responsible for the unmitigated disaster of world war, and they concluded that the only route to salvation was through political anarchy, the irrational, and the intuitive. Thus, an element of absurdity is a cornerstone of Dada. Dada is a term unrelated to the movement, choosing the word randomly from the dictionary. The word is French for “hobby horse. It satisfied the Dadaists desire for something irrational and nonsensical The pessimism and disgust of these artists surfaced in their disdain for convention and tradition, characterized by a concerted and sustained attempt to undermine cherished notions and assumptions about art. Although the artist’s cynicism and pessimism inspired Dada, what developed was phenomenally influential and powerful. By attacking convention and logic, the Dada artist’s unlocked new avenues for creative invention, allowing artists to push boundaries farther than previous movements.

Dada was in its submissiveness, extraordinarily avian-garden and very liberating. In addition to disdain, a current of humor and the whimsical, along with irreverence flows through much of the art. This can be seen in Duchess’s Mona Lisa, and Francis Pica’s, Portrait of Cezanne. The views of the Dadaists mirrored those of Sigmund Freud, Carl Jung, and others. In its emphasis on the spontaneous and the intuitive, Dada had interest in the exploration of the subconscious that Freud promoted. Images rising out of the subconscious mind had a truth of their own, they believed, independent of conventional vision.

Jean Arp (1887-1966) pioneered the use of chance in composing his images. Tiring of the Cubist look in his collages, Arp took sheets of paper, tore them roughly into squares, haphazardly dropped them to a sheet of paper on the floor, and glued them into the resulting arrangement. The rectangular shapes unified the design, which Arp no doubt enhanced by adjusting the random arrangement to a quasi-grid. Even with some altering, chance had introduced an imbalance that seemed to Arp to store to his work a certain mysterious vitality he wanted.

Collage Arranged According to the Laws of Chance is a work done using this method. The operations of chance were for Dadaists a crucial part of this kind of improvisation. Chance could restore to a work of art its primeval magic power and find a way back to the immediacy it had lost through contact with Classicism. Rap’s reliance on chance when creating his compositions reinforced the anarchy and submissiveness inherent in Dada. The most influential of the Dadaists was Frenchman Marcel Decamp (1887-1968), he central artist in the New York Dada and active in Paris at the end of Dada.

In 1913 he exhibited his first “ready-made” sculptures, which were mass produced common, found objects the artist selected and sometimes “rectified” by modifying their substance or combining them with another object. Such works, he insisted, were created free from any consideration of either good or bad taste, qualities shaped by a society he and other Dada artists found bankrupt. Perhaps his most outrageous work was Fountain, a porcelain urinal presented on its back and signed “R. Mute” and dated.

The artist’s signature was in fact a witty pseudonym derived from the Moot plumbing company’s name and that of the Mute and Jeff comic strip. Decamp did not select the object for exhibition for its aesthetic qualities. The “artiness” of this work lies in the artist’s choice of his object, which has the effect of conferring the status of art on it and forces the viewer to see the object in a new light. Decamp wrote, after Fountain was rejected from an injured show, “Whether Mr.. Mute with his own hands made the fountain or not has no importance. He chose it.

He took an ordinary article of life, placed it so that its useful significance separated under a new title and point of view – created a new thought for that object. Decamp (and the generations of artists after him profoundly influenced by his art and especially his attitude) considered life and art matters of chance and choice freed from the conventions of society and tradition. Within his approach to art and life, each act was individual and unique. Every person’s choice of found objects would be different. This philosophy of utter freedom for artists was fundamental to the history of art in the 20th century.

Decamp spent much of World War I in New York, inspiring a group of American artists and collectors with his radical rethinking of the role of artists and of the nature of art. Dada spread throughout much of Western Europe, arriving as early as 1917 in Berlin, where it soon took on an activist political edge, particularly in response to the economic, social, and political chaos in the city after World War l. The Berlin artists developed a new intensity for a technique called photometer (pasting parts of many images together into one image).

This technique had been in popular and private culture and was used on postcards long before the 20th century. A few years earlier, the Cubists had named the process collage. Unlike Cubist collage, the parts of Dada collage were made almost entirely of “found” details, such as pieces of magazine photographs, usually combined into deliberately ontological compositions. Collage lent itself well to the Dada desire to use chance when creating art and anti- art. One of the Berlin Dadaists who perfected the photometer technique was Hannah Hoc (1889-1978).

Her works not only advanced the absurd illogic of Dada by presenting the viewer with chaotic, contradictory, and satiric compositions, but they also provided scathing and insightful commentary on two of the most dramatic developments during the Whimper Republic (1918-1933) in Germany – the redefinition of women’s social roles and the explosive growth of mass print media. In, Cut with the Kitchen Knife Dada through the Last Whimper Beer Belly Cultural Epoch of Germany, Hoc arranged an eclectic mixture of cutout photos in seemingly haphazard fashion.

On closer inspection, we see that Hoc carefully placed photographs of some of her fellow Dadaists among images of Marx, Lenin and other revolutionary figures in the lower right. She also placed cutout lettering saying “Die grosser Welt dada” (the great Dada world). She also Juxtaposed the heads of German military leaders on the bodies of exotic dancers, providing a wicked critique of German leaders. A photograph of Hooch’s head appears in the lower right hand corner, Juxtaposed with a map of Europe showing the progress of women’s enfranchisement.

Kurt Schweitzer (1887-1948) worked non-objectively, finding visual poetry in the cast off Junk of modern society and scavenged in trash bins for materials, which he pasted and nailed together into designs such as our example Mere 19. Mere is a word that Schweitzer nonsensically derived from the word Zimmermann (commerce bank), and used as a generic title for a whole series of works. The recycled elements acquire new meanings through their new uses and locations. Elevating objects that are essentially trash to the status of high art fits well with Dada philosophy.

The European Effect on American Art: Transatlantic Artistic Dialogue John Singer Sergeant, James McNeil Whistler, and Mary Cast were American arts that spent much of their productive careers in Europe, while many European artists ended their careers in the United States in anticipation and because of World War l. Visionary patrons supported the efforts of American and other artists to pursue modernist ideas. Some of the patrons were matrons or women as opposed to men. Thus there support might be labeled metronome.

The art scene in America before significant European Modernist influence was quite varied yet profoundly realist. Many American artists were committed to presenting a realistic, unvarnished look at life, much like the mid-19th century French Realists. One such group has been called The Eight. They were a group of American artists who gravitated to the circle of influential and evangelical artist and teacher Robert Henry (1865-1929). Henry encouraged these artists to make “pictures from life. ” These images depicted the rapidly changing urban landscape of New York City.

Because these paintings captured the bleak and seedy aspects of city life, The Eight eventually became known as The Ashcan School and were referred to as “the apostles of ugliness. ” John Sloan (1871-1951) wandered the streets of New York observing human drama. His main focus was on the working class, which he viewed as the embodiment of the realities of life. So immersed was Sloan into his views of the working class, that he joined the Socialist party and ran for office on their ticket. His works often depicted the down trodden, prostitutes, and drunkards.

Slogan’s depiction of these subjects was not as one who saw these things as immoral and evil, something to be removed, like the reformers of the day, rather, he saw them as victims of an unfair social and economic system. Sixth Avenue and 30th Street (1907), depicts the street corner of this name in New York. We see the elevated train and shops of that area. A drunken woman in a white dress stumbles toward the viewer as a pair of well dressed ladies or street walkers look on in amusement. This scene is not uplifting nor does it show the well to do. Instead it records the everyday happenings of the working class.

Sunday-Women Drying Their Hair (1913), depicts three women on the roof of their tenement taking some time to dry their hair after washing it. George Bellows (1882-1925) Bellows first achieved notice in 1908, when he and other pupils of Robert Henry organized an exhibition of mostly urban studies. While many critics considered these to be crudely painted, others found them audacious and a step beyond the work of his teacher. Bellows taught at the Art Students League of New York in 1909, although he was more interested in pursuing a career as a painter.

His fame grew as he contributed to other nationally recognized Juries shows. Bellows’ series of paintings portraying amateur boxing matches were arguably his signature contribution to art history. These paintings are characterized by dark atmospheres, through which the bright, roughly lain brushstrokes of the human figures vividly strike with a strong sense of motion and direction. George Lukas (1867-1933) also painted scenes of urban life. He lived what he painted. He was a boxer and had a temper which often landed him in fights. It is perhaps fitting that he died in 1933 as a result of injuries sustained in a bar fight.

Huston Street painted in 1917, is an example of Lukas work that demonstrates his loose, roughly painted style. Allen Street painted in 1905, is also demonstrative of Lukas’ style. Everett Shin (1876-1953) created paintings which found their subject matter in the slums as well as in middle-class cafe© society and in theatrical activities. His theater scenes were usually done in oil, his slum and lower-class pictures in pastel. Unlike John Sloan, who felt a genuine reformer’s commitment to lower-class urban themes, Shin viewed the entire city as a bright, glittering spectacle to savor and to enjoy until the end of his life.

His art reflects the influences of Dandier, Edgar Degas, and Jean-Louis Forman. The Armory Show and Its Legacy One of the major vehicles for disseminating information about European Artistic developments in the United States was the Armory Show, which occurred in early 1913. This large scale endeavor got its name from its location, the armory of the New York National Guard’s 69th Regiment. It was organized largely by two artists Walt Kuhn and Arthur B. Davies. The Armory Show contained more than 1,600 artworks by European and American artists. Among the European artists represented were

Matisse, Derail, Picasso, Baroque, Decamp, Sandusky, Kerchief, as well as Expressionist sculpture Wilhelm Lumbermen and organic sculpture Constantine Branches. This show exposed American artists and public to the latest in European artistic developments. The Show was immediately controversial. The New York Times described the show as “pathological,” and other critics demented the exhibition be closed as a menace to public morality. The work that was most maligned was Marcel Duchess’s Nude Descending a Staircase. The painting suggests a single figure in motion down a staircase in a time continuum.

The work as much in common with the Cubists and Futurists. One critic described the work as “an explosion at a shingle factory,” and newspaper cartoonists had a field day lampooning the painting. De Still Utopian ideals were also expressed in Holland. De Still was a group of young artists that formed in 1917. It believed that the end of World War I was the birth off new age. The group was co-founded by Piety Mandarin (1872-1944) and Leo Van Dossiers (1883-1931). They felt this time was a balance between individual and universal values, when the machine would assure ease of living.

They declared, in their first manifesto, “There is an old and a new consciousness of the age. The old one is directed toward the individual. The new one is directed toward the universal. ” We must realize that life and art are no longer separate domains. That is why the “idea” of “art” as an illusion separate from real life must disappear. The word “Art” no longer meaner anything to us. In its place we demand the construction of our environment in accordance with creative laws based on fixed principle. These laws, following those of economics, mathematics, technique, and sanitation, etc. , are all leading too new, plastic unity.

Mandarin felt that his style revealed the underlying eternal structure of existence. This style was based on a single principle. Deities artists reduced their artistic vocabulary to simple geometric elements. After his initial introduction to abstraction, Mandarin was attracted to contemporary theological drawings. Mandarin sought to purge his art of every overt reference to individual objects in the external world. This combination produced a conception of non-objective design he called “pure plastic art” which he believed expressed universal reality. “Art is higher than reality and has no direct relation to reality…

To approach the spiritual in art, one will make as little use as possible of reality, because reality is opposed to the spiritual… We find ourselves in the presence of an abstract art. Art should be above reality, otherwise it would have no value for man. To express his vision, Mandarin eventually limited his formal vocabulary to the three primary colors, the three primary values, and the two primary directions (horizontal and vertical). He concluded that the primary colors and values are the purist colors and therefore the perfect tools to construct harmonious composition.

Composition in Red, Blue, and Yellow, is one of many paintings Mandarin created locking color planes into a grid intersecting vertical and horizontal lines. He altered the grid patterns and the size and placement of the color planes to create an internal cohesion and harmony. Mandarin worked to maintain a dynamic tension in his paintings from the size and position of lines, shapes, and colors. The Bauhaus The De Still group influenced other artists through its simplified geometric style, and its notion that art and life are one.

In Germany, the architect Walter Groping (1883-1969) developed a vision of “total architecture”. This concept influenced generations of pupils through the school he directed called the Bauhaus. In 1919, Groping was appointed director of the Whimper School of Arts and Crafts. Under Groping, the school was renamed Dads Statistical Bauhaus (roughly translated as “State School of Building”) and was referred to as the Bauhaus. Groping’ goal was to train artists, architects, and designers to anticipate 20th century needs. The extensive curriculum was based on certain principles.

The first staunchly advocated the importance of strong basic design and craftsmanship as fundamental to good art ND architecture. His belief that there was no essential difference between artist and craftsman, led him to place both a technical instructor and an artist in each department. Second, Groping promoted the unity of art, architecture, and design. To eliminate traditional boundaries that separated art from architecture, and art from craft, the Bauhaus offered a wide range of craft type classes in addition to the more standard courses.

Third, Groping emphasized the need to produce graduates who could design progressive environments through the knowledge and need of machine age technologies and materials. This required the artist / craftsman to fully understand industrial and mass production. Groping declared, “Let us conceive and create the new building of the future, which will emphasize architecture and sculpture and painting in one unity and which will rise one day toward heaven from the hands of millions of workers like a crystal symbol off new faith. The reference to a unity of workers reveals the undercurrent of socialism present in Germany at the time. One Bauhaus teacher who had a lasting legacy on artists was Josef Labels (1888-1976). He was a German born artist whose greatest contribution to the school as his revision of the basic design course required of all students. He required a systematic and thorough investigation of arts formal qualities; what has been termed the elements and principles of design. Labels investigated arts formal qualities in his own work.

In his series, Homage to the Square, painted after he left the Bauhaus, between 1950 and 1976, encapsulates the design concepts he developed while at the Bauhaus. The series consists of hundreds of paintings, most of which were simply color variations on the same composition of concentric squares. The series reflects Labels belief that art originates in “the discrepancy between physical fact and psychic effect. Because of their consistency in composition, the works succeed in revealing the relativity and instability of color perception.

Labels varied the hue (color), saturation (brightness and dullness), and value (lightness or darkness) of each square in the paintings in the series. As a result, the squares from painting to painting appear to vary in size (although they remained the same), and the sensations emanating from the paintings range from clashing dissonance to delicate serenity. Labels demonstration of the reactions of colors to one another “proved that we see colors almost never unrelated to each other. ” Labels ideas about design and color were widely disseminated.

In 1925, the Bauhaus moved to Odessa, Germany. Groping designed the building for the Bauhaus as a sort of architectural manifesto. The building consisted of a workshop and class areas, a dining room, theatre, gym, a wing with studio apartments, and an enclosed two story bridge housing administrative offices. Of the major wings, the most dramatic was the Shop Block. The Nazi’s tore down this building, but the main buildings were later constructed. Three stories tall, the Shop Block housed a printing shop and dye works facility, in addition to other work areas.

The builder’s constructed the skeleton of reinforced concrete but set these supports way back, sheathing the entire structure in glass, creating a streamlined and light effect. This designs’ simplicity followed Groupie’s dictum that architecture should avoid “all romantic embellishment and whimsy. ” Further, he realized the “economy in the use of space” articulated in his list of principles in his interior layout of the Shop Block, which consists of large areas of free flowing undivided space. Groping believed such an open classroom approach encouraged interaction and the sharing of ideas.

Groping gave students and teachers the task of designing furniture and light fixtures for the building in keeping with the comprehensive philosophy of the Bauhaus. One memorable furniture design to emerge from the Bauhaus was the tubular steel chair crafted by the Hungarian Marcel Brewer (1902-1981). Brewer was inspired to use tubular steel while riding his bike and studying his handle bars. In keeping with Bauhaus aesthetics, his chairs have a simplified, geometric look, and the leather of cloth purports add to the chairs comfort and functionality.

These chairs were also easily mass produced and thus stand as epitomes of the Bauhaus program. This reductive, spare geometric aesthetic served many purposes – artistic, practical, and social. This aesthetic was championed by the Bauhaus and De Still. This simplified artistic vocabulary was accepted because of its association with the avian-garden and progressive though, and it evoked the machine. It could be easily applied to all art forms, from stage design, to architecture, and advertising, and therefore was perfect for mass production.

Asian aesthetics first surfaced in academic literature as a Figure 1 point of comparison for Western aesthetics, it was seen as the ‘other’ and was used to define what is Western aesthetics by providing what is not. This attitude towards Asian aesthetics proved detrimental to understanding Asian art as they were taken out of context (e. G. Traditions, religion) and evaluated using Western standards.

But that Inefficient way of examining an aspect of a deferent culture Is now considered Improper. In fact, recent studies and literature approaches Aslant aesthetics as a discussion all on its own ? that is, not alongside Western aesthetics and its standards. We now come down to the main purpose of this essay, which is to provide working definitions for Asian aesthetics and discuss them in depth.

The central inquiry to be solved is “What is Asian aesthetics? ” with ‘Asian’ encompassing the South, East, and Southeast Asian countries. Aesthetics, as Engineer (1961) presented, can be divided into aesthetic experience and aesthetic object. In simple terms, aesthetic experience is for ‘appreciation’, as in the experience which comes from art appreciation, while aesthetic object is for the creation’, as in the object perceived as having aesthetic value.

These concepts are used subsequently as the basic structure of the discussion supporting the working Figure 2 definitions of Asian aesthetics to be presented. The first interpretation defines Asian aesthetics as ‘a philosophy of purpose and art”, purpose precedes art in the definition for it is purpose which drives Asian artists to produce works of art, and, in turn, these produced works of art serves another purpose for the prospective observer or user of the said art.

An example is the Chinese tradition of landscape painting called Shank-Sushi Huh which literally translates to ‘Mountain Water Painting’ (figure 1), where the artist sympathizes with the atmosphere nature emanates  he feels the spirit of the environment flowing from living nature and his inner nature responds to it in Figure 3 circularity’ (Marching, 1992), and from there, the painting made will serve as a material for 4 deep thought or contemplation, completing the purpose-purpose cycle in Asian art. But what constitutes Asian art in the first place?

When one refers to Asian art, he/ she often refers to the traditional art distinctly Asian, from Figure 4 which the components/essence of Asian art are/is derived from and used in Asian-inspired modern art (I. E. In print and media). It is important to note that objects in traditional Asian art are rarely appreciated as ‘art objects’ in homeless as they are often appreciated for/with the purpose they serve. This claim is supported by Massed, Gonzalez, Swan, & Anisette’s (2008) study which shows that Asian art is “predominantly context-inclusive” (p. 1260).

This connotes that appreciating the art of Asian origin calls for an understanding of the context in which the object is made, and is to be used; it is not possible to understand an Asian art without context? for context is a characteristic attached to the artwork itself, removing it will result in an incomplete object, which when analyzed will yield either an incomplete interpretation at the very least, or an adverse en at worst.  Asian art is not fundamentally made for the sake of beauty; the purpose of the object appears to be the first consideration in most Asian artworks.

Traditional Asian art, that is “artistic form and in a traditional medium” (Guillemot, 1998), object’s purpose may range from spiritual/religious, to documenting life and habits of the people, to culture conservation (I. E. Preserving traditions, etc), up to functional Figure 6 tools for daily living. Of all the purposes, spiritual/religious purpose seems to be the most prevalent in Asian art. An example of art serving a spiritual/religious is the Indian sculptures of gods and goddesses , which permeated even the realms of painting (figure 3), dance (figure 4), and even architecture (I. E. Temples, figure 5).

The second purpose of means of reminding people of the great examples of virtue in the golden ages of the past” (Cambric, 1995). China, as an example, has records of tomb Figure 7 6 paintings which serves as documents of the ancient past (figure 6). On the other hand, art serving as culture conservation is seen on rituals and festivals, and with the tools used in them. These rituals and festivals may seem frivolous with the development of rational thinking, but nice it is part of the culture, the community still does Figure 8 them; often following all the necessary procedures Figure 9 handed down from the previous generations (e. G. He psychodrama or 16 honors ritual of Indian temples) and using classic ritual accessories (e. G. Purchasing dippier a wick of light kept/waved before the holy symbol of god, figure 7). Lastly, the practical/functional purpose, which is the most underrated purpose of all since the artisans doing them does not necessarily know the aesthetic value of what they are doing (e. G. Malone, figure 8), and so is their proposed consumers (I. E. Their kin in the immunity); all they know is, they use those objects daily (especially in the olden times) that the 7 handiwork is often seen as a necessity and not as an artwork to be appreciated by itself.

Second Asian aesthetic interpretation relates it to the sensitivity to the context of an art object”. Marching (1992) says, “…. For the Asiatic mind wonder is the beginning of a sensitivity to things, and sensitivity to things is the most comprehensive way to be in the world and to make the world be in oneself”. This idea of sensitivity to things is exhibited by both the artist and the observer, especially for the Chinese Shank-Sushi-Huh (figure 1) tradition. In the artist, it is rooted in their discipline of channeling nature into their work without representing it realistically or as is.

An artist includes his/her own vision and interpretation of the subject into his/her Figure 9 work, while the observer’s role is to use the produced art as a point of reflection which guides them in contemplating about the world, the cosmos, and the plane of the Divine. As Marching (1992) stated, “philosophy was, in other words, the doctrine which, thanks to reason…. Opens man’s way to Heaven”, and since aesthetics is the ‘philosophy of art’, it an be deduced that in one way or another, aesthetic experience opens a man’s way to Figure 12 Heaven through the arts.

This is especially true for the highly spiritual/religious way of life the Asians have. 8 The third, and last, definition is rooted in the Asian appreciation for the beauty of the unrefined ? “Asian aesthetics is concerned with nature”. It deals with respecting, being inspired by, mimicking, and embodying nature in art. One fitting example for unrefined beauty is the Japanese aesthetic of WBI-Saba (means ‘rustic beauty and ‘desolate beauty), which celebrates the imperfection of things.

Another example is the constant nature theme presented in Japanese paintings (figure 10) and Chinese paintings . Asian art also uses natural medium (e. G. Rice paper, animal-hair brushes used for Chinese painting and calligraphy, figure 12). This high regard for nature arises from the spiritual/religious purpose discussed earlier in the first definition; Asians believe in the interconnectivity of things, from the Divine, to the cosmos, to the plane of man. They Divine, either in presence of things or in the absence of it (I. E. Void/nothingness). This life is also embedded in the Chinese concept of yin and yang .

In conclusion, the combination of all the three Figure 10 definitions discussed throughout the essay substantially represents everything about Asian aesthetics? “Asian aesthetics is a philosophy of purpose and art, mainly serving to aid the artist’s and observer’s sensitivity to the context of the object rather than the object itself. It is concerned with the interconnectedness of all beings to the cosmos and the Divine”.

Research Paper ARS 230 The main aspect of advertising is to ‘get more bang for the buck’, to make it aesthetically pleasing to the eye and gain the viewer’s attention. Throughout the years, advertising has varied in many ways from catchy slogans to iconic logos. Some may say there is nothing wrong with a little healthy competition, but what if one area is gaining the benefits slightly different than the others because of their boldness?

American and European advertising are very different culturally as well as aesthetically. There has always been a cultural difference in the style of advertising between America and Europe, whether it is sexual content, trend or originality. A striking boldness seems to be a trending approach in Europe, while classic reason takes a hold of America. Researchers have said that one main difference between American and European advertisements is that European ads use emotional blackmailing while American ads reason for you.

Both European and American advertising benefit in marketing, it is simply just a matter of effectiveness based on the audience. When comparing the two cultures of advertisement, American versus European, it is safe to say that no one approach is better, just simply different. It is compared as emotion versus product. America is focused on selling the product and comparing it to other competitors whereas Europe is more focused on the emotion and beauty of the actual advertisement. “ A trend is at work that has gone much further in the United States than in Europe.

The trend has been manifested in recent decades by a dramatic growth in the number of separate brands and brand variants, a proliferation that has had a deadening effect on American advertising,” (Jones). America is effective because of the number of brands that are produced and compared where Europe is more effective by staying loyal to their brands and elaborating on commercial advertising. Looking at an advertisement in Europe may catch your eye because of the boldness. Europe is well known for using sexual nudity to promote a product, simply because ‘sex sells’.

Approaching advertising in a different light would be emotionally. In America, advertising can be described as hard selling. Hard selling is a campaign or advertisement that is direct, forceful and straight to the point. For example while watching an American seatbelt warning on Youtube, the commercial is simply based on the motto, “Click it or Ticket”, showing average people driving their cars and getting pulled over by officers and receiving a ticket and fine. The commercial is to the point and straight forward, showing almost no emotion.

The approach that American marketing companies have used is effective by saying ‘If you don’t’ wear your seatbelt, then you will be forced by law to pay a fine’. Similarly compared to the American commercial is the European commercial’s motto, “Heaven Can Wait”, is an emotional grasp on losing your life over not wearing your seatbelt. Although the two are trying to deliver the same idea, the European method seems to make a gentler or softer appeal to the viewer by incorporating emotion and reality into the grand scheme.

The emotion, fear, is incorporated into this commercial and motivates the audience to action. We as viewers can see how both American and European advertising is very successful; it is hard not to view one as more effective. Another aspect of advertising that can differentiate the two cultures is the aesthetics of line and color. For instance, the simple crisp lines of the Nike logo, demonstrates an iconic swoosh and flat one dimensional color paired with the logo “Just do it,” that subconsciously stays in your mind and makes you feel like you can be an athlete yourself.

This portrays a basic and simple, yet straight to the point kind of approach. In Europe you can see a trend of color blocking and also an artist like logo. “The American advertisers use more words and headlines, when many European ones use more images and illustrations; they try to find images, which in the best way, without any words, will communicate ideas that stand behind them” (SYL). This can be described as verbal versus visual. There are many ways to compare the two continents when discussing advertising.

Although no one culture is wrong, American advertising seems to feel more effective than European because you simply have more product. American and European advertising are both aesthetically visual and promotionally advertised. Weather the culture or continent, no product or company could be formally published without the beauty of advertisement.

Bibliography University. , John Philip Jones; John Philip Jones Is A Professor At The Newhouse School Of Public Communications, Syracuse. “FORUM; Why European Ads Are More Amusing. ” The New York Times. The New York Times, 07 Oct. 990. Web. 22 Oct. 2012. <http://www. nytimes. com/1990/10/07/business/forum-why-european-ads-are-more-amusing. html>. Gonzalez, Mario V. “American vs. EuropeanA Advertising. ” Marketing WebCafA©. WordPress, 24 Feb. 2011. Web. 22 Oct. 2012. <http://marketingwebcafe. wordpress. com/2011/02/24/european-vs-american-advertising/>. “Comparison of American and European Advertising. ” Comparison of American and European Advertising Style. SYL, 10 Oct. 2006. Web. 19 Oct. 2012. <http://www. syl. com/bc/comparisonofamericanandeuropeanadvertisingstyle. html>

As a doctor in Montreal, Bethink frequently sought out the poor and gave them free medical care. As a thoracic surgeon, he traveled to Spain (1936-1937) and to China (1938-1939) to perform battlefield surgical operations on war casualties.

Culture and Politics

This magazine cover reproduced from an Orlando poster by Gusty Novel, depicts four famous Iranian writers of the 20th century (Gala Assam Bearing, All- Kafka Deckhand, and Sadie Headway). In order to create this color scheme the artist uses only two colors (orange and green) over a yellow background.

By using a circular arrangement of faces she tries to achieve a balanced (1971). Richard Evaded was an American photographer. Evaded capitalized on his early success in fashion photography and expanded into the realm of fine art. This is a salaried poster portraits of the Battles, originally produced for 9 January 1967 edition of the American magazine Look. The Barack Obama “hope” poster is an Iconic Image of Barack Obama designed by artist Sheppard Faller. The Image became one of the most widely recognized symbols of Beam’s campaign message, spawning many variations and imitations, including some commissioned by the Obama campaign.

In January 2009, after Obama had won the election, Fairy’s mixed-media stencil portrait version of the Image was acquired by the Smithsonian Institution for Its National Portrait Gallery. This political poster by Sociopath ?r L© about Ulster. Andrew Pavlov’s poster of Poet IMMUNOASSAY (2003). This poster is a graphic 1 OFF (Constructivism) was almost always in demand in Russia and it can become one of principal trends now. Some of the contemporary Russian artists and art historians have already suggested the new term – Additive Constructivism.

It emphasizes the return to modernism, which starts to significantly push out the postmodern art practices. It’s not a postmodern performance. The Constructivist color solution proves that so it is. Do Computer aided graphic design in posters. With the arrival of computer aided graphic design an assortment of novel effects, digital techniques, and innovative styles have been emerged in poster designs. With software such as Adobe Photos, Corer and Windows’ Paint program, image editing as become very cheap, and artists can experiment easily with a variety of color schemes, filters and special effects.

For instance, utilizing various filters of Photos, many artists have created “vectored” designs in posters where a photographic image is socialized, sharpened, rendered into watercolors or stained glass effects or converted into bare lines with block colors. Other designs created soft or blurry styles, ripple or cascade effects and other special filters.

Advertising

Graphic design is used in advertising to announce a persuasive message by an identified sponsor; or a promotion by a firm of its products to its existing and potential customers.

Egyptians used papyrus to make sales messages and wall posters. Commercial messages and political campaign displays have been found in the ruins of Pompeii and ancient Arabia. Lost and found advertising on papyrus was common in Ancient Greece and Ancient Rome. Wall or rock painting for commercial advertising is another manifestation of an ancient advertising form, which is present to this day in many parts of Asia, Africa, and South America.

This is a German poster by Frizz Ream for Leafier Cigarettes (published 1896-1900) Hanson Troupe in the most astonishing mid-air achievements ever accomplished. ” “Drink Coca-Cola SC”, an asses advertising poster showing a woman in fancy clothes (partially vaguely influenced by 16th- and 17th-century styles) drinking Coke. German Plastic, “Poster style”[edit] In the early 20th century, Germany became the cradle of many of the avian-garden art movements particularly for posters. This created the “Plastic” or “Poster style” movement. This movement became very influential and had a considerable impact n the graphic design for posters.

Posters in this style would feature few but strong colors, a sharp, non-cluttered, minimal composition and bold, clear types.

Ludwig Howling

Howling Karate Corps Germanic Munched 1913. JPG Ludwig Howling was born in Germany in 1874. He was trained and practiced as an architect until 1906 when he switched to poster design. Hellion’s adaptations of photographic images was based on a deep and intuitive understanding of graphical principles. His creative use of color and architectural compositions dispels any suggestion that he uses photos as a substitute for creative design. Or Requite Praline Tea c. 920-1926. Howling was born in the Rhine-Main region of Germany, though he and his work are associated with Munich and Bavaria in southern Germany. There were two schools of Cheeseburger’s in Germany at the time, North and South. Hellion’s high tonal contrasts and a network of interlocking shapes made his work instantly recognizable. Poster historian Lain We’ll comments that “Howling was the most prolific and brilliant German posterior of the 20th century… Beginning with his first efforts, Howling found his style with disconcerting facility. It would vary little for the next forty years.

The drawing was perfect from the start, nothing seemed alien to him, and in any case, nothing posed a problem for him. His figures are full of touches of color and a play of light and shade that brings them out of their background and gives them substance”.