Painting

In the 1930’s and into the 1940’s a new American art form had emerged known as Regionalism. This movement encompassed rural, midwest life in America. It was a ‘realistic’ style of painting in contrast to the Abstract works going on at the time in Europe. Like many art movements there is a reason for its fruition. For Regionalism, world war, financial ruins, and individualization helped shape Regionalism.

In 1914 Europe, existing tensions among different cultures who were forced to live inside the same borders due to alliance agreements paved the way for one of the most monumental assassinations in history. The Great War or The War To End All Wars was a European conflict set off in 1914 after the assassination of Austrian heir Archduke Franz Ferdinand. This assassination triggered a chain reaction of broken alliances and ultimately into all out war. Strong nationalistic views were a key component that led to this event. Soon due to American alliances, America found itself entangled in the conflict as well in 1917.

The overall warfare was simply horrific. The death toll which soared into the millions, was something the world never could have fathomed. During and after the war, the world got a glimpse of just how nightmarish the war actually was. Industrialized countries were equipped with unimaginable weaponry. This new era of warfare was a completely different animal that ultimately would ensue for four years. After the war ended we were left with only one question, why?

In the art world we saw a chain of mockery style art not only after the war but during the war. The Dada and Cubism movement was the most prominent throughout Europe. It welcomed a sense of ‘attack’ on the traditional art scene. There were absolutely no boundaries to play by anymore. From Picasso’s violent brush strokes and hidden imagery using blocked forms to Marcel Duchamp’s sarcastic readymades, these pieces simply played off the question as to why the world got enveloped into an unexplainable and deadly conflict. In Europe these types of artistic styles, especially cubism would prevail for decades to come and even into today’s modern art scene.

It was the rejection of these European modernist artists that largely created the desire to create new indigenous, modern, American art that was free of foreign influences (Bocinsky par. 2). Instead of rejecting a realistic style into painting, with Regionalism we were now embracing it. It is quite clear by the 1930’s America was at an all time low. And as for the damage farming endured during the financial crisis and the Dust Bowl, it would be the crippled agricultural world that would be the face of Regionalism. The Regionalist movement is what gave people strength during a time of great struggle.

As of now It is safe to say that the atrocities of war did in fact have a profound impact on art. Not only was an artistic boom happening in Europe but American artists in the rural midwest would soon be driven to create their own artistic style. In the late 1920s and into the 1930’s the American economy tanked. Many aspects contributed to its collapse and one of the main ones being what happened to farming.

“During World War I, farmers worked hard to produce record crops and livestock. When prices fell they tried to produce even more to pay their debts, taxes and living expenses. In the early 1930s prices dropped so low that many farmers went bankrupt and lost their farms.” (Morain par 2). To make matters worse Southern farming acreages experienced incredible ongoing droughts. Strong winds flinging mountainous clouds of dust throughout the midwest region would come to be known as the Dust Bowl which would only intensify the financial depression.

With acts such as the Homestead Act of 1862 and the Kinkaid Act of 1904 issued a great expansion of agricultural lands. “This false belief was linked to Manifest Destiny—an attitude that Americans had a sacred duty to expand west. A series of wet years during the period created further misunderstanding of the region’s ecology and led to the intensive cultivation of increasingly marginal lands that couldn’t be reached by irrigation” (History, par. 5).

With the expansion of new lands and a rise in cultivators, inexperienced farmers would soon become part as to why we failed to cultivate southern lands. The superstition that ‘Rain Follows the Plow,’ was ultimately a destructive way of thinking especially because of the lack of knowledge in understanding the southern climates. Newly cultivated lands would dry out simply due to the lack of irrigation in these areas. In turn devastating dust storms would wreak havoc on the midwestern agricultural areas.

With all of these factors coming into play in the formation of Regionalism arose Thomas Hart Benton, one of the most prominent members of this movement. Benton was born in Neosho Missouri, into a very political family. ‘Expected to follow his family’s well-trodden path, instead, with his mother’s encouragement he chose to study art’(The Art Story, Bio). In 1908 Benton was studying art in Paris but soon started to study on his own. Thomas Benton lived in New York from 1912 to 1935. Coming back home in 1924 to visit his father who was sick was when Benton became driven to start creating pieces catered to the hard working people among the rural midwest areas.

The realistic depiction of rural life is what made Benton famous. During the 1920s, however, Bentons overall style depicted a more booming America. Overall these works would resemble the strength in America depicting a busy scene using bright oil paint colors like we see in his color work, ‘Construction.’ Though he would continue to use this style every now and then throughout his career, it was the lithograph art works that embodied a saddened emotional feel that rural Americans felt due to the Great Depression and the grave impacts from the Dust Bowl. The Dust Bowl would last throughout the 1930’s for nearly a decade.

“Lithography is a printing process that uses a flat stone or metal plate on which the image areas are worked using a greasy substance so that the ink will adhere to them by, while the non-image areas are made ink-repellent” (Tate, heading). In Kansas Farmyard (Missouri Farmyard), created in 1936, by Benton, we see a family of four working hard. This black and white lithographic piece is one of the many depictions of farming life by Benton.

This piece has a great impact on capturing movement, again, like many of his other works. When examining this piece it captures not only the human movements but the natural, earthly movements throughout the piece. The circular strokes in the grounds that the family is working upon, as well as the circular motions in the windmill helps create a sense of strong windlike movement going on. In the foreground there are ominous darkened clouds that could very well be a representation of the dust moving towards the family.

Although Regionalism would soon succumb to Abstract Expressionism in terms of what the new American modern art scene would become, it paved the way for Abstract Expressionism. “In some ways, however, Regionalism and Abstract Expressionism exhibited a less dichotomous relationship than previously thought. Just as the Post-Impressionists (Cézanne, Van Gogh, Renoir, Gauguin, and others) connected representational and abstract art in Europe, Regionalism served to bridge the gap between strictly realist academic art and completely abstract art” (Bocinsky, Par.3). There economic classes involved were a factor in these movements successes as well.

While Regionalism was associated with a more poorer demographic, Abstract Expressionism was a booming movement in New York, heavily promoted by the pro-modernists and a more wealthier demographic. Not only were the demographics incredibly different but because the Abstract Expressionist movement dominated its influence throughout New York City where a higher population of people could become more familiar with Abstract Expressionism.

So, ultimately it is safe to say that yes, Abstract Expressionists success is justified simply due to the fact that Regionalist artists such as had a Thomas Benton had an incredibility at creating traditional visual elements combined with exaggerated abstract-like gestures. The Abstract world would ultimately become the prominent face of American modern art, but the stepping stones for its achievements are rooted in the success of Regionalism.

The Nightlife painting among many others can be found in the Art Institute of Chicago. Artist Archibald John Motley Jr. did this painting in 1943. This artwork was done as oil on canvas with the dimensions 91.4 x 121. 3 cm (36 x 47 ¾ in.) It is originated in the United States. Painter Archibald was known for creating portraits and paintings that reflected the African American experience of his time. His work was heavily influenced by jazz culture that embodied a lot of movement and richness of black culture.

Throughout his many paintings we can embrace the movement, drama, humor and good times. Nightlife is a perfect representation of the vibrancy of African American culture. This painting depicts a crowded cabaret in the South Side neighborhood of Bronzeville. There’s well dressed people sitting around the tables and the bar area as well as people dancing. This definitely looks like a club scene with liquor, music, lights and its clear to see that everyone is having a good time. Nightlife is one of Archibald’s most celebrated paintings.

One of the many details of this piece of art is the variety of warm colors used. By the title of the artwork we know what kind of situation is going on. The composition and colors vividly express a very lively scene. For example: the display of liquor is well lit and the burgundy tone in the background of the entire scene is intense and unnatural. Motleys techniques seem to be somewhat cinematic with all the staging and dramatic-lighting creating a movie-like scene. The center of the painting shows a couple dancing in traditional manner, the woman is wearing a bright orange dress while the gentleman is wearing a purple suit. There is a lot of repetition in color but its clear to see that all the people in the painting are black.

The space was well used throughout the painting. The people dancing and lounging around are occupying the entire room. This is very much depicts a club-like stage with a bar, tables and dance floor. It’s very crowded and busy with people leaving very little negative space. To the right of the painting is another couple with drinks in their hands while the man holds a cigarette in the other hand. Directly behind them is a man sitting down alone at a round table with a lavender table cover smoking and drinking. Towards the middle and background are more couples dancing with their arms and legs swaying in motion.

Motley unified the painting through the repeated use of forms and shapes. The figures are tightly interconnected. The curved lines give the impression of a relaxed yet energized atmosphere. The bar is lit up with golden bulbs of light shining on the various shapes, colors and sizes of bottles. The figures are a bit disproportioned but still portrayed in very stylish manner. The techniques of movements and lines create a smooth exciting painting filled with emotion and fun. The people are somewhat shaped the same as well as the alcoholic bottles have similar shapes yet different sizes. There is a lot of emphasis on the excitement going on by the movement in and gestures throughout the work.

I was drawn to this particular painting because of the use of color and movement. Although the colors seem to overpower the painting there are minor details that give it a special touch. The clock at the top corner by the liquor display marks one-o clock in the morning that adds meaning and real life quality to the painting. When I look at the painting it’s easy to imagine hearing the music and the drunken chatter. I can also imagine the smell of the smoke of cigarettes mixed with the liquor and sweat of the dancing couples. This takes me to a warm summer night filled with rhythmic music and people enjoying their life. Motley displays numerous interactions between people in his painting illustrating the theme and honoring the title of the artwork.

Traditionally artists would use a pencil or brush to make their admiring works of art, but in modern-day society technology has become more involved in the way art is created. Artists are now using sound, video or computer-generated images. Digital art was something developed from simple designs and forms made by a computer program to finish pieces or art. These programs can help achieve the realistic aspect of art such as watercolor or oil painting. In some art museums, they have incorporated more videos and installations rather than traditional paintings or drawings. Artists who use traditional art techniques are now using modern technology like the internet to display their work and connect with other artists.

Modern technology has the helped artists created work faster and with a variety of tools. Modern artists are using an alternative resources and methods to produce their artworks. Compared to the historical artist, painting and drawing were the major methods utilized in their work. In the modernized pieces installations, sound, video and computers have become more broadly used and common. Artists today are frequently experimenting with new technology in different ways, looking for new ways to use old methods along with creating new methods. The internet has become more involved with many current artists who are using it to display their works with online museums, to communicate with other artists and to make a profit from their work.

Sites such as redbubble.com, art.com, or artrising.com allow these artists to sell and show their works and communicate with people throughout the world. Computer programs such as Affinity Photo and Pixlr let artist manipulate images and paint pictures. They obtain this by using custom artists tools which create the effects in just a few minutes of what initially would have taken a long time to paint. Several artists currently are involved in using digital art technology to create things such as websites, games or online art displays. Digital art has progressively been displayed in modern art showings, as well as being online. The influence that these different types of technology has on modern art is very hard to pin down because they are constantly changing and being modernized. However, while modern technology offers artists many chances and ways to create art, it still works like any other artists tool of the past.

Films are being created for art museums just as paintings were made for display by the impressionists. Tracey Moffat is an Australian artist who uses photography and videos to display art. Her piece “My Horizon” was shown at the 57th Venice Biennale where she represented Australia. Venice Biennale is an art organization in Venice. Moffat is inspired by pictures that come from television and movies to create her own films. Tracey Moffat is inspired by pictures that come from television and movies to create her own films. In a recent film, Moffat shows a series of clips from movies and television programs that show how Hollywood and modern society portrays artists.

By using popular television shows stance on what an artist means to modern society, allows others to see the perspective of the regular person, who can sometimes misinterpret modern art. She shows a section from the Agony and the Ecstasy with Michelangelo wrecking his first painting in the Sistine Chapel and an amusing section from the movie Batman with Rembrandts and the ‘Joker’ vandalizing Edgar Degas’s painting, as well as other scenes from art films such as Surviving Picasso. Moffatt’s ten-minute documentary provides an outstanding understanding of the way artists are seen in modern society.

Works such as ‘Plan’ by Jenny Seville and ‘La Primeval’ by Sandra Bottling, despite being from distinctly different time periods, are influenced by the social climate of the time and place in which they emerged. Whist Bottling inhabits a world influenced strongly by Pagan beliefs, Seville inhabits a secular world that is influenced mainly by media, hence their subject matter, the nude figure, are portrayed differently. Plan’, a n OLL painting on canvas by Jenny Seville, Is a work dominated by the nude female figure who looks down toward her feet, and the viewer. The figure, who Is clearly the subject matter, is positioned so that it appears the viewer rests upon her quads. The figure Is depicted in ‘hues of mottled creams’, her skin, as well as mauves and purples, alluding to lumpy textures, perhaps cellulite or bruises, but undeniably; flaws.

The paint appears to be applied relatively quickly, in a wet on wet application, evident In the colors being somewhat convoluted, but not completely blended Into en smooth and consistent color, rather blotchy mixes. The subject matter, the nude figure Is well built, and her stomach and thighs are covered In line reminiscent of a topographical map, or perhaps lines that a surgeon would use in surgery. Line is a dominant element in this work. Controlled and organic lines track and highlight the voluptuous forms of the curvaceous figure, much like a topographical map would display peaks, spurs and valleys.

The proportion of the female nude’s body is exaggerated by the perspective taken by Seville, making her appear very large, her thighs and stomach especially focused on. The composition Is also confronting with the pubic region, which Is often considered unsightly In today’s society Is nearly central to the picture plane, unavoidable by the viewers eye. The figure also takes up the majority of the work, dominating roughly two thirds of the work. This visual weight, the figure dominating the work, is reminiscent of the physical weight of the figure.

The figure dominating the work almost forces the viewer to examine an image that might be considered as grotesque and flaw, confronting the viewer. Seville paints In a traditional and realistic style, depicting the subject matter, the female due, with a degree of realism. Seville inhabits a modern, secular world, so unlike figure painters before her, her paintings are not influenced by religious values. Rather, Seville is influenced by social media; the bombardment of images and ideas surrounding the perfect female figure, that plagues many women of today.

Seville works with the idea that women are funneled into a mindset that they have to look a particular way; slim. Hence, her works optimize ‘heavily flagged feminist Ideology, as she exposed and De-constructs perceived beauty. Her work plan Is considered grotesque’ by many viewers, and this is the re-action that she desires. Her works provoke questions such as why do you consider this work as grotesque? As Seville works with what are dubbed to be flaws’, and paints to antipode to what is perceived to be the ideal figure.

Alike to Propped’, ‘Plan’ has a element of graffiti, with the figure appearing to have been scribbled onto with lines reminiscent of ‘geographical rather ‘(cut) into the paint’, hence evoking the idea of surgery. Thus, these lines serve to represent what we classify as imperfections, things we wish to remove in order to attain idealistic beauty. Seville is skeptical of the way that beauty is portrayed, especially critical of the male fantasy of what the female body is’, as plan is the exact opposite of this fantasy. Plan’ has emphasized aspects of the female figure that would be considered flaws’; the pubic hair region and a voluptuous figure, and highlights our aggressive and negative attitude toward these by drawing over them. With ‘Plan’ Seville collapses the three spaces of studio, artist and model, rather than a ‘one way transaction’ where artist will pay a figure to do a sitting. Seville works redundantly from her own body, using several angled mirrors so that she can refer to herself and the painting whilst she works, as ‘self examination’ (Seville).

Seville refers to that way in which she paints as ‘really fast’ and ‘kind of aggressively, using thick, and chisel brushes to create large areas of skin. This is evident in the texture of the skin being quite dappled, with a lumpy, even bruised appearance, rather than a smooth and consistent texture. The Wet on wet’ application of oil paint is particularly evident in the figures analogous skin tones being dragged through one and other, reading a varied colored surface, rather than a smooth and consistent one.

Contrastingly Photocell’s tempura on board work, ‘La Primeval’ (or Allegory of Spring), painted in in 1482 involved much meretricious techniques. Firstly, Photocell would have sketched the figures onto the boar, before beginning the painting. Due to the paint pigments limited availability in the 1 5th century, having to be shipped from places such as Northern Africa, they are very expensive. Hence, Photocell, as not to waste paint would have only mixed small amounts at a time, thus painted small sections of the painting at a time.

Renaissance style. ** The work consists of 9 figures including two zephyrs, with Venus being the central figure, against the . The figure’s, in comparison to the lumpy dappled texture of Saukville nude in ‘Plan’, is very smooth, blended until very consistent, of a porcelain white color. The idealistic portray of the figures is typical in the Renaissance period, as the figures would have been associated with Pagan beliefs, hence had to be desirable. The composition of the work makes Venus very much the central figure in the work.

All other figures are touching one another, or are cropped, arterially obscured by the border, whereas Venus stands clearly alone, separate, borders by dark methyl leaves which contrast against her pale, white-pearl colored skin. Additionally, Venus is situated centrally, with respect to hospital and vertical axis’s, whereas the other figures are situated predominantly in the lower 2 thirds of the work. Hence, dominance and emphasis is given to Venus, above the others, as if a revered figure, reigning over the land.

The work was created as a commission for the Medici family, likely created as a celebration for the wedding between Lorenz Medici ND Semiarid Piano which took place in May 1482. Created in Renaissance Italy, in the 1 5th century, “La Primeval” is clearly influenced by Pagan beliefs, which influenced society heavily in that time, evident in the characters and themes in the work. Thus, the central theme of the work is one of love and marriage and a message that when they occur in the ‘correct’ order they bring forth sensuality and fertility.

Situated leftmost in the work is Mercury (or Hermes in Greek Mythology), messenger beauty and love. Their long flowing coverings area characteristic of Photocell’s painting style. The viewer sees an older version of Venus in “La Primeval”, as opposed to the young Venus depicted in Botulism’s “Birth of Venus”, who is now depicted fully clothed and matured. To Venue’s right is Flora, God of Flowers, and to her right Chloride who is raped by Zephyrs, the figure to her right, who rapes her, and as an expression of his remorse, renames her Flora, God of Flowers.

Venus is surrounded by the Merely plant, which typically represents sexual desire, marriage and child-bearing. Oranges are used in the trees above as a symbol of wealth, much like they are used in Jan Van Cock’s ‘Arnold Portrait’. Interestingly there are no oranges about nymph, Chloride and Zephyrs, which suggests corruption and dies- approval of Zephyr’s actions. Cupid, Venue’s son, is situated directly above Venus and is derived from ancient art, and is armed with a bow and arrow, taking aim at the love struck three Graces.

The flowers in the trees are painted with the kind of meticulous detail evident in International Gothic Style. Of the 190 different flower species identified in the work, they emphasis ideas such as love, fertility, beauty and re-birth. Unlike Seville, Bottling lives in a world centered around religion, a belief system; Paganism. Hence, the work is a narrative that is based on Pagan stories, such that of nymph Chloride becoming Flora.

Additionally, this work being a commission, and the Medici would have been Pagan; this work would have had to have been relevant for them, as it would likely have been situated in their home. But today, that there are a variety of dominating religions, rather than Just one, and they do not dictate the way that we live, unlike in Italy in the 15th century. Botulism’s gender as a man means that the work is quite subjective, as he represents female figures as idealistic figures of desire. In contrast, Seville deconstructs this type of ideal; the way that women should look a particular way; skinny.

Bottling portrays women, the subject matter, as desirable, whereas Seville, in antipode depicts a voluptuous figure, that could be regarded as flawed’ or ‘grotesque’ due to her curvy body shape. Seville and Bottling paint at a vastly different pace, with Seville painting ‘aggressively, quickly applying oil to the canvas, not even waiting for it to dry, whereas Bottling paints with meticulous detail, hence it takes him a long time. Composition is a key principle in both works, although, due to the amount of detail and amount of figures, Botulism’s ‘La Primeval’ is more complex.

Seville places the figure centrally in the work, so that she is unavoidable to the viewer; confronting, and dominating, in the way that she figure takes up roughly 70 percent of the canvas. The viewer is confronted with what might be perceived as flaws’. The viewer’s eye is drawn past all these flaws; by the line of the gap between the figures meaty thighs, then the UN avoidable the pubic region being close to the centre of the work, the viewer’s eye being drawn up past other flaws’ such as the stomach and arms, to the face. Bottling utilizes composition in a different way, in that he creates emphasis on Venus.

He does this by making her the sole figure that is not cropped or obscured from view by the border or making contact with another figure, making her disparate from the rest of the figures. He also places her centrally along the horizontal and vertical thirds of the work, and having dark merely plants surround her, as they contrast against her pale skin; thus emphasizing her. Both artists utilize color by using it to depict the subject matter, a greater range of color, as to depict the figures as clothed and also to create the background in great detail.

Vincent Van Gogh is a mysterious painting in which Gogh paints a picture that has energetic colors and expressive. This painting can be described as shadowy but yet still stimulating. It can signify a variety of moods, objects, and atmosphere. Van Gogh portrays a small French town located in the countryside. This town is characterized by rolling mountains, a sky with stars, small village, fields, a large tree, and a church. He uses these details to paint a story full of color and intrigue.

He paints the sky purple and dark blue to signify the time of day. He uses orange and yellow for the bright stars or lighting in the sky. The mountains that border the town are colored a dark blue and are masked by a tree, which is colored black. Green is applied for the grass and other various plants and vegetation. He uses a vast array of colors to paint the houses and buildings in the village. For this painting mood and description play a huge part. The evening sky is exposed with light shining through the sky.

One person might think that the stars are dashing down to earth, meaning it could be the end of the world. He shows the beauty of the countryside at night. Looking up at the sky the bright, yellowish-white stars twirl and give the effect that the wind is blowing. The wind itself is blowing fast and swift, it could be showing an emotion he was feeling. Right below the sky is the mountains that surround the village. Their presence brings security and harmony to the French village. The mountains provide a shadow and guard from a distance.

Being a man of religion Gogh painted a church in the center of the painting which can simply be symbolized as a place for reaching out to God. With the use of its colors, type of texture, and descriptive objects, Van Gogh develops a unique painting that any observer can interpret in any way. It can be an image of finding peace as you can sit down and find the beauty of the landscape. Or it can be seen as a dark sad image; you can simply sit down and find that the location is cold and windy. I find it to be peaceful and perfect.

I have chosen the Mona Lisa to analyze. The portrait of Mona Lisa is also known as La Giaconda, she was the wife of Francesco del Giaconda. This painting was done in oil paints on poplar wood by Leonardo ad Vinci from the year 1503 to 1506. The dimensions of this painting are 76. 2 x 53. 3 CM. The painting is now in the Muse du Louvre in Paris. The Mona Lisa is a painting of a woman, dressed in a dark green dress with her hands overlapping. The background of the painting is a mountainous landscape.

The whole painting is a remarkable example of Leonardo suffuse technique of painting. Suffuse is the blurred outline and mellowed colors that allow one form to merge with another and always leave something to our imagination. This is a technique that only Leonardo perfected. Other famous painters such as Van Eyes, Antenna, and Poetical tried, but were unsuccessful in duplicating Leonardo technique. The Mona Lisa has been analyzed over and over by many intelligent people who have theories about the painting, and TTS mysterious appearance.

It is the expression on the face of the Mona Lisa that seems to be attractive yet distant; these qualities have given the portrait universal fame. Leonardo deliberately used suffuse technique in the corners of the mouth and around the eyes leaving them indistinct by letting them merge into a soft shadow. What strikes us first about the Mona Lisa is the amazing degree to which she looks alive. She really seems to look at us and to have a mind of her own.

Like a living Ewing, she seems to change before our eyes and to look a little different each time she is viewed. This is one of the reasons that the Mona Lisa is greatly admired, and is copied all over the world. If we look carefully at the Mona Lisa we will see that the two sides do not quite match. This is most obvious in the landscape in the background. The horizon on the left side seems to lie much lower that the one on the right. When we look at the left side of the woman she appears to be taller than if we look at the right side.

Her face seems to change depending which side we are focusing on, because even here the two sides do not match. Many years ago people looked at portraits with wonder, because they had thought that in preserving the likeness the artist could preserve the soul of the person. In my opinion the Mona Lisa was a turning point in the art of expression, because of suffuse technique of Leonardo do Vinci. Today the Mona Lisa is still one of the most beautiful, and mysterious works of art, as it is still being analyzed to this day. Mona Lisa By Stretches