Painting

The Spanish painter Picasso was a cubist and his worldwide famous ‘Queering’ is a mural-sized flat oil painting on canvas (3. 5 meters tall and 7. 8 meters wide). It is all grey, blacks and whites and was painted in 1937. Picasso started the painting when he heard that the Germans had Just bombed the quiet and traditional Basque town of Queering on 26 April 1937 in support of the Spanish Nationalist forces of the Fascist General Franco during the Spanish Civil War.

The broken sword near the bottom of the painting symbolizes the defeat of the people at the hand of their tormentors. The shape and posture of the bodies express protest, Picasso uses black, white, and grey paint to set a dark, sober mood and express pain and chaos, buildings in flames and crumbling walls not only express the destruction of Queering, but reflect the destructive power of civil war. The newspaper print used in the painting reflects how Picasso learned of the massacre and the light bulb in the painting represents the sun.

Picasso monumental work showed the effect on both people and animals. The distorted forms and the monochromatic palette clearly show the grief of the people for example, he shows a fighter and a mother and child tit displaced features and ghost like forms along with a woman on fire running from a burning building. The fine patterns in the centre of the painting resembles words on torn pieces of newspaper, suggesting that art is as powerful as the mass media in communicating a message.

Chaos and despair are amplified by sharp, angular shapes, particularly the bold triangular form at the centre of the painting and vivid contrasts of light and shade. On May 11 1937, he made the first sketch for the mural. By the tenth of May, he had already begun work on the canvas. And in early June, the mural was completed. There are about 100 recorded sketches relating to the mural, some made before Picasso started working on the canvas, and others done simultaneously with the painting.

In some of the sketches, Picasso experimented with color. Even when the mural was almost completed, the artist stuck pieces of patterned wallpaper onto the canvas to determine the effect of color of the composition. Charcoal and oil paint were the main materials Picasso had used on his painting. Picasso had to use a ladder and a long-handled brush to reach the retest part of his artwork. An enormous size of the stretched canvas, measuring 3. 5 x 7. meters and so had to be tilted to fit under the rafters of the ceiling, and dim lighting from bay windows on one side of the studio, failed to interfere with action or progress. The painting was completed in twenty-four mad and wild days. Streams of ideas, emotions, traditions, myths, obsessions and symbols of his roots deeply surrounded in Hipic and Mediterranean culture spilled onto the canvas. These were fuelled by anger and a need to express his pain. Queering, Picasso 1937 By cherry’s

Starry Night Over the Rhine was painted along the banks of the Rhine River. What I first see when I look at this painting is the city lights reflecting off the water while a couple takes a walk on the nearby shore. The sky is filled with stars, including the Great Bear, commonly known as the Big Dipper. Van Gogh shifted the sky around in order to create an even more extraordinary display of stars. From his point of view the town of Arles lay to the south west; the Big Dipper he painted in the sky was actually in the north behind him.

Towards the left you can see the towers of Saint Julienne and Saint Trophies, and the bridge connecting Arles to Tranquiller on the right. In the far horizon, a church steeple is shown. Starry Night Over the Rhine was described in a letter from Vincent Van Gogh as a cheerful piece, but when the painting was finished almost a year later, it had a revised mood and meaning. The work is dark, but serene. Many believe that the swelling depression in Van Gogh distorted the original sketch’s romantic charm.

This painting is a reflection of inner torment and mental distress. The animated strokes, the bright, vivacious colors of the stars contrasting against the dark blues and blacks of the night reveal his cry for hope, light and love. The focal point of Starry Night Over the Rhine is the constellation of the Big Dipper. Vincent Van Gogh brings attention to the Big Dipper by using color and value. The sky is the lightest shade of blue around the Big Dipper. The bright yellow stars in the constellation contrast with the blue to bring focus to them.

Van Gogh uses the lines in the ground under the couple and around the edge f the water to make a circular motion that brings the eyes back to the focal point of the Big Dipper. Van Gogh also uses contrasting directional lines in the sky to make the stars stand out. The texture of the entire painting is very thick because of the method of impasto that Van Gogh used. A closer look at the Starry Night Over the Rhine reveals that Vincent Van Gogh gave equal visual weight to all the things that he painted. In this painting there is no visual distinction between the earth and the sky.

Van Gogh shows unity throughout the piece with the lights, both natural and an-made. For every star or group of stars there is a city light or group of lights, which then has a reflection in the water. At the waters’ edge near the couple, it is nearly impossible to see the distinction between land and water. The low contrast makes it hard to tell whether the ship is sinking in the water, or merely Just docked. The bright lights have a high contrast to the dark blue-black sky and water. The way the water is depicted creates a rhythm that gives the illusion of waves rippling.

The Starry Night Over the Rhine is an oil painting on canvas and the technique is broad ND sweeping brushstrokes. Vincent Van Gogh also used the technique of impasto in this painting. Impasto is very thick application of paint, usually wet on wet. This technique gives the painting texture and movement. Van Gogh painted rapidly, with a sense of urgency, using the paint straight from the tube. Van Gogh painted emotionally, trying to “throw his heart onto the canvas” and evoke feeling. (http:// www. Ratable. Com/artists/Vincent_van_Gogh/paintings/starry_night_over_the_Rhine) When I look at The Starry Night Over the Rhine, I feel infinite.

This painting makes me feel at peace, like I could Just look at it forever. It reminds me of the song “Bella Note” from Lady and the Tramp. A quote I particularly like from Vincent Van Gogh is “l don’t know anything with certainty, but seeing the stars makes me dream. ” This painting truly exhibits this quote. The Starry Night Over the Rhine is magical and beautiful. It is one of very few pieces of artwork that I feel this way about, which is why I selected it for this assignment. I can not imagine a better piece of art to own.

The Last Supper by Leonardo Ad Vinci The renaissance marked a point in time in which it was the most advanced society had ever been. The renaissance sparked a revolution in art. Artwork became more realistic. Although religious topics continued to be a dominant subject matter, artists used linear perspective, greater facial expressions, and three-dimensional techniques to make paintings more realistic. The Last Supper by Leonardo Ad Vinci, created during the Renaissance, exhibits many of those values from that period, including the portrayal of religious subjects and the use of a realistic style and respective.

Leonardo was born on April 15, 1452 in Vinci, Italy (“Louvre”). Leonardo father was 25 and his name was San Piper and his mother was a peasant named Catering. After Leonardo birth, his father took custody and his mother went on and married someone else. Leonardo had ended up with a total of 17 half brothers and sisters (“Leonardo Ad Vinci Paintings”). He had access to many scholarly texts while growing up. He also grew up amidst Vine’s long tradition of art (“Renaissance”). At the age of 15, Leonardo became an apprentice at Andrea del Overreach in Florence.

Even though he was an apprentice, he was better than his master. In 1477, he left his apprenticeship and opened his own shop(“Renaissance”). Looking to make some money, he entered the service of the Duke Ludicrous Sports and duchess Beatrice detest of Milan in 1482. He spent 17 years in their service, painting, sculpting, and designing weapons, buildings, and machinery. During those years his artistic and scientific achievements peaked. While in the service of the Duke and the Duchess, he studied nature, aviation, thematic, and engineering, including designing the churches and fortresses.

He also designed weapons, including tanks and submarines. In addition, he studied anatomy, producing many sketches of the human form. He was interested in so many things, that he usually didn’t finish what he started. One exception to this is The Last Supper (“Renaissance”). In 1495, the Duke commissioned him to paint The Last Supper (“Leonardo Ad Vine’s Life”). The painting is fairly big, measuring about xx Ft. It is a mural, which meaner it was painted directly on a wall. This mural was painted on a dining hall in a monastery in Milan, Italy (“Louvre”).

He drew upon his skills as an inventor and decided to paint it on a dry wall rather than on wet plaster. This meaner that the painting is not a true fresco. A fresco requires the artist to work on the painting continuously until it is done. He instead used geese to seal the wall to give him more time to work on the project and not have to do so continuously. He preserved the painting with tempera, but his method did not work well. The painting began deteriorating soon after it was completed (“Louvre”).

The painting, which took Leonardo three years to complete, represents the scene of Jesus’ last supper with his apostles as described in the Bible. At the supper, he told his apostles that one of them would betray him. The faces of the individuals in the painting exhibit their realistic emotions in response to this announcement. Each of the apostles react differently. Some were surprised and some look upset. The first group on the left consists of Bartholomew, James and Andrew. They are all surprised. The next group includes Judas, Simon, and John.

In one hand Judas is holding the bag f silver that he received for betraying Jesus and in his other hand, he is reaching for a piece of bread which represents Chrism’s body in the Bible. In the Bible Jesus said that the first man to share bread with him would betray him. Simon is holding a knife which foreshadows the incident when he chopped of a man’s ear defending Jesus. John the one that looks like a women, appears to be fainting. The third group is made up of Thomas, James, and Phillip who all appear shocked.

The fourth group consists of Matthew, Jude, and Simon who seem to be discussing the matter. The Last Supper uses perspective for a three-dimensional effect. Leonardo used one point perspective. This perspective involves all parallel lines converging in one place called the vanishing point. This method makes the picture proportional and places emphasis on the object at the vanishing point(Rival 2). Jesus’ face is at the center of the vanishing point representing his importance. Additionally, the painting uses balance, grouping the apostles in four equal groups of three with Jesus in the middle.

There were also three windows. Three represents the holy trinity (“Leonardo Ad Vine’s Life”). Leonardo representation of The Last Supper differed from earlier portrayals of the meal in a number of ways. Earlier depictions did not include Judas in the group. He was always off to the side. In Leonardo version, he is including in the group, but placed in a shadow. Earlier paintings also put halos around the apostles heads, but Leonardo chose to make it more realistic and left the halos off.

Finally, the perspective of Leonardo version improved on the odd looking perspectives used in earlier paintings such as the painting by Disco in which it looks as if the table is on its side. Leonardo The Last Supper is a good example of a Renaissance piece of art because it shows many Renaissance values like portrayal of religious subjects and the use of a realistic style and perspective. The painting is three-dimensional and the figures show realistic emotions. All the subtle secrets you can see in the painting are very fascinating. The Renaissance has been one of the most interesting and smartest times in mankind.

Salvador Dali The Burning Giraffe 1. Structural Frame In Paris in the mid sass’s surrealism became the new art movement and was widespread and lasting. The movement was characterized by pictures that contained detailed, strange and unnerving objects with dream like character. The art has a visually striking, controversial and bizarre quality, which was the result of the rejected ‘need’ for rational thought and behavior. Salvador Dali described the art as hand painted dream photographs”.

This description pinpoints the realistic detail hat was contrasted with surreal images. ‘The Burning Giraffe’ Salvador Dali was painted during his exile in the United States, but shows his personal struggle with the battle in his home country of Spain. It was painted before the Second World War and Dali believed the burning giraffe was a premonition of war. Dali interpreted the image of a giraffe with its back ablaze as “the masculine cosmic apocalyptic monster”. The painting illustrates ideas of death- through war, loss of individuality and the weakness of society.

In contrast to the usual surrealist obsession with unconscious thought, Salvador Dali described his technique as the “paranoiac-critical method. ” He employed this technique to create ‘The burning Giraffe’ which allowed him to paint many optical allusions to create a dreamlike state. Surrealists painted with a high level of detail to create a sense of realism within the ‘dream’. Dalais style is precise and this enhances the ‘dream’ or ‘nightmare’ effect of ‘The burning Giraffe’. Dali used thinned oil paints s well as dense oil paints on a panel, which were traditional at the time.

Salvador Dali was one of the many surrealist painters that often incorporated images of women into their work. Many male surrealist painters had a typical male attitude towards women such as worshipping them symbolically through stereotypes and sexist norms. Surrealists including Salvador Dali had an interest in the concept of psychoanalysis developed by Sigmund Freud. This influence combined with his desires towards women enhanced the nightmare effect of his painting, which the realist painters tried to create. 2.

Cultural Frame Women were often made to represent higher values and transformed into objects of desire and mystery. ‘The Burning Giraffe’ depicts two women that are slim and curvaceous. One has a drawer opening from below her breasts and several more down her leg. This imagery gives an underlying impression that she is a sexual object as the open drawer could be a symbol of her sexual offerings and favors. The head, hands and part of the arms of the closest female are stripped down only to e the muscles beneath the skin whilst one figure holds a piece of meat.

The meat is another symbol of an offering, giving the impression that the women were possibly seen as ‘meat’, meaning they possibly were used for sexual favors. Dali shows a state of exhaustion by the uses of the crutches that hold and support the women. This image is symbolic of weakness and is present in many of Dalais work, consistent to address different themes with same effectiveness. Dali believed that both The Burning Giraffe and The Invention of Monsters were premonitions of war.

Both of these paintings contain the image of a giraffe with its back ablaze, an image which Dali interpreted as “the masculine cosmic apocalyptic monster”. He first used this image of the giraffe in flames in his film L ‘Age door (The Golden Age) in 1930. The Burning Giraffe appears as very much a dreamboats, not simply because of the subject but also because of the supernatural aquamarine color of the background. Against this vivid blue color, the flames on the giraffe stand out to great effect. In the foreground, a woman stands with her arms outstretched.

Her forearms and face are blood red, having been stripped to show the muscle beneath the flesh. The woman’s face is featureless now, indicating a nightmarish helplessness and a loss of individuality. Behind her, a second woman holds aloft a strip of meat, representing death, entropy, and the human races capacity to devour and destroy. The women both have elongated phallic shapes growing out from their backs, and these are propped up with crutches ‘ Dali repeatedly uses this symbolism for a weak and flawed society.

Salvador Feline Action Dali lived to be among the most versatile and creative artists of the twentieth century. Dali was born on the 1 lath of March 1904 in Spain and he was one of history greatest surrealist and broad-minded artists. Surrealism is defined as opening up one’s mind and accessing an unconscious world, through an area of art. During his childhood, Dali soon discovered that he was on the earth solely for the reason to be an artist. Dali earned a reputation as a malicious being, as he was expelled from his school for extravagant behavior.

Dali had portrayed his ideas ND thoughts on a canvas, through his own understanding of discovering a new world based on the unconscious mind. His paintings also display a charisma and attraction for Classical and Renaissance art. This was clearly visible as his later works evinces hyper-realistic style and religious symbolism. Dali was often associated with the Surrealist movement, despite his removal from the group in 1934 due to his unreceptive political views.

Salvador Dali is one of the most celebrated artists of the surrealist movement; being known for his conspicuous surrealist work as well as his minting techniques resounding that of Renaissance art. Dali was born in Figures, Catalonia, Spain and belonged to a very prosperous family. Dali was ten years old when he had his first drawing lesson whilst demonstrating hysterical yet rage-filled outbursts towards his family and playmates. Pursuing his interest in art, he entered the Madrid School of Fine Arts in 1921.

Dali was in his early ass in 1920, when he first heard about a group of experimental artists in Paris. As it was depicted as strange, they had to invent a new word to describe their art: surreal. Surrealism began as a iterate and artistic movement. Andre Breton, a French Poet, had inspired many others after him, by discovering this new form of art. It was a revolutionary response to the devastation of the First World War. It was also inspired by the psychoanalytical concepts of Sigmund Freud. Freud believed that all of us possess an inner unconscious world, in which our emotional and sexual feelings are oppressed and the only way to express ourselves is to release emotions without censoring what comes out’ [1]. Dalais artistic profession commenced when he was expelled from the Madrid School of Fine Arts in 1924. By that time, Dali was already exhibiting work locally. He was invited by Andre Breton to Join the surrealists, when he moved to Paris.

For the next several years, Dali had incorporated his illustrative theories into his paintings, displaying his thoughts about the psychological state of paranoia and its importance as a subject. He called this method the ‘paranoia-critical activity, which is a surrealist method used to help an artist enter their subconscious through a systematic irrational thought and a self-persuaded paranoid state. Around this period, Dali had also developed a short surrealist film that was directed by Luis Bungee, called Un Chine Nodal (An Andalusia Dog).

Dali became so infamous because the subject matter of the film was so sexually and politically shocking. Dali had produced many important works during this period, which included William Tell (1930), The Persistence of Memory (1931), Dormouse, Coeval, and Lion invisible and the Birth of Liquid Desires (1932), Breton had dismissed Dali from the Surrealist group in 1934 as a result of his differing views on General Franco and fascism. Dali had then moved to Italy in 1937, and practiced more traditional painting styles. Meanwhile, he had married Gala, the first wife of the founders of the surrealist movement.

Gala was perhaps the most important and influential figure in Dalais life. His paintings during the sass and sass focused more on religious themes, reproducing his enduring attraction of the supernatural. He had rendered many traditional still-like objects into his work. He continued employing his ‘paranoia- critical’ method. In 1955, he returned to Spain, becoming rather withdrawn. Regardless he continued to paint until his death in the 1980. Salvador Dali influenced the manner of which modern artists use the method of ‘revealing the gap teen reality and illusion’ [2].

His artwork provides a glimpse into the intimate world of an individual’s subconscious. His outstanding yet somewhat grotesque dreamless and paintings effortlessly evoke emotion from a viewer. His work delivers a disconcerting impression of psychological hallucinations. Drawing on Dalais belief of unearthing the subconscious, many second generation surrealists such as Joseph Cornwall, and other abstract expressionists continued to incorporate Dalais influence in their work. Arguably, the twentieth century’s most eccentric and successful artist was thought to have been referring to Dali.

He is truly one of history greatest surrealists. As a Spanish-Catalan painter, entering the Madrid school of fine arts was Dalais first step to becoming a great artist. Discovering surrealism had changed Dalais life forever, Joining great surrealists such as Andre Breton. He developed painting methods, illustrating his theories of psychological state of paranoia and its importance as a subject matter. Salvador Feline Action Dali was the most influential contributor to the surrealist movement, leaving behind an impact on modern art.

The Birth of Venus by Sandra Botanical Visual Elements * Line * The main type of lines that are used in the Birth of Venus are mostly actual lines. The way they are used by the artist is to form specific shapes to tell a story about the goddess Venus. There are a few implied lines are used to create the ocean as to which Venus emerges from, as well as the waves in her hair to show that it has movement. The actual lines are used to create the shapes of the nature and the angels and mother figure that surround Venus. Shape * Mass * Space * Time and Motion Botanical implies time and motion have occurred with the way the figures are slightly angled towards each other. Venus’ hair is drawn so that it looks like it is blowing in the wind as she has emerged from the water, while the woman that is standing on land waiting for her is leaning towards her as to cover her with the cloth that she is holding and her feet are positioned so it shows that she is walking.

The Angels are drawn to show that they are flying towards the goddess as if to welcome her. * Light * Color * The colors that are used were used to create a calming sensation when you coked at the painting. Botanical used mostly blues and greens which create calming nature of the artwork. He painted the ocean a blue green which is more muted than the bright blues you may see in other paintings when it comes to corners.

Venus’ hair is a golden color which reflects the light that is used in the painting which makes it a brighter color than the sky in the background which is darker. * Texture Principles of Design * Unity and Vanity * Balance * Emphasis and Subordination * Directional Forces * Contrast * Repetition and Rhythm * Scale and Proportion

Vincent Van Gogh Painted named Starry Night was painted with the use of oil mediums in 1889 while he was in Saint Remy seeking treatment in a mental asylum. Although when this piece was painted it was based on his memory. This piece is a symbolic landscape full of movement, energy and light. It is CACM by 92 CM and this painting alongside Mona Lisa is used to decorate more bedrooms around the world than any other image in the history of art. It is one of those iconic images, that have become visual click©s due to mass production and consequently deserve a closer look to rediscover their power.

It was based on a constellation rearrangement that Van Gogh had seen earlier on in the night sky of Provence. Starry night is perhaps one of his most famous artworks ever and is one of the most replicated artworks around the worlds. The night sky depicted by Van Gogh in this painting is full of whirling clouds, shining stars and a bright crescent moon on the far right of the painting. The elements ensure fluidity and this piece is not a happy piece nor a dark one as it has different tones throughout the whole piece.

The Church and town symbolism unity as they are all together under the beautiful night sky, the dark object in the foreground represents isolation a darkness that is present and the most noticeable shining stars and moon represent hope and peace in dark times. Van Gogh has carefully placed the town in the lower center of the piece because even though it isn’t the main focus of the whole artwork it is very carefully huddled around a church which connects into the sky to draw your eye from the flowing lines into the lit up town.

The little huddled town creates a sense of seclusion and I would not expect this town to be full of crime or noise. Even if it was, this is not what the artist depicted. What he did depict was a town, some houses with the peace of sleep. Van Gogh lived in a little town Just on the outskirts of Saint Remy and I believe that this town swell as the cypress tree and stars all relate back to his life pre suicide. I believe that all three are connected and the town symbolizes unity and gives an impression of isolation but also how much we have devolved because in one part we have a creation of man and in the other a creation of nature.

There are various interpretations of Starry Night and one is that the canvas depicts pope. It seems that van Gogh was showing that even with a dark night such as this it is still possible to see light in the windows of the houses. Furthermore, with shining stars filling the sky, there is always light to guide you. First, it comes across as a sort of castle, but then you get the impression that it is a plant of some sort that is growing toward sky.

As you look closer you realize that the mysterious shape is not made of black lines, but dark green, with hints of blues and blacks in its midst. This object is said to be a cypress tree and they usually symbolism death as they are most molly found in graveyards. It is possible that Vantage intensifies himself with the looming cypress tree in the foreground. The large cypress in Starry Night is arguably the most eye catching but at the same time ambiguous “thing” in the painting.

Mostly because of its size and the way its dark and almost sinister presence contrasts to heavily with the brightly colored stars. I relate Van Gogh with this tree as it seems that even though he was cured of his illness there was no peace, so in death he knew that he would be at piece. Van Gogh was aware that his Starry Night composition was somewhat surreal. Although the features are exaggerated, this is a scene we can all relate to, and also one that most individuals feel comfortable and at ease with.

This sky keeps the viewer’s eyes moving about the painting, following the curves and creating a visual dot to dot with the stars. This movement keeps the onlooker involved in the painting while the other factors take hold. The rich colors used by Van Gogh almost makes it look as through it is smudged but if you zoom in and take a closer look they are Just different textures from thick to thin. This is basically the only light in this painting as t is surrounded by bright stars and the crescent moon.

I believe it subsidizes the light that guides everybody through darkness as the cypress tree looms nearby. Also how our world is so beautiful above and sometimes we get caught up in our busy lives that to take time to appreciate a beautiful collation of stars and the sky itself is hard but right inferno of all of us. Beauty is always there among darkness but it’s our choice if we choose to appreciate it. It seems that van Gogh was finally being cured of his illness and had essentially found his heaven. He also knew that in death he would be at peace.