The Old Violin by William Michael Harnett is oil on canvas, 1886. This painting is American modern art and was created at the end of the 19th century. Impressionism was the art movement of this time but this painting is not an Impressionist piece (characteristics of Impressionist painting include visible brushstrokes, and unusual visual angles. This piece has neither). The Old Violin is a still life and in the time when Harnett created this work, American artists in the U.S. had found a ready market for this type of painting(1). A still life tradition was established by artist Raphaelle Peale in Philadelphia that lasted until the early 20th century. During this time Harnett and other artists gained fame for their work.
The City from Greenwich Village by John Sloan is oil on canvas, 1922. This painting is American modern art and was created at the beginning of the 20th century. It is a post-World War I piece and was created just as the “Roaring 20s” began. The 20s were a time of the Art Deco movement. Art Deco was purely decorative and was seen as elegant, functional, and ultra modern. It touched upon architecture, fashion and visual arts. This piece shows no signs of this movement. The City from Greenwich Village would be considered Realism that show signs of the night life associated with the “Roaring 20s.”
Source: (1) http://en.wikipedia.org/wiki/Still_life
http://en.wikipedia.org
Thursday, March 29, 2007
Wednesday, March 21, 2007
Activity #10 - Write About It!
The City from Greenwich Village is oil on canvas by John Sloan, 1922. The paint in this portrait was applied quite liberally with very noticeable brush strokes. When viewing The City, one will be able to see the thickness of the oil and the method used to acquire the look of different elements in the work. In this painting the artist used the glazing method. Glazing is when thin, translucent veils of color are applied over a thicker layer of underpainting (Getlein 175). When looking at the sky, you will notice how the artist starts with purple as the base color. He then adds clouds using varying white paints and “light” (from the distant skyscrapers) in varying oranges, over the purple. When looking at the focal point of the painting, the train and the surrounding lit buildings, one can see the glazing technique in creating the light alone. Sloan appears to have started with a darker hue of yellow and continually added lighter hues on top of one another. Take notice to the skyscraper to the right of the train, glazing is also apparent. Sloan started with a darker, unlit building and used the glazing technique to imply the reflection of light off of the surface.
The Old Violin is oil on canvas by William Michael Harnett, 1886. This type of painting is called trompe l’oeil, which if French for “fool the eye”. In this technique, the artist created the objects in the portrait in a manner where everything appears to be real. The paint is thin and was applied to the canvas devoid of brush strokes because the objects are not meant to look as if they were in a painting to begin with (the door on which the violin is hanging may be the only exception because in real life you probably would see brush strokes on a painted door). The artist wants you to notice the objects in the painting but does not want you to see the painting in the portrait. Harnett also employed the method of glazing in this piece. Quite noticeably, the violin and the door hinges have a base color applied to them and additional color was applied on top to give the look of wear or age.
Source Getlein, Mark, Living with Art, 2006 8th Ed.
The Old Violin is oil on canvas by William Michael Harnett, 1886. This type of painting is called trompe l’oeil, which if French for “fool the eye”. In this technique, the artist created the objects in the portrait in a manner where everything appears to be real. The paint is thin and was applied to the canvas devoid of brush strokes because the objects are not meant to look as if they were in a painting to begin with (the door on which the violin is hanging may be the only exception because in real life you probably would see brush strokes on a painted door). The artist wants you to notice the objects in the painting but does not want you to see the painting in the portrait. Harnett also employed the method of glazing in this piece. Quite noticeably, the violin and the door hinges have a base color applied to them and additional color was applied on top to give the look of wear or age.
Source Getlein, Mark, Living with Art, 2006 8th Ed.
Activity #8 - Collage
After photography, can anyone tell what my other love is? This project gave me the opportunity to combine the 2!Thursday, March 15, 2007
Activity #9 - Write About It! - REWRITE
Rewrite:
Before the camera, when an artist wanted to capture a subject on canvas, he simply captured the subject on the canvas.
The widespread use of the camera brought about many changes to the appearance of visual arts. The most noted change, artists realized that the subject didn’t have to be the most important item on the canvas. When a picture is taken with a camera, the finished product encompasses far more objects than the photographer intended to see, yet these items tend to add to the overall presentation, feel, meaning of the work. For example, a pre-camera artist may want to paint a toddler in his Sunday best holding his favorite toy. The painting would probably consist of the child with his toy on a solid background. A photographer, attempting to capture the same content, would end up with a finished product that may include the entire toy chest and other less important items belonging to the child in the background. Painters realized people enjoyed the look of photographs and all they encompassed and their artwork began to emulate photographs. No longer did painters wait for a specific subject to create a portrait, they did as cameramen did and captured everyday life. City scenes, landscapes, action scenes. Whatever a camera could or would photograph, a painter could or would paint.
The style in which paintings were created changed too. When photographing a scene, especially from a distance, one may be able to tell what they are looking at but that doesn’t necessarily mean the camera capture a very good picture of the image. Artists like Claude Monet, began to paint in a technique that mocked the blurry, yet distinguishable figures in photographs when painting his landscapes. Thus Impressionism was born. When looking at an Impressionist painting up close, you will only see lines, dots and splashes of color that really make no sense at all. Once you step back and take a second look, the colors will come together and the figures will begin to make sense.
The painting themselves began to emulate photographs as well. No longer was the subject centered on the picture plane with a noticeable border along the edges. Paintings were actually cropped on all sides as if the painter saw his subject through a camera lens.
*****************************************************************************************************
Original work:
The invention and widespread use of the camera has had several effects on visual arts. From the inherent use of the camera to the uses of the camera, the visual arts world has simply developed a new extension belonging exclusively to photographs.
Before the development of photography, the works of visual artists, such as portraits, were reserved for the well-to-do. Artists were commissioned for the lengthy processes of creating such paintings and the finished products were viewed only by a few. By contrast, photos could be created relatively quickly (when compared to a painting) and inexpensively, thus introducing itself to middle and even some lower class people allowing them an invitation into the world of visual arts. On the same token, people who would never consider themselves artists were given the opportunity to capture subjects, without the talent a painter would have, that were just as aesthetically pleasing as an oil on canvas. Quite frankly, a new breed of artists was developed!
When a painter recorded people or events, the finished products were the results of his interpretations. A viewer of his works is left to wonder how much truth is contained in the painting. Is the situation as peaceful as he says it is or are things far worse? With the length of time it took to create a painting, one is left to wonder is there still peace in the land or is the hardship still ongoing? Photography brought truth to the arts and it brought it much faster than a painting ever could. When looking at the photograph, Migrant Mother by Dorothea Lange 1936, (Getlein 217) there is no denying the turmoil in the life of the subjects. And because it is a photograph, 1936 viewers knew what was going on at that time, not months later.
Many careers in the visual arts have been created directly from the use of photography. Be it on film or digital media, whether its photojournalism or fashion model photography, the use of the camera has impacted, even made, many lives in the art world.
A true photographer will know that just the way a person feels when they see a beautiful painting in a museum, if a subject is captured correctly on the other side of his lens, it is just a breathtaking. Photos have a way of capturing the beauty of the real world (and beauty is in the eye of the beholder!) and allowing one to actually own it.
Source: Getlein, Mark Living With Art, 8th Ed. 2006
Before the camera, when an artist wanted to capture a subject on canvas, he simply captured the subject on the canvas.
The widespread use of the camera brought about many changes to the appearance of visual arts. The most noted change, artists realized that the subject didn’t have to be the most important item on the canvas. When a picture is taken with a camera, the finished product encompasses far more objects than the photographer intended to see, yet these items tend to add to the overall presentation, feel, meaning of the work. For example, a pre-camera artist may want to paint a toddler in his Sunday best holding his favorite toy. The painting would probably consist of the child with his toy on a solid background. A photographer, attempting to capture the same content, would end up with a finished product that may include the entire toy chest and other less important items belonging to the child in the background. Painters realized people enjoyed the look of photographs and all they encompassed and their artwork began to emulate photographs. No longer did painters wait for a specific subject to create a portrait, they did as cameramen did and captured everyday life. City scenes, landscapes, action scenes. Whatever a camera could or would photograph, a painter could or would paint.
The style in which paintings were created changed too. When photographing a scene, especially from a distance, one may be able to tell what they are looking at but that doesn’t necessarily mean the camera capture a very good picture of the image. Artists like Claude Monet, began to paint in a technique that mocked the blurry, yet distinguishable figures in photographs when painting his landscapes. Thus Impressionism was born. When looking at an Impressionist painting up close, you will only see lines, dots and splashes of color that really make no sense at all. Once you step back and take a second look, the colors will come together and the figures will begin to make sense.
The painting themselves began to emulate photographs as well. No longer was the subject centered on the picture plane with a noticeable border along the edges. Paintings were actually cropped on all sides as if the painter saw his subject through a camera lens.
*****************************************************************************************************
Original work:
The invention and widespread use of the camera has had several effects on visual arts. From the inherent use of the camera to the uses of the camera, the visual arts world has simply developed a new extension belonging exclusively to photographs.
Before the development of photography, the works of visual artists, such as portraits, were reserved for the well-to-do. Artists were commissioned for the lengthy processes of creating such paintings and the finished products were viewed only by a few. By contrast, photos could be created relatively quickly (when compared to a painting) and inexpensively, thus introducing itself to middle and even some lower class people allowing them an invitation into the world of visual arts. On the same token, people who would never consider themselves artists were given the opportunity to capture subjects, without the talent a painter would have, that were just as aesthetically pleasing as an oil on canvas. Quite frankly, a new breed of artists was developed!
When a painter recorded people or events, the finished products were the results of his interpretations. A viewer of his works is left to wonder how much truth is contained in the painting. Is the situation as peaceful as he says it is or are things far worse? With the length of time it took to create a painting, one is left to wonder is there still peace in the land or is the hardship still ongoing? Photography brought truth to the arts and it brought it much faster than a painting ever could. When looking at the photograph, Migrant Mother by Dorothea Lange 1936, (Getlein 217) there is no denying the turmoil in the life of the subjects. And because it is a photograph, 1936 viewers knew what was going on at that time, not months later.
Many careers in the visual arts have been created directly from the use of photography. Be it on film or digital media, whether its photojournalism or fashion model photography, the use of the camera has impacted, even made, many lives in the art world.
A true photographer will know that just the way a person feels when they see a beautiful painting in a museum, if a subject is captured correctly on the other side of his lens, it is just a breathtaking. Photos have a way of capturing the beauty of the real world (and beauty is in the eye of the beholder!) and allowing one to actually own it.
Source: Getlein, Mark Living With Art, 8th Ed. 2006
Wednesday, March 7, 2007
Activity #7 - Write About It - MID-TERM
Politics and The Social Order is a theme that encompasses the very fabric of our society. Its works would include projects ordered by leaders that would symbolize their power (e.g. The Great Pyramids), or even representations of the rulers themselves, perhaps a sculpture or a painting. (Getlein 57) To understand what the Politics and The Social Order theme may include today, all one has to do is look at pictures of the Bald Eagle soaring in the sky with a picture of the American flag waving proudly amidst the mountains or visit the moments in Washington, DC and admire the architecture of the Lincoln Memorial. Works that lead us back or make us think of our government are the epitome of this theme.
Just like our government and political system, all of the works that would fit under Politics and The Social Order are not always peaceful, happy and full of pride. The American government is a democracy and its citizens have a voice in decisions that are made. Of course, simply having a voice and utilizing it when one is not satisfied is not necessarily enough to make a change of governmental proportions. Or is it? Perhaps a group of voices all shouting the same thing would be enough. Or would it?
Regardless of the outcomes, for more than a century, American citizens have been voicing their opinions, outrage, support, contempt, and disbelief in the form of demonstrations. Here, a collection of photographs, one from each decade of the 20th century, has been put together to show Politics and The Social Order from the average citizen’s perspective. Each picture tells a story, a cause of that era.
As days pass and the issues are no longer relevant, these works of art serve as a reminder. Once time has been captured in this manner there is no way, short of destroying the work, of denying yesterday. That is the purpose of these photographers’ works. Stories can be passed on, lessons can be learned and memories can be refreshed. Most importantly, the road traveled to get where we are today can never be forgotten.
Though these pictures spanned the course of almost 100 years, all of the photographers managed to capture the same thing, human spirit. Facial expressions, body language, emotions, gestures, and text are present in these photos. The artists captured visual elements such as implied line, direction and movement, shape, space, linear perspective and time. They utilized visual principals such as unity, asymmetrical balance and emphasis.
Note: All of the photos will be described by their year.
In the 1963 and the 1945 the photographers captured a linear perspective as well as movement. When looking at the protesters, the viewer knows that they are moving along their path and somewhere behind them there are more demonstrators to come. In the 1980, implied line, movement and direction have all been employed. When studying this picture, the viewer will first focus on the person farthest to the right and their eyes will move in the direction, along the path (or implied line) that the men are marching. One can tell that the men are in motion because the photographer captured the stride of the men’s steps. The use of space by the photographers tells a lot about the attention given to the cause. In looking at the 1922 or the 1936, one may wonder how many people will be impacted or affected by the issue at hand. When looking at the 1963 or the 1991, the viewer will know that there is a great concern among the people for this particular issue. Emphasis was used in the 1909, the 1976, the 1991, the 1963 and the 1980. The 1909 protest was in reference to child slavery, thus the photographer stressed that fact by photographing only children. In both the 1976 and the 1991, the photographer captured emphasis with large white signs. The 1963 and the 1980 were both racial issues and the artists chose to capture only the races at issue. All of the pictures, with the exception of the single person photos, contain unity whether it’s the signage being carried by members in the crowd or the simple act of marching in unison. Finally, each photographer managed to capture perfect balance in these pictures. All of the photos show asymmetrical balance, quite noticeably the 1945. The larger woman in the front of the line along with a portion of the gentleman behind her are balanced off by the 3 people in line behind them.
Each one of these photographs speaks volumes. No matter what the subject or content, the fights that are captured in these pictures have made life what it is today and are important to all of us. They serve as a reminder of where we have been and they can guide us to where we are going. When life’s issues seem too hard, a quick peek at this collection will remind us of how hard things really could be.
source: Getlein, Mark Living With Art 8th Ed. 2006
Just like our government and political system, all of the works that would fit under Politics and The Social Order are not always peaceful, happy and full of pride. The American government is a democracy and its citizens have a voice in decisions that are made. Of course, simply having a voice and utilizing it when one is not satisfied is not necessarily enough to make a change of governmental proportions. Or is it? Perhaps a group of voices all shouting the same thing would be enough. Or would it?
Regardless of the outcomes, for more than a century, American citizens have been voicing their opinions, outrage, support, contempt, and disbelief in the form of demonstrations. Here, a collection of photographs, one from each decade of the 20th century, has been put together to show Politics and The Social Order from the average citizen’s perspective. Each picture tells a story, a cause of that era.
As days pass and the issues are no longer relevant, these works of art serve as a reminder. Once time has been captured in this manner there is no way, short of destroying the work, of denying yesterday. That is the purpose of these photographers’ works. Stories can be passed on, lessons can be learned and memories can be refreshed. Most importantly, the road traveled to get where we are today can never be forgotten.
Though these pictures spanned the course of almost 100 years, all of the photographers managed to capture the same thing, human spirit. Facial expressions, body language, emotions, gestures, and text are present in these photos. The artists captured visual elements such as implied line, direction and movement, shape, space, linear perspective and time. They utilized visual principals such as unity, asymmetrical balance and emphasis.
Note: All of the photos will be described by their year.
In the 1963 and the 1945 the photographers captured a linear perspective as well as movement. When looking at the protesters, the viewer knows that they are moving along their path and somewhere behind them there are more demonstrators to come. In the 1980, implied line, movement and direction have all been employed. When studying this picture, the viewer will first focus on the person farthest to the right and their eyes will move in the direction, along the path (or implied line) that the men are marching. One can tell that the men are in motion because the photographer captured the stride of the men’s steps. The use of space by the photographers tells a lot about the attention given to the cause. In looking at the 1922 or the 1936, one may wonder how many people will be impacted or affected by the issue at hand. When looking at the 1963 or the 1991, the viewer will know that there is a great concern among the people for this particular issue. Emphasis was used in the 1909, the 1976, the 1991, the 1963 and the 1980. The 1909 protest was in reference to child slavery, thus the photographer stressed that fact by photographing only children. In both the 1976 and the 1991, the photographer captured emphasis with large white signs. The 1963 and the 1980 were both racial issues and the artists chose to capture only the races at issue. All of the pictures, with the exception of the single person photos, contain unity whether it’s the signage being carried by members in the crowd or the simple act of marching in unison. Finally, each photographer managed to capture perfect balance in these pictures. All of the photos show asymmetrical balance, quite noticeably the 1945. The larger woman in the front of the line along with a portion of the gentleman behind her are balanced off by the 3 people in line behind them.
Each one of these photographs speaks volumes. No matter what the subject or content, the fights that are captured in these pictures have made life what it is today and are important to all of us. They serve as a reminder of where we have been and they can guide us to where we are going. When life’s issues seem too hard, a quick peek at this collection will remind us of how hard things really could be.
source: Getlein, Mark Living With Art 8th Ed. 2006
Tuesday, March 6, 2007
Activity #6 - Politics and Social Order - MID-TERM
Protests & Demonstrations of the 20th Century
1909 Anti-Child Slavery Demonstrators
photographer: unknown
source: Library of Congress Prints & Photographs Reading Room
http://www.loc.gov/rr/print/
1918 Free Speech Demonstrators
photographer: unknown
source: http://www.loc.gov/rr/print/
1922 Amnesty for War Protesters Picketer
photographer: unknown (possibly Herbert E. French)
source: http://www.loc.gov/rr/print/
1936 Fair Labor Demonstrator
photographer: Rothstein, Arthur
source: http://www.loc.gov/rr/print/
c. 1945 Marchers for Imprisoned War Objectors
photographer: unknown
source: http://www.loc.gov/rr/print/
1954 Anti-Integration Protestors
photographer: unknown
source: http://www.loc.gov/rr/print/
1963 Civil Rights Demonstrators
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1976 Freedom of Choice Demonstrators
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1980 Iranian Student Protestors
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1991 Gulf War Protestors
photographer: unknown
source: http://www.news.wisc.edu/wisweek/wartimeline.html
1909 Anti-Child Slavery Demonstrators
photographer: unknown
source: Library of Congress Prints & Photographs Reading Room
http://www.loc.gov/rr/print/
1918 Free Speech Demonstrators
photographer: unknown
source: http://www.loc.gov/rr/print/
1922 Amnesty for War Protesters Picketer
photographer: unknown (possibly Herbert E. French)
source: http://www.loc.gov/rr/print/
1936 Fair Labor Demonstrator
photographer: Rothstein, Arthur
source: http://www.loc.gov/rr/print/
c. 1945 Marchers for Imprisoned War Objectors
photographer: unknown
source: http://www.loc.gov/rr/print/
1954 Anti-Integration Protestors
photographer: unknown
source: http://www.loc.gov/rr/print/
1963 Civil Rights Demonstrators
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1976 Freedom of Choice Demonstrators
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1980 Iranian Student Protestors
photographer: Leffler, Warren K.
source: http://www.loc.gov/rr/print/
1991 Gulf War Protestors
photographer: unknown
source: http://www.news.wisc.edu/wisweek/wartimeline.html
Thursday, March 1, 2007
Activity #5
John Sloan’s The City from Greenwich Village is oil on canvas, 1922. This painting is a portrait of Sloan’s view of New York City from his Greenwich Village apartment thus capturing the theme Looking Outward: The Here and Now. In painting in the theme The Here and Now, the artist simply finds his inspiration from his life as it is here, now, in this place and at this time. (Getlein 64)
In The City from Greenwich Village Sloan employed several visual elements to include that of time, atmospheric perspective, shape, and light. Using these elements, the artist was able to create a scene that depicted exactly what he saw. Most of the figures he designed could not be mistaken for anything other than objects found in a city. Skyscrapers, row houses and subway trains are all indigenous to cities. There are also people and cars in the painting. The people appear to be walking, the cars are driving, and as well the train is moving. All of this activity shows life in motion as the painter painted. The use of color to create light signifies the time of day Sloan was attempting to capture and the atmospheric perspective shows what the weather was at the time the artist was inspired create his painting.
The Old Violin, 1886 oil on canvas by William Michael Harnett, could possibly have two themes. The first theme, The Here and Now, could be supported by the title. The second possible theme, Art and Art, would be supported by the content of the picture. The theme Art and Art is quite simply an artist creating art just for the sake of creating.
Since this painting was created in trompe l’oeil, “fool the eye”, it has an extremely realistic look to it. At first glance, all of the objects in it will be mistaken for the real thing. Once the viewer is past the point of realizing the truth and just appreciates the painting, one can see that every figure in the picture could have been found in the artist’s everyday life, The Here and Now. Harnett employed the principles of unity and variety to the painting. A viewer could easily find a connection to all of the objects in The Old Violin and walk away with the feeling that they looked at a day in the life of a musician (whether or not Harnett was actually that musician).
Art and Art as a theme could be supported by dissecting the figures Harnett put into his painting. The artist applied the principle of variety in his work as well. A violin, a bow, and a music sheet really have no (immediate) connection with a door, a newspaper clipping or an envelope. Combining these items together makes one wonder why these things and it also adds to the question, “What is art?” (Getlein 76)
Source: Getlein, Mark Living With Art 8th Ed. 2006
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