New Shoes for H (Chapter 22-Blog #12-Nov.22)

             

                  

                                                    Don Eddy. New Shoes for H 1973-74.

                                                    Acrylic on canvas, 3'8" X 4'

             New Shoes for H was an acrylic on canvas painting by Don Eddy in the early 1970’s. This painting was portrays the advancements during this time. At first glance you would think this was just a painting of a store window, however, in reality it is a painting of a photograph taken of a store window. At this time in era, people were fascinated with the works of camera lens and the realism photographs could portray. The original copy was actually black and white, but was transferred to color for an incisive focus and full intent view of color.

            There are almost every color in this painting, from primary colors to secondary colors and even neutral colors. Red (warm) colors on the bags, shoes and signs. There are cool colors such as blue on the man’s jeans, shoes, purses, trash bins and signs as well.

            This photograph has many perspectives put into one piece. The different focal points create a dizzy illusion. I believe this photograph is very important because it not only uncovers the new creations during this time but also gives us a better understanding of when artworks such as this came into place. 

Title: Eddy: New Shoes for H

Author: Tom E. Hinson

Source: JSTOR: http://0-www.jstor.org.rosi.unk.edu/stable/25152614?seq=1&Search=yes&term=shoes&term=new&term=H&list=hide&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Dnew%2Bshoes%2Bfor%2BH%26wc%3Don%26acc%3Don&item=1&ttl=29924&returnArticleService=showFullText&resultsServiceName=null

Carnival of the Harlequin (chapter 21, week 11)

Title: Carnival of the Harlequin
Artist: Joan Miro
Editor: Scot Borofsky
Size: 26 X 36 5/8" Canvas

In the early 1900’s, artists were making new changes in modern world art pieces. This was the point in time when the first museum opened up, when photography was taking a toll on viewers all over. People were focusing on realism, cubism, impressionism and much more astonishing inventions created on canvases.

In 1924-1925, Joan Miro created the Carnival of the Harlequin, which was one of the most famous Spanish paintings created. There are little animals, unknown creatures, insects, and many other unusual living objects. There are musical instruments including a guitar and an instrument look-alike with legs and arms. This oil canvas has a lot of movement, which enforces the eye to move about in a fast motion to capture each image. There are colors, that mainly of primary colors of blue, red and yellow. A Green Earth-like object along with white and black squirmy snakes are easily focused on due to their color and shape. This canvas suppresses so much movement that it is said to interpret that dreams are lively ones. This canvas is made completely of lines, patterns and shapes; the square window, cones, circles, cubes, triangles, and much more. Lines make up the squiggly “snake” objects, the shapes themselves, the line in the center connecting objects, the thread being played with by the yellow creature, the arrow and much more.

This painting was to bring out a better society that would allow people to believe that there was no more horror left from World War I. This would create a new environment for those traumatized from the terrors. 

Hall of Mirrors (week # 9)

Link to picture: http://www.bugbog.com/european_cities/paris_travel_guide/paris_travel_versailles_in.html

In the late 1600’s many artists known still today were completing many creative art pieces. One of many great artists were designers Louis Le Vau and Jules Hardouin Mansart who created a remarkable Palace of Versailles including a hall known as the Hall of Mirrors, which was designed in an entry of a palace known as the Palace of Versailles. This hall, of all the rooms is the most famous and is nearly 240 feet long. It was a place for intricate occasions and many important events. As a matter of fact, the treaty in which ended World War II was signed here.

The Hall of Mirrors consists of mirrors, sculptures, paintings and great architecture of grand scale. There are gold sculptures on each side of the hall of people holding up light fixtures.  There are also magnificent chandeliers hanging from the ceiling.  This painting is very moving. It makes our eyes concentrate on all the objects that are portrayed in this painting in which there is so much to look at.  The walls are built completely of marble and are lined with seventeen mirrors facing seventeen windows overlooking the outside gardens.  Each arc contains twenty-one mirrors, which adds up to 357 mirrors in all. For the floor, it is coated with remarkable oak wood. Famous painter Le Brun can take credit for most of the paintings for he painted the glorious arcs within the hall.

Still to this day, tours are scheduled throughout the palace to display the unbelievable creations people were able to obtain many decades ago. 

Michelangelo's David (Week 8-chpt. 16)

In 1501, Michelangelo sculptured a marbled piece of a boy about 13 or 14 named David. In this sculpture, the boy is standing straight up gazing off into the distance and is completely nude. David’s feet and hands are seemed to be larger than normal. He has left arm raised over his shoulder as if he were making decisions. His right arm is relaxed down by his side. For his legs, David’s right leg completely holds all of his weight while his left leg is relaxed. This artwork is very well balanced.  What makes the sculpture different is the proportion Michelangelo uses is that he makes the sculpture 17 feet tall.  The muscles are very defined and the hair is curly reaching ear length.

The purpose of this artwork was to represent the protection of social liberties and present heroic resistance. It shows David preceding the decision he had made to fight Goliath before the battle actually happened. It was a moment in between his choice and actually actions; however, some say it represents the moment after his victory.

I believe this artwork influenced perceptions because it represents the big person he was at the time and how because his enlarged hands and feet, shows that he wasn’t fully grown but at the time was in the shoes of an older male fighting battles.  Also, that he was using his brain while fighting with his hands and feet. This artwork was very well thought out and an outstanding image standing at the Galleria dell’Accademia, Florence.

King Tut ( Week #6-Chapter 14)

            Many years ago, 1300’s B.C.E. to be clearer, was a point in time when Egyptians would bury their most abundant art in tombs. King Tut’s mask was buried with him around 1323 B.C.E. Ancient Egyptians would bury their King’s with their finest furniture, clothing, chariots, jewelry and other precious artifacts. One piece that stands out significantly is King Tut’s mask, which was inlaid with valuable stones and blue glass. The purpose of this artwork’s was to send this ruler into eternity with great style used to continue life he had known on earth.

            The mask is crafted with gold-which in this time period was believed that it was more signified than mere wealth. As you can see towards the bottom of the mask, it is pieced together by precious stones of primary colors such as red and blue. The blues have different shades that compliment the red and gold. Lines are very bold on the facade, for there are thick blue lines proceeding horizontally and some vertically above the head. For texture, the rocky parts towards the shoulder area seem to have a little more texture for they are not as smooth as the blue and gold glass. The height of the mask is 21 ¼” which makes it a little more exaggerated and above the normal scale of humans now a days.

            I believe this art piece helped influence perceptions because it gives us a better understanding about beliefs and treasured items during the Egyptian period. 

Tar Beach (Week 7-Oct.4)

Link To Image:
http://www.guggenheim.org/new-york/about/guggenheim-images/show-full/piece/?search=Faith%20Ringgold&page=1&f=Artist&cr=1
Image Info:
Tar Beach (Part I from the Woman on a Bridge series), 1988. Acrylic on canvas, bordered with printed, painted, quilted, and pieced cloth, 74 5/8 x 68 1/2 inches (189.5 x 174 cm). Solomon R. Guggenheim Museum, New York, Gift, Mr. and Mrs. Gus and Judith Lieber, 88.3620

Tar Beach, by Faith Ringgold is a fascinating piece to observe and understand the true meaning. In this photo, there is an African-American family enjoying a night under the moon above apartment style dwellers. Quilted fabric boards the portrait. There are children lying on a blanket gazing at the night stars. For colors, primary colors are mainly used-especially on the quilted border. The sky is blue using color as emotion to show the calmness of the night and to provide the viewers to understand the beauty of the night sky and family gatherings. Representational elements are used because the people and everything else looks real as if you were standing on the corner of the building.

            The meaning of this work is to link childhood to the larger meaning of African-American experience and how being on top of the building makes you feel as if you were flying on top of the world. An example of this is at the top of the image, there are writings that explain a childhood memory of a child magically flying over the city. There is also an image of the child in the sky. It shows freedom and self-assurance. The artist’s great-great-great grandmother made quilts during the time of slavery so this connects between her family history and her love for art.            

            I’m sure this artwork helped influence perceptions because most wouldn’t understand the importance this artist has connected between herself, art and her family as well as her potential for racial change. The quote on the canvas states, “All you need is somewhere to go that you can’t get to any other way. The next thing you know, you’re flying among the stars.  

Title: Faith Ringgold Tar Beach

Author: Nancy Spector

Source: Guggenheim Museum, New York. 

Family (Blog #4)

Link To Photo: http://www.getty.edu/art/exhibitions/cameron/oz_106702.html

Photo Info: British, Freshwater, Isle of Wight, July 1874

Albumen silver print
94.XM.31.4

The J. Paul Getty Museum, Los Angeles

                  Family photographed by Julia Margaret Camero is a touching piece of work that not only makes viewers understand the importance of family but to feel the significance as if it were they in the photograph. In this picture, there is a man and two of his kids on either side of him holding hands in remembrance of their mother who passed during childbirth. The light focuses mainly on the faces of the family members to describe in facial expressions the terrible tragedy they were all witnessing. The father is wearing a black tux and beside him, two of his daughters are coated in beige color dresses, which makes them stand out. This photograph is in sepia, which provides hints that this photograph was based on many years ago.

The meaning of this work was to illustrate the importance of family and the love is has to offer. It shows that no matter what, family has to stick together and grieve to carry on. Many people don’t understand that anything could happen to anyone and everything is unpredictable. It relates to the social issue of family, which in my opinion is most important.

This artwork has definitely helped influence perceptions because it is so strong that is allows you to put your self in one of the family members positions. Almost everyone has lost someone in their family, or eventually will and it opens minds to understanding the importance of sticking together. Anne Hignonnet states, “Cameron knew love on a variety of levels and that in great art, genius and love have each fulfilled their part and both unite with force and grace.”

Review: Passionate Portraits

Anne Higonnet

Reviewed work(s): Julia Margaret Cameron's Women by Sylvia Wolf

The Women's Review of Books
Vol. 16, No. 3 (Dec., 1998), pp. 6-7

Published by: Old City Publishing, Inc.

Stable URL: http://www.jstor.org/stable/4023140