...Analyzing Art For this module assignment I chose to do my paper on "Vincent van Gogh, Still Life of Oranges and Lemons with Blue Gloves, 1889". I chose this painting because I am rather familiar with it. In elementary school my teacher had us try to draw a painting by Van Gogh and this is the one I chose (didn't come out too pretty). My grandmother also has a imitation of the painting in her dining room. Today, Vincent van Gogh is widely regarded as one of history's greatest painters and an important contributor to the foundations of modern art. The completion date of this post-impressionism still life, was in the year of 1889. The place of creation was Arles, Bouches-du-Rhône, France. Vincent van Gogh painted this picture soon after his release from the hospital, where he was recovering from the disastrous final days of Paul Gauguin’s stay with him in Arles. In a long letter to his brother Theo posted January 23, 1889, he mentions creating this painting alongside several other issues, including the need to make money through picture sales. He likely had the market in mind in painting this still life. Van Gogh was clearly attracted to the shapes and hues of the citrus fruit arrayed in the wicker basket, and the way their varied orb shapes play against the weave of the dried sticks, the whole set off by the prickly needles of the cypress branches. Van Gogh refers in his letter to an “air of chic” in this picture, prompted perhaps by the inclusion of blue garden gloves. The...
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...A still life is a work of art which depicts inanimate objects such as flowers, plants, plants, food, rocks shells; this also includes man made items such as bottles, glasses, books, jewellery, pipes, vases and so on. Origins within the middle ages and ancient Greek and Roman art, still life paintings gave the artists choices in the arrangements and design within a composition then paintings of a landscape or a portrait. Still life paintings before the 17th century mostly contained religious symbolism relating to the objects painted. Some modern still life breaks the 2 dimensional barriers which employ 3 dimensional mixed objects such as photography, computer graphics and video and sound. Various artists include the Dutch in the 17th Century, Picasso, Andy Warhol, Ricky Swallow and Sam Taylor Wood. The Dutch Golden Age The Dutch golden age of painting is a period Dutch history spanning the 17th century. During and after part of 80 years of war (1568-1648). This was the most prosperous nation in Europe and they led European trade, science and art. Dutch painting of the golden age known as the baroque painting, which often shows its characteristics but lacks the idealisation of love and splender which being typical of baroque work. Neighbouring flanders work for the period often reflects traditions of realism from Netherland-ish panting. Distinctive features for this period are genres of paintings with most artists producing the bulk of their work during the golden age. These...
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...Jacob Gerard Koch was from Holland who lived in Philadelphia. Being a sharp businessman, Koch became wealthy by importing lines from Germany. With his money, he was able to purchase an estate in which seemed to be in a prominent part of Philadelphia. Not only was he a smart business man, he was also a patriot. When the war of 1812 broke out, he donated $5000 (about $89, 285.00 in today’s money) to help build a frigate that would help the American government win the war. The marriage to Jane Griffith Koch was pretty much frowned upon and bringing up some controversy. At the time when the epidemic of the Yellow fever broke out killing many in Philadelphia, Jane was just his laundry maid. She told Koch that she would nurse him back to life if he promised to marry her in return. It was said that Jane was a ‘“Poor, ignorant, ill-tempered, and very homely Irish girl.”’ As you look at both of their portraits’ it seems as both were content with their marriage. Although Koch was an obese man, weighing more than 30lbs, he seemed rather happy and content. Koch and his wife moved to Paris and there in Paris, Jacob Gerard Koch passed away in 1830. His estate was estimated to be worth more than a million dollars at the time of his death. As you look upon the painting, it seems as though the Koch wants you to know that he is a wealthy and prominent man. In his had he holds some kind of work document which appears that he just pulled it from his red leather wallet which...
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...This artwork draws inspiration from the Latin phrase ‘Memento Mori’ as well as Aztec and Mexican cultures, their approach to mortality and manner in which they celebrate and adorn both death and skulls. The Latin phrase ‘Memento Mori’ or ‘remember that you will die’ is name for the concept of reflecting on mortality particularly in terms of the vanity and ephemeral nature of life. Influences for this work include an Aztec turquoise skull and fellow artist John Lekay’s 1993 crystal skull artwork; ‘Spiritus...
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...The birth of American genre painting Koso-ogly Saliya , Osh state University, senior instructor of the chair of Lexicology and Stylistics, the Department of Foreign Languages The creations of American genre painters have become the object of my research. Teaching any language is impossible without teaching culture, which unites various issues. Pictorial art, painting, in particular is one of them. Topic “Painting” at our department is being studied in two courses: in the third and in the fifth. The 3rd year students will get acquainted with the most significant representatives of American Genre Painting . The students will acquire the information about the most significant painters such as: William Sidney Mount, George Caleb Bingham and Eastman Johnson . Lesson fragment 1 Objectives: 1.students acquire information about The birth of American genre painting. 2.to check students comprehension by means of questions. Students read the text “The birth of American genre painting” and discuss the questions. The birth of American genre painting. Being a product...
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...The two works selected from the Art Institute of Chicago were Adolphe-Joseph-Thomas Monticelli’s Still Life with Fruit and Wine Jug (1874) and Paul Gauguin’s Still Life: Wood Tankard and Metal Pitcher (1880). They are both located in the European Painting and Sculpture wing on the second floor of the Institute in Gallery 241. Although both are impressionist oil paintings of still lifes containing various fruits and a vessel on a table, they have key differences in color, mood, lighting, visual weight, and balance. Due to these differences, Monticelli’s piece appears more rich and lively while Gauguin’s piece seems dull and distant. Monticelli’s Still Life with Fruit and Wine Jug is an oil painting created on a 19 x 23 1/2 in. panel. The...
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...Functional Requirements Rqmt. No. Requirement FR-001 A visitor can browse through all paintings for sale at the gallery. FR-002 A visitor can search for paintings by entering an artist's name in a search box. All paintings by that artist will then be displayed. If there are no paintings by that artist, the message "No paintings found" will be displayed. FR-003 A visitor can search for paintings by selecting one of the following genres from a list: Landscape, Still Life, Portrait, Abstract. All paintings in the selected genre will then be displayed. If there are no paintings in that genre, the message "No paintings found" will be displayed. FR-004 By default, any list of paintings when first displayed will be in alphabetical order by the author's name. FR-005 A visitor can elect to sort any list of paintings by one of the following: artist's name; title of painting; date acquired by gallery (oldest first); date acquired by gallery (newest first). FR-006 For each painting, the following will be displayed: a thumbnail image (approximately 100x100 pixels); title; artist; date acquired by the gallery; price; and a "Reserve It" button. FR-007 A visitor can click on the thumbnail for a painting to display a large image (approximately 500x500 pixels). FR-008 A visitor can click the "Reserve It" button beside any painting to place the painting on reserve for seven days. When the visitor clicks the "Reserve It" button, he or she will be required to enter his or her name and driver's...
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...During her time at College, Flack worked in the realm Abstract Expressionism in the New York art scene, but as a female she had to act like “one of the boys” to be taken seriously as an artist. During her time at Art College, she became interested in Realism. In 1965 she painted her first portrait from a photograph, which lead to her isolation from a popular art community because at the time it was acceptable to paint a work that was from photograph, but was unheard of to create a work that looked like a photograph. Flack has dedicated her work almost solely to ancient, female or feminine images. Flacks Vanitas’ paintings are part of still life portraits. Vanitas’ is one of her symbolic still life painting where each element of the painting has a meaning. Her work tells us an important story which draws in the viewers to consider what each symbol means. For her paintings, she used a variety of colors, mainly primary course colors; red, blue and yellow. She drew a variety of objects which were very close to each other. The objects she drew, she had her own perspective towards it. She painted her work on canvases using watercolors, acrylic paints and block paints. The reason she did painting got to do with realism was because, she was very much interested in things that had a important meaning and she thought the best way to express this is through paintings. I think her work is extremely beautiful. I like the way she used acrylic paints to paint her work and the different effects...
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...Norton Simon Museum "Still Life with Lemons, Oranges and a Rose", 1633 My Introduction to Art summer class requires a few visits to local museums. The first museum we visited as a class was Norton Simon Museum, which is located in the city of Pasadena, CA. We visited the Norton Simon Museum on Saturday July 13, 2013. It was a hot summer day; this was a perfect day to visit a museum. Most of the class took the same shuttle bus to the museum. When we arrived at the museum we were allowed to explore / admire the cool art pieces on our own. It was a really beautiful museum and they had a big collection. I think you can’t really have enough with one visit. I plan on making future trips to this museum to explore all the art pieces and learn more about the pieces. The piece that got my attention was “Still Life with Lemons, Oranges and a Rose” by Francisco de Zurbaran. This piece was painted on an oil canvas and measures 24 ½ X 43 1/8 In. This is the only still life Zurbaran signed in his life, at the lower right corner. In the painting, we can see a plate with citrons (not lemons), a basket of oranges and another plate with a cup, next to a rose. The artist used many elements of form in this painting. The elements of form that I noticed were Color, Texture, and Light. The Artist portraits these objects in a realistic way, these can be noticed in the reflection of the citrons on the silver plate, in the details of the basket, in the soft reflection of this basket...
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...FA102: Art From the Renaissance to Modern Times Paper #2—Jan Jansz den Uyl, Breakfast Still Life with Glass and Metalwork Breakfast Still Life with Glass and Metalwork is an oil on panel produced by Jan Jansz den Uyl, an artist of the Dutch Baroque period. The painting is dated around 1637-39 and measures 130.5 x 115.5cm. It depicts a disarray of objects—pewter, goblets, plates and unfinished food—strewn across the tabletop on top of a piece of rumpled white linen. Although it may seem like an ordinary still-life painting, the artist attempts to convey a hidden message to the audience through his careful selection and arrangement of the subject matter. This essay will explore how den Uyl achieves this by presenting a formal visual analysis with emphasis placed on the painting’s composition and historical context. Breakfast Still Life with Glass and Metalwork can be organized into two planes. The background consists of a wall with a niche on the right hand side; it is separated approximately down the middle by light and shadow. In the foreground is a table covered with rumpled white linen on the right side, on top of which is a large pewter flagon, a pair of overturned glass and gold goblets, and a piece of ornate Venetian glassware framed by the niche. A gold plate hangs precariously at the side of the table facing the viewer and would have fallen off if it were not balanced by the weight of another plate stacked upon it. A spoon and a pocket watch are placed nearby. There is...
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...Mashell Chapeyama Topic: Art History Year 2012 Level: Bachelor of Science in Business Administration Key Words: les demoiselles, Bonheur de vivre, Applied African Art Picasso and Cezanne Art evolved over many centuries to come to where it is today. Some artists copied or learned from others. That is what occurred about a century ago. Picasso and Matisse learnt a lot from Cezanne. Therefore there are similarities in the work of Cezanne, Matisse and Picasso. Matisse and Picasso took on cubists forms. This essays looks at how Cezanne influenced the work of Matisse and Picasso. Matisse and Picasso learned a lot from Cezanne. The first thing they learnt from Cezanne was the idea of ignoring geometric formulae in their artistic work. Cezanne was the first one to create art forms that had paintings that could be viewed from different points. He discarded art that could only be viewed from one stand point. Both Picasso and Matisse adopted the same approach. So in Bonheur de vivre Matisse created paintings that could be viewed from different angles or points of view. That was also evident in Les demoiselles. The other thing was that Cezanne used the space around the object as part of the painting. This means that the natural terrain and environment was used as part of a painting. The trees and the landscape were fused into the paintings. People would not clearly separate the two. There was a fusion there. In Bonheur de vivre the landscape was made part of the painting, as...
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...RK Apothecary RK Apothecary is the name of a line of bath and body products that were created in 2008. The line is focused on sumptuous combinations of color, fragrance and packaging that make for perfect gifts. RK Apothecary offers the best in high-end, luxury bath and body products intended as unique gifts for special occasions or as a personal indulgence. Apothecaries, long a fixture of European and early American cities, offer a unique retail experience. RK Apothecary is a spatially efficient and visually engaging retail space. The product is taken off of the shelves and displayed on a series of ‘outre fruit’ tables so the customer can engage with it. The RK Apothecary space before the redesign was small and dense with structural and mechanical elements that could not be altered. The LADG’s (Los Angeles Design Group) design had to respond to the existing interior because the client did not have the luxury of gutting it and beginning fresh. The double-height ceilings required them to develop hanging lighting fixtures to activate the space. Square or rectilinear tables were either too big to allow customers to pass through the store or too small to accommodate the large number groupings of product desired by the client. Given the constraints, The LADG experimented with water filled ice bags – reminiscent of those used by British nurses to sooth the fever of an ailing patient in a 1950′s film. They observed how the bags slumped, folded and wallowed around...
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...On Art Theory As Art Whether it be writers, painters, sculptors, musicians, or photographers, artists all over the world have striven to show people their views of the world, of people, and even of the universe itself. Throughout history the creative urge of man to present to fellow men a different perspective or representation of life-or even the afterlife-has surfaced time and time again in the form of artwork. Sometimes it comes through genius and complexity, full of meaning and symbolism. Others, it is simple and void of any clear meaning at all other than that it is art. Soon, however, there became a point when the work of art was no longer something one could just look at and understand; the principle of the matter had changed. Art leapt from viewable understanding straight into the Modern movement where theory became art, and to understand it, one must know the theory it is based upon. Never was this more apparent than in the artwork of the abstract expressionist. Essentially, artwork is not art because of theory, and art based on theory cannot be creative or truly said to be art. To understand all of this, from the beginning, one must begin with the Word. That is to say, one must start with the understanding of the theory, what became known as the painted Word, behind Modern art between 1945 and 1975. Probably the clearest and easiest to understand explanation of these theories and how they progressed through Modern Art history has been written by Tom Wolfe...
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...History of Women in Science Women have continually played a part in scientific endeavor, even prior to invention of the term ‘scientist’. Nevertheless, in Western culture, science and femininity lacked unity and the masculine painting of science revealed not only that more males did science, but that science itself was seen as an integrally masculine venture. The notion that mathematics and science were unsuitable or ‘hard’ for women, and even ‘at odds’ with real femininity, can be trailed back to the beginning of modern science and the commencement of the Royal Society in the seventeenth century. Then ‘femininity’ became the exact opposite of the new, masculine, experimental science of Newton and his colleagues who needed to break from the passive, reflective analytical style of outdated ‘natural philosophy’, the former word for science. (Schiebinger, 1996). This divide that detached women from the new experimental science, was made a lot wider by the Nature’s tradition being embodied in female form only. The masculine scientists made ‘mother nature’ their goal of research, and branded her as a female muse who could trick them, but if trained would also permit them to ‘enter her secrets’. This entire trap cast femininity as the inactive, topic of investigation and the male as the virile, enthusiastic investigator; a dualism that just increased the difference between science and femininity (Jordanova, 1991). Regardless of this, there existed women scientists— botanists, mathematicians...
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...The current issue and full text archive of this journal is available at www.emeraldinsight.com/0968-5227.htm IMCS 14,3 Formulating information systems risk management strategies through cultural theory Aggeliki Tsohou, Maria Karyda and Spyros Kokolakis Department of Information and Communication Systems Engineering, University of the Aegean, Samos, Greece 198 Evangelos Kiountouzis Department of Informatics, Athens University of Economics and Business, Athens, Greece Abstract Purpose – The purpose of this paper is to examine the potential of cultural theory as a tool for identifying patterns in the stakeholders’ perception of risk and its effect on information system (IS) risk management. Design/methodology/approach – Risk management involves a number of human activities which are based on the way the various stakeholders perceive risk associated with IS assets. Cultural theory claims that risk perception within social groups and structures is predictable according to group and individual worldviews; therefore this paper examines the implications of cultural theory on IS risk management as a means for security experts to manage stakeholders perceptions. Findings – A basic theoretical element of cultural theory is the grid/group typology, where four cultural groups with differentiating worldviews are identified. This paper presents how these worldviews affect the process of IS risk management and suggests key issues to be considered in developing strategies of risk...
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