Baroque era describes the period between 1600 and 1750. It is derived from Portuguese word that whose meaning implies a pearl that is flawed or one that is irregular in shape. The term was used to imply strangeness, abnormality and extravagance, mainly in music. It is only recently the term has been used cover large scope of art (Lambert, 2004, p. 1-3).
Peter Paul Rubens was born in 1577 at Cologne during the times of saints Peter and Paul. He lived l between 1577 and 1640. He is one of the famous artists of Baroque period (Duiker and Spielvogel, 2009, p. 451). He fled to Germany with his family escaping religious persecution. At a very tender age, he went back to Flanders after which he was devoted to religion. He trained under local master artists. By 1598 He had become a master in arts.
Since Flanders was under the influence of Spain by then, the State and the Catholic Church are the two entities that supported artists. Rubens benefited from this sponsorship and was trained for eight years. He studied renaissance art in Italy. He got regency appointment to become a court painter, and this way he improved massively on his art career. He owned a large studio at Antwerp. This studio is known to supply Europe with popular, noble paintings.
A part from being a master in Painting, Rubens also played a diplomatic role in the 17th century European politics. He became a diplomat who was highly regarded by the Spain and England kings. His physical attributes have been explained to be very charming and attractive. He is also explained to have had a tall stature with regular faced rosy cheeks, and sparkling eyes that were restrained (Magister, 2010).
The eye – catching aspects in the artist’s work
His art work is known to have an exuberant Baroque style. It emphasizes movement, emotion, color and sensuality. An example is what is depicted in one of his works: The Horrors of War (Wright, 2007, p. 104). His memory lies in his counter-reformation altar – pieces, portraits, landscapes and history paintings with nobility. One of his famous paintings is “The history is the raising of the cross” a triptych, painted in 1609-1610.
His painting resembles the works of the artist Michelangelo (1475-1564). His art work expresses passion, outrageous technical skill and very inspirational. “The history is the raising of the cross” art piece portrays bravely strong, muscular bodies. It reveals immense power. It builds up dramatic tension with the happenings or rather scenes of the moment. Just like Caravaggio, his works greatly capture the figure of Jesus Christ.
Rubens’ artistic skills have developed an effect on the viewers’ eyes through the painting. From the painting on the left side, draws a high contrast lighting of Christ’s body, and brings out the emotions just as those developed when a person reads a certain Bible verse. Finally, through the presence of the rope and figure, our attention is stil captured by Christ. The artistic talent of Rubens is stil revealed through his works throgh the paintings on each side of his figures.
Conclusion
The essay has effectively addressed the Baroque period works in light of what was done by Peter Paul Rubens. Generally, the works of Rubens are characterized by emotion, movement, color and sensuality. They evoke religious emotions and remind me of the many emotional instances that I have encountered in my life especially with respect to religious undertakings.
References
Duiker, W.J., and Spielvogel, J.J. (2009). World History: Volume 1. Boston: Wadsworth, Cengage Learning.
Lambert, G. (2004). The return of the Baroque in modern culture. London: Continuum International Publishing Group.
Magister, S. (2010). Art Renewal Center: Web Gallery of Art. Web.
Music is described by certain musical legends in different ways. Good music lightens a person’s mood and it enhances the mind. An artist’s is able to connect better with his/her fans through live performance on stage than through the stereo. The rhythm and tempo are some of the factors that make a live performance great.
This essay will focus on the first annual Dallas symphony orchestra teen concert. The essay will attempt to analyze the concert and the general performances. Furthermore the effect of the concert on the audience will also be considered. The concert had maestros like, Jaap van Zweden, Dong Yeon and the Dallas symphony orchestra performing live.
The Morton Meyerson symphony center is the venue of the concert. The space, lights, musical instrument and the mood around the center gives it a new look. The performers also appear to be relaxed and are in high spirit.
Description of the music
In order to describe the musical performance of the night objectively, it is important to take a close look at classical music as a genre of music. Prior to this concert, I have been a pop, hip-pop and reggae fan. These genres of music are usually lively and are mostly enjoyed by the youths. Classical music on the other hand is more gentle and matured. This is a fact I did not know until I attended this concert.
Coming to this concert has expanded my knowledge of classical music. Also, apart from the fact that I enjoyed the rhythm, I also got the privilege to know more classical artists like Dave Kos and Yanni. While in the concert, I noticed for the first time that music could actually connect with an individual regardless of his/her age, nation or race. The melody of classical music is totally different from other genres of music and its tempo is cool, smooth and compassionate.
The power and significance of instrumentation in classical music con not be over emphasized. The Dallas symphony orchestra performed Pyotr Tchaikovsky’s melodies. Tchaikovsky was a Russian who lived between 1840 and 1893. While growing up he had encountered tough and unpleasant times.
This later influenced his music a lot. This fact made Tchaikovsky’s rhythm very emotional. The Meyerson which is the venue of the concert looks impeccable. The lights are dimly lit and the audience is very quiet thus making it very easy to connect with the melody of the music.
Reactions to the music
I am still amazed at myself for the way I reacted during the course of the performance by the Dallas symphony orchestra. Been a fan of Hip hop and pop music, I never imagined myself to react the way I did. Unlike Hip hop and pop music which are energetic, classical music steers the soul. There is a smooth rhythm between the audience, the artist and even the venue of the concert. I came here in high spirits thinking this was going to be another energetic concert where there is usually a lot of youthful exuberance.
But contrary to my thoughts, it is totally different and the way I feel is inexplicable. I must confess that I have never been this moved in a concert. I felt strongly connected to the rhythm of the music and I was moved to the point of tears. I can not exactly tell if I like or dislike classical music as a genre of music.
However, I would say I feel something stronger than mere likeness. But it is my first time and I would rather not be fast with assertions. Classical music is not the usual everyday kind of energetic music I listen to. My emotional reaction to classical music is as a result of its dazzling rhythm. It differs totally from what I usually listen to.
The performance in general is very important when trying to analyze how a musical concert went. The performance of the artists here tonight is very gentle and it is totally unique. There were times when the tempo accelerated a little bit. All the pieces of the entire performance were wonderful. I tried as much as possible to relax and enjoy them all. However, my mood changed a while during the course of the concert and this is because it was my first time in such a concert. ss
Regarding the variety, I would say I found the concert more of less the same. The tempo of the performance accelerated during certain performances but it was basically the same rhythm and flow. As for now, it is my first time in such a concert so I cannot satisfactorily rate the performances. Basically, I can say I enjoyed myself all through the performance and I will be able to rate better when I have attended more of such concerts. (Kamer, Filharmonie. “Annual DSO teen concert” www.dallassymphony.com)
Conclusion
The entire concert was splendid. The performances, the artists, the relaxed audience and the wonderful venue all contributed in no small measure to make the concert a success. It is my first time but I will definitely attend more of such concerts. The composure of the audience also helped me flow with the music. This is definitely one of my best nights out and all thanks to Dong yeon Kim, Jaap Van Zweden and the Dallas Symphony orchestra.
Works Cited
“Dallas symphony orchestra concert.” Annual DSO teen concert. 20 August 2005. Web.
The Gothic style represents a period of sculpture in Spain characterized by sculpture “curved in stone, marble, and alabaster, and often painted,” (Anonymous, 2011). Most of the sculptures from in this style were influenced by the Romanesque style which was widely used at the beginning of the 11th century.
Romanesque sculpture mainly concerned itself with the decoration of moldings, tympanums and capitals. These sculptures were normally formal and portraying no emotions and were mostly dominated by narrative biblical characters representing religious beliefs of the time.
The Romanesque style had also carried with it some of the Byzanite elements which also formed a basis for the Gothic sculptures. For example, “The Byzantine influenced sculptural decoration of the Romanesque churches became an important source of inspiration for the carved figures adorning both the interior and exterior of the Gothic Cathedrals in the Île de France,” (Anonymous, 1996).
The Mosan goldsmiths also contributed to the Gothic style. this is because they were the first ones to make high quality objects from precious metals such as enamel, gold and silver. Their art with the three-dimensional form, and natural-looking features making them look realistic heavily impacted on the France stone sculptors. From then, most of the stone sculptures aped the naturalistic work of the Mosan style.
Most of the subjects adopted include Jesus Christ probably on the cross, The Virgin Mary, but varied depending on the religious convictions of the particular artist. These subjects are derived from the biblical teachings with the figure of Christ being shown to be consecrated. Other statues include the saints and other biblical figures, the composition of which depicts the Descent from the holy cross to having a special importance.
The sculptures made were to portray both religious themes for example Last Judgment, the coronation of Mary the Virgin, as well as semi-pagan themes including the Zodiac Signs, Virtues and the Vices etc. There were also carvings of grotesque figures mostly the gargoyles and marmosets as well as vegetative or organic motifs which could be inside or outside such buildings. As they continued, the subject opened up and become very clear and complicated but still maintained the biblical perspective.
The sculptors of this age were based on the Etruscans techniques from which they developed the vaulting system which was mainly used in the Romanesque style.
The Gothic Style adjusted from the Romanesque heavier style which was formed from solid stone vault, into a lighter, enhanced style that was a combination of the Romanesque and Islamic habit of using the pointed curve and cross-ribbed vault. Most architects started using the groined vault as opposed to the barrel vault which they reinforced with ribs instead, to support the vault’s weight.
The groin vault reinforced with ribs could be made much thinner unlike the cross-ribbed. This in effect resulted into much lighter and heightened exteriors, as opposed to the massive Romanesque vaults, and which enabled opening up of the internal space of large buildings such as churches.
Social, political and religious influence on Gothic Style
The Gothic sculpture reached its peak of lightness despite social conflicts existing in the times. Several contemporary historians have recently discussed a detail of that period. During the twelfth century, the handicrafts found themselves associating with guilds of craft as a pathway to fighting for their freedom from monarchial oppression to governing of towns.
This they achieved by the conclusion of thirteenth century when delegates of the craft guilds became the governors of most free towns, notwithstanding the events resulting from the Battle of Courtray. The Gothic colorless white-grey interior was inspired by the idea of a temple standing on white marble to represent chastity (William, 1889). Most of the contemporary Gothic architecture has been associated with such great names of traditional artists as Van Eyck and Giotto.
With time, political and economic changes saw the beauty of the Gothic sculptures diminish gradually. The society started changing towards the formation of new social classes to adapt to the new production system.
Politically, bureaucracy was setting in with more concern to nationalism as well as formation of a new religion to fit the newly developed theory of life. In other words, it was the age of commercialization. This new age caused the degradation of the gothic art, though in itself it was necessary for the full birth of commerce and commercial politics, (Applied History Research Group, 1998).
Giotto di Bondone
Giotto di Bondone was one of the most popular artists in this age who happened to be a student of Duccio (Johnson, 2011). He was born in Vespignano somewhere close to Florence, which also became his death place. He was very innovative in his paintings. He is the one who painted the murals in the Arena Chapel which represents scenes adopted from the life of Christ one of the most recent murals showing the Last Judgment. His figures are solid with a simplicity lacking in others and which take on a three-dimension form.
His point of view was closer to the picture plane allowing an interaction between the picture and the viewer, thus bringing in a feeling of intimacy. Their size is big enough to bring in an element of reality in the figures. His work has always been celebrated both during and after his lifetime.
In the 50 year span of his career Duke Ellington has composed well over 3,000 pieces of musical composition ranging from the blues, jazz, classical and other forms of contemporary music.
The man was a veritable genius when it came to composition and is famous for elevating jazz music to the heights of popularity that placed on par with other forms of music. None is this more evident that in the composition “Diminuendo and Crescendo in Blue”, where the composition talents of Ellington bring forth a lively and exciting jazz beat that one cannot help but dance or snap your fingers to.
It is actually to my great pleasure that I begin a slight evaluation of the 1958 concert in Concertgebouw, Amsterdam where this song was played in order to give my own personal insights on how the tempo, timbre and beat combine into a truly exquisite piece for the years.
Diminuendo and Crescendo in Blue – Examination
Almost immediately listeners are assailed with a fast tempo to the song that alternates between Vivace and Allegro; the sweet sound of trumpets and saxophones lends the song a smooth timbre with an upbeat progression to the music which follows through a gradual decrescendo into a wonderfully soft sax and strumming combination that was a delight to the ears.
In fact the initial few minutes of the song itself can be divided into a lively Vivace which slowly tapers off into a moderate allegretto which seems to be the impetus needed to introduce the breathtaking solo of Gonzalez.
Words fail to describe the superb playing of Gonzalez during his sax solo, it consisted of Vivace combined with a smooth consonance that when combined with the background orchestra music and the slight clapping by the band gives the solo a striking feel especially when taking into consideration the duration of notes being struck by Gonzalez where you can practically see the veins bulging out of his head due to the sheer difficulty of the solo piece.
In terms of the overall loudness of the song I would have to say that it ranges between mezzoforte and forte yet it doesn’t come off as overly loud or too striking rather the smooth tones of jazz music that practically ooze a comforting melody makes the loudness justifiably appropriate for the piece at hand.
Overall the piece has a chord progression that is both striking and smooth that draws audiences into the song itself, it neither forces a person to listen nor does it necessitate the need to sit down to enjoy it or stand up and dance rather the song is somewhere in the middle where the homophony of the various instruments enables either a calm reflection or an excited action.
For me the music embodies the excitement of the 1950s when jazz just began to popularize itself, through musical notes it describes an age of musical discovery where a person can choose whatever path they want in life.
Conclusion
After listening to the song multiple times I would have to say that the composer and performer’s approach to the song was one of improvisation and a slightly “laissez faire” approach to playing. When watching the YouTube video I saw the players clapping, talking, and overall taking a relaxed rather than strict approach to playing the song.
This particular attitude is reflected in the song itself where it doesn’t force listeners to either dance or just listen but to do what they want. The song for me reflected both the mood of the composer and the improvisation adapted by Gonzalez to create what is truly a brilliant piece of jazz music.
The Neo-classic era and the Romantic era have always had distinct differences in terms of features and characteristics. From political, moral, heroic and artistic themes, the distinction between these eras is always outstanding (Brion, 2003). Neoclassicism always emphasizes on precision, order, intellect and a rational mind as major themes.
The main objective of neoclassicism is to achieve perfection in studying the human mind. The neoclassicism era was followed by the Romantic era that tends to oppose the neoclassic era (Palmer, 2011). Romantic era constantly focused on the forces of nature with an aim of sparking emotions and pleasure. This paper will highlight the differences between Watteau’s painting of the storm from the neoclassical era and Delacroix’s storm painting from the Romantic era.
The two paintings by Watteau and Delacroix depict storms in different ways due to the different styles employed by the artists. Watteau’s painting titled the storm exhibits features of a Neo-classical work whereas Delacroix’s Christ on the Sea of Galilee is of a romantic work (Palmer, 2011).
The characteristics within the two paintings show the difference that exists in the paintings in terms of style. Watteau’s painting has got some outstanding features associated with the Neo-classical era paintings. When the painting is observed closely, its profile is very clear especially people’s profile.
Due to the clarity of the profile, an observer is able to see minute details such as facial expressions even without feeling the actual emotions of the people as depicted by the artist (De Almeida, 2005). The personality of people in the paintings is somehow subdued despite the profound facial expression.
Neo-classicism era paintings are associated with enlightment and precision whereas Romantic era paintings are associated with highlighting the artist’s imagination meant to evoke the observer’s emotions (Cleaver, 1988). It is important to note these general differences before analyzing the paintings by the artists in order to bring out the differences. Watteau is known to prefer using the neoclassic style as opposed to Delacroix’s preferred Romantic style.
The painting titled Christ at the Sea of Galilee by Delacroix appears to bring out the aesthetic effect in the storm meant to spark emotions and pleasure to the audience (Rosenblum, 1970). The Romantic painting by Delacroix highlights nature as major source of truth and pleasure. The two painting represent a storm in opposing contexts in terms of emotions and time. Watteau’s painting is more objective compared to the subjective nature of Delacroix’s painting of the storm.
Watteau’s painting clearly highlights the actual time before the actual storm takes place. Although the painting is supposed to portray a storm and its dramatic effects, it focuses more on time and facial expressions as a way of suppressing emotions (Palmer, 2011).
Neoclassicism sees a rational mind as the ideal state and attempts to minimize emotions as much as possible. The colors used in this painting are dull and less lively but the feelings in the painting are somehow conceivable. The neo-classic painting by Watteau avoids a lot of drama and focuses more on employing rationality.
Comparing Watteau’s painting with Delacroix’s Christ on the Sea of Galilee, there is great difference in terms of style (Cleaver, 1988). Since Delacroix’s painting if of the Romantic era, the use of a dramatic style is clearly outstanding to the observer. Delacroix’s storm painting has got lively and vivid colors making the painting to appear inconceivable .
The vivid colors used are essential in bringing out the intense feelings and pleasure associated with Romantic era paintings. The difference in style of these two paintings gives the observer an opportunity to explore the artistic themes of the artists. Both painting are a wonderful spectacle to the observer and demonstrate how style in important in bringing out some features in a painting depending on the message the artist is trying to pass across (Cleaver, 1988).
The painting by Delacroix depicts the style of the Romantic era with full of emotions. The profile of this painting is not clear and makes it difficult to identify some features in the painting. Despite the lack of clarity in the painting’s profile, the storm depicted in this painting is very vicious with some emotional undertones (Cleaver, 1988). Despite the painting being blurred the storm seems so intense with the ability to spark some emotions in the observer. The images appear blurred like the ones in a dream.
In conclusion, there exist a number of differences between Romantic era and Neo-classical era paintings in terms of emotional representation. The Paintings by Watteau and Delacroix of a storm depict how a difference in style can bring out different features and emotions in a painting.
The Neo-classical era paintings are associated with clear image profiles with less emotional undertones. The Romantic era paintings as depicted in Delacroix’s painting are associated with blurred images with a lot of emotional undertones. The same painting can appear completely different because of the features introduced by a difference in style
References
Brion, M. (2003). Romantic art. New York, NY: Textbook Publishers.
Cleaver, D. (1988). Art: An introduction. New York, NY: Harcourt Braca Jovanovich.
De Almeida, H. (2005). Indian renaissance: British romantic art and the prospect of India. New York, NY: Ashgate Publishing.
Palmer, R. (2011). Historical dictionary of romantic art and architecture. New York, NY: Scarecrow Press.
Rosenblum, R. (1970). The transformation in late eighteenth century art. New York, NY: Princeton University Press.
Art refers to a means of purposefully putting things in a particular manner so as to influence the mind, senses as well as the emotions. It constitutes of various creations, human activities and several methods of expression of human ideas through paintings, music, sculpture, literature, filming and photography (Creative Intelligence 4).
Beauty on the other hand refers to the characteristics bestowed in an individual that leads to a perceived understanding of satisfaction and pleasure. It emanates from aesthetic. Ideal beauty thus refers to that which attracts admiration in a given culture leading to perfection. Thus art has been broadly explored in aesthetic so as to bring out its correlation to generations and mankind. This essay therefore, uses the concepts from semiotics to discuss art and aesthetics in relation to California Disney Hall as a piece of art in public.
Semiotic concepts include signs and making meaning out of the signs identified in a particular piece of art whether performing art, sculptural or modeling art. They mainly encampass creation of meaning out of a given sign accorded to artwork. The interpretation of a given piece of art work is based on the denoted meaning identified such as the identification of visible signs as well as the actual cultural relationship that comes along with such identifications.
Therefore, the main aim of semiotic artist is to derive methods of navigation coupled with interpretation of connoted meaning (Bann 128). This seeks to unfold the coded meaning and meaning unfolded in a given object of aesthetic value by determining its relationship to collective consciousness.
Concepts of semiotics have been identified in the history of art for instance, in the works of Panofsky and Riegl (Creative Intelligence 5) including the very important texts by Meyer bringing out visual semiotics. When these concepts are put together and modeled in to what is appealing to the senses of the public, it results in to what is called aesthetics. This is the creation of beauty. Art work that has been well organized in a given media so as to be staged out or performed in a public arena is referred to as public art.
Public art is important to public art specialists, bodies that commission art performances, curators as well as the entire art world with much emphasis being given to collaborations, the specificity of the site of performance and the involvement of the community. At times art is used to refer to any given piece of art that is displayed in a public arena or any public buildings that are easily accessible to the community (Maasik 50).
The California Disney hall is the best example of art in public. The hall is among the four concert halls of the LAMC (Los Angeles Music Centre). It has a seating capacity of two thousand two hundred and sixty five persons which is one of the characteristics of public art which puts focus on community involvement hence accommodating more people during performances (George). It serves various functions alongside being the centre for LAMC (Los Angeles Master Chorale and LAP (Los Angeles Philharmonic) performances.
The hall was built in honor of Los Angeles citizens and to Lilian Disney’s husband dedication to art. The acoustics and the architecture of this concert hall supersede that of Dorothy Chandler Pavilion making the most important piece of art. As opposed to many of the halls used for concert performances (Ronald and Melissa 55), California Disney hall’s entrance is ever open during daytime hence giving room for access by the public to its 7-level subterranean parking space, café, hotel box office as well as the gift shop.
The entrance of the hall constitutes of columns of enormous tree trunks made from Douglas fir with straight grains. Apart from providing support to the Hall structurally and visually the columns assist in lighting as well delivering air conditioning. Douglas fir is well appreciated for its aesthetic value, thus most of the surfaces in the hall have inco-operated it, in addition to the musical instruments made from timber.
This has enhanced the beauty and the aesthetic value of the hall that attract the public. Initially Frank Gehry had purposed to have the whole building finished with stone. However, he changed this to have the hall dressed with stainless steel. Frank settled on a stainless steel finish since he believed that this kind of finish worked well with the reflecting and changing the bright sunlight from southern part of California.
As a result of the halls numerous contours and exacting specifications in its design, structural beams made of steel had to be fixed using computer aided three-dimensional interactive application (CATIA).The steel beams were fixed into place only after having intersected the xyz coordinates as they appeared in the plan.
The public park of the hall sits on a one acre piece of land, thirty four feet over the hope street. It is strategically positioned thus making it accessible to all people without any restrictions through the hours of operation.
The park provides a good view point to most of the landmarks in Los Angeles for example the LACL (Los Angeles Central Library) which is on the southern part of Los Angeles, SGM (San Gabriel Mountains) and DS (Dodger Stadium) to the North as well as Hollywood sign which lies to the West. All these are visible particularly on a cloudless day.
The magnificent sight gives a sense of beauty to the public and every person looking at such a hall would appreciate the kind of time devoted to making the building beautiful and appealing to the viewers. The park also consists of full-grown flowering plants with a distinct ability to flourish in designed plant vases.
Many of the plants in the hall were taken from residential homes and lifted up by the help of three hundred and fifty ton crane. The flowers were cautiously positioned facing the initial direction before being uprooted to their new location (David Hume 58). During the entire period of Philharmonics the flowers keeps flowering consecutively offering the beauty of alternating shades of colors.
The hall also constitutes of LDMF (Lilian Disney Memorial Fountain). This was Franks design as he designed this in honor of Lilian Disney. This was in recognition of Lilian Disney’s affection for Roses and Delft porcelain. In creating this fountain, reinforced bars of iron were curved to create structures that resemble petals of flowers.
The mesh made of stainless steel was fixed and then packed with water proof concrete. Furthermore, several tiles and royal vases made of Delft porcelain were broken into pieces which were skillfully mounted by a team of eight people skilled in the art of ceramics. This led to the beautiful fountain present at the California Disney Hall.
The children’s Amphitheatre which is home to educational programs as well as programs owned by the community which are produced by MCED (Music Centre Education Division) as well as the LAP (Creative Intelligence 2). The seating area consists of concentric arcs made in small parts bearing in mind the children seating in this section.
This space provides relaxing place for visitors who would love to relax as well as have lunch or read anything as long as the children are not using it. Within the hall is the REDCAT (Roy and Edna Disney/CalArts Theater) which is the meeting point for audiences and performing artists, home to performing art, experimental theatre and music. Furthermore, there is a three thousand square foot display space including a café for multiple functions.
Art in public arena is in most cases developed to interact with the public by allowing the individuals to participate by their sight, feelings as well as their entire senses. For instance, in the Disney hall, the public can participate in such kind of art by sitting on the seats that are curved in a concentric manner thus allowing them to have a feeling of that particular art. The hall has a resonating interval of two minutes hence during the performance the public can listen to the piece of art being presented and appreciate it (George).
By looking at the tree columns and the floral plants one can feel the beauty of the hall as all these features are magnificent. The entire art work portrayed on the walls as well as the surfaces attracts the public thus making the people to feel the surfaces hence participating in the work through hands-on experience.
The Disney hall displays its art in public place by virtue of its sculptural work having to do with the culture of the people of Los Angeles. For example the broken Delft Vases used to decorate the hall are as a result of the affection that Lilian had in Porcelain.
Therefore the culture of using porcelain had to be brought out on this particular hall so as to in co-operate a particular artist culture in this piece of art. This gives a feeling of community involvement and ownership which one of the semiotics in art in public places which brings a sense beauty to a whole piece of artwork.
The Disney hall stand on a very large piece of land giving room for more people to be accommodated hence upholding the norms of art in public places. The kind of architecture employed on the building allows the public to enjoy the beauty of the exterior of the building without necessarily entering the building. It is important to note that anything that does not amuse the public is not art.
Never the less with Disney Concert hall, most of the people enjoy looking at the large columns supporting the building with lots of amusement. Memorials as well as monuments are some of the ancient forms of art in public despite the fact that architectural sculpture is a bit pronounced in bringing out a true picture of art in public. A case in point is the huge columns and the rose flowers in the hall. The large space occupied by the park is suitable for public viewing and this is what attracts the public viewing of the Hall.
Semiotic aesthetics demand that artwork is an indication of a sign whose aesthetic value is founded on a given mode of reference. This is true with the California Disney wall as much of its artwork is based on particular meanings. The porcelain used in decorating the fountain in the whole results from Lilian’s affection to artwork made from porcelain. In addition, to this, her affection for roses led to reinforced iron bars being made to resemble rose petals.
The fact that Walt Disney loved art led to his wife, Lilian designing the California Disney Hall in honor of her beloved husband. Last but not least the love for the culture of the public led to this hall being made such that it attracted and held more than two thousand people hence giving room for most people to have a glimpse of any piece of art being performed. Most of the performing artists take deliberate pleasure in staging their various works due to the acoustics of the hall.
Using the concepts of semiotics in designing the Disney hall is what makes it a piece of art in public. Several features put together to bring out the aesthetic value of the building remains as they are, they carry the meaning of what they are and not any other hidden meaning. For instance, the flowering trees that keep giving different shades of flower alternatively are actually flowers and they do not carry any other meaning.
Furthermore, the hotels, café and the shop at the hall just what they are and have no hidden meaning. With such kind of art being displayed with symbols and signs carrying their own meaning and not any other hidden meaning brings into the lime light the beauty of art in public on this hall.
It is also important to note that one of the important things about semiotic concepts is that meaning and signs are never limited. Therefore, to enhance the aesthetic value of any piece of artwork, this concept emphasis that a single sign can take various available meanings. It is therefore up to the audience to extract the exact meaning of a given piece of art without necessarily deviating from the exact meaning.
In conclusion, concepts of semiotics are based on the fact that objects are best appreciated from the perspective of the audience. This implies that the audience can view an object at any given perspective as long as he finds beauty any that given piece.
With various meanings contained in various signs which are employed by the artist, the audience can draw that which is pleasurable to him and accord that given sign. In addition, the meaning given to any piece of art in public can only be expounded once the social or original context of that work has been removed.
Never the less, semiotic concepts insists that irrespective of the meaning intended by original author of art work the meaning taken by the audience supersede the authors. Just like the California Disney hall, different groups of audience have expressed their different views concerning its aesthetic value. In view of all this whether the hall is appealing to the public or not is upon the audience to assert this with respect to how it views this building. However, till to date it remains to be the best art in public space.
Works Cited
Bann, Sawl. “Meaning/Interpretation.” Shift, Ronald Nelson and Richard. Critical Terms for Art History. Chicago, 2003. 128.
Creative Intelligence. “Architectural and Garden Highlights: Walt Disney Concert Hall.” Music Centre ,Performing Arts Centre of Los Angeles County. California: Music Centre, 2009.
David Hume . The letters of David Hume. Ed. John Young Thomson Greig. Vol. 2. Garland Publisher, 1983.
George, Lynell. The Los Angeles Times. 11 May 2008. Web.
Maasik, Sonia. Signs of Life in the U.S.A. Popular Spaces:Interpreting the Built Environment. Chicago: Oxford, 2006.
Ronald Lee Flemming and Melissa Tapper Goldman. Public Art for the Public (Art in Public Places Program) (Art in Architecture Program). The National Affairs, Inc, 2005.
Crisis and conflict characterize the film “Do The Right Thing”. However, explicit racial divisions and tones that the characters who belong to different races in the film bring out the motive in this crisis.
Spike lee intends to bring out the notion that human beings are different and unique in their own ways and there is little human beings can do to hide from that fact. It brings out the notion that, differences between people are the source of all prejudice, stereotyping, and intolerance. Amid all the chaos, Spike Lee seeks to show that there are some voices of reason through the character of Da Mayor.
That, human beings have a choice to live positively and all the ills that the community in the film embodies can easily be avoided by only doing the right thing. The community in the film has intertwined interests that apparently make it difficult to do the right thing, be it for personal or communal benefit. From the onset, the film presents a multiracial community brought together by various interests.
Community
All the people who live in the block have developed some interdependence while some characters are caught up in situations that demand that they commit their loyalties to different parties. People in this community have kept alive racial awareness and the interdependence that exists is only for convenience and survival.
John Turturro and Buggin Out who have not cared to hide their views about racial awareness and won’t waste an opportunity to hit out at people of different races proof this. The presence of the Radio Raheem the Radio personality, Smiley the retard and the “cornermen” especially the radio disk jockey who comment on almost everything give rise to a complicated but thriving community. There is also white owned business that serves a dominantly black neighborhood.
Mookie the deliveryman has a Puerto Rican girlfriend with whom they have a baby. He is aware of the sentiments that black people hold about whites but he needs a job hence he has to work for the whites to make a living. Comments like those of black people like Mother, Sister and Buggin out clearly show the reservations that blacks hold against whites despite acknowledging the importance of people like Aiello, albeit grudgingly.
Black struggles and racism
The community is a reflection of the black population in the US. It brings to thefore the ills that afflict such a community. Police brutality as shown by the shooting dead of Radio Raheem’s wife which fuels the tenacity of such communities to use force as the only means of protection.
The police show little remorse as they leave his body and speed off. The touchy issue of racism and advocacy for equal rights is dominantly present throughout the film. Racism is deeply rooted in the community in the film perhaps a reflection of the American society at the time.
Through Buggin Out, Aiello’s prejudiced mentality comes out. After Buggin Out’s query as to why there are no black faces on the restaurant owner’s wall of fame, Aiello retorts that he only recognizes the achievements of his fellow Italians and by extension white people. Given that he represents whites in the film, the subtle message here is that white people think lowly of blacks.
King and Malcolm’s use
Smiley sells postcards bearing the photos of Luther King and Malcolm X both of whom are black. This is comparable to recognizing Italians only faces on Aiello’s case. The resentment present in the black community and the need to have someone who represents liberation breeds adoration of the two black leaders from the black community.
Malcolm X and Martin Luther Kind are the emblems of black struggle for equality in the US. Black representation comes out through the two public figures although their approaches to black representation and liberation struggles were parallel.
Argument
The use of the two black figures brings out an argument on what actually is right. Martin Luther King is known to have advocated for peaceful means to solving crises and tensions in the community especially racism. On the other hand, Malcolm X advocated for the use of force where necessary to get what one believes is rightfully his/hers. The title of the film emphasizes the importance of doing what community generally accepts as right.
This presents an argument that what is “right” is comparative. For instance, peace and equality it’s possible to achieve peace through both force and diplomatic means. It is an argument that life in this community brings out clearly. After Radio Raheem is shot, people are upset and apparently put the blame on Aiello. Objectively speaking, Aiello has little to do with Raheem’s death. The police should take most of the blame for his death. People could not listen to Da Mayor when he tries to appeal for reason.
However, the root cause of the problem is Raheem and Aiello’s approach and their provocative ways that are nowhere near diplomatic. They do not at all embody any of Martin Luther King’s principles. No one knows for sure if their violent confrontations could have produced respect and subsequent peaceful coexistence between the two.
The tragic end to Raheem’s live and Aiello’s business is quite a pointer to what violence advocated by Malcolm X is but no one knows for sure if there could have been a positive out come. Moreover, none can either deny. After all, what other form of self-defense is available to depressed people?
The field of art has been in existence since the ancient times. It provides a mechanism through which the artists express their feelings and emotions. Art encompasses a wide range of activities through which these individuals can express emotions or feelings.
This includes music, literature, paintings, and sculpture among many others. The products developed here are valued for their beauty or the information that it portrays to the viewers. The field has had certain developments over years due to the changing creative ability of the different individuals.
The modes through which individuals express their feelings have changed over the periods in different parts of the world. Some modes of expression that have had significant developments are music, painting arts, and recently, the art of movie making. Certain artistic competitions bring together different artists of a given genre with different abilities thereby creating competition. The viewers of the arts products have also developed more interest on the information depicted by a given art product rather than its aesthetic value.
These changes in the individual’s views of arts and artistic works explain the different generations of arts that have been witnessed in the recent past. Since there is a relationship between arts and the culture of a given group of people, the developments that have been registered in an area may be different from those registered in another area. One region whose art has been of interest is Germany.
Some of the generations that have been observed in the German art include Neo-Expressionism, Modern Art, Post-modern art, and inverted art. The developments that were seen in the German art can be attributed to different individual. One of the artists of the twentieth century who had significant contributions is Georg Baselitz. Others like Hans Thoma dominated the field in the nineteenth century[1].
It should be noted that paintings (or any other artworks) should portray some meaning. In doing so, they should also express some sense of morals and be in line with the legal provisions in a given region. This paper focuses on the contributions of Baselitz to the German arts. Some of his works that had significant impacts are highlighted here.
Germany also excelled in other arts apart from painting among photography[2]. The traditional arts involved manual creation of images. With the modern technology, some of these tasks could be performed by other devices. This includes computer arts, videos, and television programs. However, such applications have led to conflicting themes in the postmodern arts as the products become personal and self-critical[3].
Early life of Georg Baselitz
George Baselitz was born on January 3, 1938 in Deutschbaselitz, Germany[4]. His original name was Hans-Georg Kern, the name Baselitz would be adopted later in 1961 when he was enrolled for a Masters course at Hochschule der Kunste. His life has revolved around the field of arts, starting as a painter and developing further skills to become a trainer. He has had significant contributions in changing the course the German throughout the second half of the twentieth century to this date.
Baselitz had developed interest in artwork from his youth. He first encountered works of art in the school library (he was staying with his father and other family members in the school compound). Of more interest to him was the Expressionist impression that was depicted by the German art. Folk arts, children arts, or art of the insane[5] were the fundamental themes in much of the German arts, and these he found interesting. He began painting human portraits and still-life drawings at the early age of 14-15[6].
In 1956, he enrolled for arts studies at the Academy of Fine and Applied Art, East Berlin. This marked the beginning of his adventures in the field of arts. The instructors at the institution claimed that most of his works had negative impressions and did not depict social and political maturity. Thus, he was later expelled from the academy and left for West Berlin where he continues with his art studies.
Later on, he enrolled at the Academy of Fine Arts, West Berlin, where pursued his postgraduate studies. During this period (in 1960), he adopted the name Baselitz, a name that he derived from his hometown[7]. His career as an artist had significant developments throughout this decade. He was in the class of Professor Hann Trier and learned different theories by arts scholars. Much of his work had emotional impressions that were appealing to the viewers in some way.
By the mid-1960s, Baselitz had begun to focus on political issues. His paintings were seen to touch on transformational or revolutionary movements in the society. Towards the end of the decade, he embarked on a different approach to artwork, the inverted art, a unique generation of artwork that would be fully attributed to him.
One of his works that invoked criticism was a naked woman that had been painted upside down. Baselitz and many others in the field of arts have been in fore front to fight the negative and false images that can be derived from artistic works. He has also extended his artworks beyond painting, by involving in wood sculpture among other arts.
The Orange Eater
The major developments in Baselitz’s artwork began in 1958 when he moved from East Berlin to West Berlin to continue with his study. It was at this time that he developed his first original work. His first original work was the imaginary portraits named “Uncle Bernhard.”[8]
In the same year, Baselitz began to work on another series “Rayski-Head,” and attended different exhibitions of Modern art New York. From the mid-1960s through the 1970s, Baselitz interacted with different people, collaborated with some of the artists, presented his works in different shows, and developed different series. Some of his works were condemned confiscated by the public officers for indecency[9].
The themes of his paintings varied from time to time and towards the end of 1970s, some of his works were abstract with fragmented pictures that did not provide initial impression. This explained the position that he took together with others regarding Neo-Expressionism (expressive paintings with recognizable subject matter). Some of the early works of Baselitz like the still-life drawings, landscape drawings or human portraits were visual rendering.
The exact image could be figured out by the viewers and the intended messages conveyed. Some of the paintings also applied allegory[10]. Images of ordinary objects were used as symbol to portray a different meaning in the social setup. However, other paintings were somehow abstract and had meanings that could not be figured out well.
The “Orange Eater” was developed in the early 1980s alongside the other series “Drinker”/ “Trinker.” Orange Eater was developed in the Neo-Expressionism movement. The series had a shift from the themes of arts that had dominated the 1970s. It had been noted that most paintings of the 1970s were mainly conceptual. The conceptualists believed that more visual sensation of paintings meant low cognitive value.[11] At this time, there was a constant cry that artists should develop paintings whose theme can be easily understood by the viewers.
As such, Baselitz and other German artists of the 1980s began to develop paintings that portrayed familiar objects. The artists expressed their emotions by using bright coloration on the objects drawn. With the re-introduction of this approach in the field of art, there was a significant change in the face of images, which could then be figured out by the viewers. However; some abstraction could still be seen in these Neo-Expressionist images.
The Orange Eater and the other series that were produced in the 1980s had both positive and negative impacts on his career. The series of the 1980s saw the artist being invited for various shows outside the European continent. He received constant invitations to present in various arts galleries in the United States.
Many artists developed interest in his works and many more sought to acquire the unique skills that were evident in him. Different training institutions sought for his aid in developing the appropriate skills required of an artist. This would determine his profession that he practices to date.
On the other hand, the development of Orange Eater in the Neo-Expressionism movement had certain negative impact that was general to the whole movement. Most of the paintings in these series portrayed images of naked human beings. This was seen by many critics as lack of morals by the artists.
The Orange Eater was viewed differently in different parts of the world in relation to arts generation to which it belonged. This was most likely caused by the different development pace that was observed in the field of arts in different parts of the world. Most of the artists and the scholars in Europe considered the works of this series as post-modern art. On the other hand, the series was regarded as neo-expressionist by the artists and scholars in the United States.
The Orange eater and the different theories in art
It has been stated that different theories exist in the field of arts and some are still controversial to date. These theories include the modern theory, the neo-expressionism theory, the inverted art, and the postmodern theory. These theories had remarkable differences. They were also considered differently in different parts of the world.
The modern art is the theory that can be considered as initial development from the traditional approach that was used in art. The theory has different chronology in different parts, having developed as early as the nineteenth century in some parts of the world. The theory adopted a narrative format for all the works of art. Art was considered as tool to describe the feelings of an individual. The theory also held on decency in the images that were to be used to give the expressions. The visual rendering of the images was key feature in this theory.
The neo-expressionism began some time in the late 1970s following the abstraction of the paint images that were common at that time[12]. The painters ‘reasserted the creative possibilities of emotionalism, of narrative, and of historical content and of art historical references.’[13]
The images before this period were mainly abstract and their meanings could be explained. The theory advocated for clear images to be produced by the artists. It rekindled the need to paint recognizable images like those of human beings so that the viewers could gauge the artist’s intent.
It was widely spreads by the media promotion and marketing by the dealers in galleries.[14] However, the use of naked human beings in some paintings discredited this art theory. The theory was also seen to discriminate against females as most of the exhibitions carried during its period mainly male painters. In fact, there are certain exhibitions that involved no female painters at al. the theory prevailed in the field of arts in the 1970s and the 1980s.
More criticisms led to adoption of other theories, some of which had been in existence before. The inverted art theory is purely attributed to Georg Baselitz following an image that he painted of a woman in an upside-down position.[15] However, the theory is of little use in the field of arts.
The theory of post-modernism came as a development of the modern art.[16] Just as the theory of the modern art, this theory was adopted at different times in different parts of the world. It was evident as early as 1940s in the United States[17] and in the late 1960s in the European countries. In the US, this period designated the completion of another cycle of modern art[18].
The theory contrasted the narrative path and decency of the modern art. The theory also differed from the neo-expressionism in that it had no gender issues. The Orange Eater series does not take a narrative path. It is characterized by lack of decency. Thus, the series suffice to have followed a post-modern theory of art.
Conclusions
The field of arts has an endless loop of transformation due to the new ideas that emerge among the different artists. Different theoretical approaches following the different abilities pf the artists and the divergent values attached to paintings and other works of arts.
The contributions of Georg Baselitz to the field of arts cannot be underestimated. He has been depicted to have unique skills and artistic abilities that have generated different approaches to arts. His current career as a trainer in the field of arts designates the climax of his contributions to this field.
Bibliography
Baselitz, Georg. Nostalgia in Istanbul-Biography. Web.
Baselitz, George. Biography, Encyclopædia Britannica, Inc. 1994-2010. Web.
Fichner-Rathus, Louis. Foundations of Art and Design. New Jersey: Cengage Brain, 2007.
Honour, Hugh and Fleming, John. A world history of art. London: Laurence King Publishing, 2005.
Hopkins, David. After Modern Art; 1945-2000. Oxford: Oxford University Press, 2000.
Kort, Pamela. Georg Baselitz talks to Pamela Kort – ’80s Then – Interview. 2003. Web.
Lyotard, Jean-Francois. The postmodern explained: correspondence, 1982-1985. New York: Amazon, 1993.
McLachlan, Gerald. The rough guide to Germany. New York: Amazon, 2004.
Mooney, Kempton. The evolution of conceptual art in America, (FKM Books).
Selz, Peter. German expressionist painting. California: University of California, 1974.
Smith, Bernard. The Femalesque: a guide to modern art and its history. Australia: Palgrave Macmillan Australia, 2007.
Wilder, Joseph. Art history for dummies. Chicago: dummies, 2007.
Wilson, Brent. Art visual culture, and child /adult collaborative images: recognizing the other than. Art journal. Penn Sylvia: the Penn Sylvia State University. 2007.
Footnotes
Gordon McLachlan, The rough guide to Germany (New York: Amazon, 2004), 336.
Andrea Schulte-Peevers, Lonely Planet Germany (Germany: Lonely Planet, 2010), 75.
Jesse Bryant Wilder, Art history for dummies (Chicago: dummies, 2007), 372.
Georg Baselitz, Nostalgia in Istanbul, n.d, para.1
George Baselitz Biography, Encyclopædia Britannica, Inc. 1994-2010.
Baselitz, n.d, para.2.
Baselitz, n.d, para.8.
Baselitz, n.d, para.5.
Pamela Kort, Georg Baselitz Talks to Pamela Kort- ‘80s Then- Interview (2003): para.5
Peter Selz, German expressionist painting (California: University of California, 1974), 153.
Kempton Mooney, The evolution of conceptual art in America (FKM Books), 3.
Hugh Honour and John Fleming, A world history of art (London: Laurence King Publishing, 2005), 877.
Lois Fichner-Rathus, Foundations of Art and Design (New Jersey: Cengage Brain, 2007), 304.
Neo-Expressionism, n.d, para.1.
Brent Wilson. “Art visual culture, and child /adult collaborative images: recognizing the Other than” Art journal (2007).
Jean-Francois Lyotard, The postmodern explained: correspondence, 1982-1985 (New York: Amazon, 1993), 13.
David Hopkins, After Modern Art; 1945-2000. (Oxford: Oxford University Press, 2000); 12.
Bernard Smith, The Femalesque: a guide to modern art and its history (Australia: Palgrave Macmillan Australia, 2007), 105.
Albert Bierstadt, The Arch of Octavius (Roman Fish Market), 1858
The material of this artwork is oil on canvas. The artist tries to depict the peculiarities of Rome decline and inability to take everything under control. The combination of lines (horizontal, vertical, and diagonal) conveys the required feeling of movement and defines the two-dimensional shape and form of the image that were inherent to the art of the 19th century.
Texture of such shape gives an amazing visual sense of how the place looks like in real life with its ugly bricks, constant mess, and roughness. In general, the composition works through a variety of objects introduced by the painter.
Teresa Bernstein, In the Elevated, 1916.
Though the artist used oil on canvas as the main material for the work, the techniques preferred made this work different to the one of Bierstadt. The diagonal lines communicate the movement, and geometric shapes and forms prove that people are limited in their actions at the moment and have to follow the requirements set by the surroundings.
An appropriate combination of negative and positive space can make the viewer impartial to the image, still, the inability to identify the texture at the very beginning involves people into the analysis of the work. The chosen rhythm shows how it is easy to catch a moment and enjoy the beauty of life in the most unexpected places.
Edmund Charles Tarbell, Snow Scene, Plymouth, Massachusetts, 1905.
Oil on canvas is the material of the work. The artist introduces the role of winter in human life. Stability, calm, and even some kind of isolation depicted by the presence of negative white shape are the main subjects of the drawing. Horizontal lines promote the sense of space as well as the feeling of piece. The idea of unity makes the composition work and demonstrates the eternity of nature.
Willard Leroy Metcalf, Winter’s Festival, 1913.
By means of oil on canvas, Metcalf perfectly introduces winter as an integral part of human life. Nature is the main subject of the picture, and people are powerlessness to change the surroundings. Vertical lines unite earth and sky and communicate the idea of spirituality with the help of which people can reach piece, understanding, and perfection.
The chosen texture can make people feel uneasy as they cannot gain the necessary control over nature, still, the emphasis on the nature’s role shows that there is no need to strive for this kind of control in some situations.
John Henry Twachtman, Mother and Child, 1893.
Oil on canvas is the material chosen for this artwork. The artist introduces a caring mother with a child, who is too young to accept the reality as it is, this is why some kind of support from mother’s side is crucial at the moment.
Vertical lines aim at promoting spirituality to the image and defining two-dimensional shape and form by means of which people can easily identify the subjects. The chosen calm texture develops trust and comfort that come from mother’s embraces, and the properly chosen balance makes the whole composition works.
John Singer Sargent, Trout Stream in the Tyrol, 1914.
The chosen material oil on canvas helps to introduce a moment at the river when the trout stream is mentioned by a person. The idea to use diagonal lines is evident as the artist has to underline the idea of constant movement and the necessity to hurry up in order to enjoy the beauty. Three-dimensional space in the chosen two-dimensional artwork depicts the illusion that involves the viewer into the image. Cold texture in combination with natural colors is the required unity that makes the entire painting work.
Frederick Childe Hassam, Seaweed and Surf, Appledore, at Sunset, 1912.
Oil on canvas is used by the artist in this work. The moment at the seashore with the waves smashing the stones captivates many people. Maybe, it is the horizontal lines, which suggest the required feeling of rest and piece, or it is the three-dimension space of the work with two-dimensional shape with the help of which the author uses the area, or, maybe, it is unstable surface quality that is perfectly described by the chosen texture. Anyway, the chosen balance is what can make the composition work.
Maurice Brazil Prendergast, The Holiday, 1907-1909.
The material is oil on canvas. The author introduces a number of people, who gather together to celebrate the holiday and spend the day in the best possible way. Though the chosen horizontal lines should promote the idea of rest and piece, the artist adds several vertical lines, and such combination proves that image is moving, still, all movements are peaceful and reliable.
The combination of different textures is also the sign that several ideas are united to introduce the whole life as it is. It is complicated, still, it is clear; it is overcrowded, still, it is possible to find the necessary piece; it is unpredictable, but it is charming.
Chiura Obata, Mother Earth, 1912.
Ink and colors on silk is the material that is used by the author to introduce the image of nature and maternity. Evident vertical lines express spirituality as the main subject of the work, and soft texture deprive the viewer of different doubts and misunderstandings. It is a wonderful chance to use a two-dimensional shape and form to interpret the idea of natural eternity and human participation in it. A unity of people and nature is the main engine that makes the life being developed and the whole drawing work.
Sergeant Kendali, Cypripedia, 1927.
Oil on canvas is the material used in the artwork. The sense of this image is to underline the unity of people with nature and the role of women in human life. Vertical lines serve as the evident spiritual aspect of the image, and the two-dimensional shape of a woman in the center in comparison to small flowers and font tress is the sign of her undisputed role as a mother and her fertile image. The emphasis of a woman is the key point of the work that impresses people.
James Abbott McNeil Whistler, The Gold Scab: Eruption in Frilthy Lucre (The Creditor), 1879.
The chosen oil on canvas material is used to create this impressive portrait with a number of caricature features. The main peculiarity is inability to identify clearly the lines. The combination of diagonal and horizontal lines proves author’s uncertainty to define the sense of the image. The texture also remains unclear.
The only definite technique is the three-dimensional space of a two-dimensional shaped work. Such choices clarify artist’s intentions which are the desire to discover a monster inside of people around. Emphasis on the skin of the man and his desire to play the piano unites something unreal and that is what makes the composition works.
Frederic Edwin Church, Rainy Season in the Tropics, 1866.
Oil on canvas is a perfect material to introduce nature by human eyes. Evident vertical lines clarify the sense of the work that is to encourage people and promote spirituality as the main drug against routine mess and duties.
There are so many captivating things around, and people are not able to notice them, this is why the artist uses soft texture and three-dimensional shape and form to involve people into the idea of the picture. The unity of nature with rainbow is a sign of hope and victory of human mind and ability define the truth in ordinary subjects.
Albert Bierstadt, California Spring, 1875.
Oil on canvas is probably the best material to illustrate nature and its impact on human life. Bierstadt uses captivating diagonal and vertical lines to introduce the idea of movement in nature and its spiritual role for people. The texture is soft that allows three-dimensional space creates the required illusion with an ability to depict the objects in real life.
The artist pays much attention to the sky, the heavens people strive to achieve one day. Still, trees, grass, and animals perform the role of positive space in the work, this is why too obvious emphasis on negative space in the form of a white sky cause feeling of isolation.
Martin Johnson Heade, Singing Beach, Manchester, 1863.
The seashore is perfectly described with the help of oil on canvas. The idea of calmness, loneliness, and piece is depicted by thoroughly chosen horizontal lines. There are no vertical or diagonal lines, and their absence helps people focus on their unbiased attitude to nature and life. Soft and calm texture is the sign of artist’s modest behavior, and three-dimensional shape of the work is a kind of artist’s calling for creative thinking about the essence of life, human role, and connection to nature.
Works Cited
Bernstein, Teresa. In the Elevated. De Young Museum, San Francisco, 1916.
Bierstadt, Albert. California Spring. De Young Museum, San Francisco, 1875.
Bierstadt, Albert. The Arch of Octavius (Roman Fish Market). De Young Museum, San Francisco, 1858.
Church, Frederic Edwin. Rainy Season in the Tropics. De Young Museum, San Francisco, 1866.
Hassam, Frederick Childe. Seaweed and Surf, Appledore, at Sunset. De Young Museum, San Francisco, 1912.
Heade, Martin Johnson. Singing Beach, Manchester. De Young Museum, San Francisco, 1863.
Kendali, Sergeant. Cypripedia. De Young Museum, San Francisco, 1927.
McNeil Whistler, James Abbott. The Gold Scab: Eruption in Frilthy Lucre (The Creditor). De Young Museum, San Francisco, 1879.
Metcalf, Willard Leroy. Winter’s Festival. De Young Museum, San Francisco, 1913.
Obata, Chiura. Mother Earth. De Young Museum, San Francisco, 1912.
Prendergast, Maurice Brazil. De Young Museum, San Francisco. The Holiday, 1907-1909.
Sargent, John Singer. De Young Museum, San Francisco. Trout Stream in the Tyrol, 1914.
Tarbell, Edmund Charles.Snow Scene, Plymouth, Massachusetts. De Young Museum, San Francisco, 1905.
Twachtman, John Henry. Mother and Child. De Young Museum, San Francisco, 1893.
It is well know that Art is one way of conveying one’s feelings and generating an attractive object that is enriching to others. It is a way of controlling masses and manipulating the mind of people. It is also vital in the community since it defines people and makes them better.
To add on, art and human values deal with the essential, hypothetical, and practical perceptions. Different people have different opinions of the human values on perspectives of art. Available literatures on art and human values are diverse and bring about abundant art. The present society, however, does not concentrate on supporting art.
The people in the contemporary society according to current data do not even know the significance of art. This paper will examine the economic and technological pressures that shape the notions of art and artists. It will discuss technology and its role in art. It will also discuss the ways through which artists relate with technological and economic advances to identify with their works.
Discussion
Technological
The opportunities of audience involvement in art works have substantially increased due to the introduction of digital technology. The level of cooperation amongst technologists and artists influences the required relation between computers and artists. Computer graphics were initially demonstrated as art in the year 1965.
An outstanding growth between art and technology has been noted since 1980. Since then, organizations have been established to aid art developments. Artists and technologists are establishing schemes for creative examination via practical and physical interactivity. Interactive art deals with the techniques through which technology works. In today’s art, the performers and the viewers have a fundamental role to play. In the ancient times, it was a dream for artworkers to convert viewers into contributors.
The chances for involving the audience have increased with the introduction of new technology. Cooperation in art practice has considerably grown, in the sense that illustrative art has developed some of the features of film production, with groups of experts cooperating in projects (Rader 214).
Computers play a decisive role in identifying artwork designs and administering the actual time outcome of that design. Computer as a means of technology manages the manner in which an artist performs in association to his surrounding and audience.
Computers, therefore, convert artists from experts in generating artworks to creativity catalysts. Artwork involvement by interacting with provisions of the artists has become common. The context of art and technology is well typified by the association between the work, the artist, the audience, and the surrounding. Art practices are becoming extremely influential in modern technology.
The manner in which the artist associates with computers and digital technology to specify his work is, however, multifaceted. The increasing level of relation between technologists and artists influences the required attention amongst artists and computers. In cases where the artist is not able to utilize technology, then the rationale is due to the artist’s failure to use the software. The problems associated with working with technology have made artists abandon existing rules.
Economic
Research has shown that art has an economic impact on society. Securing sufficient funding is the keystone of any art programme. Apart from contributions from individuals and organizations, there are other ways of obtaining financial art support. These include public/private endeavors, developer contribution, percent and non- percent art plans and local finance.
Chances for public art can be cherished as a section of the continuing art process. A town or business could collaborate with other corporations and engage artists in scheming gardens, establishing destinations, establishing art exhibits in unoccupied places and encouraging museums to hire public art workers. The utilization of percent for art works involves assuring a funding stream for projects in public art in spite of what occurs to arts finances.
This offers a mechanism for acquiring funds from a wide array of city departments and sectors. It also offers a chance to work with and incorporate public art to many town organizations. Regardless of how many developers are encouraged to finance art, they are accountable for maintaining and preserving art works after commissioning. These need their own consultants to make sure that there is quality in art works and that they comply with the general goals of the public art strategy(Rader 214).
Works Cited
Rader, Miller. Art and human values. Englewood Cliffs: Prentice-Hall, 2009.