Principles of Art
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Westminsterresearch the Artist Biopic
WestminsterResearch http://www.westminster.ac.uk/westminsterresearch The artist biopic: a historical analysis of narrative cinema, 1934- 2010 Bovey, D. This is an electronic version of a PhD thesis awarded by the University of Westminster. © Mr David Bovey, 2015. The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 THE ARTIST BIOPIC: A HISTORICAL ANALYSIS OF NARRATIVE CINEMA, 1934-2010 DAVID ALLAN BOVEY A thesis submitted in partial fulfilment of the requirements of the University of Westminster for the degree of Master of Philosophy December 2015 2 ABSTRACT The thesis provides an historical overview of the artist biopic that has emerged as a distinct sub-genre of the biopic as a whole, totalling some ninety films from Europe and America alone since the first talking artist biopic in 1934. Their making usually reflects a determination on the part of the director or star to see the artist as an alter-ego. Many of them were adaptations of successful literary works, which tempted financial backers by having a ready-made audience based on a pre-established reputation. The sub-genre’s development is explored via the grouping of films with associated themes and the use of case studies. -
I Dream of Painting, and Then I Paint My Dream: Post-Impressionism
ART HISTORY Journey Through a Thousand Years “I Dream of Painting, and Then I Paint My Dream” Week Thirteen: Post-Impressionism Introduction to Neo-Impressionisn – Vincent Van Goh – The Starry Night – A Letter from Vincent to Theo – Paul Gaugin - Gauguin and Laval in Martinique - Paul Cézanne, Turning Road at Montgeroult - Paul Cézanne, The Basket of Apples - Edvard Munch, The Scream – How to Identify Symbolist Art - Arnold Bocklin: Self Portrait With Death - Fernand Khnopff, I Lock my Door Upon Myself Der Blaue Reiter, Artist: Wassily Kandinsky Dr. Charles Cramer and Dr. Kim Grant: "Introduction to Neo-Impressionism” smARThistory (2020) Just a dozen years after the debut of Impressionism, the art critic Félix Fénéon christened Georges Seurat as the leader of a new group of “Neo-Impressionists.” He did not mean to suggest the revival of a defunct style — Impressionism was still going strong in the mid- 1880s — but rather a significant modification of Impressionist techniques that demanded a new label. Fénéon identified greater scientific rigor as the key difference between Neo-Impressionism and its predecessor. Where the Impressionists were “arbitrary” in their techniques, the Neo- Impressionists had developed a “conscious and scientific” method through a careful study of contemporary color theorists such as Michel Chevreul and Ogden Rood. [1] A scientific method Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876, oil on canvas, 131 x 175 cm (Musée d’Orsay) This greater scientific rigor is immediately visible if we compare Seurat’s Neo- Impressionist Grande Jatte with Renoir’s Impressionist Moulin de la Galette. The subject matter is similar: an outdoor scene of people at leisure, lounging in a park by a river or dancing and drinking on a café terrace. -
Impressionism & Post-Impressionism
Impressionism & Post-Impressionism Ms. Jones – APAH, Perry High School Agenda 1. Writing Assignment – Compare/Contrast (WOD) 2. Introduce Impressionism movement – Video 3. Presentations Monet - Prahled Cassatt – Isabell 4. Post-Impressionism movement – Video Gaugin – Rachel Cezanne – Rylie Comp/Contrast Attribution Post-Impressionism Vincent Van Gogh POST-IMPRESSIONISM Post-Impressionism House where Vincent Van Gogh lived POST-IMPRESSIONISM Post-Impressionism Van Gogh, The Potato Eaters, 1885. POST-IMPRESSIONISM Post-Impressionism Van Gogh Sunflowers, 1888. POST-IMPRESSIONISM Post-Impressionism Vincent Van Gogh, The Night Cafe, 1888. POST-IMPRESSIONISM Post-Impressionism Vincent Van Gogh The Night Cafe, 1888. POST-IMPRESSIONISM Post-Impressionism Vincent Van Gogh, Undergrowth with Two Figures, 1890. POST-IMPRESSIONISM Post-Impressionism Van Gogh, Garden of St. Paul Hospital, Nov 1889. POST-IMPRESSIONISM Post-Impressionism Vincent Van Gogh, Starry Night Over the Rhone, 1888. POST-IMPRESSIONISM Post-Impressionism Vincent Van Gogh, Starry Night, 1889. Oil on canvas. Painted in June, 1889, Vincent’s most famous piece depicts the view (with the notable addition of an idealized village) from the east-facing window of his asylum room at Saint-Rémy-de-Provence, just before sunrise. Van Gogh depicted the view at different times of day and under various weather conditions, including sunrise, moonrise, sunshine-filled days, overcast days, windy days, and one day with rain. The hospital staff did not allow Van Gogh to paint in his bedroom, but he was able to make sketches in ink or charcoal on paper, and eventually he would base newer variations on previous versions. The pictorial element uniting all of these paintings is the diagonal line coming in from the right depicting the low rolling hills of the Alpilles mountains. -
Reactions to the Modern World-Post-Impressionism and Expressionism" (2020)
East Tennessee State University Digital Commons @ East Tennessee State University Art Appreciation Open Educational Resource 2020 Lesson 17 Part 2: Reactions to the Modern World-Post- Impressionism and Expressionism Marie Porterfield Barry East Tennessee State University, [email protected] Follow this and additional works at: https://dc.etsu.edu/art-appreciation-oer Part of the Art and Design Commons, and the History of Art, Architecture, and Archaeology Commons Editable versions are available for this document and other Art Appreciation lessons at https://dc.etsu.edu/art-appreciation-oer. Recommended Citation Barry, Marie Porterfield, "Lesson 17 arP t 2: Reactions to the Modern World-Post-Impressionism and Expressionism" (2020). Art Appreciation Open Educational Resource. East Tennessee State University: Johnson City. https://dc.etsu.edu/art-appreciation-oer/19 This Book Contribution is brought to you for free and open access by Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Art Appreciation Open Educational Resource by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “Reactions to the Modern World Post Impressionism and Expressionism” is part of the ART APPRECIATION Open Educational Resource by Marie Porterfield Barry East Tennessee State University, 2020 Introduction This course explores the world’s visual arts, focusing on the development of visual awareness, assessment, and appreciation by examining a variety of styles from various periods and cultures while emphasizing the development of a common visual language. The materials are meant to foster a broader understanding of the role of visual art in human culture and experience from the prehistoric through the contemporary. -
Munch Van Gogh Exhibition at the Van Gogh Museum by Renee Phillips
Munch Van Gogh Exhibition at The Van Gogh Museum By Renee Phillips sk any artist or art Munch: Van Gogh, an exhibition that enthusiast to name their offers a stunning juxtaposition of favorite artists and two major artists. The exhibition invariably Vincent van Gogh which runs through January 17, will spring to mind. As an art 2016 is the first of its kind. It draws Astudent I was enthralled by his life fascinating parallels and similarities and inspired by his artistic between the two artists. Munch: Van contributions. In spite of his lack of Gogh is the result of years of career success during his lifetime, he in-depth collaboration and research is viewed as one of the most by the Van Gogh Museum in influential Post-Impressionist artists Amsterdam and the Munch Museum in to have laid the foundation of Oslo. modern art. Although they never met, Vincent Vincent van Gogh’s legacy lives on at van Gogh (1853-1890) and the the Van Gogh Museum in Amsterdam Norwegian artist Edvard Munch http://www.vangoghmuseum.nl/ (1863-1944) shared similar visions where he continues to have a in their art and life. When viewing prominent impact on the world. The more than a hundred important museum achieves its mission to make works of art by these artists, it is the life and work of this clear that they were kindred spirits. extraordinary artist accessible to as Their art can be characterized as many people as possible and to colorful, emotionally charged and provide them with education and intense. Their paintings The Scream inspiration. -
Contextual Analysis 2
Understanding Standards Support pack for National course assessment C805 77 Art and Design (Advanced Higher): Expressive Portfolio evidence Identifier: Isolation This edition: October 2019 The information in this publication is for use by assessors from SQA approved centres. It may be reproduced in whole or in part to support assessment. © Scottish Qualifications Authority 2019 Contents Overview 1 Candidate evidence – contextual analysis 2 Please note: The materials in this pack were used as part of the (subject) Understanding Standards event in (September 2019). Overview Purpose Understanding Standards packs are intended to provide teachers, lecturers and assessors with a clear understanding of the marks that have been awarded to specific examples of candidate evidence and the reasons why these have been awarded. They may be used in centres: ♦ to prepare for the assessment of the relevant course component ♦ as benchmarks to help assessors judge the evidence produced by their own candidates ♦ for training purposes The commentary and candidate evidence in this pack should be read in conjunction with the relevant coursework assessment task and the marking instructions. Candidate evidence – contextual analysis Further expressive portfolio evidence for this candidate can be found here: https://www.understandingstandards.org.uk/Subjects/ArtandDesign/AdvancedHig her/ExpressivePortfolio Advanced Higher Expressive Art Contextual Analysis The Scream by Edvard Munch: an expression of anxiety and despair Edvard Munch was born in Løten, Norway. Famous for his intensely emotional and vivid artwork, The Scream is his most well-known piece. He expressed his pain and mental illness through his art. Munch was greatly influenced by the tragic life surrounding him and expressed his torment and pain through his art. -
“The Frieze of Life” by Edvard Munch: Philosophical and Art Analysis
Journal of Siberian Federal University. Humanities & Social Sciences 7 (2019 12) 1295–1315 ~ ~ ~ УДК 75.071.1(481) “The Frieze of Life” by Edvard Munch: Philosophical and Art Analysis Natalia N. Seredkinaa*, Anastasia V. Kistovaa,b and Natalia N. Pimenovaa aSiberian Federal University 79 Svobodny, Krasnoyarsk, 660041, Russia bKrasnoyarsk Art Museum named after V.I. Surikov 36 Karl Marks Str. / 20 Parizhskoi Kommmuny Str., Krasnoyarsk, 660049, Russia Received 11.06.2019, received in revised form 04.07.2019, accepted 11.07.2019 The article presents a philosophical and art analysis of three paintings by the Norwegian artist E. Munch, namely “Melancholy” (1891–1892), “Separation” (1896), “The Dance of Life” (1899–1900), included in the “The Frieze of Life” cycle. The purpose of the analysis was to uncover the artistic ideas of each of the selected works and to identify the general conceptual basis of the artist’s work. As a result of the methodological analysis of the paintings, it was substantiated that the work of E. Munch, firstly, is fundamentally consistent, in the sense that each work should be considered as part of the painter’s holistic art world view; secondly, the dominant compositional features of the works, relating them to the style space of Areo-romanticism, are highlighted; thirdly, such a characteristic of E. Munch’s creativity as a programmatic approach is revealed, which is expressed in the embodiment of the deep meanings of human life through the sign-symbolic forms of works. Keywords: Edvard Munch, “The Frieze of Life”, philosophical and art analysis, “Melancholy”, “Separation”, “The Dance of Life”. -
The Masterworks of Edvard Munch Introd
The masterworks of Edvard Munch Introd. by John Elderfield, commentaries by Arne Eggum Author Museum of Modern Art (New York, N.Y.) Date 1979 Publisher The Museum of Modern Art ISBN 0870704923 Exhibition URL www.moma.org/calendar/exhibitions/1701 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Masterworksof EDVARD MUNCH "* - 1 >. THE MUSEUMOF MODERN ART NEW YORK The Masterworks of EDVARD MUNCH The Masterworks of f EDVARD MUNCH Introductionby John Elderfield Commentariesby Arne Eggum THE MUSEUM OF MODERN ART NEW YORK "The Masterworks of Edvard Munch" on view from March 15 to April 24, 1979, is presented with the support of Mobil Corporation and is drawn from an exhibition organized by the National Gallery of Art, Washington, D.C. This catalog has been assisted by a grant from The Lauder Foundation. Copyright © 1979 by The Museum of Modern Art, New York Commentaries by Arne Eggum copyright © 1978 by the Trustees of the National Gallery of Art, Washington All rights reserved Library of Congress Catalog Card Number 79-84029 ISBN 0-87070-492-3 Designed by Christopher Holme The Museum of Modern Art 11 West 53 Street New York, N.Y. 10019 Printed in the United States of America Cover: The Scream. 1893. Nasjonalgalleriet, Oslo This catalog is published on the occasion of an exhibition at The Museum of Modern Art of a group of masterworks by the great Norwegian artist Edvard Munch. -
Authentic Dasein and the Anxious Uncanny
The American University in Cairo School of Humanities and Social Sciences AUTHENTIC DASEIN AND THE ANXIOUS UNCANNY A Thesis Submitted to The Department of English and Comparative Literature In Partial Fulfillment of the Requirements For the Degree of Master of Arts By Hend Diaa Diaa Seifeldin Khalifa Under the supervision of Dr. William Melaney April/ 2012 ACKNOWLEDGEMENTS “No prison can hold your passion to soar.” – Erté, (1892-1990) To Professor William Melaney, my advisor, guiding light, source of inspiration and the person who always allowed me to express myself. You allowed me to use my potential to the utmost level, always encouraged me, supported me, gave me courage and strength and allowed me to be the best that I could be. I will be forever grateful for your kindness, patience and support. To Professor Ferial Ghazoul; the first literature course I took was with you, and I have been in love with the world of literature ever since; you are the reason I decided to pursue an MA in English and Comparative Literature To my sister; the best friend anyone could ever ask for. I am the luckiest girl in the world to have you. When I fall, I know you will always be there to pick me up. To my mother; my true strength, support and love. I thank you for being my mother, my older sister, and my friend–I owe you my life. To my grandmother Toota; the epitome of strength, love, and sacrifice. I hope that one day I can give my family what you gave us. -
"I Do Not Believe in the Art Which Is Not the Compulsive Result of Man's Urge to Open His Heart"
"I do not believe in the art which is not the compulsive result of man's urge to open his heart" SYNOPSIS Edvard Munch was a prolific yet perpetually troubled artist preoccupied with matters of human mortality such as chronic illness, sexual liberation, and religious aspiration. He expressed these obsessions through works of intense color, semi-abstraction, and mysterious subject matter. Following the great triumph of French Impressionism, Munch took up the more graphic, symbolist sensibility of the influential Paul Gauguin, and in turn became one of the most controversial and eventually renowned artists among a new generation of continental Expressionist and Symbolist painters. Munch came of age in the first decade of the 20th century, during the peak of the Art Nouveau movement and its characteristic focus on all things organic, evolutionary and mysteriously instinctual. In keeping with these motifs, but moving decidedly away from their decorative applications, Munch came to treat the visible as though it were a window into a not fully © The Art Story Foundation – All rights Reserved For more movements, artists and ideas on Modern Art visit www.TheArtStory.org formed, if not fundamentally disturbing, human psychology. KEY IDEAS Edvard Munch grew up in a household periodically beset by life- threatening illnesses and the premature deaths of his mother and sister, all of which was explained by Munch's father, a Christian fundamentalist, as acts of divine punishment. This powerful matrix of chance tragic events and their fatalistic interpretation left a lifelong impression on the young artist, and contributed decisively to his eventual preoccupation with themes of anxiety, emotional suffering, and human vulnerability. -
The Private Journals of EDVARD MUNCH the Private Journals Of
The Private Journals of EDVARD MUNCH The Private Journals of THE UNIVERSITY OF WISCONSIN PRESS EDVARD MUNCH we are flames which pour out of the earth Edited and translated by J. Gill Holland With a foreword by Frank Høifødt The University of Wisconsin Press 1930 Monroe Street Madison, Wisconsin 53711 www.wisc.edu/wisconsinpress/ 3 Henrietta Street London WC2E 8LU, England Copyright © 2005 The Board of Regents of the University of Wisconsin System All rights reserved 54321 Printed in the United States of America Library of Congress Cataloging-in-Publication Data Munch, Edvard, 1863–1944. The private journals of Edvard Munch : we are flames which pour out of the earth / Edvard Munch : translated by J. Gill Holland : forward by Frank Høifødt. p. cm. ISBN 0-299-19810-3 (cloth : alk. paper) 1. Munch, Edvard, 1863–1944—Diaries. 2. Artists—Norway—Diaries. I. Title: We are flames which pour out of the earth. II. Title. N7073.M8A2 2004 760’.092—dc22 2003022203 For Siri contents List of Illustrations ix Foreword by Frank Høifødt xi Acknowledgments xiii Introduction: We Are Flames Which Pour Out of the Earth 1 Brief Chronology 9 The Private Journals of Edvard Munch: We Are Flames Which Pour Out of the Earth 15 illustrations 1.Theater program for Peer Gynt 112 2. Desire 114 3. Man’s Head beneath Woman’s Breast 116 4. Holger Drachmann 118 5. Henrik Ibsen at the Grand Café 120 6. Dr. Linde’s Four Sons 122 7. The Brooch (Eva Mudocci) 124 8. The Nurses 126 9. Tiger’s Head 128 10. -
Astronomical Dating of Edvard Munch's Summer Sky Paintings
ASTRONOMICAL DATING OF EDVARD MUNCH’S SUMMER SKY PAINTINGS Thesis Supervisor: ________________________________ Donald W. Olson, Ph.D. Department of Physics Second Reader: __________________________________ Heather C. Galloway, Ph.D. Department of Physics Approved: ____________________________________ Heather C. Galloway, Ph.D. Director of the University Honors Program ASTRONOMICAL DATING OF EDVARD MUNCH’S SUMMER SKY PAINTINGS HONORS THESIS Presented to the Honors Committee of Texas State University-San Marcos in Partial Fulfillment of the Requirements for Graduation in the University Honors Program by Ava Glenn Pope San Marcos, Texas May 2010 TABLE OF CONTENTS Abstract……………………………………………………………………...Page 02 Skies of Edvard Munch...……………………………………………………Page 03 Starry Night Image…………………………………………………………..Page 05 The Storm Image…………………………………………………………….Page 06 Sunrise in Åsgårdstrand Image…………………………………..…………Page 07 Questions to be Answered: Munch’s Visit to Åsgårdstrand Page 08 Venus in Starry Night? Page 09 Moon in Starry Night? Page 10 Red Shed in Starry Night? Page 11 Finding the Answers: Trip to Norway Page 11 Flagpole Page 14 The Red Shed Page 15 Was Venus Visible in 1893? Page 17 Starry Night = Evening Star Page 18 The Bright “Star” in Starry Night Page 21 The Storm Page 23 Sunrise in Åsgårdstrand Page 27 Conclusions and Acknowledgements ……………………..…....…………..Page 31 Notes……………………..……………………..…………….........………..Page 32 Appendix…………………………………....……………………..………..Page 35 ABSTRACT Norwegian painter Edvard Munch, most famous for The Scream, created many spectacular works depicting the skies of Norway. Our Texas State group used astronomical methods to analyze three of these paintings: Starry Night, The Storm, and Sunrise in Åsgårdstrand. Astronomical dating of these paintings has some importance because the precise days when Munch visited Åsgårdstrand are unknown.