Rafael’s
School of Athens (1580) and Durand’s Kindred Spirits (1849) are the great
paintings in the West. The School of
Athens was pained by an Italian Artist Rafael in the Renaissance. The Kindred
Spirits was pained by an American Artist Durant. They are excellent works; and
they show their grand masterpieces and nobody can not imitate them.
How did Ancient Egyptians use mass in their sculpture? How did the Egyptians’ beliefs affect their use of mass in their art and architecture?
How do Shen Zhou use the element of design in his artwork Poet on a Mountain Top? Which elements were excluded and why?
Although these two paintings have the same several immortal values in the world, they also have differences in the visual Art. First, Rafael’s The School of Athens is a painting of linear perspective; however, Durand’s Kindred Spirits is a painting of nonlinear of perspective; this painting used atmospheric perspective to provide “a sense of the vast distances in the North American wilderness. It shows in “Thomas Code” which is America’s landscape painter during the First half of nineteenth century. The Rafael painting used the basic one-point and superimposed in two-point perspective, which was developed by architects and painters in the fifteenth century at the beginning of the Renaissance. Second, The School of Athens is inclined to the religion school, but the Kindred Spirits is the natural landscape. In Raphael’s, it shows the most famous philosophers of ancient time; a new emphasis was placed on education, and indicates respect of education with an air of control shows a growing respect for education. In The Kindred Spirits, Asher Brown Durant depicted American poet William Cullen Bryant engulfed by the wilderness of the wilderness of Catskill Mountain of New York of Hudson River School. Durand’s painting is idealized composition brings together several sites-including the “Clove of Catskill and Kateskill Falls-in a way that is not geographically possible. It was intended as a tribute to American natural the two men.” The Durand’s was in visual experience of the real world to create the space of mountains, lively portrayal of trees, rocks, and waterfall by the color intensity of beautiful landscape. In The School of Athens, Raphael concentrated into implied infinite space, in the zone of greatest implied depth. In conclusion, both of the paintings are grand masterpieces in history of the West.
How did Ancient Egyptians use mass in their sculpture? How did the Egyptians’ beliefs affect their use of mass in their art and architecture?
How do Shen Zhou use the element of design in his artwork Poet on a Mountain Top? Which elements were excluded and why?
Although these two paintings have the same several immortal values in the world, they also have differences in the visual Art. First, Rafael’s The School of Athens is a painting of linear perspective; however, Durand’s Kindred Spirits is a painting of nonlinear of perspective; this painting used atmospheric perspective to provide “a sense of the vast distances in the North American wilderness. It shows in “Thomas Code” which is America’s landscape painter during the First half of nineteenth century. The Rafael painting used the basic one-point and superimposed in two-point perspective, which was developed by architects and painters in the fifteenth century at the beginning of the Renaissance. Second, The School of Athens is inclined to the religion school, but the Kindred Spirits is the natural landscape. In Raphael’s, it shows the most famous philosophers of ancient time; a new emphasis was placed on education, and indicates respect of education with an air of control shows a growing respect for education. In The Kindred Spirits, Asher Brown Durant depicted American poet William Cullen Bryant engulfed by the wilderness of the wilderness of Catskill Mountain of New York of Hudson River School. Durand’s painting is idealized composition brings together several sites-including the “Clove of Catskill and Kateskill Falls-in a way that is not geographically possible. It was intended as a tribute to American natural the two men.” The Durand’s was in visual experience of the real world to create the space of mountains, lively portrayal of trees, rocks, and waterfall by the color intensity of beautiful landscape. In The School of Athens, Raphael concentrated into implied infinite space, in the zone of greatest implied depth. In conclusion, both of the paintings are grand masterpieces in history of the West.
Quote:
Prebles’ Artforms
Artists Balla and Calder were concerned with motion
Giacomo balla was Italian Futurist Painter. He studied at
the University of Turin in 1892. In 1895, he moved to Rome and worked for
several years as an illustrator, caricaturist, and portrait painter. Balla
signed the second Futurist painting manifesto of 1910 with Boccioni Carlo Carna
although he did not exhibit with the group until 1913. In 1912, he traveled to
London and to Dusseldort, where he began painting his abstract light studied.
In the next year, he participated in the Erste deutsche Herbstsalon at Der
Sturm gallery in Berlin and in an exhibition at Rotterdamsche Keinskring in
Rotterdam with his painting Abstract Speed-The car has passed which he
concerned about celebration of motion. In addition, other his paintings also
“translated the speed of modern life into works that captured the dynamic
energy of the new century.” For example, Pressimismo E Optimismo (1923), Street
Lamp (1909), Numbers In Love (1924)…
Alexander Calder was an American Abstract Kinetic Artist.
Originally an engineer, he became a freelance artist after taking classes at
New York’s Art Student League. He literally put art into motion. His carefully
balanced of shapes derived from plant and leaf form. Some Alexander Calder’s
mobiles such as Big Red (1959), Untitled (1976)…rely on the physical dimensions
of length, width, and depth… he added the fourth dimension of time; Calder’s
forms meant to reveal themselves to us “as they move slowly through space.” To
the development of abstract art, Calder’s mobiles challenged the prevailing
notion of sculpture as a composition of masses and volumes by proposing a new
definition based on the ideas of open space and actual motion transparency.
Quote: Prebles’ Artforms
In the earliest Egyptian art, the Egyptian used mass in
their different sculpture from that of the pyramids and temple of the Pharaonic
time. The essential elements of art during the Old Kingdom were the funerary
sculpture reliefs of the royal family and provincial elite. One of the most
impressive statues to come from this period is the diorite figure of the Seated
Khafre, builder of the second pyramid at Giza. The statue of king Khafre seated
was created by an unknown artist in the smooth permanence of graywacke stone;
it focused of popular architecture and sculpture from the Old Kingdom in Egypt.
The artists all portrayed Khafre in the same basic way of the Pharaoh’s burial
tomb; they carved out of dark greywacke in order to capture the naturalistic.
The artist captured the royalty of the king by dressing this nearly life-size replica
in traditional kilt, fake beard and linen headdress. The stature of king Khafre
is not only these oldest relics of human architecture which tell of “the role
played by age-old beliefs” in the story of art. The Egyptians held the belief
that the preservation of the body was not enough; they wanted him continue to
exist forever, so they carved the king’s head out of imperishable granite and
put it in the tomb; therefore, nobody saw it. They hoped his soul to keep alive
in this world. In addition, on the simplest level, the statue is a portrait of
a powerful individual; it related to the general role of Pharaoh. For example,
his head and neck are physically embraced by wings of hawk representing the
protection of god.
Traditional Chinese landscape painters have a special way
to create atmospheric perspective. In Poet On A Mountain Top, Shen Zhou
expressed his quite mold. The collection includes landscapes and said to be
part of the Ming Dynasty of China (1368-1644). The drawing is light color on
paper; it may be the preference of literati painter of the time. In Poet On A Mountain
Top, Shen Zhou exemplified images in another way; he set up the poetry in his
painting. The poem may be composed by his friend. His painting revealed an art
theory emphasizing artistic freedom and spirituality, and it have not coincided
perfectly with reality, but it seems to have fostered a mystique that helped
artists gain respectful treatment as well as commissions. Shen Zhou’s painting
is very simple with detail, but the main topic he implied in Poet On A Mountain
Top may be a person located on the top of the mountain, who may be a retire
politician or Taoist monk… The painting basic have a blank area on the piece of
art and is not cluttered, The Poet On A mountain was tendency to “poetic
symbols of landforms rather than realistic representation.”
Quote:
Prebles’ Artforms
Thich nu Tinh Quang
Thich nu Tinh Quang
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