Bonnard's Earthly Paradise
Link to the image:
Bonnard, Pierre (1920). Earthly Paradise. Retrieved February 1, 2009, from Britannica Web site: http://www.britannica.com/EBchecked/topic-art/73136/59969/Earthly-Paradise-oil-on-canvas-by-Pierre-Bonnard-1916-20
2 demensional, Abstract
An exploration of Bonnard's large-scale composition of Adam and Eve in a melancholic scene.
Following a period of producing lithographs, paintings, and posters of Parisian scenes in the style of Edouard Vuillard and Henri de Toulouse-Lautrec, Pierre Bonnard virtually reinvented his art around 1905. The artist's new emphasis on large-scale, expansive compositions; bold forms; and above all brilliant colors shows his awareness of the work of modernists Henri Matisse and Pablo Picasso, as does his focus on Arcadian landscapes, a theme he had not previously explored. Earthly Paradise exhibits Bonnard's daring investigations into light, color, and space. Here the artist used foliage to create a proscenium-like arch for a drama involving a rigid, brooding Adam and a recumbent, languorous Eve.The contrast Bonnard set up between the two figures seems to follow a tradition according to which the female, seen as essentially sexual, is connected with nature, while the male, seen as essentially intellectual, is able to transcend the earthly. Heightening the image's ambiguity is a panoply of animals, including birds, a monkey, rabbits, and of course a serpent-here reduced to a garden snake. The melancholic scene, presented as a paradise that is less than Edenic, may reflect the artist's response to the destruction of Europe during World War I, which was raging when he began the painting.
The topic is burial art. Visit the sights and choose any burial art you like and the following will answer the question no matter which burial art pieces you choose:
This is my opinion after researching information: Art is a form of expression in some sort by the individual - based in many different forms and aspects. Today people utilize their feelings, emotions and thoughts to create pieces for display or sale. However, in the ancient times art had a different meaning. Depending on the era/time it was spiritual, symbolic or religious based and/or was not meant for resale but symbolic purposes so to speak. Unfortunately all pieces were not salvageable from these eras. For instance, burial art is the majority of what was left over the Etruscans. Thus, burial art I feel should be my main point of focus. This leads to the following: The Greeks influenced the Etruscans in pottery and religion before the Romans rose to power. Once the Romans became a Republic they expanded and conquered both the Etruscans and Greeks taking much of the burial customs from both. Thus, the Romans somewhat absorbed cultures. However, the Egyptians are much older culture wise than the other and are known for elaborate burial rights with gold sarcophagi, urns with food and the dead slaves and pets with them in the tombs. However, the Greeks did have communications with the Egyptians but it was the Romans that finally took over the Egyptian empire and again the gods from both cultures were absorbed along with funeral customs. As for Islamic funeral are they had a huge amount of contact with both the Egyptians "who they ruled for a short time as Pharaohs" and the Greeks who they battled with in the legendary wars such as the ones depicted in the movie "Alexander" and the Romans as well especially the Eastern Empire or Byzantine Empire once the Western Empire fell to the many barbarian tribes "Goths, Huns, Vandals, etc" So in short I feel to formulate this piece properly focus should be on art work that is burial related because it is a common thread and one that follows each culture. As the key is that they all influenced each other in this area.
As you compare and contrast these artists, please allow some of my ideas to help: First, you might choose the piece called "Project for a Wall Tomb for Pope Julius II" by Michelangelo Buonarroti. Please note its style. Research shows that "diagrammatic clarity of form and precise construction of architectural elements are typical of modelli, drawings made to present a design to a patron or the members of a workshop" (http://www.metmuseum.org/toah/hd/pope/hod_62.93.1.htm). Besides these elements, you might also comment about size. Research reveals that the massive tomb ensemble "was to be a three-sided structure attached to a wall. In a daring departure from tradition, Michelangelo designed the pope's effigy to be seen frontally. Within the arched niche, angels raise the dead pope toward the Virgin and Child" (http://www.metmuseum.org/toah/hd/pope/hod_62.93.1.htm). The angels were quite symbolic. You might also talk about symbols in terms of the "acorn finials on the thrones and the scene of manna from heaven reinvented with an oak tree" (http://www.metmuseum.org/toah/hd/pope/hod_62.93.1.htm). These symbols are references to "Julius's family name and coat of arms " (http://www.metmuseum.org/toah/hd/pope/hod_62.93.1.htm). In contrast, you might choose the piece, "Head of the Virgin," by da Vinci. As you look at its color, you might want to mention "its charcoal and black chalk drawing with red chalk, especially evident in the face (but also extending less noticeably to the locks of hair in the underdrawing), using the sfumato technique" (http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=9&viewmode=0&item=51.90#a). As you comment about his use of fumo, research reveals how he "softly smudged all the strokes of drawing to achieve a seamlessly blended tone" (http://www.metmuseum.org/Works_of_Art/viewOne.asp?dep=9&viewmode=0&item=51.90#a). Like the first piece, symbolism is evoked in the form of religious meaning.
Here's one of the last questions. I'll let you know asap if I can help with the very last question. Please add any extra $ as a bonus instead of part of the price.... THank you!!
Choose three (3) works of art from three artists
As you outline and draft your bullet points, please allow my ideas to help. I chose Cubism to model for you. As you look at the genre, you might look at how Cubism focuses on the exploration of form. In terms of style, you might add that Cubism used an interest in current events and scientific discoveries. The style also aimed to simplify or even flatten. You might even add that it used broken and often multiple perspectives. As you look at other common features, you might also add that there is no rational light source. You can also suggest that there was a "breakdown delineation of one form or space and another" http://www.ruf.rice.edu/~fellows/hart206/cubism.htm) http://www.ruf.rice.edu/~fellows/hart). As you look at other stylistic elements, you might add how primitivism is common as well as muted colors. As you compare and contrast three pieces, you might look at Pablo Picasso's "Les Demoiselles." Because of its sexual content, please note that it was so provocative. Critics say that "Not only did this painting later become a turning point duly remarked upon in every history of modern art, but Picasso felt at the time that his whole understanding of painting was revised in the course of this canvas' creation" (http://www.sparknotes.com/biography/picasso/section5.rhtml). You might mention how this piece seems to challenge "moral, political and artistic traditions of his time and often condemned them; he forced people to face society's problems" (http://articles.directorym.com/Picassos_Les_Demoiselles_d_Avignon-a800347.html). This piece shows that he was infusing primitive art to the Western culture, another Cubist feature. Critics also say that "Through his painting Les Demoiselles d'Avignon, he criticizes the social arrogance and hypocrisy of the West, concerning Europeans' sexual behavior primarily, and its attempts through political and military oppression to westernize the colonies. He attempts to reverse the process and "primitivize the West" (http://articles.directorym.com/Picassos_Les_Demoiselles_d_Avignon-a800347.html). Next, you might use Marcel Duchamp's "Nude Descending a Staircase." Unlike Picasso, you might contrast Duchamp's satirical use of humor. Critics suggest that "Duchamp's Nude is two parts serious, one part spoof" (http://www.understandingduchamp.com/text.html). Like Picasso, you might notice how the piece presents the "incessant probing of the boundaries of art" (http://www.understandingduchamp.com/text.html). Similarly, you might mention how both pieces show human figures and the deconstruction of forms. In terms of Cubist style, you might suggest how "There is nothing in it resembling an anatomical nude, only abstract lines and planes. The lines suggest her successive static positions and create a rhythmic sense of motion; shaded planes give depth and volume to her form" (http://www.understandingduchamp.com/text.html). Again, you might contrast it with Picasso and overall Cubist style. "Instead of portraying his subject from multiple views at one moment, as Cubist theory would dictate, Duchamp portrayed her from one view at multiple moments" (http://www.understandingduchamp.com/text.html). Critics even suggest "By turning Cubist theory upside-down, Duchamp was able to give his painting something the Cubists could not: vitality" (http://www.understandingduchamp.com/text.html). Since Cubism was such a pivotal visual arts style of the 20th century, you might use a work by one of the other leading painters. Besides Pablo Picasso, you might highlight how Georges Braque was critical to Cubism. Since Cubist style "emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature" (http://www.ibiblio.org/wm/paint/glo/cubism), you might select one of his pieces. For example, his "Large Nude" is comparable to the other two pieces. Please note how it exemplifies that it was free and "not bound to copying form, texture, colour, and space" (http://www.ibiblio.org/wm/paint/glo/cubism). Like the other two sample pieces, you might comment on its "radically fragmented objects, whose several sides were seen simultaneously" (http://www.ibiblio.org/wm/paint/glo/cubism). These multiple viewpoints were common in Cubism.
HERE'S THE LAST ONE! =)
The seventeenth and eighteenth centuries saw an increase in scientific and philosophic advances. Both the Baroque and Rococo styles reflect these changing times, although the Rococo style is much less religiously oriented than Baroque. These styles were also characterized with more color and more emotion than previous styles, especially in Baroque, where violent scenes are not uncommon. There are, however, differences in the two styles.The Baroque style reflects the times. As advances swept the world, people began to be less and less devoted to God. Subjects became less and less religious in nature. For instance, Vermeer's The Geographer shows a scientist. Other subjects included soldiers, self portraits (as Rembrandt painted) and scenes of classical gods and goddesses. There were religious paintings, however. Peter Paul Rubens painted The Raising of the Cross at this time. Bernini's sculpture The Ecstacy of St. Teresa depicted a religious theme. This was the result of the Inquisition and the Catholic church's attempt to retain it's vast influence in the face of burgeoning scientific advances that directly contradicted some of the church's teachings.In Rococo art, however, there are almost no religious subjects. While some churches were decorated and built in the Rococo style, there is almost no evidence of religion in painting. This, too, is a reflection of the times. Rococo was in vogue during the eighteenth century, known as The Age of Enlightenment. Divine right of kings was generally disestablished, and secularism and rationalism prevailed. Rococo art was on a whole more frivolous and optimistic than Baroque art. Watteau's Pilgrimage to Cythera portrays of the day aristocracy in a scene from classical mythology. This piece is imbued with more grace than, say, Ruisdael's Extensive Landscape With Ruins. The landscape in Pilgrimage is also less realistic. It is more fanciful, as opposed to the stark realistic quality of Extensive Landscape. The frivolity of the times is evident in Fragonard's The Swing. There is no frolicking in Baroque art. The closest thing to it is Leyster's The Last Drop, and that's not really a frolic.Rococo style also reflects the satirical bent of the times. Hogarth's series of paintings, Marriage a la Mode captures this humor. It is wholly unlike the Baroque view of life. Rococo art finds humor in life, and makes fun of it. This is stark contrast with the Baroque concept of vanitas. In Baroque art life is fleeting, empty and futile. The artists of the Rococo period painted life that was exuberant and enjoyable.
For the very last one:
Second to last one:
OK, I'm a little confused. What information do you still need?
The question- "Social, political, or economic conditions can alter the nature and meaning of art." has been answered with original words (no plagarism).
Do you still need another artist?
Art and its interpretations depend upon political, historical, moral, social, economic, and ethical, changes. Because art is a vehicle to reflect people's races, ideas, feelings, religions, politics, gender notions, etc, art is best expressed in social, political, and other contexts.
The Baroque period started about 1600. The art of this time period was highly influenced by the Roman Catholic Church. The church decided (at the Council of Trent) that art was going to portray religious ideas and pictures. There was more emotion in the art of this period. One good example of the art of the Baroque period is "The Adoration of hte Magi," by Peter Paul Rubens.
Romanticism was a period in the late 18th to mid 19th century.. Much of the art of this time period was a rebellion against the scientific rationale of of nature. It was also a reponse against the social and political standards. A famous work influenced and produced in this time was "The Voyage of Life Manhood," by Thomas Cole, Painted in 1840.
Because art is a vehicle to reflect people's races, ideas, feelings, religions, politics, gender notions, etc, art is best expressed in social, political, and other contexts.
You bet. I'll send them one at a time- if you accept them seperately, it helps me. Justanswer only pays 35% of what you pay for the answer, however, we get 50% of any bonus you leave. Can you leave most of it as a bonus?
I'll have these three to you before the 8th.
Thanks for your business!
Here's the first one:
As you include a brief artist biography, you might choose Maya Lin. She was born in 1959 in Athens, Ohio. She attended Yale University where she submitted the winning design for the Vietnam Veterans Memorial. Her background is in art and architecture. She is most commonly known for her sculptures, parks, monuments, and big architectural projects. As you offer a discussion of the artist's overall "theme" or interests, she seems to be politically motivated in terms of equal rights, social justice, and using art to communicate change and even protest. As you include a discussion of how the work of art reveals contemporary (current) concerns or interests, it again affirms the rights of all people to be valued, equal, and politically active. Her piece, "The Women's Table" was made from 1990-93. She uses simple granite blocks that emerge from the pavement. Figures mark the number of female students at Yale each year since its founding in 1701. Rings of water bubble from the central spring. She uses these natural materials to show unity with nature. Research from the website says that "Lin's memorials connect human activities and self-perceptions to cycles inscribed in the landscape." - An image of the artwork you are describing is at http://www.yale.edu/opa/imagegallery/campus/source/23.html As you offer a discussion of the meaning of the work and what is the artist trying to say, it seems like she is affirming that women, like the Earth, continue to flow, change, and gain power as they evolve into stronger, more intellectual and spiritual beings.
Lin, Maya (1993). Yale School of Architect. Retrieved February 2, 2009, from Archinect Web site: http://images.google.com/imgres?imgurl= http://www.archinect.com/images/uploads/IMG_0020.JPG&imgrefurl=http://www.archinect.com/schoolblog/entry.php%3Fid%3D9123_0_39_0_C&usg=__IfgafzhayJcb6giazF77V6073l8=&h=230&w=307&sz=52&hl=en&start=9&um=1&tbnid=nMtVU7a9X30hWM:&tbnh=88&tbnw=117&prev=/images%3Fq%3DThe%2BWomen%2527s%2Btable%2Bmaya%2Blin%26um%3D1%26hl%3Den%26safe%3Dactive%26rls%3Dcom.microsoft:en-us:IE-SearchBox%26rlz%3D1I7GWYG%26sa%3DN
Here's the second one. It's 1665 words. It said you could adjust the unit 4 portion- I started a completely new topic, so the following is the entire essay in APA with resources:
As I will choose three compositions that are from the same period, and that contain a related theme, I will pick cubism as a model. To begin with, as we view most important concepts in cubist fine art, we can see how a variety of points of views are utilized and highlighted. Cubist art lets artists to depict objects from many angles, at the same time, throughout the use of geometric figures. In Cubism the theme is broken up, as well as reconstructed in an abstract form.
First of all I will pick a work of art called "Violin and Playing Cards" by the Spanish painter Juan Gris. Juan Gris strangely selected the Spanish word for grey as his imaginative, artistic pseudonym, although Juan Gris' life was anything but grey, dull and uninteresting. Juan Gris' life was spent in the midst of the enthusiasm of early twentieth century in Paris in the company of associate cubists Georges Braque along with the famous artist from Spain Pablo Picasso. Before turning out to be an artist, Juan Gris made a living, fairly poorly, advertising and selling comic representations to magazines and journals.
In "Violin and Playing Cards", a cubist canvas, Juan Gris applies widespread, sharp angular planes that overlap. When we examine this composition by Juan Gris, it is quite complicated, in the beginning, to make a distinction what is really going on. This is the case in a lot of cubist compositions, which are regularly more similar to puzzles waiting to be resolved. When I explain Juan Gris's work of art "Violin and Playing Cards", it's essential to make a note of how daily objects and props are brought into the composition to display an everyday theme of common life.
In terms of Cubism's abstract superiority I will use Pablo Picasso, who is the most well-known as well as eminent figure. We can straightforwardly declare that the development of cubism could be attributed to Pablo Picasso. Picasso spent the greater part of his living in France. During Blue Periods, Picasso revealed gloomy and sad people of the poor societal condition utilizing numerous shades of blue paint. The work of art called "The Blind Man's Meal" by Pablo Picasso summarizes the stylistic distinctiveness and uniqueness of Pablo Picasso's Blue Period. Pablo Picasso's Blue Period is rigorous representation, straightforward hieratic compositions and forms, as well as certainly, a blue tonality. "The Blind Man's Meal" is an exceptional composition which is one of Picasso's most emotional works of art from his Blue phase. This composition is not just simply a depiction of a sightless man; it is also Picasso's observation on human torment and sufferings in general. Additionally, "The Blind Man's Meal" brings to the surface a connection and similarity to Picasso's own circumstances at that moment in time, when, penniless and depressed Pablo Picasso identified with the unlucky and unfortunates of the social structure.
Finally, as I talk about cubism, I will choose the work of art called "No. 9, Nature morte espagnole" by Diego Rivera as a model. For the duration of the twentieth century Diego Rivera's acknowledgment developed with many gigantic wall works of art depicting sceneries from the Mexican history. Diego Rivera painted a number of noteworthy works of art in the United States. Diego Rivera cubist composition illustrates his unique approach to synthetic cubism with his utilization of multipart arrangements of transparent planes, with a meticulous emphasis on sensory as well as memory connection. Rivera's repeated utilization of the colors of the Mexican flag present a reminder of his national territory from far away, packed with consideration, nostalgia, as well as with longing.
Cubism was an effort by artists to regenerate and refresh the worn-out traditions of Western art which they thought had run their course. The vital concept of Cubism is that the essence of an object could only be captured by means of showing it from numerous viewpoints at the same time. In terms of style, Diego Rivera makes use of vivid colors.
Synthetic Cubism is the second fundamental division of Cubism that was developed by Juan Gris together with Pablo Picasso, even though Diego Rivera is unsurpassed and best recognized, unquestionably as a mural artist and in addition Diego Rivera is acknowledged not just for the magnitude of his creation, but also for the individuality and uniqueness of his subject matter together with his own individual style. In all three cubist works of art, the objects are broken up, well thought-out, and reconstructed in an abstracted formation plus all artists are not depicting objects from just one viewpoint, every single artist represent their subjects from a multitude of position to signify the subject matter in a advanced and greater perspective and context. Furthermore, each and every work of art depicts the surfaces that intersect at outwardly unsystematic angles.
Diego was interested in cubism for the reason that cubism questioned the pre established ideas as well as conceptions of painting. Diego Rivera was following Picasso's development, for the reason that cubism style was formerly found and instituted by a famous artist, Pablo Picasso. Diego Rivera is an extremely skilled painter, and his approach and style is recognized for its fracturing of appearance, utilization of various perspective points as well as a flattening of the image. Highlighting Diego Rivera's exceptional approach to synthetic cubism "No. 9, Nature morte espagnole" explores the evocative connection and association developed amongst objects, public, in addition to places, repeatedly including, particularly, Mexican pattern and ornamentations. Diego Rivera retained Pablo Picasso's outstanding fracturing of appearance and form, making use of of multiple perspective points, in addition to flattening of the image plane. Distinguished in lively as well as in vivid coloration along with huge dimensions, Diego Rivera's works of art also features highly textured surfaces completed in a variety of techniques. "No. 9, Nature morte espagnole" is distinctive and unique because this work of art includes many souvenirs of Mexico from the past and is infused with revolutionary reflection, nostalgia in addition with melancholy. Diego Rivera acquired his style from knowledge and learning's of folk art together with the national Mexican compositions. Diego Rivera's focus is Mexico's past together with the everyday way of life of Mexican population and with these murals Diego Rivera projected to enlighten Mexicans about their the past and of course about their history.
Juan Gris was the third musketeer of cubism, and he essentially moved forward cubism further towards its logical climax. Juan Gris had built up a vivid and multi colored cubist method of extensive, sharp, angular, overlapping planes, a method that developed into a fully shaped synthetic cubism, influenced by Picasso. Spanish artist Juan Gris was unsurpassed and he improved the cubist expressions into his own instantly identifiable visual language. As we look at the object of this work of art, our eye examines it, stopping to register on a certain feature or element prior to moving on to the next point of concentration and due to the different wood grains, we are capable of differentiating the violin from the table. The playing cards that are positioned on the table with the wallpaper are simple enough to recognize and once we get to the other figures, neighboring the violin in green, black and purple, it takes quite an imagination to depict them for the reason that the shadows of the violin. Not only does Juan Gris separate the violin from its shadow, Juan Gris also slices up or divides the shadow itself into the secondary colors revealed in it. Additionally, black, blue in conjunction with the purple sharp planes improve the composition, which is placed in opposition to a deep red diamond delineated background trying to be like the wallpaper. Gris brought in actual subjects and materials, such as wallpaper together with chair caning, both the actual materials as well as painted reproductions, into his compositions in what emerged to be accepted and recognized as collage and Juan Gris's synthesis of realism is acknowledged as synthetic cubism, which demonstrated and proved to be of fundamental and critical importance to the development and advancement of modern art.
It is without a doubt impossible to imagine and to write about the growth of modern art and not to incorporate Pablo Picasso. "The Blind Man's Meal" painted by Pablo Picasso, sums up the stylistic characteristics of his Blue Period. This particular composition presents a sad and unhappy figure seated at a frugal meal and an empty bowl together with a white cloth complete the life at a standstill on the table. In addition, "The Blind Man's Meal" composition brings forth affinities to Pablo Picasso's own condition at the time, when, poor and miserable and depressed, he directly related to the unfortunates of the social structure. Picasso took a magnificent spin as he built up his unique, matchless and distinguishing style, the practically monochromatic works of art of his Blue Period. Many of Pablo Picasso's oil compositions from this period contain the depressing, gloomy, dark atmosphere and dark mood together with the blindness as a subject matter. In "The Blind Man's Meal" diverse senses appear to be enhanced as compared with the lack of vision and in particular, the long, thin hands of the figure in this work of art are crucial to a development of the senses since these long, thin hands are direct actors in touching the bread and the bowl. Plain atmosphere as well as the men's blindness, makes his disenfranchised state all the more emotional and touching. Furthermore, the highlights on his neck as well as face, the long, thin hands, bread, empty bowl and the cloth place the figure in relief against the austere background. The style of Picasso for the duration of the Blue Period may well be deliberated of as a kind of consideration or a thought on blindness. Finally, for us the most important to consider is that the figures are identifiable as people, which is more than could be said for several paintings from his Cubist epoch.
Diego Rivera: "No. 9, Nature morte espagnole (No. 9, Spanish Still Life)", 1915 oil on canvas.
(2008) National Gallery of Art, Washington. Retrieved from http://www.nga.gov/exhibitions/2004/rivera/images/fullscreen/a0005549.jpg
Juan Gris: "Violin and Playing Cards" (2008). In Timeline of Art History. New York: The
Metropolitan Museum of Art. Retrieved from http://www.metmuseum.org/toah/images/hb/hb_1995.403.14.jpg
Pablo Picasso: "The Blind Man's Meal" (2008) In Timeline of Art History. New York: The
Metropolitan Museum of Art. Retrieved from http://www.metmuseum.org/toah/images/hb/hb_50.188.jpg