Three examples come to mind: the aboriginal art of the indigenous peoples of Australia, the native art of Central and West Africa, and some of the cave paintings from Lascaux. Like Anderson, each produced colorful, realistic, yet unique depictions of nature and animals. Shown here from left to right are Australian Aboriginal Art, Folk Art from Tanzania, and a poster of one of the Cave Paintings from 10-15,000 BC in Lascaux, France. Note the similarity in texture and line to Anderson, the fact that the animals almost curve, and that we have an anatomical element within each of the three interpretations.
Anderson, however, is far more enveloping than many other primitivists. One can almost sense the hours he spent observing these creatures. And, the sense of movement that is communicated in the flatness by the oscillation of the circles from crab to crab, as if they were imitating sonar back and forth:
In fact, it is this movement that is so fascinating in Anderson's depiction of nature, as well as his whimsical material on children's fairy tales and folk art. Compare the curves in The Red Pot with the emanating lines in Crab2, and one sees that the pot takes on an almost nautilus-like characteristic.
It helps to know Anderson's story, his struggle, his abject...
Fine Arts Los Angeles Fine Arts Building "Form follows function" may be a cliche nowadays, one that's parroted in chic commercials for high-end, luxury sedans, but at some point, before the phrase devolved into a catchphrase for Cadillacs, it had real meaning. The architects who designed and built the Los Angeles Fine Arts Building knew what it meant, and they applied that philosophy to their stunning 12-story masterpiece in the city of
Thus, we assume that children gifted in the arts are every bit as intellectually endowed as those with academic gifts. The relationships among giftedness, talent development, and creativity are challenging areas of research. Because researchers lack consensus about what constitutes creativity itself, progress in developing operational definitions of "creativity" has been slow (Clark & Zimmerman, 1992-page 344; Csikzentmihalyi, 1996; Hunsaker & Callahan, 1995-page 2). Although some scholars agree that creative
The line that forms the corner of the wall behind her is much more definite and concrete, but it almost appears as though there has been an attempt to obliterate notions of line in the woman herself -- the folds of her clothes resist any distinguishability. The different uses of line by these two artists also show up in their simple geometry. In his self-portrait, Picasso uses almost no curved
Henri Matisse Still Life after Jan Davidsz. de Heem's 'La Desserte' Henri Matisse was one of the great "colorist of the 20th century" and is one of Picasso's rivals in the area of innovations. Matisse is reported to have "emerged as a Postimpressionist, and first achieved prominence as the leader of the French movement Fauvism." (The Art Story, 2011) Matisse was interested in Cubism but rejected this seeking rather to use color
At this level, focus should be on meeting the needs of the graphic design industry. It is at the graduate level where intense discussion of theory should be developed. I agree with Frascara on this point. In most disciplines, such discussion is typically conducted at the graduate level. The average graphic design student can benefit from this work where applicable, especially if Frascara's proposed reference centers are created. One of
Still, Mohist impact was considerable. The Legalists embraced the Mohists' authoritarian concepts. The Confucians and Taoists both acquired meaning and intensity from responding against Mohist rulers. And the universalistic social vision of Mohism helped motivate comparable propensities in later on, post-classical Taoism. In addition, Chinese reformers of the nineteenth and twentieth centuries, typically discovered Mozi an interesting exemplar of the committed social reform (Kirkland, p. 4-5). The idea of reform
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