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 line at all. The result is a very angular yet still completely recognizable face with very prominent -- indeed, almost exaggerated -- features. His woman is far more abstract, and the painting contains far more curves, but Picasso still gives his images very definite geometric shape through his use of line. Hals on the other hand does not define his figure so concretely. The room itself, however, is strongly defined by line, making it seem to extend off the canvas while the woman herself is stuck on it.
The two paintings also show a very different use of color, though the difference is similar to the difference shown in line. Picasso's colors are bright and very vibrant, whereas Hals' are muted and indistinct. This matches the two artist's use of line, with the two elements combining on both of Picasso's work to create very definite structures that jump out at the viewer, while leaving everything much more subtle in Hals' work, forcing he viewer...
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
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
Art The Painting Techniques of the Impressionists, Cubists, and Fauvists During the late nineteenth and early twentieth centuries art styles were changing rapidly in France. Impressionism, Cubism, and Fauvism were three of the styles developed during this time. The painters involved were using new techniques with oil paint to change what was accepted as fine art. Their new techniques reflected societal changes happening all around them. The Age of Industrialization, economic fears,
Art PAINTING No. Untitled #14 Artist: John McLaughlin Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. A career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary
Race and gender might have always been rigidly determined social categories, but class was more mutable when it came to access to cultural emblems like the visual and literary arts (Levine). In "Cartoon and Comic Classicism," Smooden argues that scholars are deeply conflicted about the boundaries between high and low art. Cartoons, and the analysis of cartoons, are a perfect example of how, when, and why the boundaries between highbrow
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