Black Artist During the Colonal Period
Traces of African-American Art

Although it may seem as though the ideology that was responsible for and propagated by the institution of chattel slavery in the United States existed quite some time ago, in all actuality, this epoch in the history of this country did not occur that long ago. The sesquicentennial (150-year) anniversary of the Civil War -- which was fought over a variety of issues and of which slavery happened to be a central one -- occurred earlier this decade. Many African-Americans can trace their ancestry to slaves and/or freedmen, and there are a number of relics that still exist within the country that are silent testimonials to one of the most turbulent time periods in U.S. History. Subsequently, these relics have taken on immense significance for the fact that they speak so plainly to this epoch, and oftentimes played vital roles in the…...

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References

No author. (2004). "Underground Railroad Quilt Code." Owen Sound's Black History. Retrieved from  http://www.osblackhistory.com/quilts.php 

No author. (2004). "Music in Slave Life." PBS. Retrieved from  http://www.pbs.org/wnet/slavery/experience/education/feature10.html 

No author. (2012). "Untitled." National Gallery of Art. Retrieved from  http://www.nga.gov/collection/gallery/ggafamer/ggafamer-45672.0.html 

Vogel, S.M. (1997). Baule: African Art/Western Eyes. New Haven: Yale University Press.

Important to note as well is that the slave narratives had many things in common with the captivity narrative. In general, those that create slave narratives suffer from being in a society that they consider alien, try to balance the desire for freedom against the danger of trying to escape, and grow both spiritually and morally as a result of the torment and the suffering that they have had to go through. This helps to provide the realism that slave narratives possess, and this realism is also showcased in much of the artwork that comes from that time period where African-Americans and slavery are concerned. Because of the realism that is seen in these slave narratives they were immensely popular during the time that they were written, and they often remain popular with schools and other groups today....

Black Arts
Known as the "artistic sister of the Black Power movement," Black Arts refers to the collective expressions of African-American culture during the 1960s and 1970s. Corresponding with the climax of the Civil Rights movement and the self-empowerment of the African-American community, the Black Arts was a politically charged yet aesthetically ripe collection of visual, performance, music, and literary art forms. Amiri Baraka is credited widely with the genesis of the Black Arts movement. The assassination of Malcolm X is said to have inspired Baraka to move to Harlem and delve into the transformative power of art for emboldening the black community (Salaam). Even when he was still known as LeRoi Jones, Baraka had been involved in the publishing industry, and had worked as a poet, arts critic, and playwright. His founding of the Black Arts Repertory Theatre/School (BARTS) is the "formal beginning" of the movement, which Baraka himself dubbed…...

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Works Cited

"The Black Arts Movement." Retrieved online:  http://www.blackpast.org/aah/black-arts-movement-1965-1975 

"A Brief Guide to the Black Arts Movement." Poets.org. Retrieved online:  http://www.poets.org/poetsorg/text/brief-guide-black-arts-movement 

Neal, Larry. "The Black Arts Movement." The Making of African-American Identity, Vol. 3, 1917-1968. Retrieved online:  http://nationalhumanitiescenter.org/pds/maai3/community/text8/blackartsmovement.pdf 

Salaam, Kaluma Ya. "Historical Overviews of the Black Arts Movement."  http://www.english.illinois.edu/maps/blackarts/historical.htm

In fact, he identified himself entirely with it, even in his own self-reflection. In the reflective poem "leroy," published in 1969 under his newly adopted name Amiri Baraka, a nostalgic comment on his mother becomes a lofty vision of himself as the bearer of black wisdom -- that "strong nigger feeling" (5) -- from his ancestors forward to the next generation. He refers to this legacy that he is passing on as his "consciousness" (11), an indication that he had by this point in his life entirely adopted his race as his identity.
This wholehearted self-identification with race, along with a keen awareness of his cultural power as a poet, combined to create an artist absorbed with his own capacity for social comment and change. After the assassination of Malcolm X in 1965, Baraka became disenchanted with the somewhat passive anti-establishment attitudes of the Greenwich Village artistic community, and moved…...

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Works Cited

"Amiri Baraka: Biography and Historical Context." Modern American Poetry. The University of Illinois. Web. 29 May 2010.

Baraka, Amiri. "Speech to Rutgers University." Chicago Review. Chicago: Fall 1997. Vol. 43, Iss. 4, 109. Print.

-, and William Harris. The LeRoi Jones / Amiri Baraka Reader. New York: Avalon, 1999. Print.

Lease, Joseph. "Progressive Lit: Amiri Baraka, Bruce Andrews, and the Politics of the Lyric 'I'." African-American Review. Terre Haute: Summer 2003. Vol. 37, Iss. 2, 389. Print.

Art Analysis: Art21
After reviewing the artists from Art21, the artists chosen are Pierre Huyghe and AI Weiwei as the subjects of this paper. The pieces the paper will be "This is not a time for dreaming" by Huyghe and "Forever" by Weiwei. Both pieces are installation pieces although the artists are not classified under the same grouping on the Art21 website. Weiwei is listed as "Featured in Change" and Huyghe is listed as "Featured in omance." Though they are not featured or classified in the same group, their respective groups are related. There are several different kinds of people in the world for whom change is romantic. Weiwei is a renowned activist as well as renowned artists. Artists typically have a deep passion within that they express via their art. Therefore, Weiwei could see the connection between romance and change. For the native Parisian Huyghe, romance may very well be…...

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References:

Art21, Inc. (2012) Explore Artists. Available from:   2012 July 10.http://www.pbs.org/art21/artists .

European Graduate School. (2012) Pierre Huyghe -- Biography. Available from:   2012 July 11.http://www.egs.edu/faculty/pierre-huyghe/biography/ .

Wines, Michael. (2009) Ai Weiwei, China's Impolitic Artist. The New York Times, Available from:   2012 July 12.http://www.nytimes.com/2009/11/28/world/asia/28weiwei.html?pagewanted=all .

Pierre Huyghe, "This is not a time for dreaming," 2004.

The "self-portraits" might perhaps be viewed in terms of the artist's own past illnesses: At 37, Taylor-Woods, having already survived both colon cancer and breast cancer, likely understands, on personal level, the state of "suspense" between sickness and health, life and death. he may, then, have been "bound" to breast cancer (the invisible ropes may symbolize the disease), cured of it, and her body "released to freedom." In my opinion, however, an artistic weakness of these pictures is that their esthetics and size make them look less like serious art than fashion advertisements for bras and panties! For me, "elf-Portrait uspended" is the least effective of the three exhibition subjects. The tension in the subject's body also appears to be that of someone hanging from ropes (which she in fact was); the tautness of her body kept me from "suspending my disbelief" (so to speak) that she was hanging in…...

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Sam Taylor-Wood: New Work: 29 October - 4 December 2004. Retrieved January 5, 2005 from http:www.artshole.co.uk/exhibitions/Oct%2005/Sam%TaylorWood htm>.

Sam Taylor-Wood: 'New Work' Art Exhibition at White Cube." Ballet-Dance

Magazine. Retrieved January 4, 2005 from http://www.ballet-dance.com/200412/articles/TaylorWood20041100.html

Art
Impressionism in art developed in the 19th century. Impressionist paintings were characterized by visible brush strokes, and subject was drawn from ordinary life and outdoors, rather than being confined to still life, or portraits and landscapes drawn in studios. Emphasis was laid on the effect of light changing its qualities as well as movement. These characteristics of impression can be well observed in the works of art by Gustave Caillebotte, Edgar Degas and Edouard Manet in their paintings Paris: A ainy Day, The Absinthe Drinker and The Bar at the Folies Bergere respectively.

Paris: A ainy Day is an oil painting drawn in 1877 encompasses the Impressionist use of landscape scene. The curator of the Art Institute of Chicago was quoted describing the painting by Hedy Weiss in the Chicago Sun-Times (December 12, 1995) as "the great picture of urban life in the late 19th century." The masterpiece gives of view…...

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References:-

1. Gaustave Caillebotte, Paris Street: A Rainy Day, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/bourgeoisie-and-proletariat 

2. L' Absinthe-Degas, retrieved on July 9, 2012 from  http://labsinthedegas.blogspot.com/ 

3. Edouard Manet, A Bar at the Folies-Bergere, retrieved on July 9, 2012 from  http://sites.google.com/site/beautyandterror/Home/capitalism-and-the-death

Art History
Roy Lichtenstein -- Stepping Out is a painting done in oil and magna on canvas by Roy Lichtenstein. (Magna is a plastic painting product made of permanent pigment ground in acrylic resen with solvents and plasticizer. This material mixes with turpentine and mineral spirits and dries rapidly with a mat finish) (www.artlex.com/ArtLex/M.html).Painted in 1978, this work is 85 inches in heighth and 70 inches in width, 218.4 cm by 177.8 cm. This work of art, accession number 1980,420, is located at The Metropolitan Museum of Art in New York (5th Avenue and 82nd Street). It was purchased in 1980 as a Lila Acheson Wallace Gift with additional funding through the Arthur Hoppock Hearn Fund, the Arthur Lejwa Fund, in honor of Jean Arp; the ernhill Fund, the Joseph H. Hazen Foundation Inc., the Samuel I. Newhouse Foundation Inc., and gifts fromWalter areiss, Marie annon McHenry, Louise Smith, and Stephen…...

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Bibliography

Fineberg, Jonathan. Art Since 1940: Strategies of Being. 2nd Edition. New York:Harry N. Abrams, Inc., Publishers, 2000.

A www.artcyclopedia.com/artists/lichtenstein_roy.html www.artlex.com/ArtLex/M.html www.nga.gov/cgi-bin/pbio?224210 www.metmuseum.org/collections

The basis of collage with is associated with humor and entertainment forms its captivating content, an element for passing its information. Materials that are used for collage are normally readily available old objects that have been disregarded. Use of new materials in the art is not restricted but again not considered to add value to the collage work. It is thus a considerably less expensive process as compared to other artistic communications avenues such as painting that requires newly acquired materials that consequently calls for extensive financial commitment. Its relative affordability together with its captivating elements makes collage a good avenue for communication especially in social campaigns. This becomes specifically effective if the entire society is integrated in the collage representation (Learning, 10).
Other collage artists

There are a number of collage artists that have also been significantly felt because of their contribution in collage. Apart from Michael Anderson, Oliver outlines…...

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Reference

Anderson Michael. (2006). Monthly statements; Retrieved from:  http://www.accumulationproject.org/anderson/index.html 

Bemstein Mark. (2003). Collage, composite, construction; Retrieved from:  http://www.ht03.org/papers/pdfs/18.pdf 

Endtorture. (2010). Well-known collage artists. Retrieved from:

 http://endtorture.net/well-known-collage-artists/

(176)
In this regard, Nead notes that because she was an art lover, Richardson experienced a moral dilemma in her decision to attack "The Rokeby Venus," but she felt compelled to do so anyway based on her perception that the government was failing to act responsibility towards women in general and the suffragettes in particular. "In her statement during her trial, Richardson appears calm and articulate and nothing is said explicitly about any objections that she might have had to a female nude. Indeed, it was not until an interview given in 1952 that Richardson gave an additional reason for choosing the Velazquez: 'I didn't like the way men visitors to the gallery gaped at it all day'" (emphasis added) (Nead 36).

Figure 1. Velazquez, The Rokeby Venus.

Source: The Social Construction of Gender, 2006.

According to Mann (2002), functionalism could help explain the attack by Richardson on "The Rokeby Venus" based on…...

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Works Cited

Bartley, Paula. (2003). "Emmeline Pankhurst: Paula Bartley Reappraises the Role of the Leader of the Suffragettes." History Review, 41.

Damon-Moore, Helen. Magazines for the Millions: Gender and Commerce in the Ladies' Home Journal and the Saturday Evening Post, 1880-1910. Albany, NY: State University of New York Press, 1994.

Harris-Frankfort, Enriqueta. "Velazquez, Diego." Encyclopedia Britannica. 2006. Encyclopedia Britannica Premium Service. 31 May 2006  http://www.britannica.com/eb/article-222892 .

Mallory, Nina Ayala. El Greco to Murillo: Spanish Painting in the Golden Age, 1556-1700. New York: HarperCollins, 1990.

In essence, this painting "mixes a toothpaste smile with the grimace of a death's head" and symbolizes the true work of an American "action" painter (de la Croix & Tansey, 774).
Another great example of an American abstract expressionist master is Mark Rothko (1903 to 1973), who emigrated to the United States in 1914 from Latvia with his family to escape Czarist Russia and its strict policies towards Jews. Although Rothko was a friend and contemporary of Pollack, Kline and de Kooning, his paintings exhibit none of the aggressive attack or slashing brushwork one finds in the works of these artists. Rothko's Four Darks on Red does not exhibit the usual traits of "action" painting, for it shows a calm and contemplative mood with soft color variations, yet it also shows "a mysterious effect of forms and images occupying an ambiguously-defined space," much like Kline and Pollack (de la Croix…...

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Bibliography

Paul, Stella. "Abstract Expressionism." Metropolitan Museum of Art. Internet. Retrieved at  http://www.metmuseum.org/TOAH/hd/abex/hd_abex.htm .

De la Croix, Horst and Richard G. Tansey, eds. Gardner's Art Through the Ages. 10th ed. New York: Harcourt, Brace, Jovanovich, 2003.

The figures of people, carriages, etc. are "washed-out," they are as small as ants are. The method of reflecting motion and dynamics of routine life by "washed-out effect" was borrowed "from a new invention of photography" (Schapiro 81). Photographic cameras of that epoch were not sensitive for picturing motion, so all objects in motion were "washed-out."
Some impressionists, for example Edgar Degas (1834-1917), were influenced by ethnic painting techniques such as Chinese and Japanese graphics, characterized by striking representation of shape and figures. Degas continued Monet's experiments with light and reflection of motion. Many of his paintings were influenced by other methods similar to photography: uncommon visual angles and asymmetric perspectives, which can be observed in such paintings as a Carriage at the aces (1872), Ballet ehearsal (1876) characterized by unusual visual solution and geometric interpretation.

Auguste enoir (1841-19191), father of Impressionism, became famous for his mass portraits. enoir's Impressionism was…...

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References

Sayre, Henry M.A world of art Prentice Hall; 4 thedition 2004

Schapiro, M. 1997.Impressionism: Reflections and Perceptions. George Braziller

The Impressionists, Article from web resource:  http://www.biography.com/impressionists/artists_morisot.html 

Pool, Phoebe Complete Paintings of Monet. New York: Abrams,1967

Art
Please take a close look at two paintings of storms: Watteau's the Storm

painting comparison

Watteau's the Storm and Delacroix's the Sea of Galilee

The two paintings in question refer to different time periods in art history and more importantly, to different views about art and life. These views are also reflected in the style and the technique of the two paintings. Art is often a reflection of the times in which it is created. The social values and perceptions as well as the dominant religious and philosophical ideas of the time tend to be represented in art during a certain period. The following two paintings will be compared and contrasted in terms of their unique qualities, as well as in terms of the way they reflect the era and the dominant ethos of the time period in which they were created.

Comparison of Two Paintings

The development in art from Neoclassicism to the omantic…...

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References

Introduction to the Romantic Era in English Poetry. Retrieved from  http://records.viu.ca/~johnstoi/introser/romantic.htm 

Neoclassicism. Retrieved from  http://www.metmuseum.org/toah/hd/neoc_1/hd_neoc_1.htm 

Romanticism in Art. Retrieved from http://www.visual-arts-cork.com/history-of-

art/romanticism.htm

Palmer C. Hayden and Laura Wheeler Waring were two of the painters of the Harlem Renaissance, and they focused on painting stylized portraits of prominent African-Americans and scenes of black life from a variety of perspectives.
4)

The dynamism of the machine age is exhibited not only in the engineered workings of inventions like automobiles and early airplanes, but also in the Futuristic paintings of the period. There is a blend of very strong geometry and straight lines that combine to create larger images of fluidity and movement that almost seems impossible when the smaller constituent elements of the painting are focused on. It is as though magic and passion are meeting science and cool logic, which is a way of describing things like the combustion engine as well. This period was a time when the world seemed to be moving in two directions, at once looking forward to the amazing…...

Art
La Berceuse (Woman Rocking

Cradle) (Augustine-Alix

Pellicot Roulin, 1851-1930), 1889.

incent van Gogh

Dutch, 1853-1890). Oil on canvas. The Walter H. And Leonore Annenberg Collection,

Partial Gift of Walter H. And Leonore Annenberg, 1996

The world of art is diverse and rich coming together for appreciation overcoming all cultural barriers. The story of an Gogh and his astounding genius while creating canvases has captivated the interest and attention of millions around the world. Even when people cannot afford art they appreciated the creativity and charm that each of his pictures brings forth. Each of his strokes has a life of its own and the lifelike creation gives an illusion of perfection that is hard to imitate.

The Metropolitan Museum boasts one of his best creative efforts done late in his artistic life. ery near the time of his breakdown at Arles.

La Berceuse or a Woman Rocking a Cradle as it is commonly known as was painted around…...

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Van Gogh, V. 1958. The complete letters of Vincent van Gogh. Vol.

3. London: Thames and Hudson.

Fry, R. 1998. Cezanne. Chicago: University of Chicago Press.