The Use of Shapes and Color in the Works of Antoni Gaudi and Friedensreich Hundertwasser - Essay Example

Word Count Comparison and contrast the use of shapes and color in the works of Antoni Gaudi and Friedensreich Hundertwasser Abstract Gaudi and Hundertwasser have altogether different styles. Gaudis structures are focused around creature spines, and they are not extremely bright. When they are brilliant, the patches of color are typically little. Hundertwassers structures are typically finished with extensive squares of shade or high contrast. The greater part of Gaudis structures have a spine on the outside, whether it is one major one or a lot of people little ones. Some of his structures seem marginally antiquated as if the one demonstrated in the picture yet some look incredibly present day and fascinating. Hundertwassers structures are not focused around bones like Gaudis. The greater part of his structures looks current. He utilizes a combo of unexpected shapes and squares of shadow to make his structures emerge from different structures. This picture demonstrates within one of his structures. There are numerous diverse shades inside, which do not go together however look great in the way they are masterminded. Introduction Two of the most noted, imaginative and regarded specialists of the twentieth century, Antoni Gaudi and Friedensreich Hundertwasser, made works that will always live in the archives of aesthetic legend. While Hundertwasser speaks to a later school of Austrian craft, and worked primarily in Vienna, Gaudi, expert of the incredible, colored a prior scene in Barcelona, Spain with legendary construction modeling that right up until today has not been copied. While the works of both artists speak to blasts of color and structure, most who perspective, those, without cautious examination and assessment, might not see their reasonable likenesses fit as a fiddle and utilization of shade. They do exist. Aim and Objective The aim of the essay is to show similarities and differences between the masterpieces of two architects from different countries and different period. The similarities is the cause to find more differences and versus. Waiting lines for entry into the artist’s most famous structure, La Sagrada Familia are always long. Tourists come to observe its amazing mix of shapes and influencesthat startle and bring tears to the eyes of many. Gaudi never finished La Sagrada Familia before his death in 1926 after being struck by a tram car. The Eye on Spain website states that the work is now a UNESCO World Heritage Site; ongoing work on the cathedral led by architect Jordi Bonet i Armengol is using modern computer design technology to finish the work. For Gaudi, a man ahead of his time, Barcelona was his palette upon which he designed and created his most extraordinary works, many of which are shown to support our thesis of the similarities in color and form in the works of the two artists. Hundertwasser on the other hand was very much a deliberate product of his time post war, rebellious, and as Pawley writes, decidedly running against the architectural grain of almost everything cherished and taught by the various “schools” of the era. In this sense and others one must certainly conclude a definite artistic connection with his earlier forerunner, Gaudi. However, unlike Hundertwasser, Gaudi never entertained a career in the media arts, and Hundertwasser, in contrast, came to architecture almost as a critical afterthought in protest against “professional institutions of architecture because they would not permit practice by amateurs…[proving] that architecture was not an art, but a professional conspiracy” (Pawley, 2000). As Every Trail website suggests, the artists were different in other ways too. Gaudi never subscribed to a particular artistic manifesto. His aesthetic interest was certainly focused on nature a focus Pawley says was also of focus and inspiration for Hundertwasser’s work. Pawley writes that Hundertwasser’s Mouldiness Manifestomade him the darling of America’s environmental movement for its “organic” and less right angled static designs popular with the modernist movement at the time. His Hundertwasser House in Vienna features a grass roof with trees growing out of certain windows. From this, one might conclude a connection of architectural purpose between the two artists if not the more political intent Pawley suggests on the part of Hundertwasser. Continuity of Form Though Gaudi and Hundertwasser both represented the art-nouveau style in different countries and in different periods, the intent and similarities of their work is striking. Obviously they were different men with different ideas and perhaps different motivations, but what interests us here is an analysis of the end product of their artistic achievements and what brings them and their architectural works together. First, simply looking at some of their most famous works, and in the instance of Hundertwasser, concepts that were never actually built, we must at least conclude that their ideas were for their time extreme. As the La Sagrada Familia has already been mentioned, perhaps a good place to begin the comparative analysis would be to examine both of the artists’ concepts of cathedral. As has already been determined, their art was quite extreme for 20th century, yet both seemed to have very specific ideas about how a cathedral should look. And while Gaudi’s dream was somewhat realized (although the project is ongoing to this day), Hundertwasser’s was reflected only in drawing of St. Stephens’s Cathedral in Vienna. (photos 5-6)The comparison of form between the Sagrada and Hundertwasser’s sketch for their uniqueness is striking. Of particular note is the off angle of Hundertwasser’s spires in the sketch. In viewing the Sagrada, this idea of form immediately strikes the viewer, as through exterior textures and other methods Gaudi often has one looking at his work with head tilted. “Gaudí infused his buildings with the graceful curves, parabolas, hyperbolas, flowing style and rich decorative elements in common with other art nouveau structures, but went beyond that into an amazing expression of artistic enthusiasm that merged into the surreal” (Lines and Colors). No better example of this is shown than in Gaudi’s strange and wonderful masterwork, Casa Batllo. The shapes chosen by Hundertwasser in his architecture are “without straight lines or surfaces, completely asymmetrical. Hundertwasser’s aforementioned Mould Manifesto can be reintroduced here in terms of the artist’s apparent agreement with Gaudi in what Pawley sees as is his aversion to the straight line and lack of creativity in modern architecture, which he basically viewed as previously mentioned by Pawley as quite sterile and a victim of the dictates of a few over the natural design instincts consistent with nature. Restany quotes Hundertwasser as saying he considered “exemplary of the present epoch” Gaudi’s Casa Batllo and placed it on the “shameful brevity” of his rather short list of buildings worth being there (1948). As evidence of the Hundertwasser influenced by Gaudi’s forms, Restany points out the remarkable similarities between the “undulating skyline” (photo 4)and “curved stairway” of his Hundertwasser House (photo 12) in Vienna and Gaudi’s Mila House( photo 13) in Barcelona. (1949) In viewing the photos presented we are tempted to make a generalization that the Austrian was so influenced by Gaudi in terms of organic natural forms that everything that followed is a natural outgrowth. However, in close examination in terms of shape and form we must be aware as suggested by Restany that Gaudi’s shapes were disproportionately geometric, while Hundertwasserfavors largely the flowing form and attitude of twirls. A case then can be made that conceptually at least, shape and form, while of utmost importance and relevance to both artists, on close examination were carried out from different “angles” as a pun might suggest. For Gaudi then the conclusion might be that forms were not only based upon natural forms but also upon mathematical calculations. Speaking of the columns formed like trees in La Sagrada Familia, Usvat writes, “Gaudí didn’t just try to make them look like tree trunks with branches – he studied how exactly the branches of a tree support the weight of its crown [mathematically], and then applied the same principles to his columns.” Penchant for Color While Gaudi’s La Sagrada Familia may not be the best example of his use of color in his architectural creations, there is no doubt in viewing his other works what his view of the importance of color was. As told to Martinelli in a Guardian interview with Gaudi: “Colour is life.” That his admirer Hundertwasser felt the same is repeated over and over again in their various architectural creations. In viewing images of their work, it is obvious that color is an important element of their designs. We can safely assume it,since most experts agree that he was influenced by Gaudi. In viewing their works, however, while his use of similar design modes is obvious, Hundertwasser’s use of coloris generally less subtle than Gaudi. In viewing Hundertwasser’s creations we see a more blatant use of color than Gaudi conveys with delicate mosaics. (photos 16-19)Though organic forms in nature inspired both, the two obviously had a different mind’s eye about how those colors were expressed. Yes,Hundertwasser colors are more eclectic and in a certain sense represent a more advanced era. The distinctive mauve of his Waldspirale is of a later 20th century era. No such color exists in Gaudi’s work. For the viewer Gaudi’s are sharper. For both artists, their works of abstract expression and destruction of sharp angles and shapes are the tools that create their particular artistic styles. For Pawley Gaudi’s work is closer to ancient architecture and based on mythology. However, he undoubtedly added to it plenty of ideas of his own. Hundertwasser, drawing on Gaudi, undoubtedly did the same. Thus, the turn particularly on color and its use comes into play. Both it seems were trying to make life and architectural art more beautiful, less static and minimalist. While the colors in Gaudi’s works appear almost medieval, we must remember that all great art draws from the past, as does Hundertwasser upon Gaudi’s Style, even further developed style, takes what it likes from the original. Colors as used by Gaudi versus Hundertwasser are products of those existing in the world when the art is created. None of this precludes the fact that a later artist borrows, and happily, from one before him or her. The colors in Hundertwasser’s at time do not seem to “match,” an uncommon observation in Gaudi’s decorations, which seem to flow into one another with a bit more artistic grace of an older time. Hundertwasser seems to prefer more defined contrast with a poster feel, while Gaudi’s use of color seems more artistically generated. What results, however, are facades fascinatingly abstract and unique despite the color choices. Shape Antoni Gaudi is one of the first workmanship nouveau represantative engineer. Because of the sanctioned craftsmanship nouveau terms he could be viewed as exceptionally excellent expert of this style. Craftsmanship nouveau gave opportunity of the designers to utilize any diverse statements, and it is truly not quite the same as past Gothic and Barocco styles. Nouveau mean something new and without analyses can not be attained new terms to use later on. So Gaudi uninhibitedly utilizes phenomenal forms that remind us association with the nature, district the previous engineering doctrines and line and shape combo helped him to attain either emotional. With its measurement basilica la sagrada Familia helps us extremely strict representation to remember Gothic craftsmanship however giving careful consideration on its destructive shapes, configuration and unprosportional sizes it sais that the work can not be contrasted and different perfect works of art of all as far and wide as possible. Hundertwassers specialty is based and frequently is reported as his past Gaudis craftsmanship. The distinction of imaginative period his construction modeling is shut to our contemporary one. His enriching veneer is more straightforward than Antoni Gaudis design fronts. Hundertwassers shape and veneer coloring is a long way from emotional declaration, and it is near liberal craftsmanship terms. While Gaudis La Sagrada Familia may not be the best sample of his utilization of color in his engineering manifestations, there is probably in review his various works what his perspective of the vitality of shade was. As advised to Martinelli in a Guardian, meeting with Gaudi: "Color is life." That his admirer Hundertwasser felt the same is rehashed more than once in their various compositional expressions (Usvat, 17-20). In review pictures of their work, it is clear that the color is a paramount component of their outlines. We can securely expect it since most masters concur that he was impacted by Gaudi. In the survey their works, be that as it may, while his use of comparative configuration modes is self-evident, Hundertwassers usage of colors by and large less inconspicuous than Gaudi. Hundertwassers manifestations we see more explicit usage of shade than Gaudi passes on with sensitive mosaics. (photographs 16-19)though natural structures in nature motivated both, the two clearly had an alternate imagination about how those colors were communicated. Hundertwasser colors are more varied and in an absolute sense speak to a more developed time. The unique mauve of his Waldspirale is of a later twentieth-century period. No such color exists in Gaudis work. And the viewer, Gaudis are sharper.for both craftsmen, their works of unique outflow and annihilation of sharp plot and shapes are the devices that make their particular aesthetic styles. For Pawley Gaudis work is closer to antiquated structural engineering and focused around mythology. Be that as it may he without a doubt added to it a lot of thoughts of his own. Hundertwasser, drawing on Gaudi, without a doubt did likewise. Along these lines the transform especially on shade and its utilize becomes an integral factor. Both it appears were attempting to make life and design symbolization more lovely, less static and moderate (Taschen GmbH, 6-11). While the tones in Gaudis works show up just about medieval, we must recall that all extraordinary craftsmanship draws from the past, as does Hundertwasser upon Gaudis. Style, considerably further created form, takes what it enjoys from the first. Shades as utilized by Gaudi versus Hundertwasser are results of those current on the planet when the workmanship is made. None of this blocks the way that a later craftsman obtains, and cheerfully, from one preceding him or her. The shades in Hundertwassers at time dont seem to "match," a phenomenal perception in Gaudis enhancements, which appear to stream into each other with some more aesthetic effortlessness of a more seasoned time. Hundertwasser seems to lean toward more characterized look differently in relation to a blurb feel while Gaudis utilization of color appears to be all the more creatively produced. What results, in any case, are fronts fascinatingly unique and special in spite of the shade decisions. Conclusion While we can counter and hyper-analyze Gaudi’s work in relationship to Hundertwasser’s, there is little doubt that in shape, form and the importance of color, the two artists are most certainly related in both an artistic, moralistic and spiritual sense. Without too much ado, one can simply look at the images and there it is: one artist of slightly later period picking up where the other left off, challenging the architectural status quo in no uncertain terms we are forced to see the connection. It is not that other artists throughout the ages have not done the same, but these two artists are so unfailingly related in what they have accomplished and what they sought to accomplish that the comparisons are too great and obvious to ignore. Cashton writes that Hundertwasse’s “artistic representations of architecture and space are specifically allegorical, mythological, and otherworldly – the reality of urban space is supplanted by a fantastical construction of spatial experience, enveloped by colour and pattern.” In reading the quote I am reminded of my own reaction to Gaudi’s Casa Batllo and his Parc Guell as particularly reminiscent of the Hobbit Houses in Lord of the Rings. Hundertwasser buildings seems to be based on Gaudi’s, but if we look closer he is the developer of his own style. Even the use of color, though borrowed from a past master, can be limited, because artists by nature will use the ones which exist in the world he lives in. So if Gaudi’s are more artistically reminiscent of a bygone era, Hundertwasser’s are not surprisingly a reflection of his own. This above all is what ties Hundertwasser to his predecessor—his sense and determination to be architecturally free of previous constraints, unafraid of color and shapes and designs that according to Pawley defy the “straight line” dictates of modern architects slowly but surely destroying all beauty in the interests of what--function, minimalist notions and trends? In that, he and Gaudi are artistic soulmates. There were no “schools” for them but the dictates of their own artistic sense of beauty presented through unusual form and color more natural, organic, and pleasing to the viewer. Interestingly, one of the solutions put forward for the new structures at the site of the World Trade Center was a large scale revival of Gaudi’s proposal from almost 100 years ago for a hyperboloid skyscraper in New York called “Hotel Attraction” (photo 20) (Lines and Colors). That the idea was rejected in favor of a more modernistic design would not have been surprising to either Gaudi or Hundertwasser. Works Cited Cashton, J.The Colourful Artist Architect: Friedenreich Hundertwasser 1928-2000. http://colourchroma.wordpress.com/2011/08/20/the-colourful-artist-architect-friedensreich-hundertwasser-1928-2000/ (Accessed 14 August, 2014). Euromonitor International 2012. http://www.euromonitor.com/barcelona-city-review/report (Accessed 14 August, 2014). Every Trail. La Sagrada Familia and the World of Antoni Gaudi. http://www.everytrail.com/guide/la-sagrada-familia-and-the-world-of-antoni-gaudi (Accessed 10 August, 2014). Eye on Spain 2004-2014. http://www.eyeonspain.com/spain-magazine/10-fact-sagrada-familia.aspx (Accessed 12 August, 2014). Lines and Colors. http://linesandcolors.com/2007/05/17/antoni-gaud/ (Accessed 14 August, 2014). Pawley, Martin. Friedensreich Hundertwasser: Maverick Architect Building against the Grain. The Guardian, Thursday 13 April 2000 20.03 EDT. https://www.google.com/#q=Martin+Pawley+The+Guardian+Hundertwasser&safe=active (Accessed 12 August, 2014). Martinelli, Cesar. 2007. Excerpts from “Conversations con Gaudi.”The Guardian. http://www.theguardian.com/artanddesign/2007/oct/10/architecture1 (Accessed 12 August, 2014) Restany, Pierre. The Power of Art: Hundertwasser, The Painter King with Five Skins. Taschen GmbH, Germany, 2001. The Use of Lines and Color in the Works of Antoni Gaudi and Friedenreich Hundertwasser. http://www.learnlanguagesguide.com/an-essay-sample-on-a-gaudis-and-f-hundertwassers-works.htm (Accessed 14, 2014) Usvat, Liliana.“Gaudi and Mathematics.”Mathematics Magazine Online. http://www.mathematicsmagazine.com/Articles/AntonyGaudiandMathematics.php#.U-0cE2Ag_VI (Accessed 10 August, 2014).(http://www.phototravels.net/vienna/vienna-hundertwasser-photos.html) Read More