That is because it is the first Sunday of the month. On the first Sunday of every month at the Philadelphia Art Museum, admission is rendered essentially free with the policy of “pay what you wish”. Almost…
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Once you have battled the line in, the first thing that strikes you immediately upon entering the main foyer is the beautiful statue of Diana reflecting majestically off of the highly polished sweeping marble staircases that lead to the many wings of the museum. Classical influence is clearly obvious in the aesthetic feel, but Diana’s long, lean physique and athletic build mark her as a creation of a more modern age. Augustus Saint-Gauden fashioned “Diana” out of copper sheets in 1894. Originally, the goddess was gilded, and wore draperies that floated on the wind. She was the highest point in New York City, when she served her original purpose as the weathervane of the second Madison Square Garden building in New York City. The first NYC statue to be lit by electricity at night, “Diana” was a city landmark until 1925, when the structure was demolished, and the sculpture acquired by the Philadelphia Art Museum. (Saint-Gaudens, 1894)
When which artworks I would like to focus on, at first it seemed rather difficult. Art, by its very nature, is subject in evaluation to individual preference. The core of individual preference is that which you think is good. Since what you think is good is automatically going to be whatever it is you like, and conversely, whatever you like will automatically be deemed by you to be “Good Art”. Since “Good Art” is inherently subject to the lens of individual preference, and what a person prefers will automatically be that which they enjoy, then consequently “Good Art” will always lean inherently toward things that will be in line with your personal preferences. Since the definition of “Good Art” is to be accepted as something that you like, and would likely enjoy owning as a result, if the Philadelphia Art Museum were my personal IKEA, these are the items that I would like to take home.
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For this report, I’ve chosen an Egyptian work that is related to death/funerary rites, namely, The Relief of Montuemhet and his wife Shepenmut, ca. 665 B.C. This pigment on limestone exhibit was originally excavated from tomb 34 and its dimension is 13 9/16 x 10 7/16 inches.
It is well known that several courageous women paved their way into history by standing up for beliefs that were considered unacceptable during their times. This purpose of this research is to provide a discourse on the impact of Lewis’ works on her image in the art and social worlds.
Beginning an analysis of Nadar’s photography that is called Self-Portrait with Wife Ernestine in a Balloon Gondola, the author mentions that human lives are so intricate that the existence of some people seems nothing more than a legend and only some photography can prove truthfulness of one or other event and existence of any person.
By examining the form, I hope to incorporate my understanding of the two artworks in terms of its artistic elements with its actual presentations. On the other hand, by examining the substance, I aim to elevate my appreciation of the two artworks by putting the primary messages in a wider socio-historical context.
The passion story, which pertains to the happenings of Christ’s last days on earth, was a constant concentration in German painting during the Renaissance. And, as John MacArthur has written, “formidable traditions governed the denotation of the Crucifixion and other Passion scenes, and still German painters persistently transformed them via creative engagement with customary standard.”1 Unlike the tales related to Christ’s birth, the events of the Passion are decorated by agonizing emotions, such as passionate compassion, and angst.
This essay gives information about the Museum of Contemporary Art San Diego. The MCASD boasts for more than 4000 artworks after the 1950s that encourages works from all kinds of artists: from unknown, emerging, and even famous artists in international art communities. The artworks were varied with genres ranging from drawings.
The paper analyzes works of Niemeyer Oscar. Being the designer of most of the world class structures it was evident on how the museum of contemporary art was designed and located in terrains unthinkable by modern day designers. The government commitment and economic situation also has a part to play while assisting the construction.
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