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The author strongly argues the value of the paintings, sold in millions is created by auction houses and dealers rather than the critics and curios. Is Dance at Le Moulin de la Galette a brand painting which has acquired created value by the dealers or is it truly a masterpiece on canvas? To know this we should explore and analyze every minute visual aspect of the painting through our brain and heart. This essay aims conducting a thorough analysis on the visual structure and the meaning Dance at Le Moulin de La Galette tries to communicate.
Richard Howells (2012) suggests examining a painting contains five key features. We have to analyze what kind of painting it is, what does it show, the location of the painting, the time or era it was drawn, what is shown and what is left out in it for us to make out. In technical terms we have to concentrate on the usage of key elements like the usage of line, brush strokes, light usage, the forms present in the painting, the color and texture to conduct a good analysis. Any person can do this analysis devoid of their art or historical background. But, determining a painting’s true value requires viewing it through the heart and mixing a bit of philosophy with the technicality to note the ‘absence’. We can interpret it in simple terms as reading between the lines or rather as reading between the brushstrokes (Kenny n.d.).
Each painting has something absent, which we do not realize until we view the painting. Then we start to reflect about the absence and its loss (Berger 2009). Again as Howells (2009) mentioned, just reading the content of the painting alone is not important. Understanding its form and the interpreting the inner meaning identifying the absence is the key point of good visual analysis.
Drawn by Renoir at 1876 in Paris, this painting has achieved its iconic status owing to its masterful brushstrokes (a major reason for
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Visual culture is based on a wide range of mediums which serve as core visual components and foster visual imagery in human minds like video games, internet, advertisements, comics, and media. These visual media play an essential role in deciding how we behave when dealing with others and performing various tasks.
Art and literature have been quoted as a reflection of culture (Mirzeoff 2002, p. 10-180). Visual art is basically art forms that create creative products which are mainly visual in nature such as drawings, paintings, ceramics, sculptures, photography, videos and films.
This paper explores the visual culture and the modern art. With this, came the rise of an era of artistic exploration with concerns of human psychology, physiognomy and values upholding natural entitles as well as their significance and causes. This was the period when modern art was introduced with exemplary focus on visual arts.
Kracauer yearns for the art of film to distract the mass of moviegoers with the caveat that this distraction not obstruct the message of the film. The ideal exists in the ambition to create a radically dissimilar form of distraction that accurately portrays authentic disintegration rather than the pretense that is typically exemplified through distraction.
Working within contemporary culture, theorist often extend beyond film studies, psychoanalytic theory, gender studies, queer theory, and the study of television. ; it can also include video game studies, comics, traditional artistic media, advertising, the Internet, and any other medium that has a crucial visual component.
points out that art education should not be limited to studying what we often see as drawings, paintings and photographs, rather it is a field of study recognizing the predominance of visual forms of media and communication and critically evaluate its totality with reference to
ey’s Visual Pleasure and Narrative Cinema of 1975; Marjorie Rosen’s Popcorn Venus: Women, Movies and the American Dream of 1973; Molly Haskell’s From Reverence to Rape: the Treatment of Women in Movies of 1974 (Armstrong and Catherine 2006, pp. 23-34; Barnet 1993, pp.
A very good example can be taken from the collection exhibitions of famous fashion designers from UK including Nana Affau Antwi who make use of images, prints, designs etc. to portray the impression of their respective culture and
Francisco de Goya’s The Third of May 1808 was intentionally painted with the face of the executioner kept to be anonymous to highlight the drama of innocent civilian that was about to be executed. In this particular work, the artistry was better rendered with the anonymity of
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