his paper purports to discuss the aesthetic perspectives in art by comparing and contrasting two pairs of artwork. The first pair to be analyzed is the “Mystic Package” by Claudio Bravo and “Rabbit” by Jeff Koons…
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It is an artwork using the media chalk, conte crayon and ink on paper, and is an example of a Realist painting (Horsley, 2003). In fact, Bravo was touted as the greatest Latin American realist (Horsley, 2003). The painting depicts a paper package of considerable size wound around by wire, seemingly in order to keep it secure and the contents of the package from being exposed. In terms of the FORMALIST (Art and Aesthetics, n.d.) theory of aesthetic perspectives, the painting can be analyzed in the context of space, form, texture, color, and lines. The painting of the package occupies most of the space of the canvas, so that all the observer sees is a paper package wrapped in wire. The form of the painting is very true to life, and immaculately arranged. The corners are crumpled just a little to give the painting a feeling of realism. It is very easy to infer the texture of the package; it is made of paper. The colors of the paintings are bland, and very real; the package is pastely cream in color, with the wire silver. As far as the formalist perspective is concerned, the artist has succeeded to portray arrangement and realism in the painting. This leads us to the other perspective, that of IMITATIONIST (Art and Aesthetics, n.d.) theory. As discussed earlier, this is a work on realism, a branch of Imitationism (Art and Aesthetics, n.d.). There is nothing more to the painting than a package wrapped in wire....
When an observer looks at the painting, he gets the feeling of enclosure and secrecy. Since the package occupies most of the space of the canvas, the observer cannot look at the surroundings of the package, and feels as if he is also wrapped around in it and closed tight. The wire around the package seems to protect the package from opening and the contents from being exposed. This gives a sense of secrecy to the painting. Nevertheless, the package is made of paper, and so it is fragile, and can tear open any time. This invokes a sense of suspense to the exposure of the hidden contents of the package, and the observer feels a thrill, as if by waiting and looking at the painting for a longer period of time, he might be able to break open the package and look inside. The real inspiration for the painting, as explained by the artist, was quite mundane: his sister arrived with some packages, and Bravo was fascinated by their form and texture (Horsley, 2003). His depiction of the painting, however, infuses more meaning to the package than just the artist’s fascination. The other artwork of the pair is “Rabbit” by Jeff Koons. Made in 1955, it is a sculpture crafted out of stainless steel (Holland, 2010). It is huge in size; to get an estimate, it comes to the waist of an average adult male, and since it is put up on a pedestal, it faces the observer with an eye contact (Holland, 2010). This artwork, too, can be studied in the three perspectives as discussed for the previous artwork. The discussion is as follows: In the perspective of the FORMALIST (Art and Aesthetics, n.d.) theory of aesthetics, the first point to be noted is the medium of the sculpture, that is, stainless steel. It should be noted that it is very difficult to carve
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