Arts Pictures Description - Essay Example

Art s of Various Art Works and Photographs Image Laundry Puga by Neil Chowdhury: Waking Dream of IndiaCollection The photograph is titled Laundry Puja from Neil Chowdhury’s Waking from Dreams of India. The photograph is a part of a photo journal compiled by Chowdhury in 2004. The picture represents the conflicts Chowdhury experienced as a child of mixed heritage. His father was Indian and his mother British. Although he grew up in the US, Chowdhury, influenced by Westernised exotic images of India and his own fantasies of what his father’s home land must have been like, formulated unrealistic ideas of what India would be like if he actually visited. Once, Chowdhury travelled to India as an adult, he was confronted with a harsh reality, one that helped him understand why his father fled India and settled abroad. The Laundry Puja is colourful, disorganized, bright and at the same time, demonstrates a settled doom. The doom is further accentuated by the woman at the center of the photograph whose hands are clasped together as if in prayer. There are two men in the photograph. One appears to just be standing idly against a wall and the other appears to be walking, but it is not clear whether he is entering the area or leaving it. In the background there are three richly colored murals capturing India’s bright culture. Similarly the floor appears to be cement with a bright red color smeared over most of the floor. There are pots and pans on the floor as well as a pile of garments over which a clothes line hangs with garments either drying or airing. In the forefront of the photograph is an alarming image of a man’s head. As it sits upon the bright red floor, it at once gives the impression of a decapitated man, with a red fork protruding from his mouth and yellow beads adorning his facial hair. A closer look reveals that the head is made of some foreign material and is not in fact real. The surreal smirk on the man’s face and the half-closed eyes, present a macabre image all the same. As Chowdhury explains, the disorganization and the mixture of colours and images are meant to convey the confused and complex reality of India as he himself experienced and the fanciful exoticism that he imagined as a boy. Image 2 This painting appears to be abstract expressionism. Abstract expressionism was an art movement that began after the Second World War. During the war, constraints on artists expression in Germany and the Soviet Union resulted in many artists leaving for other parts of Europe and the US. In New York, these artist took advantage of their new found freedom of expression and created a form of art that sent a clear message. Art had no boundaries and did not have to comply with rigid philosophies. Abstract expressionism therefore emerged as an expression of freedom and resistance to constraints on creative freedom. The expressionist wanted to exercise “spontaneous freedom of expression” (Chivers, 4). For the abstract expressionist the emphasis was on the filling and using the entire canvas and drawing attention to its surface. What the abstract expressionist wanted to accomplish was highlighting the surface specifications of the canvas, its “flatness”, and to convey the message that all of the canvas is important (Chivers, 4). The image above epitomizes abstract expressionism in that it does not draw attention to a narrative, but rather it draws attention to the full canvas which displays a uniform image throughout the canvas. What you see in the left side of the canvas is mirrored on the right side, although the colors may have been reversed or changed somewhat. Regardless, the straight lines with fixed colors alternating in shades and arrangements demonstrate the spontaneous expression of abstract expressionism. Image 3 Kim Keever’s Landscape collection. The above image is a part of New York artist’s Kim Keever’s Landscape collection. Keever’s landscape collection are meant to depart from traditional landscape art. Keever accomplishes this departure by creating her own landscapes in a very unconventional way. She replicates landscape scenery inside of a fish tank and fills the tank with water. This creates an extraordinary scenery with an interplay between water and light (Designboom). The image depicted in this landscape piece is atmospheric with the weight and buoyancy of the water presenting a misshapen and somewhat eerie centrepiece. The centrepiece appears to be a gothic tree with no discerning roots or leaves. The tree is eerily surrounded by a moat of water which seemingly disappears into a lake or some form of water depository behind it. The source of the water is obscured by what appears to be trees and clouds. The interplay of light and water creates an illusion of a bright foreground against a misty, clouded, and at times bright background. Image 4: The photograph above is reminiscent of German expressionism which emphasized the display of “emotions rather than realistic observations” (Modrak and Anthes, 481). There are two women in the photograph who are reposed in either a deep sleep or death. Either way, they are apparently unaware of their surroundings and of each other’s presence. The woman in the foreground is partially immersed in mud and her dark dress blends in with the mud. A pale light from above reflects on the mud, slightly illuminating her face which betrays her disconnect with her surroundings. The woman in the background is dressed similarly, but unlike the woman in the foreground who is a brunette, the woman in the background is blonde. The blonde woman in background is either much smaller than the woman in the foreground, or else the camera angle deliberately created an illusion in distance between the two women. The blonde woman is laying atop dry dirt, but appears to be surrounded by tangled fabric that blends in with the mud. Both women are splayed out on their backs with their arms bent at the elbows. The photograph is taken at an odd angle with the background appearing at the left side of the photograph as opposed to the top of the photograph and the woman in the foreground, is captured with her head in the bottom right corner. The lighting is dismal with a mist hovering above the woman in the background. It is difficult to discern whether or not the women are reposed at night or if they are reposed in a pit. The only sign of life is a small green patch of vegetation in the background. It could be fern or a part of a tree. This image is consistent with German expressionism which is a subset of the broader expressionist movement. German expressionism attempted to capture the darker side of human nature and used dramatic camera angles and lighting to bring it out (Modrak and Anthes). Image 5: The image above is appears to be a form of abstract expressionism using the drip form of free expression. The straight lines veer off into intercepting drips and drains as the paint on one line flows over the paint on the adjourning line. The free-flowing nature of the paint demonstrates the abstract expressionist spontaneous creative expression. There is a remarkable theme of undisciplined strokes of the brush, which was one of the core elements of abstract expressionism. The painting shows an expression of the artist’s inner emotions or subconscious thought. The linear painting with the overlapping paint drips shows unresolved feelings and lingering emotions. It also shows, a lack of discipline and therefore freedom of thought, feeling and expression. The artist uses only a few colors, but does not repeat them in the same shades. Various shades of gloss appear and this gives the impression that the canvas is emphasized, calling attention to every part of the canvas, as is typical of abstract expressionism. Image 6: The image above is one of abstract expressionism reflecting the complexity of thought. Although the images are broken by inclined, rounded lines, there is continuity between the images. Moreover, the colors change between the images, yet they follow a sequence of continuity. The three parts of the image are framed exactly the same with straight lines to left and curves to the left. The frames on the top and at the bottom appear to have an eye at the top left and have animal like personas. It is difficult to identify the images portrayed in this three part painting. However, it is a work of abstract expressionism and it is mean to reflect and express unbridled creative freedom where almost anything goes. Except for the continuity in images from one frame to the next, the painting is almost a stained canvas and this too is exactly what abstract expressionist had in mind: unconventional art. Image 7: The image above depicts what is known as op art or optical art which was popularized during the 1960s. The art is known for its patterns, themes and colors which together were meant to be presented in a way that created an optical illusion in terms of shapes, dimensions and directions. The picture above creates an optical illusion although at first, it appears to be just an assembly of particularly colorful and patterned Easter eggs. However, once you attempt to identify the eggs from one another, it becomes more difficult as it is not possible to distinguish the lower and smaller eggs from the surface that the eggs are assembled upon. It also becomes increasingly difficult to distinguish one egg from another as the smaller the become, the more they appear to blend in one another. Image 8: The image above can best be described as sculptor expressionism, although its background provides an interesting layout for a photograph. In other words the image above can be described as both a photograph and a sculpture. The sculpture itself is difficulty to describe. The large looming image of an undefinable figurine in the window of an office or a home, at a peculiar angle evokes an feeling of emptiness. The figurine is misshapen and sits atop a wooden box which matches the window frame encasing the window and the surrounding walls. The window frame, surrounding walls and the box upon which the misshapen figurine sits are a shade of light grey or white. The misshapen figurine is also a shade of white or light grey, although slightly darker than the window frames, walls and the stand upon which it sits. The windows are not protected by curtains or shades, yet the view outside is obscured by the camera’s angle which heightens the window frame, leaving only a meagre view of the outdoors. What can be seen appears to be a sidewalk with a patch of green grass, that appears to be dying and an asphalt car park. In contrast to the off-white walls and window frames, the floor appears to be an oak in color, yet it blends in with the walls. There is a small portion of a sofa caught by the camera with a side table near it with what appears to be discarded photographs of a brunet woman. A larger photograph lays face-up on the side table while next to it, smaller photographs lay face up on what appears to be CD or a DVD. The sculptor and its surroundings therefore capture emotions in an expressionist manner. The photographs on the table, together with the blended colours and the room illuminated by natural light with the strange figurine taking center stage, emotions are difficult to organize. There is a feeling of emptiness, warmth and lingering memories with hope for the future. Image 9: Livia 2 by Janaina Tschape Livia 2 is a photograph or color print produced by Janaina Tschape a German-Brazilian painter. Tschape is known for her fairy tale, mythical narratives in her work. The image above is a part of Tschape’s After the Rain series of photographs in 2002. This particular photograph/color features the artists who poses as a woman with strange appendages demonstrating the mystique and complexity of women, particularly Brazilian women. The woman appears to be burdened by a legion of strange appendages, but able to carry that burden with ease. There is a haunting mystery about the woman. As she walks, with apparent ease, her head is bowed slightly forward as if in submission and humility. The woman in the photograph is dressed in white, as is all of her appendages. The white signifies purity and is sharply contrasted against the drab and dreary landscape. There is an absence of vegetation. Instead the landscape consists of dark grey mud or wet sand which acts a coast for brown, seemingly muddy water. There is a green rope laying on the mud/sand behind the woman who is in a forward moving motion. All indications are that someone had recently passed the same way as the green rope appears to be clean and untouched by the mud upon which it lays. At the far right of the photograph are two lights or embers signalling the remnants of a fire. It is unclear where the woman is going, as straight ahead is a cliff which should signal the end of her journey. Image 10: The image appears on the cover of Mark Burkhoder and Lyaman Johnson’s Colonial America which is a book about the struggles of the Spaniard settlors in Latin American during the colonial rule. The image depicts what is known as casta paintings which were typically oil on canvas paintings depicting couples in various conditions and activities during the colonial era. In this particular casta painting, the woman is dressed in white with a feminine pink lining and matching pink ornament adorning her neck. She appears to have a submissive, somewhat committed look on her face and her cheeks are rosy, demonstrating good health. The white depicts the virtuous image of women during that particular era. The man, is wearing blue and thus this contrasts with the white and pink worn by the woman. The blue symbolizes the masculine role of the male in the picture. He is charged with the responsibility of slaying the white goose, while the woman holds up two ducks with her free hand. Her other arm holds a baby swaddled close to her chest wrapped in grey, white and pink. The man carries on with the goose, but his eyes are fixed in the woman’s direction. It is not clear whether or not he is looking at the baby or the mother or both. Regardless, his expression is one of quiet amusement. There is a lot of intense activity in the painting, yet it comes across as quiet, content and rather pleasant and warm. The message is therefore one of family devotion, commitment and hard work. Image 11: Lady Dacre by Sir Anthony van Dyck This is an oil on canvas painting of Dorothy, Lady Dacre, painted by Sir Anthony van Dyck in 1633. This was an actual portrait of Lady Dorothy, the daughter of Dudley North and Frances Brocket. Dorothy North married Richard Lennart the 13th Lord Dacre and earned the title Lady Dacre. The couple was reportedly happily married, but the marriage ended after only five years of marriage with the death of the groom (The Berger Collection). Van Dyck’s portrait clearly marks the death of the subject’s husband. In the photograph, she is wearing black, otherwise known as “widow’s weeds” (The Berger Collection). In addition, Lady Dacre’s white pearls are adorned with a black ribbon, while a black cap sits atop of her head. The facial expression is not one of distress, but rather one of resignation. In her hand, Lady Dacre holds perhaps the most expressive object. It is an image of pink flower showing both death/dying and persistent freshness and life. The underlying message is that while she might have lost her husband, this is merely a temporary setback as she still has youth and beauty on her side and will replace her husband as some stage. There is very little to the painting in terms of abstract meaning as it was a portrait which meant to capture and record a specific moment in time the way camera would. Image 12: Nicholas Rodriguez Juarez’s Adoration of the Shepherds The Adoration of the Shepherds is a classical oil on canvas painting by Nicolas Rodriguez Juarez of Mexico. The painting was completed in 1695 and is titled Adoration of the Shepherds. Juarez was a religious man who became a priest after his wife died and left him with several children to take care off. Therefore to supplement his income as a priest, Juarez took up painting and gained a reputation that placed him in the category of novohispano painters (Art History Reference). The painting is very religious and demonstrates that even while he attempted to find work outside of the church, Juarez carried his devotion as a Christian with him. The painting is a typical classical art narrative, telling the story of the birth of Christ and in doing so, takes the viewer back to the stable in which Christ was born. The proud parents look on while admiring shepherds share the moment. Above, a bright light beams into the otherwise dimly lit stable signalling that a special moment unfolded in the stable. The special moment is also marked by the shepherds presenting gifts to parents. A shepherd in the foreground can be seen holding one of this sheep. Another shepherd is standing at the left of the painting and although his head and face is obscured by the bright light above him, it is also obvious that he too is bearing gifts. Image 13 The clay sculpture depicted above can be described as German expressionism as it lends itself to a disturbing image and at the same time, it depicts an ancient civilization. The man in the sculpture sits with his legs crossed at the knees, although the knees are blended into the clay material, lacking in definition. At the same time, the man’s upper parts are clearly detailed and manages to capture and trap a shadow over the face due to a large, flaring head piece. The man’s ears are clearly one with a pair of large, ring-shaped earrings and a matching design circles his neck and rest upon his shoulders. In his hands, the sculptured figure is holding what appears to be ancient weapons. However, by contrast, the man is wearing what appears to be a set of angelic wings. His eyes are heavily made-up, signalling prepared for war and a perpetual war. The expression is stoic and a long double lined piece of wood protrudes from his nose and makes contact with this mouth. All indications are that the man is driven by instinct, but remains calm nonetheless. There is not much narrative to sculpture, as it often depicts a single image. However, a narrative can still be obtained from this sole figure sitting there, looking out below a large headpiece and from heavily made-up eyes. We see a man who has the time to sit and therefore relax. Yet he is poised for war or for hunting. The narrative is therefore one depicting a man from ancient times, with the instincts of a hunter and a warrior. Bibliography Art History Reference. Nicolas Rodriguez Juarez. 2013. 14 November 2013 http://arthistoryreference.com/a1/52348.htm Web. Chivers, Ian. The Oxford Dictionary of Art and Artists. Oxford, UK: Oxford University Press, 2009. Print. Chowdhury, Neil. Waking from Dreams of India. Tasveer Journal, Issue #97, October 2003. 14 November 2013. http://www.tasveerjournal.com/waking-from-dreams-of-india/ Web. Designboom. Landscapes by Kim Keever. 2013. 14 November 2013. http://www.designboom.com/art/landscapes-by-kim-keever/ Web. Modrak, Rebekah and Anthes, Bill. Reframing Photography: Theory and Practice. Oxfordshire: Routledge, 2011. Print. The Berger Collection. 2013. 14 November 2013. http://www.bergercollection.org/?id=5&artwork_id=59 Read More