He loved theaters and circus and designed not only costumes and sets but also the interiors of the show. Kuhn is mainly known for the portraits of vaudeville and circus performers, and thus in the early 1920s, he made his…
Download file to see previous pages...
Dressing Room is remarkable and representative of his mature work. Dressing Room is one of the Kuhn’s impressive and eye-catching realistic images of a theater performer in a quiet moment backstage. Fascinated by such persons who existed on the borders of society, Kuhn dedicated this image with an unselfconscious sexuality that was still uncommon in American art of the period1.
In Dressing Room painting, a sparkling female stage performer who looks like a dancer stands in her dressing room and looks like she is ready to go on stage. She looks like a pensive female performer still in her costume with heavy 1920’s makeup. Behind her on the right side, there is a chair/sofa with a cushion. The left side composition of the painting shows a dresser and a clothing stand topped with hats. A partly obscured sign on the wall reveals that this is not a private room 1.
This painting strikes the classic pose of the body conscious young female. She is standing with arms raised and hands behind her head and exposing her upper body. She is wearing a small and entertaining costume. Her short and dark hair is made folded with a bulky red bow. Her makeup is heavy and bold with dark blushes on the chick and deep red lipstick reveals that she has just finished her dress-up and now she is ready to go to stage to perform her task. It looks very clear from girl’s seductive extended pose that she has prepared for stage show but there is no emotion on her face and her eyes are empty and show her deep sadness and unwilling feelings which gives the idea that she is not so far involved in the job of performing for the enjoyment of men.
The dressing room is a place for performers for the staging of character. The performer enters in the dressing room as its whole self and exits as a prescribed character that is intended to perform in front of audience. In this
...Download file to see next pagesRead More
He uses a nineteenth century French printed fabric made from linen and cotton to illustrate the tablecloth. Currently, it is located at the Hermitage Museum in St. Petersburg in Russia. Paragraph 2: The artist’s motif is vivid: several small still life objects placed on the table to decorate the interior.
Zhang Daqian’s Entrance of Bade Garden, is composed of several formal elements such as lines, light, color, texture, shapes, medium and forms that serve to unify the composition. Extensive use of a number of colors and shades is immediately noticeable on first look at this work of art.
In his painting titled, “Monk by the Sea,” Friedrich employs Romantic themes and images such as darkness, emotions, and mysticism, thus reflecting the ideas and philosophy that evolved in the 18th Century, the Period of Romanticism. Produced in 1809, the oil on canvass ideally characterizes the Romantic Period with its exploration of nature, its power and depth.
Indeed, the painting Perseus Beheading Medusa by Andre Racz is a unique piece of art and reflects artistic perfection especially because its artist, Andre Racz was an artist and professor of painting and sculpture at Columbia for 32 years. The Perseus Beheading Medusa painting measures 21 13/16 x 14 7/8 inches.
Ovals and curved arcs are met with straight lines while the layers on which the artwork is built presents a uniquely three dimensional vantage point which is perhaps the best way to view and experience the artwork.
It is certainly a recognizable human form since
This piece of art also says a lot. It is the second half 14th century French Sculpture named as ‘Madonna and child’. Its display plate says that it was the gift from the Samuel H. Kress Foundation to the museum. Samuel H. Kress Foundation was made after the name of Samuel
Socrates, the old man sitting at the bed, depicts a very different emotion from the rest of the subjects. Looking at the hand gesture of the young man wearing a red dress, it seems that what he is offering is a sort of
arried by women include a dance wand for the Thunder god, a kneeling woman with offering bowl, a female dance headdress among others (Sculpture, and I, 5). This essay seeks to examine a formal analysis of the Olumeye kneeling woman with offering bowl in relation with the African