BROKEN SEEDS STILL GROW

BROKEN SEEDS STILL GROW
BROKEN SEEDS STILL GROW

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BROKEN SEEDS STILL GROW

Order Instructions:

Broken Seeds Still Grow is a major collaboration between Nava Dance Theatre Co-Founder and Artistic Director Nadhi Thekkek, and Painter and Calligrapher Rupy C. Tut. It examines one of the most formative events in recent cultural history, the 1947 Part.

Attend one of the following types of concert:a concert which provides music with a strong ethnic or tribal influencesMusic should demonstrate either pure cultural influences, or show how the fusion of “western” styles and instruments have effected the performance.

OR

A classical music event (symphony orchestra concert, opera, etc.)

Even if you are not sure whether a particular even qualifies, be sure to check with me BEFORE YOU GO TO THE EVENT.

A written report must include the following:

  • A general analysis of the concert pieces (see below)What was the style for each of the pieces performed?
  • An in-depth look at a single piece from the concert.
  • What was the instrumentation of the orchestra/ensemble?
  • Did you enjoy the concert? Why or why not?

Comment on the different types of instruments or singing styles, and appearance of the performers.

Email the following support materials to instructor:

ENSEMBLE SEATING DIAGRAM: Draw out the seating arrangement of the instruments in the ensemble.

TICKET STUB: Write your name on the ticket stub.

PRINTED PROGRAM. Get this at the concert.

In the Assignment Materials section/Upload Assignment page, type your answer into the text box or upload your file. (Please check with your professor if you are unsure of which method to use.) When you are ready, click Submit to send your answer to your instructor.

IF YOU ATTEND AN ETHNIC OR TRIBAL INFLUENCED CONCERT:
Comment on the different types of instruments or singing styles, and appearance of the performers7.

IF YOU ATTEND A CLASSICAL MUSIC CONCERT: ANALYZE the pieces played during the concert.
Give a basic overview of each piece i.e, name, style, etc.Then focus on a single piece for in-depth analysis.

Consider any of the following criteria:

  • Unity and Variety
  • Form of the Music
  • Tempo
  • Volume
  • Rhythm
  • Melody
  • Harmony
  • Historical Period

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BROKEN SEEDS STILL GROW

This is a dance performance that infuses the dance form of Bharatanatyam and the miniature painting inspired by classical Indian art. This piece, created by Nadhi and Rupy is about the 1947 partition of the countries presently known as India and Pakistan and the devastation it cause to the two main regions of Punjab and Bengali. The inspiration drawn from the performance of this piece is the zeal and desire to overcome the challenges that are faced in the face of a major life event and rising up to triumph.

The partition marks a major event in Indian history as it caused the displacement of more than 15 million in addition to causing the death of over 1 million. This is in addition to the devastation it caused due to the religious rivalry that characterized the said partition.

Analysis

This dance performance explores the strength that characterizes humans and their zeal to prevail despite the circumstances. The use of a classical Indian dance of Bharatanatyam in addition to visual art to capture the pomp and color Indian tradition is synonymous with. The dance features the effects of hatred towards a minority in our midst and the ripple effect it has on the outcome. The 1947 partition was as a result of the differences between the Hindu and the Muslim of India and the constant discriminatory practices that saw the latter suffer injustice.

The same kind of discrimination has and is still being witness in the United States with the target being the minority groups due to the 9/11 incident and the heightened political situation (Farber, 2015). It embraces the use of the exotic and classical southern Indian dance of Bharatanatyam, to bring authenticity to the piece as its main focus is the Indian history…..

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The Role of Art Collectors in the Art Market

The Role of Art Collectors in the Art Market
The Role of Art Collectors in the Art Market

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The Role of Art Collectors in the Art Market

Order Instructions:

Discuss academically the role of one of the key agents (dealer, curator, critic, collector) and his/her position in the art market.

In this paper discuss the role of Art collectors and their position in the art market taking a Case study approach looking at specific individuals. 

Art collectors the client has chosen for the case study: Frieder Burda and Christian Boros

Points to cover is the art market and what it is etc also touching on primary and secondary markets and then discussing the role of the art collector in the art market. 

Go straight into the case study and not to explore the art market in a generic way, as word count is limited and to focus on discussing the role of the art collector in the art market.

Take a case study approach and to look at Frieder Burda and Christian Boros. Focusing on Germany and how it has one of the liveliest and most electric collector communities in the world. And touching on how Germany in a way more than any other country has a collecting tradition. Private museums seem to be an on going trend to build own museum for your collection. 

Use a wide range of sources not just online. Structure the case study well. The essay must be fully referenced and include a bibliography.

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The Role of Art Collectors in the Art Market

Introduction

According to Alessandra (2016,p. 60), commercialization of art as envisioned in the growth of private museums, auction houses, art fairs and sponsored exhibitions characterizes modern art, where an increasing number of artists are focusing on financial interests rather than the art itself. Horowitz (2014) refers contemporary art as ‘art of the deal’ which basically insinuates that the major objective of the modern artist is to obtain the best deal for their art. In this regard, the demand side of the art market including collectors, museums, investors and intermediaries has gained increased importance for building business and marketing strategies.

Collectors can be said to have shaped the art market to a great extent through influencing the demand side and creating value for artists. What really then is the role of art collectors in influencing the art market given the current state of affairs? Art collectors play a key role in sustaining the art market by promoting the work of artists across the globe. Art collectors, based on their popularity play the role of industry pacemakers, providing an opportunity for artists to thrive and influencing the style of art to a significant extent.

This is more so when their collected work is displayed to the public, thus influencing the interest of art lovers and consequently their future purchases. The role of art collectors has been extensively portrayed in Germany where the number of private galleries and museums has grown tremendously over the years. This paper aims at exploring the role of art collectors and their position in the art market by discussing the role played by two famous art collectors from Germany, Frieder Burda and Christian Boros.

The art market and the role of art collectors

The art market, comprising of the primary and secondary market presents an intricate avenue through which art is valued and where demand and supply factors come into play to set prices for various forms of art. Accordingly, different players including the artists, buyers and agents play unique roles in influencing the art market (Marshall & Forrest, 2011). Art collectors thrive in both primary and secondary markets and their role in each market is based on their interests.

This means that they influence what is sold in both the primary and secondary market, thus influencing the supply side of the market. Zorloni &Ardizzone (2017) note that in an attempt to meet the demands and interests of art collectors, artists tend to lean towards their preference. This has mostly been witnessed with increased globalization and commercialization of the art industry, where it is more about sales. In this relation, the choice of art collectors drives the direction of the industry, such that artists are likely to make productions designed to catch the attention of art collectors.

The preferences of art collectors may influence artists towards a certain genre in a bid to create market and gain recognition. Artists for example are likely to move towards a certain genre of art due to the influence of a famous art collector. A notable aspect of art collectors influence on demand and supply in the art market is their changing preferences, which to a great extent defines the future direction of the market. According to Jahrgang, H. (2011), modern art collectors’ palaces can be likened to a “kaleidoscope with astonishingly small pebbles that keep being reshuffled.” As collector interests keep changing, so do artists have to adjust. 

Art collectors have historically played a significant role in promoting art not only through enhancing interest in art but also supporting artists’ work. The first and most significant role an art collector has is that of providing income to drive the art market. Art collectors purchase numerous works of art for their collections and this provides revenue for the art market to thrive. Art collectors are mostly financially endowed individuals who are capable of purchasing numerous works of art based on their interest, thus creating a market for artists. Furthermore, art collectors have been known to promote unknown or new artists by purchasing their art works.

Art collectors play the role of marketing artists through by publicizing their works, consequently making them earn more from their works of art. This is more so where the art collector also has an exhibition for their collection, thus creating a platform for marketing featured artists. According to Hernando & Campo (2017b), collectors have the potential of increasing an artist’s economic worth just by considering or purchasing a piece of work. When famous art collectors purchase a work of art, they elicit interest in the art as well as the artist and this enhances their value and potential to perform better in the art market (Hernando & Campo, 2017a).

The acute love and passion for art by art collectors is of great significance in promoting the art industry. Art collectors are known to influence peoples’ interest in art and thus play a key role in maintaining the industry. According to Kossenjans & Buttle (2016), collectors may be influenced by various motivations including possessive and materialistic pursuits, attraction, or passion that often border obsession.

However, their collections are bound to impact those who interact with them, such that collectors play a role in influencing art demand. Individuals visiting art exhibitions may not necessarily be art lovers or enthusiasts of particular art genre. However, their interest may be influenced by the collection of art seen from an art collector, further driving the art industry.

Frieder Burda and Christian Boros

Studies in the evolution of art collection reveal that the modern art collector not only commands respect as an influential player in the art market but also a trend setter, whose interests are likely to shape the supply side as artists seek to gain relevance (Pierson, 2017). Among famous art collectors who are currently driving the art market are Frieder Burda and Christian Boros, both Germans who have created a lasting niche for themselves in the art collection business.

Each of these art collectors, who are also among the top ten German art collectors, have invested heavily in collecting unique pieces of art, which are housed and exhibited in their private museums. Born in April 1936, Frieder Burda, took after his father who collected art before him.  Burda’s first work first work was Lucio Fontana’s slashed red painting bought in 1968 at Kassel’s Documenta 4. Since then, he has accumulated a significant number of collections with advice from art-historian friends. His Museum which was opened in 2004 boasts of about 1000 works, where a major focus is given to German painting, drawings and sculptures (Global Art Magazine, 2017).

The famous Christian Boros was born in Poland in 1964 before later moving to Germany with his parents in an attempt to flee from communism. Boros is a self-made entrepreneur whose passion for advertising was driven by art, leading to the development of a massive company that specializes in image management. His interest in art is however cannot go unnoticed, given his wide collection of art which he began collecting at 18 years.

Boros specializes in contemporary art and has collected over 700 works that are currently displayed at Sammlung Boros, developed from a former raid bunker from the Nazi era. The gallery which was opened in 2008 attracts both art lovers and history lovers who want to learn more about the Nazi past. Boros regularly updates his collection with new works of art and is considered a major figure in the Berlin art scene…..

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Teaching Methods for Art Education in the Early Years

Teaching Methods for Art Education in the Early Years
Teaching Methods for Art Education in the Early Years

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Teaching Methods for Art Education in the Early Years

Teaching Methods for Art Education in the Early Years In Eckhoff’s article, The Importance of Art Viewing Experiences in Early Childhood Visual Arts: The Exploration of a Master Art Teacher’s Strategies for Meaningful Early Arts Experiences (2008), the author aims to examine the connection between art viewing and art making for young children. The author explores this relationship through the lens of four teaching strategies used by a master art teacher. These strategies have implications for the teaching of the visual arts, especially in early childhood settings.

Research Question/Hypothesis

The problem posed by the author is that despite research and clear early childhood standards that support the importance of art viewing and art making, neither experience is consistently provided to children in a masterful way. A specific question or hypothesis is not provided, but an in-depth explanation of the problem is included.

The premise of Eckhoff’s research is based on a Eglinton’s early arts program model (2003) which suggests authentic art education requires equal opportunities for encounters with art, art making experiences, and aesthetic experiences. The purpose of the study is to identify strategies early childhood teachers can use to deepen the connection between art viewing and art making experiences.

Teaching Methods for Art Education in the Early Years

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Teaching Strategies During Art Viewing Experiences

The majority of Eckhoff’s study is dedicated to describing four strategies used by the master art teacher to introduce artistic and aesthetic elements. Eckhoff identified these strategies after analyzing patterns that were evident in the coded transcriptions.

Game play.

This method involves teacher talk around planned or impromptu games, for example playing I Spy with artistic elements such as color or shape.

Questioning.

This strategy was used most often by the master teacher and involves both open- and closed-ended questions such as, “What does this line look like to you?”

Storytelling.

The master art teacher tells children stories about the history or creation of a piece of art or reads a relevant story book.
Technical talk.
This method was used the least, and introduces children to technical aspects of art, such as the purpose of specific tools or media.

Teaching Methods for Art Education in the Early Years

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Research Methods

This article is a qualitative study and reports on the art viewing and art making experiences of 32 preschool-age children in the Denver Art Museum’s summer program. The researcher attended the two-week camp and observed children as they first toured museum galleries with a master art teacher and secondly, as they participated in art making experiences in the museum’s studio space. Through field notes, photographs, children’s work samples and coded transcriptions, the researcher was looking for patterns or strategies used by the master art teacher that enhanced student learning.

The author makes no mention of obtaining written consent from the participants or their legal guardians. Children’s real first names are used instead of initials or pseudonyms, which may raise confidentiality issues, especially if explicit permission was not granted. In addition, no research bias is claimed. A purposeful sampling of 32 preschool aged children, 20 girls and 12 boys, all of whom enrolled in the Denver Art Museum’s summer program for 2.5 hours a day over two weeks. Eckhoff, the lone researcher, made field notes, took photos, collected children’s work samples and recorded audio of each session.

Audio recordings were later transcribed and coded by four independent raters, with an inter-rater reliability of .86 (Eckhoff, 2008). According to McMillan (2015), this reliability score is high and considered adequate or good. This is the only statistic presented in the study and the rest of the data is qualitative.

The author does present ample research, quotes and evidence, especially in the theoretical framework section, where she outlines the premise for the study. Although the author does not state limitations in the conclusion, one possible limitation is related to participant characteristics (McMillan, 2015). Presumably, the children that participated in the museum summer camp have a natural interest in art, as well as families that can afford the program. This limitation may have minimal effect on the results, as the focus of the study is on the role of the teacher and not student outcomes.

Teaching Methods for Art Education in the Early Years

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Analysis

While this article did not provide much quantitative data in the form of statistics or numerical data, I did find the article compelling. Eckhoff includes photographs of children’s work, extensive transcripts from interviews and detailed narratives of discussions between the master teacher and the children.

One strength of the article is it provides concrete strategies with examples that teachers can easily implement in their own classroom. A weakness of the article is that these strategies are based on the practice of only one master teacher. A larger study may unearth other beneficial strategies or methods not used by this particular teacher.

Conclusions

Eckhoff acknowledges that more research on the intersection of art education, teaching methods, and early childhood is needed (2008). The author recommends a focus on pre- and in-service teacher training in hopes that early childhood teachers can build the skills and understanding required to foster an appreciation of art and aesthetics in young children.

I found this study to be both informative and interesting, and as a classroom teacher I would like to try the strategies employed by the master teacher. However, I do agree with the author that further research on a larger scale is needed in order to provide a deeper understanding of how art experiences and art making are connected and what role the teacher plays in this relationship.

Teaching Methods for Art Education in the Early Years

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References

Eckhoff, A. (2008). The importance of art viewing experiences in early childhood visual arts: The exploration of a master art teacher’s strategies for meaningful early arts experiences.

Early Childhood Education Journal, 35, 463-472. doi: 10.1007/s10643-007-0216-1

Eglinton, K. A. (2003). Art in the early years. New York: Routledge Falmer. McMillan, J. H. (2016). Fundamentals of educational research (7th ed.). Boston, MA: Pearson Publishing.

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Stolen Egyptian Art Returned

Stolen Egyptian Art Returned
Stolen Egyptian Art Returned

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Stolen Egyptian Art Returned

Part 1

Charlton, A. (2011). France to return “stolen” Egyptian art after Louvre row. Huffington Post

This article reports on how the culture minister of France agreed to give back a total of 5 painted wall fragments to the North African nation of Egypt following a row regarding their ownership which prompted Egypt to cut links with France’s Louvre Museum. The painted wall fragments were initially obtained from a tomb aged about 3,200 years close to Luxor, the ancient temple city (Charlton, 2011).

Zahi Hawass, Egypt’s antiquities chief, severed links with Louvre Museum until this Museum returned those stolen artifacts as he had vowed to restore links only after the 5 artwork pieces were taken back to Egypt by the Museum. This was one of most insistent and hard line efforts by this Egyptian official aimed at reclaiming stolen Egyptian antiquities and bought by major museums across the globe (Charlton, 2011).

The 5 wall fragments had been stolen by thieves from the tomb and sold to Louvre Museum in 2000 and 2003. After ties were cut by Hawass, France’s minister of culture and Louvre Museum both agreed to take the artwork pieces back to Egypt. However, it is important to note that France’s Louvre Museum had acquired the art pieces in good faith and the decision to take them back was a reflection of the Museum’s and France’s commitment to firm action against unlawful trade of cultural goods (Charlton, 2011).

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Part 2

The returning of the pieces of fragments by Louvre Museum to Egypt is without doubt the ending of a chapter for those stolen Egyptian artifacts. Even so, this could as well be the start of several other restitution claims by other countries that have seen how Egypt was able to successfully get back its stolen artifacts from a leading museum in France (Bailey, 2011).

Art theft is a highly profitable crime. Even though comparatively few art thefts actually make headlines internationally, Interpol (2016) reported that every year, hundreds of thousands of art crimes are reported globally. It is notable that some art thefts are more prominent than other art thefts because of the motives behind the art theft, the immense size of the value, or because of how the theft occurred.

The illegal trading in artworks is sustained by the opening of international borders, the demand from the artworks market, the political instability of some nations, as well as the improvement in transportation systems (Interpol, 2016). 

The theft of significant pieces of art usually robs a social group, a family, a church or a country of invaluable piece of its cultural heritage. Nonetheless, stolen artwork has at all times been a big seller on the international black market – secretive and unlawful selling and trading of different goods. The trade of stolen artwork is a huge business which has in fact generated in excess of $1 billion annually in sales over the last decade (Interpol, 2016).

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Only an estimated fifteen percent of stolen artwork is ever recovered, usually very many years after its disappearance. Since the robbers, traders and buyers of the looted artwork usually cover their actions in great secrecy, it is often very hard for law enforcement agencies to recover looted art and restore them to their lawful owners. Difficulties in getting a stolen piece of art are made worse given that antiquities and arts can be easily smuggled across international borders.

Thanks to such transfers, tracking the transport is usually hard for law enforcement agencies. Cases of looted pieces of artwork usually drag on for long time periods, and in fact, 90% of all looted artwork cases remain unsolved because of the secrecy which cloaks trading of stolen art in the global artwork world (U.S. Immigration and Customs Enforcement, 2016).        

Returning a country’s stolen artwork or looted cultural heritage serves to promote goodwill with foreign citizens and governments, whilst safeguarding the world’s cultural heritage as well as knowledge of previous civilizations (Archaeological Institute of America, 2011). The crime of stealing and trafficking artworks and cultural heritage is essentially a practice that is as ancient as the cultures which they represent.

The only thing that has changed is the capacity of cultural pirates to get hold of valuable cultural property and art, transport and sell them stealthily, without difficulty and quickly (U.S. Immigration and Customs Enforcement, 2016). Art criminals operate on an international scale without any regard for nationalities, borders, laws or the worth of the treasures which they smuggle.

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Conclusion

In conclusion, the illegal trafficking of cultural heritage and artwork is a transnational crime and only an estimated 15% of the looted artwork is ever recovered and taken back to their rightful owners. Stolen cultural objects and artworks should be returned to their original countries since they are invaluable pieces of the country’s cultural heritage.

Taking them back will also help in promoting goodwill with foreign governments. When cultural property and artworks that are reported as stolen in other countries are brought into the United States unlawfully, they need to be seized according to the United States customs law.

References

Archaeological Institute of America. (2011). AIA joins the international coalition to protect Egyptian antiquities. AIA.

Bailey, M. (2011).  Egypt: Looting headaches for promoted Hawass. London, England: Umberto Allemandi & Co. Publishing.

Charlton, A. (2011). France to return “stolen” Egyptian art after Louvre row. TheWorldPost. Retrieved from http://www.huffingtonpost.com/2009/10/09/france-to-return-stolen-e_n_315402.html

Interpol. (2016). Works of art. Retrieved from http://www.interpol.int/Crime-areas/Works-of-art/Works-of-art

U.S. Immigration and Customs Enforcement. (2016). Cultural property, art and antiquities investigations. Retrieved from https://www.ice.gov/cultural-art-investigations  

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Art Online: Modern Day Art

Art Online
Art Online: The Monalisa

Art Online

In giving comparisons of the experience of an art viewer in a real museum and an online art in a virtual museum, there is need to put considerations on the manner in which either setting is interacting with the art viewers. It is in this line that I acknowledge that there are comparative deficiencies with each setting as well as advantages. The limitations entailed in the two settings require the employment of given measures to sort the limitations and this is what is responsible for the varied presentation of art in both settings.

The physical museums are readily identifies culture. The primary function of the museums is to keep art collections that are to be accessed by the public. On the other hand, the digital art found online are in virtual museums (Pappas, 300). The virtual museums came into being following the advent of the internet as a worldwide system for communication and information delivery.

Art online; The water lilies

The pieces of art used to draw comparisons of physical viewing of art and viewing of art online are: the Water Lilies, 19919 Monet Metropolitan Museum of Art, as the physical art and the online art of Mona-Lisa.  The art of Water Lilies is one among four pieces of art of water lilies that were done and completed by Monet.

The art was signed and sold in 1919. During this period, a majority of art was not yet finished and only countable paintings were made available for sale. The painting is one among a grouping of up to eleven pieces of art and they are roughly of the same size. Mona Lisa on the other hand is an oil painting done on a wood panel by an Italian painter called Leonardo da Vinci.

The main difference in viewing the painting online and visiting a museum to view one physically is that the virtual space of the art online is in two-dimension whereas being in same physical space with the art in a museum provides a three-dimensional viewing of the art. Being in the same physical space with the art enhances interaction with the piece of art. The three-dimensional aspect of physical space enhanced the line and shape of the art at the museum as it was within reach for my personal analysis even though there was no physical manipulation permitted.

The two-dimensional viewing of art online does not allow for the proper evaluation and analysis of the pieces of art as one has to use only what is provided to them on the website. The online versions of paintings have gone through editing and formatting. It is in this aspect that relying on color of the art to come up with descriptions becomes in appropriate. Texture closely borrows from this aspect of color as lighting on the art affects the texture in the view of the art viewers (DiPaola, et al. 610). I found out that I would not readily identify the painting of Mona Lisa as an oil paint mainly because I was viewing it on a screen.

Conclusively, I found out that being in the same physical space with the piece of art enhances one’s perception and they can have different angles of the art at will to come up with a personal take on the texture of the art. Viewing the piece of art online via a screen does not provide one with the ability to have the real perception of the color and texture of the art.

Works Cited

DiPaola, Steve, Caitlin Riebe, and James T Enns. “Following The Masters: Portrait Viewing And Appreciation Is Guided By Selective Detail.” Perception 42.6 (2013): 608-630. MEDLINE. Web. 29 Sept. 2016

Pappas, Demetra M. “Museum Bodies: The Politics And Practices Of Visiting And Viewing.” Visual Studies 28.3 (2013): 300-301. Academic Search Premier. Web. 29 Sept. 2016.

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Renaissance Art: The Mona Lisa

The Mona Lisa

Renaissance Art

  1. Introduction

            Art in the Renaissance period was characterized by creativity, learning, and development of new forms of art. The purpose of this paper is to discuss an example of Renaissance art, in order to determine factors that identify it as the renaissance. In this regard, the Mona Lisa painting done by Leonardo da Vinci is used as an example.

Description of the Mona Lisa                                     

            This piece of art remains among the most popular across the globe and its replication is still largely used for decoration purposes and as an adornment. The painting which is considered one of the greatest pieces in the 15th and 16th centuries is classified in the Renaissance portrait art genre and was done by Leonardo da Vinci (Visual Arts 1). The Mona Lisa can be found in the Louvre Museum in Paris and is valued at over $1 billion. So famous is the portrait that one can only catch a glimpse of it in the Louvre.

            The Mona Lisa features the wife of rich silk merchant Francesco del Giocondo, Lisa Gherardini. Lisa sits on a chair, upright and sideways, and her face and chest slightly facing the viewer. Her left arm is placed on the armrest and clasped by the right arm. The position is said to be protective, thus creating a distance between her and the viewer.

  • Renaissance art characteristics in the Mona Lisa

            Renaissance art had various characteristics that were evident in a majority of pieces. These characteristics are discussed with reference to Mona Lisa.

3.1 Focus on the human figure

 The human figure gained considerable importance during the Renaissance as artists rediscovered the human body’s beauty (Fichner-Rathus 270). This is the most notable characteristic in Mona Lisa, given Leonardo’s focus on detail to ensure that he brought out Lisa’s beauty on the painting. This is achieved through ensuring symmetry and proportion. 

3.2 Realism and expression

            Images were developed to be as realistic as possible, with emphasis on emotions and gestures (Fichner-Rathus 270). Consequently, portraits of real people were common. In Mona Lisa, it is evident that the portrait appears realistic and shows emotion. It is reported that Leonardo hired musicians to keep Lisa entertained during the drawing and this may explain why she was half smiling (Visual Arts 1). The subject also appears like they are directly looking at the viewer, thus making it life-like. Additionally, the three-dimensional painting, which is also a characteristic of Renaissance makes the image appear more realistic.

3.3 Use of perspective

 Artists in the Renaissance created perspective through the use of lines and angles, light and shadow, and color, to create depth and distance (Fichner-Rathus 270). A notable characteristic of Renaissance art is the use of blue backgrounds in a bid to create depth. The background landscape in Mona Lisa consists of smoky blues and has no vanishing point. This creates an impression of great serenity and mystery as well as depth. In this painting, da Vinci uses the sfumato painting technique, where the artist uses ultra-subtle tonal graduations to create smooth and almost undetectable color transitions (Visual Arts 1).

3.4 Depictions of nature

Renaissance artists took a high interest in nature and were depicted through the inclusion of landscapes in their paintings. In Mona Lisa, the background scenery consists of a natural landscape with trees, hills, river, and bridge. This gives a natural look on the portrait.

  • Conclusion

 The Mona Lisa is an outstanding example of Renaissance art as demonstrated by its portrayal of Renaissance characteristics. The painting is not only intriguing but it also captures various characteristics of Renaissance art including a focus on the human figure, realism, and expression, use of perspective depictions of nature and three-dimensional painting. 

Works Cited

Fichner-Rathus, Lois. Foundations of Art and Design. Cengage Learning, 2014.

Visual Arts. Mona Lisa (La Gioconda) (1503-6). Visual Arts Cork, 2017.

www.visual-arts-cork.com/famous-paintings/mona-lisa.htm. Accessed 7 July 2017.

Museums and Political Actions

Museums and political actions
Museums and Political Actions

Museums and Political Actions

Museums are essential for effective communication, social life promotion and further learning about culture, politics and even sciences. Museums are normally connected to politics, and they are normally used as a tool to preserve historic political events. However, political actions taken against the policies of the museum causes more harm than good to its effectiveness. As much as the museum functionality is attached (Blee 2016).

According to Miller during the interview, museums have a great effect on the culture of different groups of people in the society (Miller 2017). In the American Muslim culture, the museum has a negative effect on the environment. Many activities are carried out in the museum, which may result in damage to the environment. The American Muslim culture has changed over time due to the changing environment.

This is also because the Muslim American is a minority group in the United States of America (Geraldine 2016). The main environmental struggle faced by the museum is the political greenwashing on how technological activities applicable in the museum are harmless to living and non-living organisms. Museums and political actions remain go hand in hand. The museum is used as an archive for the storage of materials that are not so environment-friendly, such as disposed of computers, cell phones, and wires. These are simply stored for history, probably to show the development of technology over time.

Museums and political actions: Environmental activists

This may cause environmental activists to advocate against that, which is banned will cause a massive drop in the museum industry (Smith and Font 2014). Therefore, museums should not be used to bring political divisions between people or even cause conflict and death. Instead, it should be used as a tool to show the refection of societal heritage as well as bringing all cultures, religions, and states together to share something in common. Furthermore, the museum may cause pollution to the environment through the technological materials used for artwork and scrap metals of used gadgets.

 Measures should be put in place on how to prevent these health hazards that may be caused by the material in the museum and all political objections prevented from interfering with the activities. Every environmental and political activist should be banned from using the museum as a tool to achieve their agendas and strict policies against such needs to be established to retain the museum’s primary purpose for existence. Museum and political actions destroy the tranquility of museums. This also will enable the maintenance of local and international tourists who will help earn the national revenue (Limebeer, Perantoni and Rao 2014).

References

Geraldine Kendall (2016) Museums and their staff are paying the paying the price of low wages, http://www.museumsassociation.org/museums-journal/newsanalysis/01062016-museums-and-their-staff-are-paying-the-price-of-low-wages

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COMPARING AND CONTRASTING ARTISTS

COMPARING AND CONTRASTING ARTISTS
COMPARING AND CONTRASTING ARTISTS

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COMPARING AND CONTRASTING ARTISTS

Comparing two artists and one of their works. Comparing Italian Caravaggio to Dutch Rembrandt

Comparing and contrasting artists Velasquez and Bernini
The 15th and 16th century saw the birth of some great artists across Europe. This paper compares and contrasts two regional variations and artists that is; Spanish (Velasquez) and the Italian (Bernini) by looking at what they stood for, their similarities and differences and it concludes by giving a personal opinion on who stood out between the two.

COMPARING AND CONTRASTING ARTISTS: Spanish (Velasquez)

In Spain, Velazquez an accomplished portrait artist was famous for his paintings on historical and cultural themes during the European baroque period of art. He was fondly associated with some great works such as the Las Meninas (1656) which was an all-time favorite amongst art lovers (Goldberg, 1992). He was a Christian, and he schooled in the special fields of languages as well as philosophy.

He was an adherent of long-bristled brushes for his works. Besides artwork he also taught at times. His realism-based paintings were inspired by his religious back ground of Christianity. His outstanding works contributed to the rise of the Velazquez style which was especially common because of his closeness to the royal family under Phillip IV who was at the reign in Spain at that time.

Actually he continued with religious paintings with his most famous being the Christ Crucified (1632). He was famous beyond borders and served as the chief artist for King Philip IV and for a long period acted as the King’s painter. His main differences from the Italy’s Bernini artist are that: He liked and painted on historical and cultural contexts as well as portraits. He unlike Bernini painted not for monetary gains. Unlike Bernini he really expressed and upheld realism in his works.

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COMPARING AND CONTRASTING ARTISTS: Italian (Bernini)

Unlike Velazquez who was a painter, Bernini was more involved in sculpture. However both were masters in their fields. For both Velazquez and Bernini, they were good in multitasking as Bernini was also an architect of high standing. While Velazquez used bristled brush and canvas to paint, Bernini used chisel and marble to come up with sculptures. Both Bernini and Velazquez were religious at least at one time in their lives.

Both were attached and close to royalties for Velazquez he was close to Philip IV and committed his later years to painting for the royal palace. As for Bernini he became close to Urban VIII who commissioned him to work for him. Bernini produced works related or attached to his faith as demonstrated by one of his works, ‘the remodeled Church of Santa Bibiana in Rome’ (Mormando, 2011).

Another striking similarity is how both were leading artists in their ages; for Bernini as a leading sculptor while for Velazquez he was a leading painter. Both artists traveled widely, while Velazquez made numerous trips to Italy, Bernini was a visitor to France at the invitation of the authorities. His visit to Paris projects his personality as that of a stubborn man especially because of assertions which offended the citizens when he alleged that Italy’s art was superior to that of France. We do not hear of such controversies from Velazquez.

Personal Preference

I prefer Velazquez over Bernini, because he employed naturalism and the way he could present situations as they are in reality especially the “Pope Innocent X painted in 1650 which he painted in such a real way it almost risked hurting his relations with the authorities.

References

Goldberg, E. L. (1992) Velázquez in Italy: Painters, Spies and Low Spaniards“. The Art Bulletin, Vol. 74, No. 3.pp. 453–456.

Mormando, F. (2011). Bernini: His Life and His Rome. Chicago: University of Chicago Press.

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Comparing and contrasting Velasquez and Bernini

Comparing and contrasting Velasquez and Bernini

Velasquez and Bernini

Comparing and contrasting Velasquez and Bernini

The 15th and 16th century saw the birth of some great artists across Europe. This paper compares and contrasts two regional variations and artists that is; Spanish (Velasquez) and the Italian (Bernini) by looking at what they stood for, their similarities and differences and it concludes by giving a personal opinion on who stood out between the two. 

Comparing and contrasting Velasquez and Bernini: Spanish (Velasquez) 

In Spain, Velazquez an accomplished portrait artist was famous for his paintings on historical and cultural themes during the European baroque period of art. He was fondly associated with some great works such as the Las Meninas (1656) which was an all-time favorite amongst art lovers (Goldberg, 1992). He was a Christian, and he schooled in the special fields of languages as well as philosophy.

He was an adherent of long-bristled brushes for his works. Besides artwork he also taught at times. His realism-based paintings were inspired by his religious back ground of Christianity. His outstanding works contributed to the rise of the Velazquez style which was especially common because of his closeness to the royal family under Phillip IV who was at the reign in Spain at that time. 

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Actually he continued with religious paintings with his most famous being the Christ Crucified (1632). He was famous beyond borders and served as the chief artist for King Philip IV and for a long period acted as the King’s painter. His main differences from the Italy’s Bernini artist are that: He liked and painted on historical and cultural contexts as well as portraits. He unlike Bernini painted not for monetary gains.  Unlike Bernini he really expressed and upheld realism in his works.

Comparing and contrasting Velasquez and Bernini: Italian (Bernini)

Unlike Velazquez who was a painter, Bernini was more involved in sculpture. However both were masters in their fields. For both Velazquez and Bernini, they were good in multitasking as Bernini was also an architect of high standing. While Velazquez used bristled brush and canvas to paint, Bernini used chisel and marble to come up with sculptures. Both Bernini and Velazquez were religious at least at one time in their lives.

Both were attached and close to royalties for Velazquez he was close to Philip IV and committed his later years to painting for the royal palace. As for Bernini he became close to Urban VIII who commissioned him to work for him. Bernini produced works related or attached to his faith as demonstrated by one of his works, ‘the remodeled Church of Santa Bibiana in Rome’ (Mormando, 2011).

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Another striking similarity is how both were leading artists in their ages; for Bernini as a leading sculptor while for Velazquez he was a leading painter. Both artists traveled widely, while Velazquez made numerous trips to Italy, Bernini was a visitor to France at the invitation of the authorities. His visit to Paris projects his personality as that of a stubborn man especially because of assertions which offended the citizens when he alleged that Italy’s art was superior to that of France. We do not hear of such controversies from Velazquez.

Personal Preference

I prefer Velazquez over Bernini, because he employed naturalism and the way he could present situations as they are in reality especially the “Pope Innocent X painted in 1650 which he painted in such a real way it almost risked hurting his relations with the authorities. 

References

Goldberg, E. L. (1992) Velázquez in Italy: Painters, Spies and Low Spaniards“. The Art Bulletin, Vol. 74, No. 3.pp. 453–456.

Mormando, F. (2011). Bernini: His Life and His Rome. Chicago: University of Chicago Press.

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