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The Effect of Online Sales on the Art Market Research Journal

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Research Journal

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The Research JOURNAL (not paper) documents the stages of the intellectual journey that got you through the dissertation. It’s a ‘scrap book’ of things you’ve seen, read, and thought about. It is NOT a bunch of printed out stuff you’ve collated from the Internet, or from articles and books. It documents AND comments on your research. And explaining why which sources where useful etc.

You can present the process of your research as a digital format such as on Workflow
basically 1)go through the dissertation 2)main ideas 3)main developments 4)how these came about 5)sources used and comments and how these contributed to any ideas and thoughts

The Research Journal documents the stages of the intellectual journey that got you through the dissertation. It’s a ‘scrap book’ of things you’ve seen, read, and thought about. It is NOT a bunch of printed out stuff you’ve collated from the Internet, or from articles and books. It documents AND comments on your research. And explaining why which sources where useful etc.

You can present the process of your research as a digital format such as on Workflow
basically1)go through the dissertation 2)main ideas3)main developments4)how these came about5)sources used and comments and how these contributed to any ideas and thoughts

Below is a partial answer to the above homework questions by one of our writers. If you are interested in a custom non plagiarized top quality answer, click order now to place your order.

The Effect of Online Sales on the Art Market Research Journal

A Background

The online art market has evolved tremendously in the last decades, leading to a transformation not only witnessed in how art is developed but also how it is sold and distributed. A study of these changes and particularly the role of the internet in the changing façade of art inspired great interest in me as I sought to understand the changes in both the primary and secondary art markets. It is interesting to note how online sales have opened up new doors for artists and art buyers and collectors through enabling a reach that permeates global borders.

Artists no longer have to rely on physical locations to sell their art and buyers are not restricted to buying art in their home countries only thanks to online sales. Notably, the value of global online art sales increased by 24% between 2014 and 2015, and that by the year 2020, it is expected to hit US$9.58 billion (Hiscox, 2017). In recognition of this momentous growth in art, a further inquiry into how online sales have affected different markets including primary art galleries, auction houses and art fairs was considered ideal for this research.

The aim was to understand how different art markets are responding to the changes emanating from increased online art sales and what it means for the future of art. This journal details my intellectual journey in writing my research, providing my experiences in the development of ideas, how these came about and how the various sources consulted contributed to creation of the research.

The research process

Developing this dissertation required that I plan effectively in order to ensure that the objectives of the research were accomplished. A summary of the various steps undertaken during the research are illustrated as follows.

Research Focus and Topic

Art in general has undergone significant progress, both in terms of art development and art market transformation. On the other hand, the internet has become an important aspect in today’s world as individuals increasingly gain access to the online technology. E-commerce as it is commonly known is the epitome of internet connectivity, enabling individuals from across the globe access products from all corners of the world through online selling.

Art has not been excluded from this advancement and online sales are continually dominating the art market. e-commerce and its impact on sales was the backbone of this research in a bid to establish how the art market was responding to this development. To suit my research, I opted to study the “The Affect of Online Sales on the Art Market.” This topic would allow me to explore how the art market has changed in the advent of online selling. To further enrich my research, I wanted to explore different art markets and how they have been affected by online sales.

These markets included primary art galleries, auction houses and art fairs, all of which have experienced significant transformation as a result of online sales. By studying each of the listed markets, I would be in a better position to understand how different players in the art market are adjusting to the new model of selling online. At the same time, I felt that studying the various markets would not yield the intended results unless I incorporated case studies to accompany the literature. This would give a better understanding of the how the art market has been affected by online selling by providing real-life examples of the various markets.

Main Ideas

One of the main ideas in my research was the role played by the internet in interconnecting people and hence the resulting convenience in trade. Since the advent of the internet, many possibilities among them online selling have emerged and these have transformed the world to a significant extent. This idea was at the core of the research because it sought to determine how online sales have influenced the art market. By understanding that internet connectivity is responsible for creating the online market, it was possible to deduce why the online market is so large and why it provides limitless opportunities for artists.

The second idea has to do with how players in the art market have positioned themselves to deal with growth in the context of online sales. As physical art sale locations continue to lose market due to the rise of online sales, it is only natural for entrepreneuring entities to refocus their strategy to the direction of online sales in order to capture the growing market. The research brings out this factor through the assessment of online art galleries and how they have managed to capture the online market as the physical galleries record deteriorating sales.

Based on this idea, the study examines the emergence of innovative online techniques to capture the market including the development of apps and websites features that enable buyers to evaluate and purchase art online. In this quest, the research examines popular apps including Magnus and websites such as Artsy, Artnet and Artspace. These not only demonstrate how art is being sold online but also the extent to which artists can reach a large market through such platforms compared to traditional art markets…..

Research Journal

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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

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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

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.

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

Renaissance Art

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 15^th and 16^th 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.

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

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)

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Comparing and contrasting Velasquez and Bernini: Italian (Bernini)

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Personal Preference

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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Images of Women in Modern Art

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Images of Women

From the middle of the 19th century to the 20th century, women were among the subjects depicted most frequently by modern, experimental artists such as Picasso and Matisse. Choose at least 2 innovative works that represent women in any media, dating from 1900-1950s, to analyze in terms of form, content, and the artist’s attitude/approach to his or her chosen subject. Be sure to include analysis of your own reaction to and interpretation of the images you chose, and illustrations of the works discussed. Analyze the use of colors, lines, medium, subjects, symbols, etc

Images of Women

Women during the 19th and 20th century (and even before these periods) were the subject of depiction by most experimental artist. Picasso who was amongst these artists did experiment with women as his subject of paintings a lot of times. The reason as to why the sudden thought to have women as painting subjects cannot be originally traced but can be found in the attitude that a certain painter had towards a particular painting. This essay therefore is going to look at two works that show how women influenced art during this period and why the chosen painters used them as subjects in their paintings.

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Picasso’s famous painting Les Demoiselles d’Avignon (whose subject matter was five women prostitutes and a brothel) caused much uproar from the public from the depiction it created. Picasso used it to contrast between femininity and sexuality on one hand and “African masks” on the other hand. The depiction created by the picture was so shocking even to Picasso’s friends who also happened to be avant-garde artist.

Picasso always regarded African art to represent exorcism and masculinity. Therefore the painting can be regarded as a mix of stylistic and sexual extremism. The painting reflected the Picasso’s bohemia way of life and his association with person of convoluted sexuality.

Augustus Leopold’s Past and Present (1) is another piece of work that used women as its core subject. The painting was painted in the Victorian age which was obsessed with sexual promiscuity and virginity (Betsy, 1989). The painting illustrates the image of a fallen female. During the Victorian period, women were considered susceptible to social evils and they had to be protected at the comfort of their homes to avoid the danger of the world. Women were considered to be open to sexual seduction and the repercussions were unforgivable.

The paintings of fallen women were therefore celebrated because they had in them moral lessons. The painting by Augustus depicts this notion because it shows a husband who has found out the promiscuity of her wife. It has got an oil painting on the wall which symbolises expulsion from paradise and on the floor there is an apple which symbolises the unforgivable sin.

The woman has fallen on the floor asking to be forgiven and her arms are stretched out pointing at the door and the image is reflected by a mirror behind her husband and shows that she will be cast out by her husband. The picture has also got a box house made by her children but it is collapsing which shows that the home is collapsing because of the mother’s actions. The picture shoes Augustus detest of adultery and how he thinks it affects the family; furthermore it shows his feelings of what should happen to a wayward woman.

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Use of lines, colour and shapes on Images of Women

Both painters have used lines in their drawing to express individuality and feelings. They have been able to capture a three dimensional object and represented it into a two dimensional surface and therefore captured art’s important factors. The use of three dimensional objects by both artists has helped the viewer able to look at the objects properly and therefore get a better understanding of the painting.

Both artists are expressing some form of evil in their paintings; the colours that they used bring out this theme clearly. They have both used dull colours which symbolises the gravity of the predicament that society faces as a result of the messages contained in the paintings.

Reference

Betsy, C.R. (1989). Victorian Studies. Indiana University press. Vol. 32, No. 3

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