Andrea del Sarto Florentine Head of a Woman 1515 Black Chalk 33 x 22.4 cm This is a High Renaissance drawing by Andrea del Sarto. The mark is very detailed in parts, but is used in short strokes for others to create the idea of depth and value. The artist employed hatching and smudging in the drawing. He also exhibited the technique evidential of the High Renaissance by using sfumato, or the subtle transition in value. | Jackson Pollock Number 2, 1951, 1951 1951 Collage of paper soaked in glue, pebbles, twine, wire mesh, newsprint, and oil on fiber board From afar, this looks like a painting (albeit a bumpy one). The splattered oil and glue create the appearance of paint in the style traditional of Jackson Pollock, an action painter. The color scheme is fairly neutral, but has warm undertones. I believe this helps to emphasize texture, which is the element most prominent in this work. | Claude Monet The Bridge at Argenteuil 1874 Oil on Canvas 60 x 79.7 cm This painting by Monet looks very different from far away than up close. Up close it is only colors and brushstrokes. The strokes in the water are heavily layered, longer, and faster than ones, say, in the sky. This creates movement and makes it look like the water is flowing. The strokes in the trees are thickly layered and shorter, like leaves. People that can be seen from a distance are only blobs up close. The "blue" water is made up of yellow, purple, green, blue, red, and white. Light is shown through shadow and reflection on the water. The composition looks somewhat Z shaped, so the eye ends on the boat and tree in the lower right hand corner. |
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Marlene Dumas The Woman of Algiers, 2001 Oil on canvas 78 3/4 x 39 1/2 in. The Museum of Contemporary Art, Los Angeles Marlene Dumas is a contemporary artist living in Amsterdam. She is a well known paper and social activist. Dumas takes images seen in the media and paints them - with a twist to make it sickening and raw. This painting is based on a picture seen in a French tabloid. REACTION I really like this work: it seems sketchy, almost airy, but the message and color scheme is heavy, which creates contrast. The painting is clearly of a human form, but the black censorship bars are stark in comparison. The bars are not fully black, or fully rectangular: they remind me of some of the work done in layering shades of black by some of the non-objective artists we have studied. I also like how loose the strokes are: being a perfectionist, I'm not very good at that, but I love it in other work. This seems reminiscent of Degas. The use of pale blue and pink for value seems to add almost sarcastic sensitivity to the other wise monochromatic color scheme. http://www.newyorker.com/magazine/2014/12/01/wrap-star
Judith Scott was an American sculptor who creates art through layers: starting with an object (or objects), she layers materials, such as string, yarn, twine, etc., over and over until the initial object was unrecognizable. Judith Scott began painting in her 40s and died at 61. She was born with Down's Syndrome and was deaf. One of her untitled works with the artist is pictured here. |
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June 2017
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