Drawing The Eye: This Assignments Provide A Deeper Un 607125

Drawing The Eyethis Assignments Provide A Deeper Understanding Of Th

Drawing the Eye this assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format Based on the video, when the artist describes his process, he states that he is “drawing the eye without drawing the eye,” what do you think he meant by this idea? Why do you think this process, going from basic or general towards the specific or detailed, is a good way to draw? · Cindy Sherman, Untitled Film Still #21, 1978 This assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format According to the video, how has the artist, Cindy Sherman, explored the theme of identity in her work? Why is photography a good medium to explore these ideas? · Gaudà, Church of the Sagrada Famàlia, 1882 This assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format According to the commenters in the video, Gaudi’s Church of the Sagrada Familia is an inventive synthesis of very eclectic elements and structures. Can you describe at least three of these elements and structures? · Botticelli, The Birth of Venus, This assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format According to the presenters in the video, what are two ways Botticelli’s The Birth of Venus is different than other paintings from the Renaissance period? · Olmec Mask This assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format According to the video, what is one way the Aztecs dealt with artifacts older than their culture that is similar to how we deal with ours? What is one way that it is different? · Duchamp's Shovel: Art as Concept This assignments provide a deeper understanding of the content through reflecting and responding to the video. Write one or two paragraphs responding to the assignment question. MLA format From watching the video discussion on Marcel Duchamp’s In Advance of the Broken Arm, how do you think this art challenges our idea of what art can be? Also, the narrator says he thinks Duchamp failed. What was Duchamp trying to do that he apparently was not able to do? Based on images formally analyze the works on display. Keep a list of all of the elements and principles of design handy to help identify them. Remember to go beyond just naming the element or principle, see if you can describe the quality of each. For example, don’t just say you see lines, describe them and how they work in the picture (vertical, horizontal, gestural, etc.). 1-2 paragraphs. MLA format Elements of Art Line - We do not see any actual lines in the painting, but there are some linear elements and implied lines. The strong horizontal of the shoreline is echoed by the horizontal seats of the boat. We also see two strong diagonal thrusts in the oar and the man’s left arm (this slightly curved diagonal continues up through the woman’s right arm). These help create the deep perspective of the space. We also see an implied line formed by the woman’s glance towards the man’s face. Shape - There is some large, bold curvilinear shapes formed by the boat and the sail. Theses curved shapes echo each other. The front brim of the woman’s hat also repeats this curve. The water forms a defined negative shape in the composition and the man’s back is so dark we perceive a large organic shape in the foreground. Space - We see an interesting dichotomy of space in this image. It shows both deep space, with the horizon line so high up in the picture and the perspective created by the oar and the man’s arm, and shallow space formed by the large, flat shapes of the boat and man’s back, giving us an intimate, tilted-up view of the boat and people. Color and Value - The color harmonies are mostly analogous with green and blue shades. The baby’s pink dress offers a stark contrast. There is a huge value contrast in the picture, formed by the dark values of the man’s clothes compared to the lighter tones of the rest of the picture. Design Principles Unity and Variety - The picture is unified by the overall color scheme and repeated curvilinear shapes of the boat and sail. The picture is enlivened by the variation of space (deep and shallow) and the high-contrasting values of the man and the rest of the image. There is also strong contrast between the horizontality of the shoreline and the repeated curved shapes. Balance - The painting is asymmetrically counter-balanced between the large dark figure of the man and the shape of the sail and diagonal of the oar leading our eye back to the left. Emphasis - We can say the focal point of the picture is the infant. This is created by the contrasting color, the framing of the baby by the edges of the boat and the shape of the figure, the centralized location within the canvas, and “arrow” formed by the man’s arm and oar. Line - An implied horizontal line is formed by the heads of the soldiers. This same line continues through the gun barrels towards the central figure with raised arms and the heads of the peasants behind him. This line creates a strong division between the top and bottom halves of the picture. Shape - The figures in the picture can be seen to create two main opposing shapes in the image. The larger, rectangular shape is formed by the row of soldiers/ firing squad. The smaller, squared shape is formed by the huddled peasants directly across from the firing squad. Value - The most important element in this image is value. The emotion and symbolic content of the work is heightened by the strong value contrasts of the bright (pure) central figure compared to the dark (dreary, evil) soldiers. Design Principles Unity and Variety - The painting is unified by the overall dark tones and by the repeated types of shapes of the soldiers’ hats, backpacks, boots, etc. Variation is evident in the high contrast created by the central figure and also the raised arms, which contrast with the other peasants’ arms that are mostly covering their faces. The position of the central figure’s arms is echoed in the dead peasant in front on the ground. Variety is also created by the contrasting arrangements of the soldiers (rigid, organized) versus the peasants (random, chaotic). Balance - The painting is asymmetrically balanced by the opposing masses of the soldiers and peasants. Emphasis/Dominance - A major principle at work in this piece is emphasis created by the main focal point of the central, brightly lit peasant. Rhythm - The repetition of the forms that make up the firing squad (rifles, boots, etc.) creates visual rhythm. This accentuates the machine-like coldness of the soldiers. Gordon Parks, American Gothic, Washington D.C. This work is in the public domain in the United States because it is a work prepared by an officer or employee of the United States Government as part of that person’s official duties under the terms of Title 17, Chapter 1, Section 105 of the US Code.

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The statement by the artist about “drawing the eye without drawing the eye” suggests a conceptual approach to art that emphasizes capturing the essence or impression of an image without focusing on detailed realism. This philosophy aligns with the idea that effective drawing begins with simple, generalized shapes and structures, gradually refined into specific details. By starting with broad contours and general forms, the artist can establish composition, proportion, and perspective before immersing in intricacies, reducing the likelihood of inaccuracies and allowing a natural evolution of the artwork. This method employs a top-down approach—initially focusing on overarching shapes and relationships, then honing in on finer features—ensuring cohesiveness and balance in the final piece. Such a process not only provides clarity and control but also encourages a fluid transition from conceptual understanding to detailed execution, which is crucial for capturing the spontaneity and liveliness of the subject matter.

Turning to Cindy Sherman’s “Untitled Film Still #21,” her exploration of identity manifests through the creation of fabricated personas within her photographs. Sherman’s work delves into the cinematic and cultural archetypes that shape perceptions of womanhood and societal roles. By assuming various roles and disguises, Sherman questions the stability and authenticity of identity, illustrating that identity is performative and fluid rather than fixed. Photography serves as an ideal medium for this exploration because it allows Sherman to craft and manipulate visual identities directly and spontaneously, capturing the nuances of expression, costume, and setting that define character. The immediacy and reproducibility of photographic images make it possible to produce multiple variations of a single persona, emphasizing the constructed nature of identity. Sherman's work challenges viewers to reconsider assumptions about identity's authenticity and highlights the performative aspects embedded in visual culture.

Gaudí’s Sagrada Família exemplifies an eclectic synthesis of architectural elements, showcasing his innovative approach to design. One prominent feature is the use of organic, flowing forms that mimic natural structures—seen in the undulating facades and curvilinear towers. Another element is the integration of symbolic Christian iconography with structural innovation, evident in the sculptural decoration that embodies biblical themes. A third feature is the structural complexity of the basilica's facades, incorporating elaborate, twisting shapes that provide both aesthetic appeal and structural support. Commentators highlight that Gaudí’s church combines Gothic style's verticality with Modernisme's decorative richness, resulting in a unique synthesis that defies traditional architectural boundaries. These elements collectively demonstrate Gaudí’s inventive use of eclectic motifs, blending functional engineering with artistic expression, making Sagrada Família a landmark of architectural innovation.

In Botticelli’s “The Birth of Venus,” two significant differences from other Renaissance paintings are evident. Firstly, the mythological subject matter marks a shift from the religious themes dominant during the Renaissance, emphasizing humanist and classical ideals. Secondly, Botticelli’s style distinguishes itself through the use of elongated figures, delicate lines, and ethereal quality, creating an almost dreamlike atmosphere. This contrasts with the more naturalistic and proportionally precise figures typical of contemporaries like Leonardo da Vinci or Michelangelo. Botticelli’s emphasis on linear grace and symbolic tone emphasizes beauty and idealism, setting his work apart. These differences highlight a broader Renaissance fascination with classical mythology and a move towards emphasizing expressive style alongside scientific observation.

The Olmec mask exemplifies how cultures handle artifacts that predate or are older than their own. A similarity to modern practices is the preservation and reverence for ancient artifacts, often kept in museums or studied for their historical significance. However, a key difference is that the Aztecs actively repurposed older artifacts within their culture, incorporating elements of older styles into their own ritual practices and aesthetic expressions, instead of merely preserving them as objects of the past. This adaptive reuse reflects a cultural continuity and respect but also a reinterpretation that gives new meaning. Today, many artifacts are often studied and displayed out of context or conserved to prevent deterioration, whereas the Aztecs integrated ancient objects into ongoing cultural practices, demonstrating a dynamic relationship with their history.

Marcel Duchamp’s “In Advance of the Broken Arm” exemplifies a radical challenge to traditional notions of art. By presenting an ordinary snow shovel as art, Duchamp questioned the very definition of artistic creation, emphasizing the idea over aesthetic craftsmanship. This conceptual approach suggests that art is not solely about visual beauty but includes the ideas and context behind it. The narrator’s view that Duchamp failed alludes to the idea that Duchamp might have sought to elevate everyday objects to the status of art purely through concept, but perhaps his challenge was too abstract or misunderstood. Formally analyzing the work reveals its simplicity—industrial, functional, and devoid of decorative elements—relying solely on its status as a ready-made object. Duchamp aimed to redefine art—placing emphasis on intellectual engagement rather than technical skill—but his true success, as some critics argue, remains debated because the art world was unprepared or resistant to his radical notion.

References

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