Literature is one of my favorite art forms. I had "Literary Imagination" with Dr. Peck and my eyes were opened to many new samples.
One of my favorites was "The Yellow Wallpaper" by Charlotte Perkins Gilman. It is a short story written in 1892. The strange story is written in first person through the eyes of a wealthy Doctor's wife. They leave town to a country house as a treatment for her "depression" brought on by the birth of their child. After some time, she begins to hallucinate and see a lady in the yellow torn wallpaper of her room. The most interesting part of this writing to me is the perspective. As she writes this story in her diary, the reader can see how she truly believes that there is a woman living in the wallpaper, "creeping, creeping." The story's overall theme actually has to due with Perkins' own personal experiences with depression and the suppression of women's rights.
Saturday, September 29, 2007
Jabberwocky/week 5
The "Jabberwocky" is a poem with ABAB rhythm. The structure begins with the horrid description of the Jaberwocky (introduction). THe father warns the son about "jaws that bite, the claws that catch!" giving the reading images. This also contributes to the rising action of the storyline. The rising action continues as the knight stops to rest and think. More imagery with the metaphor "eyes of flame" describing the climax as the feared Jabberwocky is perching for its attack. THe falling action begins in stanza 5 as the rhythm changes and the monster is dead. THe reader gets the visuals of the knight proudly and quickly returning with the head of the Jabberwocky to prove its defeat. Stanza 6 expresses joy from both of the characters as they celebrate. Stanza 7 concludes with a repeat of Stanza 1, leading the reader back to the beginning or maybe the repeat is part of the theme-"with enough determination, anything is possible".
Quiz/week 5
The function of art is to satisfy the senses. I believe that the form that the artwork takes (literature or visual), can determine the sense which it affects. However, art such as literature affects all senses-using imagery, so it may depend on the viewer/reader.
Friday, September 21, 2007
Magic with crayola
These pics were emailed to me, I haveseveral more. They are done completely in crayon!!!
me
Hi everyone, my name is Angie Vickers. I am from Vinton county. I am an education major, specifically an intervention specialist. I am currently working on a Bachelor's degree, but I will return for my Master' s here at Rio. I have a wonderful family, which includes my husband and our 9 year old son, Josie, the bassett hound, and two cats, Flash and Climber. I am excited to learn about various areas of the arts, as I have always harbored a love for all things artistic. I have worked with many children ( I have worked in the school system for 5 years) who may not have certain skills in an academic area, but are great at creating. I hope to gain the knowledge gained in this course to accomadate areas of multiple intelligences. I feel that if we as teachers find one area that a child excels in, we may use that to boost any weak areas. My last experience with art was the Art in the Curriculum class with Linda Bauer, and found it very enjoyable. I look forward to working with everyone! Critical Analysis 1
Angela Vickers
Critical Analysis 1
September 22, 2007
“Black Place II” painted by Georgia O’Keefe immediately caught my attention. The oil painting appears dark and mysterious. The colors and shapes demand the consideration of the viewer. This intriguing painting is on display at the Metropolitan Museum of Art in New York. It may also be viewed through the museum’s website: http://www.metmuseum.org/toah/hd/geok/hod_59.294.1.htm . “Black Place II” was completed in 1944 in a period during which O’Keefe had a large turnout of works. This particular canvas is 23 7/8 by 30 inches. Georgia O’Keefe was an American modern painter. She lived one-hundred fifty miles northwest of the Bisti Badlands in Navajo country in Ghost Ranch. She enjoyed Ghost Ranch. She enjoyed many visits to the Badlands with her assistant Mary Chabot. This work at first glance brings a question to mind: Is the artist overwhelmed by sadness symbolized by the darkness of colors or is this the place that she has created in her mind for inspiration?
The colors which were chosen for the “Black Place II” can be considered polychromatic, but with a gradual change. The white actually fades into a gray, then to a deep black with pink tufts inside. The blacks and whites complement each other while the pinks and a single yellow “path” through the middle create a contrast to both. The colors offer a certain ambience of mystery.; the bright hues portray excitement and the dark exhibit strong, deep feelings.
The focal point of this work is demanding path or line separating the strong billows of black and white. The line guides the viewer to the center as it connects to bright white strokes then flowing in and out with an airy lightness. As the eye is following these strokes they connect with the deep black. The eyes end their journey in soft pink upward and leaning strokes. This redefines the space of the painting, giving permission for the eyes to leave the page only to be pulled back in with the white “clouds” and the yellow “road”.
The rhythm is established through both symmetry and color. The repeating elements of both stroke and color paired with the dividing line join to immerse a rich dynamic. The sheer intensity expects to be viewed and cries for attention. The colors are direct opposites coupled with small infections of pink and yellow. The whites stream through as in a musical dance until they begin to fade into darker shades and shapes. The edges become sharper as they move down the canvas until the finally turn black. The areas where these collide are jagged and abrupt creating a struggle. At last, at the bottom, salvation awaits as the soft pinks return serenity.
The overall composition is arranged so that the eyes seem to be pulled deep into the center, creating a balanced and symmetrical work. The unity and high contrast caused by the layering of colors offer an unexpected combination. “Black Place II” is a large scale work containing completely open space, although it invites the viewer to visit again.
These elements signify a strong excitement and interest by the artist. The center line provides the focal point to break apart the monotony of the profound colors. The conflicting style of O’Keefe implies confidence and unique perception. She created this work in order to share her favorite place for inspiration. The area of these Navajo Badlands is where she created most of her works. According to the Metropolitan Museum of Art, “Between 1944 and 45 alone, she completed six canvases, including Black Place II, one very large pastel, and at least nine pencil sketches.” The desolate and barren hills are portrayed through the black and white hues while the pinks portray the clouds, possibly through an aerial perspective. Georgia O’Keefe commemorated her journeys of inspiration through her artistry; she demonstrated stillness with intensity. O’Keefe’s work elaborates an exceptional mind capable of emotional interpretation. She allows the viewer to experience the irony of beauty by allowing darks, lights, movement and tranquility to coexist. The first reaction of sadness was brought on by the dark colors chosen but without appeal to other elements. The second observation brought me closer to the true meaning: a glimpse of true inspiration through the artist’s mind. I know that I will be viewing other works by this artist! Other works from this period such as “The Fate of Animals” by Franz Marc (1913) and Henri Matisse’s later “scissor art” portray the emotions with bright, asymmetrical elements.
The purpose and meaning of this painting are communicated through an emotional reaction; the calmness inside the chaos. The work evokes strong feelings, whether love, hate, or harmony, in the viewer, thus duplicating O’Keefe’s spiritual thoughts about this sacred land. Upon viewing this art work several times and studying the elements and composure, I was abler to see my initial reaction as wrong, teaching me to look beyond the obvious and to explore new worlds.
Critical Analysis 1
September 22, 2007
“Black Place II” painted by Georgia O’Keefe immediately caught my attention. The oil painting appears dark and mysterious. The colors and shapes demand the consideration of the viewer. This intriguing painting is on display at the Metropolitan Museum of Art in New York. It may also be viewed through the museum’s website: http://www.metmuseum.org/toah/hd/geok/hod_59.294.1.htm . “Black Place II” was completed in 1944 in a period during which O’Keefe had a large turnout of works. This particular canvas is 23 7/8 by 30 inches. Georgia O’Keefe was an American modern painter. She lived one-hundred fifty miles northwest of the Bisti Badlands in Navajo country in Ghost Ranch. She enjoyed Ghost Ranch. She enjoyed many visits to the Badlands with her assistant Mary Chabot. This work at first glance brings a question to mind: Is the artist overwhelmed by sadness symbolized by the darkness of colors or is this the place that she has created in her mind for inspiration?
The colors which were chosen for the “Black Place II” can be considered polychromatic, but with a gradual change. The white actually fades into a gray, then to a deep black with pink tufts inside. The blacks and whites complement each other while the pinks and a single yellow “path” through the middle create a contrast to both. The colors offer a certain ambience of mystery.; the bright hues portray excitement and the dark exhibit strong, deep feelings.
The focal point of this work is demanding path or line separating the strong billows of black and white. The line guides the viewer to the center as it connects to bright white strokes then flowing in and out with an airy lightness. As the eye is following these strokes they connect with the deep black. The eyes end their journey in soft pink upward and leaning strokes. This redefines the space of the painting, giving permission for the eyes to leave the page only to be pulled back in with the white “clouds” and the yellow “road”.
The rhythm is established through both symmetry and color. The repeating elements of both stroke and color paired with the dividing line join to immerse a rich dynamic. The sheer intensity expects to be viewed and cries for attention. The colors are direct opposites coupled with small infections of pink and yellow. The whites stream through as in a musical dance until they begin to fade into darker shades and shapes. The edges become sharper as they move down the canvas until the finally turn black. The areas where these collide are jagged and abrupt creating a struggle. At last, at the bottom, salvation awaits as the soft pinks return serenity.
The overall composition is arranged so that the eyes seem to be pulled deep into the center, creating a balanced and symmetrical work. The unity and high contrast caused by the layering of colors offer an unexpected combination. “Black Place II” is a large scale work containing completely open space, although it invites the viewer to visit again.
These elements signify a strong excitement and interest by the artist. The center line provides the focal point to break apart the monotony of the profound colors. The conflicting style of O’Keefe implies confidence and unique perception. She created this work in order to share her favorite place for inspiration. The area of these Navajo Badlands is where she created most of her works. According to the Metropolitan Museum of Art, “Between 1944 and 45 alone, she completed six canvases, including Black Place II, one very large pastel, and at least nine pencil sketches.” The desolate and barren hills are portrayed through the black and white hues while the pinks portray the clouds, possibly through an aerial perspective. Georgia O’Keefe commemorated her journeys of inspiration through her artistry; she demonstrated stillness with intensity. O’Keefe’s work elaborates an exceptional mind capable of emotional interpretation. She allows the viewer to experience the irony of beauty by allowing darks, lights, movement and tranquility to coexist. The first reaction of sadness was brought on by the dark colors chosen but without appeal to other elements. The second observation brought me closer to the true meaning: a glimpse of true inspiration through the artist’s mind. I know that I will be viewing other works by this artist! Other works from this period such as “The Fate of Animals” by Franz Marc (1913) and Henri Matisse’s later “scissor art” portray the emotions with bright, asymmetrical elements.
The purpose and meaning of this painting are communicated through an emotional reaction; the calmness inside the chaos. The work evokes strong feelings, whether love, hate, or harmony, in the viewer, thus duplicating O’Keefe’s spiritual thoughts about this sacred land. Upon viewing this art work several times and studying the elements and composure, I was abler to see my initial reaction as wrong, teaching me to look beyond the obvious and to explore new worlds.
Monday, September 17, 2007
Timeline
Prehistoric:ca 30,000 BC
Woman from Willendork, Austria 22,000-21,000BC
Hall of Bulls Lascaux Caves, France ca 15,000-13,000 BC
Stonehenge 2750-1500 BC
Great Pyramids at Giza 2525 BC Nefertiti 1352-1336 BC
Greek:ca the 5th Century
Parthenon 447-431
Laocoon and His Sons175-150 Bc
The Sortie of Messologhi by Theodore Vryzakis mid 1800's
Roman: ca the 2nd Century BC and the 1st Century
The Arch of Titus, Domitian 81BC
Fresco from the Villa of Mysteries. Pompeii, 80 BC
1000 BC Statuette of Amun
The Panthenon, Rome, Italy
Middle Ages/ Medieval:the longest era ever; 400 AD through 1100 AD
Notre Dame Cathedral
Christ Pantokrator mosaic from Daphnik, Greece, ca 1080-1100
The Mourning of Christ-Giotta 1305AD
Renaissance: The 1400's and 1500's
The Last Supper- Leonardo DaVinci 1498
David- Michaelangelo 1501-1504
The Creation of the World- Bosch 1504
The Temptation of Saint Anthony Grunewald 1515
Madonna wiht the Long Neck- Parmigianino- 1534-40
Bodiam Castle, England, Sir Edward Dalyngrigge, 14th century
Aeneas and his Family Fleeing Troy- Annibale Carracci 1595
Equestrian Portrait of the Duke of Lerna -Peter Paul Rubens-1603
The Virgin and Child Adored b Angels- Peter Paul Rubens- 1608
Sant'Andrea al Quirinale- designed by Gian Lorenzo Bernini and Giovanni de Rossi 1658-1678
Neoclassical: the 18th Century
Cathedral of Vilnius, Laurynas Gucevicius, 1783
the Petit Trianon, Verailles, Ange-Jacques Gabriel 1762-68
The Fury of Athamas, John Flaxman, 1790-94
Cupid and Psych, Franois Gerard, 1798
Cumberland Terrace, Regent's Park, London, John Nash, 1825-27
Mrs. Daniel Strobel, Jr. (Anna Church Strobel) and Her Son George-John Vanderlyn 1799
Apollo ballet, George Balanchine, 1928
Sappho on the Leucadian Cliff, Morpheus and Iris, Pierre-Narcisse Guerin-1811
Woman from Willendork, Austria 22,000-21,000BC
Hall of Bulls Lascaux Caves, France ca 15,000-13,000 BC
Stonehenge 2750-1500 BC
Great Pyramids at Giza 2525 BC Nefertiti 1352-1336 BC
Greek:ca the 5th Century
Parthenon 447-431
Laocoon and His Sons175-150 Bc
The Sortie of Messologhi by Theodore Vryzakis mid 1800's
Roman: ca the 2nd Century BC and the 1st Century
The Arch of Titus, Domitian 81BC
Fresco from the Villa of Mysteries. Pompeii, 80 BC
1000 BC Statuette of Amun
The Panthenon, Rome, Italy
Middle Ages/ Medieval:the longest era ever; 400 AD through 1100 AD
Notre Dame Cathedral
Christ Pantokrator mosaic from Daphnik, Greece, ca 1080-1100
The Mourning of Christ-Giotta 1305AD
Renaissance: The 1400's and 1500's
The Last Supper- Leonardo DaVinci 1498
David- Michaelangelo 1501-1504
The Creation of the World- Bosch 1504
The Temptation of Saint Anthony Grunewald 1515
Madonna wiht the Long Neck- Parmigianino- 1534-40
Bodiam Castle, England, Sir Edward Dalyngrigge, 14th century
Aeneas and his Family Fleeing Troy- Annibale Carracci 1595
Equestrian Portrait of the Duke of Lerna -Peter Paul Rubens-1603
The Virgin and Child Adored b Angels- Peter Paul Rubens- 1608
Sant'Andrea al Quirinale- designed by Gian Lorenzo Bernini and Giovanni de Rossi 1658-1678
Neoclassical: the 18th Century
Cathedral of Vilnius, Laurynas Gucevicius, 1783
the Petit Trianon, Verailles, Ange-Jacques Gabriel 1762-68
The Fury of Athamas, John Flaxman, 1790-94
Cupid and Psych, Franois Gerard, 1798
Cumberland Terrace, Regent's Park, London, John Nash, 1825-27
Mrs. Daniel Strobel, Jr. (Anna Church Strobel) and Her Son George-John Vanderlyn 1799
Apollo ballet, George Balanchine, 1928
Sappho on the Leucadian Cliff, Morpheus and Iris, Pierre-Narcisse Guerin-1811
Michael and Emma Clara Pearle- Rembrandt Pearle 1826
Hiawatha - Augustus Saint Gaudens 1874
Romantic:
Lindisfarne Castle, Holy Island- Thomas Girtin 1797
Wanderer Above the Sea of Fog- Caspar David Friedrich
"The Legend of Sleepy Hollow"-Washington Irving 1820
Liberty Leading the People- Eugene Delacroix 1830
The Raven- Edgar Allen Poe 1845
Moby Dick- Herman Melville 1851
Ophelia- John William Waterhouse 1889
Modern:The 20 th century 1850's-1999
Egyptians Raising Water from the Nile- John Singer Sargent 1890-91
Promenade Among the Olive Trees -Henri Matisse 1905-06
The Fate of the Animals -Franz Marc 1913
The Bargeman-Fernand Leger 1918
Black Iris-Georgia O'Keefe 1926
Contemporary:
Sunset at Sea-Alfred Stevens 1882
Christina's World- Andrew Wyeth 1948
Pond With Goldfish- Joseph Raffael 2004
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