Universal Sacred Space - Picasso Group

Our group designed a Universal Scared Space that is welcoming to all types of people. The Encyclopedia of Sacred Spaces assignment help each one of us become familiar with different sacred spaces of different religions, from different parts of the world, and at different periods in history. We tried to compose the sacred space of features or ideas present in the construction of each sacred space.

The location of our sacred space was chosen to be at a high elevation, like near the top of a mountain. This was chosen because of the relation by most religions to a higher entity and their association with the heavens above us. Some structures even glorified the element of elevation, such as the Ziggurat of Ur, which was constructed to look similar to a mountain. As well as being high up we also want the space to be near a water source such as a waterfall. Water is symbolic of uniting all men on earth. Everyone is dependent on water and throughout history civilizations have been constructed near water because of its importance in survival.

The material used to construct the space will be primarily stone. Stone has been used in ancient structures, such as the Great Pyramid, the Parthenon, and Stonehenge. Today stone is still regarded as a luxurious building element, like granite and marble. With stone, no ornamentation is needed on the walls or ceiling. In this day in age religious symbols are often regarded as offensive to other cultures with other beliefs. To respect all beliefs we felt it necessary to avoid religious symbols and keep all references general and subtle.

The architectural style of our space will be a cylindrical wall structure with a dome ceiling, similar to the Pantheon. A cylindrical wall is round or never ending, such as the circle is used in Islamic and Buddhist cultures. Windows will also be present along the walls of the space so the circle allows no end of the view that corners would. The dome ceiling allows the highest point, the apex of the semi sphere, to be located at the exact center of the structure. Again this alludes to the rest of space revolving around a higher entity. The layout of the space will be a central commutative area with private worship rooms located around the perimeter. The center area allows people of different cultures to interact and become familiar with one another’s beliefs and the rooms offer people private time among people with the same system of belief.

The interior of the space will be supported by arches similar to the Chartres Cathedral and a staple of the Gothic architecture. The arches are supported by pillars which surround the central area. Pillars are used in Greek architecture such as the Parthenon and give the element of height to the interior. At the center of the dome ceiling an open skylight will help to bring in the sounds and elements of nature, like the outdoor setting of the Shrine to Vairocana Buddha. Many religions associate their beliefs with nature, like the Shinto worshippers and the Egyptians. The walls separating the interior from the exterior rooms are constructed with semi-opaque windows to give an Eastern Asian feel to the space. These also help to separate the individual spaces without totally isolating them.

We feel that our sacred space is welcoming to people of all cultures and all beliefs. The atmosphere is peaceful and inviting for people to come and network with people they may not encounter in everyday life. We feel the subtle symbolisms tie in multiple religions and places of worship and make this truly a sacred space for all.

The Parthenon

GENERAL DESCRIPTION
The Parthenon is a temple for the Greek goddess Athena, the patron of Athens and goddess of war and wisdom, and is located on the Acropolis that overlooks the city of Athens, Greece. Today it is seen as a symbol for ancient Greece and is currently being restored and partially rebuilt.
The Parthenon has survived many historic events and undergone vast changes in the way it has been utilized. It originally replaced an older temple at the same location known as the Pre-Parthenon or Older Parthenon which was destroyed in 480 BC by a Persian invasion. The Parthenon was used as a treasury for the Athenian Empire, a Christian church in the 6th century AD, and a mosque in 1460. A large explosion caused by ammunition inside the Parthenon being ignited during a Venetian bombardment caused widespread damage to the building in 1687.

ARCHITECTURAL DESIGN
The architects for the Parthenon were Iktinos and Kallikrates and the entire project was under the supervision of the sculptor Phidias. The Parthenon was built architecturally as a temple and some consider it to be the most perfect Doric temple ever built.

SOURCES
http://en.wikipedia.org/wiki/Parthenon

Basilica of San Vitale

Basilica of San Vitale
By Vicki Galati


The Basilica of San Vitale in Ravenna, Italy is one of the most important examples of Byzantine art and architecture in Europe. It is a Byzantine church that is an expression of early Christian art and architecture. Archbishop Maximian consecrated the church in 547 AD. Its shape is octagonal with a dome and a cylindrical bell tower. The interior is decorated with marble and mosaics.
The structure, an octagonal plan, combines Roman and Byzantine elements such as the dome, doorway shapes and stepped towers found in Roman structures as compared to the polygonal apse, capital and narrow bricks of Byzantine structures. The apse is flanked by two chapels, typical for Byzantine architecture.
The church was started by Bishop Ecclesius in 527 and completed by the Bishop of Ravenna in 548. The architect, considered to be among the best architects of this period, is unknown.
The Basilica of San Vitale is most famous for the largest and best preserved group of Byzantine mosaics outside of Constantinople. As the only major church from the period of Emperor Justinian to survive intact to the present day and the only structure reflecting the design of the Byzantine Imperial Palace Audience Chamber still in existence, the church is the most important piece of Byzantine history.
The church was supposedly erected on the site of the martyrdom of St. Vitalis. There is some confusion as to whether this is the St. Vitalis of Milan, or St. Vitale.
The construction of the church was sponsored by a Greek banker, Iulianus Argentarius although the real sponsor may have been the emperor who used these types of construction projects to speedily incorporate new territories into the empire.
The Church of San Vitale was used as a model by Charlemagne for his Palatine Chapel and was used by Filippo Brunelleschi to design the dome of the Duomo of Florence.
The great triumphal arch is decorated with 15 mosaic medallions, depicting Jesus Christ, the twelve Apostles and Saint Gervasius and Saint Protasius, the sons of Saint Vitale.
The central section is surrounded by two ambulatories, the upper one reserved for married women. A series of mosaics above the triforia (a shallow gallery of arches within the thickness of inner walls), depict the stories of Abraham, Isaac, Moses, the Burning Bush, Jeremiah and Isaiah as well as the story of Cain and Abel. A pair of angels, holding a medallion with a cross, crowns each lunette. On the side walls the corners have mosaics of the Four Evangelists dressed in white. The evangelists are symbolized by the angel, lion, bull and eagle.
A cross-ribbed vault in the area reserved for clergy (known as the presbytery) is decorated with mosaics of leaves, fruit and flowers, moving toward a crown encircling the Lamb of God. The crown is supported by four angels and every surface is covered with flowers, stars, birds and animals. On both sides, are representations of the cities of Jerusalem and Bethlehem that symbolize the human race. Jerusalem represents the Jews while Bethlehem represents the Gentiles. All these mosaics are reflective of the Hellenistic-Roman tradition in that rich colors and a certain perspective was used and the landscapes, plants and birds are vividly depicted. They were finished when Ravenna was still under Gothic rule.
In the apse (a polygonal section of the sanctuary) are two famous mosaic panels. On the left is a mosaic of the Emperor Justinian, dressed in purple with a golden halo, standing next to court officials and clergy. The halo around his head gives him the same aspect as Christ in the dome of the apse. Justinian stands in the middle, emphasizing that he is the leader of both the church and state. The figures are placed in a V shape with Justinian in the front and in the middle to show his importance. On the right side is Empress Theodora, also with a golden halo, crown and jewels, and several court ladies. She is almost depicted as a goddess. “These panels are almost the only surviving examples of Byzantine secular mosaic art, and offer a glimpse into the glory, splendor and pomp of the Byzantine world.” (Wikipedia, the Free Encyclopedia, online website).

I read several online articles regarding the Basilica of San Vitale and discovered that many feel that the church is peaceful and quite beautiful. It is surrounded by many other buildings of the same architectural type and is a popular tourist attraction. Even today many people find their way to the church to pray.

Jonathan Freeman

The Great Pyramid of Giza – Picasso Group

General Description

The Great Pyramid of the ancient Egyptians is located in what is known as the Giza Necropolis, which consists of two other pyramids as well. The pyramid was created during the reign of Pharaoh Khufu. The pyramid was built to serve as a tomb for both him and his wife. It is the only surviving wonder of the seven wonders of the ancient world. Archeologists estimate the construction of the great pyramid took approximately 20 years to complete and was finished around 2560 B.C.

Architectural Design

Although the Great Pyramid appears to be a fairly simple design, however, the shear size of it makes it so impressive. The pyramid is about 140 meters tall with each side of the base measuring about 230 meters. The pyramid is constructed of large limestone blocks, some of which weigh in excess of 70 tons. It is debated whether the stones were brought from a nearby quarry or constructed on-site out of a concrete type material. Originally a white limestone casing covered the stepped surface of the pyramid giving it a smooth surface. Since then the casing has broken off and surrounds the pyramids in piles. The pyramid contains passageways which lead to three chambers: one for the king, one for the queen, and one which is incomplete.

Harmony with Nature

The Great Pyramid has some very unique relations with nature which give some complexity to the structure. Its four sides face the cardinal directions, north, south, east, and west, almost perfectly. Built in a time where transportation of materials over large distances was almost nonexistent the pyramids hold a unique bond with the surroundings. The pharaoh’s vizier, architect of the pyramid, had to create a design which utilized material which could be obtained nearby. The Egyptians used an art form known as Dwat when constructing the three pyramids of the Giza Necropolis, where structures on earth are built to reflect images of astronomy. The three pyramids are related to one another so that they are almost exactly proportional as the three stars are of Orion’s Belt.

Symbolism & Sacred Objects

The Great Pyramid is built to serve both as a tomb and a monument of the Pharaoh. It stands as a focal point of the surrounding civilization for many generations to come. A pharaoh took pride in the pyramid constructed under his rule because in some since it was a testament to their accomplishments. Although hieroglyphics are commonly used by the Egyptians to tell stories of the past the Great Pyramid actually contains none.

How it is used by Worshippers

The pyramids of the Egyptians don’t serve so much as a place to worship as it does a portal to the afterlife. The chambers created for the pharaoh and his queen housed their mummified bodies as well as many objects of value to be used in the afterlife. The mummification process used to prepare bodies for burial involved removal of all the internal organs and rapping the body in linen. The bodies were then placed inside sarcophagus, a type of wooden casket, and placed in the burial chamber. The ironic part of the kings tomb is that the sarcophagus is too small to contain a human body. Two small vent shafts were found in both the king’s and queen’s chambers which historians now believe served as pathways for the soul to escape to the afterlife. The Egyptians believed there were five parts to a human soul: the Ren, Ba, Ka, Sheut, and Ib. Unfortunately the pyramids not only served as a beacon to the future generations but also to grave robbers.

Sources

“The Great Pyramid.” Wikipedia. April 4, 2008 http://www.wikipedia.com/gpstats.html.

“Great Pyramid Statistics.” Crystalinks. April 4, 2008 .

Shinto Shrine

General Description
Shinto is a Japanese term meaning “the way of the kami”. A kami is a Japanese deity. These deities are worshiped in Shinto Shrines. Originally, Shinto worshipers used all natural areas for worshiping such as rivers, streams, caves and waterfalls. This is because it is believed that these deities live in natural things such as rocks, trees etcetera. Later on, the worship included not only deities but also ancient relatives. The addition of the worship of ancient ancestors later led to the making of Shinto Shine Structures where the kami live instead of worshiping them outdoors. These Shrines began as single Structure houses made entirely of tree products. They now often consist of groups of buildings in a complex.
Architectural Design
Shinto Shrines are usually made entirely out of natural materials. The Main Shrine at Ise, shown in the picture is considered the most holy of the shrines. “It is rebuilt every twenty years to exactly the same specifications” (Exploring Art). No nails are used. Wooden pegs are used and each piece of lumber from the same tree is placed next to each other. The Shrine is not painted in order to preserve the shrines natural appearance. A Torii is placed at the entrance of each shrine. This is a wooden gate entrance that does not have a door. It has become a common “symbol representing Shinto practices and a popular icon for Japan” (Berkeley). Also, in all Shinto Shrines, some sort of water bath or fountain is placed for purification purposes. It is used for rinsing hands and mouths before going near or entering the shrine.
Harmony with Nature
The Shinto religion connects strongly the bond between man and nature. This is why originally before the shrines, the kami was worshiped outside in very special natural areas as mentioned earlier. Other evidence of harmony with nature is after entering through the Torii of the shrine, all shrines have a pathway called a sando that connects the entrance to the front of the structure. The point of it is to prepare the worshiper as he walks along. On the way to the structure, often there are streams to cross using a “sacred bridge to cross called a shinkyo (Berkeley).
Symbolism and Sacred Objects
In the shrines, the kami would be symbolized using objects. Later, the Buddhist religion began to influence some of the Shinto religion and occasionally, a kami is symbolized by actual statues. The Shinto religion also influenced the Buddhist religion giving much importance to nature, (Berkeley). A mirror is often placed inside the structure to symbolize the Kami entering it.
How It Is Used By Worshipers
Special rituals are done inside the Shrine to invite the kami in. Also, offerings of food are given to the kami. A communion meal also takes place where humans eat at the same meal as the kami to make a union between the two. People also perform dances to create a union between them and the kami.
Sources
http://orias.berkele.edu/visuals/japan_visuals/shintoB.HTM

Exploring Art, A Global, Thematic Approach. Second Edition. Margaret Lazzari, Dona Schlesier; 2005.

Notre Dame du Haut

Notre Dame du Haut

General Description
Located near Ronchamp, France, Notre-Dame-du- Haut sits atop a hill that has been a pilgrimage site since the thirteenth century. Though the parish population is small, thousands of visitors come every year on important feast days. The original structure was destroyed by German army bombs in the fall of 1944. Le Corbusier started on the rebuilding project in 1950. The new building was to have a few difficult requirements: able to serve a parish of about 200, but also capable of dealing with the huge crowds on feast days.
Architectural Design
The structure is made mostly of concrete and is comparatively small. The interior walls are white and the ceiling grey. The floor of the chapel follows the natural slope of the hill down towards the altar. The interior of Notre-Dame-du- Haut has an open use of light. The main source of interior light is the south wall, which contains many windows of different sizes. These windows direct rays of light on the altar during Mass. Light is also constantly bathing the Virgin Mary in its alcove. Most dramatic is the tiny slit of light between the top of the wall and the roof, which gives a ‘halo’ effect.
Harmony with Nature
Whereas most churches have the task of shaping out a sacred space in the midst of the hectic, irreverent world, the hill at Ronchamp is a sacred location already outlined by topography. Because the structure is atop a hill, the religious journey starts when one begins the climb to the church.
Symbolism and Sacred Objects
Notre-Dame-du-Haut is not a traditional church. Instead of portraits of biblical stories, the church uses more abstract symbols of religion. The way the light from the windows combines with the color from the glass it is as though one can feel the Holy Spirit. The shapes of the building are also non-traditional, but do come from characteristics of Christianity.
How it is used by Worshippers
Usually there are few people worshipping, but because it is a pilgrimage chapel huge crowds will show up on feast days. In order to accommodate these large crowds, Le Corbusier also built an outside altar and pulpit, so the people can sit or stand on a vast field on the top of the hill. From the ruins of the chapel destroyed during WWII, a statue of the Virgin was rescued. It is now enclosed in a special glass case in the wall, and it can be turned to face inward when the congregation is inside, or to face outward toward the huge crowds.

Sources
http://en.wikipedia.org/wiki/Notre_Dame_du_Haut
http://www.arch.mcgill.ca/prof/mellin/arch671/winter2000/mchan/precedents/corbu.html

Paragone Group Discussion

In our group discussion we had many points that agreed with what Leonardo's Paragone covered but also points that refute certain statements. Since all of us recently spent a week as either a sculptor or a painter, I think our opinions may have been slighty biased. It appears though, that Leonardo may have been slightly biased in his opinions, as if considering some points of sculpting superior is a direct criticism of his efforts as an artist.

The Paragone points out key differences between painting and sculpting, such as the physical work involved in making the piece of art. As Leonardo describes it, a sculptor sweats in his labor, surrounded by noise while the artist sits to paint while music is playing in the background. There is some truth to this but the tone appears to disgrace sculpting as merely a physical work while painting is a much more noble form of art. Our general consensus was, while sculpting may be a more physically demanding art form, both painting and sculpting are reputable with their own specific qualities and difficulties. It may in fact be the difficulties in each respective art form that construct its points of admiration by the audience.

A sculpture is physically demanding and a meticulous process, removing just enough material to create the right detail. It is, however, this detail which makes sculptures attractive and respected as an art. Sculpting , in general, must be able to be viewed from any angle. A painting also has its difficulties, using colors, lines, and other features effectively to potray the intended mood. Without these qualities a painting is just a picture not a piece of art. It is these qualities which give paintings their mood and touch the audience. Although none of us are professional artists each of us can sympathize in our particular struggles during our week as an artist.

Although we came to no distinct consensus as to which art form has more merit than the other we understand how the Paragone is effective in raising the discussion. It makes each one of us address the strong points of each form of art and realize what in fact makes them art. It also helps us to share our difficulties in making our piece of art.

I chose to do a drawing from a Leonardo da Vinci perspective. The black and white drawing above shows a man pulling his pant leg over his cowboy boot as he sits in a wooden chair. The setting is in a very simple indoor space with a wooden floor and a fireplace in the background. The wooden boards of the floor offered a very useful way of giving the aerial perspective of the room. Other tools include the difference in detail of objects up close compared to those in the background. Another key element is the presence of the right boot by the fireplace, which has very blurred detail compared to the left boot and is considerably smaller in size. The vanishing point is the fireplace and the eye is specifically drawn to the fire itself. The vertical lines of the fireplace run on either side of the fire and the lines of the boards converge in front of the fire. I felt that by doing the drawing in black and white the importance of utilizing other elements besides color to convey the linear perspective was emphasized.

Storm

I decided to draw a picture for this project, and let me just say now that I know I have very little artistic talent when it comes to drawing. Like many, I had very extravagent ideas for what I wanted to draw but realized my limited ability would make it impossible. So this is what I came up with.
To show atmospherical/aerial perspective I decided to attempt at creating mammatus clouds (the bowl-like shapes pertruding from the bottom of the cloud). There are fewer the closer to the front of the picture and as the horizon gets farther away they are bunched up from the viewer's perspective. I also tried to darken the shades the closer you get to the horizon. I included trees in the foreground and background to enhance the scale difference. The vanishing point is on the horizon at the end of the road.

I guess I was going for a realistic style but not having the experience necessary I do not think I succeeded. I had to draw/color the foreground objects first to make sure I didn't color over anything that was more prominent. While I already knew painters had impressive talent I am even more envious of their ability after doing this project (but I don't think I"ll change my major just yet).

I chose Michelangelo for my project and now that I have gone through four or five bars of soap just to produce a forgettable sculpture of a canoe, I have an even greater appreciation of the talent, patience and effort it takes to bring a work of art like "David" to completion. I would think that a sculptor would have to be in good physical condition to be able to chisel marble and at the same time use the fine motor skills needed to be able to make the precise cut that is required for some of the detail.

The subtraction method does not give the artist any room for error. If one makes a cut that is too deep and/or gouges the medium at a critical point in the development of the sculpture then there is no "fixing" it.

When I started my first attempt I used a steak knife. When I couldn't handle the steak knife I chose an Exacto knife. I even tried heating a butter knife to see if it would help me make better cuts. I ended up using one of my husband's pocket knives since it was smaller and easier for me to handle.

Vicki Galati

Michelangelo Project

Using subtraction to create something out of soap was even more difficult than I anticipated. I went through four bars of soap! At first, I tried to force something out of the soap and that did not go well. After three disasterous bars, I finally stopped forcing and relaxed a bit. I ended up carving a baseball cap, because easily enough it was raining and I happened to be wearing one. Since I had such a difficult time carving soap, I have no idea how anyone can carve marble. It takes such patience and attention to detail. And heaven forbid you take too much from one side because the whole thing is shot. My hat kept getting smaller because I ended up going back and forth from side to side trying to even it out. I have much respect for all the sculptors out there!

Subtractive Project

I did the Michelangelo Project. Using a Pear Knife, I did my best using the subtractive process to turn a bar of soap into a smaller rendition of the same knife. As I was cutting large chunks off the bar of soap to get down to the rough size I needed, I realized how hard it would be to do the same with brittle stone. Also, using the subtractive process, there is no room for messing up since you can’t put back what you took away. In my case the only loss for messing up could be a precious 30 minutes of my life and another $0.39 for soap but in the case of Michelangelo or other artists of this type, I imagine those life size pieces of stone were not cheap along with the time and effort put in. Cracking the nose off of “David” would have surely put me into a deep depression. To me this was an entirely different way of thinking. We normally draw and play with play-do in an “adding” process. Here, I was constantly having to reevaluated the intended shape before every cut. It was much harder to do than I had anticipated. I can’t imagine having to do it under time pressure like Ice Sculptors do. In a ridiculous way, I decided to call my piece “Suicide” since it appears that the soap has carved itself!

Pablo Picasso

Pablo Ruiz Picasso (born October, 1881 - died April, 1973) is considered by many to be the most important figure in 20^th Century art. During his lifetime Picasso created over 22,000 works of art using a variety of mediums including sculpture, ceramic, mosaics and graphic arts.

Time magazine art critic Robert Hughes said of Picasso “Before his 50^th birthday…, (Picasso) had become the very prototype of the modern artist as public figure. There was scarcely a 20^th century movement that he didn’t inspire, contribute to – or in the case of Cubism…, beget.” Picasso’s works of art are usually attributed to several overlapping periods, such as the “Blue Period”, the “Rose Period”, the “African Influenced Period”, Cubism, and Surrealism.

The beginning of Picasso’s famous “Blue Period” is believed to have started after Picasso found out about the suicide of his close friend, Carlos Casagemas, in 1901 and lasted until 1904. This period received its name because of Picasso’s use of only blue or blue-green colors, although he did infrequently incorporate other, warmer colors into some of his paintings. The work Evocation – the burial of Casagemas was chosen as the painting to represent this time period because of the importance of Casagemas’ death on Picasso. In the painting you can see the funeral for Casagemas in the lower half, while the upper half could be seen as Picasso’s view of heaven.

Although the painting is composed of almost entirely blue colors Picasso still uses the shades effectively in portraying the mood. Notice the use of bright, aqua blue in the heaven portion of the painting. Although no expressions are detailed on the on-looker’s faces their body language portrays the mourning in the death portion. This painting is currently on display at the Museum of Modern Art in Paris, France.

The “Rose Period” (1905 – 1906) shows use of a lighter palette, giving a more cheerful tone, and works were often of circus life. His circus theme is primarily attributed to his frequent visits to Cirque Médrano near his studio. “La Toilette” represents a distinct style of Picasso during his Rose period in which he painted large male and female figures with distinct profiles, often compared to early Greek art. It is regarded as one of the best paintings by Picasso done in the particular style.

This piece was chosen because of its representation as the transition point from the blue period to the rose period. The girl on the right, dressed in blue, is holding the mirror towards the nude woman painted in flesh tones, typical of the rose period. This seems to represent the focus of attention from the gloomy blue period onto the brighter rose period. The painting has clear symmetry of the figures about the center. The background is also very basic, with a singe horizontal line separating the ground and sky. This painting is currently on display at the Albright-Knox Gallery in Buffalo, NY.

He also began producing engravings and sculpture during these years. Cubism was created through collaboration between Pablo Picasso and Georges Braque in 1907. Cubism was an innovative style of art that Picasso would become renowned for. The fundamental idea around Cubism was showing different views of the subject all in one picture. There are two main types of Cubism, Analytical and Symmetrical, where Analytical Cubism was more conceptual and Symmetric Cubism was more visual. Picasso’s first painting in this style was “Les Demoiselles d’Avignon” in 1907.

“Les Demoiselles d’Avignon” was chosen for its significance in the creation of Cubism and modern abstract art. Cubism can be seen in various places such as in the bottom right corner where a woman is clearly facing with here back to the viewer but her head is seen from the opposite view. This also explains the noses of a couple of the women painted in a profile view while they are facing the viewer as done in many cubism paintings. This panting not only represents Picasso’s cubism period but also his concentration on sexual free thinking, which would appear in his paintings throughout his lifetime, as evident in each one of the paintings shown here.

In his later years, Picasso created works of comic invention and fantasy. He produced thousands of drawings, illustrations and stage designs as well as works in sculpture and ceramic. Picasso also painted variations on the works of other masters, such as “Las Meninas”. He continued works of Cubism until his death in 1973.

Pablo Picasso was definitely one of the most influential painters who ever lived. He defined his own unique style of painting and influenced other styles of the 20th century. His paintings can be easily recognized and identified for the particular period in which it was painted. Picasso has become a household name and defines paintings that are regarded as priceless in their contribution to the innovative world of art.

"The Raising of Lazarus" - Duccio Di Buoninsegna

Duccio Di Buoninsegna was a fourteenth century painter that focused much on the Byzantine painting style. He painted “The Raising of Lazarus” as part of a much larger painting known as the Maesta, which means Majesty. The Maesta was for the alter of the Siena Cathedral. The Maesta was separated into pieces in 1771 thus creating “The Raising of Lazarus”. When looking closely, in the bottom right corner of the painting horizontal lines from another layer of paint are seen coming through the where the paint has thinned over the ages.

This painting depicts a scene of Jesus after he has brought Lazarus back from the dead. He is surrounded by followers. There are distinct lines, both diagonal and horizontal connecting the originating from the sun. Also, there are distinct lines that help draw attention to the golden ring around Jesus’ head. I am not sure whether this is a religious symbol that always is shown around Jesus or not but it definitely defines which one in the crowd is Jesus. A psychological line is created by Jesus’ hand making a line to Lazarus. Organic shape is shown in the mountains and the trees in the background. These mountains also display deep shadows that make them appear less 2D. Shadows are also used to define the clothing the people are wearing. Also, the light originates from a natural source and comes from a realistic direction.

There are many colors in the painting. One dominant color is a golden yellow. This is used to cover the entire sky, especially bright at the origin of the sun as well as the ring symbol around Jesus’ head. This could very well be symbolism representing Jesus as the Son of God. The bright yellow gives a mood of glory or holiness. Clothes that the witnesses are wearing are complimenting each other with red and green or blue and orange.

There are different implied textures throughout the painting. The lines and shadows give different textures from the rest of the painting in the symbol around Jesus head as well as Lazarus’ rapping. In the symbol, it appears as though distinct symbols are shown. This painting shows symmetry with Lazarus and the mountains on one side and Jesus and the witnesses on the other.

There are a few things in the painting that emediately catch your eye. Lazarus, being the only character on the right of the painting draws attention, Jesus with the bright symbol around his head draws attention and the tip of the mountains where the sun shines through draws attention. When first looking at the painting, a geometric triangle can be seen starting at the tip of the mountains, going to Jesus and leading through his arm to Lazarus. A triangle can also be made with Jesus, Lazarus and the woman at Jesus’ feet. She brings a lot of attention with the solid red clothing she is whering.

There is rhythm in the painting shown in the hair color of most all of the people. This helps group the people together. The type of paints used were tempera and golden panel. The type of paint used obviously gave the symbol on Jesus head shining capability.

Much like other Byzantine paintings, this painting shows the miracles and the power of Jesus. Though originally part of a much larger masterpiece, “The Raising of Lazarus” is a masterpiece in itself.

"Book with Wings" By Ashley Hoover

Anselm Kiefer, German born 1945, sculpted Book with Wings in 1992. The sculpture is suspended in air by a pole. There are several lines in the piece. The book and wings are diagonal suggesting the book is in flight at the moment. The book has thin pages that are not flat, showing a page turning or that as the book is in flight the wind is turning the pages. The shape of the book is flat and the shape of the wings is volumetric as they expand. There is no empty space without objects in this sculpture. The book is at the center with the wings emerging from it. The piece is not life size; it dwarfs us. The book itself is huge and the wings expand a great deal. As far as light goes in the piece there is shadowing along the turning pages of the book and also along the bottom of the wings. The sculpture has only one color, gray. The book has a smooth texture except for the turning pages which are rough. Also, the wings have a rough texture. The wings are rough implying feathers fluttering in the wind. The sculpture has symmetrical balance. Each side of the open book is the same and both wings are identical. There is more than one area of interest, the book and the wings. One’s eye may first be drawn to the center, the book, then follow along to the wings. Also, the wings may catch the eye first and then one will discover the book at the center.
The sculpture is a model of knowledge. Book with Wings could possible illustrate the old phase “a book gives you wings”; how a person can take flight through a book. A person can escape their world for awhile and venture into another. Or, the piece could illustrate that a book itself has wings. A book’s knowledge can travel the world.

"White Birch" by Georgia O'Keeffe

Me in front of Amon Carter Museum

"White Birch"

Oil Painting by Georgia O'Keeffe
Vicki Galati

"White Birch", an oil on canvas painting completed by Georgia O’Keeffe in 1925 is an abstract rendering of a white birch tree found on the Alfred Stieglitz family estate in upstate New York. The artist was quoted as saying "A little way from the dock there was a big old birch tree with many trunks. To see the tree at its best I was up early and out in a rowboat under the trees as the sun came up over the mountains across the lake. The trunks were whitest in the early sunrise – the foliage a golden yellow with a few leaves standing out sharply here and there."
The trunks of the tree create a vertical line up the center of the painting and then branch left and right while curving around each other. The four main trunks are thick and long with smaller limbs branching off at the top of the painting.
The bright yellows used for the foliage not only represent the bright yellow hues of birch leaves in the fall but also gives one the impression of the brightness of the sun shining through the branches and foliage of the tree. The darker gold and umber colors within the foliage lend depth and give one an idea of the thickness of the foliage. The heavier texture of the strokes used on the darker gold and tans and the spacing for use of those colors gives one the perspective of sitting under the tree looking up or looking through the spaces between the trunks.
The brightness of the white of the trunks also gives one an idea of the brightness of the early morning sun. The smoothness and softness of the shades of tan accentuate the graceful sweep of the trunks of the tree.
The symmetrical balance of the painting is created by the trunks moving vertically up the center of the piece with gold, yellows and umbers on either side used for foliage. The eye of the viewer is initially drawn to the four trunks in the lower center of the painting. Two areas (one on each side of the twisting trunks) of leaves painted with sharper edges and specifically identifiable in an otherwise abstract view of foliage are secondary focal points on either side of the center of the painting. The final point of emphasis is found in the top center of the painting where darker colors and the addition of several smaller branches pointed in several directions give one the impression of additional size and thickness of foliage outside one’s view of the painting.
Ms. O’Keeffe, as is usual within many of her paintings, utilizes the entire canvas to emphasis the size of the tree. Usually Ms. O’Keeffe’s paintings are magnifications of the subject painted. In the case of "White Birch" however, the utilization of the entire canvas is to emphasize that the painting only reflects a small portion of a very large tree and that as one stands or sits under the tree looking up, one is dwarfed by the size of the tree.
"White Birch" is an abstract view of a birch tree as seen by someone standing under the great tree early in the morning of a crisp fall day. The unusual clarity of some of the foliage within the branches of the tree is a somewhat shocking sharpness in an otherwise soft and graceful perspective of the majestic tree. The use of bright yellow hues and softer darker hues of gold and umber identifies the time as sunrise and leaves one with the feeling of a warm but crisp and bright morning.

The Geography Lesson - Louis Leopold Boilly

by Jonathan Freeman

The Geography Lesson is an oil painting done by Louis Leopold Boilly in 1812. This portrait depicts Monsieur Gaudry, a French Paymaster, His Daughter and their beloved dog. Boilly was regarded as one of the greatest painters in France during the late eighteenth and early nineteenth century.
This painting is intriguing because of the great detail of the character’s faces. Notice how much more intense the colors of Monsieur Gaudry and his daughter are than the colors in the back ground. The foreground is full of flowing shapes and lines of the characters' features and their clothes while the background is very geometric with the lines of the fire place, the rectangular trim, and the round globe. The rectangular shapes are repeated throughout the background similar to Las Meninas. Boilly conveys the depth or multidimensional aspect by scaling down the fireplace in the background. He also isolates the foreground by placing the light source directly above the center of the characters while keeping the background very blended, dark colors.
Boilly also moves the viewer’s eye through the painting with the bright colors in the foreground. The viewer’s eye is drawn to the warm red shoes of the Monsieur, books on the table, and even pattern on the carpet. The bright white dress, shirt, and stockings also cause the eye to move through the area of interest of the painting. A key element in this painting also appears to be the eyes of all three figures.
Notice that the painting ties in the viewer with the eyes of the dog looking straight out of the painting. Even as the dog looks up as if someone has just entered the room the eyes of the father remain focused on the girl and hers eyes seemingly fixed on the material on the table. This helps to create the substance of the painting and convey the element of teaching to the viewer. Notice also the position of the girls hands, positioned on her father's shoulder, as if he is supporting her. This help to convey his role as more than just a teahcer but as a father also.

Boilly helps to present the characters as a family by placing them all side by side at a uniform depth. This helps to also create an implied horizontal line from one character to the others, giving a relaxed tone to the painting. The pose of the Monsieur also help to give action to the painting. As he looks towards his daughter it appears he is in the middle of explaining something. This would not be an action he would hold for any length of time and places a sense of expectation of what the previous and post events to the one portrayed are.
This painting is part of the permanent collection on display at the Kimbell Art Museum in Fort Worth. Although it is in the company of paintings by Monet and Picasso it stands out as an incredible painting. It has been a part of the Art Museum since 1990 and is hung seemingly tucked away in a corner in the European collection.

The Cardsharps, by Scott Higgins

The Cardsharps by Caravaggio is an interesting and stimulating piece of art that portrays the “art” of scamming someone while playing a game of primero, a forerunner to poker. The reason I was drawn to this picture was because of the theatricality of the piece and the representation of the morals and behavior of the society at the time. Through the use of artistic elements, media, and technique, Caravaggio created this unique piece while he was in Rome.
The painting shows a scene of two men who are in the process of scamming another man by the use of marked cards. To distinguish the different characters one can use visual clues created by the artist. For instance, the man being duped is the one who is wearing fashionable clothing and concentrating on his cards. We know that he has more money than the other two men because during this time period clothing is a representation of an individual’s wealth. We also know this man is important because Caravaggio creates two main focal points for the viewer: the first is the cards being held by the man being duped, while the second is the cards that the accomplice is reaching for.
Caravaggio employs a realistic approach when it comes to the style of the piece, most likely because it was a real event that theoretically could have occurred. He places the vantage point from behind the cardsharp accomplice, that way the viewer can witness the deception taking place. Color and pattern is used to differentiate and group the men being portrayed. The gentleman wears dark, noble colors while the two cardsharps wear lighter colors with vertical stripes. This could perhaps symbolize the flighty nature of the cardsharps and represent their lack of grounding in society, morally or physically. In addition to the accomplice pulling the cards out of his breeches, the older cardsharp has fingertip exposed gloves which also help inform the viewer that they are scamming the gentleman by using marked cards. Both cardsharps’ faces display a sense of nervousness and strict attention which convey how important the situation is and how vital it is that they are not discovered.
The light source for the piece comes from out of the picture in the upper left and subsequently creates a shadow on the right side of the people and objects. Going in line with the realistic styling, the shadows are not distorted but portrayed true to life. While the younger cardsharp is fully illuminated, the older cardsharp stands behind the gentleman and is covered by a slight shadow, giving the viewer another reason to suspect him of dishonesty and cheating. It is also clear that he is making hand gestures to his accomplice, who then responds by pulling a specific card out of his breeches. Due to the straight-forward vantage point of the viewer there is no vanishing point, but depth is achieved by the placing of the younger cardsharp in front of the table and the other men.
The artwork ultimately brings attention to a rather shady business that occurred during this time, quite in contrast to typical paintings of landscapes and activities which displayed more acceptable social behavior. No doubt Caravaggio created this piece to inspire discussion and provoke thought about the society in which he lived, and in turn allowed future generations to experience and analyze this seemingly innate human conduct of taking advantage of others for personal gain.

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