Tim Storrier was born in Sydney Australia in 1949. He spent his early childhood on his family's sheep station at Umagarlee, near Wellington, NSW. His mother and grandmother were interested in art, and he would draw a lot. He drew military heroes and rural subjects such as woolsheds. At the age of ten he went to boarding school in Sydney, where he spent a lot of time in the art room, painting under the influence of his teacher Ross Doig. Storrier attended the National Art School from 1967-1969.
Storrier is a contemporary artist. He has used non-traditional artforms, incorporating different artstyles into the one artwork. He challenges the audiences comfort zone by depicting carcasses.
Tim Storrier's artworks have been influenced by his childhood memories, dreams and myths of the Australian outback, country life, his travels to the outback, his travels to Egypt, and Dutch seascapes. Dutch artist Theo Kuijpers, English artists Constable and Turner, French artists Delacroix and Gericault, and Australian artists Russel Drysdale and Sydney Nolan have influenced Storrier's artwork as well.
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From 1979 to present there have been many famous photographers, but there are three who really stick out: Jerry Uelsmann, Freeman Patterson, and Annie Slivovitz. These three photographers had very distinct photography and viewed photography as more than pictures but as pigments of emotions and feelings. These photographers are very famous for their pictures and one photographer is known for her help in third world countries.
The first photographer that I would like to mention in my research paper will be Jerry Uelsmann. Uelsmann was born in Detroit on June 11th, 1934. Uelsmann acquired school degrees and actually went on to teach classes. He was an intelligent man, who knew exactly what he wanted to do in his life. When Uelsmann was 23 years old (1957) he received his B.F.A degree at the Rochester Institute of technology. When he was 26 (1960) he received his M.F.A at the Indiana University. In 1960 he received his first job offer to teach photography at the University of Florida in Gainesville. Jerry Uelsmann is also a member of the Royal Photographic Society of Great Britain. Jerry Uelsmann founded The American Society for Photographic Education.
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| The one piece of Mesopotamian art that struck me the most was the Winged Human Headed Bull, also called Lamassu. This high relief struck me because of its power. It is able to command attention through its size, position, and strangeness. Its scale is massive at almost fourteen feet tall. It is placed at the entrance of the Citadel of Sargon II, demanding attention and setting the mood. It carries a strangeness with its five legs, bull body, human head, and bird wings. When I first saw this piece, I felt a fear arise in me, especially after visualizing what it must be like to see it up close. The Assyrians that designed this piece of art were trying to capture the viewer’s attention and provoke fear.
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Existentialist philosophy at first may appear to be at odds with the everyday world; however, existentialism has some very real applications in the context of society as opposed to the context of existence. Society gives us a role in life, something to give our lives meaning, but what happens when we look too closely at our role and reconsider it? What happens when we ask, “why?” “The Scream” by Edvard Munch is the answer. While not everyone in society feels like the man portrayed in Munch’s painting, a growing number of people do, and it is expressed in numerous ways through our society today. A plethora of evidence supports this assertion; from modern societal organization and alienation to specific examples of incidents caused by this “Scream”, to specific works in pop culture. Existentialism spawned from an expanding society, and will only become more relevant as the size of our society increases.
“The Scream” portrays an image of a man on the foreground of a bridge, an unrealistically slanted bridge with two shadowed figures behind him. He has his hands clasped to the sides of his head, engaged in a pure scream for no apparent reason. Munch’s poem narrating the work:
I was walking along the road with two friends. The sun was setting. I felt a breath of melancholy - Suddenly the sky turned blood-red. I stopped, and leaned against the railing, deathly tired - looking out across the flaming clouds that hung like blood and a sword over the blue-black fjord and town. My friends walked on - I stood there, trembling with fear. And I sensed a great, infinite scream pass through nature.
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The Renaissance was “A revival or rebirth of cultural awareness and learning that took place during the fourteenth and fifteenth centuries, particularly in Italy,” according to Art In Focus. It followed the Middle Ages, and was basically a time of the revival of learning after the Middle Ages, or Dark Ages, a time with little increase of ideas, inventions or developments. During the Renaissance, art was a branch of knowledge. It was a way to show God and his creations, as well as a science, of anatomy and perspective. Also during the Renaissance there were many people who used art as a way to record discoveries and inspired people to take pleasure in the world around them.
In 1452 AD, a genius named Leonardo da Vinci was born in a small town called Vinci. He was the illegitimate son of a local lawyer. When he was small he loved to draw pictures of plants, insects, flowers, animals, and birds. When Leonardo was in his teens his father took him to Florence, Italy, to study at the workshop of Andrea del Verrocchio. When Leonardo was twenty, he was so good at painting that he helped his art teacher finish his painting. Not only was Leonardo an artist, but he was also an architect, musician, sculptor, scientist, inventor, and mathematician. He kept detailed records of all of his inventions in his notebooks, which he wrote backwards so nobody could steal his ideas. One of his sketches in his notebook was of a skull. He used lines possibly to measure the length and the width of the human head. He might have done this to be able to paint the human head in proper proportion, and more life like. Leonardo painted very realistically, as you can see in the painting Ginevra de’Benci, which is of a young lady. Another advancement of Leonardo’s was to make his backgrounds very detailed and in proper aerial perspective. The techniques he might have used in his paintings are as follows: He would first cover a wood panel with gesso then, rough in the figures on the panels. The major forms were then modeled in a brownish tone. He would also use his fingers as well as his palms for the under molding. He would then use a fine “minever” brush for details. Leonardo was a genius in his approach to art and many other areas of study.
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Two great writers of American musical theatre, Richard Rodgers and Oscar Hammerstein II, had one idea in common. They wanted to present to the American public a new and revolutionary musical that would stand out above the rest. They wanted to make an impact on the societies of the era. They wanted to be creative and do something that was considered rebellious. When they finally combined their ideas together they created an American masterpiece in musical theatre: Oklahoma!. It was the first Rodgers and Hammerstein collaboration, starting the most successful creative partnership in the history of American musical theatre.
According to Joseph Swain in his book The Broadway Musical: A Critical and Musical Survey, there are a number of reasons why a particular work of art might be considered a milestone in the history in its genre. It might introduce innovations of technique and style so convincing that they may become extremely influential. It might attract such wide acclaim that it cannot be ignored by the artists who come after, even if the acclaimed fame eventually fades with time. It could stand as the first work of an important series. Or perhaps, it sets a new standard of artistry. (73) For whatever factors that influenced the writers to create the works they did, they produced some of the most successful and incredibly influential works of musical theatre in their time.
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The Last Supper was a very powerful Biblical event, in which Jesus and his disciples gathered for one final dinner together. According to the Bible, important events took place during the Last Supper, including an announcement by Jesus that one of his disciples would betray him and the first communion. To artists in the fifteenth and sixteenth centuries, it was necessary to give proper deference to such notable occurrences. Both Leonardo da Vinci and Jacopo Robusti, known as Tintoretto, took upon the challenge of recreating the Last Supper. While Last Supper by da Vinci and Last Supper by Tintoretto are very similar in subject matter, they differ in composition, symbolism, and the choice of narrative moment.
The Last Supper by Leonardo da Vinci is the first great figure composition of the High Renaissance and the definitive interpretation of its theme. Jesus and his twelve disciples are seated at a long table that is parallel to the picture plane. The room is spacious and peaceful, and Christ has his arms spread in disposed trust . The rest of the group is in intense and dramatic excitement, with their hands out in shock and question at Jesus’ words. The viewer can just feel the tense excitement sweeping through the groups of disciples. Jesus, the most important figure in the painting, has been placed in front of three windows that are in the back of the room, and he is framed by the center window with a curved pediment that arches above his head. His head serves as the focal and vanishing point of this piece, and your eye is immediately attracted to it. Da Vinci has arranged the disciples into groups of three and tied all the groups together through their hand motions giving this piece a symmetrically aesthetic feeling. Your eye is taken on a journey through the oval-shaped composition of the piece, but it is clear that Jesus serves as the vital magnet. The Last Supper by Tintoretto is a beautiful Mannerist-style painting in which the painter creates a revolutionary type of composition. The piece’s surface plane now shoots in a diagonal motion and Jesus is noticeable only because of the light around his head. There is a feeling of unsure commotion throughout the figures as they lean into uncomfortable positions, such as the maid in the foreground. The figures also seem to blossom in light through a darkness of the background. The two brightest areas, Jesus and the light fixture, fight for the viewer's attention and create a sense of uncertainty, perfecting what the Mannerist’s set out to accomplish.
The use of symbolism in both Da Vinci’s and Tintoretto’s Last Supper is important to the interpretation of each piece. Da Vinci is the first known artist to place Judas, the disciple who betrays Jesus, on the same side of the table as Christ. This subtly symbolizes the trust that Jesus shared with his followers, and it is more realistic. By placing Christ in the center, as the focal point, with orthagonals leading towards him, Da Vinci creates a 3-D/pyramid effect with Christ that shows his still and stable calmness and poise amongst the distraught group. He also places Jesus inside the second window, symbolizing Jesus’ position as Christ, the son in the Christian trinity. The group of twelve is split into groups of threes, symbolizing the trinity, and supporting the symmetry. Tintoretto’s Last Supper uses symbolism very differently. He places genre figures throughout the painting, such as the waitresses, to ground the viewer in reality. This may act as his way of making the piece more realistic or closer to personal experience and therefore, more comfortable. Yet, he also places angels flying into the room, throwing off this grounded feeling but giving a nice balance of both heaven and Earth.
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