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Migrant mother by dorothea lange analysis
Dorothea Lange’s Migrant Mother photographs analysis
Migrant mother analysis dorothea
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Lisa Bates-Ramos is a Latina writer and illustrator. During her childhood, she spent her summer vacations in Sector la Araña, Puerto Rico, with her grandparents. Her grandfather, an amateur painter, introduced Lisa Lynn to her first set of paints. Once vacation was over, she continued to paint at home, on anything and everything. On walls, brown paper bags, and her brother’s play clothes.
Then when I read the information I was not wrong at all. This connection it’s due to the twenty two years my husband has served the USA Army. I can see and feel her pain and frustration. I remember when my husband was at war, not knowing if I will see him again, if he was coming back the same way he left. This painting reflects my friend Ana’s life.
The physical image of poverty portrayed by the family reflects The Great Depression’s toll on their livelihood. It is clearly and plainly displayed that the mother and her children are impoverished by the techniques of black and white color choice, and intricate, detailed texture. The hardship faced by the family is highlighted by the photograph being in black and white. This allows for the simplicity of their condition to be shown without the distractions a photograph in color would provide. The image is very detailed and defined by texture, to leave no question to whether the family lacks wealth or riches.
The organization that employed D. Lange was the Farm Security Administration because they wanted to describe the depression in society using the illustration 12.15, Migrant Mother, which depicts the hardships of life and the impact takes on the individual. Also to document the unemployed citizens in the world to demonstrate how challenging it is for people to live in such harsh conditions. The FSA thought Lange was an important aspect in taking images of the poor because their mission was to fight against poverty and to establish change. Capturing the woman as seen in 12.15 it help generate a difference for humankind so that everyone can visually see how hard it is for individuals to survive on nothing. Later on, this image started to catch
Jan Rindfleisch support her argument by pointing out that minorities do in fact, make up half of the population in the state of California. She further backs her argument by expressing that it isn’t fair, nor does it make sense to have museums and galleries to specifically generate private clubs and exhibitions just to display an “ethnic-only” show. She hints that, that is whitewashing, ostracizing, and completely racist to the minority population. Rindfleisch then articulates that “Art is a visual communication,” and to isolate half of California’s population, it literally means that that visual communication is being impeded. The author finally then refers to how art illustrates one’s self, their values, and how it is reflected back to an
Dorothea Puente appeared to be the sweet old lady that couldn’t hurt a fly, but you can’t judge a book by its cover. When you open Puente’s story, you’ll find a long history of lies, manipulation, and crime. This criminal behavior all began with her troubled childhood. Born January 9, 1929 in Redlands, California, she was originally Dorothea Helen Gray. She was abused by both of her parents who died before she even turned sixteen.
Catlett does a good job at getting her point across about advocating for social justice in her paintings. She has a similar sculpture called “Mother and Child” which portrays an African American woman cradling her baby. The sculpture represents that black women are courageous maternal figures. She does this to “reflect us, to relate to us, to stimulate us, to make us aware of our potential,” (Catlett). By doing so she was able to win numerous Nobel piece
Her childhood upbringing was difficult and drove him to overcome his own struggles. He used this example of courage to inspire him when he has trouble with his art. In the essay “The Cruel Country”, Cofer describes her mother in a photograph and how it moves her so much. She explains how the photo caught her mother in between emotions of smiling or crying.
Dorothea Lange was an amazing photographer, she captured many significant pictures during the Dust Bowl in Oklahoma. Her most famous picture is the “Migrant Mother,” a mother surrounded by her 3 sons, one in her arms and two holding on to her for support. The picture describes how bad times were, the worry on her face showed how many feared that they wouldn’t be able to sustain their family by providing them with food. The Dust Bowl affected many other states, people tried to go to California, the promise land, for jobs. Linda Gordon, a writer and historian, looks up to Mrs. Lange as a role model, a woman who overcame a physical and an emotional obstacle in her life.
Her gaze is not towards us, her empty and cold gaze towards something else, maybe towards the endless fields, maybe towards some hope, it did not meet the camera lance. Her portrait depicts a moment of her own uncertainty, it does not require her name, silently expresses the agitation for her children. Dirty, seedy clothes and blank posture signify the hard work and limitations of the laboring class. As well as the involuntary gesture of her right arm, which reaching up to touch her chin also communicates the tension of her. Physical strength and limitless worry, a capable hand of productive labor and motionless absent-mindedness illustrate the futility.
This woman was a mother of seven children. This photo was taken by Dorothea Lange. Lange took most of her photos for the U.S. Farm Security Administration (FSA). The FSA investigated the living conditions of farm workers and their families in some of the Western states, such as California. Most of the people, like this family, had come west to escape the Dust Bowl.
As a photographer myself, the theory of punctum is not unknown to me; however, the application of the concept of punctum towards the perfomativity of a photograph is unchartered territory. The photograph I chose to analyze is Dorothea Lange’s renowned portrait Migrant Mother, which is a Great Depression-era photograph featuring a migrant farmer, and is among the most famous photographs from this turbulent chapter of American history. The raw emotion in the mother’s face, paired with her body language and grimy appearance, captivates viewers; however, it is not the mother that makes this image so powerful to me, but rather, the turned away children framing their mother. This detail adds a new dimension to the portrait for me.
The poem Dusting by Julia Alverez relays several ideas to the reader. It begins by describing a young child going about a house and writing their name on the furniture. The child 's mother follows behind her and, in the process of dusting, incidentally erases the writing. While this poem may seem superficial from a quick reading, it not only reflects some aspects of Alverez’s childhood, but it also reveals some thought provoking questions. In Dusting, through making an analogy to a relationship between a mother and her child, Julia Alvarez demonstrates her desire to break away from traditional or cultural expectations, express her individuality, be well-known, and, ultimately, she makes an important point about life.
The painting “Self-Portrait with Her Daughter, Julie” by Élisabeth Vigée Lebrun shows the artist’s daughter as an extension of herself not only meant to exalt her love for her child but also to show herself in a flattering light as the devoted and beautiful mother. “Self Portrait
Frida Kahlo created many glorious pieces. One of her most intriguing pieces is The Two Fridas. The image is quite symbolic and meaningful. Kahlo was a Mexican artist greatly known for her self portraits and the pain, passion and feminism of her paintings. The name of the piece I choose to analysis is Las dos Fridas, also known as The Two Fridas.
