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Reina Sofia Museum Analysis

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The Reina Sofia museum in Madrid is the home to contemporary art. When the building was first founded it was an old hospital that was then transformed into a contemporary building, mixing the old with the new. King Felipe II first founded San Carlos Hospital in the sixteenth century and architects José de Hermosilla and Francisco Sabatini manly constructed the building that stands there today. Today you can find works from artists anywhere from Picasso’s cubism to Salvador Dali’s surrealism and many more. Unlike the Prado museum, the Reina Sofia museum demonstrates the changes in the ways in which art had developed in its styles, painting techniques, and interpretation. In Salvador Dali’s Enigma 20th century painting, he is demonstrating paranoia, leaving meanings and images up to the viewer’s interpretation, which can be interpreted in a formalist approach. Being familiar with Salvador Dali and the work he has produced, I was exited to enter the exhibition where his paranoia paintings were being …show more content…

We had the main focal figure, his wife Gala peaking out the side, and more in the mountains. The first thing I could see as I looked at this painting was the focal face that resembled the facial structure and figure of a child. This face was created with many different elements and was almost chilling to look at; it had such a person and direct stare towards the viewer. Part of the mountain forms the child’s hair and shape of the head, a sail boat forms one of the eyes, more rock and mountain shapes form the other shape of the eye with the final shape of the mouth and chin. This stunned me the most; I couldn’t quite interpret what was being depicted here. After thinking of what this could be, it made no sense in terms of what the themes demonstrate in the painting. It was a woman sowing, whose back was facing the viewers, her hair was half up half down and you could see her dress and scarf right belong her hair

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When I analyze this painting, my eyes are drawn to the building in the bottom left which seems to resemble a church. It has a white steeple and roof line along with light red brick for the walls. The color, style, size, and position of this particular building sets it apart from the rest of the buildings which all seem to blend together along the composition. The building’s edge meets right with the fence line along the field in the bottom left corner of the piece. It prompts viewers to begin their focus on the left of the painting instead of drawing our eyes directly to the center.

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    The subject of the painting is a depiction of a mountain landscape. Near the bottom of the picture plane in the foreground there’s a canal through the mountain side. If you look closely you can see someone in the water climbing up the rock. The overall theme of the piece seems to be very peaceful and exciting.     Hassam uses a few visual elements of form to support his painting.

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The portrait was painted on wood panel and in gothic like form. Nonetheless, this masterpiece is representation of time, the complexity of the painting and the

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In the representation, illumination of facial features are created by all the symbols and images that the person is made up of because it exemplifies the morals and characteristics of the person, but when the drawings and symbols are peeled away, the face is all saliently white, showing how there is no character or depth behind those drawings. This represents how people are now just made of the themes consumerism and materialism because they have no personality and morals anymore and that they are dehumanised and unidentified as a person. This shows the ideas portrayed in the poem as the family that it focuses on always wants more than what they have and how their main goal isn’t their care for their child, but to win money and spend it. The

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However, the top fraction of the painting is more light because it represent the sun and the other half of this painting has a darkness which can be the shadows of the lights or to illustrate the big rocks. An intuition of my part, is that I think this painting is depiction of harmony in nature. Indeed, the "Cora Kneeling at the Feet of Tamenund" is a painting that reflects the scenery beauty of the Hudson

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It was on an architectural walking tour that I first stood in awe of the unique beauty of stained glass art in the historic churches of Portland, Oregon. In the nineteenth century Portland was thriving. Successful entrepreneurs in logging and shipping wanted to build homes and churches worthy of their status and wealth. Early Portlanders certainly were out to impress.

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The painting depicts what seems to be a panoramic view from afar but looking closely each aperture and objects make up the impressions of faces. From the left side there seems to be an aperture looking over a big cliff with branches of trees. This cliff and branches make up the face of an old person. The rock exposures within the cliff form the illusions of wrinkles, wrinkly lips and a long and untreated mustache. The branches give the effect of baldness, contributing to the overall appearance of an old man’s face.

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The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son.

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The many hidden meanings, illusions, and inspirational artistry provide a validation of Dali’s mental state and his thoughts about the Catholic ideology. Although there is no mainstream description of this painting, the painter’s intentions, thoughts, or messages can be analyzed for further understanding of both the painting and the

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The artist Dieric Bouts painting is called Virgin and Child. This painting dates back to 1455-1460 and is drawn with oil on a wood panel 81/2 x 61/2 . The time period is Netherlands, Haarlem. The Virgin and child are paint about the Virgin Mary and her love for her son. The Virgin and Child coloring is mostly pale skin tone, with royal blues symbolizing royalty and, white symbolizing purity.

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Did you know that Marc Chagall, just like Pablo Picasso, was a master at many different medias? Marc Chagall is a Belorussian born artist that spent most of his time working in France. He was a part of many great movements including Surrealism and Cubism. Chagall showed that no artist has to be a part of strictly one movement or style. Marc Chagall was born in Vitebsk, Belarus, July 6, 1887 as Moishe Segal.

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It is the exploration of part of our mind that our reality is unaware of. This movement helped artist explore new techniques and methods, encouraging them to explore new concepts. Its main goal was to depict a new world composed of our hidden ideas and fantasies, mostly based on our dreams. Influenced by Freud’s study and interpretation of dreams Salvador Dali based himself on psychoanalytical studies to create compositions representing his surreality. In order to accomplish a surreal painting, Dali focused solely on the unconscious part of his mind to uncover its hidden messages, using a method called the ' paranoiac critical method’ as seen in “The Great Masturbator.

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As he wrote in his Secret Life, "the growing and almighty impulse of reverie and myth began to mix so continuously and imperiously with the life of every moment, that subsequently it has often been impossible for me to know how reality begins and the imaginary ends "(Dalí, 1981/1942, pp.43). If the so-called "first surrealism" aspired to the abandonment of the defenses of the self and to yield passively to the powers of the unconscious (running with it the risk of playing with madness), the "second surrealism", thanks to Dalí and his paranoid, critical method, it would not escape from external reality, but would challenge it by offering a hyper-real alternative, whose precision would confuse the mind; a realistic style designed to dismantle reality, to "systematize confusion and contribute to the total discredit of the world of reality" (Dalí, 1930, pp.9). Salvador had learned in his childhood to teach and play to alter perception, so that he was able to project his inner images on the outside world. This habit of transforming, actively and deliberately, the appreciation of external reality by virtue of games with perception and controlled pseudo-hallucinations, crystallized in a classical technique at the service of unconscious images, in order to "materialize, with the yearning for more imperialist precision, the images of concrete irrationality.” For Dalí, the goal was that the imaginative

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1772 Words | 8 Pages

His use of colour draws the viewer’s gaze towards these figures, the intended focus, but the manipulation of light also demands attention to other spots, such as the white horse and his rider, and the man holding his hat to the left of him. However, much of the painting retains a sense of anonymity; the man dead center, clutching a trumpet, has his back turned towards the viewer, and most of the other figures remain just out of focus, behind a conveniently placed billowing cloud of smoke. Besides the main characters, most of the figures are faceless, despite being portrayed in ( vivid ) detail. Some are so far in the background their form is indistinguishable. Some are turned the other way, but most are engaged in conflict, intertwined to the point where it is impossible to tell where one figure ends and his enemy begins.

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It houses more than 35,000 works of art at any time. Most of the artwork spans from 6th century B.C. to 19th century A.D. The museums most famous piece is Leonardo da Vinci’s “Mona Lisa”. The Code of Hammurabi, the Greek sculpture “Nike of Samothrace” and “Venus de Milo” are also notable masterpieces.

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