Color Field Painting Art History Basics

Color Field Painting is part of the Abstract Expressionist family of artists (a.k.a., the New York School). They are the quieter siblings, the introverts. The Action Painters (for example, Jackson Pollock and Willem de Kooning) are the loud siblings, the extroverts. Color Field Painting was called Post-Painterly Abstraction by Clement Greenberg. Color Field Painting began around 1950, following the initial shock of the Action Painters. Color Field Painting and Action Painting have the following in common: They treat the surface of a canvas or paper as a field of vision, without a central focus. (Traditional painting usually organizes the surface in terms of the middle or zones of subject matter.)They emphasize the flatness of the surface.They do not refer to objects in the natural world.They reveal the artists emotional state of mind - his or her expression. However, Color Field Painting is less about the process of making the work, which is at the heart of Action Painting. Color Field is about the tension created by overlapping and interacting areas of flat color. These areas of color can be amorphous or clearly geometric. This tension is the action or the content. Its more subtle and cerebral than Action Painting. Often Color Field Paintings are huge canvases. If you stand close to the canvas, the colors seem to extend beyond your peripheral vision, like a lake or an ocean. These mega-size rectangles require letting your mind and eye leap right into the expanse of red, blue or green. Then you can almost feel the sensation of the colors themselves. Color Field Painters Color Field owes a great deal to Kandinsky in terms of philosophy but does not necessarily express the same color associations. The best known Color Field Painters are Mark Rothko, Clyfford Still, Jules Olitski, Kenneth Noland, Paul Jenkins, Sam Gilliam, and Norman Lewis, among many others. These artists still use traditional paintbrushes and also the occasional airbrush. Helen Frankenthaler and Morris Louis invented Stain Painting (allowing the liquid paint to seep into the fibers of an unprimed canvas. Their work is a specific kind of Color Field Painting. Hard-Edge Painting may be considered a kissing cousin to Color Field Painting, but it is not gestural painting. Therefore, Hard-Edge Painting does not qualify as expressionist, and is not part of the Abstract Expressionist family. Some artists, such as Kenneth Noland, practiced both tendencies: Color Field and Hard-Edge. Key Characteristic of Color Field Painting Bright, local colors are presented in specific shapes that can be amorphous or geometrical, but not too straight-edged.The works emphasize the flatness of the canvas or paper because that is what a painting is literally about.The excitement comes from the tension set up between the colors and shapes. That is the subject of the work.The integration of shapes through overlapping or interpenetrations blurs spatial distinctions, so that there is almost no sense of the image versus the background (what art historians call figure and ground). Sometimes the shapes seem to both emerge and submerge into the surrounding colors.These works are usually very large, which encourages the viewer to experience the color as an enormous, engulfing expanse: a field of color. Further Reading Anfam, David. Abstract Expressionism. New York London: Thames and Hudson, 1990.Karmel, Pepe, et al. New York Cool: Painting and Sculpture from the NYU Collection. New York: Grey Art Gallery, New York University, 2009.Kleeblatt, Norman, et al. Action/Abstraction: Pollock, de Kooning and American Art, 1940-1976. New Haven: Yale University Press, 2008.Sandler, Irving. Abstract Expressionism and the American Experience: A Reevaluation. Lenox: Hard Press, 2009.Sandler, Irving. The New York School: The Painters and Sculptors from the Fifties. New York: Harper and Row, 1978.Sandler, Irving. The Triumph of American Painting: A History of Abstract Expressionism. New York: Praeger, 1970.Wilkin, Karen, and Carl Belz. Color as Field: American Painting, 1950-1975. Washington, DC: American Federation of the Arts, 2007.

Dreams of Escape in The Glass Menagerie by Tennessee...

In The Glass Menagerie, Tennessee Williams presents us with four characters whose lives seem to consist in avoiding reality more than facing it. Amanda lives her life through her children and clings to her lost youthfulness. Tom retreats into movie theaters and into his dream of joining the merchant seamen and some day becoming a published poet. Laura resorts to her Victrola and collection of glass ornaments to help sustain her world of fantasy. Finally, Jim is only able to find some relief in his glorified old memories. This essay will examine how Amanda, Tom, Laura and Jim attempt to escape from the real world through their dreams. Amanda was abandoned by her husband and now must take care of her two children, Tom and Laura.†¦show more content†¦On this occasion, she is dressed in the same girlish frock she wore on the day she met the childrens father, attempting to conceal her shabby present and recapture part of the elegance she associates with her giddy days of entertaining many gentleman callers. Bewildered by her immediate surroundings and unable to cope with the social and economic reality of the Depression days, Amanda is often obsessed with her past as the genteel southern belle dominated by refined social gatherings and elegant living conditions, reminiscing about her own experiences with men in Blue Mountain: One Sunday afternoon in Blue Mountain - your mother received - seventeen! - gentleman callers!... (Williams 16). Attempting to materialize her southern belle past, she even makes constant insistence on Lauras having gentleman callers. Tom, though not physically crippled as his sister Laura, finds himself paralyzed in the warehouse in which he works. Faced with the bleak aspects, and perhaps the bleak prospects, of the day-to-day factory job, he regards the warehouse as a prison that shackles all the basic impulses with which, he believes, men are endowed-Man is by instinct a lover, a hunter, a fighter (Williams 39). In the warehouse Tom cannot find any satisfaction at all - Id rather somebody picked up a crowbar and battered out myShow MoreRelated Essay on the Symbolism of the Menagerie in The Glass Menagerie1002 Words   |  5 PagesThe Symbolism of the Menagerie in The Glass Menagerie      Ã‚   Tennessee Williams play, The Glass Menagerie, describes three separate characters, their dreams, and the harsh realities they face in a modern world.   The Glass Menagerie exposes the lost dreams of a southern family and their desperate struggle to escape reality. Williams use of symbols adds depth to the play. The glass menagerie itself is a symbol Williams uses to represent the broken lives of Amanda, Laura and Tom Wingfield andRead MoreEssay Crushed Dreams in The Glass Menagerie1194 Words   |  5 PagesCrushed Dreams in The Glass Menagerie      Ã‚  Ã‚   Tennessee Williams is known for his use of symbols, tension, and irony. Williams uses all of these components to express the central theme of The Glass Menagerie - hope followed by despair. Each of the characters has dreams that are destroyed by the harsh realities of the world.      Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚  Ã‚   As the narrator blatantly admits, since I have a poets weakness for symbols, symbols are central to The Glass Menagerie (Williams 30). Symbols areRead More Comparing the Life of Tennessee Williams and Glass Menagerie707 Words   |  3 PagesParallels in the Life of Tennessee Williams and The Glass Menagerie   Ã‚  Ã‚   Tennessee Williams is one the major writers of the mid-twentieth century. 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The Toll of Stockholm Syndrome in the African Society Free Essays

â€Å"The Toll of Stockholm Syndrome in the African American Society† One of the effects of slavery on the African American people is the Stockholm syndrome. Stockholm syndrome by definition is the feelings of trust or affection felt in many cases of kidnapping or hostage-taking by a victim toward a captor. Another name used for this is the slave loyalty syndrome. We will write a custom essay sample on The Toll of Stockholm Syndrome in the African Society or any similar topic only for you Order Now Once slavery seemed to become a way of the world in America, some slaves grew forms of sympathy for their slave owners. While slavery became a way of life for slaves, some slave owners made their slaves feel a part of their family. On some plantations, there were slaves that could have been in the family for many years. Those slaves could have raised the owner, the owner’s parents, and the owner’s grandparents in turn may have gotten special treatment from the owners. Some owners confide in the family slaves, and those slaves did not see that they were being used for information. Those slaves may have felt that they are actually a part of their master’s family. Once feeling that they belonged, some slaves felt that they could be equal with their owners. By seeing the ways of the trade, some slaves wanted to own something of their own. Even though Stockholm syndrome by definition is a terrible thing, it evolved into the civil rights movement. All slaves who were affected by the Stockholm syndrome may not feel as if they were a part of the master’s family. They may have felt empathy as well as sympathy. There could have been things happening in the master’s house that gave slaves understanding. So instead of feeling like animals, the slaves related. They related to make them know that they deserved equal opportunities. The Stockholm syndrome affected the history of the African American people. Even though some slaves were the whistle blowers of the other slaves, there were some slaves that did feel a certain way towards their owners, but it encouraged other feelings. Those feeling developed into justice and equality for all. Those slaves taught those beliefs to their children and their grandchildren which helped change not only African American history, but the entire American history. How to cite The Toll of Stockholm Syndrome in the African Society, Essay examples

Music in society - is classical music elitist free essay sample

It can also be defined as the sense of entitlement by such a group or class or control, rule or domination by such a group or class. Specifically classical music emerged and developed in the classical era of 750-1825, culminating in the exquisite works of Mozart, Haydn, Beethoven and Schubert However, classical is used in a general sense to mean enduring or lasting.. . Len everyday parlance, the term classical covers the repertoire of Western art music, irrespective of the time when it was written, (Williams, 2003, p. 35).The underlying arguments which accuse classical music as being elitist involve Borides idea on value referring to rarity and accessibility of educational opportunities, analysis of musical value of classical music in performance and listening and the level of understanding which classical music requires. In Pierre Borides work Distinction, A Social Critique of the Judgment of Taste he argued that class distinctions teach aesthetic preferences to their young and artistic dispositions are the result of social origin rather than accumulated capital and experience over time. Broodier does not neglect the importance of necessary finance and available time. However this theory does not examine classical musical works themselves. Illustrations of Borides argument of class distinctions and the implications of social origin are shown in the lifestyles and upbringing of some famous classical imposers and musicians. For example; Mozart first musical experiences were hearing his child prodigy sister Their father gave up his career to promote their talents before the astounded royalty and cognoscenti of Europe (Burrows, 2005 p. 49). In 1762, Leopold took Wolfgang and Maria Anna on tour throughout Vienna performing for nobles and ambassadors. Later in 1763, Leopard took Wolfgang and Maria Anna on a three and a half year tour throughout Germany, France, England, and other countries In 1 770 Mozart (only 14) was commissioned to write an opera (Immediate, redid Pont) that of December http://classicisms. About. Com/odd/accelerometers/p/Mozart. HTML). Beethoven was also born into a family of musicians at the Royals Court of Cologne.His father, was aware of his sons extraordinary talent and to provided Ludwig with a musical education. Beethoven was given a thorough music grounding by the Bonn court organist Christian Gothic Neff and was soon acting as his deputy At the age of 17 he left for Vienna to further his studies. (Burrows, 2005 p. 149). Borides theory of class distinctions and social origin is one of the reasons which validate the description, that classical USIA is described as elitist.To some extent this argument would be a fair description of some musical practices during the classical era. This is because higher class status would deny many people from pursuing a classical music education and career. In an aristocratic society, a lack of understanding or appreciation of art was considered proof of the lower classes inferior sensibilities and intelligence (Johnson, 2002 p. 19). Today there is more accessibility for everyone to acquire classical music tuition and listening experience. Throughout musical history the age of enlightenment (1750+) radically increased the access to classical music but this usually had to be paid for. Music was profoundly responsive and affected by the social economic and cultural changes sweeping across Europe Music was on its way to becoming democratic and available to many and composers worked to a certain degree in compliance with public taste and the rising of middle class (Tibias, 2003, p. 41 -42). The implication of the age of enlightenment has resulted in more accessibility to classical music today. The work of educationalists and bodies like the Arts Council or National Education Authority is designed to make the high arts ore accessible, suggests that the charge of elitism as willful exclusion is unfounded (Johnson, 2002, p. 17). According to Borides view of accessibility which attempts to validate the elitist concept of classical music through social classes, the greater access to classical music contradicts Borides theoretical assumptions that classical music is elitist.Although the argument that classical music is far more accessible to wider social classes and audiences this is not a hundred percent justifiable and true for everybody. Today only parents with sufficient financial capital and a certain educational background are likely to fund and encourage their children to participate in it p 1 9 WYNN Today almost every symphony orchestra and opera house has an educational department. (Johnson, 2002, p. 1 19).An article in the Guardian has the headline UK shamed by musics elitist label and says, Its an age-old criticism classical music is elitist for white people only and does little to engage young people more at home on their Play, station 3 The virtuoso cellist Julian Lloyd Webber has demanded an end to such tired assumptions. .. He said we need to give access to this music and to orchestral instruments Lloyd Webber said that the performance by the Simon Bolivar Youth Orchestra from Venezuela was frankly shaming to the British cultural establishment. This concert showed that classical music can be hip and that it is enjoyed by young people from every kind of background (http://www. Guardian. Co. UK/UK/2007/gag/26/Venezuela. Classicisms/print). The article goes on to say why should it be assumed that young people will not enjoy it? The problem is that they cant afford lessons The problem is nothing to do with music itself. It is about access.. . While the same thing is rarely said about the largely white and comfortably off crowds at rock concerts. It is a question of economics, not race, the musician argues. Therefore one could say that participation in classical music is elitist to a fair extent, despite the fact that there are signs of greater efforts to make classical music more accessible to everyone. There is the underlying logical argument that if there is greater accessibility Of classical music to all social classes, the implication fifths would result in an expanse of public demand, thus diminishing the elitist accusation and promoting a bridge gap for equality. Unfortunately, reality does not convey significant participation of this style of music.As Julian Johnson stated The charge of elitism should be leveled at those forces in society that hinder the development and opportunity of all its members. So why is it today so often the sign of entrenchment, a refusal of opportunity, a denial of cultural or intellectual expressions of the aspiration that we might individually and collectively realize our greater human potential? (Johnson, 2002, p. 5). The refusal of participation in the new age of opportunity still depicts a conflicting presence of opposing views suggesting lassie music is still portrayed as elitist.For many people today Classical music does not connect with everyday life and as such is not relevant. People consider it so full of negativity that they avoid it altogether. It is seen as a relatively closed world defined by formal ritual and practices that divide it from the everyday/ p 7 WYNN. This view is not entirely true because, Classical music has a connectivity to life and the living of it which is unrequited. Existing beyond words and visual stimuli classical music communicates in a voice like no other. (Williams, 2003, p. 4).However there is some classical music which describes all sorts of specific life topics such as The Miraculous Mandarin Slalom and Romeo and Juliet portraying the common aspects of love in everyday life, Saint-Sheens Carnival of the animals relating to every-day fun in a zoological fantasy, Catholicisms fifth symphony portraying political strife and conflict as experienced today and Vivaldi four seasons depicting the physiological changes within the year. It is unfair to say that Classical music is elitist because it does not communicate with everyday life.Some people may also dismiss Classical music because the music is old and Hereford of little value today. However this does not mean that it is only of value for old people. Typical Classical music can be engaged in by babies before and after birth by means of Cads, specific examples include Mozart for Mothers-to-be and Baby needs Beethoven. Similar works related to classical music can also be engaged in during child development at Nursery Schools and it has been suggested that Classical Music can increase ones IQ level and increase the standard of intellectual development.In his book Classical Music, why bother? the author Joshua Finger reflects on the lack f audience for serious music such as his own compositions. He observes that in the world of classical music the trend towards an increasingly historical repertoire and an older audience has worsened continually in recent decades. We could ask, does an older audience necessarily make Classical music elite? No, not if one examines the audience who support the proms each year. We See many young people (probably students) of all social classes participating in the music.An article in the guardian state s An education in Classical music is not elitist It goes on to say How often do we meet people who are otherwise cultured ND educated, who have no awareness whatever of even the very existence of serious music. .. L would like to mention certain attitudes within the professions of music and music education that have disturbed me most The first and most common abuse hurled at the likes of me is that an education towards an understanding of, and working with, serious classical music is elitist.. .Michael Billing, discussing this years Edinburgh Festival in the Guardian, wrote there is a strange reversal of values, particularly in the media. A concert or opera attended by 1 ,OHO people or more is seen as elitist, a small-scale event attracting a dedicated handful is regarded as popular, I. E. Inverted snobbery at its most pungently destructive. (http:// www. Guardian. Co. U k/ music/musicologist/2007/par/1 0/). This article demonstrates that the perceptive elitist group of people even consider the accusation of elitism out of the question and that it is totally unfair to the general population.Classical music to some extent can be heard on a regular, informal basis, to support an activity or in an atmospheric background such as in stores on commercials. It could be argued that we eve relegated this genre to a supportive or an atmospheric background and we are in danger of losing its musical impact and status. However this could be viewed as something good in that it equates the general public (all social classes) with something that could be described as elite. However in doing this we can be deprived of experiencing classical music on its own terms with its aesthetic value, stature and relenting. Julian Johnson describes To be elitist implies that someone is snobbish and pretentious but also out of touch with contemporary culture, with its disregard for old divisions of high and low, art ND entertainment (Johnson, 2002, p. 47). The lack of participation and interest of Classical music amongst people upholds the elitist accusation due to its devaluation, this therefore would support Julian Johnnys economic evaluation of Classical music in which if the act of buying confirms the value of the musical object, then the higher the number of the objects sold, the higher the level of value it is.A lack of participation in classical music by a collective would without any doubt be incorporated with a devaluation or scrutiny towards its products. Sometimes this genre of music is difficult to understand and may require a little study and imagination to fully appreciate but that is the point. Learning expands the mind and using imagination is both fun and exciting. Another factor which u nderlines the accusation of classical music being elitist and enhances the aspect of scrutiny towards engagement in it, is the level of understanding and intellect required when listening and playing to classical music. There are differences between the modernized popular music and the traditional classical. For the collective group unfamiliar with this higher level of musical depth, this to some extent can provoke a sense of frustration and ordered implicating in an unwillingness to engage in this style and so it can be described as being elite. The greatest difference between classical and popular music lies in content and behavior. In popular music we usually hear a single tune which stays the same from beginning to end.In classical music, the theme (or tunes) are not only presented but developed. (Williams, 2003, p. 14). A typical example of the contrast between the complicated and the simple that requires less thought is the popular X factor show. This so called lower level of musical standard is evidently very popular amongst the elective which may feel classical music is brain demanding. So is popular music for entertainment whilst classical music is for the serious? The differentiation of the two opposing musical characteristics implicates in the judgmental value of entertainment.Classical music (serious) can be perceived to be less entertaining to those unable to cope with the serious demands. There are typically specific examples of works which are described to require an intensive level of concentration as Julian Johnson describes. The high seriousness and aesthetic idealism that usually characterize todays peer house demanding this high seriousness, for writing music that was increasingly beyond the technical abilities of the amateur and demanded the concentration or rows of passive listener s (Johnson, 2002, p. 8). The lack of artistic knowledge in this segmentation of people would also have an incorporated lack Of understanding for the nature Of practices in the concert halls diacritically. This reinforces a sense of class distinction and two conflicting segmentations of people, thus supporting the case for elitism. The concert practices that are not encoded through the popular music would thou a doubt require time and effort to digest if one were to engage in the classical music dominant culture system consisting of attitudes, values and beliefs.Julian Johnson emphasis this, No amount of marketing strategies, outreach programs and grants for new audiences can get around the fact that art is difficult stuff It can also require time, care and a non appetitive approach that most people associate with study or work (Johnson, 2002, p. 88). In conclusion there are a variety of factors which may cause a perception of elitism in classical music. To some extent it can be true that those who wish to articulate in the genre can be restricted by the aspects of finance, support and knowledge.However accessibility is derived away from how it was historically determined through social positions and not by a purely independent choice thus giving allowance for egalitarianism. Classical music can effectively be enjoyed by anybody irrespective of the individuals location I. E. Home or concert hall and can therefore be perceived no different from a question of personal taste. This would then value the genre of music solely by the individuals and not a collective, therefore advocating the removal of a ultra barrier.