seen from China
seen from Malaysia
seen from Canada
seen from Germany
seen from Yemen
seen from Mexico
seen from Vietnam
seen from Vietnam
seen from Vietnam
seen from United Kingdom
seen from Spain
seen from Italy
seen from United States
seen from Malaysia
seen from United States
seen from Malaysia
seen from United States
seen from United States
seen from United States
seen from Vietnam
The grieving mother
My heart feels like this very thing in my hands, ripped apart and jagged, and every clumsy stitch I try to make with this thread only seems to emphasize the gaping tear that will never truly mend;this vibrant red is dulled by the constant ache, and all I can do is try with trembling fingers and tear-filled eyes, to piece back together what feels irrevocably broken...
Title: A grieving mother
My heart feels like this very thing in my hands, ripped apart and jagged, and every clumsy stitch I try to make with this thread only seems to emphasize the gaping tear that will never truly mend; the vibrant red is dulled by the constant ache, a heavy weight against my chest, and all I can do is try, with trembling fingers and tear-filled eyes, to piece back together what feels irrevocably broken.
The grieving mother
My heart feels like this very thing in my hands, ripped apart and jagged, and every clumsy stitch I try to make with this thread only seems to emphasize the gaping tear that will never truly mend;this vibrant red is dulled by the constant ache, and all I can do is try with trembling fingers and tear-filled eyes, to piece back together what feels irrevocably broken...
Title: The Meeting of Abraham and Melchizedek,
Timeframe: c. 1625
Media: Oil on canvas
Artist: Peter Paul Rubens (Flemish, 1577 – 1640)
Size: 175 1/4 x 224 3/4 in. (445.1 x 570.9 cm)
I am immediately struck by its monumental presence and the palpable sense of a significant historical and religious event unfolding before my eyes. This artwork presents figures that appear life-sized, set within a sweeping, theatrical space. The application of paint is rich and textured, with visible brushstrokes conveying movement and the artist's expressive technique.
The color palette is characteristically Baroque, defined by warm, saturated hues. Deep crimsons and burgundies in garments and shadows provide a counterpoint to the luminous golds and creams that highlight Melchizedek. Earthy browns and muted greens, along with darker tones, ground the composition, particularly in the depiction of Abraham's armored retinue. Shapes are dynamic and robust, emphasizing the figures' muscularity and the flowing lines of their attire. Curved lines dominate, lending a sense of energy, while architectural elements introduce structured, geometric forms.
The subject is the biblical meeting of Abraham and Melchizedek (Genesis 14:17-24). Abraham, returning victorious, is greeted by Melchizedek, the priest-king of Salem, who offers bread and wine. This offering, and Melchizedek's blessing, are central to the composition. Rubens portrays Melchizedek in a position of authority, his actions prefiguring the Christian Eucharist and the institution of the papacy, as if officiating at a Catholic Mass. Figures attending Melchizedek further emphasize the sacred nature of the rite. The composition directs the viewer's gaze toward the exchange between the two central figures, along a diagonal that ascends toward Melchizedek. The arrangement of figures into distinct groups on either side contributes to the painting's overall balance.
The solemnity of the offering is emphasized through Melchizedek's elevated stance and reverent gestures. Rhythm is established by the repetition of figures and the flowing lines of their garments, guiding the eye through the narrative. The figures are rendered with classical and idealized proportions, consistent with the artistic conventions of the period. Strong contrasts of light and shadow heighten the drama, lending a sense of three-dimensionality and emphasizing key elements. Despite the scene's complexity, a sense of unity is achieved through the cohesive Baroque style and clear narrative focus, while variety is introduced in the figures' diverse poses and expressions.
Encountering this artwork evokes feelings of reverence and historical weight. The grandeur of the composition and the rich details create a sense of witnessing a pivotal moment, both biblical and theological. Rubens' dynamic energy conveys the importance and solemnity of this sacred exchange, preventing the scene from feeling static.
This artwork is firmly rooted in the Baroque movement, which flourished in the 17th century. During this period, the Catholic Church was a significant patron of the arts, commissioning works to promote its doctrines. Peter Paul Rubens, a leading figure of the Flemish Baroque, was highly sought after for his ability to create visually stunning and emotionally charged works. This painting was likely commissioned to serve this purpose.
The artwork speaks to Rubens' exceptional technical skill, his deep understanding of religious iconography, and his ability to synthesize various artistic influences into a powerful and persuasive visual statement. He masterfully conveys complex narratives through dynamic figure groupings, rich colors, and theatrical lighting. Rubens aimed to communicate the theological significance of the meeting, emphasizing its prefigurative role. He achieves this with remarkable clarity, using Melchizedek's elevated position, gestures, and the reactions of the surrounding figures to underscore the sacred nature of the offering.
In conclusion, this work holds great importance for society and the world. It serves as a powerful visual representation of a pivotal moment in religious history, offering insights into the theological beliefs and artistic conventions of the Baroque era. Rubens' artistic mastery has had a lasting influence on Western art. The work also highlights art's role in communicating and reinforcing cultural values and religious doctrines, demonstrating its enduring power. I chose this artwork for its explicit connection to a significant religious narrative, combined with Rubens' prominence as a Baroque master, which provides a compelling example of the intersection of art, history, and culture.
Japanese Zen Buddhism
Artist: Mayumi Oda
Title: Treasure Ship, She Made The Magic For Their Dream
Date: 1976
Medium: Serigraph on paper
Mayumi Oda said: "The idea of a Treasure Ship comes from an old Japanese custom. During the Edo Period, a vendor would go to each village selling small woodblock prints of takarabune, a treasure ship, at New Year's time. The small print would be placed under your pillow on New Year's Eve to bring good dreams and good fortune for the coming year. On the ship are the Shichi Fukujin, the seven lucky gods of good fortune. Among them, there is only one woman. So, I unloaded the men and kept Sarasvati."
Mayumi Oda playfully subverts the traditional Japanese Treasure Ship imagery by removing the male deities and centering Sarasvati, a Hindu goddess of knowledge, music, and the arts. This deliberate alteration reimagines the concept of "good fortune" for the modern viewer, suggesting a shift in values towards female empowerment and the cultivation of inner wisdom and creativity. By blending a Japanese folk custom with a Hindu deity, Oda creates a contemporary symbol of auspiciousness that transcends cultural boundaries and speaks to a more inclusive and artistically driven vision of prosperity.
Title: The Meeting of Abraham and Melchizedek
Artist: Peter Paul Rubens
Culture/Place: Europe
Media: Oil on canvas
Date: c. 1625
WHY do YOU think John Ringling bought this particular work of art?
Ringling was known for his fondness for the Baroque style, John brought "The Meeting of Abraham and Melchizedek" to enhance his and Mable's vision of a world-class art museum, ensuring it housed significant European masterpieces, specifically within the Baroque period, that would captivate visitors as centerpieces within the museum's original 21 galleries, while also showcasing the artistic mastery of Peter Paul Rubens who was a master of this style.
Why do people do what they do? Why do they value some things more than others?
Everyone is different, Feelings and thoughts can make different people like different things. What is beautiful to you might not be beautiful to me base on my personal choice of colors, style and a whole lot of factors, human behavior is driven by a complex interplay of biological needs, learned experiences, social influences, friends, and families we have around. Individuals prioritize values based on their personal histories, cultural backgrounds, and perceived needs for survival and well-being. Emotional responses, cognitive biases, and the pursuit of meaning also shape both actions and valuations. Ultimately, our experience is a unique combination of some of these factors, leading to diverse and sometimes unpredictable choices we make in our daily life.
JOURNALING
Scale and Proportion:
Textbook Definition: Scale refers to the size relation of one thing to another, while proportion refers to the size relationship of parts to a whole and to one another
My Interpretation: scale is like, how big something is compared to something else, like a giant building next to a tiny car. Proportion is more about how the parts of ONE thing fit together, like how the arms and legs of a person look right in relation to their body. It is about making sure everything looks like it belongs size-wise.
Everyday Life Example: A building's large windows (scale) compared to the small size of the people walking by, or the golden ratio used in the design of a phone screen (proportion).
Repetition and Rhythm:
Textbook Definition: Repetition is the recurrence of visual elements, while rhythm is the regular or ordered repetition of dominant and subordinated elements or units within a design with related variations.
My Interpretation: Repetition is just doing the same thing again and again, like repeating a shape or color. Rhythm is when you take those repeated things and put them in a pattern, almost like a beat in music. It is not just repeating, but repeating with a sense of order and flow.
Everyday Life Example: The repeating pattern of bricks in a wall (repetition) or the alternating colors of stripes on a crosswalk (rhythm).
Directional Forces:
Textbook Definition: Directional forces are pathways that an artist embeds in an art work for the viewer's eye to follow.
My Interpretation: This is like the artist putting little invisible arrows in their work. They are guiding your eyes, telling you where to look and what to follow. It is how they control where your attention goes, using lines, shapes, or even the way things are pointed.
Everyday Life Example: The lines of a road leading to a vanishing point (directional forces) or a person pointing in a specific direction.
Emphasis and Subordination:
Textbook Definition: Emphasis is a method an Artists use to draw our attention to an area; may be done with central placement, large size, bright color, or high contras while, subordination is a technique by which an artist ranks certain areas of a work as of lesser importance; areas are generally subordinated through placement, color, or size.
My Interpretation: Emphasis is basically making something the star of the show. It is how the artist makes you notice one thing more than anything else, like using bright colors or making it really big. Subordination is the opposite; it is making other things less important, pushing them into the background so the main thing stands out even more.
Everyday Life Example: A brightly colored advertisement on a plain background (emphasis) or the subdued background music in a movie scene (subordination).
Unity and Variety:
Textbook Definition: Unity is the appearance of similarity, consistency, or oneness and variety is the opposite of unity; diverse element in the composition of the work of art.
My Interpretation: Unity is about making everything feel like it belongs together, like it is all part of the same picture. Variety is about keeping things interesting by adding different elements. You need both; if everything is the same, it is boring, but if everything is different, it looks chaotic. It is about finding a balance.
Everyday Life Example: A room with furniture and decorations that share a similar color palette (unity) with different textures and shapes (variety).
Balance:
Definition: Balance is an arrangement of parts achieving a state of equilibrium between opposing force or influences.
My Interpretation: Balance in artwork refers to the harmonious distribution of visual weight within a composition, creating a sense of equilibrium and stability. This principle transcends mere symmetry, encompassing both formal (symmetrical) and informal (asymmetrical) arrangements. Visual weight is determined by factors such as size, color, texture, and placement, influencing how "heavy" or "light" an element appears to the viewer. Achieving balance provides a sense of visual comfort and psychological satisfaction, reflecting our innate desire for stability. While artists often utilize balance to create a sense of harmony and order, they may also intentionally disrupt it to evoke tension, unease, or other expressive effects.
Everyday Life Example: A symmetrical building with equal visual weight on both sides (balance), or a table with objects evenly distributed.
2. WRITING AND LOOKING
INTRO: Welcome to Kadeon's Kitchen of Art, where we're about to whip up the most rhythmic, elegant, and surprisingly humorous rendition of Ogata Korin's "Cranes"! Get your gold leaf ready, because we're about to create a masterpiece that's both visually opulent and subtly hilarious. We'll be playing with stylized shapes, a touch of red, and a whole lot of birdly attitude. Get ready to march to the beat of our own "crane" drum!
Revised Recipe for Ogata Korin's "Cranes" Composition (10 Cranes Edition)
Yields: One rhythmically humorous and visually opulent folding screen composition.
Ingredients:
10 parts Severely Simplified Cranes:
Utilize a highly stylized, almost geometric approach to represent the cranes. Focus on elongated bodies and legs, creating a repeating shape with subtle variations.
Maintain a limited color palette: primarily white, black, and a touch of red for the eyes.
Arrange the cranes in a closely packed, near-linear procession, emphasizing their rhythmic movement.
1 part Opulent Gold Leaf Background:
Apply a flat, uninterrupted layer of gold leaf to create a visually rich and reflective surface.
Ensure the gold background dominates the composition, providing a luxurious backdrop for the cranes.
1 part Curving Stream Suggestion:
Incorporate a subtle, dark, curving form in the right portion of the composition to suggest a stream.
The form should be abstract and organic, providing a contrast to the geometric cranes.
Strong Directional Force (Heads and Beaks):
Position the cranes' heads and beaks to create a strong directional force toward the left, guiding the viewer's eye.
The high placement of the heads enhances the cranes' "loftiness" and adds a touch of humor.
Rhythmic Procession (Marching Steps):
Arrange the cranes to create a rhythmic procession, suggesting a line of marching steps.
The seemingly straight line of the procession reinforces the humorous and slightly pretentious character of the cranes.
Implied Lines (Bodies and Legs):
Utilize the cranes' bodies and legs to create strong implied vertical and diagonal lines, adding structure and movement to the composition.
Empty Rectangle (Visual Destination):
The directional force of the cranes heads leads the viewers eye to an area of the gold background that is relatively empty, creating a ironic destination.
Balance Through Rhythm and Repetition:
Achieve balance through the rhythmic repetition of the crane motif and the even distribution of the gold background.
Instructions:
Prepare the Gold Leaf Background: Begin by applying the gold leaf to the folding screen, creating a flat and opulent surface.
Arrange the Cranes in Procession: Carefully position the ten cranes in a closely packed, near-linear procession, ensuring a rhythmic flow.
Paint the Crane Details: Add the details of the cranes, including the red crowns and the precise lines of the beaks, using delicate brushstrokes.
Incorporate the Curving Stream: Add the subtle, dark, curving form in the right portion of the composition to suggest a stream.
Refine the Directional Force: Ensure the cranes' heads and beaks create a strong directional force toward the left.
Emphasize the Rhythmic Procession: Refine the arrangement of the cranes to emphasize their rhythmic movement and humorous character.
Serve to an Audience: Display the folding screen to showcase the elegant simplicity and humorous charm of Ogata Korin's "Cranes."
3. CONNECTING ART TO YOUR WORLD
With my unwavering affinity for black, I have noticed how color, or the absence of it, profoundly shapes my experiences. A while ago, I attended a art show where the artist primarily utilized a monochromatic palette, focusing on shades of grey and deep blacks. The value variations within these dark hues were striking, creating a sense of depth and mystery that captivated me. The lack of vibrant colors allowed the intensity of the textures and forms to stand out, highlighting the subtle nuances of the artwork. The saturation of the blacks, in particular, was so rich and dense, it felt almost tangible. The experience reinforced my belief that color, even in its most subdued form, can evoke powerful emotions and create a distinct atmosphere. If I had to choose a "color scheme" for my life, it would undoubtedly be a range of deep, saturated blacks and charcoal greys, punctuated by occasional flashes of metallic silver or deep, almost-black reds. It is a palette that reflects my preference for depth, mystery, and a quiet intensity.
4. ART PROJECT
5. PHOTO/DESIGN
Title: The Falling Soldier
Artist: Robert Capa (American (born Hungary), Budapest 1913–1954 Thai Binh)
Date: 1936, printed later
Medium: Gelatin silver print
Dimensions: Image: 24.7 x 34 cm (9 3/4 x 13 3/8 in.)
Title: Migrant Mother with Two Children, Nipomo, California
Artist: Dorothea Lange (American, 1895–1965)
Date: March 1936
Medium: Gelatin silver print
Dimensions: 18.4 x 24.2 cm (7 1/4 x 9 1/2 in. )
What is the event being depicted? How does the photograph visually represent the story to the reader/viewer?
Dorothea Lange's "Migrant Mother" depicts the profound hardship and desperation experienced by migrant farmworkers during the Great Depression. The photograph visually represents this story by focusing on the weathered face and anxious expression of Florence Owens Thompson, a mother struggling to provide for her children amidst economic collapse. The composition, with her children huddled around her, emphasizes her role as a protector in a time of vulnerability, while her furrowed brow and distant gaze convey a deep sense of worry and exhaustion. The stark contrast and close framing draw the viewer into her emotional state, making the abstract concept of economic suffering deeply personal and human.
