Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668

Result #1

Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668, shows the end of the seventeenth-century Dutch avant-garde as the systematic dismantling of the art object, at least in the Netherlands. There is no such thing as the artist as an artist, vanitas says. No artist is an artist, he states, and he suggests that artists are like atoms in a giant computer. His sculpture is an amalgam of such atoms, of objects of his own making that have been thrown out of order. This is art as the sum of its parts. Vanitas shows us the organized chaos that is nature, and his sculptures serve as a reminder of the nature of things in a world of orderly order.A different kind of chaos can be seen in the pieces of white cardboard that Dan Graham fabricated in his studio during the 1960s. These cardboard pieces have been stretched over wooden frames and then painted in a crazily colorful pattern. The artists piece of cardboard has no frame. It is a strange object, a field of particles that float in the air. It is a kind of skeleton that Graham created during his studio visits. His method of making his sculptures involves pulling out all the bits and pieces that he finds in his studio. He then assembles them together. It is a kind of testing of the physical properties of the material.Graham has chosen to make his sculptures from the wood of his studio. The pieces are broken down into parts, into layers, into components that he can make into a complete object. Graham has made a single room in his studio his laboratory, where he experiments with a wide range of materials. He starts by making a plywood table. Then he builds a wooden table with three cubes that he slides over a steel frame. Finally, he makes a wooden wall, using a single wood block. His cubes and tables, his wall, and his floor, are his materials for his sculpture.

Result #2

Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668, by the Dutch artist Vanitas van der Rohe, is a fascinating collection of early Modernist-influenced artworks, arranged in a frame like a fairy tale. What the exhibition was about was the conceptual development of a new, nonfigurative, painterly style, which at first sight appeared to be an extreme variant of the prevalent style of Surrealism. But these paintings were in fact quite different in spirit, structure, and subject matter. It was Vanitas work that exerted the greatest influence, in particular in the use of white, crudely applied paint, which gave the painterly technique an often lurid, hallucinatory glow. This warm, earthy palette of color was achieved by applying thickly applied paint in thickly applied regions and then passing it over a plain ground of mostly black acrylic. The result was a kind of limpidly dreamy, animal-like coloration, whose ethereal and luminous qualities were matched by a deeply felt, almost religious, atmosphere.Vanitas use of crudely applied paint—itself a radical departure from the traditional method of painting—was still evident in his earlier paintings. Yet the paint had been removed to reveal a deep, dark, almost blackened patina, which gave a vaguely gothic air to the paintings. A new, brash, and playful touch had been introduced into the work. His paintings were by now generally described as being about the middle range, which is the lowest range of human vision. The painting is an environment, a place to be inhabited by the imagination, the thinking mind. For him, painting was not just a means of expressing the emotions, but also a means of creating a new, higher, humanistic order. The paintings in this exhibition were about the middle range of human vision.But the paintings were not only about the middle range of human vision, but also about the middle range of human perception.

Result #3

Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668–70, 1933, oil on canvas, 11 3/8 x 9 3/8". Not that the show was at all unrelated to the past, just that one could see the past in the present. The exhibition was a look back to the 19th century—the past, in other words, that was most important to its creator, the young Dutch painter and architect Jan Frans Holboven. In this modernist context, Holboven is a classic figure, and a figure with whom we are familiar, having been represented by a number of important works. Among them, the large, highly realistic paintings of his friend and fellow Dutch artist Nieuwen van der Heyden, from the early 20s through to the early 30s, and the large, highly figurative works of his son, the American painter and illustrator Francis Holboven.All of them, Holboven acknowledges, were influenced by the hand of his father, and therefore by the methods of his art, in which he called upon the artisans to create paintings in order to meet the needs of the designers. This artistic impulse, which is represented in many ways, is also evident in Holbovens most important work, a large painting titled Vanitas, from 1940, which was exhibited in this show. This work consists of three groups of three-dimensional forms arranged in an orderly, even, but not chaotic, sequence. This is the first time that the three-dimensional forms were exhibited together in a show that included both a three-dimensional and a gestural painting. Both of these works, Holboven has said, had a clear and clear-cut design. There was no need for an in-between, it was clear that the design was essential. This was the design of the church, and the design of the churchs interior.

Result #4

Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668, 2002, and Modernism and Abstract Expressionism: The Sculpture of the Fifties, by Anne Davis, associate editor of the Journal of Modern Art. The shows title is taken from a book published in 1973 by the Royal Academy of Arts in London, Art and Theory: From the Sculpture of the Fifties to Modernism, which was originally published in 1928. This exhibition is dated to the late fifties, when the modernism of the Fifties was being explored by an increasingly eclectic array of artists. Notable among these were the artists of the Abstract Expressionists, the post-Modernists, the Conceptualists, and the abstractionists.It is perhaps as an allegory that we should not forget that there was another moment in modernism when the individual individual was more than the sum of the parts. This idea is suggested in the installation of works by the more or less isolated members of this group—for instance in the postwar movement of the artists and intellectuals of the artists circle, such as the artists of the Bauhaus movement, the artists of the critical and critical-art movement, and the artists of the new generation of Abstract Expressionists. A body of work by all these artists is shown in the show, which was organized by the museum in collaboration with the British Academy and the Tate. This exhibition is devoted to the artists of the Bauhaus movement, who were not only deeply involved with the theory of modernism but were also involved in its practice. In addition, there are works by the artists of the critical and critical-art movements. The critical and critical-art movements were among the first to acknowledge the value of abstract forms in painting. The abstract form can be seen as an abstract form in Modernism, because it is an individual expression of a self that is not dependent on the ideology of the art establishment.

Result #5

Formal Analysis Art Essay over Maria Van Oosterwijck, Vanitas on an oil canvas 1668–69, the same year in which the artist was born, is a series of identical rectangles—on the one hand, they seem to be an attempt to formulate a formal system, but on the other, they recall the human brain. The pieces are made of a mixture of earth and clay, and they appear to be made of a single substance. There are also three other examples: the three-dimensional representation of a young boy, his legs and head made of an unknown substance, as well as a group of colored, distorted, and disconnected, miniature animal forms.This is a group of paintings that are important for their formal system and their discovery of the creative potentials of the natural world. The biggest piece in the show is a series of seven small works on canvas, titled En Schaiß (The Woods), all 1986. The paintings are made of two materials, which in this case are oil paint and wood. The first of these works is a kind of anti-hierarchical division of the world into three parts: the upper part is a smooth, pale gray-brown ground, and the lower part is a deep, blue-green one. The lower part of the painting is painted black and transparent, but the paint, which covers most of the surface, is not visibly applied. The colors are applied in a diffuse, minimal manner, and the surface is kept in a haze of mottled brown, dark green, or black. The surface is also not applied in a continuous, continuous process, but in a patchwork manner, without the slightest trace of linear order. The color is applied to the canvas in an irregular, uneven manner, and, as in a fog, the color seems to float and move around the solidity of the ground. In this way, the surface is not solid but is always in motion. The painting is a continuous flux of color, which is not contained by the ground, but is constantly occurring.