Art Final

Only available on StudyMode
  • Download(s) : 76
  • Published : April 15, 2012
Open Document
Text Preview
Final Project: Art Timeline
Name here
Axia College of University of Phoenix
Art/101

Final Project: Art Timeline
Chinese Art in Landscape Painting
As the museum’s new curator I have been informed that my primary goal is to improve the content of the museum’s website. After reviewing the guidelines and instructions set forth, I have decided to proceed with my commitment by focusing on the chosen art medium of painting. In addition, I intend to include ten chosen examples of thematically linked artwork in the area of Chinese art in landscape painting. So, before I precede any further I would like to give you a brief introduction into the focus of this timeline, along with some key ideas and motivations behind the artists chosen works.

[pic]
Fig. 1
(960-1127)
Old Trees, Level Distance
Northern Song Dynasty
Guo Xi
Hand Scroll, ink and color on silk
Metropolitan Museum of Art, New York

Old Trees, Level Distance in (figure 1) was created by Guo Xi a late 11th century landscape painter (Old Trees, Level Distance, 2008). In this particular painting the artist has used a traditional Chinese style approach of hand scroll with ink and color on silk. This approach is especially seen in the traditional design of crab-claw trees and devil face rocks (Old Trees, Level Distance, 2008). However, Guo Xi’s used an innovative brushwork pattern that added rich, texture to the ink and contrast of this painting compared to earlier traditional works. The artist has used outlines, texture strokes, and ink washes in this painting that creates a landscape atmosphere of moisture or wet presence (Old Trees, Level Distance, 2008). Furthermore, the painting conveys the artist’s personal emotions as it gives off an impression of farewell and symbolic sadness.

[pic]
Fig. 2
(960-1127)
Summer Mountains
Northern Song Dynasty
Attributed to Qu Ding
Hand Scroll; ink and pale color on silk
Metropolitan Museum of Art, New York

Summer Mountains in (figure 2) is also an 11th century Chinese landscape painting. This piece of artwork was attributed to Qu Ding (Summer Mountains, 2006). In addition, suggest the artist intended to identify with a human presence in the painting, through an open majestic atmosphere allowing them to wander, and ramble. Hand scroll ink and pale color make up this artwork, but advanced texture strokes suggest this piece actually belong to a collector (Summer Mountains, 2006). The open space with various size mountains allows the artist to create a structure of balance, while a central majestically placed mountain emphasizes the artist’s self-expression to escape the climax to man’s universe. Furthermore, this artwork synthesizes the need for the artist to rely on self-discipline and intuitive understanding (Sayre, 2007).

[pic]
Fig. 3
1551
Garden of the Unsuccessful Politician
Ming Dynasty
Wen Zhengming
Album of Eight Paintings; ink on paper
Metropolitan Museum of Art, New York

Garden of the Unsuccessful Politician (figure 6) Ming dynasty dated 1551 by Wen Zhengming. This Chinese landscape painting actually consist of an album ink on paper, including calligraphy, and poetry. These paintings are said represent the artist’s personal expressions and feelings associated with an unhappy stay Beijing (Garden of the Unsuccessful Politician, 2006). The primary characteristics of this artwork are ideally synthesized by the early Southern style are recognized and achieved in this particular works including painting, calligraphy, and poetry (Sayre, 2007). The poetry and calligraphy used depict the artist’s views in a personal expressive manner, while the viewer can relate to the images in the paintings. Furthermore, all three characteristics used accomplished an intuitive understanding, with an expressive setting that can be easily related too. [pic]

Fig. 4
1666
Wooded Mountains at Dusk
Qing Dynasty
Kuncan
Hanging Scroll; ink and color on paper...
tracking img