Analyzing Different Art Forms

Topics: Oil painting, Aesthetics, Oil paint Pages: 5 (1565 words) Published: April 25, 2013

Artist Name: The M. and M. Karolik Collection of Eighteenth-Century American Arts Title of Work: Desk and bookcase
Dates: 1765-85
Medium(ia): Mahogany chestnut, white pine, cherry, maple
MFA accession numbers: 39.155

The piece of furniture I chose to analyze was a desk connected to a bookcase, honestly because of its size and its marvelous look – it is so simple yet majestic at the same time. The main technique that has been used, besides prepping the wood, is carving. To carve, the main design is traced into the wood used and then removed using a sharp tool, an example being a gouge or even nails (as mentioned in the video). For more detail oriented carvings, a narrower tool should be used. In the desk/bookcase I picked, a narrow tool was not necessary for the carvings as the repeated pattern is not detailed at all. However, at the top of the bookcase, the carvings get a little more intricate, with the pattern being significantly smaller and therefore the carving had to be done with a thinner sharp tool. 3. PAINTING 1

Artist Name: Martin Johnson Heade
Title of Work: Approaching Storm: Beach near Newport
Dates: 1861-1862
Medium(ia): Oil on Canvas
MFA accession numbers: 1835-1865, 1945, 45.889

The painting being analyzed is a beautiful seascape where the oil paints and techniques used really enhance its relationship to the visual world. The philosophy behind this piece is definitely stylized, where there is a shift from the realism feel – there is an emphasis on design rather than an exact representation. I noticed that through oil paints, there is so much more emotion and detail compared to if the exact same scene was painted with other mediums such as water based paint.

The colours really bring out the ominous feel of the waves, where the artist has been able to overlap various colours giving them a rhythmic like feel. The waves are a very deep blue, with a layering of lighter colours on top making the wave look absolutely perfect and giving it a very alive sense. The very full browns and reds used for the beach and rocks compliment the blues and tints of green very well and brings a very aesthetically pleasing balance to the viewer’s eye.

With this overlap comes excellent leveling and although not obvious, the brush marks are very full and thick. These full brush marks contribute to the amazing sharpness and life like quality of the seascape. The quality of oil paint really allows for both detail and nice blending overall. The colours of the waves and the beach pop out and are very saturated, with lines included for detail and style, whilst the sky is beautifully blended with a less saturated colour base, leaving the focus on the magnificent waves. The energy of this piece is truly magnificent, and the dramatic style does true justice to the foreshadowing of a storm coming in.


Artist Name: Eva Zeisel
Title of Work: Tomorrow’s Classic dinnerware, decorated with the Fantasy pattern Dates: 1949-1950
Medium(ia): Glazed earthenware
MFA accession numbers: 2004.511.2, 2004.510, 2009.5181, 2004.2111a-b

The industrial design object being analyzed is a gravy boat, made of beautiful glazed earthenware (a very common clay body) and simply decorated with an unusual design. After some thought, I believe that this dish is classified under the ‘form follows function’ design philosophy, whereby the designer has determined an object’s shape primarily based on its intended function.

This gravy boat is a decent size, with a perfectly rounded body to hold a sizable quantity of gravy – its primary function. However, Zeisel has really taken on a modern approach in terms of design to a potentially mass-produced functional product, while keeping in mind the purpose it has to serve. Firstly, the colour, style and overall texture of this boat is aesthetically pleasing to the eye and therefore enhances consumer appeal. The...

Bibliography: Zelanski, Paul, and Mary Pat Fisher. The Art of Seeing. Englewood Cliffs, NJ: Prentice-Hall, 1988. Print.
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