The Translation of Photographic Images Into Painting Essay

The Translation of Photographic Images Into Painting - Essay Example The essay "The Translation of Photographic Images Into Painting" discusses what actually changed the set views and paradigms of artist of coming centuries was the ability to think out of the box. Such artists have given art a new dimension every time. Artists create art to communicate ideas, thoughts and feelings. They use a variety of methods such as painting, sculpting or illustration and an assortment of materials including oils, watercolours, acrylics, pastels, pencils. Artists, works may be realistic or abstract and may depict objects, people, nature or events. We are swamped by so many images, on the streets, in magazines and on the television. Artists usually create landscape paintings in one of four ways: They paint entirely on location; they rely on memory or imagination; they work from photos; or they use a combination of these source. Working from photos to create art pieces as paintings has always been an act which came under darkness due to overlapping views (and counter views too) about ethics of the profession and such other reasons. Some can say that painting taking initial source as a photograph lacks the freshness of thought and the as-it-is natural conditions. Too much reliance on photographs can result in paintings that lack breadth and are broken apart by tedious detail. But using a photograph as a mere source of reference to an idea is not discouraged at all. Rather it is very much beneficial in cases where there is no possibility of carrying painting equipment. or where there is short time between events that change the condition of the idea which has to be captured. Thus we look into the lives of various artists of mainly the twentieth century who have contributed their paintings with criticisms rolling off their backs and the praises not lowering their further elevation of imaginative journeys. "I remember the first place I went to on this trip where we were active, one of the resettlements that we built. I found that as far as I was concerned, they were impossible to photograph. Neat little rows of houses. This wasn't my idea of something fun to photograph at all. But I had the good luck to ask someone, "Where are you all from Where did they bring you from" And when he told me, I went on to a place called Scott's Run, and there it began. From there I went all through Kentucky, West Virginia, down to Arkansas, Mississippi, and Louisiana-in other words, I covered the mine country and the cotton country. I was terribly excited about it, and did no painting at all in that time. This was it, I thought. I'm sort of a single track guy, anyway. When I'm off on photography, photography is it, and I thought this would be the career for the rest of my life."1 The deep interpretative question in Richter's art concerns less the fact that he worked with photographs than why he selected the photographs he did for Atlas, and what governed his decision to translate certain of them into paintings. There are, for example, photographs of American airplanes-Mustang Squadrons, Bombers and Phantom Interceptor planes in ghostly gray-in-gray formations. Richter was an adolescent in 1945, and lived with his family within earshot of Dresden at the time of the massive fire bombings of that year. The photograph from which Bombers was made had to have been taken as a documentary image by some official Air Force photographer, whether over Dresden or some other city. The cool of that

Visual Arts Experimental Drawing - Research Project Paper

Visual Arts Experimental Drawing - Project - Research Paper Example Hopper first attended New York School of Art and Design, where he was shocked at the prospect of drawing live nudes. His choice of subjects was mostly boats and women, still life and natural landscapes. He was influenced by Manet and Degas and particularly loved Rembrandt’s use of light and dark shadows in Nightwatch, and the work of French engraver Charles Meryon. He hated illustrations but was forced by economic circumstances to work at a copywriting agency during his early professional life. After his father died he moved to and lived in his Washington Square apartment in New York’s Greenwich Village for the rest of his life (Kuh, 53). Hopper got his subject matter from both seascapes and landscapes and scenes in contemporary American life. His Girl at a Sewing Machine (1921) shows a girl at work on this machine, deeply involved as the sunlight comes into her room and lights it up. His work often depicts the solitude he felt in life. Hopper’s most celebrated p ainting is Nighthawks (1942) which is famous for its attention to detail, cinematic perspective and use of electric light set against the contrast of the night outside. It shows a group of people at a diner. Hopper’s Girlie Show (1941) is one of his more audacious pieces, where a red headed striptease is seen moving confidently across a stage as musicians play in the background (Barbara, 158). Works Cited Haskell, Barbara. Modern Life: Edward Hopper and His Time. Hamburg: Bucerius Kunst Forum, 2009. Print. Kuh, Katharine. Interview with Edward Hopper in Katherine Kuh, The Artist's Voice: Talks with Seventeen Artists. New York: Di Capo Press, 2000. Print. Levin, Gail. Edward Hopper: An Intimate Biography. New York: Knopf, 1995. Print. Lisa Milroy Born in Vancouver Canada in 1959, Lisa Milroy moved to London in 1979 and has been living and working there since then. She first studied at the Universite de Paris-Sorbonne in 1977–78 for a short while before moving on to Lond on’s St Martin's School of Art in 1978–79. She completed her art studies at the University of London, UK from 1979 to 1982. Lisa’s first solo art exhibition took place in 1984. She was also given the 1989 John Moore Painting Prize. Lisa currently teaches at the Slade School of Fine Art in London. As an artist, Lisa Milroy is famous for painting everyday items like vases, clothes and shoes in the form of collections. Milroy also paints objects in formations like in the shape of grids, lines, groups, rows and columns which she likes to create on plain backgrounds. Quite often Lisa’s arrangements of objects are influenced by their functional identity. For instance, stamps transform into islands for the eyes to travel between or wheels move forward at a dizzying visual pace. Handles (1989) won for Lisa the John Moores Award. This is a depiction of various handles of different types all spaced evenly through the work and can be viewed as a combination of lines dots and circles, assembled or spaced as in a catalog. The lack of color is intriguing and one cannot help wanting to pull on the handles to see if they work (Walker Art Gallery). Handles, 1989. Her painting Shoes (1985) shows a collection of shoes evenly spaced but in different configurations as to positions. Not one is repeated, they all