Art

Mobile sur deux plans - Alexander Calder

I chose to present this artist kinetic movements because I think his designs show balance of weight and strength. Colors, lightness, playfulness, abstraction are qualities in his work, mobile, movement by the slightest whiff air that embodies the antithesis of classical sculpture to massive volumes, and have become symbols of modernity. To understand better I have chosen to present the «Mobile on two sides" because this work represents for me the overall style of the work of Calder. In apparent simplicity, this steel suspension, whose tips are dotted with drops of color conceals "a more ambitious research of expression."

One can observe that each branch of the mobile itself is held by another branch, which itself is bound by the preceding one and all maintained by a single cable industry. The composition held in a strong adjustment forces and weight, allowing the beam to find its equilibrium in space.

There are various aspects that look like Mondrian’s work in this logical connection between lines and colors. Indeed, we can notice the use of the three primary color as well as black and white colors, but also sleek, straight and geometric lines. This work, although abstract, makes us think of skeletons and insects, thus including a biomorphic notion that accentuates the appearance of lightness and balance.

This mobile is certainly governed by a rigorous commitment to abstraction, but it is transcended by its cosmic dimension that gives it an unparalleled balance.

Alexander Calder (1898 - 1976) Mobile sur deux plans 1962 Tôle d'aluminium et fils d'acier peints 200 x 120 x 110 cm Mobile suspendu :

-STAR. 2010. "Wikiart visual art encyclopedia". [ONLINE] Available at:http://www.wikiart.org/en/alexander-calder/the-star-1960. [Accessed 15 October 14].

- PROJET HISTOIRE DE L'ART. 2011. "Alexander Calder". [ONLINE] Available at:http://fr.wikipedia.org/wiki/Alexander_Calder. [Accessed 15 October 14].

5h30 Prop Pieces, Richard Serra

Richard Serra (1939 - ) 5:30 (5h30, Prop Pieces) 1969 Acier corten 139 x 230 x 200 cm Poids : 2800 kg chaque plaque : 124 x 124 x 5 cm rouleau : L : 230 cm; diamètre : 15 cm :

- NADINE POUILLON. 2007. "La collection du Centre Pompidou Richard Serra". [ONLINE] Available at: https://www.centrepompidou.fr/cpv/resource/cej5nnG/rAbRKA8. [Accessed 24 October 14].

I find it interesting to present this work of Serra because I think it brings a different vision of balance in a sculpture of Calder. Indeed, the intention of balance was the foundation of his sculpture. This work is part of the same collection as his famous "house of cards" (1964) consists of four vertical plates that lead, supporting each other, not held together by their own weight.

What I really like about this work of art is that, it looks full but it is only a ‘frame’ and not a solid shape, Serra himself, has not pre-established conceptual framework that will determine his work. This is the physical testing of material around the concept of balance that is operated until the desired pattern is achieved.

Balance is not maintained by any cable, it is pure balance that revolves around a main room roll. Serra made this work of art in the steel, which is a contrast between the lightness of the design and the enormous weight of the work (over 2 tons).

The sculpture is almost symmetrical. Indeed, the roll disposed in the diagonal of the cube maintained at each of its ends to the two plate’s equal distance, thereby forming a square. In addition, vertical plates create a perfect complementarity with the horizontality of the floor and the roller.

This tough, heavy, imposing work goes against the prejudices that balance is only lightness and finesse.

-ROMANTICISM-

First literary and musical movement, romance appears in painting as a way of expressing inner feelings, even those that rococo applied both to conceal, but now assumed the point of becoming the main objective of the artist, sometimes at the expense of the aesthetic aspect of the creation.

Wanderer Above the Sea of Fog - Caspar David Friedrich

In the foreground, a man is standing on a rock in height, his back to the viewer. He wears a dark green coat and holding a walking stick in his right hand. Her hair floating in the wind, he contemplates a misty landscape. In an intermediate plane appear before him ridges that can be like the one on which it is located. In the swirling fog, one discerns trees. In the distance, blurred mountains rise to the left. The fog in the background extends to render indistinct horizon and cloudy sky.

The balance that we see first in this table is the colorful contrast between the rock in the foreground, and the landscape beyond. Despite the fact that the rock where the character is located in the foreground is very dark, it does not take more breadth than with the rest of the landscape. Indeed, the landscape is clear and is in the background, but it takes 3/4 of the array, which equilibrium with the rock in the foreground. After we observe a different balance, but more geometric order, the main character is in the center of the painting, creating symmetry on both sides of him. In addition, the rock where it is located, takes the form of a triangle or vertex is located on the central vertical of the paint. We can also observe a great harmony in this painting, which is created primarily for the use of the same palette of cold colors. Moreover, the downy key artist contributes to this effect.

1818, Wanderer Above the Mist, Der Wanderer über dem Nebelmeer,oiln, Landscapes, Caspar David Friedrich :

-JOHN BARBER , J.B, 2006. "The Road from Eden: Studies in Christianity and Culture": Academica Press.

-HELMUT BEORSH-SUPAN, HBS, 2006. "Caspar David Friedrich" : Thames & Hudson.

- ALBERT BOIME, AB, 2004. " Art in an Age of Counter revolution 1815-1848": University of Chicago Press.

-FUTURISM-

Futurism, born in Italy in 1909, is characterized by a search for the pictorial expression of the movement. As part of the extension of Cubism, there sometimes see some geometric shapes therein apparent. The movement is mainly based on the fascination of the machines, the speed, and the decomposition of the movement and its representation.

Unique Forms of Continuity in Space - Umberto Boccioni

Although Boccioni was a painter first and foremost, his brief forays into sculpture are significant. The speed and fluidity of movement - what Boccioni called "a synthetic continuity" - is brilliantly captured in this bronze piece, with the human figure gliding through space, almost as if man himself is becoming machine, moving head-on into forceful winds. Possibly in homage to Auguste Rodin's Walking Man, and the classical Greek statue Nike of Samothrace, Boccioni left the sculpture without arms.

Everything in this work is created in order to emphasize the speed. The balance also. Indeed, we can notice that each small part of the status to its opposite but equivalent inverted, creating not only a symmetry, but also accentuates the movement of the status. In addition, the material is worked so that the light spilling balanced manner throughout the main parts of the statute (head, shoulder, buttock, thigh, feet), it brings harmony to the status and highlights a again, the movement thereof. The mass of material was balanced way distributed in the three members of the Board (feet and bust) is the slope of the status that will create movement, and that will give us the impression that the status is on. Last point of balance, each foot is on a cube that seems small for the weight of the statute, giving the impression that the character is balanced and can therefore not stay long in this position, he will have to move, go fast.

Unique Forms of Continuity in Space, 1913, Museum of Modern Art, New York, Bronze, Umberto Boccioni :

-COSTANZA BERTOLOTTI. 2011. "Les invisibles des futuristes". [ONLINE] Available at:http://imagesrevues.revues.org/475. [Accessed 28 November 14].

-ARTE3NETWORK. 2009. " Futurisme un mouvement artistique et social". [ONLINE] Available at:http://www.futurisme.net/umberto-boccioni.html. [Accessed 28 November 14].

1) Working - inspiration Futurism : http://msorin1.wix.com/blog-de-manon

-CARAVAGGISM-

Caravaggism is not only an art movement, but how to paint the artist Michelangelo Merisi called Caravaggio and used by many artists such as Georges De La Tour, Guercino, Valentin de Boulogne, Rembrandt and many other more ... the works are easily recognizable by two stylistic aspects: how to paint scenes authentically and use of chiaroscuro.

The painted subjects are made as closely as possible with the defects and real feelings of the characters, beauty cannons are rejected in favor of a flawless realism. Any painted scenes whether historical, mythological or religious, are transposed to contemporary times, integrated into the architecture, furniture and clothing styles of the seventeenth century.

Chiaroscuro is easily identifiable: the tables are lit by a small light source (present or not in the scene) that brings a special atmosphere to the works and participates in shaping the body. The lighting also creates different plane, without worn technique of perspective, combined with the proximity of the characters with the viewer it gives an impression of an intimate scene.

In this table, the action rotates around the main element is that the candle. This light source created in this table an impression of intimacy, the viewer feels propelled to center stage, hypnotized by the laziness of the candle.

The artist places the hand of the child in front of the candle which accentuates the intimate and warm atmosphere of the scene and allowing balanced strong source of light the candle with the rest of the missing table of any brightness. The artist made his canvas in a very harmonious way the child Jesus is small and takes up less space visually in the scene that his father Joseph, but he is a carrier of light (a likely reference to the divine light) which balances with the imposing stature of Joseph to him, is more in the shadows. There is also a color balance. Indeed, the artist uses a palette of warm color (tan, brown, beige, orange, etc ..) which compensates with dark shadows.

Light softened over the terms of the characters drowning the angles of the body in the shadows and the hardness of the work being done, producing a visual harmony.

« Joseph Charpentier » Georges de la Tour 1640

The considerable scope of Caravaggism had an important impact on the painters of the seventeenth century, they are committed to the European Baroque or French classicism and even today some contemporary artists in this style called "Art of the shadows"

"An Objet d'Art" Shigeo Fukuda

"L’ombre des déchets" Sue Webster et Tim Noble

"yakuri " Kumi Yamashita

- HENRI PEYRE. 2013. "Composition et éclairage chez Georges de la Tour". [ONLINE] Available at:http://www.galerie-photo.com/georges-de-la-tour.html. [Accessed 09 January 15].

-TOPITO. 2011. "Top 18 des plus belles réalisations de shadow art". [ONLINE] Available at:http://owni.fr/2011/05/07/top-18-des-plus-belles-realisations-de-shadow-art-aka-les-maitres-des-ombres%E2%80%A6/. [Accessed 09 January 15].

-LORENZO PERICOLO. 2003. "Michelangelo Merisi, dit le Caravage". [ONLINE] Available at:http://www.clio.fr/bibliotheque/michelangelo. [Accessed 10 January 15].

2) Working - inspiration Caravagism : http://msorin1.wix.com/blog-de-manon