Good Minneapolis Institute Of Arts Response Essay Example
Allan Houser, (1914-1994) Inde (Apache) southwest region.
Rendezvous, 1981, Indian Limestone.
Houser’s effort try to portray the organic shape and life of Native American, in the picture above, the artist’s aim was to depict the woman’s work. This work serves as a unique example as it portrays the indigenous and Naïve American woman. The piece of fabric that this woman in the image above worn over her shoulders or wrapped around her body and the bag in her hand. It typically indicates that she is waiting to meet someone, or she is ready for her journey. This picture was designed in a sense of emotional; it is upright, and the elegance depicted in the movement meaning in the desirable flow of her fabric worn or dress.
The reason you chose this image is because I was attracted by its artwork that was integrated with its design such as the fabric and handbag. These attracted me to comment on it as it portrays the human nature especially the Native American women. What I learned was that the some of the American style or fashion can sometimes represent certain events in life.
Bella Coola (Nuxalk)- Frontlet, 1830.
The design pattern
The artist of this image deployed a number of different materials such as abalone shell, wood, pigments, copper, plane fibers, wool, sea lion whiskers, belts, cotton, and buttons which formed this image. This image “frontlet” seems to be as a result of different events such as potlatches, welcoming very important person (VIP). In 1830, the image was occasionally worn with various features that consisted of robe. This image is still important, for example, during ceremonies, there are some elements that this image brings into today’s world such as the abalone shells and the whiteness of the canine teeth.
There is a figure in the center of this image that rotates from the traditional life or stories. The artist employed or used the pronounced nose and the abalone canine teeth. Its head depicts the picture or shape of the bird. However, its arms were designed in a clear fashion meaning I can’t tell where the arm and hands originate from.
This image represents the nature of traditional and tribes as well as clans. I can say that I learned that images can work to represent the nature of different tribes and traditional cultures.
China, Song Dynasty (960-1280)- the Bodhisattva Guanyin.
According to my analysis, this image serves to indicate the Bodhisattva Avalokitesvara. As the Chinese Guanshiyin meaning that anyone who complies with the need or sound of the world such as screaming for help in China society. This shows the worship for the goddess of mercies and togetherness. It also indicates savior in both spiritual and physical sense. This image design in gold jewelry and silk garments, the artist integrated the hairstyle that was made of a gilt metal crown. Its hands turned up with the thumbs connecting with its fingers.
The reason I chose this image is: it is connected to the Chinese way of worshiping their gods. I learned that this image can illustrate today’s human life.
China, Northern Chou Dynasty.
This image is an Indian origin, which depict the time of Gandharan princes who is dressed in dhotis and adorned with a scarves silk in color and a very small jewelry. In its hand, it has a lotus-like bud, which represents the sign of purity. This image serves to indicate the general example of Chines sub-style that indicates the departure from the rigid that features the sculpture of the first generations.
I was impressed by this image specifically to talk about the origin of Indian culture, and I learned that the regional sub-style were the origin of Buddhist.
Japan, Nambokuchi period
Ni-o (Pair of Temple Guardians), 1360
This image serves to represent the entrance of Buddhist temple, indicating the role of Buddhist faith. The image represents as destroying the facial expression and the laughter sound of people. This is a blue print of how Japan embraces their temple. This image attracted as it depicts the Japanese way of worshiping g their gods. I learned that in some countries like Japan images are of great important.
Japan, Seated Miroku Bosatsu.
This image indicates that there is someone who is seated the throne of suffering demons. This image was designed to show that Miroka is indicated as Bodhisattva.This also indicates Japanese faith of people. I was attracted by its artwork. I learned different kind of pattern such as gold, wood, leaf, rock crystals that were used in this artwork.
The artwork generally depicts what was seen in 19th centuries. This image was used to indicate the grief caused by loss of the loved one. It was also used to indicate that there is a deceased person and the anniversaries of the dead. Today, this image does not work in that way, but also to serve and indicate the status of an individual. I was impressed by its design and printing. And I learned that the image can serve to represent the deceased one.
Albert –Ernest Carrier-Belleuse
This artwork is one of the most sculptors of the nineteenth centuries. The artwork serves to represent the French artwork on the international events of the 1872 such as in the exposition held in London. However, in the modern world, it is now used to decorate houses of France and to the rest of the world. The design of this art attracted me by its colors the stems that are incorporated in it. I learned that the image of its kind can serve to represent national work.
The Nature of Nature in the Target Wing of the museum. What is the theme of this exhibition?
The exhibition is to provide us with important issues about our everyday life. In different exhibitions in the Target Wing, MIA custodian of a museum advocate for our understanding of the nature as indicated in historical and contemporary artworks from all angles of the museum’s permanent galleries. This work invites us highly to explore significant ideas concerning our evolving relationship to the nature.
Beneath the Ground (Gallery 277)
This image represents the family, for example, when the father sells part of the land and he can take a heap of the fertile soil or lands encouraging his children to dig deeper the science and history of soil. This image largely indicates that land is a valuable natural resource. It also serves as a symbol of land ownership and development.
It indicates that from the creation of the earth, humans have planned different ways of capturing, inventing, altering, and resisting the natural world. This image shows that we keep animals for consumption, study and entertainment.
Material Nature (Gallery 281)
This object was made from animals and plants such as elephants, ebony trees, beavers, hawksbill sea turtles. The object also indicates how this happens, when the consumer decides to select one object after another and top-up to unsustainability.
American Modernism: Selections from the Kunin Collection
Marsden Hartley 1877-1943
Oil on canvas
The artist used different color to decorate this object. For example, he applied overlapping color-strokes, indicating a spirit of joy. The object also serves to indicate togetherness in a society.
Richard Stankiewicz (American 1922-1983)
Iron and steel
The artwork was designed by use of metals and irons that represent the 19th centuries and today’s steel industries.
Edward Manigault (Canadian 1887-1922)
Vorticist Landscape, 1916: Watercolor on paper.
This piece of work represents land or contours on the land, the different patterns on the object indicate that land was formed of particle, hills, and contours. The lines joining different points on objects shows that there is erosion or soil being washed by rain or water.
The Natural and Supernatural in Andean Art
My impressions on the museum
Andean’s artwork serves to represent the natural and supernatural worlds. This artwork indicates the balance and harmony in a dualistic universe. The art in this exhibition shows how this was done, illustrating the Andean work in the sacred nature of things and divine action in the earthly domain.
Mary Abbe. “Minneapolis Institute of Arts cuts jobs to salvage budget Star Tribune” The Minneapolis Institute of Arts. 2011.09(11), 547-556
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