Paper代写：Analysis and Comparison of Two Classic Paintings－r51due

下面为大家整理一篇优秀的paper代写范文- Analysis and Comparison of Two Classic Paintings，供大家参考学习，这篇论文讨论了两幅古典绘画的分析与比较。梵高和马列维奇都被认为是绘画大师，艺术风格都非常迥异。在马列维奇的作品中，存在着更多的合理性。马列维奇画笔下的世界被简化到了极致。从精心安排的形状中可以瞥见一些情感，这深深根植于他童年的记忆和文化背景。相比之下，梵高在《星夜》中表现出对世界和自己的强烈情感。在暴风雪之后的村庄里，清晨的线条和简单而笔直的线条不同，星夜的线条都是弯曲的。颜色的运用也体现了情感层次上的差异，就像把颜料挤到画布上一样，成功地展现了梵高的强烈情感和内心的挣扎。

Introduction

Van Gogh and Malevich are both considered masters of painting, with entirely different styles. In this essay, an analysis of the representative works of both artists will be made, to explore the meaning of the painting under the historical context. Furthermore, a more in-depth analysis will be made to decipher the use of structure, lines and colors in each painting, as well as their contributions to the expression of the painting themes. Finally, a comparison between the paintings will be made, to find out the connections and distinctions between the great artists.

Starry Night, Van Gogh

In 1889, Van Gogh cut his left ear off after a quarrel with Gauguin. After this incident, he went to Saint Paul de Mausole, a mental home in Arles for treatment, and spent 108 days there. During his time at the mental home, Van Gogh created large amounts of paintings, including over 150 oil paintings on canvas and over 100 sketches (Rapelli). It was during this time when the style of Van Gogh was growing towards expressionism. His works was full of dejected emotions and illusions. Starry Night is the representative of his work during that time. Despite the name of the painting, it was created before dawn, when the doctor allowed Van Gogh to go out to paint. Van Gogh wrote from France to his brother Theo (MoMA): "This morning I saw the country from my window a long time before sunrise, with nothing but the morning star, which looked very big." Obviously, the Starry Night was not a faithful representation of the nature. Instead, it showed the subjective impression of Van Gogh when he looked at the sky before sunrise. It showed the inner frustrations and disturbances of the artist.

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There are two interfering style of lines used in the painting, one is the swirled long lines, the other the shattered short ones. The combination of the two has created a dazzling visual effect, which is far from reality and takes the viewer into another dimension (Lovett, 28). In addition to the pure imagination of the sky by Van Gogh, there are also elements from the real world, which is the village at the bottom. The image is constructed in a way that the swirling and spinning sky night and the peaceful village form a contrast. Horizontally, the trees and the mountains form a balance with the sky. Van Gogh used almost wave-like strokes to express the stars and the trees, which are also like globes of burning fire, leaving a lasting impression for anyone who views it. The main color used for the painting is greenish-blue, and the entire picture is covered with the heavy use of color. The use of paint this way has also help Van Gogh express the motion in his painting. All elements in the painting have been dramatized: the huge, spinning stars, the incredible orange moon and the trees like burning fire. All the elements combine to show the inner struggles of Van Gogh, from his perspective, the world was like a turbulent wave trying to swallow him. The motion in the picture also indicates his struggles with his mental illness and the reality.

Morning in the Village after Snowstorm, Kazimir Malevich

Morning in the Village after Snowstorm by Kazimir Malevich was created during the period between 1911 and 1913, when most of the work by Malevich was of the subject of rural life in Russia. There are often two ways to interpret the works of Malevich, the one that focuses on techniques and painting style, and the one that incorporate social and political factors of the painter (Lauf). There tend to be less expressions of political point in the early paintings of Malevich, including Morning in the Village after Snowstorm. Looking at the painting, a mastery of colors and shapes form the perfect example of the Russian style, Cubo-Futurism. From the social perspective and combining the subject of painting with Malevich himself, Malevich are rooted in the rural areas and have an emotional bonding with it. Perhaps childhood memories in the village have helped Malevich construct the image. There are also distinctive senses of ethnicity from the painting. Looking at the use of color and the arrangement of element, one can immediately tell that it depicts a scene from eastern Europe. Thus, the painting is also culturally rooted which carry the identity and memories of Malevich.

Malevich was the first to use a geometric way of expression in paintings. After all these years, the simplicity in his works is still incredible for the viewers. As one of the pioneers of the abstract painting in the 20th century, Malevich opened new doors for future artists and inspired important movements in modern art (Somerville, 76). Morning in the Village after Snowstorm completely abandoned the traditional way of showing a 3D space. Instead, the most distinctive feature of the painting is the dominant use of 2D shapes, which should not possess any sense of weight and volume. There are the triangular shapes used for house; trapezoid shapes on the two women center of the image; round shapes for trees and curvy triangles for the snow-covered ground. Despite the use of the 2D shapes, they are all filled with gradually changing color, which has given the picture a third dimension. The balanced use of red, yellow and blue gives the picture the warmth it needs out of the white background. Instead of being swallowed in the coldness of white that dominates the image, the three primary colors pop out and bring liveliness to the painting. The color use also shows the identity of Malevich, which has distinctive ethnic features of Russia, or eastern Europe.

Conclusions

Comparing the works analyzed above, there are obviously much more rationality in the work of Malevich. Using geometric shapes, the world under Malevich’s brush is simplified to the extreme. There are glimpses of emotion shown from the carefully arranged shapes, which is deeply rooted in his childhood memories and cultural background. In comparison, Van Gogh showed intense emotions about the world and himself in the Starry Night. Different from the simple and straight lines in Morning in the Village after Snowstorm, the lines in Starry Night are all curved. The use of color also shows the differences in the emotional level. Based on the white background, Morning in the Village after Snowstorm shows restrained yet smart use of color. On the other hand, Starry Night is bold in color use, almost like squeezing the paint onto the canvas, which successfully showed the intensity of emotions of Van Gogh and his inner struggles. Despite the differences, there is no deny that both artists are pioneers in their own field. Both work have shown us approaches to create a third dimension with the use of 2D elements: Malevich achieved it by the careful arrangement of shapes and gradually changing colors, while Van Gogh did it by the bold use of color and dramatization of lines into curves to create the sense of motion in a still picture. One from the approach of simplicity, and the other of dramatization, both artists demonstrate the application of techniques for emotional responses to the perfection.

Works Cited

Lauf, Cornelia. “Kazimir Malevich Morning in the Village after Snowstorm.” Accessed February 18, 2017, fromhttps://www.guggenheim.org/artwork/2598

Lovett, Stephen, et al. "Painting by Parametric Curves and Van Gogh’s Starry Night." Math Horizons, vol. 18, no. 2, 2010., pp. 28 doi:10.4169/194762110x535989.

MoMA (The Museum of Modern Art). “Vincent van Gogh, The Starry Night.” 2017. Accessed February 18, 2017, from https://www.moma.org/collection/works/79802

Rapelli, Paola, and Alfredo Pallavisini. Vincent Van Gogh: Masters of Art, Prestel, Munich, 2012.

Somerville, Kris. "Kazimir Malevich: The Evangelist of Abstraction." The Missouri Review, vol. 34, no. 2, 2011., pp. 73-84.

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