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A Comparison between Optical Illusions by Michel Fried and the Crisis of the Easel Picture by Rosalind Krauss

2022-01-15 来源: 51Due教员组 类别: Essay范文

51Due教员组今天给各位留学生带来一篇纯原创代写范文,本文比较了米歇尔·弗里德的视错觉和罗莎琳德·克劳斯的画架危机。希望这篇可以帮助到各位留学生,同时需要代写也可以直接联系我们51Due客服vx(vx:Jenny_dynh)进行咨询。 

As an icon of the Native American Art and the new World Art Center, Pollock, like any great figure, is marked with his rich spiritual world under the influence of many senior artists in his early artistic journey. Therefore, interpretation of him may be different among different critics. In the essay, it makes a comparison between Optical Illusions by Michel Fried and the Crisis Of The Easel Picture by Rosalind Krauss.

 Optical illusions by Michel Fried and the Crisis of the Easel Picture by Rosalind Krauss is similar as they both recognized aesthetics and value of Pollock's paintings. Pollock's paintings do contain some kind of unspeakable attraction. The aesthetics of Pollock's paintings embed a rational point of view--the reason why Pollock's paintings have a pleasing mystical beauty is because they, like many things in nature, conform to the law of fractals. After more than 50 years, the achievement of Pollock's paintings is still stunning and awesome(Fried, p.98). In addition, Rosalind Krauss also expressed similar recognition of Pollock's paintings. Pollock’s art is marked with greatness which may influence a lot of others art(Krauss , p.177). Both art criticism show that it is a complex task that requires a lot of effort and knowledge of art theory.

Michel Fried's appreciation of the work of Pollock is generally from the perspective of illusionist feature of the art to observe its shape and its artistic techniques, summing up its unique artistic style. Relics are material but they are spiritual creations. Michel Fried appreciates the cultural relics and evaluates the value of the cultural relics in the form of analyzing the specific works of Pollock . In addition to examining its creation techniques, he also analyzes the different artistic characteristics of different historical periods. Talking about the canvas in 1947-1950, there is a com-positional principle(Fried, p.97).  In addition, History does not only leave paintings to people, but also leaves the human cultural spirit and ideal revelation in the paintings. Artists who have created excellent paintings have gone with time. Faced with paintings today, they are actually fossils that leaves the trace of history and the thoughts and feelings of artists. For the works, it is often necessary to comment on the background of its birth, and to compare it with the paintings of the previous generation, the same generation, or subsequent generations, in order to find its accurate position in the history of painting and to understand it. The true beauty of the art can be understood then. However, there is a lack of efforts to criticize the critical remarks done by others. For example, when mentioning the works and remarks of Greenberg, it is just written that he was impressed by how Greenberg argued that the works of pollock has troubled the current formal painting(Fried, p.98).  

By contrast, the Crisis of the Easel Picture by Rosalind Krauss seems to evaluate and make a critical analysis of the criticism done by other critics. Rosalind Krauss is a famous art historian and critic in the United States. Her analysis of the medium of art has a profound influence on the development of American contemporary art, especially the contemporary image art. Klaus has always shown rigorous formalism in her reading of art of Pollock. In the article, it mainly foucsed whether Pollock’s work contributed to a crisis of Easel Picture. From a multidimensional academic perspective, she reveals the hidden modernity behind artistic creation, and pays more attention to interpreting the context in which artistic works are produced. She deconstructs American contemporary art works by Pollock in a self-contained discourse system, and provides an opportunity for art criticism to focus on the topic of how art and culture can be combined to combine contemporary art practice, theory, and criticism. There is no single conclusion about the works by Pollock with a single nature. It is written that the view of escaping the traditional Easel Picture is man critical model used by Greenberg to make a criticism of the art work of Pollock(Krauss, p.156). In addition, the article also listed two major lines of attacks on the views of Pollock as a draftsman. In the article the Crisis of the Easel Picture by Rosalind Krauss, she took the view of Greenberg a step further. She believes that Pollock and even the entire New York school of painting intentionally made his work not look like some sort of centralized, continuous, and controlling subject. Pollock speaks of his unstretched length of works and how he can create from all the ways(Krauss, p.166). In other words, by taking control of painting intermittently, Pollock depicted both a disorder and a state of indifference.

To sum up, they see the works of Pollock from different perspectives, but the one done by Rosalind Krauss is more critical.

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