Technique of Art
The art work behind me is accomplished by John Chamberlain in 1973. John used aluminum foil, acrylic, lacquer, and polyresin to give his great idea a birth. If I would have seen this work on the networks, it might have been oversaw by myself. For the reason that there would definitely be a number of similar works, which paralyze spectators’ passions of focusing on a specific one among them. But, in the museum, I directly encountered this work in the entry area, receiving a powerful and discriminating conflict between the work and its surrounding. As shown on the provided background picture, the work, made of several sorts of metals, reacted with the museum’s lights, shining and glinting quietly. The grounded residual materials exhibited a functioning brain to me. To phrase better, the untitled work left me a sense of deliberation. Moreover, I personally fundamentally treated it as the brain of an advanced artificial intelligent android. It, if alive indeed, passed me a variegated scene of future and a sort of beauty of industrialization. Then, I was to wander in a whimsical world or universe it provided—a world in the deep universe with glowing stars directing space shuttles to the broad Higan place in the other side.
Design of the Museum
The most appealing part of the museum is the asian collection zone which contains a water garden. It is also called David A. Cofrin Asian Art Wing. As presented in the background and following pictures, this zone is simple and clear for people to view the collections of artistries from the opposite side of the western sphere. Asian artistries give people a sense of grid arrangement and strict management of space. In my architecture history class, this type of design is embodied in both provincial management and residential setting. In my home town Suzhou, gardens built in the ancient times expressed the sense most vividly and culturally. Suzhou gardens bring the extreme beauty of Yinyang, a conception of nature and freedom, in the form of proper arrangement of the separated zones and rooms. Here, the area divided the several collection parts in square rooms, a trial of achieving proximity to the traditional Chinese design. The success of this arrangement is that it simulate the feeling of entering an eastern palace in China. Therefore, the zone exerts a solemnness of proudly long history before people begin their speculation of the eastern art works from dynasty to dynasty. To me, this section of the museum arose certain resonance in my mind based on that those ceramics and their arrangement cooperated the setting of my home.
Core Value of Art
In this picture, all we three, Zhuoyu Yuan, Feiyi Wang, and my self from the same motherland, unintentionally acknowledged the beauty of this series of works. We all acknowledged the form of the presentation of the bullfighting circumstance. Those works were done by Pablo Picasso from Spain in 1957 and published in 1959. The four drawings described related patterns of scenes of bullfighting as the series called ‘La tauromaquia( The Art of Bullfighting)’. The reason why the drawings have been so corresponding to me is that the form presents a similarity to a kind of Chinese painting skills, called ‘Shuimohua’. I, who have had some study in painting both western forms and eastern forms, could tell that Pablo applied a lot of water with his rushes when drawing. This form of drawing figures out a feeling of moving things in silent things for the light and seemingly floating marks. Thus, the bulls and their surroundings are vibrating or varying somehow and then achieve the realm of moving and living to me. Reconsidering the first art work I described by John, they corresponded to each other since they are indeed silent macro-physically, while truly alive and noisy mentally and spiritually to me. Pablo’s masterful skills in drawing and the form he chosen led me to discover and enhance my appreciation of the whimsical world—my core value. This will help me in reading and writing when my mind is fulfilled with sparks and colors.
Art and Good Life
As shown in the picture, men and women interacting on a riverside market. This work, Street Scene, Market Place, was done by Jonas Lie in 1925 in the form of oil painting on canvas. According to the short biography besides the painting, Lie was trying to contrast the difference of the traditional costumes of the fishmongers and the cosmopolitan dress of the stall visitors. This paint corresponds to the Good Life theme ‘Embodying the Good Life’. It conflicted the two settings of clothes or a sense of tradition and formality. In other words, it can be said that what is normal to wear as in the theme what is normal to be. Does the difference of their dressings demonstrate their social status? Also, which group of them are having better life? Based on their facial appearance, the traditional group appears to be more sad and the cosmopolitan group looks more pleasant. Hence, difference between people can be concluded from their customers of dressing.