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Design History - Coggle Diagram

- - - - In the photos, and later transferred to the paintings, Warhol's skull-like head is detached from his body, floating against a dark background.• This image bears remarkable similarities to a photographic Warhol portrait of Robert Mapplethorpe from the same year. For both, Warhol wears his iconic silver wig, but in this Polaroid, almost manic look, the hair stands on end. His eyes appear to be focused on something to the left, behind the spectator, which generates a distinct sense of discomfort. This collection of self-portraits was Warhol's last completed in 1987, before his death.
  - - - Paper Cup 1996 is part of the first mature body of work by Gallagher which explored layered and contradictory themes. By lining up small pieces of writing paper in several rows, Gallagher has built a loosely organized grid that reflects the past of handwriting exercises. Closer inspection shows each line to be carefully crafted from rows of bulbous shapes resembling the vowels that a child would repeat while learning to write, but in reality, they are a reference to American blackface minstrels' stereotypical lips. From a distance the abstract structure of this large work resembles an American minimalist painting, but closer inspection not only shows a darker side of American history but also relates to Gallagher's own mixed-race roots.
- - - - When analysing Goldsworthys “Sycamore leaves edging the roots of a sycamore tree” , the premise of nature is evident. The work is created by placing an assortment of differently shaded sycamore leaves, around the base of the tree to create a glowing effect. Themes of materiality, temporality, growth, vitality, permanence, decay, chance, labour and memory are shown through his work. The intention is to Reflect on and appreciate the passage of time, highlighting that most things in life do not last, we can merely enjoy them for a moment before they fade away.
  - - - When analyzing Botes’ “Shadowlines”, the setting is situated on the shores of an undisclosed Western Cape beach, it is categorized by a series of twigs which have been balanced in the sand and aligned in relation to the sunrise and sunset, Shadows reflect the sky above, the twigs serve as a compass of earth, reflecting its position through different perspectives and shadows. The compositions shows cool colours and a bland colour scheme, focusing on natural beige and black hues.
- - - - Together with Pompeii and Herculaneum 's exciting archeological rediscoveries in Rome.
    - - A return to the study of science, history, arithmetic, and anatomical accuracy abounded, replacing the preceding Rococo vanity society and the environment of court art.
        
        Neoclassical art emerged in contrast to Rococo and Baroque's unnecessarily extravagant and gaudy styles, which filled society with a culture of excess focused on personal conceits and whimsy.
        
        In classical thinking, it brought about a general revival that reflected what was going on in the political and social spheres of the time, leading to the French Revolution.
        
        The primary conviction of the Neoclassicist was that art would reflect the ideal values of life and could benefit the spectator by providing a moralising message.
        
        This had the ability to civilize, change, and alter society as it was changing society itself through new approaches to government and the growing powers of the Industrial Revolution, driven by technological innovation and invention.
        
        Neoclassical architecture was based on the principles of simplicity, symmetry and mathematics which in Ancient Greece and Rome were seen as virtues of the arts.
        
        The more recent influences of the similarly antiquity influenced Renaissance Classicism of the 16th century developed as well.
  - - - This painting depicts the death of Major-General James Wolfe at the Battle of Quebec 1759 on the Plains of Abraham during the Seven Years War, known in the United States as the French and Indian War. During the brief battle, Wolfe was killed by musket fire as he led the British forces to victory and set the French invasion of Canada during motion.
  - - - The research builds on the mythological tale of Cupid and Psyche as told by Lucius Apuleius in The Golden Ass (c. 180), a Latin novel. The goddess of love Venus was jealous of Psyche, universally praised for her beauty, and sent her sister, Cupid, to make the girl marry the ugliest of men with his arrows. Instead, Cupid fell in love with her, and having learned that the two were lovers, Venus sent Psyche to bring back from the underworld a jar containing a "divine beauty."
- - - - In addition to classical mythology, mythological paintings might be based on any other popular mythical stories, including those associated with Arabian, Celtic (see Celtic culture), Christian (see Biblical art), Oriental (see Asian art), Egyptian (see Egyptian art), Islamic (see Islamic art), Norse (see Viking art), or Persian mythologies, to name but a few.
  - - - Adophle Layre (1848 - 1933), The Nereids
        
        The soft blue and white sky create an enchanting and mesmerising scene with an angel that looks like cupid shooting his love arrows. Movement occurs the most in the middle of the work where it is busy and eventful showing the beauty and playful nature of the Nereids, also known as the sea nymphs. The waves in the foreground show the organic lines showing how free the water is and how harsh it can be with the texture of the strokes emphasising every line and movement. There is space on the left showing the side of the sea that is calm and peaceful while the rest of the sea shows the turmoil and chaos that occurs. The bright warm and earthy colours used for the nereids hair represents their kind-hearted nature.
    - - Joaquin Sorolla (1863 - 1923), The Nereids
        
        The dark gloomy colours in this piece represents the distress of the sailors/fishermen in this scene where the Nereids come to their aid saving them from their horrible treacherous fate of drowning or worse. Movement can be seen in the water through the organic lines with harsh textures to emphasis them as the waves flowing. The focal point is the boat in the background which draws our attention to the men who have fallen off in front and are struggling in the water. The Nereids are represented as the colour white that emphasis purity, safety, goodness and heaven. It is a sign of hope. There is contrast between the dark colours and the colour white which helps emphasis the small parts of white were the Nereids can be seen aiding the sailors/fishermen.
- - - - Artists continued to develop new styles and techniques throughout the Renaissance that attracted and inspired the masses.
    - - Duccio di Buoinsegna (1290 - 13000), Madonna and Child
        
        Western artists utilised the gentleness and beauty of Madonna as a means of religious inspiration. In this painting from the Early Renaissance we see Madonna as tender and caring. The lavish use of gold which is similar to Giotto's Madonna Enthroned with Angels and Prophets also appears sacred as suggested. In the paintings of both artists the Madonna and Child are both depicted in a typical way. The style of Buoninsegna was similar to that of Giotto, who was Florence 's pride but not as naturalistic. No less talented was Buoninsegna, and was Siena 's pride. Both artists were active around the same time and were considered Renaissance Masters.
    - - Rembrandt (1635 - 1638), Belshazzar's Feast
        
        The prophecy was fulfilled in the dark, and Belshazzar was slain.
        It is not clear why the priests of Belshazzar were unable to decode the language. There is no clarification in the original Bible text, and it has been subject to long rabbinical debates. The inscription is in Aramaic but the text is not written from right to left as was common in Aramaic and Hebrew but in vertical columns it is to be read. But it is unclear whether this simple action would make the inscription undecipherable to the priests and soothsayers of Belshazzar. Most likely Rembrandt got the text from the Jewish scholar, cabalist and writer Menasseh ben Israel. He made a slight mistake in misrepresenting the inscription of the last letter.