Diaspora Visions of Crossroads
This is with regard to the manner of drawing, the styles and materials used and the dimensions of the pieces of art. The transformation from ancient art to modern art has led to the development of contemporary designs and recreations of ancient art. This has thus grown the field of art to the realization of antique pieces, the recreation of lost pieces of art and the emergence of modern history. This paper, however, will look into three pieces of art and their later depictions and derive the diaspora visions of the crossroads subject to the selected pieces. The analysis of the pieces of art will encompass the application of the elements and the principles of crossroads. Primarily, it is evident that the presentation of the art puts to use various dimensions with the aim of shedding light on to the actual painting.
Yinka in his work uses a mannequin who is strapped up in a manner that she appears to be swinging (Christiana 17). The right leg is bent and the left leg is far up as in the painting. Yinka’s work is a depiction of Rococo painting in a modern society that seeks to bring it to life rather than have it in a canvass. The realism of the painting is however flawed with a headless mannequin while the rest of the scenery is a replicated presentation of the original painting. Yinka’s depiction highlights the main subject of the painting being the young lady on the swing (Christiana 17). The original painting highlights on the lady swinging while there are men and statues within her vicinity.
However, the message behind the painting is based on the happy accidents that were for the amusement of the men when women swung. Secondly, Yinka’s presentation of Fragonard’s painting is a form of celebration of the Rococo paintings and Fragonard’s work. Yinka transforms and reforms the original background of the painting in his work to present a realistic view of the scene (Taylor n. The painting has two women on sight whereby, the black woman bearing flowers is considered to be Olympia’s servant who had brought her flowers presumed to be from one of Olympia’s clients. The main controversy surrounding the painting was not on the fact that the woman was naked but on the confrontational look worn by Olympia and the fact that Manet had opted to use a prostitute while the rest used a representation of Venus.
Virginia Ryan in her painting, however, unlike Manet, uses a Venus presentation of the nude woman. However, her painting stands out uniquely subject to the background and the race of the women in the painting. The depiction of Ryan’s work is one that would have been highly controversial in the era of the original painting following the poor perception of the black community that was held by the society. In both paintings, the sexuality of the nude women is depicted to be independent of the patriarchal society by how the women cover themselves using their hands. The principles of the crossroads that are evident in the paintings are as follows. First is the reversal principle. Ryan in her painting rather than following the same concept used by Manet, she uses a different approach.
She names the nude lady Venus which was more acceptable in the French society back in the 19th century as opposed to the use of Olympia. c. Jean-Auguste-Dominique Ingres (1806) and Wiley (2005) Royalty is a factor that reflects wealth and power. In essence, the royalties attract a lot of respect from their subjects. Therefore, Jean-Auguste-Dominique’s painting of Napoleon I on his Imperial Throne manifests the power that was held by the ruler (Tinterow, Conisbee et al. The painting presents Napoleon on his coronation costume when he was crowned emperor. The main elements in this regard are inclusive of time, space, cultural and race. First, the paintings are centuries apart. The paintings move from the ancient to the contemporary. The painting on Napoleon is based in the 19th century while that by Wiley s from the 21st century.
Second, the space element of the paintings reveals that the paintings are of different nationalities. This manifestation is definitely different from the ancient perception as it encompasses a contemporary approach to the understanding of royalty. Primarily, royalty is not considered to be a factor associated with lineage and familial inheritance but; it is a concept used to show the highest form of authority and wealth combined. Finally, Wiley’s painting updates the Napoleon painting through a contemporary transformation. As such, the contemporary transformation reveals that the modern society does not follow the anarchical rule as a form of governance but looks at the elements of anarchy as points in which entertainment art may be classified based on different genres. Critique of the Artists’ work The works of the artists above have proven to be pieces that have captured the crossroads in depth.
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