For our last day of class, we took a final trip to the museum. Three works particularly stuck out to me in discussion. <\/p>\n\n\n\n
Jackson Pollock’s Composition with Masked Forms was another of Pollock’s studies of archetypes, similar to Male and Female. Although it is not fully abstract expressionism, there are some features of the style that emerge: the non-central composition and the control of paint placement, to name a few. I myself chose this piece in my list of works particularly because of the impasto. The use of texture in this painting makes the piece seem more frenzied, implying revisal with the mass amounts of paint build-up. I found interesting Prof’s point of the layers of paint being literally “masked” by the existing, surface image. <\/p>\n\n\n\n
Richard Pousette-Dart’s Shadow of the Unknown Bird’s canvas is not covered uniformly; the layering of paint used to define shapes sculpturally, applied with a palette knife in some areas. Although the painting seems monochromatic at first, color begins to reveal itself with time. While conversing about the painting, Prof asked the question, “how do we know the correct orientation?” which is both a funny and concerning concept to think about. <\/p>\n\n\n\n
Finally, Romare Bearden’s The Payment of Judas (although the title is inaccurate, as Prof pointed out, as the scene depicted is the kiss shared by Jesus and Judas), is a painting with cubist composition, but almost fauvist, arbitrary colors. The distortion of space in this painting particularly called out to me, the background was clearly painted after the main figures, and is bicolored, playing with figure-ground, which we also talked about when analyzing Al Held’s The Big D. Prof mentioned that Bearden had a jazz career, and pointed out the splatters of paint on the canvas, suggesting a fast completion, and also improvisation. <\/p>\n","protected":false},"excerpt":{"rendered":"
For our last day of class, we took a final trip to the museum. Three works particularly stuck out to me in discussion. Jackson Pollock’s Composition with Masked Forms was another of Pollock’s studies of archetypes, similar to Male and Female. Although it is not fully abstract expressionism, there are some features of the style […]<\/p>\n","protected":false},"author":19057,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1],"tags":[],"_links":{"self":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2759"}],"collection":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/users\/19057"}],"replies":[{"embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/comments?post=2759"}],"version-history":[{"count":1,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2759\/revisions"}],"predecessor-version":[{"id":2761,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/posts\/2759\/revisions\/2761"}],"wp:attachment":[{"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/media?parent=2759"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/categories?post=2759"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/web.colby.edu\/ar112-spring2024\/wp-json\/wp\/v2\/tags?post=2759"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}