Johnny Limones
Museum Exhibition at the Kimbell Art Museum
Art & Love in the Renaissance

Though I may be and Architecture Major I find art to be a very interesting addition to my area of study. Art is unique, and the original piece made may be the only one of its kind. Other types of art may look like the strangest thing you would ever see but it would be considered art by the one who made it. It is very interesting to see what visions a person has in the mind and to put it on canvas for many to enjoy what he or she sees. Knowing that I am also focused on architecture I notice that there are similarities in between the artist and the architect. I combined these two aspects for my visit to a museum exhibition and decided to go to the Kimbell Art Museum in Ft. Worth that was designed by the great architect Louis Khan. The exhibition that took place at this location was called Art & Love in the Renaissance.

As I enter the exhibition I see many different unique works of art but there was one piece that immediately caught my attention. I chose a painting created by Francois Boucher in 1769 that is called Juno Asking Aeolus to Release the Winds oil on canvas. It was acquired in 1972. It involves a scene of a book called The Aeneid written by the Roman author Virgil. The goddess Juno is shown and apparently is filled with jealousy towards another god Venus. Apparently Juno schemed to prevent the fleet of Venus’s son, Aenas, from the shore and from founding a Trojan colony in Italy. Aeolus the keeper of the winds is a nymph and Juno offers her his most beautiful nymph in return for his help. That is roughly the scene that was painted on the canvas by Francois. It interested me not by the story behind it but be the detail and activity in the painting. You can see one of the nymphs scheming to do no good by the look on his eyes towards another nymph. The detail in the nude bodies are really good and it just blew me away when I started to think of how long it would take to make and perfect a painting like this one. I took a step closer to look at the texture of the brush strokes and I noticed the enormous talent of the artist. I have tried to complete a painting of my own and I have come to find out that it takes a long time to make a work of art and appreciate it.

In conclusion the painting was so big that it gat its own wall to be placed on. As I was leaving I took a moment to not only admire the art on the walls but to admire the walls themselves. You may be wondering why I say this. I say this because to me and many other people the building is a work of art itself. The thought of the design and the construction of it also amazes me by also thinking of how long it took to make. Therefore I hope to one day have a design and creation of my own.

Mario Maiorana
Museum Visit
For my museum visit assignment I visited the Tutankhamun exhibit at the Dallas Museum of Art. The exhibit displayed many works of art that were created in Egypt and buried with King Tut and his family. It is amazing how detailed the artwork of this time is especially considering the limited tools they had to work with.
I chose a crystalline limestone carving that was part of an entrance ramp in Akhenaten’s palace in Amarna. The artwork depicts King Tut’s father Akhenaten, Queen Nefertiti, and their daughter Meritaten. They are standing in a row facing a solar disk which represents Aten who is the god of the religion Akhenaten formed as the religion of Egypt. Rays from the solar disk shine down on the three whose hands are extended toward the rays. Hieroglyphics are spread throughout the piece some of which are Ankh which stand for life, birds which stand for travel to the after life, flowers which are lotus buds, and oval shapes which stands for Pharaohs. This artwork reflects the new religion Akhenaten created for the people of Egypt.
The elements of line are represented vertically and horizontally depicting rays from the solar disk at the top right corner of the carving. The lines are straight, thin, and long. They focus the emphases on the solar disk and royal family. There are invisible implied lines from the faces of the royal family to their hands that are extended into the rays. There are many flat objects and shapes depicting forms of the royal family and symbols of religious importance. The figures of the royal family are proud and strong. They are staggered from short to tall in a row from the daughter who is the smallest on the left to the king who is the largest on the right. They are located in the middle ground of the carving since they are the subjects. Space is totally utilized in this piece with the subjects of the work, and hieroglyphics. The size of this piece is smaller than us. The artist does a great job making this flat carving seem to visually project into our space. The solar disk has an atmospheric perspective of being a distance away from the royal family. Light is implied from the natural source which is the solar disk. The royal family interacts with the implied light by facing it. The color of the carving is the natural tan color of limestone. The texture is smooth. The balance of this piece is weighted to the left. The emphasis first draws your eye to the royal family and then to the solar disk. The rhythm of this piece is created through hieroglyphic ornamentation. The media technique is two-dimensional that was created using the subtractive process.
This assignment helps me appreciate art at a higher level. In the past art would not register with me. Now I look at art with more analysis. I think about what the artist was trying to communicate.

Karyn McCoy

A DAY AT THE MUSEUM
I have found that the definition of Art may be interpreted in many forms. It may be a painting, a sculpture or literature. I attended the Texas Civil War Museum in Ft Worth, Texas. The collection of pieces was absolutely extraordinary. The tour started with an informational video on the Texans involvement in the Civil War. The exhibits were then open to view. They included many artifacts, pictures of the soldiers and uniforms that were actually worn by the soldiers including the bullet holes. I found the blood stained flags moving and the exhibit of the women’s clothing worn during the Victorian time incredibly beautiful. The paintings that were displayed were few and quite guarded.
I chose the portrait of Varina Anne “Winnie” Davis. The painting was displayed in a very special place in the museum. It was corded off in a corner of the museum as though the viewer had just entered a living room and Ms. Davis was waiting for a visit. She was born in the Confederate White House in 1864. She made numerous appearances with her father Jefferson Davis and became known as the “Daughter of the Confederacy”.
The painting defined the time. The lines that are in the picture are thick and vertical, it makes the picture appear larger than life and the subject appears as though she could stand up and walk out of the room. Her hand is resting on a diary and it draws your eyes to the writings. The artist placed her in the foreground to emphasis her importance, unlike the women of the time she is not dressed in fancy clothing but instead of casual dress. The placement off her hand on her hip shows that she was not demur but instead strong willed. The objects in the painting are few. She is sitting at a table with only a vase of flowers. The room is well lit, no curtains and the view draws the viewer to look outside the windows. Each window is framed. They could each be a separate but the emphasis is on her. The colors used in the painting are not intense. The viewer is walking into the past. As though the day was foggy and it was unclear as to what would happen to those on the losing end of the Civil War. Her jacket and belt are black and the dress shows the worn colors of yellow. It is as though the dress had been yellow at one time. The painting is an oil painting and it looks aged. It is smooth and rough in some areas giving the viewer the feeling that she is a real person.
The painting is balanced by the use of color and light. The artist uses black to place the non importance of the items in the painting. Light is used to place emphasis on her face and lighter colors are used for the background and dress. It is as though the viewer is drawn to her importance and then the eye wanders to the background to see what is going on outside. She is centered to show that she is the focal point. There is repetition in the picture as there are four different pictures in the foreground. Each one is defined by lines but each background is different. As the viewer looks from left to right in the background it is though it is a panoramic picture that is telling a story. The painting is dated 1913, fifteen years after the subject died. Her youth was captured in the oil painting. There are parts of the painting that are darker which may or may not indicate that it was touched up. Most of the strokes are rough, but there are some areas that are smooth. The black in the

Vanessa Mayhew

Museum Visit

I work at the Hurst Public library and we have art displays that change frequently and the month that we were assigned our museum visit assignment, David Mask’s artwork was displayed in our library. I was very intrigued by his work but the piece of art with a paper airplane was the most interesting to me. I wanted to analyze this painting to look further than just the painting and use the visual analysis to figure out exactly what made this piece interesting.
The focal point of this piece of art is the paper airplane. My eye is draw to the lightest and most bright color on this painting. The artist placed the paper airplane in the foreground because it is the primary emphasis of the artwork. Every line and color revolves around the paper airplane. The artist was able to create very straight and defined lines with the paint he chose. He was also able to define textures through overlapping colors. This artwork was more flat than shiny. Lines are very important in this piece of art. The lines used are straight, long and thin throughout the entire painting. They define the paper airplane and the direction it is moving. They strongly draw attention to the movement of the airplane. The plane has great emphasis on it because the outlining is bolder than any other dark/black lines in the painting. There is a diagonal direction emphasized by the diagonal horizon through the painting. The lines express a mechanical feeling that makes the straightness and equality of the artwork stand out. There are four main colors used in this piece of art (blue, very light brown, white and orange). The artist uses some complimentary colors. The artist uses cool (the sky or top and paper airplane) and warm (the ground and the implied path of the airplane). Triangles are the only defined shape in this piece of art. The two main triangles in the paper airplane are volumetric because they make the plane stand out and they have been given a three-dimensional quality and geometric. There is empty space without objects that I believe represent the ground and the sky. The paper airplane makes the observer feel/look smaller because it is much larger than a typical paper airplane would be. The artist also uses linear perspective to create depth with a horizon and a vanishing point that extends out past the tip of the paper airplane. I feel that the light in this artwork is implied. The art is from a natural source because it is not physically present or painted onto the artwork but light from the overhead lamps on the ceiling are shining on the piece of art. The balance in this painting is asymmetrical because there is more color and implied action on the bottom half of the painting. Colors with straight mechanical lines separate the balance.
This artwork is much more in depth than just a paper airplane. After analyzing the elements of art in this painting I realized how well planned it had to have been. The artist probably faced many limits with creating this piece but in my opinion, the most difficult to overcome is the fact that this painting is two-dimensional and created on a canvas in which he must make the plane look as if it is three-dimensional on the canvas.

Museum Visit
www.hurst.ci.tx.us/lib
HURST PUBLIC LIBRARY DISPLAYS & EXHIBITS
Hurst Public Library envisions a future in which the Quality of Life for Hurst Citizens is enhanced by access to a rich array of cultural, leisure and educational experiences. Part of our effort to fulfill this vision is to host a variety of enriching exhibits throughout the year. Each display is available for viewing only a few months, so come and and see them while they're here!


ON THE GALLERY WALL - "Fish & Other Images" by David Mask
David Mask is currently a certified science, health and art teacher with the Lewisville Independent School District. He is also the President of the Visual Art League (VAL) in Lewisville, Texas, and teaches an Art Trading Card Workshop at the VAL Art Gallery. To see more of his art work, Click Here. His "Fishes & Other Images" will be viewable on the Hurst Public Library Gallery Wall through the end of February.
Information above provided from the Hurst Public Library’s website about the display that the piece of artwork I analyzed was in

MUSEUM VISIT February 15, 2009.On Saturday afternoon February 15, 2009 I visited the Tyler Museum of Art in Tyler, Texas.
A Special Exhibition, “The Elegant House: Paintings & Decorative Art from the Graham Williford Collection” was on display featuring Paintings, works on paper, Porcelain items, Silver, sculptures, and other items. The exhibit was on display from November 16, 2008–March 1, 2009.

A view of The Elegant House exhibition
http://www.tylermuseum.org/ElegantHouse.htm
The exhibition brings together an array of decorative art, primarily in the form of silver and sculpture, and paintings from the Williford Collection to explore the expressions of opulence and elegance of “conspicuous consumption” in late 19th-century America. Among the highlights of The Elegant House are landmark paintings by American masters including Dennis Miller Bunker’s Portrait of Kenneth Cranford, Walter Gay’s La Feintre Ouverte, Clement Grant’s Lady at Cupboard, Pinckney Marcius-Simons’ The Writer, and Marcus Waterman’s Turkey, an iconic 1860 image evoking the spirit of Thanksgiving. The paintings and works on paper are integrated among sculptures such as Victor Brenner’s portrait relief of Abraham Lincoln, Elihu Vedder’s Mermaid, a pair of works by famed numismatist and Civil War monument designer Augustus Saint-Gaudens, and a rarely seen bronze by celebrated African American artist Richmond Barthe.
---from the website of the Tyler Museum of Art website. http://www.tylermuseum.org/ElegantHouse.htmThe painting from the collection that captured my attention was “Reflections in a lake,” c. 1880 by Elizabeth Strong (1855-1941). A landscape, the painting was in an impressionist style, utilizing obvious brush strokes in oil paint with single colors rather than blending. At a distance of twenty feet the small (12” x 16”) canvas appeared photographic, strikingly clear and vibrant. The artist emphasized the horizontal lines to create an expansive feel on the small canvas. A landscape, the painting featured three major elements, earth, sky and water. The trees that were reflected in the lake projected an organic element onto the water, normally an inorganic element. The lake itself, where it did not function primarily as a reflective surface provided a large essentially featureless expanse that dominated the lower half of the canvas, but it served to shift the focus up to the trees, and most importantly to the reflections, only slightly imperfect negative reproductions of the trees. The light is diffused throughout the scene, its source obscured by the atmospheric perspective in the mottled sky above the trees. The perspective of the piece was created primarily through the foreshortening of the lake and the reflections that were foreshortened negatives of the trees on the opposite shoreline. Overall the painting was dominated by blues and whites lending a cool mood to the scene. The feeling that the scene was a depiction of a mountain lake was reinforced by the color choices as well as the trees appearing to be coniferous. The painting had a very balanced feel with the earth, water sky elements seeming to occur in equal proportions. The reflections of the trees were the obvious focal point as they appeared almost real only in inverse. Overall the painting exhibited an amazing apparent depth that was all the more impressive when one came close and realized that the artist had created this appearance utilizing dabs of color.
The visit to the museum was a meaningful experience, permitting the utilization of newly learned critical skills and terms to more deeply appreciate the artistic effort involved in creating the items viewed.
The Tyler Museum of Art, accredited by the American Association of Museums, is located at 1300 S. Mahon Ave., adjacent to the Tyler Junior College campus off East Fifth Street. The Museum’s growing Permanent Collection focuses on early to contemporary Texas art, as well as works in decorative arts, Asian art, and prints and photographs of American masters.
---from the website of the Tyler Museum of Art website. http://www.tylermuseum.org/ElegantHouse.htm
ELIZABETH STRONG (1855 - 1941)Born in Westport, CT on Feb. 1, 1855. The Strong family lived in Hawaii until 1858 when they settled in Oakland, CA. Elizabeth began her art studies in San Francisco at the School of Design under Virgil Williams and, during her two years there, won gold and silver medals for her work. In 1879 she sketched on the Monterey Peninsula while sharing a home with her brother Joseph. Through the sales of her pictures of pets of wealthy patrons she was able to save enough money for a lengthy stay in Paris. During the next eight years there she had further study with animal painter Emil van Marcke. Returning to the U.S., she studied at the ASL of NYC under Wm M. Chase (1892-93) and then returned to Paris where she lived until 1905. While there, she ran a small school of her own and exhibited often at the prestigious Paris Salon. From Paris, she returned to California and lived in Berkeley until 1920. After settling on the Monterey Peninsula, she was active in the local art scene until her death in Carmel on Oct. 30, 1941. Since she specialized in paintings of animals (especially bird dogs), she was sometimes called “the Rosa Bonheur of America.” Member: SFAA; Sketch Club (SF); Carmel AA (cofounder); Carmel Arts & Crafts Club. Exh: SFAA, 1875-1912; Mechanics' Inst. (SF), 1875-79; Calif. Midwinter Expo, 1894; Calif. State Fair, 1894, 1930, 1935; Paris Salon, 1901; Berkeley AA, 1908; Sketch Club, 1909; Alaska-Yukon Expo (Seattle), 1909 (silver medal); Del Monte Art Gallery, 1910. In: Monterey Peninsula Museum.
Source:Edan Hughes, "Artists in California, 1786-1940"
http://www.trottergalleries.com/Artist_Bios/bio_strong_elizabeth.htm

The Picasso Group elected to do the Paragone group discussion “real-time in the Chat Room on the WebCT site. We had a lively discussion, with a few glitches since one member had some trouble logging on and staying connected. We managed to all get our input into the system one way or another and actually reached a consensus regarding the question of whether painting or sculpture is the “higher” form. The group discussion, intended to heighten our understanding of the differences between the creation of three- and two- dimensional objects, did a good job of eliciting discussion concerning the differences.

Having completed the Michelangelo/Leonardo Art Projects before beginning this assignment made each of the participants base input on experience. Four had prepared drawings and one a sculpture. Despite this difference of viewpoint based upon experience, each participant in the discussion came into the forum with an open mind as to the superiority of one or the other of the two formats. The discussion began with each student sharing with our group members the experience of walking in the shoes of the artist and the difficulties they encountered. Generally the media chosen was a result of concern about the greater difficulty involved in the other format. We had all shared images of our project on the blog and referred to those as we discussed the paragone. With some variations we found that the others had similar difficulties in preparing their projects. We approached the discussion by using the questions Professor DeWitte provided as the backbone of our chat.

Did the project take the amount of effort you expected?
On this question it seems that the majority found the project to be less demanding on their time than they had anticipated.
Explain the challenges you incurred.
The challenges that the participants focused on were in the extensive preparatory work involved in the projects. The technical preparation for the drawings surprised everyone. Rather than simply sitting down and sketching, each of the students spent time drawing octogonals, vanishing point and horizon. The efforts required to utilize shading and fuzziness to assist in adding depth was also mentioned.
Did this experience give you new insight and/or new respect for sculptors/painters?
Invariably everyone expressed a new appreciation for the work that must go into creating painting or sculpture. I think everyone had a respect for the “talent” that an artist must bring to play, but the sheer work involved in preparation of the media came as a surprise and deepened everyone’s respect for the professional artist.
Which part of the paragone could you most relate to because of your recent art project?
The group found the ideas about light and shadow to be very interesting. The fact that the sculptor is faced with serious challenges because the subtractive nature of the medium places an enormous planning burden on the artist in addition to making the choice of media critical since it must withstand the trauma of the sculptor’s tools and not shatter. In general the group felt that Leonardo put the painter in a “higher class” tending to characterize the sculptors work and environment as almost lower class or tradesman-like.
Which part of Leonardo’s argument was the strongest? Which part was the weakest?
The discussion of the strength and weaknesses of Leonardo’s arguments were very lively. We opened with comments about Leonardo’s focus on the use of light and shadow to create a three dimensional world on the canvas as the painter’s challenge and area of excellence. The painter’s ability to create perspective was mentioned as well.
Which part of the sculptor’s argument was the strongest? Which part was the weakest?
The subtractive nature of the sculptor’s art was the focus of our discussion on the strength of the argument for the sculptor. Because Leonardo focused so exclusively on the painter it was difficult to identify any weakness in the argument for the sculptor.
Do you think one type of art is superior to another?
This is where our group reached a quick consensus. We read the Paragone as the statement of the merits of two forms of art, nut one that was clearly written from the viewpoint of a painter. Leonardo’s argument failed to sway the group. The consensus was that these two forms, though very different in their demands upon the artist were neither superior nor inferior.
Do you think a discussion such as the paragone is useful?
Again on this question the group found agreement. We all agreed that the discussion of the paragone, particularly in light of our recent efforts to create a work on our own was an excellent way to solidify what we had learned.
How did your week as an artist influence your interpretation of this reading?
Each student came into the discussion with a personal experience that was pertinent to the discussion that they could attribute to the recent effort to utilize the techniques of the working artist.
Did your group reach a consensus?
Our group did reach a consensus, and while bringing many particular experiences to the conversation, the grounding of the discussion in experience made for an easily achieved unity of perspective.



DISCUSSION 3/1/09
Roy Mullins>> 1. Did the project take the amount of effort you
expected?
Mario Maiorana>> Yes
Roy Mullins>> That's the first question in the "lesson."
Vanessa Mayhew>> Yes, I know that. We need to actually decide
as a group if we are going to proceed without Johnny.
Vanessa Mayhew>> If he doesn't participate I won't be nice in
my evals
Mario Maiorana>> We should
Roy Mullins>> We can wait for Johnny, but I thought I'd get that
up for cosideration.
Vanessa Mayhew>> Alright. I agree. Karyn, what do you think?
Karyn McCoy>> I think we should proceed.
Vanessa Mayhew>> that's fine Roy I just wanted to make sure we
all agreed.
Karyn McCoy>> So start
Vanessa Mayhew>> Actually, mine took less time than I anticipated.
Vanessa Mayhew>> I am an AWFUL artist but I was able to put together
something simple quicker than I thought
Karyn McCoy>> Once I got started it didnt take as long.
Karyn McCoy>> I think I too was stressing not being an artist-I
was wishing I was sculpting
Mario Maiorana>> Mine didnt take long but it was alot easier
than the drawing you gus did.
Roy Mullins>> The assignment took considerably more time than
I anticipated. The technical aspects of preparing the sheet
with vanishing point, horizon and orthogonals took a lot
of time .
Vanessa Mayhew>> I don't think I agree. I feel that the sculpting
would have been much more difficult
Vanessa Mayhew>> I used my eraser A LOT. with mistakes in sculpting,
it is permanent.
Mario Maiorana>> your being kind
Roy Mullins>> I had a general idea of the elements I wanted to
include, but setting up the page to get the perspctive was
a new experience.
Karyn McCoy>> I think it was actually choosing the topic-I dont
know I think I may have done better. I learn to appreciate
artists talent.
Roy Mullins>> I definitely steered clear od the sculpting. On
the old #2 pencils I always wore out the eraser before the
lead.
Karyn McCoy>> Me too. There was a lot of erasing going on.
Roy Mullins>> I found the material on the Leonardo's Perspective
site very helpful.
Mario Maiorana>> The only callenge was if you try to take off
too much material at once you fracture the object
Vanessa Mayhew>> Exactly, there were may difficult sides to drawing
and without experiencing sculpting I would argue that it
would be more difficult
Vanessa Mayhew>> but image how many times I used my eraser, that
would be a about 40 new bars of soap!
Vanessa Mayhew>> by the way guys, a girl texted me back and told
me that he gave me the wrong number. I knew he hadn't given
us the right one
Roy Mullins>> 2. Explain the challenges you incurred.
Roy Mullins>> Not reaching Johnny!
Karyn McCoy>> I concur
Mario Maiorana>> Leonardo made painting sound alot more romantic
than sculpture
Karyn McCoy>> I think it was his passion. After looking at his
paintings there is such depth.
Vanessa Mayhew>> Setting the scene for my painting, drawing straight
lines and making the background seem more fuzzy
Karyn McCoy>> I think my depth perception.
Roy Mullins>> I learned a lot. I can draw a picture with words
far more easily.
Vanessa Mayhew>> Mario, do you agree it is more romantic?
Mario Maiorana>> I do it is definately alot cleaner
Roy Mullins>> The picture he painted (with words) of the two
worlds, of the painter and sculptor were very different.
Karyn McCoy>> I dont know if I agree Mario. They are two different
things. Sculptures have passion also. They are extrodinary
with their ability to relate to the materials they use.
Mario Maiorana>> true
Roy Mullins>> I thought he introduced "class" intothe discussion,
making the sculptor sound more like a craftsman.
Mario Maiorana>> I agree
Vanessa Mayhew>> Yes, he did make a huge distinction. The main
argument we should figure out is if Picasso was correct?
Vanessa Mayhew>> I mean, I do agree that the sculptor is more
of a craftsman but it still takes much mental preparation
like the paintings.
Mario Maiorana>> I think Picasso was a little biased
Roy Mullins>> Leonardo hid much of the dirty work. An artist
always has paint under the nails .
Mario Maiorana>> sculptures do last longer without care
Karyn McCoy>> I think Picasso saw it through a painters eyes
Mario Maiorana>> yes
Roy Mullins>> Hey giys,I think the Paragon is Leonardo's.
Vanessa Mayhew>> Yes he was extremely biased
Vanessa Mayhew>> yes, it is.
Mario Maiorana>> can we now relate to these artists
Karyn McCoy>> I believe so. Understanding Leonardo's passion
and his view.
Vanessa Mayhew>> I can't relate fully, but I can slightly see
into the world of art and how much really goes into it.
Roy Mullins>> I have an entirely new respect for the technical
skill and traiing.
Karyn McCoy>> I find it amazing what they could do then with
limited resources.
Mario Maiorana>> What do you guys think about question 4
Vanessa Mayhew>> Alright, Which part of the paragone could you
most relate to because of your recent art project?
Roy Mullins>> I think I found the skills required to create three
dimensions in a two dimensional medium the most challenging
and Leonardo's comments sbout the use of light and shadow
to accomplish the task.
Karyn McCoy>> I too related to the light and shadow...or my fortunate
ability to erase my mistakes.
Mario Maiorana>> I will agree with the part that talks about
not being able to add to the material if you take too much
off.
Roy Mullins>> If I had used paint it would have weighed two hundred
pounds. Layer, on layer, on layer..........
Vanessa Mayhew>> I agree with the argument of shadows and lights
and how nature provide's these for sculptor's work. I also
agree that often there may be class distinctions.
Karyn McCoy>> Exactly.
Vanessa Mayhew>> *Which part of Leonardo's argument was the strongest?
the weakest?
Roy Mullins>> I thought his weakest argument on behalf of the
painters was that they lived in cleaner houses, had music
played ansd books re3ad. I think that's where the class concept
comes in.
Mario Maiorana>> yes
Vanessa Mayhew>> I feel that the strongest part was the painter's
task of evaluation of shadows, but the weakest was the "regard
to durability painting is equal to sculpture and surpasses
it with regard to beauty, since in it are combined the two
perspectives, but in sculpture in the round there is no perspective"
Roy Mullins>> I thought his strongest argument was on the task
of creating light and shadow with nothing but lines and color.
Karyn McCoy>> I think Leonardo looked at painting knowing how
challenging it was, and viewed sculpting as a lesser art.
It was all in the perspective.
Vanessa Mayhew>> Yes, which would be a strong stereotype of sculptor,s
just because they work hard doesn't make them more "dirty"
or less educated by any means.
Mario Maiorana>> he look down on sculpture ofer painting
Roy Mullins>> I suspect Mario can testify that the subtractive
nature of the sculptor's work is what makes it the most exacting.
Johnny Limones>> hey im here . late but here
Vanessa Mayhew>> Yes he did and I most certainly agree with that
Roy Mullins>> Welcome J
Roy Mullins>> and gone
Karyn McCoy>> I think he viewed them as more barbaric and less
eduacated.
Johnny Limones>> thanks
Mario Maiorana>> he was biased
Karyn McCoy>> Again it was his perspective.
Vanessa Mayhew>> Which part of the sculptors argument do you
guys feel was the strongest? and which part the weakest?
Roy Mullins>> L was definitely biased, but some of his arguments
bear consideration. (I consider the forms equaol in value,
differrent, but equal.)
Karyn McCoy>> I agree.
Johnny Limones>> yea me too
Vanessa Mayhew>> I think he agress they are equal in durability
but not in beauty
Vanessa Mayhew>> which would obviously not be true to a sculptor
Karyn McCoy>> Yes but going to the question on the sculptors
viewpoint, they would feel that what they created was equal
in beauty.
Roy Mullins>> The Pieta (Michelangelo) v Sunflowers (Van Gogh)
= tie
Karyn McCoy>> ah, beauty. Different but still beautiful.
Vanessa Mayhew>> I think the sculptors argument that if he takes
off too much of the outer portion of his martier he can't
add it later like the painter can
Vanessa Mayhew>> is the strongest
Roy Mullins>> We could venture into some critical theory, but
the artist and the viewer are cocreative in the text of the
work.
Johnny Limones>> yes i agree vanessa
Karyn McCoy>> Like you mentioned Roy, layer after layer of paint.
But there is no more marble if it breaks.
Vanessa Mayhew>> I don't really know the weakest argument. Does
anyone have any opinions of that?
Roy Mullins>> I once sat in front of Cincent's "Sunflowers' at
the Smithsonian and sobbed. I don't even like flowers, but
the artist (regardless of his/her media) communicates with
his/her audience.
Roy Mullins>> Vincent's
Mario Maiorana>> I think the last sentence is weak
Karyn McCoy>> It is amazing when you can relate to a painting.
Now maybe looking at them with different eyes
Vanessa Mayhew>> Yes, but I don't really think that would be
from a sculptors point of view Mario. That's why I can't
figure it out.
Johnny Limones>> ill be back
Karyn McCoy>> What?
Vanessa Mayhew>> Oh well. The next four quesitons are to be posting
in our group posting and I guess answering these would be
what Roy needs to look at for our discussion board
Vanessa Mayhew>> *Do you think one type of art is superior to
another?
Mario Maiorana>> no
Karyn McCoy>> No
Vanessa Mayhew>> NO
Roy Mullins>> I see no priority. Different media for expressing
the ineffable.
Vanessa Mayhew>> I feel like we have summarized many reasons
why so far, and obviously in the paragone he was extremely
biased
Mario Maiorana>> is a discussion like the paragone usefull or
just an opinion?
Roy Mullins>> Even so, hearing directly from the artist was instructive.
Even though his classification biased his presentation, all
of it was illuminating.
Vanessa Mayhew>> I think it may be a useful way to express your
opinion and argue what you feel is strong about your art
is a good point to the paragone
Karyn McCoy>> I think its like brainstorming. No answer is wrong.
It is an idea. Although just like any discussions people
bring to the table their own bias.
Roy Mullins>> Smetimes one's biases make the oponents case.
Vanessa Mayhew>> and it would be interesting to see a sculptures
response
Mario Maiorana>> yes
Vanessa Mayhew>> Very much so K!
Karyn McCoy>> Most artists are passionate people. So I imagine
in those times there were a lot of heated discussions.
Vanessa Mayhew>> So I think we can argue it was a useful discussion
tool, if nothing else it was good to educate people of your
opinion on a craft
Karyn McCoy>> I agree.
Mario Maiorana>> definately
Roy Mullins>> Often one of the bases of success, particularly
for te geniuses is the absolute belief that they are absolutely
riight,
Vanessa Mayhew>> How di dyour week as an artist influence your
interpretation of this reading?
Mario Maiorana>> I could relate to what he was stating
Karyn McCoy>> I think it was very influential. To attempt to
do something that they did was very intimidating. I learned
to appreciate this experience
Roy Mullins>> I was biased going in. I saw the two dimensional
as very difficult and challenging, but L actually changed
my mind with his blan=tant bias.
Vanessa Mayhew>> I suppose mine did the opposite of how Leonardo
feels. Not that I feel that my drawing was easy to do, I
feel like sculpting would have been much more mentally taxing,
as well as physically, especailly if it was marble
Vanessa Mayhew>> That's a very interesting way to look at it
Roy. He argued against his art in your opinion.
Roy Mullins>> I have always envied the sculptor who can SEE the
statue hidden in the marble and then coax it into being.
Vanessa Mayhew>> Well, not exactly against but he turned your
respect in a different way
Vanessa Mayhew>> Exactly with very little room for correction.
Mario Maiorana>> What is our consensus?
Roy Mullins>> I recently saw a marble statue of two sleeping
children. I caught myself whispering to my wife I suppose
to avoid awakening them. Cold lifeless beautiful iving marble.
Vanessa Mayhew>> That work of art is more beautiful or more difficult
to create
Roy Mullins>>
Mario Maiorana>> it is definately not easy to be artistic
Karyn McCoy>> I think we are a bit changed from this experience.
Maybe we stop in look deeply at a painting. Or we sigh when
we see a statue. It touches us in some way. Both beautiful
both leaving an imprint on our memoies.
Roy Mullins>> I think what we agreed upon was that art, in its
differing forms is work. That it is created. Someone took
an idea and made it physical and That is a beautiful thing
to behold.
Mario Maiorana>> very true roy
Vanessa Mayhew>> Alright, does anyone else feel that we need
to discuss further anything in order to put together our
paragone discussion posting?
Karyn McCoy>> I think we are good.
Mario Maiorana>> i think we covered it well
Vanessa Mayhew>> Roy, do you think you can make something of
all this?
Roy Mullins>> I think you should just post it as is. Can you
copy it and put it on our discussion site for Johnny to post?
Johnny Limones>> hey sorry really bad connection
Roy Mullins>> I really like the way this went and don't see the
need to pretty it up.
Vanessa Mayhew>> Well the assignment says that our group posting
should summarize the conclusions we reached on the last four
questions
Vanessa Mayhew>> I think it is supposed to be cleaned like our
biography was because it will be in our gallery
Roy Mullins>> I can do that. I'll put it together and get a file
posted early tomorrow.
Johnny Limones>> but cant she see our chats anyways
Karyn McCoy>> Can you please summarize and maybe use some quotes?
Vanessa Mayhew>> Ya, we were talking about copy and pasting
Vanessa Mayhew>> No rush Roy
Karyn McCoy>> Like you said V it is suppose to cover the last
four questions.
Roy Mullins>> I hope so, I can't see bacl past mid way.
Vanessa Mayhew>> I have the whole convo, I do it every time to
make sure we don't loose anything
Vanessa Mayhew>> I can email it to you through webct
Karyn McCoy>> V can you post it like you do in our chat sessions.
Vanessa Mayhew>> it isn't due until the 9th so I'm sure if you
get it to Johnny by the 5th or so that should be fine
Vanessa Mayhew>> I certainly can do that.
Johnny Limones>> so what can i do
Roy Mullins>> roy.mullins@gmail.com


Ok well I personally agree with everyone’s decision. I also think that the sculptor is more at risk to ruining his piece than the painter. The painter can just paint over his mistakes. On the other hand if you try to switch the places of both the sculptor and the painter, they would probably have difficulty in achieving what the other has achieved. As some of you said, art is in the eye of the creator and the beholder. Art can be whatever you want it to be as long as there is a connection between the person and the piece. A sculptor’s duty may be more physical but all they have to know is what and how to carve. A painter would need to know how light plays with color and also all the different types of paints to use while making sure he mixes the right paints together. Over all I would have to agree with the sculptor’s point of view only because he is more at risk to ruining his hard work.