The Art of Painting - Essay Sample

I am familiar the artworks presented in the video such as Leonardo Da Vinci's Mona Lisa, Sandro Botticellis Birth of Venus, Leonardo Da Vincis The Last Supper, and Michelangelos The creation of Adam and the Sistine Chapel. How further research, I will focus on many artists such as Rubens, Michelangelo, Vincent Van Gogh, Johannes Vermeer, Sandro Botticelli, Leonardo Da Vinci, Claude Monet, Edward Munch, Picasso, and Rembrandt Van Rijn.

Mostly, the period of painting artworks is long since it is considered a continuing river of creation. The work of arts was carefully painted to ensure that they depict the emulated image which in most instances, was a real-life image. Nonetheless, other arts of work were products of imaginary fictions.

Artist sacrifices almost all their material well-being and invests in their creative work. The paintings informed people about the social life of an ordinary man and those considered of higher social standards. Having channeled all their resources to artistic work, most of the starving artists vanquished in poverty. Reportedly, in the ancient times, creative work was valueless.

Ancient artistic materials offer a reliable, authentic, and undisputable source of cultural information. For instance, artistic works such as paintings offer cultural information in a more comprehensive and illuminated form, thus making it easy to understand specific cultural information stored in the arts. Intuitively, each type of paint carries a unique code of cultural information embraced by individuals who can relate panting with their cultural practices. For example, Leonardo Da Vincis painting The Last Supper forever remains significant to Christians. The artistic works will always remind Christians of the Lords table commonly practiced in remembrance of the blood and body of Jesus Christ (Takeuchi, 1994).

The periodical sociological and economic advancements represented paintings either on pictures or sketch serves as a real confession of social changes and developments that a given society undergoes. A variation in the graphical images and pictures depicts the transformation that a particular group has experienced through an empirical analysis of products. This review is achievable by observing color types and thickness, graphics of social activities, as well as, cultural lifetime using differential cross-examination to disambiguate the time against the social lifestyles. For example, looking at the Mandarins dressing style from different images, the men used to do long rob made of thick materials and scuffs around their chests CITATION Amr12 \l 1033 (Amresh Sinha, 2012). Observing any 21st century Mandarin dress at random, one will realize that they do official pairs of trousers, and shirts or T-shirts with the traditional robs remaining for the reserves. The differences in the images against the respective times establish a semantic understanding interpretation of painting and time or period. Given that arts is a deemed reflection of the society-wide scopes, artists from different periods artifice their drawings and painting leveraged on the activities surrounding their ecosystem. The ecosystem endows the buildings, infrastructures, and markets. Through this, it quickly to deduce that at a periodical phase, there is much concentration of a specific economic activity that influenced given painting compared to contemporary painting.

Painting and culture are two aspects of the societal coexistence. The former persist in culture as artists find their ideologies and amenities on cultural issues of the society. The representation serves justice for the graphic adherence and worship of the society's cultural practices that gradually emanates in tandem and coherence to the cultural changes and development. The true picture of the community is at this moment easily extrapolated.

Nonetheless, the products of the artists sometimes run parallel to cultural practices because of the continued cultural amalgamation and overlaps that leads to falsifying definitions of preeminent beliefs. The falsification is attributed to personal influences, cultural borrowing and cropping desire of identity fitting by youths and broad generations. Therefore, paintings might share an ignominious concept of culture with greater misrepresentations.

References BIBLIOGRAPHY \l 1033

Takeuchi, M. (1994). Taiga's True Views: The Language of Landscape Painting in Eighteenth-Century Japan. Japan: Stanford University Press.

Sinha, A., & McSweeney, T. (Eds.). (2012). Millennial cinema: Memory in the global film. Columbia University Press.