Philip Pearlstein Two Models with Blow-Up Chair & Salvador Dali Essay

Through the development of art, the enchantment of the female body has been a important(prenominal) motif. It is genus Venus, Roman Goddess of love who has intrigued the artist, and held their attention for well everywhere a a few(prenominal) centuries. She has been not only Venus, alone also Aphrodite (the Greek Goddess of Love), she has been Mary, m an otherwise(prenominal) of saviour in Gothic tradition and she had been found in the countless faces of women picture by Picasso, Monet, Degas, Warhol (for isnt Monroe a goddess? ). The link in these references is that this goddess, whomever she is, is holding the fascination of male artist.This is not to say that female artists have not interpreted up the trend which she invokes, save the purpose here is to discover how differently she is seen through their eyes in comparison with male visions of love. Pearlsteins innovation in completing this project is one of Modernism, mixed with Realism. Pearlstein paints an oil color colour depiction of cardinal females. They appear plastic wrapped within the psychoanalyze due to the severe highlights Pearlstein applies to both of their bodies. They lay beside each other, one on the chair the other next to the chair, and they both appear to be asleep.These two ensamples or Venus atomic number 18 good confrontal nude. The smasher is unable(p) to see if they argon ashamed or not from their faces because one of them is concealment her face and the other ones head extends beyond the test (this is a trademark of Pearlstein). Though both Venus are or appear asleep they are active with the coloring and highlights which Pearlstein has seen fit to portion to them. The line of light glares down the frontal augurs body, highlighting the left breast, the offer wrinkles and over the curves of both of the legs. This mimics the curves and highlights given to the plastic chair which she sleeps upon.The other model fades into the play down, yet still has that tiny shot of highlight upon the same appendages and other body parts which the first Venus had on her. The interesting point in meter in this painting is that thither are two female juts cosmos painted. This is coupled with the fact that here too, like all the ones before it, Venus is apathetic, or at best the smasher is unable to tell what she (they) are feeling. Never mind the composition, Venus is still without a voice in this painting. Through the very brief glimpse of feminine fecundity, and pulchritude, Venus cadaver elusive, and stoic.It has taken the art movement of the 20th century to see the full force of Venus. She has, with the help of female artists, broken her silence. In Dalis oil on canvas The constancy of Memory (1913) the theme of paranoia is persistent in this dreamscape. The distortion of the piece exudes a frightening use of spatial mobility and form. Surrealism is a way in which the expression of fantasy can be coming(a) in the world of Art. Dali exemplifie s this notion in his use of set off and stress shapes and the pure psychic automatism which is symbolized in the time.Dalis focus in this change state is mainly about freedom although the context of this work is based on paranoia and the weightiness of time the work is also free from previous constraints of other artistic movements in that it is not a painting dedicated to undercoat or moral purpose. Dalis painting is that of a dream and ground becomes a series of disjointed objects in place there is no rhyme in his work unless it is free verse that is to say that there is no structure as prior to surrealism the viewer is used to sightedness structure.Dalis work often reflect what Virginia Woolf was so diligently experimenting with, which is un certified writing or free narrative. Dali painted as though the conscious mind was sleeping, and that is why his paintings are so often reminiscent of dreams as Janson states, The notion that adream can be transposed by automatiatic ha ndwriting today from the unconscious(p) mind to the canvas, bypassing the conscious awareness of the artist, did not work in practice. Some degree of control was unavoidable. Nevertheless, Surrealism stimulated several novel techniques for soliciting and exploiting risk effects (Janson The History of Art 807) .Even the central figure in The Persistence of Memory is portrayed as though it were sleeping. The unfinished background knowledge is almost anachronistic with the foreground as it exhibits a cliff glide off into a body of water. It seems as though Dali do the background on purpose to confuse the viewer since dreams are intended to be symbolic of personal meaning. The sky in the background also seems neither with no visible clouds but merely a color pallette that drifts off into a sfumato haze. The background however is not what Dali wanted the viewer to be stricken with as a first impression.The central figure of the painting is unfinished as well. Dali painted an eyeb all, and a nose and made no more attention to the rest of the figure. This feeling of incompleteness is disconcert and truly embodies the emotional state and perception of dreaming. The painting is purely excite by that part of Dalis unconscious mind. Although the painting exhibits that Dali used controlled in certain aspects of the work such as the use of diagonals, and linear shapes, but the overall impression of the painting lies within the angles, the objects and the general ambience of the piece.The time themselves prove to be unnerving both their positions and their lack of solid form, as though they are oozing crosswise the plane in the foreground and the limb near the horizon of the painting, as well as across the half finished face. Another artistic ploy that Dali uses in The Persistence of Memory is his use of shadow not merely trace but the chiaroscuro so prevalent in the piece. This furthers the theory of this paper that Dali uses surrealism to tap into the unconscio us and the dream world.Dali does the opposite in this painting of previous artists he places the darkness in the foreground of the painting and the brightness in the background. This is symbolic because Dali wants to take out to the audience that in the dream world the objects that are in front of the dreamers face are not always concrete but looming and undefined. In the background the objects are illuminated but this elucidation does not add in defining the object because Dali here uses space to further illustrate his unconscious perspective the objects in the background are too far away and cannot be seen.Thus, each part of the painting is uncomfortably defined. It is almost nonsensical these objects of Dalis in space without a coherent theme except for these persistence clocks. The clocks are the main meaning and focus of the painting and it is through these objects that the theory of this paper rests. The clocks present the theme of paranoia (as mentioned prior). Not only ar e they draped over the main objects in the foreground but their rendering is disconcerting. Each clock offers a different time, and one clock is closed so that the viewer cannot decipher its time.It is interesting that Dali did not distort the closed clock it signifies a secret and further exemplifies the state of the dream world present in this painting that is, the one clock that could offer a valid time is closed and unable to be seen by the painter, or the audience. The contention in the painting is that the central figure of the face is sleeping and is thus unretentive to the clocks, to time, to the unfinished landscape. That is the quintessential meaning of a dream the sleeping figure is unaware to symbolism, to action, to time, and that is how Dali exudes incoherence in the dream world.