Art essays on paintings

In 1947, India became independent of British rule. A group of six artists - K. H. Ara , S. K. Bakre , H. A. Gade , . Husain , . Raza and Francis Newton Souza - founded the Bombay Progressive Artists' Group in the year 1952, to establish new ways of expressing India in the post-colonial era. Though the group was dissolved in 1956, it was profoundly influential in changing the idiom of Indian art. Almost all India's major artists in the 1950s were associated with the group. Some of those who are well-known today are Bal Chabda, Manishi Dey , V. S. Gaitonde, Krishen Khanna , Ram Kumar , Tyeb Mehta , K. G. Subramanyan , A. Ramachandran , Devender Singh , Akbar Padamsee, John Wilkins , Himmat Shah and Manjit Bawa . [33] Present-day Indian art is varied as it had been never before. Among the best-known artists of the newer generation include Bose Krishnamachari and Bikash Bhattacharya . Another prominent Pakistani modernist was Ismail Gulgee , who after about 1960 adopted an abstract idiom that combines aspects of Islamic calligraphy with an abstract expressionist (or gestural abstractionist ) sensibility.

Both Hegel and Danto anticipated the art that came after them, but understood it not as progress in a new direction, but as further symptoms of the end of art. Hegel was writing towards the end of the great outburst of creativity known as German Romanticism. He anticipated an increase in the conceptual content of art, a move beyond sensuous art into something radically different. This (incompletely) described many of the features of the great art movements that came after him, which moved away from depicting the world, or conceptual ideas, with complete adequacy, and instead reflected on the very limits of artistic expression itself. Cubism, for example, no longer perfected perspective, or wanted to, but instead interrogated it, and attempted to show us the very limits of the way an artwork might represent something. This can be seen especially in the ‘analytical’ phase of Cubism – for example, in Picasso’s Portrait of Ambroise Vollard (1910).

Art essays on paintings

art essays on paintings


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