Compare-and-Contrast Research Paper Essay

Introduction Present essay natterks to provide the comparative psychoanalysis of two dodgeistic creation full treatment Hoffmanns Boston Twilight, 1957, belonging to Proto-Abstract Expressionism and Rauschenbergs Retroactive 1, 1964, which whitethorn be attributed to the art movement of Pop-Art. The comparative analysis of these word pictures will charge on two crucial aspects structural and positive.Structural analysis addresses ethnical, historic context, which influenced the discussed nontextual matters, political climate, art movements stylistic characteristics, which informed individual work of artists, their indispensable motives, influences and inclinations. Secondly, positive analysis of the artworks focuses on the themes depicted, rubrics and techniques used, formal and stylistic elements, the rebuke of cultural and diachronic context in the artworks etc.The thesis, present musical written report defends, may be formulated as fol confuseds Hoffmanns and Rausch enbergs artworks were importantly influenced by historical, cultural, social and artistic context. The artistic response to these contexts was different and reflected d ace opposite art movements. The discussed jut outs belong to different artistic traditions and, hence film umteen differences. Similarities, however, may be attributed to the similar artistic influences, and utilization of sometimes similar formal and color techniques of composition.Structural context art movements, history, authorities and subjective perspectives. The general socio-economic and historical context of two artworks (as they were created very coating in time 1957 and 1964) may be characterized by the gradual attack of cumulus consumption postmodernist familiarity, which influenced the rapid development of popular enculturation in music, entertainment and cinema. Commoditization has reached almost every sphere of social invigoration and closely approached art through mass media.The increasi ng role of mass culture was immediately seen in the new sphere of advertisement, which conflated the elements of high and low culture, which became central to the new postmodernist cultural logic (Jameson, 59). Political bunk in the get together States and Europe was characterized by the intensification of metro and leftist movements, which, however, neglectful communist platform and focused on new postmodernist tactics, such(prenominal) as situationism, counter-culturalism, influenced by new discoveries in psychoanalysis, philosophy etc. political science also became the element of mass culture, as its reproduction was extended from disagreeable couloirs of high cabinets to ordinary population. The response of art movements to the assault of the postindustrial society was irregular and significantly varied from one art movement to another. The effectiveness of non- purpose abstraction in 1940s and 50s was the response to vulgarization of social biography, and the shew of th e absence of valuable objective themes in de-humanized world.Abstractionism, hence was an artistic vista of de-humanization and the search for lost subjectivity (Herskovic, 13-17). However, other extremes also came to existence. That is particularly straight of the Pop-Art, which positively responded to the modern developments in economy and culture, synthesizing popular culture in the new form of art. Pop-Art was characterized by externalization of art, as the objects of ordinary life and advertisement were widely utilized. The later was particularly evident in the works of Andy warhol, Roy Lichtenstein and James Rosenquist.The similar response to changing conditions in society was do by photorealism, which exemplifies the assault of hyperrealism as the new form of cultural affirmation. such elements of modern society as standardization, de-subjectivization was immediately seen in Pop-Art , which appe bed as the resistance to self-revelation, artistic creativity and originali ty and focuses on the widely acknowledge cultural codes and regards (Harrison 2001) . Robert Rauschenbergs and Hans Hoffmanns artistic trajectories were significantly influenced by the discussed developments in politics and ideology.Rauschenberg was, for instance, one of the forerunners of pop-art movement, as he was among the first to use hand-made or found objects in his artworks, combining the elements of high and low culture, using mass-media sources etc (Livingstone, 1990). Such experiments were influenced by Rauschenbergs strong belief that the genuine artwork should exist between art and life. The technique of combines used by Rauschenberg may be described as immediate precursor to postmodernist collage, used in installation art.Rauschenbergs mindset position deeply opposed Abstract Expressionisms rivalry that the self may be expressed through art. Instead, Rauschenberg focused on representation of reality in its absence of structure, sense and single interpretation. Abstra ct-Expressionism, which was influenced by Hans Hoffman, in contrast focused on gesture paintings and color champaign painting techniques. Abstract Expressionism should be understood as a historical consequence of the conflation between European and American artists collect to World War 2, which forced may French, German and other artists to immigrate in the United States.Hans Hoffmann belongs to this group of artists and his destiny significantly influenced his sprint and ideological orientations (Herskovic, 2003). Hoffmans flair was influenced by cubist tension between depth and surface, expressionistic floridness of color and surrealist technique of automatism, which is based on following subconscious drivers of creativity and libidinal forces. The latter influences were synthesized by Hoffmann in his push-pull method, which included the use of expressive colourize and paint slashes in the view of creating contradiction between peaceful and warm colors.Comparative analysis of Hoffmanns and Rauschenbergs artworks Both artworks atomic number 18 obviously affected by different artistic movements and styles. Hoffmanns composition may be posited within abstract expressionism tradition, eon Rauschenbergs painting belongs to Pop-Art movement. On the surface level the similarities between these artistic may be traced in the color usage in each painting we see the utilization of yellow, leafy vegetable, black, white, red, white and blue colors. Moreover, the presence of grid-like rectangular layout is evident.Apart from this, both paintings atomic number 18 characterized by the sense of distortion. The distortion in Hoffmanns artwork Boston Twilight is due to the use of abstract expressionist style, which distorts the contours of objective reality, so that we can not find correspondence between the pictorial matter and reality (Boston Twilight) that it signifies. However, in Rauschenbergs composition the distortion is reflected in the mob of meaning and signification. The interpretation is difficult to realize due to the combination of images inserted in the painting J. F.Kennedy at the center, pointing with his finger, cosmonaut with parachute, the duplication of Kennedys hand in the right corner and evidently abstract images in other parts. on that point is no denying the importance of the fact, that such a combine creates difficulties for interpretation and distorts it. Furthermore, it should be pointed to the fact that both artworks have the elements of abstraction, contrasting color tones and ar influenced by Cubism in using facets of the color. Both paintings create the feeling of collage and it was remark that Rauschenbergs combine technique is very close to it.Moreover, creating certain color relationships is in important in both images, however, it serves different functions, depending on style and thematic unity. Differences between images are evident in many respects. commencement exercise of all, art schools are op posite with pop-art, focusing on unification of art and reality, and abstract expressionism, focusing on expressing contradictory being of individual self. Hoffmans painting is abstract in essence, bandage Rauschenbergs refers to widely cognise political and social images of American President, cosmonaut, which immediately signify objective reality.The social and political thematic of Rauschenbergs image immediately points to his belonging to Pop-Art tradition. As far as formal and color structure of the analyzed paintings are concerned blue is dominant in Rauschenbergs image, while green is dominant in Hoffmans paintings the first artist uses vertical stress, while Hoffmann is evidently using horizontal stress. Due to stylistic differences between artworjs, colors mix into one another in Hoffmanns painting and are let outd in Rauschenbergs one.Rauschenberg utilizes much more contrast, than Hoffmann, however the image of the latter is much more organic in contrast to nonrepresen tational structure of Rauschenbergs composition. Conclusion To sum it up, present analysis proven the initial thesis that both artworks were significantly influenced by historical, social and cultural developments in Western societies in the middle of 20-th century. These developments provoked different responses on the part of art movements, resulting in creation of different styles and techniques.The latter are reflected in Hoffmanns and Rauschenbergs compositions, which are different in many important stylistic respects, however, have much in common due to the same artistic influences. My interest to the discussed paintings is explained by the fact that they are lovely representations of Abstract Expressionism and Pop Art. Main features, peculiar to each of these styles, may be found in these paintings both in complex and in separate elements. The techniques used by both artists help us better experience other artworks created in these traditions and inform our own artistic end eavors.Hoffmans image advantage is in its direct appeal to aesthetic taste and sensibility, while Rauschenberg artwork represents a challenge for viewers in terms of understand its political and social content. Works Cited Herskovic, Marika. American Abstract Expressionism of the 1950s An Illustrated Survey, parvenu York School Press, 2003. Harrison, Sylvia. Pop Art and the Origins of Post-Modernism. Cambridge University Press, 2001. Jameson, Fredric. Postmodernism, or the Cultural Logic of deeply Capitalism. New Left Review, 146, (53-92), 1991. Livingstone, M. Pop Art A proceed History, New York Harry N. Abrams, Inc. , 1990