The Art Of War                   Jessica Thurber

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This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.

This gallery focuses on the exploration of war and conflict through the use of movement in painting and sculpture. Throughout time artists have depicted the struggles of mankind through paintings and sculptures. Over time the art evolved from frozen figures to captured scenes in time that feel as alive as we are. Using movement in art can add another dimension to the piece and it draws the viewer into the painting.

The Soldier of the Great Patriotic War. The series "Soldiers", Karamzin Vladimir Semenovitch, 1967/1967, From the collection of: The National Art Museum of the Republic of Sakha (Yakutia)
In this poster Karamzin Vladimir Semenovitch depicts a soldier in action. The stance of the man along with the repetitive lines imply movement and action in the piece. He is running while being shot at. There are little lines to indicate bullets. Lines are used in this piece to create shape and to add the illusion on depth to the background.
A Turk Surrenders to a Greek Horseman, Ferdinand Victor Eugène Delacroix, 1856, From the collection of: Harvard Art Museums
This painting depicts a Turkish man surrendering to a Greek man on horseback, so that his life will be spared. Delacroix uses vivid colors in this piece that make the men stand out. The movement is created by the rearing horse, the flapping cape, and the swirling clouds in the sky. The artist's use of dynamic shape adds dimension and life to the characters.
Marsyas, Balthasar Permoser, ca. 1680–85, From the collection of: The Metropolitan Museum of Art
"Marsyas" was sculpted by Balthasar Permoser during the baroque era. It depicts a mythical scene, when Marsyas is flayed alive by Apollo after losing a music contest. Texture brings this piece alive, from the hair to the skin. What appears to be drapery around the bust is actually peeled back skin. You can see movement in this piece by the way he throws his head back and the skin drapes like fabric in motion. His facial features are alive with anguish and movement which Permoser accomplished with the lines and contortions on the face.
The Life Line, Winslow Homer, American, 1836 - 1910, 1884, From the collection of: Philadelphia Museum of Art
"The Life Line" by Winslow Homer captures a suspenseful moment as a man is taking a woman to safety on a zip line. It deals with the conflict people face with nature. The use of movement in give the viewer the sense of waves crashing and wind blowing. Homer also uses dark and light shades of color to add emphasis and draw the viewer's eye across the painting.
Fight or buy bonds Third Liberty Loan / Howard Chandler Christy., Christy, Howard Chandler, 1873-1952., 1917, Original Source: Library of Virginia
"Fight or buy bonds Third Liberty Loan" by Christy Howard was created during WWII as propaganda to encourage U.S. citizens to help the war efforts. Color is very important in this piece. Red, white and blue are used to symbolize patriotic duty. The flag is portrayed as the brightest and most important element to the scene. The use of movement is shown in the wavy texture of the flags and the woman's dress.
"The Abduction of Proserpine" shows the mythical story of Proserpine being abducted by Pluto, the god of the underworld. Allori plays with light and dark in this painting. While the subject is dark there is still a feeling of whimsy and beauty. The figures of Proserpine and Pluto appear to be flowing past us because of the flowing movements of their clothes and bodies. The artist uses perception to indicate that Pluto and Proserpine are closer to us with the other figures far in the background.
The Scream, Edvard Munch, 1910, From the collection of: The Munch Museum, Oslo
"The Scream" depicts a man standing on a boardwalk with his hands on his head and his mouth open. The wavy lines in the painting add a sense of movement. The painting seems to represent the inner conflicts that people struggle with every day. The simple shapes that make up the main subject of the painting give him an other worldly look in comparison to the people in the background.
(Main View), From the collection of: The J. Paul Getty Museum
This painting shows a criminal being chased by the angels of Justice and Divine Vengeance and when viewing it you become a part of the action, The way the mans clothes flow behind him indicate that he is running. Movement is also evident in the shape and position of the angels. You can feel the chase happening. Light is used to draw emphasis to the dead man on the ground, while the rest of the painting is dark.
The Last Day of Pompeii, Karl Brullov, 1830/1833, From the collection of: The State Russian Museum
This painting depicts the tragic scene of the last moments of Pompeii during the volcanic eruption that buried the city. Karl Brullov uses contrasts between light and dark to create emphasis on the areas of the painting where the most action is taking place. He creates emotion and anguish with the expressions and movements of the people in the painting. The blurred swirling clouds and the lines of falling ash from the sky imply movement. The people in the scene appear to be running towards the viewer.
(Main View), From the collection of: The J. Paul Getty Museum
This painting shows a mythological scene. Perseus, slayer of Medusa, is attacked at his wedding by a jealous Phineus. Ricci brings the viewer into the action with this painting. The men lunge forward, motion is shown in their muscles and the flowing clothing, as well as the stances of the men. Vivid colors are used in this painting to draw the viewer's eyes around the different areas of the scene. Color is also used to contrast to men from the soldiers already frozen in stone.
Credits: All media
This user gallery has been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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