Mona Lisa

MONA LISA : THREE DIFFERENT APPROACHESThe theme , subject calculate , and he artistic creation and soul in these whole kit are all markedly diametric . In da Vinci s , the subject matter is the seated char , realisely and respect luxurianty portrayed , with the lighting as the manifestly special effect and no irony apparent . In Duchamp s L .H .O .O .Q ( with Moustache , a name of protoactinium delusion , aims to subvert Europe s cunningistry heritage by devising the graffito the more important element . It looks like a shabby print of da Vinci s work , defaced with a scribbled-on mustache and the letter LHOOQ - which , when spoken , sounds like a crude cut cozy reference to the muliebrity (From pile to Asterix The subject matter is self-respect for the painting s place in the fine art canons - it is pres ented as a serious work in a text criminal record that the artist dismisses likely because the Dadaists (whose motto was Art is dead ) spurned tralatitious art . The theme of Warhol s Thirty are pull back better than one is spate bagular refining and the knownity of the . The appears as a pop-culture depiction , reprinted thirty times in reddened , patrician yellow , and black . It is non disparaged , but presented as a work whose greatness has been diminished by mercantile system and unvarying repetition in the popular mediaThe original reflects the rebirth s works , which paid heavy attention to shapes , tones , and light . Duchamp s onset was sort out of the Dada driving , which formed in the post-World War I cultural upheaval as a means of plain against westward civilization s emptiness In the terminology of art historiographer Waldemar Januszczak , Dada began as an anti-art movement or , at least , a movement against the way art was comprehen ded by what considered itself the civilized ! world Surrealism was practically more than an art movement and it thrust home Dada s subversive attack on rational and `civilized standards (Artchive . Warhol s work , from the 1960s , is less(prenominal) an attack than a commentary on pop culture s traffic in catchs and reduction of high art to something viridity and overly familiarThe subject of each changes , from the earnest craftiness in da Vinci to Duchamp s dismissive attack on traditional Western art to Warhol s commentary on how the has amaze a pop-art word picture . Da Vinci depicts his subject without obvious irony and with a clear respect since she is not distorted or demeaned . Duchamp s message , conveyed through the defaced great work , claims that Western art does not merit the merit it has received , and the is a good example of the art canon . Warhol shows his viewers that they are guilty of force naturalism down into bite-sized chunks (Andy Warhol at Tate advance(a)The composition of each is essentially assorted , though each painting shows the same woman .

Da Vinci presents a portrait of a woman with an incomprehensible smile , the meaning of which has long been debated Duchamp s work treats the smiling look-alike as an objective lens on a page , placing it in a different context by making it an object of sarcasm . Warhol treats the figure as part of a collage , repeating it thirty times on the canvas to underline its mass reproduction and contemporary status as an icon familiar in popular cultureDuchamp s certainly ridicules the original by video display it as a defaced object on a breakwat er or in a book , and by annexe he ridicules art in ! familiar . By attack one of Western civilization s almost recognizable and venerable objects , Duchamp basically ridicules the whole institution . Warhol does not ridicule da Vinci s work , but , when taken in context with his paintings of soup cans and Marilyn Monroe , he comments on how the noted renascence work has since become a cultural icon , a commodity reproduced unceasingly . He seems to pay it a backhand compliment by acknowledging its fame but also clearly sees it as somehow minify in stature . In the words of art historian Sister Wendy Beckett , the has the innocent disadvantage of world too famous and speaks eloquently about the condition of image overload in a media saturated culture (ArtchiveSOURCES season , Mark . Mark Harden s Artchive . 31 August 2005 brO Neill-Karch , Mariel and Henriette Gezundhajt . From Napoleon to Asterix . 2000 . Department of French Studies , University of Toronto 31 August 2005Penn , Steve . Andy Warhol at Tate Mode rn The Mighty Organ . 31 August 2005PAGEPAGE 2 ...If you demand to get a full essay, order it on our website: OrderCustomPaper.com

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