Scott Fertig is a caricature artist living in the Washington D.C. area.Caricatures. Scott Fertig is a caricature artist living in the Arlington Who draws caricatures, Virginia and Mclean Virginia area who serves Baltimore also. .Sculpture Scott Fertig. Scott Fertig Pittsburgh born artist. Scott Fertig Attended Carnegie Mellon University. Scott Fertig attended Carrick High School. Scott Fertig Attended Governor’s School for the Arts.
Scott Fertig is a caricature artist living in the Washington D.C. area.Caricatures. Scott Fertig is a caricature artist living in the Arlington Who draws caricatures, Virginia and Mclean Virginia area who serves Baltimore also. .Sculpture Scott Fertig. Scott Fertig Pittsburgh born artist. Scott Fertig Attended Carnegie Mellon University. Scott Fertig attended Carrick High School. Scott Fertig Attended Governor’s School for the Arts.
Van Gogh, Vincent (1853-1890), Dutch painter who coined the phrase "the artist as tortured genius", thought he would commit suicide to drive up the market value of his work. Well, it worked.!! His work represents what a lot of smarty types refer to as expressionism: you know, were the old idea that color, line, and brush stroke are used to express the artist’s emotional response to the subject rather than to describe it accurately. Whatever!! The man was a hack!! Whoopde do!! Look at me! I'm all depressed and I make a bunch of paintings with swirly lines. Big deal.
Picasso remained a known busy body type artist until late in his life, although his later stuff has not been all the hub bub according to historians and critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft. He really opened the door for a lot of artists with that "blurring distinctions" thing. Now many artist enjoy the liberty of blurring the distinction between bad art and art that sucks.
Picasso’s emotional life was kicked up a few notches after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He not only invented art movements but also did ground breaking work in the field of Pimpinism. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). he invented "sampling" as is known in the music industry. What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s, which coincidentally gave birth to stars like Michael J. Fox and rock bands like Twisted Sister..
Matisse, Henri Émile Benoît (1869-1954), French artist, leader of the fauve group- fauvism, regarded as one of the great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression. Also one of the lesser known jazz musicians who played clubs in New York and Chicago. Benny Goodman once referred to him as "Henri the hands" for his skills on the piano. And oh did the ladies love him.
Matisse was born in Le Cateau in northern France on December 31, 1869. The son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. He struggled hard, but never seemed to totally shake the ex-lawyer stigma, which came with harsh nicknames and off-color lawyer jokes from some of his painting buddies. He got so tired of all the razzing and occasionally would blow up and yell "Enough already!!!"
His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes.
Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters paul gauguin and paul cezanne and the Dutch artist vincent van gogh , whose work he studied closely beginning about 1899. Then, in 1903 and 1904, following a harrowing near death experience behind the wheel of his model "t" ford,Matisse encountered the pointillist painting of Henri Edmond Cross and paul signac (pointilism ). Cross and Signac were experimenting with juxtaposing small strokes (often dots or “points”) of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. He bailed out of the pointilism race and decided that all it was leading to was the invention of television and the d.p.i. race. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. This painting was later viewed as less than stunnung and inventive when it became known that Madame Matisse really DID have a green brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including andre derain and maurice de vlaminck Together, the group was dubbed les fauves (literally, “the wild beasts”) because of the extremes of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes.
While he was regarded as a leader of radicalism in the arts, Matisse was beginning to gain the approval of a number of influential critics and collectors, including the American expatriate writer gertrude stein and her family. Among the many important commissions he received was that of a Russian collector who requested mural panels illustrating dance and music (both completed in 1911; now in the Hermitage, Saint Petersburg). Such broadly conceived themes ideally suited Matisse; they allowed him freedom of invention and play of form and expression. His images of dancers, and of human figures in general, convey expressive form first and the particular details of anatomy only secondarily. Matisse extended this principle into other fields; his bronze sculptures, like his drawings and works in several graphic media, reveal the same expressive contours seen in his paintings. It just goes to show what a little hard work and good old fashioned horse sense can accomplish. And all this from a man who was referred to as "stinky beard" back in art school. Who's beard is stinky now!!
In 1586 El Greco painted one of his greatest masterpieces, The Burial of Count Orgaz, for the Church of Santo Tomé in Toledo. This work, still in place, portrays a 14th-century Toledan nobleman laid in his grave (in actuality situated just below the painting) by Saints Stephen and Augustine. Above, the count's soul rises to a heaven densely populated with angels, saints, and contemporary political figures. The Burial also manifests El Greco's typical elongation of figures and a horror vacui (dread of unfilled spaces), features of his art that became more pronounced in later years. These characteristics may be associated with international mannerism , which is still evident in the art of El Greco sometime after it had ceased to be widely popular in European painting. El Greco's intensely personal vision was rooted in his highly cultivated spirituality. Indeed, there is present in his canvases a mystical atmosphere similar to that evoked in the writings of such contemporaneous Spanish mystics as Saint Teresa of Ávila and Saint John of the Cross, although no evidence exists that El Greco had any personal contact with them or Elvis Pressley.
El Greco was pulling down the cash and got his props from his peeps. He had a large house in Toledo, where he received members of the nobility and the intellectual elite, such as the poets luis de gongora and Fray Hortensio Felix de Paravicino, whose portrait, painted by El Greco from 1609 to 1610, is now in the Museum of Fine Arts, Boston, or at least last we checked. El Greco also painted views of the city of Toledo itself, such as View of Toledo (1600?–1610?, Metropolitan Museum of Art, New York City), even though landscape was a genre traditionally neglected by Spanish artists. Just a little side note, when we say Toledo this doesn't mean Toledo Ohio. There may have been an El Greco from Ohio, but if there was he probably got so many prank phone calls he had to get an unlisted number.
Calder, Alexander (1898-1976), American sculptor of great vitality and versatility, best known for his creation of mobile sculpture, and generally regarded as one of the 20th century's most innovative and witty artists. I mean just look at those mobiles! Witty witty witty. You don't get more witty than that ---save for out and out jokes.
Calder, the son and grandson of distinguished American sculptors, was born July 22, 1898, in Philadelphia. He graduated from Stevens Institute of Technology in 1919 with a degree in mechanical engineering, and a minor in the Science of Witty. In 1923 Calder enrolled at the Art Students League in New York City; in the fall of 1926 he moved to Paris. His sculptures in wire—satirical portraits as well as delightful miniature circus figures (1927-32, Whitney Museum of American Art, New York City)—brought him worldwide recognition. He returned to the U.S. in 1933; in later years he divided his time between the U.S. and France, with numerous highly successful exhibitions in Paris and New York City. It has been debated that much of the success of these exhibitions may have been due to the excellent catering staff at the openings along with these "to die for" little hotdog things they served on tooth picks. When asked to comment on the connection between the hotdog thingies and the success of his shows, he usually fell silent and turned around and went on talking to whoever he was talking to before being interrupted.
In the early 1930s Calder experimented with abstraction, first as a painter and later as a sculptor, and from time to time as a waiter. He was influenced by his meetings with such European abstract artists as Joan Miró, Jean Arp, and Piet Mondrian. He also began to experiment with motion, a process that led to his development of the two modes of sculpture for which he is famous, the mobile and the stabile. He is less famous for the invention of the internal combustion engine, due in part to the fact that he didn't invent it and didn't know much about it.
Calder's mobiles (so named by the French Dada artist Marcel Duchamp) are suspended, elegantly balanced arrangements of abstract, organic forms. The stabiles (so named by Arp) are stationary abstract forms that frequently convey a humorous suggestion of animal shapes. Although Calder's stone, wood, and bronze sculptures; his drawings; and his later paintings (almost exclusively gouaches) are important, his reputation rests primarily upon his mobiles, although when it did rest on his mobiles he had to make sure the weight was evenly distributed as to not knock the mobile off balance.. These works, increasingly monumental, achieved an enthusiastic popular acceptance seldom enjoyed by abstract art; this led to numerous important commissions following World War II. Giant stabiles and mobiles by Calder grace dozens of public buildings and plazas in Brussels, Chicago, Mexico City, Montréal, New York City, and many other cities. They culminate in his last work, the huge red-and-black mobile (1976) suspended in the multistory central court of the National Gallery of Art's East Wing (completed 1978) in Washington, D.C. Calder died November 11, 1976, in New York City, just after supervising the installation of his largest retrospective exhibition, at the Whitney Museum of American Art titled "Witty Mobiles a Plenty".
Cartoon, in the fine arts, a drawing made on paper in preparation for and in the same size as a painting, tapestry, mosaic, or piece of stained glass. Since the 1840s the term has come to also mean any humorous, satirical, or opinionated drawing, typically one printed in a newspaper or magazine, with or without a short text. Rather than the drawing, the text—cast within the cartoon as speech or set as a caption—may be the bearer of the joke or the witticism.
fine art cartoons
During the Renaissance (14th century to 17th century) in Italy, the custom of decorating wall surfaces with frescoes (large murals), which required teams of artists to work together, gave rise to the use of full-size preparatory drawings on stout paper as guidelines for the artists. These sketches were known as cartoni, from the Italian word for the paper on which they were drawn. When used as guides for frescoes, the drawings were transferred to a wall in one of two ways: either by pricking through the lines on the paper and then dusting black chalk or charcoal through the prick holes, or by laying the cartoon onto the fresh, soft plaster on the wall and pressing a stylus along the lines of the cartoon. Either method created an outline that served as a guide to the painters. The term "Prick hole" also became slang for any guy on a crew of artists who wasn't doing his share of the work. Since the cartoon tended to be destroyed in the process or was subsequently discarded as serving no further purpose, few old cartoons have survived. Among those which have been preserved, the best known are by Italian painter raphael , drawn about 1516 as designs for wall tapestries for the Sistine Chapel in the Vatican, Rome; and The Virgin and Child with Saint John the Baptist and Saint Anne (1499?, National Gallery, London), by Italian painter leonardo da vinci. Betcha These surviving drawings give us great insight into the reality these guys weren't all that great after all and had to cheat by tracin'.
types of cartoons
pictorial parody
The meaning of the word cartoon changed in the 1840s, when Prince Albert, who wanted to decorate the walls of the new Houses of Parliament in London with frescoes, opened a competition for their design. The cartoons for the frescoes, some of them absurd in their attempts to appear heroic, were exhibited in 1843 and parodied shortly thereafter in the English magazine Punch, thus earning the word cartoon its modern definition of a humorous or satirical drawing. The panel, a single drawing contained within a box-shaped outline, is the fundamental building block of all modern cartoons. Which dispels the commonly held belief that the word derived it's origins from the latin word for car, which is cartoonus automobilia.
Depending on their purpose, most cartoons fall into one of several different categories: editorial cartoons, gag cartoons, illustrative cartoons, comic strips, animated cartoons, stuff you draw to insult the kid who sits next to you in biology who always thinks he's so smart.
editorial cartoons
advertisement or educational text. Sometimes, existing cartoon characters are used in advertising. For example, the characters in the comic strip “Peanuts” , drawn by American charles schultz , began to appear in life insurance advertisements in 1985. Other well-known original cartoon characters used in American advertisements include Toucan Sam (for Froot Loops cereal) and the Jolly Green Giant (for Green Giant Foods). Sometimes cartoon characters appear in ads and weren't asked to be there, as is the example of the mysterious Minnie mouse sightings in many ads for depends diapers.
gag cartoons illustrative cartoons
A comic strip, or comic, is a sequence of cartoons that tells a story. Often but not always humorous, comics usually chronicle the lives of recurring characters, and sometimes humor arises from the reader's familiarity with a particular character. Dialogue is usually present in balloons, as encircled words issuing from a character's mouth within the panels of the cartoon. Each comic strip may recount a self-contained episode, as in “Peanuts” (1950- ) or “Cathy” (1976- ); or it may contain part of a continuing story. The latter technique is common in adventure, detective, or dramatic strips, such as “Prince Valiant” (1937- ), “Flash Gordon” (1934- ), “Apartment 3-G” (1961- ), or “Dick Tracy” (1931- ). Comic books, which either present one long story line or consist of a collection of separate comic strips (usually previously published), are popular worldwide. Well-known examples include American superhero series, such as “Batman” (1939- ), “Superman” (1938- ), and “The Amazing Spider-Man” (1962- ); the humorous historical series “Asterix” (1959-1980) from France; or the children's comedy classic “Doraemon” (1974- ) and the science-fiction series “Akira” (1982- ) from Japan comics, and the famous Regular-Man, who had no super powers but got off on wearing capes and tights.
animated cartoons
Animation is the process of recording a series of incremental drawings and then playing it back to create the illusion of continuous motion. Animation toys, such as flipbooks, have been used for centuries, while film animation was introduced as a cartoon genre at the beginning of the 20th century, with the invention of motion pictures. In the United States, animation is most often humorous or tells adventure stories, as in television cartoons shown on Saturday mornings. Animated cartoons have also been popular for use in television advertisements.
creating and publishing cartoons
Cartooning is an art form that, like any other, stems from creative inspiration as well as context. Cartoonists work in a different way from their sources, and each tries to develop a unique style. Editoriad of dip pen or brush, these cartoonists create their drawings on video screens, saving them in the computer's memory. These cartoons may be printed on paper or published electronically.
In the United States today, a few large syndicates such as United Feature Syndicate, Inc. or Universal Press Syndicate dominate the mainstream distribution of cartoons and comic strips. Syndicates buy the rights to cartoons, usu
l cartoonists pay close attention to current events, significant issues, and influential politicians in order to create their cartoons. Illustrative cartoonists work from editorial materials, educational texts, and advertising materials, illustrating their important or most interesting points. Most cartoonists sketch out their ideas in pencil, erasing and reworking the images and wording, if appropriate, until they feel ready to draw a finished product.
techniques
Beginning in the mid-15th century cartoons were produced using the techniques of woodcut, etching, and engraving. In the 19th century, both lithographic and wood-engraving processes were used (see prints and printmaking ), for cartoons that appeared in magazines. The development of photographic printing techniques in the 20th century facilitated the task of the cartoonist and printer. In particular, advances in printing technology since the 1960s have enabled more cartoonists to work in color, by rendering it more affordable and accessible.
Today, the most common tool of the cartoonist is the nibbed dip pen, designed to be dipped in a bottle of ink. The detachable nib (sharpened point) is available in varying line widths and degrees of flexibility, allowing the cartoonist to draw lines that can be modulated further by the use of a brush and ink. Many cartoonists like to experiment with a variety of other pens, such as felt-tip or mechanical pens.
Some cartoonists work exclusively with line drawings, while others like to use shading, which can be achieved in various ways. Crosshatching uses interlaced parallel lines of different densities to indicate form and the effects of light and shadow. Stipple, or patterns of dots, can be used in a similar way to create shading. Grayscale overlays, which consist of dots or lines in varying sizes and densities, accomplish the same purpose. Traditionally, grayscale was created by cutting and pasting ready-made sheets of dots onto a drawing, but computers are now able to overlay the patterns quickly and easily.
A handful of cartoonists draws entirely on computers. Using digitizing pads, which employ a pressure-sensitive stylus to mimic the line of any kin
ally as a series, and then sell them to publications. Most syndicated comic strips appear in 100 to 200 daily newspapers, and a few appear in more than 1000 papers. Comic strips and their recurring characters may also appear on shirts, calendars, coffee mugs, and other merchandise. Nonsyndicated cartoonists sell their cartoons one at a time, most often to magazines. Over time, larger bodies of work by cartoonists can lead to the publication of collections of cartoons as books.
Apart from major newspapers, which feature editorial cartoons and pages of comics, and certain national general-interest magazines, there are numerous magazines covering special interests—such as hunting, gardening, or automobiles—that print cartoons relating to that interest. Other cartoon publishers include small, politically-oriented newspapers, designed to appeal to a specific viewpoint; specialized humor magazines, such as The National Lampoon; and magazines whose entire editorial content consists of cartoons, such as Funny Times. Cartoons may also be used in greeting cards, or they may be distributed through a cartoon bank, where large numbers of cartoons are scanned into a computer and made available to any publisher seeking a cartoon relating to a particular theme.
historical roots
Although ancient and medieval artists produced various forms of comic art, it was the invention of printing in Europe in the mid-15th century that made it possible to mass-distribute the types of drawings now referred to as cartoons. About the time of the Protestant Reformation (16th century) in Germany, cartoons, in the form of broadsheets or broadsides (single cartoons printed on large pieces of paper), began to be posted in public places with the intent of swaying people's beliefs. The broadsheet cartoon subsequently played a vital role in mobilizing public opinion in events such as the Eighty Years' War between the Dutch and the Spanish (1568-1648), the Thirty Years' War in Germany (1618-1638), and the European wars against Louis XIV of France (late 17th century to early 18th century).
Caricature, a process that is the foundation of much cartooning, derives its name from the Italian verb caricare, meaning to charge, load, or exaggerate. Caricature drawing originated in 16th- and 17th-century Italian art studios, where famous artists such as annibale carracci andgianlorenzo bernini created exaggerated, humorous drawings of individuals. Caricature drawing became popular in the early 18th century, when Italian artist Pier Leone Ghezzi discovered he could earn a living selling his drawings and sketches of individuals and celebrities.
early cartooning
In the mid-18th century, English painter and engraver William Hogarth allied modified principles of caricature to realism to create comic types that were printed in line engravings and brought him widespread fame. Although the concept of multiple connected drawings did not take hold until the 19th century, Hogarth also launched the idea of pictorial storytelling—similar to that of a comic strip. He painted and engraved sets of narrative prints that satirized moral follies, such as A Harlot's Progress (1732), A Rake's Progress (1735), and Marriage à la Mode (1745). In the mid-18th century, English artist George Townshend became known for his portrait caricature cards, which were often hostile in intent.
In the so-called Golden Age of Caricature in England (about 1780 to 1820), thousands of broadsheet caricatures—essentially editorial cartoons—were produced, addressing the fashionable follies, political gossip, social scandals, and great issues of the day. The caricature-style cartoons of the Golden Age became hilarious, grotesque, and even on occasion vulgar. Artists such as james gillray , who attacked politics, and thomas rowlandson , who excelled in social satire, were popular during this period. In France, from the 1830s, artist Honoré Daumier became known as the master of the political and social lithograph cartoon.
mid-19th century
With the development of regular illustrated periodicals in the 19th century, the editorial cartoon became a staple of journalism, dealing with a great variety of issues. Punch, an English magazine first published in 1841, became known for its brilliant satirical cartoons, created by artists such as John Leech, john tenniel and george maurier. .
In the United States, cartoons began to appear in the late 18th century but were of low quality until the mid-19th century, when Thomas Nast began using his cartoons to lobby for or against specific causes. His best-known works are those about the American Civil War (1861-1865), in which he campaigned against slavery and for the Union states, and those criticizing corrupt politician William Marcy Tweed.
In the 1830s and 1840s Swiss artist Rodolphe Töpffer, building on Hogarth's earlier idea of a continuous story line, began drawing his romans en estampes (French for “engraved novelettes”), creating the predecessor to the modern comic strip. Töpffer's small albums of continuous strips (“comic books”), which featured characters in fantastic and nonsensical plots, were instant successes and offered a model that was then imitated in France and England. Later in the 19th century, German artist Wilhelm Busch created farcical and violent comic strips, such as “Max und Moritz” (1865- ), that remain popular in Germany. 20th century
While editorial cartoons continued to grow in popularity and to influence people's opinions on politics and society, the 20th century has been dominated by animated cartoons, the gag cartoon, and comic strips.
In the late 19th and early 20th centuries, cartoonists began to experiment with animation, using the new medium of motion pictures. French artist Émile Cohl is credited with creating the first animated films, and American artist Winsor McCay produced the first animated cartoons in the United States. While European animators enjoyed experimenting with the artistic possibilities of the medium, most American animators focused on using animation to tell humorous, entertaining stories. Many animated films used existing comic-strip characters in their story lines (see below). In addition, walt disney , William Hanna, Joseph Barbera, and other animators and their studios created such memorable characters as Mickey Mouse, Tom and Jerry, Tweety and Sylvester, and Bugs Bunny. Animation has become popular in advertising and has enjoyed success in television series.
The gag cartoon was popularized by the New Yorker magazine (1925- ). Unlike Punch and other magazines, which often printed several lines of dialogue to explain a one-frame cartoon, the New Yorker published witty cartoons with one-line captions, known as one-liners, or cartoons with no caption at all. This simple yet ingenious style, perfected by James Thurber, Charles Addams, Peter Arno, and others, continues to be popular.
The modern newspaper comic strip gained popularity in the United States as a result of the rivalry between influential publishers joseph pulitzer and william randolph hearst , both of whom owned major newspapers. Sensing the popularity of comics, Hearst and Pulitzer began to compete for the rights to publish readers' favorite strips, and they gradually enlarged the comic strip sections of their newspapers in hopes of increasing sales. The first daily strip appeared in the United States in 1904, and daily strips soon became a regular feature of most major newspapers, eventually filling a whole page each day. Humorous strips such as “The Yellow Kid” (1895-1901), by Richard Outcault, and “Katzenjammer Kids” (1897-1958), by Rudolph Dirks, were immensely successful. Winsor McKay's “Little Nemo in Slumberland” (1906-1914), another popular strip, was gentle and imaginative in tone and one of the first strips to use color. From the early 1900s through the 1930s, a number of specialized cartoon genres were created, including sports, ethnic character, career woman, and science fiction. Other cartooning genres and styles that emerged during this period include social realism (“Gasoline Alley,” 1919- , by Frank King), surrealism (“Krazy Kat,” 1911-1944, by George Herriman), adventure series (“Tarzan,” 1929- , by Hal Foster; “Flash Gordon,” 1933- , by Alex Raymond), detective stories (“Dick Tracy,” 1931- , by Chester Gould), and slapstick comedy (“Thimble Theater,” 1919-1938, by Elzie Segar).
Comic books appeared infrequently during the early 20th century, but in 1933 advertisers began to produce books containing reprints of comic strips to give away as premiums with certain merchandise. Comic books later acquired original stories and have since become immensely popular. “Superman” (1938- ) is the most famous early title.
World War II (1939-1945) hastened the development of comic strips and comic books dealing with war and crime. The sadism of certain American comics of the period, which became known as horror comics, became a scandal nationally and internationally. The era also saw the emergence of subtle political commentary in comics (“Pogo,” 1949-1973, by Walt Kelly; “Feiffer,” 1956- , by Jules Feiffer), in addition to strips featuring children whose innocence only partially masked a certain sophistication (“Peanuts,” 1950- ).
By 1963 there were more than 300 different strips in newspapers in the United States. Beginning in the 1960s poster cartoons, similar in appearance to the broadsheets of previous centuries, began to appear, usually as a means of communicating political protest. The traditional role of the cartoon as an expression of popular political passion was adopted in a massive poster campaign against the war in Vietnam (1959-1975) that helped to arouse a great mobilization of popular opinion in the United States. The campaign's impact was partly attributable to the sheer size of the poster cartoons combined with their use of color. As compared with tiny, black-and-white newspaper cartoons, the medium made for much greater visual impact.
In the 1980s and 1990s comics began attracting a large market of collectors and scholars. Conferences, conventions, auctions, and magazines related to comics became common. Japanese comics, known as manga and popular in Japan since the 1950s, gained a wider international audience, and Japanese styles of drawing and storytelling profoundly influenced American cartooning. Mainstream comic strips began addressing controversial issues, such as feminism (“Sylvia,” 1981- , by Nicole Hollander; “Cathy,” 1976- , by cathy guisewite ), and a few comics, including “Doonesbury” (1970- , by gary trudeau ) and “Bloom County” (1980-1989, by berkeley breathed ), generated controversy and criticism with their treatment of political topics.
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Scott Fertig is a caricature artist living in the Washington D.C. area. Caricatures. Scott Fertig is a caricature artist living in the Arlington Who draws caricatures, Virginia and Mclean Virginia area who serves Baltimore also. .Sculpture Scott Fertig. Scott Fertig Pittsburgh born artist. Scott Fertig Attended Carnegie Mellon University. Scott Fertig attended Carrick High School. Scott Fertig Attended Governor’s School for the Arts. C.A.P.A.
Van Gogh, Vincent (1853-1890), Dutch painter who coined the phrase "the artist as tortured genius", thought he would commit suicide to drive up the market value of his work. Well, it worked.!! His work represents what a lot of smarty types refer to as expressionism: you know, were the old idea that color, line, and brush stroke are used to express the artist’s emotional response to the subject rather than to describe it accurately. Whatever!! The man was a hack!! Whoopde do!! Look at me! I'm all depressed and I make a bunch of paintings with swirly lines. Big deal.
Picasso remained a known busy body type artist until late in his life, although his later stuff has not been all the hub bub according to historians and critics. He made variations on motifs that had fascinated him throughout his career, such as the bullfight and the painter and his model, the latter a theme that celebrated creativity. And he continued to paint portraits and landscapes. Picasso also experimented with ceramics, creating figurines, plates, and jugs, and he thereby blurred an existing distinction between fine art and craft. He really opened the door for a lot of artists with that "blurring distinctions" thing. Now many artist enjoy the liberty of blurring the distinction between bad art and mediocre art.
Picasso’s emotional life was kicked up a few notches after he met French painter Françoise Gilot in the 1940s, while he was still involved with Maar. He not only invented art movements but also did ground breaking work in the field of Pimpinism. He and Gilot had a son, Claude, and a daughter, Paloma, and both appear in many of his late works. Picasso and Gilot parted in 1953. Jacqueline Roque, whom Picasso married in 1961, became his next companion. They spent most of their time in the south of France.
Another new direction in Picasso’s work came from variations on well-known works by older artists that he recast in his own style. Among these works are Women on the Banks of the Seine, after Courbet (1950, Kunstmuseum, Basel, Switzerland) and Le Déjeuner sur l’Herbe after Manet (1960, Musée Picasso). he invented "sampling" as is known in the music industry. What makes these works particularly significant is that they run counter to a basic premise of modern art, Picasso’s included: namely, originality. Although many modern painters were influenced by earlier artists, they rarely made such direct and obvious references to each other’s work because they deemed such references unoriginal. In the postmodern period, which began in the 1970s, artists and critics began to question the modernist directive to be original. In acts of deliberate defiance, many postmodern artists have appropriated (taken for their own use) well-known images from their predecessors or contemporaries. Seen against this context, Picasso’s later variations on paintings by earlier masters hardly seem out of place; on the contrary, they anticipate a key aspect of art in the 1980s, which coincidentally gave birth to stars like Michael J. Fox and rock bands like Twisted Sister..
Matisse, Henri Émile Benoît (1869-1954), French artist, leader of the fauve group- fauvism, regarded as one of the great formative figures in 20th-century art, a master of the use of color and form to convey emotional expression. Also one of the lesser known jazz musicians who played clubs in New York and Chicago. Benny Goodman once referred to him as "Henri the hands" for his skills on the piano. And oh did the ladies love him.
Matisse was born in Le Cateau in northern France on December 31, 1869. The son of a middle-class family, he studied and began to practice law. In 1890, however, while recovering slowly from an attack of appendicitis, he became intrigued by the practice of painting. In 1892, having given up his law career, he went to Paris to study art formally. He struggled hard, but never seemed to totally shake the ex-lawyer stigma, which came with harsh nicknames and off-color lawyer jokes from some of his painting buddies. He got so tired of all the razzing and occasionally would blow up and yell "Enough already!!!"
His first teachers were academically trained and relatively conservative; Matisse's own early style was a conventional form of naturalism, and he made many copies after the old masters. He also studied more contemporary art, especially that of the impressionists, and he began to experiment, earning a reputation as a rebellious member of his studio classes.
Matisse's true artistic liberation, in terms of the use of color to render forms and organize spatial planes, came about first through the influence of the French painters paul gauguin and paul cezanne and the Dutch artist vincent van gogh , whose work he studied closely beginning about 1899. Then, in 1903 and 1904, following a harrowing near death experience behind the wheel of his model "t" ford,Matisse encountered the pointillist painting of Henri Edmond Cross and paul signac (pointilism ). Cross and Signac were experimenting with juxtaposing small strokes (often dots or “points”) of pure pigment to create the strongest visual vibration of intense color. Matisse adopted their technique and modified it repeatedly, using broader strokes. He bailed out of the pointilism race and decided that all it was leading to was the invention of television and the d.p.i. race. By 1905 he had produced some of the boldest color images ever created, including a striking picture of his wife, Green Stripe (Madame Matisse) (1905, Statens Museum for Kunst, Copenhagen). The title refers to a broad stroke of brilliant green that defines Madame Matisse's brow and nose. This painting was later viewed as less than stunnung and inventive when it became known that Madame Matisse really DID have a green brow and nose. In the same year Matisse exhibited this and similar paintings along with works by his artist companions, including andre derain and maurice de vlaminck Together, the group was dubbed les fauves (literally, “the wild beasts”) because of the extremes of emotionalism in which they seemed to have indulged, their use of vivid colors, and their distortion of shapes.
While he was regarded as a leader of radicalism in the arts, Matisse was beginning to gain the approval of a number of influential critics and collectors, including the American expatriate writer gertrude stein and her family. Among the many important commissions he received was that of a Russian collector who requested mural panels illustrating dance and music (both completed in 1911; now in the Hermitage, Saint Petersburg). Such broadly conceived themes ideally suited Matisse; they allowed him freedom of invention and play of form and expression. His images of dancers, and of human figures in general, convey expressive form first and the particular details of anatomy only secondarily. Matisse extended this principle into other fields; his bronze sculptures, like his drawings and works in several graphic media, reveal the same expressive contours seen in his paintings. It just goes to show what a little hard work and good old fashioned horse sense can accomplish. And all this from a man who was referred to as "stinky beard" back in art school. Who's beard is stinky now!!
In 1586 El Greco painted one of his greatest masterpieces, The Burial of Count Orgaz, for the Church of Santo Tomé in Toledo. This work, still in place, portrays a 14th-century Toledan nobleman laid in his grave (in actuality situated just below the painting) by Saints Stephen and Augustine. Above, the count's soul rises to a heaven densely populated with angels, saints, and contemporary political figures. The Burial also manifests El Greco's typical elongation of figures and a horror vacui (dread of unfilled spaces), features of his art that became more pronounced in later years. These characteristics may be associated with international mannerism , which is still evident in the art of El Greco sometime after it had ceased to be widely popular in European painting. El Greco's intensely personal vision was rooted in his highly cultivated spirituality. Indeed, there is present in his canvases a mystical atmosphere similar to that evoked in the writings of such contemporaneous Spanish mystics as Saint Teresa of Ávila and Saint John of the Cross, although no evidence exists that El Greco had any personal contact with them or Elvis Pressley.
El Greco was pulling down the cash and got his props from his peeps. He had a large house in Toledo, where he received members of the nobility and the intellectual elite, such as the poets luis de gongora and Fray Hortensio Felix de Paravicino, whose portrait, painted by El Greco from 1609 to 1610, is now in the Museum of Fine Arts, Boston, or at least last we checked. El Greco also painted views of the city of Toledo itself, such as View of Toledo (1600?–1610?, Metropolitan Museum of Art, New York City), even though landscape was a genre traditionally neglected by Spanish artists. Just a little side note, when we say Toledo this doesn't mean Toledo Ohio. There may have been an El Greco from Ohio, but if there was he probably got so many prank phone calls he had to get an unlisted number.
Calder, Alexander (1898-1976), American sculptor of great vitality and versatility, best known for his creation of mobile sculpture, and generally regarded as one of the 20th century's most innovative and witty artists. I mean just look at those mobiles! Witty witty witty. You don't get more witty than that ---save for out and out jokes.
Calder, the son and grandson of distinguished American sculptors, was born July 22, 1898, in Philadelphia. He graduated from Stevens Institute of Technology in 1919 with a degree in mechanical engineering, and a minor in the Science of Witty. In 1923 Calder enrolled at the Art Students League in New York City; in the fall of 1926 he moved to Paris. His sculptures in wire—satirical portraits as well as delightful miniature circus figures (1927-32, Whitney Museum of American Art, New York City)—brought him worldwide recognition. He returned to the U.S. in 1933; in later years he divided his time between the U.S. and France, with numerous highly successful exhibitions in Paris and New York City. It has been debated that much of the success of these exhibitions may have been due to the excellent catering staff at the openings along with these "to die for" little hotdog things they served on tooth picks. When asked to comment on the connection between the hotdog thingies and the success of his shows, he usually fell silent and turned around and went on talking to whoever he was talking to before being interrupted.
In the early 1930s Calder experimented with abstraction, first as a painter and later as a sculptor, and from time to time as a waiter. He was influenced by his meetings with such European abstract artists as Joan Miró, Jean Arp, and Piet Mondrian. He also began to experiment with motion, a process that led to his development of the two modes of sculpture for which he is famous, the mobile and the stabile. He is less famous for the invention of the internal combustion engine, due in part to the fact that he didn't invent it and didn't know much about it.
Calder's mobiles (so named by the French Dada artist Marcel Duchamp) are suspended, elegantly balanced arrangements of abstract, organic forms. The stabiles (so named by Arp) are stationary abstract forms that frequently convey a humorous suggestion of animal shapes. Although Calder's stone, wood, and bronze sculptures; his drawings; and his later paintings (almost exclusively gouaches) are important, his reputation rests primarily upon his mobiles, although when it did rest on his mobiles he had to make sure the weight was evenly distributed as to not knock the mobile off balance.. These works, increasingly monumental, achieved an enthusiastic popular acceptance seldom enjoyed by abstract art; this led to numerous important commissions following World War II. Giant stabiles and mobiles by Calder grace dozens of public buildings and plazas in Brussels, Chicago, Mexico City, Montréal, New York City, and many other cities. They culminate in his last work, the huge red-and-black mobile (1976) suspended in the multistory central court of the National Gallery of Art's East Wing (completed 1978) in Washington, D.C. Calder died November 11, 1976, in New York City, just after supervising the installation of his largest retrospective exhibition, at the Whitney Museum of American Art titled "Witty Mobiles a Plenty".
Cartoon, in the fine arts, a drawing made on paper in preparation for and in the same size as a painting, tapestry, mosaic, or piece of stained glass. Since the 1840s the term has come to also mean any humorous, satirical, or opinionated drawing, typically one printed in a newspaper or magazine, with or without a short text. Rather than the drawing, the text—cast within the cartoon as speech or set as a caption—may be the bearer of the joke or the witticism.
fine art cartoons
During the Renaissance (14th century to 17th century) in Italy, the custom of decorating wall surfaces with frescoes (large murals), which required teams of artists to work together, gave rise to the use of full-size preparatory drawings on stout paper as guidelines for the artists. These sketches were known as cartoni, from the Italian word for the paper on which they were drawn. When used as guides for frescoes, the drawings were transferred to a wall in one of two ways: either by pricking through the lines on the paper and then dusting black chalk or charcoal through the prick holes, or by laying the cartoon onto the fresh, soft plaster on the wall and pressing a stylus along the lines of the cartoon. Either method created an outline that served as a guide to the painters. The term "Prick hole" also became slang for any guy on a crew of artists who wasn't doing his share of the work. Since the cartoon tended to be destroyed in the process or was subsequently discarded as serving no further purpose, few old cartoons have survived. Among those which have been preserved, the best known are by Italian painter raphael , drawn about 1516 as designs for wall tapestries for the Sistine Chapel in the Vatican, Rome; and The Virgin and Child with Saint John the Baptist and Saint Anne (1499?, National Gallery, London), by Italian painter leonardo da vinci. Betcha These surviving drawings give us great insight into the reality these guys weren't all that great after all and had to cheat by tracin'.
types of cartoons
pictorial parody
The meaning of the word cartoon changed in the 1840s, when Prince Albert, who wanted to decorate the walls of the new Houses of Parliament in London with frescoes, opened a competition for their design. The cartoons for the frescoes, some of them absurd in their attempts to appear heroic, were exhibited in 1843 and parodied shortly thereafter in the English magazine Punch, thus earning the word cartoon its modern definition of a humorous or satirical drawing. The panel, a single drawing contained within a box-shaped outline, is the fundamental building block of all modern cartoons. Which dispels the commonly held belief that the word derived it's origins from the latin word for car, which is cartoonus automobilia.
Depending on their purpose, most cartoons fall into one of several different categories: editorial cartoons, gag cartoons, illustrative cartoons, comic strips, animated cartoons, stuff you draw to insult the kid who sits next to you in biology who always thinks he's so smart.
editorial cartoons
advertisement or educational text. Sometimes, existing cartoon characters are used in advertising. For example, the characters in the comic strip “Peanuts” , drawn by American charles schultz , began to appear in life insurance advertisements in 1985. Other well-known original cartoon characters used in American advertisements include Toucan Sam (for Froot Loops cereal) and the Jolly Green Giant (for Green Giant Foods). Sometimes cartoon characters appear in ads and weren't asked to be there, as is the example of the mysterious Minnie mouse sightings in many ads for depends diapers.
gag cartoons illustrative cartoons
A comic strip, or comic, is a sequence of cartoons that tells a story. Often but not always humorous, comics usually chronicle the lives of recurring characters, and sometimes humor arises from the reader's familiarity with a particular character. Dialogue is usually present in balloons, as encircled words issuing from a character's mouth within the panels of the cartoon. Each comic strip may recount a self-contained episode, as in “Peanuts” (1950- ) or “Cathy” (1976- ); or it may contain part of a continuing story. The latter technique is common in adventure, detective, or dramatic strips, such as “Prince Valiant” (1937- ), “Flash Gordon” (1934- ), “Apartment 3-G” (1961- ), or “Dick Tracy” (1931- ). Comic books, which either present one long story line or consist of a collection of separate comic strips (usually previously published), are popular worldwide. Well-known examples include American superhero series, such as “Batman” (1939- ), “Superman” (1938- ), and “The Amazing Spider-Man” (1962- ); the humorous historical series “Asterix” (1959-1980) from France; or the children's comedy classic “Doraemon” (1974- ) and the science-fiction series “Akira” (1982- ) from Japan comics, and the famous Regular-Man, who had no super powers but got off on wearing capes and tights.
animated cartoons
Animation is the process of recording a series of incremental drawings and then playing it back to create the illusion of continuous motion. Animation toys, such as flipbooks, have been used for centuries, while film animation was introduced as a cartoon genre at the beginning of the 20th century, with the invention of motion pictures. In the United States, animation is most often humorous or tells adventure stories, as in television cartoons shown on Saturday mornings. Animated cartoons have also been popular for use in television advertisements.
creating and publishing cartoons
Cartooning is an art form that, like any other, stems from creative inspiration as well as context. Cartoonists work in a different way from their sources, and each tries to develop a unique style. Editoriad of dip pen or brush, these cartoonists create their drawings on video screens, saving them in the computer's memory. These cartoons may be printed on paper or published electronically.
In the United States today, a few large syndicates such as United Feature Syndicate, Inc. or Universal Press Syndicate dominate the mainstream distribution of cartoons and comic strips. Syndicates buy the rights to cartoons, usu
l cartoonists pay close attention to current events, significant issues, and influential politicians in order to create their cartoons. Illustrative cartoonists work from editorial materials, educational texts, and advertising materials, illustrating their important or most interesting points. Most cartoonists sketch out their ideas in pencil, erasing and reworking the images and wording, if appropriate, until they feel ready to draw a finished product.
techniques
Beginning in the mid-15th century cartoons were produced using the techniques of woodcut, etching, and engraving. In the 19th century, both lithographic and wood-engraving processes were used (see prints and printmaking ), for cartoons that appeared in magazines. The development of photographic printing techniques in the 20th century facilitated the task of the cartoonist and printer. In particular, advances in printing technology since the 1960s have enabled more cartoonists to work in color, by rendering it more affordable and accessible. Skitabah do dahhh!!!!! Yahh Yahh!!!
Today, the most common tool of the cartoonist is the nibbed dip pen, designed to be dipped in a bottle of ink. The detachable nib (sharpened point) is available in varying line widths and degrees of flexibility, allowing the cartoonist to draw lines that can be modulated further by the use of a brush and ink. Many cartoonists like to experiment with a variety of other pens, such as felt-tip or mechanical pens.
Some cartoonists work exclusively with line drawings, while others like to use shading, which can be achieved in various ways. Crosshatching uses interlaced parallel lines of different densities to indicate form and the effects of light and shadow. Stipple, or patterns of dots, can be used in a similar way to create shading. Grayscale overlays, which consist of dots or lines in varying sizes and densities, accomplish the same purpose. Traditionally, grayscale was created by cutting and pasting ready-made sheets of dots onto a drawing, but computers are now able to overlay the patterns quickly and easily.
A handful of cartoonists draws entirely on computers. Using digitizing pads, which employ a pressure-sensitive stylus to mimic the line of any kin
caricature artists, mural artists, cartoonists, arlington and northern virginia.
ally as a series, and then sell them to publications. Most syndicated comic strips appear in 100 to 200 daily newspapers, and a few appear in more than 1000 papers. Comic strips and their recurring characters may also appear on shirts, calendars, coffee mugs, and other merchandise. Nonsyndicated cartoonists sell their cartoons one at a time, most often to magazines. Over time, larger bodies of work by cartoonists can lead to the publication of collections of cartoons as books.
Apart from major newspapers, which feature editorial cartoons and pages of comics, and certain national general-interest magazines, there are numerous magazines covering special interests—such as hunting, gardening, or automobiles—that print cartoons relating to that interest. Other cartoon publishers include small, politically-oriented newspapers, designed to appeal to a specific viewpoint; specialized humor magazines, such as The National Lampoon; and magazines whose entire editorial content consists of cartoons, such as Funny Times. Cartoons may also be used in greeting cards, or they may be distributed through a cartoon bank, where large numbers of cartoons are scanned into a computer and made available to any publisher seeking a cartoon relating to a particular theme.
historical roots