Davide Cambria uses a very loose yet intentional mark to craft incredibly alluring oil portraits. Many of them include elements missing, such as hairline, ears, ect. Because the blending is very loose the colors used (specifically on the skin) are critical to capture the life-like effect. The energy behind the mark and in the eyes and body language of the subjects are all elements I could only aspire to have in my own work. I seriously love everything about these paintings.
Elizabeth is a self taught artist and was born in 1960, born and raised in Thailand. Romhild's unique heritage has instilled her creativity with a distinct individuality. She originally began painting realistic portraits, later moving on to seascapes and landscapes. Now, she uses more bold female images, depicted very colorful and expressive ways. My favorite part about this work is the expression achieved in ways other than realism. While the figures are clearly not intended to look like perfect photographs, the wild color and boisterous mark add the overall emotion and message of the work.
In the article titled “Horror Is a Constant, as Artists Depict War,” by Alissa J. Rubin, the topic of focus is the content and message of artwork depicting real world conflict and violence. Rubin examines the nature of these artistic reactions in both medium and visual content. She also analyzes the aspects and war art also found in journalism, as well as what differentiates the two.
The aspect of this article that stood out to me the most was the key questions about war-reaction art, particularly the ones about the goal of the work and what aspects would make it the most effective to the audience. Near the bottom of the second page she asks “Are gore and blood the most important things to portray, or is it the moment of utter grief that follows?” To answer this question is very much an opinion, and very personal. For wide spread attention, depicting the actual violence is much more of an attention grabbing subject. However capturing pure grief is something so raw that it will elicit a more deep reaction with the viewers it does attract.
The second article, “When Modern Art Met Modern Warfare,” by Ann-Marie Michel, brings up a very similar topic that helped me answer the question above. One the second and third pages Michel writes about the use of anonymous faces of soldiers in World War One paintings. The painter “believes that seeing these faces helps the viewer move past the facts and figures.” This exemplifies the personalized aspect of war and coping mechanisms. By adding in the faces of those who suffered, it may not be flashy but the connection of the artwork to the backstory and the audience is much more real.
George Clausen’s allegorical painting Youth Mourning, 1916, is the perfect example of an artists depiction of grief in response to war. It completely embodies the personalization and aspects of grief discussed in both articles.