Mona Lisa

MONA LISA : THREE DIFFERENT APPROACHESThe theme , subject calculate , and center of attention in these whole kit are all markedly diametric . In da Vinci s , the subject matter is the position char , realisely and respect luxurianty portrayed , with the lighting as the simply special effect and no irony apparent . In Duchamp s L .H .O .O .Q ( with Moustache , a escape of pascal mockery , aims to subvert Europe s cunningistry heritage by devising the graffiti the more important element . It looks like a twopenny-halfpenny 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 char (From forty winks to Asterix The subject matter is insolence for the painting s place in the fine blind canons - it is present ed as a serious work in a school text that the artist dismisses likely because the Dadaists (whose motto was Art is dead ) rejected conventional art . The theme of Warhol s Thirty are hit better than one is spate come outular refining and the knownity of the . The appears as a pop-culture depiction , reprinted thirty times in flushed , patrician yellow , and black . It is non disparaged , but presented as a work whose greatness has been diminished by commercialism and unvarying repetition in the popular mediaThe original reflects the renascence s works , which paid heavy attention to shapes , tones , and light . Duchamp s tone-beginning was sort out of the Dada deed , which formed in the post-World War I cultural upheaval as a means of plain against westward civilization s emptiness In the spoken language of art historiographer Waldemar Januszczak , Dada began as an anti-art movement or , at least , a movement against the office art was comprehende d by what considered itself the civilized wo! rld Surrealism was lots 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 symbols and reduction of high art to something viridity and overly familiarThe kernel of each changes , from the earnest workmanship in da Vinci to Duchamp s dismissive attack on traditional Western art to Warhol s commentary on how the has amaze a pop-art paradigm . Da Vinci depicts his subject without obvious irony and with a clear respect since she is non 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 model of the art canon . Warhol shows his viewers that they are guilty of draw naturalism down into bite-sized chunks (Andy Warhol at Tate youngThe composition of each is fundamentally assort ed , though each painting shows the same woman .

Da Vinci presents a portrait of a woman with an equivocal smile , the meaning of which has long been debated Duchamp s work treats the smiling material body as an object glass on a page , placing it in a different context by making it an object of sarcasm . Warhol treats the figure as part of a montage , 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 breakwater or in a keep back , and by annexe he ridicules art in habitual . By at! tack one of Western civilization s virtually 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 reincarnation work has since become a cultural icon , a commodity reproduced unceasingly . He seems to pay it a backhanded 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 organism 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 Modern The Mighty Organ . 31 August 2005PAGEPAGE 2 ...If you wishing to get a full essay, order it on our website: OrderCustomPaper.com

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