Art and Human Experience

Art and Human Experience

This paper is based on the topic of art as an expression of human experience. For this particular paper, two historic artworks have been selected. One is Leonardo De Vinci's “Mona Lisa” and the other one is Picasso's “Baboon and Young”.

Leonardo De Vinci's “Mona Lisa”

“Leonardo da Vinci's painting Mona Lisa is perhaps the most renowned work of art from the Renaissance era (c. 1503-1506). Completed in a period of enormous change, the Mona Lisa has come to be an illustration symbol of the Renaissance values and principles. Artists in the Renaissance became more apprehensive with naturalistic representation, and they urbanized new ways to stress profundity, liberty, and individual expression, as well as other features to make their work appear as real as doable”.

Leonardo's Mona Lisa without a doubt exhibits a variety of aspects of Florentine portraiture in the late 15th century. The partially figure is turned two-thirds towards the spectator; a barrier with pillars connects the forefront with the landscape in the surroundings. Although Leonardo went far ahead of the traditions: in the Mona Lisa the subject comes closer to the front border of the picture than had been traditional hitherto: this smaller aloofness between sitter and spectator heightens the strength of the illustration impression while the landscape suggests greater spatial depths and impressive strength (Cooper, 2007).

Leonardo has used the means of his 'sfumato' with the greatest consideration. Everyone who has ever tried to draw or jotting a face knows that what we call its appearance rests mostly in two features: the corners of the mouth, and the corners of the eyes. At the present it is specifically these parts, which Leonardo has left purposely indistinct, by letting them amalgamate into a yielding shadow. That is why we are never quite definite in what mood Mona Lisa is in fact looking at us (Cooper, 2007).

Her appearance always seems just to elude us. It is not simply imprecision, of course, which produces this consequence. There is much more at the back of it. Leonardo has done an extremely audacious thing, which perhaps simply a painter of his accomplished mastery could risk. If we look cautiously at the picture, we see that the two sides do not moderately match. This is most understandable in the incredible dream landscape in the surroundings. The prospect on the left side seems to lie a great deal lower than the one on the right. As a result, when we center on the left side of the picture, the woman looks someway taller or more erect than if we center on the right side. And her face, too, appears to transform with this transform of position, as, even here, the two sides do not moderately match. However with all these classy tricks, Leonardo might have formed a intellectual piece of jugglery rather than a great effort of art, had he not recognized precisely how far he could go, and had he not balanced his audacious divergence from nature by an nearly astounding ...