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VISUAL ART CRITIQUE

The Monterey Museum of Art is located in Old Monterey, across from Colton Hall. It is a
three story museum, home to eight galleries which specialize in American and early California
painting, photography and contemporary art. They currently have two galleries open to the
public, where one can find two exhibitions. In the next few weeks they will be having an
additional exhibit opening up it will be a Miniatures exhibit, where one can find paintings,
photographs, sculptures and many more. One of the galleries is currently exhibiting the
Re:Pose:Photographs collection which includes black and white photography that has an
emphasis on composition on people in ordinary and extraordinary scenarios. The second gallery
has the Re:Pose:Paintings exhibit this includes paintings with abstract figures in poses that look
mysterious. On the afternoon that I visited the museum was very quiet, I could hear one couple
in the other gallery next to me. Other than that the museum was empty, but the time I arrived to
the last gallery the couple was gone. It was only I was present, it was so quiet I could hear the
wood under the carpet squeak as I was walking through. The museum offered the chance to take
pictures with the pieces on display and you could see your pictures on a slideshow at the end of
museum.
When it came to looking at the elements of art the painting Nocturnal Figure by Charles
Eckart (see Figure 1) shows texture. Even though I was not allowed to touch the painting I could
see how the texture was hard and rough, you clearly see the paintbrush strokes and how hard the
painter was pressing onto the canvas. The color in this specific painting was dark. The black and
the brown complemented each other but at the same time it contrasted. The usage of the brush
made some colors pop more than other. The space in this piece is interesting because there is
only one subject and what looks like its silhouette so the only space would be that around the
figure. There are many lines in this painting that come together to shape the form of the a female

VISUAL ART CRITIQUE

body, or at least that what I analyze from it. There is some sort of illusion depth being protryaed
as if the figure is casting a shadow. I feel as if the artist intent with this picture was to cause the
viewer some sort of feeling. Or to have the colors in the painting remind you of certain emotions.
It reminds me of suffering and the feeling of being alone.
As for the photograph piece Lee Trotters Dolls No.1 by Robert Chesley Osborn (see
Figure 2) the composition of the dolls in this photograph is very eerie. The placement of the
individual dolls is very creepy looking one of the dolls is looking straight into the camera, while
the others are looking away or towards another direction. The black and white technique that the
photographer used in this photograph conveys deep emotion. I believe Osborns intent was to
show loneliness, even though the dolls are surrounded by one another the loneliness conveyed
cannot compare. How just having them stare remotely can have an effect on people of fear or
uneasiness. As for the elements of art in this photography the spacing is important because it
gives you real space, the photograph contains three-dimensional objects. The way the author set
up the dolls to capture the photo made the dolls in the background look larger than those in the
back; even though the ones in the front are close to the camera than those in the back.

All in all, I enjoyed my first time at an art museum. It was interesting to see all the pieces
that were on the display. As well as being able to see all the different techniques that each artist
uses. Also, how the museum puts all the pieces in the exhibit together to make it flow better as
you walk through. I would not mind coming back after I have fully understood the concept of
visual arts and see if my perception of the pieces changes.

VISUAL ART CRITIQUE

Figure 1. Nocturnal Figure (1983) by Charles Eckart, Oil in canvas

VISUAL ART CRITIQUE

Figure 2. Lee Trotters Dolls No.1 (1989) by Robert Chesley Osborn, Gelatin silver print on
paper

VISUAL ART CRITIQUE

VISUAL ART CRITIQUE


Flyer from the museum

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