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Óscar Monsalve 1981
Escogí analizar esta obra debido a que ya había hecho un análisis de su obra original en la primera bitácora. En términos de color podemos denotar mayormente azules fríos, además de amarillos, negro y blanco. Esto contrasta con la obra original que tan solo usa blanco y negro, además, de distintas tonalidades de grises. Forma: las formas son muy parecidas a la original de igual manera la gran mayoría son figuras orgánicas, como las de las personas y los animales, además que todavía se puede apreciar figuras geométricas en el fondo del cuadro, con la adición a la original de lo cuadrados que se puede ver en los bordes de este mismo. Debido a la adición de estos cuadrados en los extremos, ahora la obra cuenta con algo de repetición que se diferencia de la original, debido a que esta no contaba con ellos. El juego de luz y sombra en este cuadro no es están evidente como en el original, en este pareciese que la gran mayoría estuviese iluminado de la misma manera y se oscurece un poco en el lado derecho. En cambio en el original si se aprecia un mayor juego que ayuda a determinar la profunda del cuadro.

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En experiencia virtual creo que este tiene la mejor de todos los museos. El diseño de la visita cuenta con paradas virtuales para que uno se pueda ubicar bien para ver claramente las obras. Además, cuenta con botones al lado de los cuadros donde te brinda otra imagen del cuadro he información relevante sobre él. Aun que si era un museo un poco más tradicional a los que estábamos visitando, igual cuenta en el tercer piso con obras diferentes que me llamaron bastante la atención.

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El Museo de Arte Miguel Urrutia es un museo del banco de la república ubicado en la ciudad de Bogotá Colombia. Este es un espacio artístico que cuenta con cinco capítulos diferentes de distintos periodos históricos. Capítulos como, Los primeros tiempos modernos (siglos XVI-XVIII), Rupturas y continuidades (siglo XIX), La renovación vanguardista (1910-1950), Clásicos, experimentales y radicales (1950-1980) y Tres décadas de arte en expansión (1980 al presente). Este es un museo que ha ayudado a preservar la cultura artística de nuestro país, al mismo tiempo trayendo obras de carácter internacional para que los colombianos las podamos apreciar.

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Recorrido virtual de la exposición: Beatriz González. Una retrospectiva

En este recorrido virtual puedes explorar cada una de las salas de la Exposición Beatriz González: Una retrospectiva.

Haz clic en la imagen a continuación y el recorrido virtual te abrirá en una nueva pestaña. Solo presiona con el puntero de tu mouse para comenzar a mirar donde quieras ir. Cada ícono circular que ves marcado junto a las obras te da información sobre la ficha técnica de la obra, te permite ampliar la imagen y encontrar contenido relacionado.

Si quieres acceder al contenido a través de tus gafas de realidad virtual busca el ícono de Vista VR y actívalo.

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Subgerencia Cultural del Banco de la República

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Recorrido virtual por la exposición | La Red Cultural del Banco de la República

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Recorrido virtual de la exposición: Beatriz González. Una retrospectiva En este recorrido virtual puedes explorar cada una de las salas de la Exposición Beatriz González: Una retrospectiva. Haz clic en la imagen a continuación y el recorrido virtual te abrirá en una nueva pestaña.

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All in the Family, Rachel Harrison, 2012

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All in the Family, Rachel Harrison, 2012

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All in the Family - Rachel Harrison - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Dyke - Catherine Opie - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online.

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Análisis Obra: Globo rojo, Paul Klee, 1922

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Análisis Obra: Globo rojo, Paul Klee, 1922

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Color: Esta es una obra compuesta de colores primarios, amarillos, azules y rojos, y secundarios, verdes, naranjas, etc. Forma: Este es un cuadro con bastantes formas geométricas, cuadrados, círculos, triángulos y otras, que implícitamente me recuerdan a una ciudad o edificios, con un globo rojo en el aire en la mitad. Líneas: Cuenta con líneas muy marcadas que son las que forman las figuras geométricas. Luz/Sombra: Se puede ver que hay algo de sombras en los bordes del cuadro, debido a unas tonalidades de verde y azul oscuras, y al mismo tiempo hay luz en el centro de a obra, debido a los amarillos y rojos más vivos. Énfasis:  Esta luz en el centro del cuadro, acompañado de su color rojo vivo, genera un énfasis en el globo que debido a lo mencionado y a su posición central en la obra, se roba las miradas de los espectadores.

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Landscape with Church (Landscape with Red Spots I), Vasili Kandinski, 1913

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Landscape with Church (Landscape with Red Spots I), Vasili Kandinski, 1913

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From August 1909, Wassily Kandinsky and his lifelong companion, the painter Gabriele Münter, spent a number of months every year in a house that they had bought shortly before in Murnau, which lay above the Murnauer Moose and offered a vast panorama over the Wettersteingebirge; the locals soon called in the "Russian House". For the process of pictorial abstraction he employed, Kandinsky used motifs from this Alp foothill landscape a number of times. Landscape with Church was inspired by a view of the market town of Murnau with its Baroque parish church of St. Nikolaus exposed on a hill. The surrounding houses, a hill nearby and a chain of mountains visible in the distance were transformed by Kandinsky into abstract colored forms which nonetheless evokes this Upper Bavarian landscape. Kandinsky painted a second version of this work, almost identical, just slightly more intensively luminous, today found in the Guggenheim Museum in New York. Kandinsky's view of Murnau found a place in the private collection of the poet Karl Wolfskehl in Munich soon after it was finished.

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Landscape with Church (Landscape with Red Spots I) - Wassily Kandinsky - Google Arts & Culture

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From August 1909, Wassily Kandinsky and his lifelong companion, the painter Gabriele Münter, spent a number of months every year in a house that they had bought shortly before in Murnau, which lay above the Murnauer Moose and offered a vast panorama over the Wettersteingebirge; the locals soon called in the "Russian House".

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Este museo desde adentro hacia afuera es una sola obra de arte. Me encanto bastante su estructura cilíndrica muy representativa de la arquitectura del siglo XX.  Además, por dentro me gusto que cada obra cuenta con su propio cubículo dónde es expuesta. Estos cubículos generan  ambientes diferentes dentro del museo, haciendo que casi el cubículo completo fuese la exposición de arte.

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El Museo Solomon R. Guggenheim, comúnmente conocido como El Guggenheim, es un museo de arte ubicando en la Quinta Avenida de Nueva York. Fundado en 1939 por la fundación Solomon R. Guggenheim, bajo el nombre de Museo de Pintura Abstracta. No fue sino hasta 1949 tras la muerte del fundador de la fundación que lo creo que tomo el nombre con el cual actualmente se le reconoce. Además, es sede permanente de colecciones de arte impresionista, postimpresionista, moderno y contemporáneo.

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Solomon R. Guggenheim Museum and Foundation

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Solomon R. Guggenheim Museum and Foundation

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New York, Estados Unidos

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Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and contemporary periods, through exhibitions, education programs, research initiatives, and publications. The Guggenheim network that began in the 1970s when the Solomon R. Guggenheim Museum, New York, was joined by the Peggy Guggenheim Collection, Venice, has since expanded to include the Guggenheim Museum Bilbao (opened 1997), and the Guggenheim Abu Dhabi (currently in development). Looking to the future, the Guggenheim Foundation continues to forge international collaborations that take contemporary art, architecture, and design beyond the walls of the museum. The Foundation is also committed to fostering research, exhibitions, and collections in the field of global art through such programs as the Asian Art Initiative (founded in 2006), the Guggenheim UBS MAP Global Art Initiative (founded in 2013), and The Robert H. N. Ho Family Foundation Chinese Art Initiative (founded in 2013). More information about the Foundation can be found at guggenheim.org.

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Solomon R. Guggenheim Museum and Foundation, New York, United States - Google Arts & Culture

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Founded in 1937, the Solomon R. Guggenheim Foundation is dedicated to promoting the understanding and appreciation of art, primarily of the modern and cont...

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Retrato de mi padre Wilhelm Kahlo, Frida Kahlo, 1952.

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Retrato de mi padre Wilhelm Kahlo, Frida Kahlo, 1952.

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Frida Kahlo considered her father as a great example and influence. She painted him in 1951 next to his camera. In the bottom, she wrote: "I painted my father Wilhelm Kahlo, Hungarian-German born, professional photographer and artist, with a generous, intelligent and fine character, brave because he suffered of epilepsy for 60 years but he never stopped working, and he fought against Hitler, with love, His daughter Frida Kahlo".

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Portrait of my Father Wilhelm Kahlo - Frida Kahlo - Google Arts & Culture

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Frida Kahlo considered her father as a great example and influence. She painted him in 1951 next to his camera. In the bottom, she wrote: "I painted my father Wilhelm Kahlo, Hungarian-German born, professional photographer and artist, with a generous, intelligent and fine character, brave because he suffered of epilepsy for 60 years but he never stopped working, and he fought against Hitler, with love, His daughter Frida Kahlo".

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Frida y la cesárea (inconcluso), Frida Kahlo, 1931.

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Frida y la cesárea (inconcluso), Frida Kahlo, 1931.

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Frida and the Cesarean is an unfinished artwork that includes many of the themes that obsessed the painter, such as maternity, which was something she couldn't accomplish in her life. This work was created after her first abortion, after three months of pregnancy. Painting for Frida was like a physical and allegorical release of her sick condition and her constant passing by hospitals. She could transform pain into expression, as it is clear in this unfinished painting.

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Frida and the Cesarean (unfinished) - Frida Kahlo - Google Arts & Culture

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Frida and the Cesarean is an unfinished artwork that includes many of the themes that obsessed the painter, such as maternity, which was something she couldn't accomplish in her life. This work was created after her first abortion, after three months of pregnancy.

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El marxismo dará salud a los enfermos, Frida Kahlo, 1954.

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El marxismo dará salud a los enfermos, Frida Kahlo, 1954.

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There is a clear evidence of the mood of Frida Kahlo in those artworks that she painted and that still remain in the Blue House, in addition to her sincerity and her stance towards the world. In Marxism Will Give Health to the Ill, Frida Kahlo refers to the trust in communism that was common during that age. In this portrait, the artist conjures the utopian conception of political belief that could release her from her pain. Supported in her ideology, she can go on without the crutches.

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Marxism Will Give Health to the Ill - Frida Kahlo - Google Arts & Culture

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There is a clear evidence of the mood of Frida Kahlo in those artworks that she painted and that still remain in the Blue House, in addition to her sincerity and her stance towards the world. In Marxism Will Give Health to the Ill, Frida Kahlo refers to the trust in communism that was common during that age.

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Análisis Obra: Autorretrato con traje de terciopelo, Frida Kahlo, 1926

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Análisis Obra: Autorretrato con traje de terciopelo, Frida Kahlo, 1926

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Color: Esta es una obra con colores principalmente fríos, pero que además cuenta con colores complementarios como sería el rojo del azul. Línea: Este cuadro cuenta con varias líneas sobre todo en el agua, como especies de remolinos, que se encargan de generar la sensación de movimiento del agua. Además, cuenta con líneas que son las que le dan forma a la ropa y rostro de la artista. Formas: Se pueden aprecia que en mayor proporción son figuras orgánicas, la imagen del artista y también el fondo en donde se encuentra. Proporción y escala: Aunque en un principio me pareció que no había una buena proporción de la persona y el fondo, debido a que esta se ve relativamente grande con respecto al mar  ilustrado en el fondo, analizándolo e imaginándome una foto tomada desde la misma perspectiva, creo que se vería exactamente igual. Por lo cual siento que el cuadro tienen una escala y perspectiva correcta. Luz/Sombra: Se puede ver que hay oscuridad en el fondo del cuadro sobre todo en las equinas y al mismo tiempo hay una luz en toda la figura de ella que se usa para hacer un énfasis. Énfasis: Pues claramente el énfasis en esta obra es ella, es la figura más predomínate y central en toda la obra y además su coloración destaca con respecto al fondo, debido a que está cuenta con tonalidades más cálidas con respecto al fondo.

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Frida Kahlo painted her Self-portrait with a velvet dress in 1926. This photo captures that artwork, but Frida painted the photo with oil, copying the painting. This self-portrait, influenced by the work of Parmigianino or Modigliani, is the first professional artwork of the artist. She painted it for her boyfriend then, Alejandro Gómez Arias, who broke up with her. She explained that the sea in the back is a symbol of life.

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Self-portrait wearing a velvet dress - Frida Kahlo - Google Arts & Culture

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Frida Kahlo painted her Self-portrait with a velvet dress in 1926. This photo captures that artwork, but Frida painted the photo with oil, copying the painting. This self-portrait, influenced by the work of Parmigianino or Modigliani, is the first professional artwork of the artist.

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Este tipo de museo dan una experiencia única, debido al hecho que está situado en la casa del artista. Esto nos brinda la oportunidad de tener una experiencia más íntima y de poder conocer un poco más los espacio en donde esta se desarrollaba.

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El museo de Frida Kahlo, también conocido como Casa Azul, se encuentra ubicado en la calle de Londres 247, en centro de Coyoacán, uno de los barrios más antiguos de Ciudad de México.  Casa pertenecía a la familia de Frida Kahlo y cuatro años después de su muerte, 1958, fue convertida en museo.

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Ciudad de México, México.

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La Casa Azul (The Blue House) was the place where Frida Kahlo, the most renowned Latin American artist in the world, came into this world, lived, and took her last breath. The building, which dates to 1904, was not a large-scale construction. Today it has an 800 m2 building surrounded by property measuring 1200 m2. Diego and Frida filled it with color, folk art, and pre-Hispanic pieces to show their admiration for the peoples and cultures of Mexico. The construction underwent two major modifications. When Russian revolutionary Leon Trotsky lived with Diego and Frida in 1937, the property today occupied by the garden was purchased. In 1946 Diego Rivera asked Juan O'Gorman to build Frida's studio. The interior of the house has been maintained virtually intact. This was respected by the poet and the couple's friend, Carlos Pellicer, who designed the museum display for the space after Frida's death. Therefore, the house and its contents preserve that intimate atmosphere.

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Museo Frida Kahlo, Mexico, Mexico - Google Arts & Culture

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La Casa Azul (The Blue House) was the place where Frida Kahlo, the most renowned Latin American artist in the world, came into this world, lived, and took ...

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Small Dancer Aged 14
Edgar Degas1921 - 1931

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When Degas died in 1917, 150 wax or clay sculptures were found in his studio. These statues had remained more or less unknown to the public while the artist was alive, except for Dancer Aged 14 which Degas had shown in the Impressionist exhibition in 1881. Naturally coloured, fitted with real hair, dressed in a tutu and real dancing slippers, it was an example of hyperrealism, verism taken to the extreme. Presented in a showcase like a specimen in the museum, it revealed a Degas bordering on the anthropologist or a naturalist. The critics were not mistaken: the work was violently accused of representing the girl in a bestial manner; she was compared to a monkey or an Aztec; she had a face "on which all the vices imprint their detestable promises, the mark of a particularly vicious character".

Degas thus took realism to its logical conclusion by depicting the society of his time in a barefaced almost scientific way with no shade of hypocrisy. The bronze edition made after his death, including the copy in the Musée d'Orsay, tried to preserve the characteristics of the wax statue as much as possible. The glass cage is the only element that Degas himself wanted, asserting the Dancer's status as a work of art.

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Small Dancer Aged 14 - Edgar Degas - Google Arts & Culture

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When Degas died in 1917, 150 wax or clay sculptures were found in his studio. These statues had remained more or less unknown to the public while the artist was alive, except for Dancer Aged 14 which Degas had shown in the Impressionist exhibition in 1881.

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Regattas at Argenteuil, Claude Monetcirca 1872

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Boating became fashionable from 1830 in the Ile de France region. Racing boats competed at Argenteuil from 1850 because the Seine widened out into a basin which provided the broadest stretch of water in the Paris region. Linked to Paris by train, Argenteuil attracted many competitors and on Sundays crowds of people came to stroll by the river and watch the races.

Claude Monet lived and worked at Argenteuil from December 1871 to 1878 and half of the 170 canvases he painted during this period show the banks of the Seine. Two years before the Impressionist movement officially came into existence, Monet painted this scene which has all its features, in particular the famous fragmented brushstroke.

Regattas at Argenteuil was painted in natural light, because tin tubes and portable easels allowed artists to leave their studios and paint outside. Monet sought to capture the fluidity of air and water and the way they changed with the light. He explained what he was trying to do: "I want to do something intangible. It's appalling, this light that drifts off and takes the colour with it".

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Regattas at Argenteuil - Claude Monet - Google Arts & Culture

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Boating became fashionable from 1830 in the Ile de France region. Racing boats competed at Argenteuil from 1850 because the Seine widened out into a basin which provided the broadest stretch of water in the Paris region. Linked to Paris by train, Argenteuil attracted many competitors and on Sundays crowds of people came to stroll by the river and watch the races.

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Van Gogh's Bedroom in Arles, Vincent van Gogh1889.

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Van Gogh produced three, almost identical paintings on the theme of his bedroom. The first, in the Van Gogh Museum in Amsterdam, was executed in October 1888, and damaged during a flood that occurred while the painter was in hospital in Arles. Almost a year later, Van Gogh made two copies of it: one, the same size, is now in the Art Institute in Chicago; the other, in the Musée d'Orsay, produced for his family in Holland, is smaller.

In a letter to his brother Theo, Vincent explained what had provoked him to paint such a picture: he wanted to express the tranquillity, and bring out the simplicity of his bedroom using the symbolism of colours. Thus, he described: "the pale, lilac walls, the uneven, faded red of the floor, the chrome-yellow chairs and bed, the pillows and sheet in very pale lime green, the blood-red blanket, the orange-coloured wash stand, the blue wash basin, and the green window", stating "I wanted to express absolute repose with these different colours".

Through these various colours, Van Gogh is referring to Japan, to its crêpe paper and its prints. He explained: "The Japanese lived in very simple interiors, and what great artists have lived in that country".

And although, in the eyes of the Japanese, a bedroom decorated with paintings and furniture would not really seem very simple, for Vincent it was "an empty bedroom with a wooden bed and two chairs". All the same he does achieve a certain sparseness through his composition made up almost entirely of straight lines, and through a rigorous combination of coloured surfaces, which compensate for the instability of the perspective.

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Van Gogh's Bedroom in Arles - Vincent van Gogh - Google Arts & Culture

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Van Gogh produced three, almost identical paintings on the theme of his bedroom. The first, in the Van Gogh Museum in Amsterdam, was executed in October 1888, and damaged during a flood that occurred while the painter was in hospital in Arles.

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Self-Portrait, Vincent van Gogh 1889

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Like Rembrandt and Goya, Vincent van Gogh often used himself as a model; he produced over forty-three self-portraits, paintings or drawings in ten years. Like the old masters, he observed himself critically in a mirror. Painting oneself is not an innocuous act: it is a questioning which often leads to an identity crisis.

Thus he wrote to his sister: "I am looking for a deeper likeness than that obtained by a photographer." And later to his brother: "People say, and I am willing to believe it, that it is hard to know yourself. But it is not easy to paint yourself, either. The portraits painted by Rembrandt are more than a view of nature, they are more like a revelation".

In this head-and- shoulders view, the artist is wearing a suit and not the pea jacket he usually worked in. Attention is focused on the face. His features are hard and emaciated, his green-rimmed eyes seem intransigent and anxious. The dominant colour, a mix of absinth green and pale turquoise finds a counterpoint in its complementary colour, the fiery orange of the beard and hair. The model's immobility contrasts with the undulating hair and beard, echoed and amplified in the hallucinatory arabesques of the background.

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Self-Portrait - Vincent van Gogh - Google Arts & Culture

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Like Rembrandt and Goya, Vincent van Gogh often used himself as a model; he produced over forty-three self-portraits, paintings or drawings in ten years. Like the old masters, he observed himself critically in a mirror. Painting oneself is not an innocuous act: it is a questioning which often leads to an identity crisis.

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Me encanto como se ve el museo. El hecho de estar en una vieja estación de tren hace que el ambiente sea totalmente diferente. La arquitectura de solo el edificio me pareció totalmente digna de museo. Me encanto el reloj dorado que tienen en el fondo. Además, me gusto que no es el típico museo de pared blanca y cuadro sino que también hay muchas estatuas, bustos los cuales te puede acercar y ver.

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Starry Night, Vincent van Gogh, 1888.

Color:  Esta es una obra echa principalmente con colores fríos y tonos de amarillo para dar luz.  Luz/Sombra: Este es un cuadro bastante oscuro, debido a que ilustra una noche, esto se puede apreciar con las tonalidades de azul oscuro y negro que son agregadas por el artista. Además, Van Gogh ilumina ciertas partes del cuadro, con tonalidades amarillas y blancas en las estrellas del cielo y las luces de las casas. Línea: Por la forma que fue pintado el cuadro cuenta con varias líneas horizontales estas se deben más a la técnica del artista para dibujarlo, pero al mismo tiempo le dan una sensación de movimiento y de viento al cuadro. Escala: Este cuadro cuenta con una buena escala debido a que puedes apreciar como las personas en la parte inferior dan la sensación de encontrarse más cerca mientras que las cosas al otro lado del agua se encuentran más lejanas.

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From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects".
In April 1888, he wrote to his brother Theo: "I need a starry night with cypresses or maybe above a field of ripe wheat." In June, he confided to the painter Emile Bernard: "But when shall I ever paint the Starry Sky, this painting that keeps haunting me" and, in September, in a letter to his sister, he evoked the same subject: "Often it seems to me night is even more richly coloured than day". During the same month of September, he finally realised his obsessive project.

He first painted a corner of nocturnal sky in Cafe Terrace on the Place du Forum, Arles (Otterlo, Rijksmuseum Kröller-Muller). Next came this view of the Rhône in which he marvellously transcribed the colours he perceived in the dark. Blues prevail: Prussian blue, ultramarine and cobalt. The city gas lights glimmer an intense orange and are reflected in the water.

The stars sparkle like gemstones.A few months later, just after being confined to a mental institution, Van Gogh painted another version of the same subject: Starry Night (New York, MoMA), in which the violence of his troubled psyche is fully expressed. Trees are shaped like flames while the sky and stars whirl in a cosmic vision. The Musée d'Orsay's Starry Night is more serene, an atmosphere reinforced by the presence of a couple of lovers at the bottom of the canvas.

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Starry Night - Vincent van Gogh - Google Arts & Culture

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From the moment of his arrival in Arles, on 8 February 1888, Van Gogh was constantly preoccupied with the representation of "night effects". In April 1888, he wrote to his brother Theo: "I need a starry night with cypresses or maybe above a field of ripe wheat."

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El Museo de Órsay ubicado es un museo ubicado en Paris Francia, fue fundado en 1986 he inaugurado el 1 de diciembre de 1986. Este museo ubicado en la antigua estación ferroviaria de Órsay, se dedica a coleccionar obras entre el periodo de 1848 a 1914. Este museo cuenta con obras de artistas como Monet, Van Gogh, Degas y más, contando con la mayor colección de obras impresionistas del mundo.

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Paris, Francia

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The history of the museum, of its building is quite unusual. In the centre of Paris on the banks of the Seine, opposite the Tuileries Gardens, the museum was installed in the former Orsay railway station, built for the Universal Exhibition of 1900. So the building itself could be seen as the first "work of art" in the Musee d'Orsay, which displays collections of art from the period 1848 to 1914.

Open from 9.30am to 6pm daily, except Mondays
Late night on Thursdays until 9.45pm
Last tickets sold at 5pm (9pm Thursdays), museum cleared at 5.30pm (9.15pm Thursdays)
Closed on Mondays, on 1 January, 1 May and 25 December

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Musée d'Orsay, Paris, Paris, France - Google Arts & Culture

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The history of the museum, of its building is quite unusual. In the centre of Paris on the banks of the Seine, opposite the Tuileries Gardens, the museum w...

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Retrato II, Joan Miró

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Muchacha en la ventana, Salvador Dalí

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Guernica, Pablo Picasso

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Aunque virtualmente no pude ver el Guernica, personal mente si he tenido la oportunidad de verlo. Primero me parece importante mencionar que este es un cuadro bastante grande y que ocupa una habitación para él solo dentro del museo. Color: estas es una obra principalmente en blanco y negro con sus intermedios como varios tonos de grises. Por lo cual, esta obra tiene un buen contraste que ayuda a ver claramente las figuras que el autor está ilustrando. Forma: Se puede además, apreciar una gran variedad de formas orgánicas como los cuerpos humanos y de los animales. Además, también se aprecian figuras geométricas como en el fondo del cuadro dándole forma al lugar donde es dibujada la obra. Luz/Sombra: El cuadro tiene un gran juego de luz y sombra sobre todo porque los objetos que dan luz físicamente están ilustrados. Se puede ver como el foco de la luz cuenta con un aura que ilustra la iluminación que este produce. Además, se puede ver en el fondo la oscuridad, sobre todo en los cuerpos de los animales que no están bien iluminados. Énfasis: Por la forma en la que fue dibujado se puede ver que hay un en las personas y animales recalcando en sus caras la tragedia que este cuadro resalta. Unidad/Variedad: Se puede ver que hay variedad de personas y animales ilustrados en la obra, pero al mismo tiempo hay unidad en el sentimiento que estos expresan y transmiten a los espectadores. Proporción/Escala: En mi opinión este no es un cuadro que demuestre mucho la proporción ni la escala debido a los diferentes tamaños que tienen las personas y los animales dentro del cuadro. Se ven personas con caras estiradas, brazos largos, piernas gigantes, manos gigantes, por lo cual los cuerpos entre sí no tiene una proporción definida clara.

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El museo es bastante interesante sobre todo porque no solo son cuadro sino que también cuenta con variedad de esculturas a través de las diferentes salas del museo. Me gusto bastante el palacio de cristal, ya que es una área diferente donde también se exponen esculturas y da un cambio a la tradicional pared blanca que es predominante en las otras áreas del museo.

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Madrid España

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Founded in 1990 after originally being created as an art centre, Museo Reina Sofía is among the culminating events of the Spanish transition to democracy, recovering Pablo Picasso's Guernica as well as an outstanding representation of the international avant-gardes and neo-avant-gardes. In short, the founding of this museum means the recuperation of the experience of modernity previously missing from the Spanish context and the opportunity to try out new models of narration from a periphery that is neither lateral nor derivative, but is rather an entry way for new stories, historiographic models and artistic episodes that tip the balance of the orthodox canon of the main museums.

Therefore, the Museo Reina Sofía program is three-fold: on the one hand, rethinking the function of the museum today; on the other hand, analysing the mechanisms for mediation between the public and the institution; and finally, proposing new contexts and stories through the collection and exhibits that lead to a new notion of modernity.

The institution no longer considers its task to be simply the transmission of culture. Instead, it works with other agents and institutions, creating networks and alliances that strengthen the public sphere and position Museo Reina Sofía as a reference of prime importance in the geopolitical South. Similarly, the public is no longer conceived of as a homogenous and uniform multitude, but rather as a collective, multiple agent that questions, rejects and forms opinions, that builds, so to speak, its relationship with the Museum through the singularity of the artistic experience.

The building that houses Museo Reina Sofía is comprised of two parts: the museum's new wing, inaugurated in 2005 and built under the direction of the French architect Jean Nouvel, and the part that was originally built as the General Hospital, promoted by Philip II of Spain in the 16th century and later by Charles III of Spain. The original plans were drawn up by the engineer and architect Jose Agustín de Hermosilla in 1756 and continued by the Italian architect Francesco Sabatini during the second half of the 18th century. Today its appearance is far from the initial conception, due to the multiple modifications it has undergone despite the fact that it continued to be used as a hospital until 1968. It was then abandoned, leading to its deterioration during the subsequent years, until it was acquired by the Ministry of Education, in 1976, to be renovated and transformed into a cultural centre. In 1986, as a culmination of Spain's transition to democracy, the Reina Sofia Art Centre (Centro de Arte Reina Sofía) was created. Four years later it would become a National Museum (Museo Nacional Centro de Arte Reina Sofía), with the founding of the current museum.

The Museum's continual development in terms of its collections and activities led to the decision to study the possibility of increasing its floor area. The studies performed ended in 1999 and, following an international call for bids, the architect Jean Nouvel was chosen to direct the construction of the new building. His plans, in addition to meeting the needs expressed by the Museum, called for playing an active role in the neighbourhood, intervening and transforming the urban surroundings, while generating new services and a public square. The creation of the latter, made possible by the arrangement of new buildings and the southwest façade of the current Museum, gave a new space to the city.

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Museo Reina Sofia, Madrid, Spain - Google Arts & Culture

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Founded in 1990 after originally being created as an art centre, Museo Reina Sofía is among the culminating events of the Spanish transition to democracy, ...

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El Museo Nacional Centro de Arte Reina Sofía está ubicado en Madrid España, fue fundado en 1990 tomando como sede el antiguo Hospital General de Madrid. Aunque no fue sino hasta 1992 que se inauguró oficialmente el museo.
En la colección permanente del museo destacan obras de artistas como Pablo Picasso, Salvador Dalí y Joan Miró, siendo el Guernica de Picasso la más reconocida del museo.