Some of the most celebrating Klimt’s painting were produced during his time with Secession, which lasted until 1908 (Judith I ,1901, Adele Bloch-Bauer I ,1907, Field of Poppies ,1907., The Kiss, 1907-08 ), all of which comprised the artist’s so-called ‘’Golden Phase’’ By this time, Klimt’s personal style, which combined elements of both pre-modern and modern eras, had fully matured. His use of gold and silver leaf recalled Byzantine mosaics; his application of repeated coils and whorls suggested both abstraction and Mycenaean ornamentation, while his portraits of women (Expectation, 1905-09) often combined a modern sensuality with the motifs of Oriental art and Japanese ‘’pillar prints’’. While some critics and art historians contend Klimt’s …show more content…
The background suggests a night sky; bodies teeter at the edge of a flowery meadow, as if they are in some kind of danger of cascading into the darkness. Representational forms only barely emerge from a highly ornate but ultimately abstract form, in this case the golden shroud, beautifully juxtaposed against the green and brown. The decoration is particularly elaborate, Klimt used it for symbolic purposes; circular forms evoke the feminine, while rectangular forms evoke …show more content…
Pointillism clearly influenced this painting, even though, unlike Seurat, Klimt never expressed an interest in utilizing optics in his work. Nine-tenths of this piece is a solid mass of foliage, thus if not for the tree trunks and strips of grass at the bottom, this composition would be completely abstract. The naturalistic elements of this piece are offset by Klimt’s decorative mosaic of green, blue and yellow dots, which are rendered representational only with the aid of the piece’s lower
Large and medium sizes of the forms dominate over small in the painting. The arrangement of the objects in this art piece is mostly centric. However, even though it is central, it is not symmetrical. The painter also touched the left edge of the burlap and the right bottom corner of it; this helps viewer’s eye to enter the painting smoothly, move around and escape from it. The asymmetry of the arrangement creates the sense of imbalance. Lam uses basic lines and shapes in the composition. Nevertheless, the painter creates wonderful light movement inside the figure with wavy shapes, which directs viewer’s eye from the top to the
The visual elements in this painting are shape, color and light. The shapes and contours of the mother and child are life like.
At the left-bottom corner of the painting, the viewer is presented with a rugged-orangish cliff and on top of it, two parallel dark green trees extending towards the sky. This section of the painting is mostly shadowed in darkness since the cliff is high, and the light is emanating from the background. A waterfall, seen originating from the far distant mountains, makes its way down into a patch of lime-green pasture, then fuses into a white lake, and finally becomes anew, a chaotic waterfall(rocks interfere its smooth passage), separating the latter cliff with a more distant cliff in the center. At the immediate bottom-center of the foreground appears a flat land which runs from the center and slowly ascends into a cliff as it travels to the right. Green bushes, rough orange rocks, and pine trees are scattered throughout this piece of land. Since this section of the painting is at a lower level as opposed to the left cliff, the light is more evidently being exposed around the edges of the land, rocks, and trees. Although the atmosphere of the landscape is a chilly one, highlights of a warm light make this scene seem to take place around the time of spring.
...hese repeated vertical lines contrast firmly with a horizontal line that divides the canvas almost exactly in half. The background, upper portion of the canvas, seems unchanging and flat, whereas the foreground and middle ground of the painting have a lot of depth to them.
The painting’s canvas has been exploited perfectly. All the space on the canvas had been used. However, space was not used to create depth, and there was no layering or recession present. The painting does not feel that it has motion, apart from what it looks like the creatures eating from the tree of life. The eating motion was depicted by the posture of the creatures, with arms extending towards the plants – in the case of creatures – or beaks being wide open – in the case of birds. All these factors 'accord' the painting with a unique
Georges-Pierre Seurat was a French Post-Impressionist painter, as well as a fine draftsman. He was born and raised in a wealthy family in Paris on December 2, 1859. He lived a short life of thirty-one year of age, and in his time, Seurat not only invented his style of pointillism, but he also became the first Neo-Impressionist. In pointillism, Seurat used miniscule dots of various colors on a base color to produce the local color. This creates an optical mixture from afar for the viewer and makes the image livelier. As the first Neo-Impressionist, he systematically painted his works instead of the rough brushworks of the earlier Impressionists (Chu 410-411, Gage 452, Georges). Since Seurat first started to dig deep into the arts when he was merely sixteen, he really changed the modern art world within 15 years; barely half of his life! Seurat truly worked hard to get the reputation he has today and his works are unquestionably phenomenal through his techniques he used.
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
In an empty room at the Timken Museum of Art hangs one of the most iconic paintings of Johannes Vermeer, the astonishing painting, Woman in Blue Reading a Letter. In the painting a pale woman’s stands patiently while reading a letter. The woman appears to be wearing a blue jacket and a long gray skirt, and only gazing at the letter, ignoring all of her surroundings. The top right of the painting seems to be a map of the Netherlands, which attracts the viewer because it explains the setting of where the painting took place. The blue jacket around the woman’s torso appears to exaggerate the woman’s stomach, giving the impression that she might be pregnant. The blue chairs resemble a sign of absence as if she lives alone. The light on the top left shines on her face which enhances the viewer’s view of the woman’s facial expression. Johannes Vermeer’s interpretation of complex colors, the light, and her body language inflicts a persuasion on the viewer that the women is traumatized by the news in the letter.
This painting consists of three parts, with curving lines distinctly separating each of the parts. The foreground details a brick house with a thatch roof and a person walking along a path, the mid-ground depicts houses further away and the undulating greenery, and the background highlights the break between earth and sky with the tree line. The main objects in the Houses at Auvers are blocky houses, with a path cutting through the landscape and a person on the path. This...
In 1876, at the age of fourteen, Klimt began studying at the Vienna School of Decorative Arts where he learned a variety of techniques including mosaics and fresco and architectural painting. His early works represented typical Nineteenth Century academic painting that include his murals for the Vienna Burgtheater and the staircase of the Kunsthistorisches Museum. In 1894, after painting the first of several contracted murals for the University of Vienna, Klimt was criticized for his erotic symbolism and accused of using excessive perversion. Along with the death of his father and brother Ernst, the backlash proved a pivotal point in his career in which he chose artistic freedom over public approval. Klimt soon began to collaborate with other artists to revolt the narrow-minded academic views of his critics and began a revolution in artistic style and expression.
By analysing their work Superknit series, AM-PM and 1-6 Mirror Piece, conceptual art is identified to be both historically and inventively pivotal in the 20th century’s art history as it was a critical impetus of the transition from the modernism to contemporary
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.
Klimit was known to have an obsession with women, especially red heads. Many of his paintings have sexual meanings. " The Kiss" is from his prominent 'Golden Phase' which was known to be very successful. The Kiss is known as one of Klimt's most famous paining some of the mediums were oil paint and gold leaf on an oil
Another influential post-impressionist artists was George Seurat. Seurat’s main emphasises were surrealism and expressionism. Seurat used Renaissance techniques and styles, creating a hybrid approach to Post-Impressionism. This scientific, more disciplined approach is called Pointillism or Neo-Impressionism. Pointillism is characterized by applying many small dots of pure color so that they become blended to the viewer’s eye. The aim of pointillism is to produce a greater degree of luminosity and brilliance of color. With his new techniques, Seurat generally painted the middle class during their leisure time and his subjects include circus, parks, and harbors.