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Impressionism vs post impressionism
Impressionism vs post impressionism
Impressionism vs post impressionism
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Much analysis has characterized debate on the famed painting by Georges Seurat, and it has been considered as one among his greatest works. At the time of its production, A Sunday on La Grande Jatte ruffled the impressionist norm of that period by announcing and advertising pointillism. It embedded the era of large paintings that excited both artistic and cultural fascination.
Underlined by the laborious work employed in its production, Seurat’s choice of dots to make up a whole against the use of generous brush strokes was the beginning of a breakaway from the traditional method by which art was produced and perceived. The visual impact of distance for image cognizance meant that observers and art enthusiasts had to spend time journeying through
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Located in Seine, the island is a popular get-away for the high and middle classes of Parisian populace, at present as was the case when the artist felt the inspiration to etch the picturesque of that landscape in eternal memory. In the same way that modern photography would do to any setting, the painting captures the lifestyle of the subjects in a manner that is concise and inspires debate.
The painting has a cast of 48 people in leisurely poses, eight boats lazing in the waters and three dogs roaming thereabout; a perfect template of the upper class society enjoying a sunny afternoon, as is telling in their mode of dressing and demeanor. Many scholars consider this piece a response to his earlier work; Bathing At Asnieres ,1884 that is themed on the lower class and features men bathing and drinking from the same waters as others lay about at the bank
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It would not be a wild imagination to suggest that pointillism, propagated by its most famous proponent, provided the template for modern outdoor digital signage that employs large screens with miniature components arranged side-by-side to make up an extensive composition with a smooth texture when viewed from a distance. This is seen in sports stadia as well as advertising panels erected on storey buildings, among others.
As with every art movement, pointillism’s inception attracted much scorn from the establishment in the art circles of the time, including art critics and the public alike. At its initial exhibition, it proved most notorious among observers, who highlighted its static and robotic characteristics, away from the fluidity that was the norm with impressionism .
In his book 'The Principle of Hope’, Marxist philosopher Ernest Bloch compared the static nature of the painting to the French society; underlining its political and cultural overtones . On her part, Linda Nochlin shores up Bloch’s argument by suggesting that the absence of interaction between the human figures in the composition had a telling political
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
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.
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
Georges Seurat used the pointillism approach and the use of color to make his painting, A Sunday Afternoon on the Island of La Grande Jatte, be as lifelike as possible. Seurat worked two years on this painting, preparing it woth at least twenty drawings and forty color sketched. In these preliminary drawings he analyzed, in detail every color relationship and every aspect of pictorial space. La Grande Jatte was like an experiment that involved perspective depth, the broad landscape planes of color and light, and the way shadows were used. Everything tends to come back to the surface of the picture, to emphasize and reiterate the two dimensional plane of which it was painted on. Also important worth mentioning is the way Seurat used and created the figures in the painting.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
where people decided to reproduce art as a picture of what was going on. Instead, this artistic
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
I will discuss Post Impressionism by using three works, A Sunday Afternoon on the Island of La Grande Jatte, Still Life with Basket of A...
The Luncheon of the Boating Party by Pierre-Auguste Renoir is a piece full of rich colors that reflect both the time period and the artist’s impressionist style. This composition not only conveys a leisurely gathering of people, but also expresses the changing French social structure of the time due to the industrial revolution. To portray these themes Renoir uses, shape, space, color and texture. Shape is seen in the modeled figures and bottles, and space is created by overlapping of the bodies, but it does not give a realistic illusion of depth. Color is most evident in the painting by the deep blue and green contrasted by the vibrant red and greens making it very rich in colour. Texture is also evident in the clothing which was emphasized by the artist’s impressionist brushstroke style. Renoir also used principals of design to make his composition more effective like balance, movement, repetition and unity. A symmetrical balance is evident because most of the subjects in the painting are on the right side. Movement is achieved in this painting by the gesture and expression of the subjects as well as the drapery on the table and the gazebo cover. Repetition can be seen in the curves of the gazebo cover, the stripes and the posts in the railing. All these elements and principals of design unify this piece and make it very pleasing to the eye. Renoir reflects the theme is this painting because the impressionist style was new to the art field, just as the advances fr...
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
The painting is housed at the Musée d'Orsay in Paris and is one of Impressionist's most celebrated masterpieces. The painting depicts a typical Sunday afternoon at Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working class Parisians would dress up and spend time there dancing, drinking, and eating galettes into the evening. LIGHTING UP THE TOWN
...t is Impressionism. We see that without Paris and its artists there would have been be no break from the traditions and regulations laid down by the L’École des Beaux-Arts and Le Salon. Without Paris the movement would not have gained the recognition that it did. It was aided by the industrial revolution, the Haussmann project, the growth of le café and the revenue from trade by Parisian art dealer Paul Durand-Ruel. We also note how Paris was highly influential in the subjects of impressionist paintings. We see how the camera and colour theory influenced their work as well as how the modern cityscape and social interactions consumed their creations. Even today Paris plays a role in Impressionism. Its museums house some of the greatest examples of period impressionist work on view, showing that nearly two centuries later Paris is still at the heart of Impressionism.
Examining this work shows the ambition that Seurat had. He employs the technique of pointillism in this work, but one can see that it was much more refined by the time he created A Sunday on La Grande Jatte. Seurat made thirteen preparatory works towards this work. To Seurat, the impressionist sense of spontaneity was second to the academic approach. He didn’t just paint en plain air as most impressionists did.