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Influence of romanticism
Influence of romanticism
The influence of Romanticism in art
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John Constable’s The Hay Wain was produced in 1821 by way of oil on canvas during the Romantic period of the 19th century. This work being one of Constable’s most notable works. Various elements and thought processes implemented in the painting make it an accurate representation of the Picturesque Romanticism style common of this period.
The article “Constable, John” found in The Hutchinson Unabridged Encyclopedia with Atlas and Weather Guide mentions that Constable was an English landscape painter who lived during the 19th century. Art from this time period would commonly fall under the picturesque romanticism movement. According to the article “Picturesque” in the Bloomsbury Guide to Human thought, the picturesque was a concept developed
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As general overview, this picture displays a rural scene on the River Stour in the English countryside. Here Constable uses dark, soft colors in order to reflect the painting’s pastoral tone. The dark green, blue and white are used to create the nature scene. He uses soft, rounded, smooth brushstrokes which help to depict the mildness of nature. The painter also utilizes broken, curves lines, and dots in the painting. The most definite lines in the painting are used to create the trunks of trees and in the houses. Constable uses very few definite shapes in this painting, though there are some circles and triangles used to makeup solid objects like the carriage and the house. The foreground of this painting shows the ground and dirt leading up to the river. On the ground next to river a dog and debris can be seen along with some patches of grass. The middle-ground of the picture shows a carriage carrying a few people in the middle of the river pointed toward the cottage on the edge of the river. Finally, the background depicts many trees by the river side leading past the back of the house on towards the left, while the right side of the painting leadoff into the rest of the countryside with more trees and clouds overhead. This arrangement clearly reflects this style of painting and the era of the …show more content…
In the video produced by Smarthistory “Constable, "The Hay Wain", 1821” it is mentioned by speaker 1 that Constable was a part of the wealthier land owning class, meaning he would never have participated in the type of labor the people in the painting are doing. It is noticeable that the woman in the back washing clothes and the men leading the cart all appear to be very placid (see Fig. 2). This all leads to the idea that Constable’s featured idealization of reality in this painting includes peasants with a still and quiet working life that possibly reflects his own. This idealization of reality is true of most picturesque romantic
His painting style for landscape is similar to Thomas Cole. They have similarity in tone and texture, but Constable colors are not as vibrant as Cole. In Constable painting, The Hay Wein, the landscape of the countryside looks very peaceful and not much of any loud noise or association that is disturbing this peaceful area. The most focus area in this painting should be the cottage, and the horse with the wagon that is in the foreground, but the bright blue sky with white clouds and the yellow sunlight in the distance distract the eye from looking at the foreground. The way he painted his clouds shows he had been studying them since the clouds have different layer of shades and shapes. The dark clouds cast a heavy dark shadow in the foreground, which it felt like it is hiding the subject matter. The figure standing next to the wagon wore a white shirt, which brings the eyes back to the center of the painting, but it is somewhat noticeable. The painting was supposed to be a past memory of Constable young life when he would roam around the meadow and meet his neighbors. The person who lives in that cottage belongs to a farmer named Willy Loff, who is identified to be the figure on the wagon. To this day, the cottage and the road still stand, and any tourist can still get the chance to see the location, and possible visit the home Constable was raised
This painting consists of regular lines as well as implied lines. Some of the regular lines that have been included are flowing, curved lines, such as the Earth that the woman is sitting on top of. Additionally, the background is made of small scenes that have been outlined by a dotted line, which places emphasis on the scenes. Besides regular and visible lines, there are a few implied lines in this painting. For instance, the woman's eyes are looking forward, so there is an implied line to the audience. Additionally, another implied line would be the woman's right arm, which is pointed towards her headpiece, while her left arm is pointed towards the earth. Nonetheless, this painting is not intense; although it does have splashes of color, this painting does not have a bright saturation. Instead, this painting is slightly dull, which makes this painting appear vintage. Additionally, since this background is a dark color, it makes the rest of painting, especially the headpiece, stand out. Besides colors and lines, even though this is a painting and there is no physical texture, there is invented texture. Upon viewing this painting, underneath the earth where the woman is sitting on, there are roots as well as grass, which give texture and feeling to the painting. In the end, this painting consists of several elements of composition, which Heffernan has done a wonderful job
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.
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
The artwork starts outside the barn. The left bottom of the painting holds a brown and white pig walking towards the barn in front of the resting dog lying just inside the barn’s open double doors. The pig’s ears are brown while its engorged nipples suggest it had piglets. As the pig strolls in front of the barn it encounters the remains of animal bones while patches of green grass and dirt highlight the way to the barn. On the opposite side of the pig, stands a reddish brown horse. The horse 's mane and tail are black. Its hind legs are white. The tip of the horse’s nose is white. The horse wears a saddle, bridle, halter, bit and reins. Its left hind leg rises as if ready to bolt. In the bottom right hand corner below the horse reads, “G.H. Durrie 1853.” While the area in front of the barn appears sparse, it is the barn and what occurs inside that is where the action
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
Examining the formal qualities of Homer Watson’s painting Horse and Rider In A Landscape was quite interesting. I chose to analyze this piece as apposed to the others because it was the piece I liked the least, therefore making me analyze it more closely and discover other aspects of the work, besides aesthetics.
Landscape painting was extremely important during the middle of the nineteenth century. One of the leading practitioners of landscape painters in America was Thomas Cole. He visited many places seeking the “natural” world to which he might utilize his direct observations to convey the untainted nature by man to his audience. His works resolved to find goodness in American land and to help Americans take pride in their unique geological features created by God. Thomas Cole inspired many with his brilliant works by offering satisfaction to those seeking the “truth” (realism) through the works of others.
This painting was an oil canvas landscape of the sun setting in the horizon of the ocean sea, while the ships were sailing throughout the body of water. The focus on humanism during this period is clearly portrayed by the presence of the plowman, shepherd, and fisherman performing their daily task. Lighter colors are used, which differ from the darker colors that were emphasized during the Dark Age or Medieval period. Shadows can be seen on the ground next to the plowman showing the increasing artistic methods that begin to be utilized. Overall Bruegel makes use of the two and three-dimensional techniques to demonstrate the messages he attempts to reveal about changes in life and thought through his work.
The second painting was by George W. Bellows and named Shoghead. This painting brought a sense of ease and relaxation. I can picture myself on the top of the mountain listening to the waves crash on the sides. The open countryside topped by the clouds give the painting a sense of realism. The extremely bright blue water stands out the most, though the focal point is not clear. There is not an excessive use of paint. It is as if Bellows caked it on his brush and made quick short strokes. The use of such dark colors on the hill is a mystery. The terrain has a roughness that makes the painting come to life. The artist did a great job of showing the depth. If I had to guess, he was influenced by Picasso’s work because of the extensive use of thick point.
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
In “Making a Picture of the View from Mount Holyoke”, Alan Wallach argues that Thomas Cole created a new perspective of landscape art in his 1836 painting of View from Mount Holyoke (The Oxbow). His perspective merges a panoramic view with precise attention to detail, and with those things The Oxbow has the ability to give the viewer a sense of power. Wallach states that “the tourist experiences a sudden access of power, a sudden dizzying sense of having suddenly come into possession of a terrain stretching as far as the eye could see”. This combination of optical elevation with a sense of power created the “pantropic sublime”.
Artists studied various themes including the natural world, unreasonable emotions and instincts, and politics; and worked in many different styles (McCoy). Seen as a way of presenting the artist’s thoughts and emotions. Identifiable by the flowing brushstrokes and bright colors Romantic paintings are frequently interpreted as the artist’s “genius (McCoy)”. Romanticism was a time of self-reflection and individualism.
...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.