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Third Class Carriage (Un Wagon de Troisieme Classe)
Degas states that, “Art is not what you see, but what you make other see”. Indeed, artist can create a work of art, but it doesn’t mean anything if no one can become inspired by it or see hidden meaning behind it. The painting has to make viewer easy to understand and feel same as what the artist expresses through by brushstroke and color. Third Class Carriage (Un Wagon de Troisieme Classe) which is painted by Honore Daumier in 1856-1858 series. The paint with 10 ¼ x 13 3/8 (26 x 33.9 cm). This painting was done in oil on panel with realism style. It located in Legion of Honor Museum San Francisco. Third Class Carriage is representing one of the Daumier most impressionist painting. The way he draws which imitates photography style with somber color and thin brushstroke.
Third Class Carriage with realism style which is painting real people in real life. Realism started around 1850, mid-19th century. Artists begin to question what fantasies the painters before were creating and wanted to reflect the time of hardship they were experiencing, to capture the real people of current times in real context. In the 1800’s people were very involved in the arts included
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The painting usually drawing people look directly with the viewer but on Third Class Carriage, everyone has the empty looking, nobody looks at another and it doesn’t have any conversation on that train. Only looking at these gesture, these clothes, these eyes, these faces can tell a lot of things on that train. The different between lower class and high class, lower class with workaday concerns frozen in their face, express by their eyes. A painting is invested with an air of sadness. The color and light create a little lonely, empty atmosphere. By the way, the dull atmosphere goes with the undefined eyes of an old guys. It brings the indescribable
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
The view of the painting brings to mind the all the senses. Smell is the first to come to mind as the smoke from the candle billows up, the burning smell reaches the noise as well as the burning cigar. The fruity smell overshadows that of the smell of chicken and peas. The noise of a dropped tray and the breaking of glass as it hits the floor makes everyone turn to the right. People talking over each other to be heard. All of the senses are realized as the painting is viewed.
There are also a bunch of children that are portrayed playing inside and on top of the stagecoach. The colors that are used in this painting are all realistic, this is very important because it portrays what a warm summer day would be like on a farm. There are a lot of different colors such as bright green grass and bright colors for the clothes that the children are wearing. There are quite a few principles and elements that are used in the painting. One of the first principles that I noticed was the emphasis on the stagecoach.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
The work depicts a family in plain clothing enclosed in a simple solitary room with a fading fire amidst the dark shadows of the background and another light source that extends from beyond the scope of the canvas. At first glance the influences of Caravaggio and Rembrandt are apparent. Their faces are neither, sad, sullen, angry, or joyful, but rather their emotional expression is plain and uncomplicated, adding a sense of timelessness to the painting. As in the description (20-34) of the piece which states; “It reflects 17th Century social theory, which celebrated the natural virtue of those that worked the soil”, (p. 609). The idea of portraying a classic simple lifestyle is a refreshing one and a concept which will reoccur in other works of the Baroque period.
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
...elationship between the people in the composition and their feelings in each other’s company. The viewer is forced to think critically about the people in the painting and their feelings and body language.
The composition of this painting forces the eye to the woman, and specifically to her face. Although the white wedding dress is large and takes up most of the woman’s figure, the white contrasts with her face and dark hair, forcing the viewer to look more closely into the woman’s face. She smokes a cigarette and rests her chin on her hands. She does not appear to be a very young woman and her eyes are cast down and seem sad. In general, her face appears to show a sense of disillusionment with life and specifically with her own life. Although this is apparently her wedding day, she does not seem to be happy.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
In this work, the colors and shapes come together to form the depiction of a woman in a chair gazing out at the landscape beyond a window. This subject matter relates to Picasso’s infamous relationship with women and may serve as a depiction of one of the many women he was linked with. The painting depicts the woman with a dual omniscient and introspective vision. Picasso develops this dichotomy through the depiction of a wayward eye gazing out the window and a larger ubiquitous eye glaring directly at the viewers. In constructing such a contrast, the painter is able to convey the personality...
The gestural and heavy working of the paint and the contrasting colors make the painting appear active yet are arduous to follow. The defining element of Woman and Bicycle is the presence of the black lines that do most of the work in terms of identifying the figure. Through the wild nature of the brushwork, color, and composition of the painting, it can be implied that the artist is making an implication towards the wild nature of even the most proper of women.
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
In the book “Ways of Seeing,” John Berger explains several essential aspects of art through influence of the Marxism and art history that relates to social history and the sense of sight. Berger examines the dominance of ideologies in the history of traditional art and reflects on the history, class, and ideology as a field of cultural discourse, cultural consumption and cultural practice. Berger argues, “Realism is a powerful link to ownership and money through the dominance of power.”(p.90)[1] The aesthetics of art and present historical methodology lack focus in comparison to the pictorial essay. In chapter six of the book, the pictorial imagery demonstrates a variety of art forms connoting its realism and diversity of the power of connecting to wealth in contradiction to the deprived in the western culture. The images used in this chapter relate to one another and state in the analogy the connection of realism that is depicted in social statues, landscapes, and portraiture, also present in the state of medium that was used to create this work of art.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.