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Comparing paintings essay
Post impressionism and its artists research paper
Post impressionism and its artists research paper
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While Still life with Apples and a Pot of Primroses by Paul Cézanne and Still Life with a Skull and a Writing Quill by Pieter Claesz vary in time period, and therefore style and composition, the message they portray is similar. Cezanne and Claesz differ greatly in technique, more specifically in perspective, brush stroke, composition and realism. Their separation in time does account for the discrepancies in technique but surprisingly does not affect the subject and message. The fact that Still life with Apples and a Pot of Primroses is a post-impressionistic piece effects its visual composition. Post Impressionism has a great influence on brush stroke and realism. This piece in particular features quick gestural brush strokes and is much more loosely painted than Still Life with a Skull and a Writing Quill. This piece also has an improper perspective, which is most noticeable when looking at the angle of the tabletop, and how every part of the plant faces forward and seems to be lurching out at the viewer. The viewer also has little to no knowledge of the space that is presented in the piece. For as much negative space this piece features, one would think the room would play a larger role compositionally. The techniques in post-impressionistic art were much more fluid and allowed for innovations such as variation in perspective, and more characterized brush strokes. All of these factors lend to a sense of artificiality in this piece. The plant on the left seems to be too stiff to be real. In fact Cezanne painted from an artificial plant and its stiff qualities were transmitted into this piece. Post-Impressionism, and its freedom and rejection of classicism allowed Cezanne to develop a style. A style clearly articulated in th... ... middle of paper ... ...go out, the flesh will rot and the quill will be laid down. We have a limited amount of time with earthly gifts we have been given and we are urged to repent before they fade before we have secured eternal life. Work Cited Pieter Claesz: Still Life with a Skull and a Writing Quill" (49.107) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art "Paul Cézanne: Still Life with Apples and a Pot of Primroses" (51.112.1) In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art "Baroque (1600-1750)." Scholastic Publishes Literacy Resources and Children's Books for Kids of All Ages. N.p., Web. 13 Apr. 2014. Eitner, Lorenz. Preface. An Outline of 19th Century European Painting: From David through Cézanne. N.p.: Westview, 1992. 7+. Print. Rewald, John. The History of Impressionism. New York: Museum of Modern Art, 1973. Web.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
Schulenberg, David. Music of the Baroque. New York: Oxford University Press, 2001. ML193.S38 2001 c.2
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
Stokstad, Marilyn. Art History. New York: Prentice Hall Inc. and Harry N. Abrams Inc. 1995.
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
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.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
Read, Hebert Edward, Sir. Discovering Art: The Illustrating Story of Art Through the Ages. Vol.
Art in general is a factor that allows humans to express their creativity, as they apply the essentials of history, media, elements and principles of design. It was those recent class trips, that I had taken to La Salle Art Museum, that instantly allowed me to acquire a deeper passion for art. Soon enough, in the 17th century exhibit, I saw a piece of artwork that was remarkably aesthetic for me. The artwork is ironically titled, “Still Life with Fruit”. The approximate size of this artwork is 16 inches wide by 20 inches long. The artwork dated back to the year of 1689. A Dutchman named, Jan Mortel, born during the year of 1650, was the artist of this artwork. Judging from the artwork, Jan Mortel had a great talent for oil painting. Jan Mortel
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
His approach was an organized, discipline, and theoretical painting base of knowing stories, and the style was line rather than color. The reason I picked the painting is because it does capture my attention of how messed up it is that these men would capture women and rape them. But in today society you see in the news every day in America they’re capture of women getting kidnap, rape and it captures my mind of how messed up this is. Nicolas is showing us these events that happen and you see this stuff in movies. The painting sends a message a powerful message by the emotion, color and theoretical. This painting is so historic they made a movie based on the painting in 1962 and 2006. Next is regarded as France finest artist is a women named Louise Mollin (1610-1696). Her painting “Still Life with Cherries, Strawberries, and Gooseberries” a famous painting that created a perfect balanced, simple composition and focusing the attention on the objects. The sizes, shapes and texture of the fruit and container form international contrasts. Her painting turns out to be simple but yet elegant and change the way of art. The colors of the fruit and bold and focuses just on the fruit other than having a painting doing something with war, death, and story behind it. This has change art and you can see in today painting something simple can grasp anyone
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.