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Art of the industrial revolution essay
Art of the industrial revolution essay
Compare art during the industrial revolution and the contemporary world
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During the late nineteenth-century, Impressionism was influenced by the tourism industry and industry of leisure. The new en plein-air paintings were introduced to many artists earlier that period. This essay will discuss paintings from Claude Monet and Pierre-Auguste Renoir, looking into some of their paintings and the affection from the uprising industries as mentioned. Social unrest in France was a part of history. Monet’s and Renoir’s paintings served as documentary of the emergence social history, depicting the lifestyle of late nineteenth-century France. The rise of both tourism and leisure seem to be the subject matter mostly in Monet’s and Renoir’s paintings. The following paragraphs will first discuss the industrial revolution and the rise of pleasure in tourism and leisure. Continue with the close analysis of the Impressionists plein-air paintings of Monet and Renoir respectively.
Focusing on paintings painted in tourist destinations and leisure sites during the late nineteenth- century, Monet and Renoir depicted the significant development phases of the industrial revolution. Therefore in most of their late nineteenth-century paintings, there were clear indications of the uprising changes. The urban, industrial activity and transportation had rise during the late nineteenth-century in France . This revolution help developed the tourism industry as well as the leisure activities on going at certain places such as Seine, Trouville, Chatou and etc. Eight new bridges were built and some were rebuilt to embellish the tourism in Seine . Huge transformation was held during late nineteenth-century in France along Seine’s waterways. Travelling became popular due to the advance of steam and railway systems . More people were ...
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...f the Boating Party: Traditiona and the New. In K. R. Eliza E. Rathbone, Impressionists on the Seine. Washington: Counterpoint.
Rothkopf, K. (1996). From Argenteuil to Bougival: Life and Leisure on the Seine, 1868 - 1882. In K. R. Eliza E. Rathbone, Impressionists on the Seine. Washington: Counterpoint.
Rubin, J. H. (2008). Impressionism and the Modern Landscape: productivity, technology and urbanization from Manet to Van Gogh. Berkely: University of California Press.
Sozanski, E. J. (1996, September 29). A SHOW THAT MERITS IMPRESSIONIST FERVOR< MUSEUMS ARE BANKING ON ITS POPULARITY. "IMPRESSIONISTS ON THE SEINE"< REFLECTS THE SOCIETY IN WHICH THE WORKS EMERGED. Fettures Arts & Entertainment , F01.
Todd, P. (2007). The Impressionists at Leisure. New York: Thames & Hudson Inc.
Tucker, P. H. (1982). Monet at Argenteuil. New Heaven and London: Yale University Press.
During Vincent Van Gogh’s childhood years, and even before he was born, impressionism was the most common form of art. Impressionism was a very limiting type of art, with certain colors and scenes one must paint with. A few artists had grown tired of impressionism, however, and wanted to create their own genre of art. These artists, including Paul Gaugin, Vincent Van Gogh, Henri de Toulouse-Lautrec, and Paul Cezanne, hoped to better express themselves by painting ...
Third Impressionist exhibition in Paris, held in 1877. Currently displayed in the Art Institute 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.
Walcutt, Charles Child. "Sherwood Anderson: Impressionism and the Buried Life." The Achievement of Sherwood Anderson. Chapel Hill: University of North Carolina Press, 1966. 158-170.
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.
... considered documents of Paris capital of modernity to a great extent. Their subjects, style, and juxtaposition of the transitive and the eternal give effective depictions of life in Paris at the time. Impressionist paintings will stand alongside written documents as records of late nineteenth century Paris for years to come.
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...
9. Bouguereau, William A. Psyche et L'Amour. 1889. Private Collection. Art In the Picture. 2014. 25 Jan. 2014 .
"impressionism." The American Heritage® Dictionary of the English Language. Boston: Houghton Mifflin, 2007. Credo Reference. Web. 18 February 2011.
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.
Wolf, Peter M. Eugene Hénard and the beginning of urbanism in Paris 1900-1914. New York: P.M.W., 1968. 29-33.
Thesis: The French Revolution transformed not only the French society, but also had a huge influence and marked impact on what the purposes of the arts and their expression were now, making profound changes in what they would supposed to be used for, in the form of the Neoclassic works of art that made their appearance prior to the French Revolution, in which very special emphasis is given to the patriotic, the nationalist feeling, together with a strong sense of self-sacrifice that should be present in every person’s heart.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.
I have persuaded my friend Kati to leave me here for an hour in the afternoon sun while she completes her tour of the Impressionists inside. She’s in New York this once, visiting from Hungary, while I live in Philadelphia and can come back any time I choose.
This discontent also had a big influence on artists, and they reacted differently as a result of it. Courbet painted pictures of labourers and everyday scenes, which was revolutionary for his time. Seurat developed his individual...