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Realism and naturalism 19th to 20th centuries
Realism and naturalism 19th to 20th centuries
Realism and naturalism 19th to 20th centuries
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Although his career was cut short by his early death, Franz Marc had a tremendous impact on the various Expressionist movements that would evolve after World War II. After early experiments with naturalism and realism, Marc later eschewed those styles in favor of the greater symbolic potential of abstraction. Franz Marc was born in Munich, Germany on February 8, 1880. His father, Wilhelm Marc, was an amateur landscape painter. Under the influence of his artistic father, Marc's artistic talent was evident from a young age, but he did not decide to pursue a career in painting until after completing his military service.
Marc looked to the natural world as an antidote to modern life, from which he felt increasingly alienated. Nature and animals
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The context in which Marc worked suggests he employed these correspondences programmatically, Marc wrote: "Every color must say clearly 'who and what it is, and must, moreover, be related to a clear form."
During his career, Franz Marc created about 60 pieces in lithography and woodcut. Many of his pieces depicted animals, in their natural setting and habitat. The use of bold, bright colors were often seen in his works as well. Color was extremely important for Marc. Not only did he understand the potential for color to affect mood, he developed a specific theory of color symbolism. His analysis of color associated blue with the masculine, yellow with the feminine, and red with the physical often violent. He took a cubist approach, in the display and creation of the animals that he depicted in his works; simplicity was often seen as a means to his creative process as well, as most pieces simply focused on the animal, and the raw emotion, as opposed to drawing in from external factors, to create the printed art works during his
Jacob was an African-American artist, who eventually flourished in the art world during the Depression of 1920s, painting African-Americans life in Harlem, making social statements and thus, explaining their life during that time. Additionally, this made his art significant to spectators who praised his works. With no formal training in painting, it was easy for Jacob to ignore the rules that set him apart from other African-American painters and others, before him and in his time, such as Palmer C. Hayden, and Archibald Motely, Jr to whom he was compared. Jacob Lawrence artwork communicated historical data and his perspective of people he was familiar with in his culture. His work expressed how African- Americans struggled for health and social justice, how they were ignored by the Republican administrations, racial equality and eventually, why African-American voters would shift to the Democratic Party.
He is known how to combine three main colors and balance it to his artwork, green tone combined with red tone on her clothes represent that a woman is one of a lower class in society at this time, brown tone is a background color bring to viewer a heavy feeling, and this color was emphasized to face of the woman a little bit of sadness, a little bit of hopelessness in her life and her children. In this artwork, he used a rectangular shape of a wall and circle shapes for a child. They both give a viewer feeling about pressure and straitened for women. If we are noticing that in this artwork has leading lines. This line comes from three of her kids, it is creating a triangle.
Besides bright or dim colors, and fine or rough brush strokes, artists use centralized composition to convey their interpretations in "The Acrobat's Family with a Monkey," "Amercian Gothic," "The Water-Seller," and "The Third of May,1808.”
He is unable to understand why they can’t leave nature alone. His frustration stems from the fact that so much valuable land is being destroyed, to accommodate the ways of the lazy. It seems as though he believes that people who are unwilling to enjoy nature as is don’t deserve to experience it at all. He’s indirectly conveying the idea that humans who destroy nature are destroying themselves, as nature is only a mechanism that aids the society. In Desert Solitaire Abbey reminds the audience, of any age and year of the significance of the wild, enlightening and cautioning the human population into consciousness and liability through the use of isolation as material to ponder upon and presenting judgments to aid sheltering of the nature he
Aldo Leopold’s essay, “Thinking Like a Mountain” shines light on a prominent issue amongst the ecosystem concerning the importance of a single organism. Leopold attempts to help the reader understand the importance of all animals in the ecosystem by allowing a wolf, deer, and a mountain to represent the ecosystem and how changes amongst them cause adverse effects on each other. Leopold recounts of the killing of a wolf and seeing a "fierce green fire" die in its eyes, this became a transformational moment in his life causing him to rethink the beliefs he had grown up with. By connecting the wolf’s death to the health of the mountain he was inspired to promote the idea that all predators matter to the ecosystem. He believed then that all native organisms are critical to the health of the land, if any change occurs in one part of the circuit, many parts will have to adjust to it and if something is removed the consequence can be detrimental. The essay highlights the idea that all living things on earth have a purpose and that everything is interdependent of each other.
...warns us about, by using it to document ideas and cause and effect. Barthes also warns us about color, but Fuss uses color judiciously and naturally in his work. Whether Barthes' ideas actually influenced Fuss’ work I am not sure of, however the similarities and differences between both men’s work suggest that Fuss has indeed been either directly or indirectly influenced by Roland Barthes’ Camera Obscura.
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.
A couple years after having his photographs displayed, he continued to produce his prints in black and white. He also started producing color photographs by using the dye-transfer process. He used color photography to produce photographs that are more realistic. He became famous for encouraging the acceptance of color photography, which was to be considered as artistic at that time. The photographers viewed color photography as splashy, commercial photography with bright and unrealistic prints, whereas black an...
...ternal reality and given the new engagement of revealing the artist's experience of reality by the colors pure chromatic intensity. (Arnason) Matisse in this painting uses color to show differences among nature and people unlike the paintings prior to him where differences were shown throw chiaroscuro and minute details. Although fauvism was one of the shortest periods in all of art history you can still see an echo of its high key colors for many periods after its ending.
Keeping in harmony with colors was an important task to explain women's behavior as wells as making artwork acceptable to every body. Crossing the social boundaries and limitations would only bring void and controversy in the created artwork, which can happen by wrong use of color or wrong presentation of women's image. But for the artists like Pablo Picasso explaining the things without any boundaries and social limitations was the important thing first. Since the artwork he created have crossing boundaries both culturally and artistically, a viewer can have broader perspectives and critical analysis of life, death, and desire or the morality as well as science and technology or fiction. Picasso explains all these things in one artwork called "Girl Before the Mirror", Oil on canvas, 5'4" X 4'3."
Marc Chagall as an artist and as a person cannot be categorized. He was born in Vitebsk, Russia, learned to paint in St. Petersburg and lived in Paris, Berlin, and the United States. His career is influenced by many different factors. His Hasidic Jewish upbringing reflected in the content of his paintings greatly. The lyrical fairy tales of Jewish mysticism, the stories of the Bible, and the Rabbis and scholars who surrounded him in his childhood come out onto his work. When he went to art school in St. Petersburg it was the period when he became exposed to the avant-garde movement in art.
Artists often use color schemes and brush strokes to design their concealed emotions and throw them onto a canvas for many to interpret. However, artists such as Rene Magritte want nothing more than to make people question what is behind a layer of painting and question each individual design for what it is and seek what cannot be seen. Painter’s typically use colors to not only detail a painting, but express emotions through the gentle strokes of color. For example, bold colors often highlight what portions of the painting are meant to be the most significant to the viewer. In The Lovers I and The Lovers II each background is filled with light hues of blue, green, and red.
Nature is everywhere in this story, that lets nature affect almost every aspect of this story. Marlow, Kurtz, and all of the other characters react to nature differently. Some thrive in it, and some perish. Works Cited for: Conrad, Joseph. The Heart of Darkness.
Cubism takes the opposite route for the same effect. Solid lines are drawn, but the painting itself is usually more abstract (as with Picasso). At times it can be difficult to discern what some paintings are supposed to represent. Bright, vivid colors infuse the pieces with more passion. The contrast between those not well defined objects and the punch of emotion gives cubism its personality and vitality.
James Joyce in his novel “A Portrait of the Artist as a Young Man” says “The object of the artist is the creation of the beautiful.” (134) For Stephen Dedalus after the reoccuring stream of consciousness throughout his youth, one of the factors of his creation into the artist is women. Indeed it is the women throughout the novel that shape Stephen into the man he finds himself becoming toward the end. Six women in particular that form specific functions in Stephens life are: Stephen’s mother, Eileen, Mercedes, the Virgin Mary, the prostitute, the birdlike woman by the water. These women affect and shape his character by loving him, inspiring him, and fascinating him.