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Impressionism historyessay
Impressionism historyessay
American impressionism
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Images that have the ability to induce physical sensations are often the most sought after. A painter that has the ability to induce these sensations is Jonas Lie, with his painting Dusk on Lower Broadway. The painting Dusk on Lower Broadway is a timely piece that exhibits a diverse mixture of artistic concepts and techniques, using quick short brushstrokes with dark cold colors to create an atmosphere of Dusk on lower Broadway. In Dusk on Lower Broadway, Lie depicts the average life of a New Yorker bustling down lower Broadway on a winter’s afternoon. The painting was created so that the observer is looking at the tall buildings in the background of the painting; which, from the viewer’s perspective are towering above all of the other figures in the painting. Additionally, Lie placed tall trees in the foreground of the painting to give a sense of the scale between the observer’s perspective and surrounding objects. Furthermore, Lie used dark cold colors, such as purple, blue and black, to depict the feeling of a winter’s afternoon. Lie also used snow on the ground as an obvious indicator of the time frame in which the painting is occurring. However, in contrast to the dark cold colors used, Lie also used subtle hints of orange, yellow and red to show that there is some presence of light in the piece. The background of the painting is a sheen of yellow
Lie spent much of his youth studying art in Paris and Norway (Rollins 2). While studying in Paris, Lie found great inspiration from the works of Impressionist artist, Claude Monet. After returning from Paris, Lie moved to New York city, giving art classes for aspiring young artists (Caldwell 2). During this period, Lie painted Dusk on Lower Broadway, and through this piece, one is able to see the heavy influence of Impressionism and the techniques of Claude Monet reflected
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
They might not be very prominent, but they exist the painting and serve as the base for creation. For starters, the window pane contains lines that highlight its simple design. Simplicity remains as the core of this work. Moreover, sill is roughly represented by a thick brown line underneath the window as a boundary in a quietly brilliant fashion. The work has a wonderful color allocation to express the mood. The color is limited within the muted palette color range. Grey—the intermediate color of black and white, is the dominate color for both exterior view and the interior part, as a matter of fact, the observer notices that nearly all colors are mixed instead of natural this work. The cloudy sky corresponds to the grey color of the wall, yet the brightness is not influenced. However, this consistency has successfully created a cold, grave and silent environment for a crowded place such as New York. The whole environment of this painting seems to be surrounded by the negative and depressive
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
I visited Norton Simon Museum in Pasadena, California for the first time hoping to learn more about the European artworks this place has to offer. Norton Simon Museum holds the remarkable amounts of artwork by world-renowned artists: Vincent Van Gogh, Rembrandt van Rijin, Caravaggio, Raphael, and Pablo Picasso just to name a few. I observed many European paintings in the 18th to 19th century; I chose to discuss the artwork by the incredible Claude-Oscar Monet. Claude-Oscar Monet’s Mouth of the Seine at Honfleur, 1865 is an oil painting of a seascape on a canvas. The Parisian artist is considered one of the most influential artists in the late nineteenth to early twentieth century.
For this first journal entry, I have chosen to address Judith Lorber’s paper “Night to His Day.” A number of points made throughout the entire article paralleled ideas and concepts I was familiar with due to previously taking a Psychology of Women course at WSU. A few of these points included: West and Zimmerman’s notion of “doing gender,” the idea that men who enter traditionally female-dominated fields lose prestige, the case of David Reimer (Lorber refers to him as “the accidental transsexual”), and the fact that women still do the majority of child-rearing—even if she works full-time. In addition to previous course connections, the part of the paper which recounts how “gender blending” women have been expelled from women’s bathrooms struck a chord with me. I recently donated to a campaign calling for funds to build a gender-neutral bathroom at a school with a high enrollment of trans students. It saddens me when a human being is subjected to judgment or harassment, especially when it comes to something as basic as using the restroom. Finally, I found the idea that a woman could b...
...nings behind them and that’s what this painting renders. The modern time painting is another interesting outlook of death transcending from bright colors to darkness, exceedingly imaginative
To begin, Dusk on Lower Broadway includes scenery that catches one's eye when analyzing the painting. The tall buildings clearly show that the painting is in New York. Certain details throughout the painting portray winter time. For example, the smoke coming from the top of the buildings, the trees with no leaves, and the people's clothing. The trees towards the front of the painting are bare of leaves, hinting at a wintertime setting. The crowd of people going farther into the city seem to be dressed in dark heavy clothing, also suggesting the wintertime. Each aspect of the painting contributes to the scenery that is eye catching.
While living in Paris, Van Gogh was first introduced to impressionist art and was inspired by the color and light. “Inspired by these artists, he brightened his own palette and
...y G. L. Hood’s life, I came to find that our connections ran deep. “Hood wrote that she had been ‘especially fond of art’ since childhood” (Wolanin 15). Like Hood I too have been interested in art since childhood. Since the age of eight I have been creating my own signature style — exploring colors and brush strokes. Hood is an inspiration to me, although she started off so young, her paintings ended up in a museum. Hood’s story has taught me that I can succeed in anything that I have a passion for.
The value change in the color is present across the composition from the sky in the background to the shadows in the foreground. The sky transitions from a more saturated hue of blue to lighter tints of blue as the sky meets the horizon. The main emphasis is reinforced by the shadows that help create a strong contrast of value along the statue of
In contrast to Stella’s work, Mark Rothko uses organic and naturalistic forms in his composition Untitled, placing emphasis on the edges of the figures. Instead of focusing on architectural forms, Rothko’s work is composed of wispy washes of color causing the viewer to focus on color and space relations. White is a very prevalent color in the work, perhaps calling up images of smoke or fog. The white paint works in the same way as these natural phenomena, covering up the other colors. The splotches of white that cover a majority of the canvas and rest in the foreground, leading the viewer to question whether they are seeing the whole composition and if recognizable forms could exist underneath.
...t is Impressionism. We see that without Paris and its artists there would have been be no break from the traditions and regulations laid down by the L’École des Beaux-Arts and Le Salon. Without Paris the movement would not have gained the recognition that it did. It was aided by the industrial revolution, the Haussmann project, the growth of le café and the revenue from trade by Parisian art dealer Paul Durand-Ruel. We also note how Paris was highly influential in the subjects of impressionist paintings. We see how the camera and colour theory influenced their work as well as how the modern cityscape and social interactions consumed their creations. Even today Paris plays a role in Impressionism. Its museums house some of the greatest examples of period impressionist work on view, showing that nearly two centuries later Paris is still at the heart of Impressionism.
...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.
When I saw Vermeer's Girl with a Pearl Earring about five years ago at the National Gallery in Washington, D.C., I felt something about the painting that I had never felt before when looking at artwork. I felt as if this girl, this young woman in the painting was real, hiding in the museum behind this canvas. She was in the flesh. Her skin was still dewy from three hundred-something years ago, the light across her face still glowing. She was in the round, her eyes followed mine, she was real. She was about to speak, she was in a moment of thought, she was in reflection. This girl was not crimson red or titanium white, she was flesh. Vermeer caught her, a butterfly in his hand. She was not just recorded on canvas, she was created on canvas. She was caught in a moment of stillness. Vermeer creates moments in his paintings. When viewing them, we step into a private, intimate setting, a story. Always, everything is quiet and calm. I realize now it is no wonder I had such a strong reaction to Vermeer the first time I saw him: he is a stillness seeker.