Gilberto Torillo
November 20, 2014
Art 1010-LD07
Prof. Pollak
Museum Paper and Visit: Narrow Street In Paris: Out of hundreds of paintings that were on displayed in the Phillips Collection Museum, the painting that caught most of my attention was of Pierre Bonnard. Entitled “Narrow Street in Paris” he combines different elements to produce a wonderful masterpiece. Painted in the year of 1897, Pierre Bonnard created the painting using oil on cardboard set into the wood panel. The country of origin that was painted was in Modern day France. The different types of elements of art and the principles of design come together in the painting to help make the audience focus more on what is going on in the painting and story the behind it.
Pierre Bonnard was born in France in 1867, being an impressionist painter; he focused on painting the world around him. Having painted tens of paintings, he was inspired by the way things were set in his surrounding. The time era in which his career lifted off matches the time period in which impressionism artist started to become widespread around France and Europe. In the majority of Pierre Bonnard paintings, his style focused on using a variety of colors and light strokes that captures the environment that
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Also, in the painting, we see two horse carriages, (black and yellow), although we see no horses with few people surrounding these carriages. We can also see two large buildings that take up majority of the space in the painting. The buildings, has a mixture of two browns, one lighter than the other which also include the color grey, consisting of 3 levels in one building and 4 levels on the other one. On the mid left, we see rooftops of stores or houses in the painting. And lastly, his signature appears on the bottom right written in the color orange. His brushwork consists of small, loose
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
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 artwork starts outside the barn. The left bottom of the painting holds a brown and white pig walking towards the barn in front of the resting dog lying just inside the barn’s open double doors. The pig’s ears are brown while its engorged nipples suggest it had piglets. As the pig strolls in front of the barn it encounters the remains of animal bones while patches of green grass and dirt highlight the way to the barn. On the opposite side of the pig, stands a reddish brown horse. The horse 's mane and tail are black. Its hind legs are white. The tip of the horse’s nose is white. The horse wears a saddle, bridle, halter, bit and reins. Its left hind leg rises as if ready to bolt. In the bottom right hand corner below the horse reads, “G.H. Durrie 1853.” While the area in front of the barn appears sparse, it is the barn and what occurs inside that is where the action
“A picture is a poem without words” – Horace, the purpose of art is to reveal the sensations of life but also allows humans to express their emotions and views on certain aspects. Jean-Michel Basquiat was a Neo-Expressionist painter throughout the 1980’s who was known for his style. He was African American artist and musician that was part of the SAMO. The SAMO was a graffiti group that wrote epigrams. While growing up, one of Basquiat inspirations that encouraged him to paint was his diverse cultural heritage. Basquiat was a creative self-taught artist who thought outside of the box when it came to painting. Most of the pieces he made were a collaboration of different ideas and constructed them together into a collage. During the 1980’s Basquiat’s art used the human figure to portray Minimalism and Conceptualism. His target market that were in many of his pieces was on suggestive dichotomies that focused on the lower class versus the higher class. Even though Basquiat work was remarkable, he was criticized and faced some challenges among his journey because of the symbols and words that were used his paintings. Despite the criticism,
The major structures in the painting consist of an umber colored cross and three ladders. Starting from the top of the image, there is an old man with a scraggly, white beard holding onto and leaning over the top beam of the cross. He is set off by color, wearing a bright red gown and azure head wrap. The majority of his body rests atop the cross while he stands on the ladder that is leaning on the back of the cross.
Georges Seurat used the pointillism approach and the use of color to make his painting, A Sunday Afternoon on the Island of La Grande Jatte, be as lifelike as possible. Seurat worked two years on this painting, preparing it woth at least twenty drawings and forty color sketched. In these preliminary drawings he analyzed, in detail every color relationship and every aspect of pictorial space. La Grande Jatte was like an experiment that involved perspective depth, the broad landscape planes of color and light, and the way shadows were used. Everything tends to come back to the surface of the picture, to emphasize and reiterate the two dimensional plane of which it was painted on. Also important worth mentioning is the way Seurat used and created the figures in the painting.
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
We can see a clear representation of the impressionist that tended to completely avoid historical or allegorical subjects. In this painting, Monet’s painted very rapidly and used bold brushwork in order to capture the light and the color; include relatively small, thin, yet visible brush strokes. An insistence on what Monet called “a spontaneous work rather than a calculated one” – this in particular accounts for the sketchy and seemingly unfinished quality of the Impressionist paintings. In the texture, he played with the shadow and light and created variation in tone, he employs patches of depth and surface. The light in the painting come from back to the windmill, it is a light shines softly behind the houses and the windmill. He was shown each brushstroke in the painting. Balance is achieved through an asymmetrical placement of the houses and the most important the
own painting. He sees some figures, along with a castle and somewhat of a landscape. The artist
During a visit to Brittany, Matisse discovered Impressionism (Essers 8). The works of Cezanne and Van Gogh influenced him. When he returned, he exhibited his first painting, Dinner Table, in 1897. This was his first painting of impressionistic style. Matisse’s art began to concentrate on landscapes, still life, and domestic interiors. Still life is a theme Henri would follow for the rest of his career.
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.
There are several elements in this painting which may be difficult to interpret but may have meaning, such as; the headdress on the ground, the horse on the flag, the two men in different style and colored clothing, the smoke that appears much darker, and the two men pointing away from the scene, the wind direction being portrayed differently.
Although Cassatt was an avid impressionistic painter, this work is a print created in Japan; Relating to Monet’s work, Caravaggio’s The Calling of Saint Matthew is also an oil on canvas painting. Showing that works from different cultures can be very alike in many ways and that while art is always changing, it is also, staying the same. Antibes Seen from La Salis was painted by Claude Monet in 1888, in France. In the 1880’s Monet was staying in a castle in Antibes, France.
Impressionism grew out of and followed immediately after the Barbizon school. A distinctive feature of the work of the Impressionists was the application of paint in touches of mostly pure colour rather than blended; their pictures appeared more luminous and colourful even than the work of Delacroix, from whom they had learned the technique. To the modern eye, the accepted paintings of the salon artists of the day seem pale and dull.
Claude Monet is often considered one of greatest most dedicated of the Impressionist painters. His aim was to catch the light and atmosphere, something that was scarcely done before. He enjoyed painting outdoors and developed a free and spontaneous painting technique. His brushwork is remarkably flexible and varied. He often changed his technique, sometimes broad and sweeping other times dappled and sparkling.