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Contrast impressionism and post impressionism
Contrast impressionism and post impressionism
Impressionists effects on modern art
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The Bonaventure Pine currently resides in the Museum of Fine Arts in Houston, Texas (Google Art Project). The painting was gifted to the museum by Audrey Jones Beck, but was originally painted by French painter Paul Signac using oil on canvas (Google Art Project). The painting simply shows a big pine tree sitting on top of hill in front of a lake. We don’t know where this place is but considering that most post-impressionist painters lived in Paris, France, we can assume that it is a scene by a Paris lake. The post-impressionist movement took place in the late 19th century and it put more focus on not just the scene taking place, but the qualities of line, patter, and other art elements and how they brought feeling to a painting (Kleiner 852). By using a post-impressionist style called pointillism Signac was able to blend his colors in order to make the tree, sky, and lake morph together while still being easily distinguishable from one another. …show more content…
The way the individual pines on the Pine Tree are painted make it look like it is a calm day because they aren’t in a position that indicates that there is any wind blowing. The tree is very large though and is in the shape of an almost perfect umbrella with a few outlying branches. The calmness of the tree and apparent calmness of the wind give the painting a very relaxed feeling. The fact that no one is standing around or walking around the tree adds to the effect of this painting being relaxed as there is nothing major happening. In the background on the lake there are 2 sailboats that seem to be standing perfectly upright, even the water sits calm indicating again that this is a windless day. It is only possible to see a small section of the lake though as the rest of it expands both past the foreground hill, and back into the hills all the way in the back of the
For example, he uses texture, color and organic forms to make the landscape look as real as possible. Most of the shapes are formed by shifts in colors and line because the canvas are two-dimensional. The viewer can observe that the painting is dominated by greys, browns, ochers, and other natural colors such as green and yellow to give the scene a more nature-like look. All the components and objects painted in this piece appear to have the same texture and color as the ones found in real life, such as rocks suggesting a rough hard texture and clouds being soft, which probably means that Vernet took in consideration real landscapes and places he might have seen in real life. While using different shades of grey, and painting dark clouds, Vernet was able to convince that a storm was approaching but he also decided to add source of light coming from the upper left corner by using a golden yellow color to create a sense of warmth, which creates a nice contrast between the light and the coldness from the overall shadows that seem to dominate the artwork, creating variety; however, the repetition of colors such as greys gave the whole piece a sense of unity and they also express the shadows of a stormy day. We
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
Also, I thought that the trees seemed impossibly long and unbelievably tall. They looked like they could go up and up forever. I stared long and hard trying to figure out how tall they must actually be. The areas where the trees were seemed higher than the stream. So, that the land actually looked like somewhat of a "u" shape. I think that it could be some type of valley. I thought the piece, in its entirety, was exceptionally painted and insanely beautiful. After, leaving it I felt inspired.
This work shows impeccably drawn beech and basswood trees. It was painted for a New York collector by the name of Abraham M. Cozzens who was then a member of the executive committee of the American Art-Union. The painting shows a new trend in the work of the Hudson River School. It depicts a scene showing a tranquil mood. Durand was influenced by the work of the English landscape painter John Constable, whose vertical formats and truth to nature he absorbed while visiting England in 1840.
Somehow I related to this painting at the moment. Looking back in the distance in the sky you see that there was a turbulent time. Saturday was such an awful morning. When backing up you see the bottom of the picture. The lush lively flowers show the bright side happy ending. This was my reminder that there is a calm after the storm just like in the picture.
The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the conscious decision to put so much effort into the tree itself and then to use obvious brushwork in the leaves makes the trees much more firm and immovable in the landscape. The brushstrokes are very clean and precise on the trees in the background.
Pointillism was a major reason in why Seurats painting looks so lifelike. During the painting of La Grande Jatte, Seurat simplified his brushwork to such an extent that his painting seems to be composed of nothing but tiny, more or less circular dots. Seurat’s experiments with color led him to paint in small dots of color which are arranged in such combinations that they seem to vibrate. Individual colors tend to interact with those around them and fuse in the eye of the viewer. This approach is not unlike the dots or pixels in a computer image. If you magnify any computer image sufficently, you will see individual colors that, when set together, produce an image. Seurat was interested in the way colors came about. With the enhancement of the luminousity of colors made possible by the investigation of scientific optics, he saw positive merit in a method in which the movement of the brush no longer demanded the slightest skill: ‘Here the hand is, in effect, useless, deceit impossible; no room for bravura i...
There is, however, a slight opposition to this intense realism. It can be seen in Wood’s representation of foliage. The trees that appear in the upper left corner look like large green lollipops peeking over the roof of the house. The viewer knows that trees do not naturally look like that. Wood has depicted them as stylized and modern, similar to the trees seen is Seurat’s Sunday Afternoon on the island of La Grand Jatte. After viewing other works by Wood, it is clear that he has adopted this representation for the trees in many of his paintings.
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.
Upon further review I was instantly intrigued by the technique in which it was created. Not a single brushstroke of what is commonly used in paintings but rather small perfectly round dots in vibrant yellows, greens, oranges, and blues. Small dots of color perfectly marrying together to form a single image. One could instantly imagine the painstaking hours and the amount of effort that went into creating such a beautiful piece.
The painting Olive Trees, now at the Minneapolis Institute of Arts, is one of a series of ten or twelve paintings of olive orchards, which Van Gogh painted in 1889 while living at the asylum of Saint-Remy. This painting is a landscape accomplished in bright, complementary colors, with Van Gogh’s characteristically brisk brushwork. The image is divided roughly into thirds, with the middle zone, the trees, being highly capricious. The brushstrokes describe the lay of the land, the movement of the wind in the trees, and the rays of the sun. The sun itself is hugely misrepresented in size, and highlighted also by an outline of orange. It dominates the picture and takes on perhaps a “supernatural” aspect, possibly representing deity or faith. The curved trees all lean, even quiver, away from the center of the painting. They cast violet shadows which shouldn’t be possible, given the placement of the sun: Realism is sacrificed for the content. The most prominent of these shadows is at the center of the foreground, and is not associated with any one tree. One could see this central shadow as the thing from which the trees are bending. The base of each tree is painted with red lines that ambiguously outline where the shadows would fall if the sun were directly overhead. Both the ground and the trees have a singularly wave appearance, while the sun is more stable, and the distant mountains are still.
Working through the styles in turn: Post-impressionism This style is definitely descended from the Impressionists, except perhaps for the method of paint application, as shown in Seurat’s A Sunday Afternoon on the Island of La Grande Jatte (Harris & Zucker, n.d.), for example. Another difference is the use of light, which can lack a sense of atmosphere, as opposed to Impressionists creating atmosphere with light. Some artists, such as Gauguin, created a sense of mystery and a dream-like space, which was also different from Impressionists. Descending traits tended to be such elements as, making certain objects or figures have a compositional function in order to pull the viewer into the scene, or cleverly separate us from different activities
Another influential post-impressionist artists was George Seurat. Seurat’s main emphasises were surrealism and expressionism. Seurat used Renaissance techniques and styles, creating a hybrid approach to Post-Impressionism. This scientific, more disciplined approach is called Pointillism or Neo-Impressionism. Pointillism is characterized by applying many small dots of pure color so that they become blended to the viewer’s eye. The aim of pointillism is to produce a greater degree of luminosity and brilliance of color. With his new techniques, Seurat generally painted the middle class during their leisure time and his subjects include circus, parks, and harbors.
The implied sunlight is natural that has an illusion of coming through the clouds, the reality of the sunlight seems to dry out the land. Yet, it symbolizes the overcoming of the end of a drought on the rural crop lands. The colors of neutral tones are used predominately throughout the landscape. The brown neutral-toned houses are surrounded by wisps of yellow, overgrown, grass which seem to represent the destruction that mankind has caused, in turn, is suppressing nature and holding back the potential beauty it could unleash. The dull grass and trees lack vivid colors and present a lackluster mood. Yet, the yellow grass draws you to the horizon of the painting. This seems to resemble the hopefulness of a new crop in the dry crop land. The yellow grass shows the harsh results of a drought that has been sprinkled with blue horizontal streaks. The blue horizontal streaks demonstrate puddles of water as if it has recently rained. The blue color emits a feeling of calmness as if the uneasiness of the drought season has been lifted. The colors lack blending and create a blunt contrast appearance. The dark shadow in the bottom right corner mysteriousness and an ominous feeling of an omniscient presence. The form the artist chose to work with demonstrated an organic form with a combination of a geometric form because of the three structures at the focal point of the painting (DeWitte, et al., 2015). The artist made this choice to show the results of a drought caused by the