19th-century Parisian painters Georges Seurat and Edouard Manet intentionally produced innovative works that broke away from formal academic conventions and strongly influenced the course of the art world. Manet's 'Music in the Tuileries' (1862) was very first modern painting [1], marking the art world's turning point from realism to impressionism [2]. While Seurat's 'A Sunday Afternoon on the Island of La Grande Jatte' (1884-86) was a novel painting style composed exclusively in the style of Pointillism, which brought on the shift to neo-impressionism from impressionism [3]. Both paintings received criticism from commentators when first exhibited but gained posthumous reputations as highly creative and influential painters [2]. Both chose upscale locations frequented by affluent Parisians for their settings, Manet selecting the weekly musical concerts at the Tuileries gardens near the Louvre, and Seurat selecting the island of Grand Jatte by the river bank of Seine.
Revolutions brought about by industrialization and the
…show more content…
period of Haussmannization (1853 to 1870) in France caused occupational and transportation changes that led to a separation of the traditional family [4]. In Manet's painting the viewer is an onlooker at a highly connected and cultured gathering in the heart of modern Paris during a time of harmony and levity among Parisians. While Seurat also displays a time of leisure and relaxation among Parisians, the subjects in Seurat's painting are strangely disconnected from each other. Manet's garden shows those have benefited from the strong cultural and industrial revolutions enjoying themselves in the apparent absence of the working class, while Seurat's island shows those benefited as having lost something significant in the process. To quote art historian S. Hollis Clayson, "the fracturing of the family and the coexistence with strangers visible in the picture are not shown as emotional or psychological gains for these Parisians. Their release from family ties has won them freedom, but at a cost: it is freedom without relaxation, without apparent fun, without meaningful connections to one another. [4]” Seurat's painting was correctly interpreted by many commentators as explicitly political, this was not unusual since the theme of bringing attention social and labour reform was a recurring theme with many of Seurat's previous paintings [5]. The exact setting of Seurat's painting may vaguely pinpointed, this vagueness in the setting allows Seurat to portray the changes brought about industrialization to the world, not just Paris [3]. In a similar vein, Manet was being explicitly political when he knew that simply painting modern life would be considered appalling to the academic establishment [6]. Even though both are paintings of ordinary scenes from everyday Parisian life, they have a powerful effect on the viewer. Both of them painted the theme of leisure within a limited colour palette, with Seurat using only colors from the solar spectrum with absolutely no earth tones [4][7], and Manet using many colour combinations along with earth tones [8]. Both paintings employ the impressionist emphasis of light, with Seurat using light to intensify the colours on the solar spectrum emphasized by the afternoon sunshine bathing the scene, while Manet using the rustling leaves and branches of the overhead trees in motion to allow sunlight into the scene [10]. Seurat captures a moment where despite the lively activity, it appears that time has serenely had come to a standstill [9], while Manet captures a fleeting glimpse of joyful times in the Tuileries gardens [10]. In Manet's painting the viewer experiences raw emotion of glancing upon the scene in the moment [10] while with Seurat the viewer experiences emotion of observing the scene while time has stopped [9] Seurat's approach is scientific, geometric, planned, logical and objective [9].
Seurat himself said he wanted his subjects to appear as if they are in a classical Greek frieze [5]. Manet was the exact opposite, being full of spontaneity and motion as seen from the light passing through trees overhead, the excited crowd, the sound of the jubilant music and the blurring of some subjects while maintaining perfect clarity for others. For Seurat, everything was thoroughly planned beforehand, as seen from the exacting composition of his multiple sketches [5]. However, for Manet he intentionally painted at a fast pace with loose brushstrokes [2]. Seurat's painting is entirely based on the combination of light and shadow [5]. Instead of using a mixture of paint to achieve the desired colour, Seurat painted small dots and brushstrokes to achieve the same effect [3][5]. Manet uses a mixture of paints to achieve the desired colour in his painting
[8].
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 ...
most effective paintings of the modern urban landscape of 19th century Paris. At first we see the
The first piece of art that really stuck out to me was The Promenade under the Railroad Bridge by Claude Monet. When I first saw it, I felt like the setting was something out of some type of movie. It actually reminded me of a scene from Pride and Prejudice, when Mr. Darcy was walking toward Ms. Elizabeth. The work is an oil painting and was done in 1874. I feel like this made the painting a blurred look and like the day depicted could have been windy from the way the trees and bushes seem to be leaning over to one set side. It caught my attention because it looked like some type of peaceful, relaxing escapade and that the characters in it were having a pleasant encounter.
The colors that Basquiat uses in Untitled (Julius Caesar on Gold) contrasts with each other as well as introduce a mood. The yellow and the gold are chosen to uplift the painting and bring in the feeling of brilliance but the spots of red that are hidden underneath suggests the idea of violence. The black figure is brought out with the help of the white lines to help define the features, however, it is the light blue underneath it all that balances out the variations in mood. The colors are unmixed and pure, but it is the violent brushwork that gives the painting some agency. How he handles his brush and how Basquiat applies his paint in his painterly style suggests confrontation. He paints viciously because this is how his mind works through the problems in this head. Yet his painting style also helps hold the picture together, from his violent strokes in the background to his planned outlines on the figure and the black lines in the background. This idea of how he paints, using the strokes to become part of the narrative while also being a technique to approach painting, is something that Basquiat picked up from the Abstract Expressionists, like Pollock, before him. By understanding which artists he looked at reveals how to read Basquiat’s painting because he learned how to appropriate their
In conclusion, art comes in different forms. One artist may be able to show thing in ways other artists can’t. Both Seurat and Monet grew up in Paris, France, served in the military, made impressionist art, but yet they’re works are so different from each other.
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.
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.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
himself through his mediums. He used oil on canvas for his medium in this painting. There are
Impressionism is very pretty and complicated. It was from 1860 to 1910. Monet is the perfect Impressionist. Impressionism had its basic tenants. Their subject matter was the middle upper class, the city, and leisurely activities. They painted on en plein air which means they painted outdoors. They painted in snow, rain, storm, just in order to record directly the effects of light and atmosphere. They painted with strokes and touches of pure color by using a great deal of white and rarely black. They recorded the shifting play of light on the surface of objects and the effect light has on the eye without concern for the physicality of the object being painted. They were influenced by Japanese art and photography. One of Monet’s works is titled Water Lilies. The medium of this work is oil on canvas. Monet is an impressionist. He puts up pure color just describe the water. He said, when you go out paint, the impression of the scene not the exact scene.
Claude Monet made the art community address a revolutionary type of art called impressionism. In a style not previously before painted, impressionism captured a scene by using bright colors with lots of light and different shades to create the illusion of a glance. The traditional method of working in a studio was discarded and the impressionist artists carried any needed supplies with them into the countryside and painted the complete work outside. The manufacture of portable tin tubes of oil paints as well as the discovery of ways to produce a wider range of chemical pigments allowed artists to paint in a way unimaginable before this period in time (Stuckey 12). Monet and others, such as Pierre Auguste Renior, Paul Cezanne, Edgar Degas, Berthe Morisot, Edouard Manet, Camille Pissarro, and Alfred Sisley, took this style of art to a new level never seen before.
In the 1880’s the movement known as Impressionism was coming to an end. The eight and last Impressionist exhibition was held in Paris during 1886 (Time). Although Impressionism was coming to an end new forms of art arose to take its place. Some famous artists producing during this time include, Van Gogh, Georges Seurat, and Odilon Redon (Georges). Odilon Redon started his own movement known as Symbolism, which strives to give form to ideas and emotions (Odilon). Another painter responsible for creating a new style is Georges Seurat. Seurat was a French painter who popularized and developed his own style called pointillism.
George-Pierre Seurat was born in France in 1859. Seurat began his career by studying at the “Ecole des Beaux-Arts in Paris under artist Henri Lehmann” ("Georges Seurat," n.d.), before adventuring out on his own. George Seurat was for the most part self-taught, only attending Ecole des Beaux-Arts for one year. He often visited museums, read about new techniques and studied the works of others. Seurat admired the works of Claude Monet and Camille Pissarro these artists and their techniques, particularly their use
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.
Manet’s paintings even before Olympia were not always well received when shown. “To the directors of the Paris Salon, his brushwork was too loose, his subjects too confrontational and his palette too extreme in its contrasts between dark and light.” In his work Manet is