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An essay on Matisse
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The Chapel of Vence: Art and Enlightenment Best known for his use of color, Henri Matisse cleverly cultivated his status as a modern artist using many different styles of painting from Impressionism to Fauvism. The artwork of Matisse has been a milestone in the history of painting. Henri Matisse’s self-proclaimed masterpiece, however, a chapel in Vence, France, is a small, minimalist building. The amalgamation of modern art and the sacred creates a unique spiritual experience in that it welcomes Christians and non-Christians alike to appreciate the artist’s religious symbolism. The elegantly simple architecture of the chapel, the use of light in the space, and the binary of colors on opposite walls have a calming, cleansing, and transformative effect that is undeniable. Matisse’s design takes a new turn into the modern technique, with clean lines and new influence of nature. A tall structure decorated with crescent moons that simultaneously resembles a steeple and a bell tower greets the visiting pilgrim from afar beckoning through sight and sound. Upon approach, the cross at the top of this extremity indicates the building’s religious affiliation. The interior of the chapel is not particularly ornate nor very large, but the white stone walls create an enormous sense of space. The chapel is L-shaped and the altar is placed at an angle where the two portions of the structure meet. This minimalist aesthetic in which the design is reduced to the necessary elements creates an impression of extreme simplicity by enlisting every feature to serve multiple functional and visual purposes, such as the windows that provide light and color to the chapel. Architecture, when used as a means of personifying principles of harmony, can turn ... ... middle of paper ... ..., transcendental lighting, and color contrast. No less is this a religious experience than the visits to classic cathedrals that dominate the French landscape from the shores of Mont St. Michel, to the Ile de la Cite’s Notre Dame, to the countless other examples of the French expression of faith through architecture. I must admit to surprise at this overwhelming reaction on my part to Matisse’s talent as an architect and designer. Winding up the mountains to this remote convent, my mind questioned the wisdom of the trek as my comrades enjoyed the Riviera once more at the beach and I thought to myself, just one more church. Never did I expect such a transcendental experience as my visit to this modern masterpiece. Long after the suntans will fade, my memory of this place will deepen my appreciation of Matisse’s art and the importance of the effect of art on culture.
When that room is entered all voices are hushed, and all merriment silenced. The place is as holy as a church. In the centre of the canvas is the Virgin Mother with a young, almost girlish face or surpassing loveliness. In her eyes affection and wonder are blended, and the features and the figure are the most spiritual and beautiful in the world's art.
The Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any...
After walking inside and trying to first experience, the church, and all its beauty and ornateness, I began examining the floor plan and elevations of the cathedral. Grace Cathedral was build in a gothic style, which it represents in its architecture inside and out. There were three huge rose windows. One at the very top of the main entrance and one on either end of the transept. There wer...
The Rue Neuve-Sainte-Geneviève in particular is like a bronze picture frame. It is the only frame suited to our story....
The ability to create a picture of The Annunciation in one’s mind is a key factor in understanding the analysis of the work. Francisco de Zurbaran approaches the painting with a naturalistic style. The painting features a room in which a woman – like angel is seen at the left kneeling on the ground before the Virgin Mary. The figure of Mary is placed between a chair and a small wooden table draped with a green cloth. Mary disregards an open Bible on the table, as she appears solemn while staring at the floor. Floating above the two main figures in the upper left side of the painting are cherubs resting on a bed of clouds. They happily gaze down at Mary with eyes from Heaven.
The nineteenth century produced a large number of works of art from numerous of artists. Since I have been to the Art Institute in Chicago, I decided to walk through this gallery online. Remembering that when I went there I liked a lot of the artwork that I saw. There I stumbled upon an artwork by Claude Monet called “The beach at Sainte-Adresse’. This painting caught my eye because of the beach scenery. The beach has always been my favorite place to go, where I am able to relax and clear my mind. This is what I was able to feel when I saw this artwork.
Brunelleschi's Chapel In no other time was Roman influence in architecture more profound than in 15th century Florence. Filippo Brunelleschi's Pazzi Chapel revived interest in Roman architecture. Like Masaccio's The Holy Trinity, the Pazzi Chapel implemented numerous classical architectural elements. Like Masaccio's frescoes, the chapel is a highlight of the Renaissance. The chapel, however, was a Roman avatar.
Weisse, Daniel H. “Architectural symbolism and the decoration of the Ste.-Chapelle.” The Art Bulletin 77.2 (1995):308. Academic OneFile.
Weisse, Daniel H. “Architectural symbolism and the decoration of the Ste.-Chapelle.” The Art Bulletin 77.2 (1995):308. Academic OneFile. Web. 7 Apr. 2014.
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
The iconography of the picture could represent art in the view of the fauvists. Fauvists wanted to be free from tradition and natural colors. They wanted to be free to explore their world of colors as they saw fit. Fauvists and expressionists did not like to be held to strict rules when it came to painting. It could be that Le Bonheur de Vivre was a state in which they where trying to reach, but in reality could get never get there. On the other hand, could it be a place where they could only reach in their dreams? Critics have struggled with the interpretation of Matisse’s painting since the first display. That may have been Matisse’s meaning after all.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
We do tend to expect certain things when we enter a place of worship, or peruse an active ministry, and truthfully, when taking in Christian oriented art. There are a couple reoccurring emblems, symbols, well-worn themes, and subjects which have been deemed safe, coming under overuse, carrying the weight of a saltine in the impact it makes on people, including us. While intentions are almost always well meaning, these conventions appear to the secular as a genre of its own in culture and art, quite often ringing with an unsavory note of incompetence. That’s already an unpleasant attribution to a faith that has changed the world, having built the infrastructure of empathy that has survived ages and permeates the social development of our western culture. It speaks to a deeper issue within the Church itself, which is a woeful lack of inspiration.
Art through the ages has been a powerful voice for both secular and religious ideas, and the treasury of Christian art should not be relegated to museum viewing. The art should be displayed in the church were it is meant to be. Its richness can be brought to people in schools and adult study groups. This, in turn, can help to bring art up to the level, that the faith deserves. Churches should fill the walls with art to show what happened throughout the bible. Art creates connections and associations between what we see and what we sense happened. Both ritual and art challenge us to take us beyond the immediate, if they are to bring about true insight and transformation in our lives.