In Vetheuil in summer, the picture has been painted from across the river overlooking Seine, with the flicker of individual brushstrokes demonstrating Monet’s obsession with the recoding of light and color in accurate detail. It is quite fascinating that this particular painting influenced the future of expressionistic artwork that would have increased abstract character.
Fig 1: Vetheuil in summer
The painting as shown above depicts Monet’s careful use of color to portray light of this particular summer day in further detail. To a large extent, the painting is representative of Monet’s shifting focus. Each brush stroke has become significant, fluttering with light through its many quick dabs. In this regard, the artwork that could have passed of as mere
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The use of distinct contours around the village helps the viewer’s eye pull the shapes of the buildings from the array of color within the painting. Each contour brush stroke is precisely placed to bring the viewers attention to the village without taking their focus away from the expressionistic color and atmosphere. The vibrancy of color is perhaps what stands out most in Vetheuil in summer. It is as if the color is there to show the deeper emotion within the piece. Thanks to the colors this work of art is not just a painting of a village and a river. You can evidently see Monet’s expression of summer through his color pallet. The reds and oranges mixed into the water act as a reflection of the village are especially powerful in getting Monet’s view of summertime across. Every stroke on the page seems to have the same density and thickness and makes every piece of the painting appear to unite beautifully on the canvas. The flow and consistency of the brush strokes are as if it was painted with a single rhythm or
The face of the portrait is detailed, and more naturally painted than the rest of the composition. However, the left iris exceeds her eye and extends past the normal outline. The viewer can see every single brush stroke resulting in a unique approach to the capturing human emotion. The streaky texture combines with the smoothness flow of the artist’s hand creating contrast between the hair and the face. The woman’s hair is painted with thick and chunky globs of paint. The viewer can physically see the paint rising from the canvas and flowing into the movement of the waves of hair. Throughout the hair as well as the rest of the portrait Neel abandons basic painting studies and doesn’t clean her brush before applying the next color. Because of the deliberate choice to entangle the colors on the brush it creates a new muddy palate skewed throughout the canvas. Moving from the thick waves of hair, Neel abandons the thick painting style of the physical portrait and moves to a looser more abstract technique to paint the background. Despite the lack of linear perspective, Neel uses a dry brush technique for the colorful streaks in the background creating a messy illusion of a wall and a sense of space. The painting is not clean, precise, or complete; there are intentional empty spaces, allowing the canvas to pear through wide places in the portrait. Again, Neel abandons
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
Contextual Theory: This painting depicts a portrait of life during the late 1800’s. The women’s clothing and hair style represent that era. Gorgeous landscape and a leisurely moment are captured by the artist in this work of
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...
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
From the piece of artwork “Rain at the Auvers”. I can see roofs of houses that are tucked into a valley, trees hiding the town, black birds, clouds upon the horizon, hills, vegetation, a dark stormy sky and rain.
Small Country Farm at Bordighera was probably painted in March and represents his finest achievement there. Years later Monet mentioned it with one other painting of the sojourn as a work with which he was especially satisfied. In it, Monet used remarkably varied brushwork to create a wide range of optical effects and to organize his pictorial space as the viewer's eye is carried from the thick, bushy vegetation of the foreground to the hazy mountain peaks of the distance. Above all, the painting is remarkable for its bold handling of color and rainbowlike palette, which point away from the years of classic Impressionism to the color-saturated paintings of Monet's final decades in Giverny.
When first approaching this work, one feels immediately attracted to its sense of wonder and awe. The bright colors used in the sun draws a viewer in, but the astonishment, fascination, and emotion depicted in the expression on the young woman keeps them intrigued in the painting. It reaches out to those who have worked hard in their life and who look forward to a better future. Even a small event such as a song of a lark gives them hope that there will be a better tomorrow, a thought that can be seen though the countenance by this girl. Although just a collection of oils on a canvas, she is someone who reaches out to people and inspires them to appreciate the small things that, even if only for a short moment, can make the road ahead seem brighter.
The use of oil paints to create this image allows Monet to use a blend of purples, blues, and greens with yellows and pinks. The mixing of these colors creates the contrast between light portions and dark portion...
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.
The composition concentrates mainly on the foreground .It has three main points of interest, the small rowing boats, the artificial island and the floating barge .It also has a stretch of trees and foliage in the background painted in a much lighter fashion. Monet?s painting has a very different composition from Renoir?s painting of Grenouillere, which was done at the same time; Renoir?s painting is focussed much more on the artificial island and the people on it. Monet uses a combination of thick bold brushstrokes and small short soft brushstrokes; this creates a nice varied look and helps give a good impression of perspective. The tone is also very varied as it is Very light in some areas, but it is also quite dark in others, such as the shades on the barge. The use of dark shades in the foreground makes the boat look so realistic and quite 3D. Although the middle ground is flatter this helps add to the perspective. The water ho...
One really interesting thing about this painting is that even though the sun seems to be the brightest object in the painting, viewers can also find the brightest part in this painting without the sun. This is because Monet depicted the light and the shade for each object. When carefully observing the shadow of the sun in the water, there are two parts to each object color, which are orange and white. In this way, these paint strokes show a feeling of vitality to viewers. In addition, he applied the relationship of light and shape to illustrate a picture of the morning port, and wanted to give viewers an impression of liveliness. The early morning sun is depicted rising over the foggy harbor with ships and other various boats at port (Monet). The shadows of the boats and figures and the reflection of the sun’s rays can be seen on the water’s surface (Monet). All these elements show the relation of near and far being applied through light and shade. For example, the ink blue ships are in the front, while the light blue ships are in the back, and the clouds near the sun are colored orange, while the clouds far from the sun are colored yellow (Monet). Monet painted an energetic scene by drawing numbers of element in different colors and situations. From the light and shade aspect, viewers can understand what Monet drew in this painting, and feel a sense of
In traditional oil paintings, artists usually use dark shade or perspective to create space in canvas. Generally speaking, there are almost no dark shade in Matisse’s artworks. His artworks are almost light value and high in intensity. He boldly used high saturation color in shade. Also, he even didn’t obey the original color during creation. Take the oil painting, The Green Line, as an example, the author asserts that Matisse used cool color and warm color to depict the woman’s face instead of separating the face into a lighter and darker side. Matisse changed the local color by using a greenish-yellow shade in the woman’s left face. In the center of the portrait, there is a green line drew as a shadow of line in the woman’s face. Thus, Matisse arranged bright color on canvas to create three dimension in the painting and the flatness of rendering (144-146). Furthermore, in Matisse’s cut-outs projects, Neff notes that Matisse focused on arranging the placement of color in cut-outs. He emphasized that colorist must consider ‘relationships’ between color. Otherwise, single color doesn’t express meanings. Also, Matisse used color as ‘space’ in order to organize color accords (Neff 28-29). All in all, Matisse dealt with color in his visual journal, especially in bright color. He depicted shade by using bright color instead of darker color which represents his unique style in modernist
The splashes of warm colors red and orange in the sun brings out the beauty of the sky. Also vertical elements are used to capture the effects of particular moment as Monet sketched this painting. Also, Monet used a precise process which includes: croquis, esquisse, ebauche, pochades, and etudes- which begin his painting
He uses unity, balance, emphasis and subordination, and rhythm to design each piece. He has created a unified piece in, Autumn Effect at Argenteuil the use of vertical lines, the height of the trees and the stream. He also adds a little variety by painting the town in the horizon. In Garden at Sainte-Adresse, he uses the same technique, but only opposite. He has unity by painting the patio, sea, and sky horizontally, but adds some variety by painting the flag poles and flowers vertically and by painting one boat, in the forefront and the fence being higher on one side. Both piece have a balance to them. In Autumn Effect at Argenteuil, the forms above the horizon mirror the forms below the horizon, in the reflection of the water. It is not a perfect balance, but it makes the piece more calming to look at. There are three horizontal bands of the painting, Garden at Sainte-Adresse; the patio, sea, clouds, and sky and with the vertical lines of the flag poles and flowers, it gives the piece a nice balance. According to Getlein, “Emphasis and subordination are complementary concepts” (Getlein, 2012, 127). In Autumn Effect at Argenteuil, the emphasis is on the stream and trees, but the subordination is the town on the horizon. The emphasis in Garden at Sainte-Adresse is the people, patio, and flowers. The subordination is the boats on the horizon and the sky. “Through, repetition, any of the visual elements can