EXPRESSIONISM In the artistic style known as expressionism, the artist doesn’t try to reproduce objective reality. Instead, the aim is to depict the subjective emotions that a person feels in response to objects and events. The style is characterized by the use of distortion, exaggeration, and fantasy to create vivid or jarring effects. As a movement, the term 'Expressionism' usually denotes the late-19th century, early-20th century schools of emotive or interpretive art, which emerged mainly in Germany and Paris as a reaction to the more passive style of Impressionism. In the sense that it was a reaction to Impressionism, we may describe expressionism as an example of "post-Impressionism".
Instead, they placed more emphasis on the “structure, content, and formal order” ("Impressionism & post-impressionism,"). They liked to use unnatural colors and use geometric shapes, unlike the Impressionist’s use of soft lines and natural colors. Also, instead of painting outdoors to capture the moment, Post-Impressionist painted in a studio, and their paintings were based on the emotion and concept of the artist (Emelda, 2011). Like the Impressionists, however, they believed the originality of the painting was important. Like many artists of the 1880’s, the Post-Impressionist wanted to portray “emotion and intellect as well as the visual imagery” ("Post impressionist,").
Essay Topic #1 Identify define or describe, and finally compare and contrast two of the Expressionists groups of the early 20th century. Refer to specific artists and works to illustrate your points. “Expressionism is a tendency of an artist to distort reality for an emotional effect; its subjective art form.” (1) Expressionism was seen in many different kinds of forms which included literature, theater art, paintings, music and architecture. Expressionism developed in the late 19th centuries and in the early 20th centuries and they were academic standards which were overcome in Europe since the Renaissance which were between 1300 and 1600. (2) An artist tries to see the most compelling form in the piece of art.
The sun becomes the focus because of the red color. It is aimed to capture the fleeting life. Since this piece is painted during the Impressionistic period, the style centers on the overall picture, not on the details. Although some critics derogate Monet’s art for its quality as to whether it can be defined as impressionism, a reaction to the brutal and chaotic transformation of French life both in content and in style, Monet’s painting clearly suggests the fleeting life of urbanized Paris. Unlike the first piece I described, Turner’s The Slave Ship is more dramatic and intense.
History of the Role of Definitions in Art In the September 1956 issue of the Journal of Aesthetics and Art Criticism Morris Weitz published a highly influential article titled “The Role of Theory in Aesthetics” in which he argued that the traditional aesthetician’s agenda of providing a definition of ‘art’ and of ‘artwork’ is a misconceived enterprise, and that the very nature of the concept ‘art’ precludes definitions.1 Weitz’s article was immediately met by a number of objections. This thesis is a systematic defense of the kind of antiessentialist aesthetic theory that Weitz set forth over fifty years ago and as such it will attempt to answer most of the many objections laid against his arguments. This thesis then is confined to the role that definition plays in aesthetic theory. That is to say: is the question: “Is this object an artwork?” an answerable question? Definitions of art generally attempt to provide necessary and/or sufficient conditions to distinguish objects that qualify as artworks from objects that do not qualify as artworks.
Cézanne did not agree with the Impressionistic trait of portraying the world through light, instead, he built up images by a generous use of color. Cézanne would distort objects and his works would often consist of numerous viewpoints on the one canvas. Cézanne worked with and was greatly influenced by other Impressionists he associated with, including Degas, Monet, Pissarro and Renoir. From the very beginning Cezanne showed aspects of Abstract and Cubism in his works. Cezanne also admired Romantic painter, Eugene Delacroix, who used color instead of lines to define objects; this inspired him to begin his quest for composition using color alone.
Thesis Statement: The differences between art and parody on art are in position of art, aesthetic degradation and artist’s views on the concept of art. II. Main Body A) Topic sentence: In course of time position and role of art are changing. 1. Supporting idea: Then: Artists created paintings for mental pleasure a) Reacting on subconscious and emotional level b) Showing feelings and desires 2.
Figure 1 is a painting done by Jackson Pollock, who was an abstract expressionist. His painting had “ thinned paint that was applied to unprimed, unstretched canvas that lay flat on the floor rather than propped on an easel ” (The Metropolitan Museum of Art 2007). These materials were used to help to portray the heavy, graceful and arching aspects of his painting. “Every material has its own individual qualities. It is only when the sculpture works direct, when there is an active relationship with his material that the material can take its part in the shaping of an idea.
Abstract expressionism was first used as a term in art in 1919, when an Berlin artist Wassily Kandinsky works was described as abstract, but the real movement of abstract expressionism art didn’t really take off until after World War II, (1950’s), putting New York City, in the center of the art world. Abstract Expressionism began as a combination of emotional intensity and self-expression, and action painting. In 1943, Arshile Gorky (1904-1948) painted “Garden of Sochi. Which is the third in a series of paintings of his childhood memories. Jackson Pollock (1912-1956) used action as a form of abstract expressionism, in which paint is spontaneously splashed, smeared or dribbled on canvas.
Abstract An introduction to surrealism as an art form and what it means by focusing on the most famous piece from perhaps the most famous surrealist the world has ever known. The Freedom of Surrealism Surrealism is a form of abstract art, born out of the Dada movement in the 1920's. In the first Manifesto of surrealism, Andre Breton set out to create an artistic form that would release the artist from the restrictions of normal reality and allow them to live inside their subconscious minds. Today surrealism, whether in the form of painting, writing or even film, is characterized by extreme juxtapositions, elements of surprise and more often than not, various underlying themes that are very personal to the artist. The Vancouver Art Gallery's exhibition entitled "The Color of my Dreams: The Surrealist Revolution in Art" was of great interest to me because of the focus it lent on surrealist art, what it means and how one can interpret it.