The common colour in Margaret’s hat and top act almost as guide lines and our focus is drawn to the space in between. The point that the model is of a Margaret and not of him shows that Quilty doesn’t think that just painting himself isn’t his idea of a self-portrait because it isn’t expressing himself. So he painted a portrait of Margaret Olley whom is someone he admires and has probably influenced him in some way otherwise, why would he paint her specifically? When he had asked Margaret to model for him she declined saying she didn’t like her face and bewildered by her answer he persevered saying that wasn’t true and continued to ask her. Eventually Margaret accepted the request, I think that because of the reason she gave when she declined the first time inspired Quilty to prove her wrong, to show her that she is beautiful and is an important person to
Impressionism was the first of the modernist art movements. The term impressionism is derived from Monet’s artwork Impression: Sunrise, which is a demonstration of the values of the movement. Impressionism began in France in the 1860’s and exemplified the rejection of traditional art making methods and began abstract art. The impressionists (Monet, Pissarro, Renoir, Degas) veered away from the realistic style paintings which society valued and developed a darker and sketchier style. Their paintings reflected every day scenes and landscapes, often painting on location and in plein-air (the open air).
There are no boundaries for the color because the color itself is too overwhelming to be controlled. These colors have no narration, just a chaotic form that creates its own reality. Black Lines has a lot of excitement expressed through the quick movement of the objects. It also has a calm emotion from some of the circular shapes. Some shapes are solid while others are sketchy, making the viewer feel indecisive about their mood.
Similar to brushstroke, the line in Matisse’s painting is very fluid and smooth and creates solid figures by the boundaries between colors. In Kandinsky’s painting the lines are very coarse and random. Also, the spacing in the paintings is very different. In Matisse’s painting, the placement of the people is well balanced and spaced out throughout the painting. In addition, though Matisse’s colors are very flat, he creates space through the
Seurat’s Grande Utopia Nicole van Rootselaar AHMS 1000 In Linda Nochlin’s essay she attempts to prove that one of Seurat’s most famous works, A Sunday Afternoon on the Island of La Grande Jatte, is anti- utopian. To illustrate her thesis, Nochlin recalls several paintings done before The Grande Jatte which convey an idealized past or an impossible perfect future and uses them to contrast with what she deems as Seurat’s sceptical view. Going on, Nochlin compares Seurat’s stylistic choices to those of other great artists of the time, making the point that through the mechanical placement of coloured dots, Seurat removes himself from his work, turning The Grande Jatte into a cold representation of modernity. Rather than portraying smoothness and youth, like the other great works that Nochlin mentions, such as Papety’s Dream of Happiness, Seurat utilizes pointillism. Nochlin believes that Seurat’s use of this technique dehumanizes the figures.
Georges Seurat was motivated by study in optical and color theory, Georges Seurat contrasted miniature dots of colors that, through optical unification, form a single hue in the viewer's eye. He believed that this form of painting, now known as pointillism, would make the colors more brilliant and powerful than standard brush strokes. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame. In creating the picture, Georges Seurat employed the then-new pigment zinc yellow (zinc chromate), most visibly for yellow highlights on the lawn in the painting, but also in mixtures with orange and blue pigments. In the century and more since the painting's completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Georges Seurat's lifetime.
In the sense that it was a reaction to Impressionism, we may describe expressionism as an example of "post-Impressionism". In any event, whereas Impressionist painters sought only to reproduce nature (notably the effects of sunlight), Expressionist painters sought to express their feelings about what they saw. It was a more active, more subjective type of modern art. The roots of expressionist art during the modern era can be traced back to the extraordinary landscapes and other works (see Interior at Petworth, left) of the British artist JMW Turner (1775-1851). His unique style predated the emergence of the late 19th-century Expressionist impulse by at least 40 years.
Impressionist artists were determined to paint only what they saw and strived to portray the "immediate impressions" of their senses, leaving it up to the viewer to supply additional details (Burns, 1969, p. 811). Figures in these paintings were often vague, with only a few symbolic details signifying the object as a whole. Also small touches of primary color were placed next to each other, without blending them, but with a view towards recreating the effect of light, as the impressionists were convinced that "light is the principal factor in determining the appearance of objects" (Burns, 1969, p. 811). In their pursuit of light, the impressionists abstained from working with a studio, in favor of woods, fields, and other places where they could capture the effects of natural sunlight and shadow. Fleming (1974) speculates that these artists were vastly influenced by the technological development of photography, as well as the by the scientific discoveries of the nineteenth century as to the nature of light, as well as visual physiology.
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.
Impressionists, like the Cubists found importance in depicting nature, but their difference was that Impressionists limited themselves, while the Cubists found that limitation was the only error in art. Even though both genre of artists had a similar goal of painting nature and beauty through similar forms, such as the manipulation of patches of color, whether it was through the Impressionistic use of broken brush strokes, or the Cubists’ fragments of color, the Impressionist artists thought paintings of nature should be done in nature to avoid any chance of hindering the true emotion and landscape depicted, while the Cubists felt that it was important to imitated nothing and to create an image that evoked the reality of the subject, without directly doing so through