I have chosen to interview Impressionist painters Claude Monet and Edgar Degas because this type of painting is my favorite style. The paintings, of that period, are very light, airy, with brush strokes in a feathering fashion that were often done en plein air, which translates to “in the open air”. Both Monet and Degas were considered founders of impressionism, although Degas “rejected the term, and preferred to be called a realist” (Gordon 31). These two painters are, in my opinion, the best of the period. Mr. Monet, what is your definition of “pure impressionism”.
This is all around a warm and inviting piece. Mattisse’s painting of Harmony in Red is quite the opposite as far as technique used in the painting. Like La Desserte Mattisse used oil on canvas for his medium. Mattisse recreated La Desserte as Harmony in Red in 1908-09, 10 years later after he painted La Desserte. Mattisse used bright vivid colors that really catch the eye and stand out.
Linda Cheung Professor Bender Intro to World Art Paper Assignment 13 October 2011 Portrait of Tomas Garrigue Masaryk by Oskar Kokoschka I suppose you could say that what captivated me at first glance was the color used and the vitality thus brought out of the “Portrait of Tomas Garrigue Masaryk” by Oskar Kokoschka. Due to the pigmentation of this particular piece of art, I was initially drawn to it from across the room. However, as I approached it and gave closer inspection towards this artwork, I discovered that there were various other elements to take in as well. Easily depicted in this painting is an important figure, which can obviously be deduced to being Tomas Garrigue Masaryk, in the middle. Behind him to his right sits a man who has his hand placed on Masaryk’s arm, and behind Masaryk’s left are images of a civilization.
This is an example of Burton representing Edwards’s personality through diegetic sound. Lighting techniques represent how inside his castle everything is hollow and dark because there are shadows highlighting the natural light source. The props in the film teach the audience more about Edwards’s personality and re-enforce the theme of non-conformity. For example, in excerpt one we see a newspaper article
André Kertész called this photo Chez Mondrian, Paris in 1926. The composition is neatly divided in half. On the left of the photo is the interior of the room in which Kertész stood, showing Mondrian's straw hat on a peg and a table with a artificial flower in a vase on the edge of the table, as if Kertész moved it to include it in the frame. On the right, seen through a doorway, the curving banister and stairs soften the profusion of right angles and straight lines in the foyer, as if to invite you in. Everything in the Photo is geometrical.
“Karsh would set up one or two lamps behind the subject to build up rim lighting, though in his case he brought the lamps further round to the sides than most people did”, (said by a history photo observer; Yousuf Karsh, Photo.net). He fell in love with the use of artificial light. One of his favorite techniques was to light the subject’s hands separately, he felt this gave a more compelling look to the portrait and it did. The light doesn’t just drift away, every detail is there. The subjects look as if they were sculpted.
Although he briefly trained as a Naval Surgeon, Ferguson soon realised that his ambition was painting and he spent some time travelling in Spain, Morocco and France to develop his artistic knowledge and experience. The first painting I am going to discuss is 'The Pink Parasol' which is a portrait painted in 1908 of a fellow artist and friend Bertha Case, when they were both in Paris. In this painting Ferguson adopted much stronger colours than in his other paintings and like Matisse used green paint to represent shadows in the face. He emphasised pattern by merging the pink parasol with the background of his picture by blending it with the cold colours. The painting is of a woman peering over her shoulder, she is wearing a hat with a pink bow and is also wearing a scarf, in the background there is a pink parasol around strong blocks of cold colours.
The tracks look to be currently in use, but one is left to wonder where all the workers are in this industrial complex. The piles of raw materials to our left are given mass by Sheeler’s use of shading. The sun is somewhere over our left shoulder casting shadows from the mounds of earth, railroad tracks, and buildings. In the foreground of Model with Unfinished Self-Portrait the artist achieves trompe l’oeil in the reflection of the vase and the draperies on the highly polished table top. The face of the man on the couch is almost photorealistic due to the artist’s use of shading.
This combination of analytical and synthetic cubism reflects Picasso’s interest in ideas perception and reality in painting. Picasso introduced Analytical Cubism into the art world during 1908 to 1912 as the early phases of cubism. It is recognisable by its use of geometric shapes being abstracted and distorted to show multiple viewpoints which is clearly shown in the artwork “Still Life with a Cane Chair”. Doing this explores reality closer to truth as you visually grasp many angles rather than just one. When we see an object in reality we see every side of it and we mentally create a 3D picture of it in our head so using
People do not realize that paintings and prints are closely similar but they do have their differences. Their process is similar at the beginning then from there, they are completely different. For both, a sketch is finished before they start the actual artwork. There are six different forms of painting; the difference between them is the medium. In painting, the sketch is copied to a surface (canvas, ceramic artworks, wood, any objects, etc.)