RIWT Task One By Katie Ziegler Impressionism and Post-Impressionism Impressionism developed in the mid to late 19th century in France, and lasted until the early 20th century (Pioch, 2006). Impressionists such as Claude Monet, Edouard Manet, Mary Cassatt, and Pierre Auguste Renoir wanted to focus more on painting the “fleeting effects of nature” through quickly painted works ("Movements > impressionism," ). Instead of being inspired by historical times, Impressionists painted contemporary landscapes and scenes of modern life ("Impressionism & post-impressionism,"). They “rejected the system of state-controlled academics and salons in favor of independent exhibitions” ("Impressionism & post-impressionism,").
Painting Styles Ashley Means Art 101 3/31/13 University of Phoenix Painting Styles Neoclassicism, Impressionism, and Abstract expressionism art vastly contrast each other and signify three very important art eras. In my essay I will describe, compare, and contrast these three important art eras. I will also discuss the painting techniques used. First off Neoclassicism is a painting of the early 1800’s. It classifies a different approach to painting.
In the painting there are intense colors show and the Expressionism is linking with Fauvism and making a great influence on the painting. Everyone in the picture seems to have a purpose and a task as to doing something whether it is going to work, or shopping, or just walking around. One of the members of Die Brucke was Emil Nolde who was also a member of the German expressionist painters. He was known for
David, Oath of the Horatti and the Death of Socrates. How do David’s paintings reflect the Neoclassical interest in Greek aesthetics, culture, and values? Neoclassical painting typically involved an emphasis on austere linear design in the depiction of classical events, characters and themes, using historically correct settings and costumes. Its emergence was greatly stimulated by the new scientific interest in classical antiquity that arose during the course of the 18th century. In David compositions, it is evident that the costumes, the events, the characters, the themes and the settings fit uncontestably in an historical contest, with all it beauty.
Moreau was though of by many as the saviour of the grand at a time when realism had taken over the paintings at the Salon. Moreau fought for preservation of the grand part style of painting. He was seen as a painter with the potential of countering both the deteriorating art of the Salon painting and the new deluge of realism. The austere in Moreau’s painting of Oedipus and the Sphinx is resembles the epic austerity of the grand art. The painting can be said to be conceived from the one of the best compositions of Jean-Auguste-Dominique Ingres.
Formal Analysis Of Art Lillian M. Floyd ART/101 Shelly Scott- Harmon February 6, 2013 * * After viewing Van Gogh’s Starry Night and Sol LeWitt’s Wall Drawing No.681 both artist has their own technique of using lines in their compositions. How does artist use lines to show their personalities and their views on the world? To Van Gogh nature is compelling and formidable as God himself and with him being mentally unstable this was evident by the way he used lines in his painting which is strong and black. The swirls in the night sky are strong as a possible indication of his views of God’s and nature’s power. Van Gogh’s view of the world was simple for he looked at it as uncontrolled as evident through his use of lines and swirls in his painting.
Leduc was self-taught and his work was often associated with symbolism. Many of his artworks represented many layers of meaning , and deep analysis brought up interesting facts about his beliefs and values. One example of such painting is Phrenology, which was executed in 1892 and is a still-life depiction of what seems to be an artist's workplace. Phrenology is an interesting painting to analyze as it presents many different elements and layers. It depicts, at first sight, the sculpture of a head, or a bust.
), there’s a tremendous amount of detail put into it, and perhaps one of the most defining features of it is that it has got the patron in it. Since it was commissioned by someone besides the church, they wanted to be put in the piece of art that they paid to be painted. The patrons of the altarpiece appear on the far left side, as if they were part of the scene itself. Now we have Italian renaissance art. Some defining characteristics of it are that it is very classical (drapery tends to cling to the body, revealing the perfection of all the idealized bodies), they used plenty of linear perspective (whereas Northern art was more medieval, so they didn’t much care for that), they liked using illusions in their work, and they didn’t have patrons in their work because the church usually commissioned all the art.
Response Essay: Marilyn Monroe by Audrey Flack (The Gateways to Art Book: Understanding Visual Arts page 155) This painting reminds me of a collage; it contains a combination of different items. When looking closely into this image u can see objects that look memorable, something that had been put together to show time in the art. Many of the objects in this painting make me think of myself and the mirror shows the technique of reflection. In the top two corners u can also see a glassy reflection, it’s difficult to make out what exactly the reflection is of; its quiet a blur to the image that also involves a series of shades that create light. The light is especially shown in the right corner of the painting; it goes from a dark black then into a bright white, which adds to the paintings theme of light and life.
Prof. EAP 120 6 May 2014 A Deep Reflection on Three Paintings Art seeks particular idealisms within each time in history whether it is imposed upon them by an emperor, pharaoh, king, or pope, or self-imposed by the artists themselves. This may be especially true of these painters, Tiziano Vecelli (Titian), Edouard Mamet, and Pablo Picasso, all with their own ideals. Two aspired to their own personal vision, while the other followed in the footsteps of his contemporaries. Titian's Venus of Urbino, 1538, was painted for Guidobaldo II, duke of Urbino. This was probably a mere representation of a courtesan in her bedchamber elevated to the status of classical mythology, yet there is no evidence when the work was commissioned that it was intended as anything more than a female nude for the private delectation of the duke.