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,").
Georgia O’Keffee and John Marin: An Exploration The American Transcendentalists of the nineteenth century believed the key to spiritual enlightenment lay in the study of nature and natural forms -- in the words of Ralph Waldo Emerson, "to look at the world with new eyes." At Alfred Stieglitz’s Intimate Gallery, a legendary photographer and art dealer, is where the circle of artists that he managed and represented enveloped themselves in the essential belief in the purity of an unrestricted vision. Rather than create an exact likeness of nature, these artists, including Stieglitz's wife, Georgia O'Keeffe, attempted to reduce it to its most essential forms, which then served as a framework upon which to express and interpret their individual
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).
Marcel Duchamp Year 9 Visual Arts Assessment Task By Darcy Imrie 9VA1 The ideal traditional art piece was something to be looked at, a piece that was clearly what it was, without needing to be dissected the traditional art was about form and function, it had a clear form like a painting of a house or it was functional like an ornate chair, but Duchamp and many artists after him changed the way we look at art, from pleasing the eye to interpreting what the artist’s motives were. Duchamp created art pieces that were very much influenced by Futurism such as Nude Descending a Staircase, No.2. Though other movements like Dada and Surrealism influenced Duchamp’s artworks as well, like Fountain and L.H.O.O.Q. most of these artworks influenced other artists, and in turn and created more love of what was Duchamp’s art. Above Right: Nude Descending a Staircase, No.2, Marcel Duchamp, 1912, oil on canvas 147cm X 89cm.
Romanticism saw things from a creative perspective which was beyond the actual appearance of things (Unknown, 2007). Language of Art Carefully balanced and composed with a single element, Line; Ingres has created the pictorial and illusionistic space, all with gestural and contour lines in his depiction of the Niccolo Paganini. Being from Neo-classicism, the work is purely representational and captures the physical likeness. The drawing, even though it shows details and skills, it looks unfinished, especially at the lower part of the sketch. It lacks any recreation of emotion, which is again a typical neoclassic trait.
In the 19th-century New World, romanticism in the field of visual art was widely viewed in terms of two main subjects: nature and man (Strickland, 2007). In particular, nature and landscape were utterly synonymous. Cole’s painting evidently depicts a picturesque image seen in the Connecticut River in the time of the romantic artist. The masterpiece clearly shows trees, shrubs, waters, and other images visible in the natural landscape. Further, the landscape painting is portrayed like a picture-postcard perfect, a characteristic of American romanticism.
However, these artist’s works were far from flat as they challenged the traditionalist’s creation of three dimensions through representation by instead evoking both depth and mood through non-representation. These artists were continuously experimenting with the effects of non-representational paint application. By rejecting the traditional, which was created through observation, and rather finding inspiration by embracing the emotional, the primal, and the inherent subconscious of man, these important artists redefined what art and expression were and are, and opened massively influential doors enabling the evolution of art to proceed in new, bold, and boundless ways. Two of these revolutionary artists were Jackson Pollock (1912-1956) and Mark Rothko (1903-1970). These painters were considered by observers to be a part of the New York School of artists who, in the mid-twentieth century, were severely challenging the foundations of the art world.
You might have noticed already how Reyle’s art work has colors and textures that for an instance “[do not] fit, or work against other elements of the piece, or [do not] work at all in the conventional sense of tasteful composition;” (ref 3) hereby creating his art work special and unique. It was not too long until he had constructed an incredible achievement in his practices of painting. In his art piece Untitled, (2007) (see figure 1) it is visually possible to distinguish this notion of being in contrast from the colors and textures that were applied. It is like if
These machines that were invented helped to make work more efficient. In DBQ 12, document 6, says that there were many machines that increased the speed and quantity or the work that was being done such as the Flying Shuttle, and Spinning Jenny. Scientist, who sought out a need of faster and better work, invented these machines. The creation of the machines was the basis of the Industrial Revolution. In DBQ 12, document 5, it states, “The stream of English scientific thought was one of the main tributaries [causes] of the industrial revolution”.
Cubists wanted to create pictures that went beyond geometry or perspective. The idea of 'relativity' the notion of movement on a flat surface was introduced. Artist fused both their observations and memories into the one image. But in order to do this the Cubists examined the way that we see. Artists were free from the use of perspective and accuracy.