In his painting, he used bright and bold colors, such as yellows and purples, to exaggerate the colors of the sky, which also reflects off the water. The large cloud in his painting, instead of appearing smooth and fluffy like a realistic cloud, has finger-like projections coming from the top. Thus giving the painting a more eerie feeling. This also shows how Seurat began experimenting with abstract shapes. Instead of using brush strokes, Seurat used the painting technique Pointillism.
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.
It was initiated by a group of artists (Claude Manet, Camille Pissarro, Auguste Renoir, Mary Cassatt, Edgar Degas, Paul Cezanne, Alfred Sisley and Edouard Manet) who were tired of following the traditional style of art and so decided to rid themselves of these ‘outdated’ shackles and began to paint unconventional subjects and outdoor landscapes. Through the industrial revolution, artificial tinctures which allowed the creation of newer and brighter colours. The artists’ paintings were their impressions and dealt with contemporary life unlike that of traditionalists which stuck to ancient mythology and romanticism. Impressionists saw their art not as moralistic but rather an attempt to capture light and fleeting effects through a new technique of small dabs of similar and brilliant colour created a mimic of sunlight, running water or moving vegetation, shadows were given life and colour. This new look on light and colour and how it affected the image of
It is important to state early on, that time and movement in sculpture are impossible to discuss without the inclusion and acknowledgement of space. I will be examining the works and principles of the Futurist, Umberto Boccioni, and Kinetic artist and Constructivist, Naum Gabo. Their work exemplifies the incorporation of time and movement in Modernist sculpture. Gabo and Boccioni were significant figures in modernist sculpture, as both incorporated and developed visual languages, which not only convey the semblance and implication of time and movement, but also intrinsically acknowledge the philosophy and theory. Throughout the 20th Century, artists began to abstract, and some eventually eradicated human anatomy and recognizable characteristics from their experiments.
Barbara Kruger : Old Is Original The concept of postmodernism is typified as a return to traditional materials and forms. Consequently, much of the art of this genre is filled with imagery and objects that pertain to previous original concepts. The creativity involved comes from the new arrangement of said past concepts. Thus, something new is created from something old. Postmodernism was born out of a reaction against the fundamental ideals of modernism.
Artists of the Impressionism Era used strokes that were short and visible, which included smears, dots, and commas. Impressionists wanted to capture the essence of their subjects. Some say that Claude Monet’s painting, “Impression, Sunrise”, gave this era its name, but there was a critic that stated that the piece was an “impression” and not quite a finished piece of art. (Claude Monet, 2015). A2: Post Impressionism The Post Impressionism Era began between 1880 and 1910.
Instead of attempting to hide these limitations modernist artists glorified them and made these limits one of the focal points of their work. In doing this the artist does not undermine the medium but expands on it instead, encouraging reinvention and subsequently ‘purifying’ (Greenberg, 1960) it rather than presenting yet another idealized version of reality that disregards it. The specific way in which a piece or work addresses its own unique medium that separates one art form from another - or a work’s ‘medium specificity’ - may be examined in modernist painting where the medium of expression is clear, but problems arise when this consideration is applied to literature. This paper will primarily discuss the way in which two great modernist artists, Pablo Picasso and Ezra Pound, approached their respective media through experimentation will also attempt the question of how medium specificity can be explored in fields other than the visual arts. By nature the medium of painting involves the placement of paint on a flat surface.
Modernism : Influence of Minimalism *Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society in the late 19th and early 20th centuries. The initial concept about ‘Less’ is from Minimalism. *Minimalism derives from the reductive aspects of Modernism and is often interpreted as a reaction against Abstract expressionism. Minimalist design in architecture and space : Ludwig Mies Van der Rohe In 1886, Ludwig Mies Van der Rohe was born in Aachen, Germany. He grew up from stonemason family.
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.
As a broad description modernism describes to not only the style but the ideologies of art created between the 1860s and the 1970s. Due to industrialization; traditional forms of artwork had become obsolete, leaving the door open for modernism. According to Whitworth (2007) ““Modernism” is not so much a thing as a set of responses to problems posed by the conditions of modernity.” Modernity is referring to a post-medieval period of time most famously marked by industrialisation. This articulation of modernism is comparable to the articulation of modernity by Childs (2000); “The Modernist Movement of the late nineteenth and early twentieth centuries constituted a literary and cultural revolution. Modernisms importance is undeniable; from it’s from its break with realism to its influence with postmodernism.” Childs goes on to give his definition of Modernism; “Modernism is, for example, not