Analysis Of The Book ' French Photography 1800-1960 '

April showers bring May flowers or, in Caillebotte’s case, the Impressionist piece A Paris Street, Rainy Day (1877). Downcast faces stare into the puddles while umbrellas shield figures from not the rain, but each other. Caillebotte’s painting captures French author Baudelaire’s concept of the ephemeral modernity with his subjects, their minute interactions, and a complex composition style that moves the viewer’s eyes and heart.

Winogrand took photos of everything he saw; he always carried a camera or two, loaded and prepared to go. He sought after to make his photographs more interesting than no matter what he photographed. Contrasting many well-known photographers, he never knew what his photographs would be like he photographed in order to see what the things that interested him looked like as photographs. His photographs resemble snapshots; street scenes, parties, the zoo. A critical artistic difference between Winogrand's work and snapshots has been described this way, the snapshooter thought he knew what the subject was in advance, and for Winogrand, photography was the process of discovering it. If we recall tourist photographic practice, the difference becomes clear: tourists know in advance what photographs of the Kodak Hula Show will look like. In comparison, Winogrand fashioned photographs of subjects that no one had thought of photographing. Again and again his subjects were unconscious of his camera or indifferent to it. Winogrand was a foremost figure in post-war photography, yet his pictures often appear as if they are captured by chance. To him and other photographers in the 1950s, the previous pictures seemed planned, designed, visualized, understood in advance; they were little more than pictures, in actual fact less, because they claimed to be somewhat else the examination of real life. In this sense, the work of Garry Winogrand makes a motivating comparison to Ziller's

When one gazes at the posed risqué photos that the photographer E. J. Bellocq took during the Storyville era many questions arise as to, who the female models were, where did they work, and why? Storyville was a legalized red light district in New Orleans. Storyville was the answer to the ongoing crime problem in New Orleans back in the late eighteen to early nineteen hundreds. After the closure of Storyville, the so called embarrassment was almost wiped from history. Bellocq’s photos, a couple of rundown buildings, and very few tales about Storyville are left today. Natasha Trethewey gave these forgotten women a voice in her collection of poems Bellocq’s Ophelia. She granted her readers a gaze into a forbidden world in a time that is long

Between the end of the First World War and Hitler's seizure of power a cultural explosion occurred in Paris that altered our notions of art and reality and shaped our way of viewing the world ever since. In the 1920's, Paris became the undisputed international capital of pleasure and was regarded as the cultural and artistic center of Europe with a reputation for staging one of its most glamorous eras, as well as some of the most spectacular revues in the world. Imagine for a moment, that it really is 1920's Paris. You are leisurely strolling through the gas lit promenades. World War I is over and the exuberance of jazz musicians, symbolist painters, and American expatriates

Parisians were convinced that everyday life could be transformed in the sensational. She first explains the “boulevard culture” as flanerie, which is aimless idle behavior (Schwartz 14). Routinely, this sort of behavior was publicized by the newspapers and depicted as a typical Parisian activity (Schwartz 15). This is demonstrated by the fashionable visits made by the public to the Paris Morgue. This suggests that the city’s municipal authorities had also practiced flanerie, since the morbid work of identifying bodies and performing autopsies was transformed into a form of theater for the public’s entertainment, The popularity of public visits to the Paris Morgue during the nineteenth century was part of the spectacular "real life" that chroniclers, visitors and inhabitants alike had come to associate with Parisian culture. (Schwartz 47). What further promoted flanerie were Paris’s wax museums and panoramas. For instance, the strategic set ups of characters and props at the Musée Grévin wax museum made visitors feel as if the sets were personalized for them, thus encouraging them to participate in this spectacle (Schwartz 118). Therefore, the visitors became flaneurs since they were attempting to experience, capture, and reproduce already familiar versions of reality through wax models. In addition, early cinema and panorama technology further encouraged flanerie because the public was infatuated with spectacular realities. Ultimately, flanerie was perceived as an integral part of Parisian culture and proof that the city was modernizing. The thus reader correlates this behavior of collective consumption and leisure specifically with

In this selection of the book, Gitlin discusses a seventeenth-century Dutch painter by the name of Vermeer. Vermeer was known for being able to”fr[ee]ze instants, but instants that spoke of the relative constancy of the world in which his subjects lived” (Gitlin 558). People collected Vermeer’s paintings for display throughout their homes. Gitlin sees Vermeer as the seventeenth-century version of the media. In that time, the images painted were relative to the people’s era and private world. In today’s world Vermeer would be the equivalent to a celebrity photographer or movie director. If Vermeer, or any other artist of his time, were to see today’s households, they would find that the once private space inside the home is now much more dominated by images of the outside world than what would have been possible in the 1600’s.

One hundred and fifty years ago, Paris was the center of art culture in France. Back then, every artist had one goal: get into the Salon, which was a gallery for all the greatest art within France. There was one problem, the Salon forced artists to conform to what the Salon believed was real art (i.e. young men at war and fair maidens under trees). The artists were forced to become the little fish in the big pond. It got to the point where some artists got sick of conforming and decided to create there own Salon with paintings that probably wouldn’t have made it into the Salon.

Photographs are re-collections of the past. This essay is about photography, memory, and history and addresses the relationship between photographic images and the need to remember; it is based on the notion that seeing is a prelude to historical knowledge and that understanding the past relies on the ability to imagine. At the same time, the role of thought and imagination in the production of society--as reflected in the earlier work of Louis Althusser (1970), Maurice Godelier (1984) and perhaps more significantly, Cornelis Castoriadis (1975), suggests yet another role for photography in the construction of a social and cultural reality. Photographs in capitalist societies contribute to the production of information and participate in the surveillance of the environment where their subjective and objective qualities are applied to the private uses of photographic images in the perpetuation of memory.

On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque. Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck’s Portrait of Père Bouju, Pablo Picasso’s Reclining Woman on a Blue Divan, and Henri Matisse’s sculpture series Henriette I, Henriette II, and Henriette III.

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The name "Photography" comes from the Greek words for light and writing. Sir John Herschel, was the first to use the term photography in 1839, when he managed to fix images using hyposulphite of soda. He described photography as "The application of the chemical rays to the purpose of pictorial representation". Herschel also coined the terms "negative", "positive" and "snapshot".

Pascal Maitre’s photograph, Chad, in April 2007, National Geographic image collection shows two ladies are going somewhere on rainy day. The picture was taken in the desert in Sahel, Africa. The photograph shows a young woman and a middle age of woman. There are few small bushes, trees, hot weather, and rain storm day. We cannot see the background well because dark sky and storm that looks like more heavy rain is coming to them. When I saw this photograph, I remember the picture of children life in Africa, and I felt senses of upset, jealous, heart-breaking, hard life, and luckiness.

Albert C. Barnes was a man beyond his time. While the post-impressionists were being scrutinized and just starting to become better known, Barnes was collecting their work and amassing a huge collection of post-impressionist and early modern art. The Barnes Foundation, created by Barnes in 1922 to “promote the advancement of education and the appreciation of the fine arts and horticulture.”1, has one of the greatest collections of post-impressionist and early modern art in existence. With extensive collections from Renoir, Cezanne, Matisse, Picasso, and many more art masters of the time. These collections were artfully arranged for display in a building Barnes crafted specifically for the display and study of his collection. Barnes willed his collection to never be sold, rented, or lent to any extent and to stay where he left it. Since his sudden death in 1951, this statement has been scrutinized and debated, ultimately leading to turmoil and conflict even in the courts, and the collection was eventually moved from Barnes’ space in Merion County, Pennsylvania to the center of Philadelphia. This decision to move the Barnes Foundation, while questionable in process, was ultimately the right decision because the Barnes collection is so fantastic that everyone should be able to see it, opening to more viewers promotes the education that Barnes was passionate about, it was the best way to keep the Barnes Foundation open for business financially, and it is best for the art itself

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.

Benjamin’s death in 1940 at the age of 48, is rumored to be a suicide when the Naza’s took office, but is still a mystery. His ideas and concepts however, would live on for decades to come. Much of what he wrote about when discussing art came essentially after the development of photography and film. In his work, “Art in the Age of Mechanical Reproduction,” Benjamin addresses his perception of the changes in art and the aesthetic experience congruent with societal changes. He writes with concern of how the great artworks are viewed after the introduction of photography and film. His idea of mechanical reproduction changed the art world as society knew it, particularly in how the public views artwork and the value of that work as more and more people are able to own, view and discuss it. This paper will specifically look at aspects of Benjamin’s groundbreaking essay and how educators can relate his ideas to the practices in their art classrooms.