Analysis of Morisot Versus Caillebotte Essay

In the paper I would like to focus on a painting that is almost 120 years old, however it appears provocative even today - in the world of contemporary art, where there seems to be no room left for astonishment. What I find so special about this beautiful painting is the technique and the artist’s vision of the scenery. Even though the second half of the 19th century was the time of rebelliousness in the art world, Henri Matisse managed to find his own niche and create his own style of painting. While “Still Life with Oranges II” appears as a primitive piece of work that neglects canonic rules of proportion, shade and volume, it opens doors to the personal world of the artists, where there is a place for imagination and flirting with the audience. Bright colors and swirls of brush strokes celebrate life and create an uplifting mood, which we often under appreciate in a painting.

Something this painting has very little of. The first thing the eyes go to in this painting are the dull reds, ironically, the brightest colors in the painting. The quote, “We react on multiple levels of association with colors — there are social or culture levels as well as personal relationships with particular colors” (Harrington, 1) The intensity of the few but sharp colors in this painting The viewer can’t help but feel sad for the deformed figures in this painting, because of what they feel when they see the colors in this picture, or rather the lack of. The coloring in this painting gives more depth on what the artist had in mind.

The first thing you notice in Matisse’s painting is the purple coat that Lydia Delectorskaya, his lover of many years, is wearing. This coat, an exotic Moroccan costume, with its bold and vivid color, jumps right out at its viewers. While Lydia reclines for her pose, the vase of flowers and fruit on the table in the foreground become apparent to the audience. As do the bold shapes and patterns that are on the walls, with their incredibly bright colors, outlined with thick lines.

Artists use colour as a form of expression, this has become a common aspect of contemporary art. Colour today in art is not usually regarded as an embellishment for form but rather as the essential material from which form is created. This changing role of colour has keynoted a general revolution in human thinking, leading to greater visual perceptions. (Sloane, n.d.) Early as 1966, Gerhard Ritcher has created paintings purely based on colour charts, to some this was a complete “indifferent composition” to produce, however it was seen to perform like a “great classical masterpiece” (Lubbock, 2011)

The use of red, blue, green, pink, lavender, orange, and yellow color creates a stylized and carefully balanced scene of nature with human influence. Representing the French countryside, the picture is a symbol of expresses the human labor under the shadow of a large tree whose edge creates a decorative pattern in the foreground, and the small dabs of pure, vibrant color creates the dazzling effect of bright afternoon sunshine. The points of color placed very close to one another, blend in our eye rather than one on the surface of the canvas. Using the process of neo-impressionism, or pointillism, the painter has explored the color and enabled the viewer to use the sense of inner vision. The place for farming is a mountainous land and the bullock-cart is shown in the background, by which they transport the harvest. The only man in the picture is trying to hit the ripe apples and three women are collecting the apples. Taking man and women as the component of the society, the painter has made a good effort to show all the aspects of the society in this

The rest of the Impressionist soon adopted their, now, particular style. They typically forgot about chiaroscuro, and usually paid no attention to composition. Moreover, they adopted Monet’s quick sketchlike technique, where the final painting looked unfinished. Their goal was to capture the “constantly changing aspects of reality”. The impressionist style shared the desire to truthfully capture “tone and colour and the play of light” from the point of view of the observer. To really achieve this, quick, loose, and rough brushstrokes where often necessary. The new approach to painting mentioned above, came as a shock to the Parisian public, for they were so used to the Salon’s presentation of “only the smoothest of paint surfaces… the delicate, mother-of pearl transition of values”, that they considered the Impressionist paintings as “a fall into the abyss of deepest ignorance”, and a disgrace to traditional painting. In fact, art critic of the time, Ballu, wrote in the Chronique des Arts et de la

The use of color is very important in this piece as it is one of the formal features that has been used the most and strikes the viewer upon seeing the work of art for the first time. At first glance, it seems as if the color has been randomly placed in the

The medium used in this painting is oil on canvas; a process of painting using different pigments, and a preferred method by impressionist artist due to its viscosity, thinkness, and slow-drying time. The visible thick application of oil would define an impasto style, either done by heavy brush strokes or a painters-knife. The composition is orderly with vivid polychromatic

The role of colour in paintings had a major change with the advent of Post Impressionism. Colour changed from the traditional Neo-classicists methods to artists such as Seurat the Post-impressionist artist who was obsessed with the science behind art. . The main concepts I am discussing in terms of how the role of colour has changed are: the traditional role of colour, what made artists change their focus, science discoveries about light, optics and the difference between the colour use in the two styles; Neoclassicism and Post- Impressionism. Using Wolfflins model of interpretation I will compare the two uses of colour in Jacques Lois David’s “The Coronation of the Emperor and Empress” and Georges Seurat’s “The Circus”.

Many types of art stood specifically produced for their feasting and amusement. Baroque paintings convoluted theatrical color and light. Rembrandt is well-thought-out to be one of the best painters of time. Rembrandt transformed the crowd portrait by assigning his groups in accurate sceneries. Rembrandt’s use of color and shadow in his art works are different from anyone else’s. He reformed the way we uses light and darkness to give his topics a bodily presence. He took his topics out of a contour so to say and provided them each their own location of space. Paintings such as The Anatomy Lesson of Dr. Nicolas Tulp and The Company of Captain Fran’s Banning Cocq are painted as if they were taken in time, like a photo. Those paintings are a sample of his cautious and well planned out composition. Rembrandt’s paintings have unrealistic and realistic modules to it. In his piece, The Anatomy Lesson of Dr. Nicolas Tulp, in reality a lesson would be a big mess and it would be done in a crowded anatomy cinema. In its place, he focused on the surgeons. Making it much more

The seventeenth century painting, A Wooden Landscape with Travelers, by Joris van der Haagan was a great example of a work that was meant to be an allusion of picture. The detail of this work is extreme, with every leaf to every blade of grass carefully painted separately in order to build up the illusion that it was real life. This painting is nothing new of the time because many artists at this time were focused on the extreme realism of art. However, as time went on, artists like George Bellows began to work in a new style that used a looser, more careless, style of brushstrokes. This technique that Bellows used is known as colorito. By examining his painting up close, the viewer would notice that the people in his landscape are simply quick brushstrokes of paint, made to look realistic from afar, but simply lines and splotches from a closer viewpoint. Unlike Hagaan’s painting, where everything is so finely tuned and perfected, there are imperfections and fewer details in Bellows’

Seurat's large painting of 1884, “Bathers at Asnières”, dominates room forty-four. He invested this everyday subject with unexpected grandeur and solemnity. Seurat's approach was based on color theory and termed divisionism or pointillism, and involved leaving touches of a natural coloring of animals or plants.

The unnaturally blocky forms of the bathers' bodies conform to the angularity of the trees that frame them. To unify different parts of the composition, he used shades of green, brown, and blue interchangeably in the depiction of sky, earth, flesh, and foliage. The unfinished quality of Cézanne's paintings and his choppy, unblended brushstrokes convey the immediacy of his personal experience. His technique appealed strongly to other postimpressionists seeking ways to evoke emotional responses in viewers.

Impressionism was a movement that came about in the late 19th century, most specifically its roots can be traced back the 1874 when a group called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris. (Samu, 2004). The group led several exhibitions through the 1880’s which brought them into the spot light despite criticism from the conventional art community in France. The movement received its name from one of the movements most now most recognized artists Claude Monet and his piece Impression, Sunrise. It is said that a critic accused the painting of being a sketch or “impression”. (Samu, 2004) Paintings of this period tended to be outdoor scenes and panoramas. My Grandfather, Lawrence

This painting was not only Paul Cezanne’s last, but is also considered to be his best work. One of the most intriguing things about this painting was that it did not seem to be completed when you take a close look. The unfinished nature of this painting lives your imagination to be activated, allowing every single viewer to make the painting more personal, to every individual or viewer of the painting.