Claude Monet’s piece titled Sunrise (Marine) illustrates the daylight in the industrial port of Le Havre of the north coast, France. This piece was made in March or April of 1873. The piece’s present location is the J. Paul Getty Museum, west pavilion, gallery w204. The medium is oil on canvas and is next to another piece made by Monet called The Portal of Rouen Cathedral in morning light. Claude Monet was part of the impressionist movement that changes French paintings of the nineteenth century. For Sunrise (1872), people criticized the paint due to the appearance of an unfinished painting, however other artist saw it as an honor and eventually called themselves “impressionist”. The painting brings out a beautiful image due to the colors, texture, and technique that plays an important role in society and culture. When entering the room, people crowded around Monet’s pieces, which felt like an honor to see the type and techniques his work has. The colors describe the feeling of an early morning. The painting has a muted palette of blues, greens, and grays. The sunrise is orange and yellow which are surrounded by the clouds and smoke from steamboats. Three boats are shapes and visible while the rest fade into the distance. This painting is an example of plein air or outdoor painting. I also notice that Monet layered the colors so that when I viewed the painting from a far distance I knew what the painting was about however when I looked at it up close I saw brush strokes and
A Sunday Afternoon on the Island of the Grande Jatte, painted by Georges Seurat in 1884-6, and La Grenouillère, by Claude Monet in 1869, are both works that are on display at the Metropolitan Museum of Art, originally painted in France during the Impressionism period. These works are recognized today for the modernity embodied in their impressionistic painting styles as well as their depiction of leisure in modern life.
Color is highly evident in this painting, and helps to draw the viewer’s eye to certain places in the painting. The café is yellow, and adds a boisterous feeling to that section of the piece. The yellow light spills onto the street and walls of the town, creating bright colors and drawing the eye. The sky and town use dark colors to illustrate nighttime, although the bright spots of the stars cause the viewer to look to the sky.
Claude Monet is one of the most familiar and best loved of all Western artists. His images of poppy fields, poplar trees, water lilies and elegant ladies in blossoming gardens are familiar to people who have never seen the original paintings and may never have visited an art gallery. Monet's works have won a place in the affection of the general public that seems almost without parallel. (Rachman, 4) In the decades since his death in 1926, Monet's work has been intensely studied by a variety of art critics. However, none of his works have been as deeply studied as those done in Giverny, in the early twentieth century. During this time Monet's paintings, which focused on specific subject matter from various viewpoints,
Monet's painting Sunrise displays vivid color, which is commonly used among impressionists. The painting is of the sun rising over the lake, over looking the bay and the boats within. "Sunrise is a patently a seascape; but the painting says more about how one sees than about what one sees. It transcribes the fleeting effects of light and the changing atmosphere of water and air into a tissue of small dots and streaks of color-the elements of pure perception" (Fiero 114). This painting is typical of its style because it captures light at that moment. The sun is rising and its color is projected to everything in its path. Monet seems to capture this
The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue
Claude Monet’s use of the illusionary space in this image is actually quite amazing. At first glance, your eye is drawn towards the left side of the painting, due to the amount of large and bulky objects in the foreground. Suddenly though your eyes turn to Camille; the woman gazing into the distance. As she stares off into the distance she acts a point to redirect the focus of the piece past the water and into the village across the river. This painting has a surprising power in that it is ability to fully mesmerize and captivate the viewer in a way few pieces of art can.
11. Due to the physical setting of the piece, there is light streaming through the space between Monet’s
As visible in many of Monet’s paintings, such as water lilies, the strokes used can be distinctly seen. This visibility of strokes provoked critics to think that Monet had not properly finished the painting. This notion was true in regards to Monet contriving multiple paintings of the same scene, however as stated by Yurasits in Analysis of Claude Monet’s Impression, Sunrise (2015) “Every painting Monet created had to meet a certain criteria before he could begin to consider it a finished piece, and even then he could find the potential for change and growth in a painting and deny its completion” (para. 7). Monet, despite finding a piece finished, would go back any time that he felt the work no longer matched his precedents. Although hard to tell from online images, Monet’s works comprised of bountiful heaps of paint. Critics were rather pleased with these paintings as they showed how Monet used both the mixing of the pigments and depth to make his painting extract even more emotion from viewers. Monet and his multifarious artistic techniques were quite effective in the ways that they sought to extract
Millet’s Palette is relatively limited, and colors reoccur across the picture. The green of the hillside is also used in the skirt of the female figure, as well as in rendering of some of the goats, and the cerulean blue in the sky is repeated in the outcroppings of stones to the top right of the picture. The only occurrence of red, in the smock of the female figure looks like an Alizarin crimson, however because the color was first synthesized in 1868, it might not have been available to Millet at the time he was working on the piece. It doesn’t look like Millet made much use of a palette knife in the rendering of the piece, and probably opted for a mix of large brushes for blocking out forms, and a number of much smaller brushes for the fine detail work evident in the leaves of the tree at the top of the hill and the rendering of the patch of scrub in the foreground. The painting’s pigments appear to have faded a bit over time, and this gives the piece a washed out affect, amplifying the darker tones in the hillside while making the blue feel more faded.
The artist that I was assigned was Claude Monet, I learned things about his life, and things about all of his amazing paintings. Claude Monet was born on November 14, 1840 in Paris, France who became an amazing impressionist artist. Claude Monet went to Ecole nationale supérieure des Beaux-Arts which is a college in Paris, France which is where he learned much more about painting. Around 1874 Monet's work had been noticed by a critic and the critic had tried to insult Monet's work since he had focused more on the light and the form instead of the paintings realism. All throughout Monet's life he had depression and illness. Later in Monet's life he had slowly started to lose his eyesight and it got worse and worse until he had died. People had
Edgar Degas once said, “art is not what you see but what you can make others see.” Both pieces, Impression, Sunrise by Monet and Summer’s Day by Morisot, fulfill what Degas was getting at. The painting by Claude Monet was a made in 1872 with oil on a rectangle canvas that was nineteen inches by twenty-four and three-eighths. The piece is a view of the sun rising in the harbor of Le Havre, France which was Monet’s hometown. It contains the sky and the reflection of it in the water with small boats containing a few individuals in the foreground of the painting. In the background, there are larger, more industrial ships that are not very defined; they almost blend into the colors of the rising sky. Monet’s work uses vivid colors of blues and oranges
The Sea at Le Havre, painted by Claude Monet in 1868, is a 23 5/8” x 24 3/8” oil on canvas landscape painting. Monet was a French artist who lived from 1840 to 1926 and was considered to be an impressionist. A unique quality of Monet was unblended “sloppy” brushstrokes combined with a use of precise choice of color, as seen clearly in The Sea at Le Havre. Because of his vigorous and richly textured painting style, Monet was able to capture the look and feel of the movement of water, which was demonstrated in The Sea at Le Havre, using an impasto style. He used erratic brushstrokes to show the ripples of forming waves and the foam of the waves crashing on the shore. His brushstrokes are also almost completely horizontal, which seemed to make the painting feel heavier. In the sky, Monet used thicker, longer, and more opaque strokes, as well as of varying hues of blue and gray, along with white, to create a look of overcast. To give the clouds fluffiness and substance, the paint that was used for the sky was inconspicuously smudged in some places, with more defined clouds layered overtop. The depth of the painting is attributed to his choices of color. Black is rarely used in the painting aside from where necessary, but rather replaced with darker shades of blue to show divots in the water, heavy clouds, and the distance of the village of houses that line the horizon. The different shades also give a more realistic form of light to his paintings, which was a focus of the impressionism era. His painting appears to be slightly gloomy, but doesn’t convey sadness. The piece is uniform in color, to emphasize the overcast, darkened day. Monet also used symmetrical spacing, with the canvas split nearly in half between the sea and the sky. The only thing that separates the sea and the sky is a piece of jutted-out land that shows he is on a gulf or an inlet. On that piece of land, that goes a little over a third of the way onto the canvas, Monet used heavy contrast, then continues the horizon with a slightly thick, darker blue-gray line to clearly separate the halves of sea and sky. There are three places where it appears that Monet used black along with darker shades of purple and blue, and each of those three places are
He gave us a strike contrast, of subject, of scale, of hue and of course of facture. When the viewer look at the upper part of this image, they will be attracted by a marvelous warm sunset and shocked by how Monet depicted the fleet sunset, the moment that the sun went down to the skyline. It is undeniable that the whole scene is a harmony of natural color. The viewers could roughly see the transition of warm color, in which the purple light at the very edge slowly change to light orange in the central point. All the movements of the color are captured by Monet in a short period of time, which is the goal of impressionist. Meanwhile, people could even see several details that dark-color strokes jump over the light-color strokes, in which illustrates the different thickness of clouds in the sky. In the Monet’s Impression sunrise, everything look serine and he didn’t spend much time on shape the clouds. He used long thick stroke with mixing color to fill the sky to create a foggy morning, in which people can barely identify the depth of the sky. However, in the “marine view with sunset”, which was drawn at a clear nightfall, the clouds are pretty dynamic. There are different length and thickness of brush strokes on this painting. At the top left of the sky, the overlapping purple strokes are intensive, which shows how the sunlight shoots through the cloud and reflects on the sky. And these curving grey strokes around the warm color looks like the shadow of
Claude Monet was born in Paris in 1840 and would become known as one of France’s famous painters. Monet is often attributed with being the leading figure of the style of impressionism; but this was not always the case. Monet started out his career as a caricaturist, showing great skill. Eventually “Monet began to accompany [Eugène] Boudin as the older artist . . . worked outdoors, . . . this “truthful” painting, Monet later claimed, had determined his path as an artist.” Monet’s goal took off as his popularity grew in the mid 1870s after he switched from figure painting to the landscape impressionist style. William Seitz supports this statement through his quote, “The landscapes Monet painted at Argenteuil between 1872 and 1877 are
Monet’s style of painting is charming with his bold brush strokes and choice of color to distinguish depth between the water near the shore, and the water where the dock is painted. His focus is on the people, the boats, and the ripples in the water. Monet displays careful strokes and details, compared to vegetation in the background. Quick strokes of the brush and the background