Franz Marc Research Paper

The shift from Realism to Impressionism in the 19th century represented not only a change in form, but it also represented a shift in ideology. As one of our module videos notes, rather than focusing on accuracy and clarity, Impressionism emphasized “what the mind and the eye sees” and the “impression of light and color.” We will briefly discuss how the differences in the approaches of the Realists and the Impressionists had interesting implications for arts and how these ideologies can be applied to the ways in which believers and unbelievers interpret art.

Abstract art achieved its way into America soon after World War II. A group of artists identified as Abstract Expressionists started designing pieces of art that embraced personal value. Abstract Expressionism is a movement that was established in New York City. Artists participating in the movement applied abstraction to communicate personal feelings in their design applying powerful colors, structures, and lines. The fascinating feature regarding abstract art is there is rarely no topic to the portrait / statues. Still with no theme abstract artists apply unpredictability and passion to describe what they are compassion on the painting. Throughout this era, there were a number of artists who adopted this type of painting. Georgia O’keeffe happened to be one.

"'This is not the end. It is not even the beginning of the end. But it is, perhaps, the end of the beginning” (Frank 47). On June 12th, 1929, Annelies Marie Frank was born, in Frankfurt, Germany, her father was Otto Frank, who was a lieutenant in the German army in World War 1, who then he became a businessman in Germany and the Netherlands, and her mother was Edith Frank, Anne also had an older sister named Margot. Before everything had gone south the Franks had been just a normal Jewish family who loved their lives. At the age of four the Anne, and her family had moved to Amsterdam, because Adolf Hitler was invading Germany. Hitler was not a very nice person, he thought that the jews were a race, which they weren’t it was a religion, and

Two painters in history are known for their abilities to depict scenes in such realistic manners that you would never know they are actually producing paintings. These painters are named Johannes Vermeer and Albert Bierstadt. Both men came from different times and ethnic backgrounds. Dutchman, Johannes Vermeer was born in the year 1632 and passed away in 1675. Over his lifetime Vermeer used a style of painting that causing modern day historians and art lovers to struggle to figure out how he painted such realistic scenes that mimicked photographs. His style combined many pictorial depth cues while maintaining a strong sense of realism throughout the relatively few paintings he produced. Next is Prussian artist Albert Bierstadt, who was born in the year 1830 and passed away in 1903. Bierstadt is widely known for his highly realistic paintings of the American West landscape. Combining pictorial depth cues and visual realism were his specialties, while raising a large degree of ‘illusionism’ in his paintings. In his lifetime Bierstadt produced over 500 paintings, most of which pertained to the places he visited on his journey across the United States. While Bierstadt and Vermeer were two very different men, their works shared common elements. Vermeer’s The Music Lesson and The Concert and Bierstadt’s Yosemite Valley share many of the same pictorial depth cues, realism, and even a sense of illusionism. In order to analyze how these works of art are alike, three questions must be

There are numerous fantastic inventions made from long ago. Which invention changes the world you ask? The car was the fantastic invention. On horses the trip to where you wanted to go would be longer.

While Eugene Delacroix utilized expression in his forms, he did not employ abstraction. Abstraction is defined as the freedom from representational qualities in art, Delacroix availed forms in a representational manner. His figures were considered realistic, this is in accordance to the fact they closely resemble the natural form of a human body. The figures depicted in Delacroix’s composition are not examples of the artist's own interpretation of the human form but rather the natural appearance.

“What is art?” This was a question that was frequently asked in the nineteenth century, and, thus, whose complex answer was attempted by numerous artists. In the beginning of the nineteenth century, the Academy and private Salons were looked upon to provide a stable and traditional style of painting. However, soon artists began separating from the rigid personality of tradition. The Romantics began to describe the sublime. A large shift into history paintings became all the rage. An example of this shift being The Raft of the Medusa by Géricault. Then, mid-century, Realism swept across the nation portraying scenes of the actual world instead of an unusual one. A perfect example of the true reality adhered by the Realists is Courbet’s A Burial at Ornans. This piece shows a funeral progression as it truly happened. At the end of the nineteenth century, Impressionism invited bright, vivid colors and loose brush strokes. The Academy rejected this style for its lack of purpose or subject. However, several of these artists came together, creating their own shows against the popular Salons. The Impressionist’s work was so successful that the door was

Franz Liszt was a Hungarian pianist and a composer of enormous influence and originality. He was renowned in Europe during the Romantic Era on nineteenth century. He was an Educator, Pianist, and a Songwriter as well (1811–1886). He was said by his contemporaries to have been the most technically advanced pianist of his age, and in the 1840s he was considered to be the greatest pianist of all time. Liszt was also a well-known and an influential composer, piano teacher and conductor. He was a benefactor to other composers. By the age of 6, young Liszt was recognized as a child prodigy; by the age of 8, he was composing elementary works;. By the time Liszt was 9 years old, he was performing in concert halls . His father worked as a secretary

in the late 1960’s, Sol Lewitt’s works of art had acquired certain Reductivist tendencies that were found in much of the abstract art of the 1960’s. Most specifically, these affinities of Minimalism came in Lewitt’s use of simplified geometric forms and the work’s refined, machine-like finish. Like Frank Stella and Donald Judd, Lewitt sought to remove abstract art from the expressionist clichés that had prevailed since the 1940’s.

More historical events, abrupt changes, and turbulence occurred from the end of World War II until the height of the Vietnam War than in any time period. Before this time, styles of art had lasted generations. In the 1960’s numerous important art movements were happening at the same time. There were variations on variations, movements inside of other movements. Therefore, because of the amount of independent and integrated pieces of movements and styles, a lot can be missed in a short paper. The

The Abstraction movement’s goals, as described by the Drawing Center, were furthered by artists of this period seeking ways to describe motion in their art, as this was impossible to do within the realm of realism, therefore artists had to use more abstract methods to capture movement. This led to artists using lines and gestural strokes to invoke a sense of movement, e.g; Len Lye’s “Snow Birds Making Snow, 1936”.

Henri Matisse was mostly known for his use in color. Although he was a French artist Matisse was influenced by many cultures. The idea of Fauvism was created by Matisse that soon made his work famous, and influential for many artists to come. One of his first drawings in the early twentieth century developed this term called fauvism; Harmony in Red. In each piece of his work he used such vibrant colors to help draw attention to this new idea of fauvism. These vibrant colors, and large brush strokes allow more feeling to be made when evaluating, and viewing his work.

The French crowd desired more dramatic and realistic art which led to the birth of this art form. The favourite themes the realism artists liked to paint was scenes of urban life , scenes of rural life, street life , working class , cafés and nightclubs. They also loved to paint nudity and sensual paintings. This movement moved away from what was ‘ideal’ to what was simply ‘ordinary’. Artists preferred painting real and ordinary people in contrary to the previous movements where which focused on religious themes which always managed to look aesthetically appealing even if the figure in the painting was subject to pain or loss. In the realism art movement beggars looked the way they would in real life unlike in the previous art periods where even the beggar would look appealing in a

Accessing the “real” has been a central question of all art and philosophical movements since Aristotle and Plato. Two influential movements in art—Romanticism and Realism—offered different interpretations of the “real.” In a reaction against the Enlightenment thinkers, Romantic artists viewed the “real” as an individual’s emotional reaction to an experience. Realist artists strived to portray a literal reality in response to what they saw as a skewing of reality in Romanticism. For them, the “real” consisted only of what the artist could see and was largely absent of symbolism and metaphorical meaning. Some of the most influential artwork, however, comes in the transitional time periods between different movements because it provides insight into the ebb and flow of these distinct artistic styles. This is especially clear in The Raft of the Medusa, painted at the beginning of the Realism period, and The Painter’s Studio, painted at its end. The paintings’ favoring of a “third way” definition of reality remains important because it heavily influences our current definition of “the real.”

The 19th century was a time of radical change and innovation in nearly every aspect of society. The Industrial Revolution changed the face of transportation, business, and science. A race for resources and power among European nations led to colonization of the most remote areas of the world. Old political structures stumbled while new ones like Communism took root. The arts were not immune to this climate of change. Literature, music, and fine art all underwent deep shifts in practice and philosophy. One of the most radical of these shifts occurred in the painting world in late 19th century France. Realism, a school established in the mid-1800s and committed to portraying the world in the most accurate detail as possible, gave way to Impressionism, an entirely new artistic philosophy embracing ambiguity and emotion. This profound change can be seen in the comparison of paintings from each period; namely, The Gleaners by Realist painter Jean-Francois Millet and Hay Harvest at Eragny by Impressionist painter Camille Pissarro. A comparative analysis of these paintings shows not only the innovative and reactionary elements of the Impressionist movement, but also how it maintained and developed important characteristics of Realism.