Haussmann Vs Degas

As the popular art subjects become more and more used up, artists search for other ways to express antiquated ideas. They begin carving and painting roses onto vases. ("renews/ itself in metal or porcelain" (line 8)) Ironically, while this new format originated from the overuse of the subject, this simple overuse also opened a gateway for more

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

Art is able to evoke different feelings and emotions to each person that sets their eyes on it. The act of ‘looking’ is simple, but a lot comes from it. Where the eyes are first drawn to, the duration that the eyes are focused on a specific detail, and the thoughts that flood one’s brain when viewing art is all significant. These actions say more than the piece itself, it reveals emotions of both the artist and the audience. Art can be expressed through infinite forms, but the underlying importance is not with the art itself. It represents a place in time, displaying what was noteworthy to an individual in their own life. It serves as a lasting creation representative of human imagination with the ability to bring out a multitude of emotions from whoever views it. When art is created it represents the creativity of the human mind compacted into a physical object. Art has little usage aside from pure observation, yet it has prevailed throughout time, showing its importance to humanity. Art provides a lens into humanity, showcasing the human ability over time. When studied through history, art is a view into the development of humans and their interests. Through something as basic as commonly using symmetry to transitioning to asymmetry, the European’s perspective following the Renaissance is revealed. The making of art is solely up to one individual and their creativity. It is the pinnacle of

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.

The art capital of the world began in Paris, France where artists were given free reign and creative development to indulge their psyches without fear of odious disparagement that would damage their careers. Paris as a city, as well as an art center, experienced prolific transformations and developments in the nineteenth century that allowed these innovative ideas to prosper. These alterations can be expounded in depth via the economic, technological, and sociological aspects of each. Through the persona and exploration of the well-known writer, artist, and critic, Charles Baudelaire, these innovations can be expatiated and exemplified.

This philosophical periodicity was lost in later times. Artistic genres now cut across one another, with a complexity that cannot be disentangled, and become traces of authentic or false searching for an aim that is no longer clearly and unequivocally given... (40-41)

Using raw and spontaneous style, de Vlaminck portrays a relaxed and simple man. His use of colors blends the background to the point where it is indistinguishable, yet outlines features of Bouju’s face. The imprecise yet intentional brushstrokes show the clothing, face, pipe, and smoke only, allowing the background to be ignored. This work shows the artist’s style well, exhibiting the vibrant colors and distinct brushstrokes of the Fauves. As it was painted in 1900, it shows the clothing style of the period and the casual acceptance of smoking as a necessity. This piece shows the seemingly calm and nonchalant nature of the subject, with his street clothes and pipe. I find this work intriguing, as it does not explicitly show the minute details and features of the man’s face, but instead conveys a sense of tranquility in his demeanor. His stare is not one of judgment or bewilderment, but is instead an indifferent

Jules de Balincourt was born in 1972 in Paris and moved to the United States with his family in the early 1980s. He lives and works in Brooklyn (NY). De Balincourt’s painting can be interpreted on several different levels. The image is always an encounter and an invitation to escape, going from pure utopia to dystopia. De Balincourt moves through space, zooming in on details that attract his attention, as what he himself calls “a tourist of globalisation who consumes culture visually and intellectually and conveys or disseminates his personal visions by means of images.” As our gaze moves around these interior images that are like archives of the artist’s visions, it is up to us to constitute an imaginary world based on these selected fragments.

In 1953, Robert Rauschenberg had the idea of adding drawing to his All White Series. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the only way he could achieve this would be through erasure. He began experimenting with his own drawings, but still being a young artist it he didn’t think it would be considered art. For his idea to work, he thought, it had to be art that he erased. Having admiration and respect for artist Willem de Kooning, Rauschenberg decided to buy a bottle of Jack Daniels, and go to his house. Rauschenberg explained to de Kooning his idea, and asked if he could use a drawing of his. Reluctant, de Kooning agreed, only because he understood the idea. After looking through his portfolios, de Kooning handed Rauschenberg a drawing that he would miss, and that was almost impossible to erase. A month later, Rauschenberg successfully erased de Kooning’s drawing, and with the help of Jasper Johns, titled the piece in ink, and framed it. Robert Rauschenberg’s Erased de Kooning Drawing can be seen as either a minimalist piece or conceptual piece. Through a clearer understanding of both movements, the aim of this essay is to show how this piece could be seen as a minimal piece or a conceptual piece, and to see which movement it leans more towards.

When one considers the term “Art Nouveau,” what comes to mind most immediately is “images of a European-wide invasion [characterized] by the restless dynamism of organic form”(Silverman 1). For me it is usually the work of Alphonse Mucha– his mysterious women surrounded by the beauties of nature. Often my Art Nouveau fantasies take shape in the odd fungal-shaped stained-glass lamps of Tiffany. Or sometimes they surface as the romantic Parisian posters I’ve seen at Pier One, advertising champagne or cats noir or bicycles or the like. But no matter what ones notion may be of what Art Nouveau looks like, there is a feeling that accompanies it that is at the heart of the style’s appeal. It is difficult to define or describe what

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.

From a very early age, it was apparent that Claude Debussy was incredibly talented. It was also apparent from the start that he despised many of the forms and foundational teachings of the prestigious school, the Paris Conservatory, much to the dismay of a somewhat archaic faculty. However, despite his “utterly unorthodox” (Roberts 36) methods and approaches to his schoolwork, Debussy’s teachers recognized his ingenious and respected his “burning need to find expression for the sounds in his imagination” (Lederer 15).

This research essay is based on Andries Gouws' series of oil paintings entitled 'Hiding Behind Simple Things'. The reason that this specific series of artworks has been chosen, is because it fits in almost perfectly with the theme I have chosen to embark upon, in terms of subject matter, medium, composition, and style. Both artworks analyze society’s oblivion to life, and how the beauty in life so often goes unnoticed. It comments on how society has become entrapped in the rat race of modern day living. Both artworks do this by painting small, often unnoticed, objects that surround society every day.

In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional ideas and techniques, to create a new kind of ‘art’, one that the idea behind a work of art is more important that its visual realization, the ‘retinal’. The ready-mades was the product of Duchamp’s questioning what art is.

This paper is an explanatory paper by a cultured gentleman on Avant-Garde art and the challenges facing Avant-Garde. More specifically, it comes off as a rant against the bourgeois and proletariat for failing to appreciate Avant-Garde art and instead preferring to art he calls the rear-guard art or Kitsch. This work was printed by the Parisian review during fall, 1939.