Marine View With A Sunset

She created the “spontaneity and freshness…associated with sketches” through “[painting] on unprimed and unsized white canvas,” allowing her paintings to appear much more in the moment, a hallmark characteristic of Impressionist art. Sometimes, she would leave the edges of the canvas devoid of paint, furthering the sketch-like quality of her paintings. White was dominant in her palette, be it through the application of paint or the peeping through of the canvas, giving her paintings the luminosity she desired. Her palette consisted of vibrant colors that “[were] admirably suited to her essentially feminine subjects” and she created the illusion of depth through

This painting is so realistic and painted with such precision and detail that he must’ve wanted us to see this place exactly how he did, with great beauty and light. The local colors are vibrant and cool yet still make you smile because it reminds you of a warm summer day. The use of two contrasting colors, the blue of the water and sky and the tan of the cliffs and couds, make the tan color stand out creating such a visually pleasing and dynamic effect. The organic fluffy clouds and the ripples in the water convey a peaceful sense to the scene. The pompous cliffs stand solidly contributing to the historical importance of this location. The artist captures the illusion of depth through atmospheric perspective; as the object gets farther it encompasses less detailed contributing to the descriptive nature of it. Since the left side of the painting is much heavier than the right this painting is asymmetrical. Your eye tends to gravitate towards the cliffs on the left because of their size and bright color which emphasize the cliffs. This emphasis creates a focal point that the viewer is immediately compelled to look at.

In his painting, there is a term to expressing how light varies from its original light. For instance, the background of the painting is adding with brown color, yet using tint and shade effect to the sun sets with distinctive brightness. Brightness is adjusted by horizontal movement, and Breton increases, and decreases his painting’s brightness at the background view. Upper part of the pieces, twilight shines with varying brightness, depending on the darkness of the sky surface. Brightness for the mid-gray tones in the surrounding space, with significantly affecting the highlights and shadows. Overall painting allows depress emotion. Figures is luminous such as the sky and houses, also for the woman, she is apparently describing with a energetic sense of natural, and mournful atmosphere. The light at the back part of the drawing gives viewers to pay attention to the woman rather than the background, since there is bright white T-shirt with dress, and the woman’s face. Breton uses tint and shade effect at the upper part of the painting, and clouding of the back scene maintains a tenderness. Breton uses bright light at the sun sets, and it expressed that it was the dawn and bring message with a bright future will come soon to the woman, and the

Impressionism is a way of painting which depicts objects using strokes and dabs of primary unmixed colours in order to simulate reflections of light. This style of painting was completely different and new at the time and both Seurat and Monet used these methods to become pivotal impressionist artists in the early 1870s.

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

We can also see the use of black shades to create a hole at the bottom part of the rock. With his excellent use of colors, we can identify the good, healthy and green grass from the bad, unhealthy, brown grasses. Looking beyond the main focus of the painting, he uses colors to separate the sky from the land in the background creating a solid form of perspective on the painting. He also uses colors to create water forms as seen behind the young character. Now, for the sky, he uses shades of white to magnificently differentiate the thick clouds from the light ones. He also uses this to create a source to light to the whole area. All these put together creates a splendid, realistic and familiar atmosphere for the viewers to relate with.

Splitting from the tradition, Monet painted the same image several times over, at different times of the day, under changing weather conditions, and rather than finishing them all on the spot, had them taken back to France, sometimes with photographers to refresh the memory of the scenes. This caused some upset, though the quality of his work still had not declined. Exceptionally enough, this piece dates to before his development of cataracts and subsequent removal operations (causing him to see more vivid hues of blue), and the paints are still blended masterfully to give a rendition of fog cover on the riverbanks.

At close inspection, the colors red, white, yellow and blue placed side by side looked unintelligible as they are placed throughout the trees on the left side of the painting. At a distance, however, the colors begin to mix into different variations of orange, green, yellow, white, blue, and red, making the palette more interesting. This technique is used on the entire painting. The water’s reflection of the trees uses the same technique. Like in Claude Monet’s first major Impressionism painting, Impression: Sunrise (Garnier, 823), the painting Autumn on the Seine, Argenteuil also uses the brushy strokes. Both use a body of water’s reflection in the piece, making the water itself more interesting, and giving Autumn on the Seine, Argenteuil perspective.

Another interesting part of this canvas is the direction of the reflections showing from the water. Van Gogh tries gives us this sense of calm movement with the reflection of the lighting going in a downward course. Also, the artist shows the viewer the grouping from the stars, to the lights from the houses, to the reflection form the water and which again it gives us the sense of the lighting going in a downward motion.

Paintings that have textures that can be smooth and flat or have tooth and be lumpy which can depend on the type of paint or how it is applied the surface of a canvas. In many of Monet’s Impressionism paintings, he uses a dry brush technique and created dabs. In Sunrise, the paint is not blended together instead it is layered, which created a

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

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

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

Claude-Joseph Vernet made a painting that brings your attention to the foreground. In the front, there is a boat being boarded. Some of the people that are not boarding the boat are standing by the sea. In the sea, some boats are sailing off in the distance. One of the boats in the distance is a large boat that gives the illusion of being three-dimensional. The form gives this illusion because of the reflection in the sea. If you look in the lower-right, you can see the light from the sun illuminating the sky. This light is hidden behind a large mountain that also has a three-dimensional form. There is also lots of texture in the painting. Some texture is seen in the mountains and ground giving a rough look, and some is seen in the sea in the form of ripples. On top of the mountain in the lower-right, there is greenery that has an illusion of being light and feathery. In that mountain, there is an arch that makes the other side visible. In the far distance, you can see a faint