Matisse's Bonheur De Vivre And Les Demoiselles

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.

This work embodies the period style because it contains avant-garde geometric shapes to define the forms, colors, and interpretations that were important to the Post-Impressionists. First off, the harshness of the lines goes hand in hand with the shapes that exist in the work. The shapes tend to be simplified shapes, which demonstrates that Cezanne wanted things to appear as if they could be broken down. Cezanne utilizes an array of geometric

Pablo Picasso’s Les Demoiselles d’Avignon is an 8ft x 7ft oil painting on canvas and is displayed in the Museum of Modern Art, New York. First look, you see incomplete distorted figures of naked women. It looks almost as though its done in water colors. The women in the painting are actually prostitutes from a brothel in the red light district in Barcelona Spain; Picasso’s home town.

The art work has great use of line an obvious example is the stars as they connect to one another. Also the man he is made up of lots of different lines. I don’t see any form in this painting. There are lots of shapes the mans body is made up of several different shapes. The work of art appears somewhat serious as a result of the dim hues and rakish appearance of the man. The colors used in this painting are different value of blue and brown and also black, white. The art work shows mass by the mans legs in comparison to the rest of the

On the other hand, the Bathers painting uses a simple arrangement of colors to bring out the significant features. For example, in the first picture according to The Art Institute of Chicago, the painter includes many colors such as the "border of red, orange and blue dots," (par. 3) which enhance the visual transitioning the details in the painting to the designs of the white frame. Furthermore, the colors are a few just to represent the object without necessarily showing their original appearance, for example, the human being as white. The first painting has a smooth texture due to light graphic weight, whereas the Bathers one is rough due to the heavy graphic weight and layers of colors.

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.

The differences and similarities between Jean-Leon Gerome’s The Bath, and Edgar Degas’s Leaving the Bath are evident but there is more than what meets the eye. Gerome’s work of art shows how much people dependent upon one another, while Degas’s work of art shows people’s independence. Being married to a wealthy person or born into a wealthy family allows people to be dependent upon other people do their work, while those who are not wealthy do everything themselves. By simply adding one extra person your whole perspective of the painting changes. The background objects are positioned and made more detailed when they are important for the viewers to notice. The different mediums allows the painters to convey their message in different ways. These similarities and differences allow us to see the different mindsets of each of the painters as they made these works of art.

The Large Bathers is one of the series of works painted by Paul Cezanne between 1898 and 1905. The work depicts a group of women bathing on a beach. In general, the style of this work is viewed as transition from Impressionism to modern arts.

Like Cézanne, Matisse constructs the landscape so that it functions as a stage. In both works trees are planted at the sides and in the far distance, and their upper boughs are spread apart like curtains, highlighting the figures lounging beneath. And like Cézanne, Matisse unifies the figures and the landscape. Cézanne does this by stiffening and tilting his trunk-like figures. On the other hand, it is also similar to Picasso’s Les Demoiselles d’Avignon and was considered to be inspired by Paul Cézanne's Large Bathers because of both having a marked symmetry and the adaptation of the nude paintings which was first introduced by Paul

Cézanne painted a series of paintings at the end of his career. The Large Bathers (1906) was called this because it was Cézanne's largest painting in his series, and was the last to be made. When making The Large Bathers, Cézanne was trying to make a piece that would be lasting. He did not follow popular painting trends and techniques and felt no pressure to follow nineteenth-century methods. Some people have described the women in the painting “goddesses in the middle of nature”. The trees are playing as the theater and the figures are watching their moves. There is a distinct triangle shape that makes the viewer focus on the lake and the small figures in the background. Even though the movement in the picture, there is a sense of calmness

The Bathers at Asnières painted by Georges Seurat in 1884. This painting was one of Seurat’s first large-scale composition using live models and represented the baking heat of a summer’s day at the riverside. Every character has a statuesque like figure with a glossy, waxy finish. They appear unselfconscious and at ease with their surroundings. This painting is considered of historically significant because it depicted Paris rapid urban

Georges Braque painting of a French city combined with architecture and nature reducing every major object in a scene to simple geometric shapes.(7) Braque eliminated details in the houses, hill sides, grass, tree's and leaves to blend and reveal the severity of shapes in the painting.(6) The color's reduced to a combination of dull greens, grays and browns.(6) The shading and angles makes it un-clear to where the lighting comes from. The curving rhythms have manufactured a system of horizontals and verticals.(6) For cubism this piece is an iconic piece that gives no sense of a normal perspective.(7) For the lack in true depth and detail the technique of using multiple perspective's simultaneously would present to be it's biggest feature.(7)

The first impression that I had when I looked at the painting for the first time was; weird figures and what is the artist trying to express. You can evidently tell what is in the painting, you observe a bull, a horse; some human forms that seem to be crying, in pain or dead but what is really interesting and gets your attention is the shape of these figures, they all appear to be made out of geometric elements with certain level of visual complexity.

The images cataloged here are all by the artist Egon Schiele. Since they are all done by the same artist the images presented have a lot in common in terms of physical appearance. Line, color, volume, cropping of the figure and the figure being shown alone; they are environment less. This is also a technique that was used in medical journals that showed the diseased stages of patients during the 1900’s “The patients are photographed against a neutral background, such as a wall or curtain of dark fabric, in order to focus attention on the body” in these journals the focus of the viewer was the figure in order for the viewer to only see what the photographer wanted them to look at the photographer only showed what he wanted viewed. Much like

Paul Cezanne’s painting “The Large Bathers” was his last and arguably his greatest work. Cezanne labored on this painting for seven years. The subject is a group of women bathing by a river. The canvas