Odilon Redon's The Sleep Of Caliban

some of the mediums he used to create his famous art pieces. His talent got him very far, yale.edu

Ontario artist, Alfred Joseph Casson (1898-1992) was a blend of creative commercial genius and artistic designer that communicated the ideology of rural landscapes and rustic buildings into his paintings. He also represented craftsmanship and creative quality in his art works. From his field excursions to sketch and paint, he translated the imagery and idea from his mind on to paper, canvas, and other mediums. The span of Casson’s artistic career encompassed an evolution of technique and personal style. His landscapes and architectural paintings are a composition of reality and the imagination. Casson indicated he had no hesitation about including other elements in his paintings by re-arranging the composition of the picture (Casson, 1982,

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

One of his major works was the beginning of the Migration of the Negro or better known as “The migration series”. This is a 60 -panel painting that depicted the life of the Southern Negros migrating the urban cities in the North in the 1900’s straight up to world war l in search of work. The migration series had many pieces to it; however the cohesiveness of this work made it into a mural-like piece of art. This series of painting captured the

The Cyclops is a versatile example of Redon’s work as it is an oil painting with noir themes. The artwork illustrates a mountain and rocky landscape, with a Cyclops creature emerging from behind the tall mountain in the background of the scenario. Slightly off-centre to the right there is a naked woman who appears to be sleeping peacefully amongst the abstract plantation on the hill. The focal point of the painting is the cyclops, and its large eye that is

They may have symbolised the afterlife. This is because they disappear into the ground at certain times of the day, only to reappear later on.

Cauduro paints supernatural scenarios with realism akin to 17th century masters like Dutch artists Rembrandt van Rijin (Painting information Cauduro).

Charles LeBrun, court painter of Louis XIV, was influenced by human expressions and the idea that you can not understand human experience from far away. Because of this, LeBrun’s works depicted the face in great detail in order to ensure the “legibility of the body.” LeBrun’s fascination with the face and its expressions can be traced back to his ideas on the correlation between feelings and the pineal gland. The strong emphasis of exaggerated facial emotions is what gave LeBrun’s paintings meaning. This is best seen in his painting “Alexander with the Queens of Persia.” Each of the characters’ faces and expressions allow the viewer to decipher what each character is feeling, their ethnicity, and which one is Alexander. Lebrun painted during

What drew me to his works was first, like many others, his bold use of color which caught my eye when browsing for art. I’ve always liked the bold high contrast look that these kind of artists like to employ. I had a few artists who were like this, but the exotic and historical subject matter helped me settle on him versus the more religious themes

It is an exceptionally uncommon book without a doubt, as it speaks about a painter’s association with paint in terms of their work life and work process. James Elkins tried to focus on alchemy, comparing the alchemist; the painter seeks to be converted by the medium. He speaks about the experience of painting beyond the traditional vocabulary of art history and since alchemy provides a way to explore what it is a painter really does in their studio for example; the smell, the mess and the knowledge of how colors will mix and how they will look. Anyone who paints or used to paint, especially with oil paint and anyone who visually examines paintings with solemn intent and attention, would relish the comparisons James Elkins makes, that of painting

Nineteenth century France is characterized by rapid change, political, and social movements, and time of instability. The artists of this time were exposed to an extensive range of influences, events, and advances that led to a constantly revolving art style and take on the world in general. With such rapid change in France, artists were left with the decision to either embrace the new, innovative styles of the day or cling to past standards that were previously instituted by the Académie Royal in the seventieth century. One of the those artists who were rooted in the academy’s style was French Romantic artist, Eugene Delacroix. A well-noted artist who is known for his work of depicting subjects of imagination and passion. His legacy does

By 1891, Gauguin was greatly in debt. He was also depressed, feeling that the civilized world around him was artificial. He left France to go to the South Seas to escape European civilization. He remained in the tropics for the rest of his life except for a visit to France between 1893 and 1895. He lived in Tahiti for a time and later moved to the Marquesas Islands. In the South Seas, his style remained essentially the same; as he used expressive color, no perspective, and thick, flat, brush strokes.

•A summary of the artists' personal philosophies of art (if they can be found in published sources), and the prevailing trends and schools of thought in the art world at the time and in the place the artist was working. For instance, discuss what was taking place in the artist's city, country, and/or church that may have provoked a reaction from the artist or the greater society. Include any information that might help the reader understand the artist's point of view or why the artist made his or her choices in this work of art.

As a little boy born in Malaga, Spain on October 25, 1881, his parents did not know he would be a child prodigy. An expatriate painter, sculptor, printmaker, ceramicist, and stage designer; just shows how diverse he was. Not just a basic love for art did he have, some say he was radical in his work. Over thee fourths of his life, he devoted his whole being to his art, he believed this was the best thing for his body. As a 14 year old, he began putting his work out in the open. He believed that leaving Spain and set out towards Paris would help him further his love for art.

In Self Portrait I (fig. 1), Poussin stands in front of the of a slab in three-quarter profile. His head slightly leans to the right. He is gazing at the front, seems like there are some ideas are running through his mind. His subtle smile has given a sense of gentleness and relaxation. In this self-portrait, Poussin did not employ any palettes or other art tools as props to indicate his identity as a painter, instead, he was depicted in a black academic gown, holding the book entitled “DE LVMINE ET COLORE” (“light and color”) and with a drawing pen in his left hand. He was trying to identify himself as an intelligent scholar. The book and the drawing pen tells his pursuit in finding artistic principles as well as his respect