Oil On Canvas French Artist Analysis

Le Bonheur de vivre, or The Joy of Life, is a composition painted by Henri Matisse. Created in the years between 1905 and 1906, Le Bonheur de vivre is a well known painting today, and is one of the building blocks of early modernism. The Fauves, which translates into “Wild beasts”, were a group of French painters who were apart of the first 20th century movement in modern art, called Fauvism.1 These painters shared similar interests and aspirations. Fauvism derived from the exemplary works from Post-Impressionist painters like Vincent Van Gogh, Georges Seurat, Paul Cezanne and Paul Gaughuin. Among these well renowned artists was Henri Matisse, who really took the forefront of the Fauvism movement. Matisse and the other Fauves used intense color in their works, to describe light and space while also communicating the emotions and inner thought of the artists behind the compositions. Matisse, as the dominant figure of the fauve group, believed that color could be the primary element in conveying the meaning to a work of art, and practiced this notion throughout his career. Matisse described his theory, “ What characterized fauvism was that we rejected imitative

Since the first brush stroke was taken in Europe, the paintings that have been produced have played a vital role in revealing our world 's past, history, religion and daily lives of its citizens. Each time period and movement have influenced artists from its first existence to even this very day, creating an extraordinary timeline of art and history as one. Frans Hals ' Merrymakers at Shrovetide of 1615 and Francois Boucher 's Interrupted Sleep of 1750 are no exception. Despite their different time periods and movements, the two paintings each have many parallels and at the same time very distinct styles which play on how influential artists ' styles are upon each other. Even with all of the differences and similarities, both paintings are

On Painting by Leon Alberti is, in essence, a book of guidelines for novice painters. Alberti explains that since paintings are meant to represent things that are seen, they need also be approached this way. In his theory, he breaks up the way of painting into three important components circumscription, composition, and the reception of light. Within these three are guidelines for the portrayal of subjects, spaces and emotion.

The first work of art, illustrated by Kehinde Wiley, appears to give a realistic feel to the audience. As the painting of the man, the horse, and the sword appears as neither abstract, nor nonobjective. I can see that the painting is oil on canvas. In the background of his painting, it is dark red at the top, and pink towards the middle of the background, with a shade of white just above the neutral scheme of different brown shades representing the muddy ground. The white in the background probably represents the horizon. If you zoom in very, very closely, you can see what looks like a military cannon towards the right side of the painting, emphasizing the environment of a battle soldier. The horse is painted neutrally as well, white,

Jean Michael Basquiat was an African American Painter part of the Neo- Expressionism movement and was born in Brooklyn, New York in 1960. Coming from the “punk” and “graffiti” scene in New York, Basquiat has now become one of the most celebrated African American Painters in the Neo- Expressionism movement. Basquiat’s work is considered “unstudied” because he didn’t go to school for art. Even though the appearance of his work seems to be unstudied he skillfully created collages using a lot of urban influences and African-Caribbean tradition. One of my favorite Basquiat paintings is untitled and was painted (1982). In this untitled painting Basquiat uses images that are often associated with African art, a skull, a bone, and an arrow but Basquiat modernizes the images in his Neo- Expressionist style using thickly applied paint and rapidly rendered subjects.

In the words of Henry David Thoreau, “This world is but a canvas to our imagination”. This statement speaks to all of mankind, in that, art can be traced back to thousands of years ago. For centuries people have put their whole lives into creating art, hoping that they would pass on their views while still creating something different, interesting, and unique. Generating from these ideas was as artist named Ivan Albright. Though his pieces appeared to depict a world of decay and corruption, Albright showed his love for art through his morbid emotional intensity. In this paper I will discuss the history of the artist, compare and contrast the subject matter and technique of two of his paintings, as acknowledge his approach to color, texture, balance, and space.

In upper Paleolithic times in Europe, there was an insurrection in the construction of art. As was suggested by stalwart science writer, Lewin Rogers (1993) since 40,000 BC., there has been archaeological record that displays that structurally present-day humans excellently interchanged Neanderthals and persisted to be the lone hominid dwellers across continental Europe. The earliest art was constructed about this same time as it was directly linked to this development.

The flow of the white brushstrokes in the sky seems to give the painting its feel of

I took my first ever painting class when I was in my 40s. I was motivated to learn to paint because I thought it would be helpful to my daughter who wanted to go to art school. At the time, I wanted to help and encourage her, but as it turned out, painting helped me. I feel ever so slightly selfish, but now I paint for myself.

When you talk about the painting known as A Sunday Afternoon on the Island of La Grande Jatte by Georges Seurat. You instantly will have no idea what it is, but for sure you have seen it a lot throughout your life. With that being said with the painting itself you can easily tell that it has a reasoning behind it. The many viewings of the art show there are many stories behind it and everyone will think differently. For me I think the painting shows the clear difference in social class and here's why.

The featured work is an oil painting on canvas titled Self-Portrait with Thorn Necklace created by Mexican artist Frida Kahlo in 1940. The work features a representation of the artist herself wearing a white garment, necklace made from thorns, ribbons in her hair, and butterfly hair pins. The artist’s facial expression is blank and emotionless. The artist is also portrayed with a monkey behind her right shoulder and a black cat behind her left shoulder as well as dragonfly-like insects whose bodies are budding flowers. The monkey in the painting is looking down at its hands which are holding a thorn connected to the thorn knot around her throat.

Simone Martini, St. Catherine of Alexandria, ca. 1322–23, tempera on wood panel, 83.2 × 43.5 cm, 32 3/4 × 17 1/8 in., (with frame). Collection of the National Gallery of Canada, Ottawa, inv. no. 6430

Cezanne started by reaching toward 'Classicism by using architectural forms, the lines and opening up the central space bring our eye to the center.'-Khan, 2015 This makes us focus on the overall picture. While Michelangelo focused on the form and each aspect, Cezanne focused on a the still and captured the female form in a consistent manner. Using warm and cool colors for the bodies, one can feel as though he is looking at the past and not nudes but on the form of color and texture.

Jean Michel Basquiat was a black artist known for his significant role in the Neo-Expressionism movement. His work functions in a different manner than the art community was accustomed to, his paintings mixed words and images from different cultures and beliefs, scrawled text and jarring brushstrokes became his trademark. Basquiat’s juxtaposition as a black artist in a predominantly white community had a toll on his mental health which caused an overall shift in his work. Basquiat frequently illustrated the topics of socioeconomic and racial inequalities, colonization and imperialism in his work such as Defacement and The History of Black People. These topics were no longer the main source of inspirations towards the end of his career, a time

The use of blue Prussian imported ink seemed to be the first thing that caught Europe’s eye. This first discovery started the wave pf admiration in French artists. Various French artists began collecting his pieces and began showcasing them as well as imitating his prints in their own works. This caused the works to gain acclaim and therein his influence elevated the reputation of graphic arts in France. Based on these artist’s collections and clear influence it does appear as though Hokusai unknowingly bridged the gap of printmaking as a respectable medium for fine artists. I believe this caused a social change in the perspectives of what their lives actually were when observing the expansive differences of Hokusai’s experience. This new perspective is clearly shown in the adopting of his two dimension style, uncluttered composition, and thin brushstrokes; Various artists seen even in prints classically known in France today, such as ‘The Nightclub Le Divan Japonais’ by Henri Toulouse-Lautrec. There is a tangible quintessence of Hokusai and he is an undoubtedly impactful artist and will remain as