Painting At The Oklahoma City Museum Of Art

As Edgar Degas once said, “ Art is not what you see, but what others make you see”. The St. Louis Art Museum is a place for artist to display their art and give spectators the option to see art from a new perspective. This was the case for me. As we walked up to the beautifully structured building that stood so tall and wide, my expectations were extremely high. At first glance I notice the bronze statue of King Louis IX of France riding high on his horse. From this statue alone, my expectations of the art museum grew stronger. I have never been to an art museum before, so I wasn’t sure of what to expect. My first expectation was to see huge detailed sculptures right as I walked through the door. That expectation didn’t come true.

The beginning of an appreciation always starts with the most basic of trends in a painting. Though they seem axiomatic in nature, they are in reality very important and not as obvious if one is truly vigilant. The painting was slightly large and had dimensions that were approximately five feet by twelve feet. By looking closely at the painting using sharp eyes one could tell that Volaire used oil on the canvas. The framing used was apparently vintage (as I was told by a vehement supervisor, unhappy that I touched the frame) and came from the late seventeen hundreds. What was also learned was that vintage

Paul Cézanne, The Large Bathers, 1906, oil on canvas, (Philadelphia Museum of Art) (Harris & Zucker, 2014) Matisse’s Bonheur de Vivre is notably

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. Naturally, with such an impressively expansive history, avenues of art are visited time and time again. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find ways to reinvent them. While not all creators can make such a great impact in art, their efforts give birth to some truly magnificent works. In an effort to create an understanding, as well an appreciation, of the nuances and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907).

In France, a 19th century art movement marked the break of tradition from European painting. The Impressionist period brought new techniques to the world of art, such as small touches of pure color called Pointillism. Impressionist art, a style of in which the artist captures the image of an object as if they had just caught a glance at it, pictured landscapes more often and without details but with bold colors. Claude Monet, in particular, uses this style in almost all his pieces. In the Impressionist Period Exhibit of the Dallas Museum of Art, some of Claude Monet’s paintings showcase his handling of this style. In the pieces, “The Seine at Lavacourt”, “Valle Buona, Near Bordighera”, and “Water Lilies”, Claude Monet captures nature in its finest form and puts into a visual format for all to see in his perspective.

A well known artist of the 20th century is Georges Braque, born on May 13th, 1882, in Argenteuil, France.(1) Braque took after his father and grandfather in house painting.(1) He studied painting from 1897-1899 at the Ecole des Beaux-Arts.(1) He took his love for artistic painting to the next level where he then moved to Paris.(1) From 1902-1904 he continued to paint at the Academie Humbert.(2) In 1910 a close fellow artist and friend Pablo Picasso introduced Braque to model Marcelle Lapre which he then later married in 1912.(2) Braque also served in the French Army during World War I and sustained wounds to the head.(3) With his failing health that prevented Braque from creating any large-scale commissioned projects he still continued with his artwork in 1917.(3)

The Akron Art Museum is an institute that combined a historic building heavily adorned with Italian Renaissance revival and classicism with a modern and radical steel and glass structure. The once 1899 Akron post office section of the museum houses the local and global pieces of Impressionistic art from the 1850s. The original building is wrapped with a deep red brick and limestone with triangular pediments and pilasters. In 2007, Coop Himmelb(l)au’s architect Wolf D. Prix juxtaposed a new structure titled the Knight building with an obvious theory of contemporary modernity. The knight Building was constructed directly beside the old post office. Instead of demolishing the history, the museum’s design is to embrace the past with the future.

Henri Matisse’s “Chapel of the Rosary” (1949-1951), is an architectural masterpiece, said by Matisse himself. The chapel obtains personal value, religious value and aesthetic value. In the late 1940’s, Matisse turned to cut-outs as his primary medium. The period of the ‘Cut-Outs’ have been described as Matisse’s “second life” by the art critic Alastair Sooke; while Matisse had completely changed his medium, he continued to be completely fascinated with vibrant colours. After a life-saving surgery, the artist was left extremely weak and unable to get out of his bed and painting and sculpture were a challenge. Here he invented a ground-breaking and completely non-traditional way of making art, he described the making process as “drawing with

His subject in the painting appears to be blurry, and we are able to notice his delicate brush strokes along with his choice of colors that give the painting a classic feel to it. You can see somewhat of a

One of the artwork I really like from the chapter 7 (“Purity of means” in practice: Henri Matisse’s Early career), but unfortunately I did found the year , method, and movement for this artwork in the book. What I really like in this painting how the women setting the table. We can see the loving nature of the women in this art work. looking at this art and how emotionally she setting the table we can make a guess that she is eagerly waiting for her family or someone special for dinner/lunch. The foods, plates, spoons and the drinks looks so natural. Especially, I really like the color that has been used for the

Pablo Picasso’s Les Demoiselles d'Avignon, painted in 1907, is considered to be one of the most innovative works of its time. However, when he showed his canvas to a group of painters, patrons, and art critics at his studio, Picasso managed to offend the Paris art scene. His painting, which took nine months to finish, is met with almost unanimous shock, distaste, and outrage. After the painting was first shown, it remained largely unseen for thirty-nine years.

The second painting that attracted my attention at the museum was a painting called “ Barbe du Prevaricatuer [The Beard of the Corrupt

To examine the relationship between the three paintings, I will first briefly summarise the artistic trends of the day to provide context, then examine The Large Bathers. I will then compare and contrast Matisse’s Bonheur de Vivre and Picasso’s Les Demoiselles d’Avignon, both with The Large Bathers and with each other.

In this essay, i shall be discussing the artistic work of Matisse; Bonheur de Vivre (Joy of Life) 1905 -06 and that of Picasso; Les Demoiselles d’Avignon, 1907. And how they are simultaneously seen as inspired by and breaking free of Paul Cézanne’s The Large Bathers.

A year after Cézanne’s death there was a retrospective exhibition held in Paris and Cézanne’s The Large Bathers was a hit. Now Picasso and Matisse had to compete with