Paul Cezanne

Vincent van Gogh is one of the world’s most well-known artists. He was the son of a pastor and was brought up in a religious atmosphere. He thought his true calling was to preach the gospel like his father. He became a preacher in a small coal mining town. This is when he starting becoming very interested in the people and things that surrounded him. He became an artist at the age of 27.

A lucent crescent of the moon is seen on the top right hand corner of the painting where dramatic contours and fluidity of the brushworks are seen due to the Japonisme influences. Moreover, the eleven stars and the rolling hills are depicted moving to the momentum of the swirling sky.

One of the most influential painters of the twentieth century was Paul Cezanne. He was willing to break the traditionally accepted artistic practice in order to better portray his artistic creativity. Cezanne was became part of the movement that followed the Impressionists called the Post-Impressionism movement. The artists who were the driving forces behind this movement were Gauguin, Van Gogh, Seurat, and Cezanne. These artists were placed in this grouping because they were the avant-garde artists of the time period, who wanted to be able to express their emotions rather than simply representing what they saw. Cezanne’s Mont Sainte-Victoire seen from The Bibemus Quarry was painted in 1985. Mont Sainte-Victoire is a mountain that is in the South of France and overlooks the Aix-en-Provence, which happens to be the hometown of Paul Cezanne. This work exemplifies the Post-Impressionistic techniques because Cezanne utilized the avant-garde techniques, while at the same time demonstrating the relationship between the artist and the work.

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

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the

I am analyzing the form and content of a stylized painting entitled The Palisades by John William Hill. This was found in the collection section of themetmusuem.org which was painted during the pre Raphaelite movement; when artist emphasized meticulous detail in what was observed rather than imagined nature. This artwork shows the aesthetics of nature, depicting a peaceful scenery with spacious green acres during the year of the 1870s. During the late 18th centuries, natural resources weren’t highly industrialized and that in itself shows how nature was essential for all human species. I argue that this painting shows how everything in nature connects and communicates with one another.

Zhao Mengfu, a main calligrapher of his time, set the course of researcher painting by solidly building up its two essential precepts: restoration through the investigation of antiquated models and the use of calligraphic standards to painting. In Twin Pines, Level Distance the scene figure of speech of the Northern Song experts Li Cheng and Guo Xi has turned into a calligraphic style. Instead of essentially portray nature as it gives off an impression of being, Zhao tried to catch its quintessential rhythms. The attributes of rocks and trees, felt by the craftsman and carried on through his calligraphic brushwork, are saturated with an increased feeling of life vitality that goes past insignificant representation.

• The focal point of the painting is the sun-drenched valley and river. The emphasis comes from the diagonal of the tree to the left that directs the view of the scene down the valley toward the farmland.

The influence of Katsushika Hokusai’s artworks is tremendous and extensive in western art history. For instance, Katsushika Hokusai’s Thirty-six Views of Mount Fuji inspired Claude Monet’s Haystack, Snow Effect in the year 1891. More specifically, as National Museum of Australia demonstrates that The technique of depiction of the forms about escarpment and lines of trees emerging in icy morning mists of Monet was came from In Shichirigahama in Sagami Province by Hokusai.

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

The paint I have chosen to observe is Gustave Courbet's The Stonebreakers. Now as to how he rebelled against the traditions of past art style be following the art movement of portraying realism in his art work, basically he changed what his subject matter would be for his art work. So instead of painting royalty, fairy tale stories/myths, or even religious figure or stories to paint how the world is by painting a young man and adult breaking rocks. Although very simple when hearing what the subject matter is he portraited this scene of every day work of the common folk was done with excellence detail, showing the workers hardships and the load of their work with its semi-dark color scheme which is devoid of bright colors. Instead of painting

Vincent Van Gogh is one of the most recognized artists in the world. Van Gogh was born on March 30, 1853 in Groot-Zundert, Netherlands. Van Gogh was born into a family of six children in which his father was a pastor and his mother was an artist. He was named after his stillborn brother who died exactly one year before he was born.

Using natural phenomenon as a starting point for abstraction, Mark Grotjahn’s paintings straddle the polarities of artifice and nature. His painting, Lavender Butterfly Jacaranda over Green (Fig. 2), expresses his fascination with nature. Transferring the experience of observation to an intrigue of creative possibility, Grotjahn harnesses the mysticism of nature through aesthetic formality.

big canvas that he called "The Joy of Life" is actually the announcement of this style. Although