Paul Gauguin And Henri Matisse

This essay will demonstrate how two revolutionary artists, Marcel Duchamp and John Cage still play a significant role in contemporary art practice and theory today.

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.

The violent clash of patriarchal Europe with the Americas and other parts of the world during the colonial period directly caused a degree of cross cultural diffusion that is evident within art. During this period of immense change, european artists sought to innovate and take a modern approach to their work, breaking away from the established mold. Abigail Solomon-Godeau write of one such artist from this period, Paul Gauguin, not only for his experimentation into expressionism but for the relation to which he viewed the native people of Tahiti, regarding them from a primitivist lens, appropriating much of their culture, and the sexualization of women.

This analysis explains why it is that classical European painting developed its particular technical “features-of composition, color, perspective, brushwork and the manipulation of narrative”, which in Bryson’s case focuses on the gendered gaze, far from gone seen everywhere today through media or in contemporary works. Hal Foster also examines the term that has become so important in contemporary discussions of painting and of visuality; tying into the modern advertising and social media, which is "the Gaze." Tracing the concept of the Gaze through the works and definitions of others as well as diving into The Four Fundamental Concepts of Psycho-analysis where vision is still theorized from the standpoint of a subject placed at the center of a world. The gaze is something much more than a stare or a glance, but a full on addiction and utter obsession. The author discusses the subject's visual experience; where the subject resides, under the Gaze and in the practice of painting, the impacts of

In the contemplation of art, or rather the conceptually intangible definition it currently possess, it is imperative to be mindful that “art” has been utilized as a promotional device, ceremonial item, aesthetically purposed article or perhaps none of these or all. It is because of this vague term that Carolyn Dean, in her text, “The Trouble with (The Term) Art”, makes a case for the consequences of applying the term “art” in societies that lacked such a notion which also accounts for the Western-centric lens the field intrinsically utilizes when viewing non-Western art. The claim is deftly supported by the utilization of expert accounts in the subject, alternative perspectives for what is considered the current norm, and self-examining questions,

“There are no ghosts in the paintings of Van Gogh, no visions, no hallucinations. This is the torrid truth of the sun at two o’clock in the afternoon.” This quote that Antonin Artraud, stated from, Van Gogh, the Man Suicided by Society, explains the way in which Van Gogh approached his artwork. He believed in the dry truth and as a result his work was remarkably straightforward in the messages that he portrayed. While visiting Paris, France this past April, I was fortunate enough to have visited Musée d’Orsay, a museum that contains mostly French art from 1848-1914 and houses a large collection of impressionist and post-impressionist masterpieces and 19th century works from the Louvre [The Oxford Companion to Western Art]. I was also

Ever wonder what opposition to cultural trends can lead someone? Ever question what kind of success can erupt from dislocating and distorting one’s work into a brand unique to no one but yourself? Pablo Picasso and Zaha Hadid were two of the most successful artists within the modernist movement. Both Picasso and Hadid laid the foundation to their success with a strong educational background. While each artist knew that their sheer talent and works would not contribute to their succession alone. Picasso and Hadid sought the importance of defining one’s brand on a global scale. Building a connection between a consumer and their product, both Picasso and Hadid knew that their talent and business practices would allow them to convey

In Chapter 3 of his book, “Ways of Seeing”, John Berger argues that in western nude art and present day media, that women are largely shown and treated as objects upon whom power is asserted by men either as figures in the canvas or as spectators. Berger’s purpose is to make readers aware of how the perception of women in the art so that they will recognize the evolution of western cultured art.

Black people in the artworks are often interpreted as subjects showing primitivism. “Primitive” and “tribal” art are usually positioned as the opposite of modernization and classicism. It suggests of the other side of colonization times: the natives, the under advanced societies. Such as Eastern societies, Africans are commonly interpreted as sources of the colonized, and it is expected from them to imitate the power sources and learn from them.

Jeannette Kohl described this object as an object of fetish. Indeed, the young woman is reduced to her torso, made the only object of attraction for the viewer. Male fixations on specific female body parts, and thus fetishisation of the female body, are not rare in contemporary literature, but this bust, because of its presence and tactility, conveys this process of fetishisation in an even more striking way. For these reasons, The Lady with the Primroses can also be seen as a form of proxy, as an available object representing the sexuality of the unavailable bodies of other women, the statue is an intermediate between them and the body of the male viewer. This portrait bust illustrates well the theoretical points made above. The sitter's beauty sets up apart in the yes of men, and yet the fetishist objectification of her body echoes contemporary attitudes to women as objects subjected to the sexuality of their male superiors. This statue is a reminder of the ambivalent position occupied by Renaissance

Moreover, the link between the two heroines in terms of the similarity of glamorous Art Deco interior implies a significantly more complex idea. The image of the new woman

In Le Dejeuner sur I’herbe the view of a women’s body was for the men’s please so the women were unclothed while they sat in a wooded area together the men still clothed. The way a women’s body is expressed in art can set standards to others and affect the way we view

Two painters in history are known for their abilities to depict scenes in such realistic manners that you would never know they are actually producing paintings. These painters are named Johannes Vermeer and Albert Bierstadt. Both men came from different times and ethnic backgrounds. Dutchman, Johannes Vermeer was born in the year 1632 and passed away in 1675. Over his lifetime Vermeer used a style of painting that causing modern day historians and art lovers to struggle to figure out how he painted such realistic scenes that mimicked photographs. His style combined many pictorial depth cues while maintaining a strong sense of realism throughout the relatively few paintings he produced. Next is Prussian artist Albert Bierstadt, who was born in the year 1830 and passed away in 1903. Bierstadt is widely known for his highly realistic paintings of the American West landscape. Combining pictorial depth cues and visual realism were his specialties, while raising a large degree of ‘illusionism’ in his paintings. In his lifetime Bierstadt produced over 500 paintings, most of which pertained to the places he visited on his journey across the United States. While Bierstadt and Vermeer were two very different men, their works shared common elements. Vermeer’s The Music Lesson and The Concert and Bierstadt’s Yosemite Valley share many of the same pictorial depth cues, realism, and even a sense of illusionism. In order to analyze how these works of art are alike, three questions must be

Students are required to take Humanities 201 because it teaches us about the modern world and the themes and issues that are happening in society. However, as time continues, students taking this same course fifty years from now will not be studying the same material, since it will no longer be considered “modern.” Throughout the current contemporary world that was taught this past semester, many themes and ideas have lead me to sum up the class in one word: diverse. One theme in particular to expand on the idea equality amongst race and gender. Many artists and writers such as Cindy Sherman, Robert Mapplethorpe, Simone de Beauvior, and Andy Warhol have expressed this theme within their works in a way that was both bold and shocking. These

The theorists being compared in this discussion question would be Jean Piaget and Albert Bandura and how their theories fit into the developmental process. Both are great contributors to the field of psychology due to their theories on cognitive development. There are some similarities and differences between Albert Bandura’s Social learning theories with Piaget’s cognitive theory in term of ideas and subjects that were used.