Pont Saint-Michel By Matisse

Seurat and Monet both approach the same ideas and concepts to create too very separate and unique works that actually have a lot in common in subject matter as well as both historically and stylistically. Overall, both paintings, A Sunday Afternoon on the Island of the Grande Jatte by Georges Seurat and La Grenouillère by Claude Monet, are excellent

Although examining art requires a huge knowledge, my intention in this essay is to analyze a piece of art, besides lyrics and the context, I’m going to examine it by following the steps presented by Alain de Botton.

Celebrated artists Elisabeth Louise Vigee Le Brun and Marianne Von Werefkin have contributed to the evolution of two different art styles and the appreciation of female artists. Le Brun’s Self Portrait in a Straw Hat exemplifies the prominence of Neoclassicism and the Rococo movement during eighteenth century France. Von Werefkin established herself as an Expressionist in her Self Portrait in the rise of the twentieth century. Both representational pieces provide the viewer with a candid insight into the temperament of each artist, reflecting their artistic influences and the time period in which the artworks were created. Consequently this has affected their application of colour, tone and composition, creating two distinctive self portraits.

The painting Square at La Trinité (Le Square de La Trinité) (1875) by Pierre-Auguste Renoir is located at the RISD museum in Providence, RI. This is an oil painting on canvas, surrounded by an ornate gold frame. Square at La Trinité is a pastel colored landscape scene with nature, figures and buildings in the background. The main focus of the painting is the two people in the right-hand corner, one a female and the other a male who are strolling through a lively garden. During the 19th century impressionist artists wanted to capture life as they saw it happening. Another artist who had a similar style to Renoir was Monet who painted works such as Beach at Trouville (1870) where he painted his wife sitting on the beach taking part in middle-class leisure. Renoir’s work demonstrates the impressionist technique important to the 19th century, evident by the way he captured middle class leisure in a modern subject matter.

First thing that I noticed about this gorgeous oil and tempera on panel painting was the precise emotional aspect: romantic and simple, yet so exceptionally lifelike. This work surely shows a development from the powerfully

One of the most visually intriguing pieces in the exhibit is the Portrait of Père Bouju by Maurice de Vlaminck. It was painted around the year 1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In this oil on canvas portrait the man is wearing a

Both of these works of art have a dull-like feel to them. Although, in Van Gogh’s painting, less of the town had been painted. Having chosen to paint only a few houses from the town, this gives the viewers a feel of homeliness. With this being said, the use of color in Van Gogh’s is much more, and to a point, more vibrant than Cezanne’s. The color in both works of art accomplishes much more than add to the beauty of the surroundings and landscape. The color used in both these paintings does a stunning job describing the world around them. Even though the color may be dull, it adds to the emotion of both paintings. With Cezanne's having a bigger point of view than Van Gogh’s, the color is distributed immensely in ‘Auvers, Panoramic view’. Having this be said, in Cezanne's the viewer gains a superior perspective on the surroundings and the atmosphere the town gives off. Even with the dull-like coloring in both, it gives the viewer a sense of peacefulness and

This formal art analysis will compare and contrast the line, color, light, and composition of "Gertrude Stein by Pablo Picasso and “The Toilet Of Venus" by Francois Boucher. The formal qualities of these paintings provide a classically orientated approach to the individual subject, which provide similar methods of composition and line. However, Picasso tends to chose earthy color tones in contrast to the brightly colored image provided by Boucher of Madame de Pompadour. More so, Boucher provides a much more lighted environment for his subject, which is dissimilar to the muted light of Gertrude stein in an interior setting. In essence, a comparison and contrast to the line, color, composition, and lighting will be formally analyzed in

Matisse is considered a more traditional painter, using landscapes and pure colors. In fact, he was known for his fauve landscapes, where he used his colors with the white in the background to create light. This background made his colors stick out off the page. He took ideas from cultures all around the world and combined all sorts of art styles to make his own. He was very decorative in his art, using many patterns and designs to make his art wonderful.

It was the cusp of 1870, and an artist was born. On December 31st little Henri Matisse of Le Cateau-Cambrésis, France came into this world. Within his first five years of living, Matisse’s brother was born, and died. In the beginning, Matisse did not have fervor for drawing or painting. Instead, he was eager to work in law. As most people who choose to be lawyers do, he attended law school in Paris. Subsequently returning home to clerk for a law office, Henri Matisse was diagnosed with appendicitis. It took a whole year to recover from this sickness. In the meantime, Matisse needed something to do, thus began his art career.

The art and beauty in this painting is exemplified through the eyes of Boucher. It starts with a beautiful couple taking a rest after picking up some followers. Their clothing looks very elegant and colorful which shows that they are aristocrats. The man’s eyes are gazing at a shepherdess who gathered her own flowers. Their eyes are locked despite the man having his own woman right in front of him. The light brushstrokes of the dresses, flowers, and trees

Henri Matisse’s “The Red Studio” was created in 1911. The painting depicts an art studio with works everywhere hanging on the walls, and on the floor. There are potted plants and sculptures on the tables and the room is mostly red. This 5′ 4″ x 4′ 3″ painting was obviously well named. Red is not the only color, there are hints of blue, yellow, orange, black, green, and pink worked into the painting. Everything in the painting is still. There is no action and no movement, just the still shot of the studio filled with art supplies, paintings, sculptures, furniture, and plants.

Perhaps this can be most easily discerned in Matisse’s, “Bonheur de Vivre.” This painting featured a sensual image complete with kissing and bright, bold colors. By reviewing Cèzanne’s “The Large Bathers” we can see numerous similarities. For instance, the use of trees to form a stage, the varying perspectives, and the way he meshes the figures and the landscape together (Harris, n.d.). However, this work is not a carbon copy. Perhaps the most notable anomalies are the way that Matisse chooses to portray the varied perspectives. While looking at Bonheur de Vivre, we can see that on the same horizontal plane, Matisse uses varied perspectives. This means that from the perspective of the canvas, the people in the center would be giants in size (Harris, n.d.). While the blending of figures into the landscape resembles the techniques of Cèzanne, the disproportional perspectives is certainly a departure from the model that Cèzanne laid

Pierron Charles, a French artist, created the masterpiece “Street in a Turkish City with a Smoking Place” in 1942. Although the title is quite frank, the artist’s message about casual and archaic beauty is subtle within the painting. At first glance, it would seem like the dusty, narrow alleyway lacks liveliness; The dynamic nature of the painting is shown through the brightly dressed people in the market with a closer look. The artist strives to show the audience a veil of boringness on an average street, but if they see past it, they can see the casual beauty of Turkish architecture and culture conveyed in the painting.

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.