Summary : ' Morning Effect On The Pont Des Arts ' Paris

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.

When having to choose two works of art to compare and analyze, it had occurred to me that one of my all time favorite artist has always been Vincent Van Gogh. After searching through countless of Van Gogh’s magnificent works of art, I knew I wanted to analyze ‘Houses in Auvers’. Once I chose my first painting, the second piece fell right into place. Since Van Gogh was a painter in the post impressionist movement, deciding to choose another painter from that movement worked out well. I chose, ‘Auvers, Panoramic View’, painted by Paul Cezanne. A majority of people admiring these paintings would realize at least two elements: houses, and the beauty. Although, looking beyond the beauty of the town, there are many more comparisons.

Henry Matisse's Le bonheur de vivre (The Joy of Life) and Picasso's Les Demoiselles d'Avignon are considered as great artworks of modern art. The both are inspired by postimpressionism and also broken the old style that is depicted by Cezanne. In this essay, I would like to argue how the two are inspired by Cezanne art piece and how eminence they are.

France is a country that’s culture is world renowned for its cuisine, romantic language, first of its kind art, and also, architecture. The many delicacies of French cuisine appeals to the masses. While the countries romantic language draws tourist in a hypnotic fancy. The art of France with its many works, such as its plays from play writes such as Moliere, give a witty insight into its culture as a whole. French’s astounding architecture ranks high among its countries many accomplishments. The many facets of landscapes’ in France, leave a dazed effect on the beholder of such astounding beautiful work.

The corridor where the painting is displayed is part of the museums permanent collection. The gallery is composed of many sculptures with paintings placed between them; almost all of the work is French and done sometime in the 1800’s. This long

Van Gogh stares at guests with such solemn eyes that seem to be all colors at once. Claude Monet takes you to the French country side that are covered in swaying pastures of yellow wildflowers and haystacks. The relaxed posed of Renoir’s nude female models shows the realistic ideas the impressionism artists had for the future of art. They painted the true colors of the world around them and present them to us as we pass through the hallways. There is a muffled quietness in the exhibit as everyone observes the sound the paintings reflect as though trying to here the gentle breeze in Monet’s painting of water lilies. Everyone gathers to gaze at George Seurat’s meticulous work that covers an expansive wall which barely contains the impressive effort. Cameras flash trying to capture the unique and awe-inspiring talent and dedication that made Seurat famous but none are able. No one can truly capture the detail and dedication that all artists put into their work through photos, you have to stand right in front of it to come

The short fiction piece I chose to analyze was “Paris, At Night” by Sung J. Woo. The story centralizes on a man named Todd. Todd was trying to sell his belongings to obtain money for his “thirtieth wedding anniversary” with his wife, Sue. He wanted to take his wife to Paris. “For as long as he could remember,” Sue wanted to go to Paris; however, the couple had children and experienced financial issues which prolonged the trip from ever happening. In Todd’s world, there are robots who act as laborers; the robots do not have names, only a number as a form of identification. Some of the workers are a result of a bad memrip, like the character Manny in the story. A man under an alias named Richard Gibbon’s contacts Todd about completing “a painless, quick procedure” known as “memripping.” This procedure entails removing old memories to make room for new ones. In return, Todd will receive money to take his wife to Paris. “Memripping” is illegal in Todd’s world, yet Todd continued with the process anyways. The procedure took place in a dingy dentist’s office. “His personal history” and memories were removed from his brain by “the memrip machine.” The remains were “just a smidge of gray matter” in a petri dish. The short story concludes with Todd and Sue in Paris. Undoubtedly, the procedure had detrimental impacts on Todd. He no longer understood his wife. He was now filled with questions and doubts about Sue.

Renoirs “The Bathers” recalls some of his earlier work. This includes the painting of “Diana” in 1867, “Nudes in the Sunlight” in 1876, the “Blonde Bather” in 1881, and the “Bather Arranging Her Hair” in 1885. We can see certain aspects of these earlier works translated into “The Bathers”.

The two paintings I am going to discuss are The Sower (Top, Right) and The Gleaners (Top, Left) by Jean-Francois Millet. Both paintings are in the Realist style with The Sower painted in 1849 and The Gleaners in 1857. The Sower measures at 101 X 80.7cm whereas The Gleaners is 83.5 X 110cm. This essay will look at how these paintings are representative of Realism through their social and political context and elements of style. The Realist effect of Millet’s paintings will be shown in comparison with another painting of similar time, The Recall of the Gleaners (bottom image) by Jules Breton (1859).

Bernard Buffet was, as Nicholas Foulkes has remarked in his biography of the painter's life, one of the first mega-artists, heraliding the "super-star" artists of today. His peculiar linear style coupled with his rejection of abstraction and call for a return to realism, which can be observed in paintings such as La Ravaudeuse de filets (Fig. 3), one of the main attractions of the exhibition, are elements of Buffet's work which permits the audience to find alternatives for more academic conventions of moden art in his paintings.1 As Fabrice Hergott puts it, this presentation of Buffet as an artist working not in margin, but rather in parallel of his contemporaries, was not possible during Buffet's lifetime or immediatly after his death.2 The mediatisation of Buffet's life prevented a retrospective reflection on his oeuvre, as his reputation as a tacky, mondain artist was omnipresent.3 Almost twenty years after his death, it is now possible to focus on the art historical quality of his work, and the curators successfully managed to tell this new story about Buffet.

            More specifically, one of the ways in which the French Revolution affected painters from the Romantic style can be seen in scenes depicted as “fete Galantes” (elegant outdoor entertainments) by Jean-Antoine Watteau, which reflect a shift from discreetness

“It was a good book because it was an honest book.” – Ernest Hemingway’s character in Midnight in Paris. This paper believes this quote to be true and will work in order to prove it. This paper will discuss how people change in Paris, or how Paris changes a person completely. It will look at the topic in three ways, through Woody Allen’s movie, Midnight in Paris, through Hemingway’s book, A Moveable Feast and an average everyday student who just moved to Paris. The motive of this paper is to show and relate to how the city of Paris, the people and the art changes people. What kind of people it attracts and what it gives to them as well as takes from them. This paper believes a movie, a book and a layman would be a perfect panel for explaining

When we admire a painting, many themes can be interpreted from different angles. The painting of Gustave Courbet “The Painter’s Studio” depicts the balance of life. We shall view details in-depth without hesitation, and analyze the beauty this art work holds.

Jules de Balincourt was born in 1972 in Paris and moved to the United States with his family in the early 1980s. He lives and works in Brooklyn (NY). De Balincourt’s painting can be interpreted on several different levels. The image is always an encounter and an invitation to escape, going from pure utopia to dystopia. De Balincourt moves through space, zooming in on details that attract his attention, as what he himself calls “a tourist of globalisation who consumes culture visually and intellectually and conveys or disseminates his personal visions by means of images.” As our gaze moves around these interior images that are like archives of the artist’s visions, it is up to us to constitute an imaginary world based on these selected fragments.

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.