The artwork reflects aspects of the world at the time it was created through the use of colour and painting techniques of the fauvist movement, which was a new development of the time. Matisse was one of the most dominant figures in the movement and was also the ‘founding father’. This new movement was largely influenced by such painters as Van Gogh and Picasso, both whom fauvists greatly admired. The fauvists also tried to translate their feelings into colour on the canvas board, which they applied roughly, in thick strokes, almost clumsily. Their art was rather free, and of a very expressive nature.
In Gustave Caillebotte’s painting, he uses a wide range of colors too, but these are more vibrant. The viewer is enticed to see themselves in the in the painting as there is an empty waiting to be occupied. The method of his
Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.
The painting is oil on a canvas about 5 feet tall and 7 feet wide. It was painted on canvas because during the 17th century, wooden panels were expensive, hard to transport, and more likely to warp. With canvas, it simply became an act of obtaining a frame and stretching fabric evenly across, making it weigh less and unlikely to warp from humidity. Similarly, oil was used because of its flexible nature. The paints could be made of and used with numerous media with small additions causing great changes to color, viscosity, and texture. Since they dry slower than other paints, it is easier to change the color or texture to suit the needs of the artist and makes it easier to hide brushstrokes. When looking at the painting in person, since oil was used as the medium, the texture was smooth, but also had a rough texture from the fabric of the canvas. Honthorst must have added more paint for every layer to prevent cracks from forming, a technique created before his
This painting is so amazing due to how Van Gogh blended the colors together. The red and yellow used in the painting look like he was trying to tell a deep story. Theres a composition of fiery colors that draw viewers in almost immediately. When looking at this picture I notice the horizon in the back, higher than the rest of the painting. Next I notice the painters, making my glance start from the top to bottom. Van Gogh did a wonderful job placing the people at a natural point of interest. What I mean by this is that he paints them right in the center where it seems like its most important. This painting is divided when it comes to the colors Van Gogh uses. In the top right there is yellow with a little bit of blue in the top left. In the
Shepard Fairey’s piece titled Pay Up or Shut Up is a representation of the role that money or your role in society dictate the power of your speech. This piece of art by Fairey was released in May of 2015. It is a screen print on cream speckletone paper.
In the year of 1840 little did France, let alone the world, know that it was a year to be put in the history books. On this beautiful year a man of great recognition in the art world was born. The founding father of Impressionism, Claude Monet. He had been a painter of a new style. One of his paintings titled “Across the Meadow” was simply one of the art pieces among a multitude of other phenomenal impressionist works he had completed.
The painting required sketches on panel, 25 drawings and three important preliminary studies. The skirt of the woman in the center with a parasol is painted in an orange-pink hue. It casts a blue shadow. Her red jacket is seen against bright green grass. The orange dress of the young girl running (to the right) has a blue-tinted shadow. The skirt of the woman with a parasol walking beside a man is predominantly purple, so it seems, but is made up of a myriad of hues. Notice the lighter yellowish “halo” separating the skirt from the foreground grass, particularly just behind her skirt. At the same time, Seurat defines form by brushstrokes: close, parallel strokes define the contour of the woman’s bustle. He continuously experiments in his manner of applying paint; in the sunlit grass, for example, short, even strokes are laid over one another. It is clear that Seurat never followed any of the popular theories rigidly. His paintings are also intended to convey social commentary. The La Grande Jatte makes use of symbols. A monkey in French (and female) is known as “singesse,” denoting a prostitute. The smartly dressed woman is fishing but for what? Then, as now, spectators have questioned Seurat’s meaning. Whether Seurat intended the Bathers and this painting to be considered as pendants (a pair) is still debated; certainly he contrasts the natural world with the unpleasant artificiality of bourgeois life, as these artists saw it. However, the critics applauded such elements as the controlled surface of the painting, the use of aerial perspective, which gives an impression of space, and Seurat’s deeply shadowed foreground that leads into a light, bright distance. Strictly speaking, Pointillism refers to the technique of using dots of pure color in such a way that, seen at the appropriate distance, they achieve maximum luminosity. However, a pointillist painting is no more “luminous” than anything else that is printed with small dots,
In Monet’s painting, there is an extraordinary use of colour and texture which brings out the meaning that nature is spectacular. First, the colours are green, blue, yellow, and white which are the colours mostly found in nature. The blue in the water is the same blue used in the sky. Also, further out in the painting it’s dark blue which suggest that there is a shadow from a cloud. To continue, the clouds are white, but is almost pink ;therefore, the sun seems to be rising. In addition, the flowers have hints of yellow and white which helps to make the flowers stand out. Next, the water has the reflection of the trees so there are different colours in the water ;in fact, texture helps to make the reflection, by using the ripples in the water
Claude Monet had a different style of painting in the 1800’s. He was a French painter who shed a whole new light on the way painting could be done; he also was a lead figure in the impressionist movement. To this day, Monet made such a huge impact on the world, that you can find his paintings in museums across the globe!
The 1800’s were a time when art merely showed our three-dimensional world on a two- dimensional plane. Claude Monet, a famous French impression painter, sought to change these Victorian standards that he so resented with his Impressionist ideals. During an art exhibition in 1874, Monet debuted his painting Impression, Sunrise which was critiqued by many other artists. One artist acridly dubbed it the title of Impression in that it did not focus on the scene at hand but instead favored lighting. However, Monet did not let this get to him and in fact, let it drive him to push for change in the art community. Monet used colors, technique, and impressionism ideals on to convey the new way that he believed art should be created.
Sniffing the salty air, Anna closes her eyes to enjoy the refreshing breeze. She stays seated on the sand all alone. Anna is left isolated with no way to communicate to others. At a time like this, several end up examining their lives. Claude Monet’s artwork, On the Seine at Bennecourt, resembles a reflecting person on a stranded island by the attitude portrayed, the illustration of nature, and separation from civilization.
He gave us a strike contrast, of subject, of scale, of hue and of course of facture. When the viewer look at the upper part of this image, they will be attracted by a marvelous warm sunset and shocked by how Monet depicted the fleet sunset, the moment that the sun went down to the skyline. It is undeniable that the whole scene is a harmony of natural color. The viewers could roughly see the transition of warm color, in which the purple light at the very edge slowly change to light orange in the central point. All the movements of the color are captured by Monet in a short period of time, which is the goal of impressionist. Meanwhile, people could even see several details that dark-color strokes jump over the light-color strokes, in which illustrates the different thickness of clouds in the sky. In the Monet’s Impression sunrise, everything look serine and he didn’t spend much time on shape the clouds. He used long thick stroke with mixing color to fill the sky to create a foggy morning, in which people can barely identify the depth of the sky. However, in the “marine view with sunset”, which was drawn at a clear nightfall, the clouds are pretty dynamic. There are different length and thickness of brush strokes on this painting. At the top left of the sky, the overlapping purple strokes are intensive, which shows how the sunlight shoots through the cloud and reflects on the sky. And these curving grey strokes around the warm color looks like the shadow of
When entering the room, people crowded around Monet’s pieces, which felt like an honor to see the type and techniques his work has. The colors describe the feeling of an early morning. The painting has a muted palette of blues, greens, and grays. The sunrise is orange and yellow which are surrounded by the clouds and smoke from steamboats. Three boats are shapes and visible while the rest fade into the distance. This painting is an example of plein air or outdoor painting. I also notice that Monet layered the colors so that when I viewed the painting from a far distance I knew what the painting was about however when I looked at it up close I saw brush strokes and
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