Nouveau riche

Introduction The work of Egon Schiele is very important to me personally. In this Extended Essay I focus on Egon Schiele because his artworks influence me. He likes to show his hands in his painting and photos. In his self-painting, I can always find out that the hands always attract my eyes. His hands really impress me and I really like his hands. This gives me an idea that to put my own hands on the social software and see that will people love my hands in this era. Now, I think the answer is

What factors lead to the rise of the pictorial poster? When looking at what factors lead to the rise of the pictorial poster, it is clear to see that the majority of them occurred in late nineteenth century Paris and that perhaps one man, Jules Chéret, can be thanked for exploiting and mastering the techniques which made these posters reach the levels of respect previously reserved for the fine arts. As well as Jules Chéret and his mastery of lithography I will be exploring the influence of Japan

Egon Schiele's Self-Portrait When I look at this portrait, the first thing that hits me is the way the artist, Egon Schiele, appears to have made himself look animated, like a cartoon. The way in which his right eye is rounded like a cartoon character and his left eye is squinting and almost shut, adds to the idea of a the portrait being a cartoon. The squinted left eye is as if he is sneaking around and evaluating his surroundings. If you cover the right side of the face (with the widely opened

Art nouveau is a elegant decorative art style characterized by ornate patterns of curvilinear lines. This period of art somewhat rooted from the a mixture of the Arts and Crafts movement, William Morris, Edward Burne-Jones from the Pre- Raphaelites and the Japanese style. It became popular across Europe and the in United States. Art Nouveau as a style is a beautiful mixture of elaborate Celtic looking patterns, classical elements, flat color and delicate women in nature. This style breaks the traditional

characteristics of graphic design have changed tremendously. The unique qualities of poster designs from the French Art Nouveau movement and the International Typographic Style both reflect their social environments at the time. Henri de Toulouse-Lautrec’s La Goulue au Moulin Rouge and Alphonse Mucha’s Monaco Monte Carlo demonstrate the techniques and qualities of the Art Nouveau era, while Josef Müller-Brockmann’s Der Film and Neue Grafik / New Graphic Design / Graphisme actuel, no. 2 by Carlo L

mechanically produced things and neither did Art nouveau artists and Modernista architects. They all collectively stressed the importance of new never before seen structures and styles that would inspire people and bring beauty to a world that was becoming bland and repetitive. 4. According to Pevsner, what sets Modernisme (and Gaudi in particular) apart from the general Art Nouveau trend? Although Gaudi was one of the lead innovators of Art Nouveau and Modernisme in the world at the time and in

audi's style could be described as a mix of Art Nouveau and his own unique organic style, which was influenced by shapes and structures from the natural world. One of Gaudi's most impressive and beautiful buildings is Casa Batlló. Gaudí designed the building for Josep Batlló, a wealthy aristocrat, as an upmarket home. He had asked Gaudi to tear down the old one to reconstruct a new one. Gaudí managed to convince Battló to remodel the existing building instead of tearing it down, and between 1904

Années ‘25’: Art Déco/Bauhaus/Stijl/L’Esprit Nouveau (1966).  (http://www.oxfordreference.com.libraryproxy.griffith.edu.au/view/10.1093/acref/9780191762963.001.0001/acref-9780191762963-e-66) The

Post Impressionism is a French art movement that developed roughly between 1886 and 1905. Post Impressionism was coined by English art critic Roger Fry for work of such late 19th century painters. Most painters other than Van Gogh were French and began as Impressionists they each had their own style of highly person art. The pure, flat color, heavy outline and the decorative quality of medieval stained glass and manuscript illumination. Two artists explored the expressive potential pure of color

renowned once again. There were no unifying characteristics between paintings or sculptures, or even architecture: instead, its members were committed to the ideal of modernizing Austrian art by acquainting it with latest modern art movements—Art Nouveau, Post-Impressionism and Expressionism. The initial movement was short lived. By 1905, there were internal divisions ultimately fracturing the “group’s monopoly on the scene for contemporary and decorative arts” (Rosenman). However, the Secession was