Impressionism was the first and most successful modern art movement. Breaking from traditional forms and technique, artists such as Monet, Seurat, and Gauguin revolutionized subject matter, color, light, and brushstroke in painting.
Abstract The display of Impressionist paintings in France in 1874 led to ridicule, but within twenty years Impressionists were to garner a large and permanent public following. This essay clearly describes how Impressionists played with lighting, color, brushstrokes, subject matter, and scenery to revolutionize art, specifically using Monet's Rouen Cathedral series to examine these changes.
From the Paper "Impressionism was the first modernist art movement and to this day it remains the most popular (Hughes 113). Early Impressionism resulted from the work of many different painters, all sharing a common philosophy and technique and loosely organized as a group. It was at its strongest between the 1860s and 1890s and included many renowned painters such as Monet, Degas, Gauguin, Renoir, and Seurat. The fist public display of Impressionist paintings in 1874 disturbed the tradition-bound French Academy of Fine Arts and led to ridicule, but within twenty years Impressionists were to garner a large public following and were never again to be the ?outcasts.? Later Impressionist works built on and expanded the original style of the early artists, and in many cases the early Impressionist artists re-invented themselves and expanded their repertoire to show new forms and techniques of the movement. For these reasons Impressionism remains hugely successful even today, and works by artists in this genre are highly collectible and studied."
Tags: art, impressionism, modern, Monet, Renoir, Gaugin, revolutionize, ridicule, France
Abstract This paper discusses the Chinese painter Ni Zan's minimalist style, providing a historical background and a synopsis of the painter's life. The author explains how these throw light on why Ni Zan painted landscape scenery and why he did it in the minimalist style; his conflict with the Mongolian regime pushed him to eremitism, where he simply painted simple nature. His craft and technique were detailed, however, such as his use of the canonized tri-part type composition. "The Rongxi Studio" captures the essence of Ni Zan's painting style, as it shows how he incorporated the Chinese painting tradition before him into his work, transforming it into his own minimalist style and compositionally arranging figures with different brushstroke patterns to produce dramatic tension within his painting. By comparing this painting to another by Ni Zan and to a painting by Wu Zhen, the author shows how Ni Zan's minimalist style contrasts sharply with orthodox Chinese painting during his time.
Outline:
Introduction
Historical Context
Ni Zan in the Late Yuan Dynasty
From Politics to Painting: Ni Zan's Perspective
Visual Analysis
Compositional Arrangement
Brushstroke: Avoiding a Static Depiction
The Minimalist Style of Ni Zan
Poetry as Purpose
Comparative Analysis
The Studio and Wu Zhen's Fishermen
The Studio and Six Gentlemen
The Uniqueness of the Studio
Conclusion
From the Paper "Ni Zan's political reclusion shaped his painting. His retreat to the waters and his Neo-Confucian ideals aided in the way he painted. His simple depictions of stones, trees, and mountains showed a spirit of aloofness and detachedness to society, but incorporated the quiet waters as symbols for his meditative moods and deepest thoughts. He accumulated numerous amounts of nicknames that portray his personality; including "The Very Quiet One," "The Child of Clouds," "The Spotless Scholar," and "The Unapproachable Ni." The impact of the Mongols and the rebels forced Ni Zan to live in seclusion, and thus, his personality as well as his perspective on painting was influenced. Ni Zan painted landscapes; he did not paint actual people. Ni Zan, with his aesthetics, wanted to capture nature without humanity--without Mongols or rebels--and we can see through The Rongxi Studio how his personal perspective of humanity and nature are tied into his painting."
Abstract This paper examines Van Gogh's unique vision of the world, a vision that he portrayed in rich but unusual colors and swirling brushstrokes. It explains that it is extremely idiosyncratic and it is this vision that is most notable to viewers of his works. By viewing paintings from his period in Belgium, his time in Paris, and his time in Arles, this paper looks at how this unique vision of the world pervaded his works even as his technique developed.
From the Paper "Vincent Van Gogh was born in 1853 to Theodorus van Gogh and Anna Cornelia Carbentus. He was born in the town of Zundert, which was in the south of the Netherlands, and his father worked as a preacher. In 1869, he began his association with the world of professional art working at an art dealer's firm as well as several other small jobs. After carrying on in this occupation, he began to follow his father's footsteps in studying religious studies in preparation for the vocation of preacher. In 1878, while beginning his study of religion, Van Gogh moved to a mining town in Belgium called Borinage. It is while here that Van Gogh discovered that it was his second vocation that would become his true passion: he found the calling to become an artist. His early work was largely influenced by two artists that he greatly admired, Jean Fran"ois Millet and Honor" Daumier, and in following their example his early work tended to use dark colors extensively. He moved around throughout the Netherlands and Brussels before his art career eventually reached a second stage when he moved to Paris."
Abstract This paper looks at art's significance to the development of human civilization. The paper notes the historical and cultural contributions, as well as its role as a form of entertainment and expression. The paper also points out how dreary life and society would be without the opportunity to view art and express ourselves through art.
From the Paper "Imagine a world of black and white. Ever since birth, you have wandered around this dull and dreary earth. You have never seen pictures with golden yellow rays of the sun, rich purples of a neighbor's garden, or the deep blues of an ocean's waters. Your ears have never heard musical compositions consisting of the lighthearted flute, the soothing violin, or the blazing trumpet. Never have you once opened a book for enjoyment, you only know books as elementary tools to aid you in your position in society. You have never laughed at comedy; it has never brought warmth or happiness to your heart. Your life has seemed to lack an essential element, one that can bring variation and excitement. You may feel a void inside, as all your life you?ve never been able to be passionate about anything, express yourself freely, or simply seek all that is beautiful."
Abstract This paper examines how the Elizabethan dramatists Christopher Marlowe and William Shakespeare were contemporaries and how, for the latter part of Marlowe's dramatic career, they were rivals as well. It looks at how Marlowe's career as a playwright was cruelly cut short after the author was murdered in a tavern brawl, probably the result of his political intrigues. The paper shows that regardless of the reasons for Marlowe's untimely demise, the difference between the older Marlowe and the young Shakespeare had already become manifest in the characterization of the main protagonists of the two men's plays. It explores how Marlowe clearly influenced Shakespeare's early writings and how, while Marlowe used broad character brushstrokes to create a vivid narrative and caricature of human character and morality, Shakespeare created a new way of dramatically rendering the human character in shades of gray. In particular, it examines how both men used similar themes, such as the presence of "Jewish" values in a money-grubbing 'Christian' society.
From the Paper "All of Marlowe's protagonists are larger than life, from Barabas to Faustus and lastly to Tamburlaine, in the scope of their desires. They are both sustained and destroyed by their respective evils. Barabas? poisoning reflects the Jewish dietary laws that Shylock merely tacitly refers to, ?I will not eat with you,? in Act I of ?The Merchant of Venice.? Faustus is destroyed by his love of knowledge and power, just as Tamburlaine is destroyed by his desire to conquer the world.? All of these men stand outside of their societies, and reflect what is wrong with their societies?an over emphasis on money, scholasticism, and power respectively."
Abstract This paper explains that Willem de Kooning was one of the artists who developed the Abstract Expressionism movement of post-World War II in which paintings were generally painted on large canvases with the artists appling paint rapidly with forceful strokes, demonstrating the energy and creativity of the country. The author points out that, in the early 1950s, de Kooning started painting a monumental series of paintings entitled "Woman" on large canvases, painted with slashing marks of the brush, having an overwhelming appearance. The paper relates that Willem de Kooning's career spanned six decades; his art was very controversial, especially his "Woman" series, violent with colors, formed with eloquent brushstrokes appearing savagely applied.
From the Paper "Willem de Kooning was born on April 24, 1904 in the Netherlands, also known as Holland. In 1916, at the age of twelve, he was accepted into the Rotterdam Academy of Fine Arts and Techniques and trained there for eight years. In 1926, he entered the United States as a stowaway on a boat and eventually settled in Hoboken, New Jersey. De Kooning made his living as a house painter and later, a teacher at Black Mountain College. A year later, he moved to a studio in Manhattan and met artist, connoisseur, and art critic John Graham and painter Arshile Gorky. Gorky became one of de Kooning's closest friends."
Abstract This paper briefly describes the origins of the Impressionist movement, the artists that best represent the Impressionism movement and how the movement, in essence, sought to create the illusion of forms bathed in light and atmosphere.
From the Paper "Although the term "Impressionism" was first used in 1874 by a journalist ridiculing a landscape by Monet, the bitter controversy that raged for twenty years over the merits of Impressionism actually began eleven years earlier in 1863 at the Salon des Refuses, an exhibition held to accommodate the exceptionally numerous works rejected by the jury for the salon that year. It was here that Manet shocked the viewing public with his Dejeuner sur l'Herbe which helped to withdraw the curtain of classical illusion and brought the nude up-to-date. This form of "Impressionism" set the artistic stage for many years to come and influenced an entire generation of painters well into the 20th century. "
Abstract In this paper, the artistic style of mannerism are brought forth in analyzing the stylistics of the "Annunciation" by Parmigianino. The various aspects of historicity and political perspectives of this painting are analyzed within the scope of a technical analysis of how the piece was composed. Through an understanding of brushstrokes, lighting, theological characterizations, as well as the concepts of humanist elements in this painting, the paper shows the innovation and bizarre nature of Parmigianino's work.
From the Paper "This artistic evaluation will encompass the various stylistics of mannerism that reside within the painting "The Annunciation" by Parmigianino. By analyzing the physical forms of the Christian characters within this painting, one can realize hoe Mannerism depicts elongated and distorted human figures. In this medium, the use of color can also be expressed to understand this artistic style in relation to religiosity of the composition. Furthermore, by evaluating the line and brush strokes used in this painting the ideal of mannerism becomes apparent, as Parmigianino depicts a sense of In this manner, Parmigianino is depicting the elongated form to The color used in this composition is directly related the religious theme of godliness that Parmigianino found within iconographic paintings."
Abstract The aim of this painting analysis is to realize the techniques used to create Rembrandt van Rijn's "Aristotle with Bust of Homer." Through a technical analysis of brushstroke, along with a detailing of light, and object positioning within the painting, one can realize the Renaissance approach that Rembrandt applies. Also, the costumes and figure placement play a large part in Rembrandt's view of philosophy and the artistic meaning of the work. In essence, this will be a painting and ideological analysis of this major piece by Rembrandt.
From the Paper "In this paper, the brushwork that Rembrandt applies is smooth, but will ovular sequences of color application on Aristotle's garb. Although realism is the main intention of Rembrandt in this painting, the abstraction or blurred brush strokes reflect a mystical vision. The light pinks, browns, and yellows applied to Aristotle's face portend a philosophical mysticism that Rembrandt seeks to bring out in this piece. Also, the red and oranges that reflect candlelight in Rembrandt's studio, also give a warm mystical light on Plato's bust."
Abstract The paper analyzes the facets of the impressionistic style in the "Bridge at Argenteuil" by Claude Monet. The paper describes how the "Bridge at Argenteuil" is an innovative landscape that creates new ways to interpret color and light through the stylistics of Monet's impressionist approach.
From the Paper "Claude Monet painted The Bridge at Argenteuil in 1874, further innovating new insights into how impressionism would evolve in light of the classical realism as a dominant art style of his era. The clarity of form through Realist objectivity (the major influence of scientific thought) in many European works--especially those in Great Britain--was a major cultural opponent of Monet's painting style and unorthodox use of color and lighting. In the painting, Monet applies a series of short brushstrokes that result in a choppy formation of various colors, such as green, browns, and blue that build upon the reflection of the bridge, the sky, and the boat on the water."
Abstract Tennessee Williams' play "The Glass Menagerie" exposes the conflicts between the old Southern values and the brute force of the new, Northern values. Some of those conflicts in society - with reference to women's place in America in the 1940s - are reviewed in this paper, in order to present a psychosocial background into the characters Amanda Wingfield and her troubled daughter, Laura Wingfield. It also looks at how Williams painted literary portraits of his female characters with the brushstrokes from his own family experiences (his sister was schizophrenic) and from the society that he observed all around him and about which he held strong opinions.
From the Paper "In the interest of offering further perspective on why Williams portrayed female characters in The Glass Menagerie the way he did, it is worth noting that when Williams was just five years of age, he suffered from a paralytic disease, causing him to be paralyzed. At seven, he was diagnosed with diphtheria. His mother, Edwina Dakin Williams, approached his difficulties during this period in his life by encouraging him to dream up stories and read. But Edwina is also reported to have been a pushy, sometimes smothering woman by a biographer writing for ThinkQuest (http://library.thinkquest.org). Indeed, his mother did not approve of him "...playing with other boys" and his father made him quit the University of Missouri to work in the shoe business. "
