Abstract This paper describes the impressionist quality of the composer Debussy. It looks at Debussy's use of the whole-tone scale rather than the more popular use of the tonic, or atonal music. It also discusses two of his important compositions: "Pelleas et Melisande" and "Prelude to the Afternoon of a Faun".
From the Paper "Claude Debussy reveled in harmony. His works are redolent of complex and innovative harmonics and his ability to create new and innovative ways of exploring and playing with traditional Western harmonics helped allow those harmonic traditions to develop into ..."
Abstract The paper relates that ClaudeDebussy's music was often associated with the Impressionist movement in painting. The paper shows how his piece "Reverie" reflected the aesthetic currents of the time and mirrored the methods of the Impressionists. The paper describes the complexities of this piece.
From the Paper "Claude Debussy (1862-1918) was a French composer and critic whose music was often associated with the Impressionist movement in painting. He believed that the primary aim of music is to give pleasure, and Debussy was especially interested in the sensuous quality of music. He often allowed the sensuous qualities of the sound to override many of the rules of composition and harmony. In his early period, Debussy was a follower of Wagner and saw his power as the future of music, especially with reference to musical drama. He later changed his focus and was influenced by the symbolist and decadent movements in poetry, notable for their interest in sound and abstract meaning. Debussy became increasingly drawn to abstract forms in music as well ("Claude Debussy" paras. 1-6)."
Abstract The paper compares and contrasts the renowned French composer ClaudeDebussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper "In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
A comparison of ClaudeDebussy's "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune."
Abstract This paper compares ClaudeDebussy's music "Prelude a l"apres-midi d"un faune" (1894) (Prelude to the afternoon of a faun) and the impressionist poem upon which it was based, Stephane Mallarme's "L"apres-midi d"un faune." It discusses the role impressionism played in the visual arts in the development of impression in French music at the end of the nineteenth century. A discussion of the movement away from Wagnerian and Romantic ideals is also included.
From the Paper "By the late nineteenth century, Romantic music in Europe had reached the pinnacle of its success, in terms of both mastery of the art form and popularity among the public. Epitomized by the musical accomplishments of the Germans (Wagner and Brahms) and those of the Russians (Tchaikovosky), music composed in the Romantic style was markedly sentimental and quite non-evasive in its presentation of ideas, particularly those of "true passion" (Wright, 320). It was in direct opposition to these norms of expression of true passion through sentimentality and overt symbolism that the Impressionist movement in music began. Beginning in France and drawing its ideals from the rebellions against Romantic and Classical styles in such other artistic mediums as painting and literature (particularly poetry), Impressionist music attempted to express true emotion in more subtle ways, in ways other than "sheer volume of sound and epic length" (Ibid). A principal example of this new fin-de-si"cle style can be found in Claude Debussy's Pr"lude ? l"apr"s-midi d"un faune (1894) (Prelude to the afternoon of a faun). Based loosely on St"phane Mallarm?'s 1876 poetic work, L"apr"s-midi d"un faune, the Pr"lude exemplifies the Impressionist tendency to suggest ideas rather than explicitly set them forth. Debussy, in working in close conjunction with Impressionists representing alternate artistic mediums, extracts many of the Pr?lude's compositional strategies from ideals prevalent in Impressionist art and Symbolist poetry. The resulting composition exhibits all the ideals of the Impressionist movement, and it served to bring the Impressionist movement to the general public, quickly preparing the way for the genesis of modern music."
Abstract This paper describes the musical styles and influences of three of the greatest 20th Century composers: ClaudeDebussy, Duke Ellington and John Cage. The paper examines the innovations of each composer and cites examples of their work.
From the Paper "The works of Claude Debussy represent a transition from the late Romantic era in music to music of the 20th century. His unique musical language veered away from the style of Wagner with its heavy emotion. Instead Debussy wrote..."
Abstract Kuroda Seiki (1866-1924) from Japan and Claude Monet (1840 -1926) from France are examples of artists who shared an urge for creative discovery. Both artists painted what are considered to be impressive and revolutionary paintings. In their paintings, they instilled new ways of representing reality through composition. This essay will examine Kuroda Seiki's "Withered Field (Grez)" and Claude Monet's "Waterloo Bridge, Grey Day" in order to show the similarity of their respective methods, a similarity that was radical in its time because it broke with the accepted methods of composition and attempted to reinvent the nature of artist experience and representation.
Abstract This paper examines Inis L. Claude, Jr.'s piece on "The Theory of Collective Security", which includes three subjective norms, encompassing Claude's thoughts on how international politics can strive for collective security.
From the Paper "For collective security to be successful, we must assume that there is a possibility of agreements throughout the industrialized and non-industrialized worlds. Of course, within all nations there are differences between the urban archaeology of different nations and states. These differences between cultures may make it impossible for collective security to ever pose as a possibility. As of now, the world is nowhere near a place where it could meet the subjective norms as stated by Claude, during this brief pause of violence throughout the world."
Abstract This paper explains that Claude Monet's "Water Lily" paintings represent plein-air painting, meaning they were painted outside the confines of the studio, which relates directly to the Impressionistic mode of thinking about art. The author points out that Claude Monet emphasized the visual experience of the sensuously immediate, producing a new kind of art from an unacknowledged, yet most commonplace, kind of visual experience called "the glance". The paper relates that these later Monet paintings are akin to the Abstract Expressionism of Jackson Pollack and Abstractionists like Kandinsky because, in essence, the later water lily paintings are abstract in their concentration on flow, color texture, and movement.
Table of Contents
Monet and Impressionism
Giverney and the Water Lilies
"Water Lilies"
Importance
Figure 1: "Water Lilies" ("The Clouds")
Figure2: "Water Lilies" (1906)
Figure 3: "Waterlilies, Green Reflection, Left Part" (1916-1923)
Figure 4: "Water Lilies" (1907)
Figure 5: Bridge at Giverney. "Le Bassin aux Nympheas"
From the Paper "In art historical terms Monet was the heir to a departure in style and content in 19th Century painting and was one of the instigators of the new school of French landscape painting. Monet's earlier work signals a break from the past conflict in art between line and color as the dominant aspects of painting. He also began his painting career in an atmosphere which no longer felt bound to paint from a religious and mythological basis - which had previously been seen as essential elements of artistic creation. This meant that the artist felt free to explore new and more expressive methods of artistic creation and "they no longer troubled themselves about composing pictures based on geometric principles. They continued to compose, of course, but they chose their patterns with an eye to pictorial rhythm, and were thereby led to seek out new rhythms."
Abstract This paper explains that Claude Levy-Strauss in his book "The Structural Study of Myth" breaks down myths structurally into four themes. The paper then describes the way that Strauss uses his algorithm to interpret any story through a prescribed matrix. The writer relates that she took a few stories and applied Claude Levy-Strauss' technique to them with excellent results; however, she does question the value of his specific four themes and in analyzing myths in this structural fashion.
From the Paper "What Strauss is doing is similar in practice to what a number of the other writers that we have already covered have tried to do. It is another type of analysis in which we're taking something that's essentially abstract (myth) and trying to apply concrete algorithms to it. With that in mind, I immediately have some level of skepticism. Putting that aside for a moment though, I do see quite a bit of validity in Levy-Strauss is technique in that it does successfully manage to take abstract concepts and organize them structurally."
Abstract This paper introduces the renowned 19th century French painter Claude Monet. It discusses his life and examines one of his works in detail. The paper argues that Monet is unquestioningly the father of impressionism, and paved the way for the abstract expressionism. The author states that Monet's painting techniques rejected the standard art of time and came to influence painters today.
From the Paper "Since childhood he displayed the geniuses of an artist when he produced some of his marvelous caricatures and supplied to an art store at the age of sixteen (Monet French). This is where he met Boudin who saw in him the germs of an emerging artist and convinced Monet to step out in the world to prove his ability to paint. In 1860 Monet came across Pissarro at the Acad?mie Suisse in Paris (Monet French). Monet's love of art and painting faced many challenges and his career as a full-fledged artist saw many hardships (Monet French). "
Tags: 19th, century, france, impressionism, painting, technique
Abstract This paper discusses various paintings by artist, Claude Monet. The paper outlines Monet's methods of painting in his series of London paintings, emphasizing his various techniques and use of color. Monet's practice of painting the same scene at different times of day and in differing weather conditions, is illustrated in the paper. Walter Benjamin's literary work, "Illuminations" is presented. The paper explains Benjamin's opinions on the concept of art in general, and the issue of reproduction of original art in particular.
From the Paper "Monet's London pictures demonstrate his ability to convey atmosphere and also show his approach to experimentation with the technical means to portray atmospheric effects. These are part of the "series" method of representing nature, a method that originated in giving attention to more and more specific weather phenomena. In a series, Monet would paint the same subject at different times of day, on subsequent days, with different atmospheric conditions, and so on, and in so doing he would observe and recreate the range of light and a variety of specific atmospheric conditions. Many of the works he painted in London show his dedication to finding a technique that will accomplish this task."
Abstract This paper explores the film career of Claude Berri. It explains that the one things that stands out in Berri's films is how the sadness of human suffering and prejudice is captured, not only with sadness, but with a sense of reality. Berri shows characters dealing with situations in an honest way and does not focus only on the suffering. It explains that the characters react to their situations in humorous ways. This is one key aspect of Berri's films; the ability to combine drama with comedy, and to add the comedy in a way that does not lessen the very real drama.
From the Paper "Claude Berri was born in Paris, France in 1934. He was born to Jewish parents and experienced the years of war during his childhood in Europe. It is this experience that is said to have influenced his movie career, with Berri becoming known as a director that captured the real anxieties of people (Buss). His own experiences in his childhood appear to have given him an understanding of human suffering that allowed him to capture it profoundly. Another theme of Berri's was prejudice, with many of his films dealing with the subject. This interest is also likely to come from his childhood and his experience as a Jew during the war years and after."
Abstract Claude Monet is widely recognized as one of the towering figures in the art world. His paintings of haystacks and the gardens at Giverny continue to attract visitors to museums all over the world. Both the subjects of his paintings and his techniques are dominant representations of the Impressionist movement. The first part of the paper looks at Monet's biography, including his early training and influences. The next part then examines Monet's role in the development of the Impressionist movement, the break from classical painting and the beginnings of modernist art. In the last section, the paper looks at how Monet's contributions to Impressionism continues to influence artists decades after his death.
From the Paper "Despite this early success, the Salon later rejected many of Monet's later pieces. This included the massive Women in the Garden, which Monet submitted in 1866. After this rejection, Monet began to work on smaller paintings, as seen in the series of outdoor landscapes he painted with Renoir in 1869. The subject of these paintings was La Grenouillere, a fashionable bathing area along Paris' Seine River (Tucker 64). These paintings showed the beginnings of Monet's impressionist style, where daubs of fresh color were used to capture the spontaneity of the scene and the flowing water."
Abstract This paper discusses Claude Mckay's poem "America". The paper argues that this is one of his best protest poems and since he was one of the very first poets to start the Negro Renaissance of 1920s, his poems voice the feelings of African-Americans vehemently.
