Abstract
The Impressionist style of art began in the early 1870s. Impressionist artists were often considered radicals because of their huge departures from the conventional art form, content, subject matter and brush stroke technique of previous generations. This paper examines three Impressionist paintings in particular that serve as different examples of impressionistic art: Two works by Claude Monet - "Impression: Sunrise, 1872" and "Bridge Over A Pool of Water Lilies, 1899" and James Abbott McNeill Whistler's "Nocturne in Black and Gold, the Falling Rocket, 1875".

From the Paper
"Whereas Impressionists were known to paint outdoors, in Monet's later painting Bridge Over A Pool of Water Lilies, 1899, the artist would move back and forth into his studio constantly reworking the canvas of this piece. In this part of his Garden Series, Monet created a different example of impressionistic work. In Bridge, there are more layers and the work more complex. Whereas in previous works like Sunrise, where most of the subject matter is blurred out, Monet spent more time emphasizing the different aspects of the lilies in the pond, the bridge and the surrounding foliage in this work. There appears to be the beginning of a departure from the strong early characteristics of Impressionist movement, however the piece still remains under the classification of an Impressionist piece."

Tags:Louis, Leroy, realism, Garden, Series, Gustave, Courbet

Abstract
This paper explores several paintings from the late 1800s/early 1900s by Edouard Manet, Berthe Morisot, and Edgar Degas.

Abstract
This paper compares and contrasts two of the most famous periods in the history of Western art, namely, the Baroque and the Impressionist era. Separated literally by about two hundred years, it explains that the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. The author also discusses the overall of the two periods.

From the Paper
"The history of Western art is replete with various styles, techniques, and periods. The examination and study of any one of those periods in art history could take a lifetime. And yet, we can also learn much from a more cursory comparison of multiple periods. For that reason, I have decided to compare and contrast two of the most famous periods in the history of Western art: the Baroque and the Impressionist era. Separated literally by some odd two hundred years, the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. To begin with, it would help to have a basic sense of what the overall trends of the Baroque were compared to the Impressionist era. The Baroque period was much earlier and spread outward from Italy from the ..."

Tags:art, baroque, impressionism

Abstract
This paper explains that American Impressionist Mary Cassatt began using a Japanese motif in works such as "The Fitting," one of a series of ten color prints, which are considered among the landmarks of Japonisme. The author points out that, while most American architects in the early 1900s looked to European architects for ideas, Frank Lloyd Wright found Japanese design and art more inspiring. The paper concludes that now, in the 21st century, Japanese creativity has taken a new approach based on electronic and computerized technology advances combined with art, called animation, or anime in the Japanese language, which is an art form eagerly consumed by the market.

From the Paper
"Van Gogh wrote his sister how Buddhism was also impacting his life. He even shaved his head to look more like Japanese. He deeply studied the works "not to simply comprehend Japan art by copying it, but to dig down to the very roots of Japanese culture to be able to generate original creative impulses of his own from the encounter." American artist Frank Benson painted Impressionist images of table settings that mingled Japanese, Chinese, and American objects. Benson also applied Japanese technical considerations to his paintings. This interest is especially evident in a group of black-watercolor washes that suggest the swiftness and economy of Japanese ink painting."

Tags:van-gogh, beardsley, art-nouveau, disney, fashion

Abstract
This paper explains that, despite its association with Andy Warhol, Pop Art as a movement actually began in post-WWII Great Britain with the work of Richard Hamilton. The author points out that Pop Art, with its much more representational nature, was seen by some art historians as a reaction against the abstract expressionism movement. The paper reviews Pop Art leaders: Andy Warhol, Richard Hamilton, Robert Rauschenberg, David Hockey and Jasper Johns.

From the Paper
"The Warhol exhibit of Campbell's Soup was so unsettling because looking at Pop Art like Warhol's was not looking into the heart of the artist, but looking into a mirror, a mirror of culture in which the spectator could gaze at him or herself, with all modern culture's sameness, carelessness, and vacuity. Thus Warhol's work said a great deal about not just modern culture, but the moment of art during the 1960. The era of the passionate artist, full of intensity and feeling was at an end."

Tags:repetition new, campbell's soup, american flag, post-impressionist

Abstract
This essay takes a look at the definition of art. It discusses the purpose of art throughout the ages. The works of Monet and other Impressionists are examined and contrasted with the later work of Alfred Gockel. The impact of society on art as well as art on society is highlighted.

From the Paper
"What is Art? Every person has a philosophy of art, or at least a definition. There is no correct answer, just an opinion, and for every person there is an individual opinion. Thus there are over 6,234,250,387 opinions on what art is. Throughout the ages, Art has been a form of recording history, expression oneself, immortalizing people, gods, landscapes, and depicting beauty in countless ways. Art is perceived differently to all, as the old adage states "Beauty is in the eyes of the beholder". Certain Art Forms are appreciated by some, and rejected by others. "Art is the creation of works that are in form, content, and execution, aesthetically pleasing, and meaningful, as in music, painting, sculpture, literature, architecture, dance etc" states the Webster's Dictionary. What many definitions forget to leave out is emotion. As with almost any piece of art, the artist's raw emotion goes into it, the creation of the work is often a result of dealing with a life crisis. For some a diary lets out their build up of emotion, for artists, it's their hands."

Tags:design, photography, lithograph, beauty, Manet, Pissarro, Auguste

Abstract
The writer discusses the purposes of art exhibition in Europe from about 1700 through 1880. Such exhibitions made it possible for artists to find a new public, a more democratic public than had been possible in an earlier era when art was subsidized by wealthy patrons. The history of the exhibitions shows two rends by the end of the era. On the one hand, there was the trend of academic art. Then, there were the non-academic exhibitions, the most famous of which was that of the Impressionists, and here artists who do not fit the academic mold were able to break through and find an audience by using the techniques of the academic exhibition and so appealing to a public that was accustomed to this sort of show.

From the Paper
"The art exhibition developed out of efforts started in 1648 to establish a school in Paris devoted to the instruction of fine arts. This would be the Royal Academy of Painting and Sculpture, which actually consisted of societies of learned men who guided students in the disciplines of literature, music, dance, architecture, painting, and sculpture. This was at first a part of the University of France, but the societies eventually developed into separate institutes for the individual artistic disciplines. The government favored these institutes "as an instrument for imposing official standards of taste on art" ("Educator Packet: Rules & Rebels in 19th Century French Art"). The Academy also introduced several important and lasting innovations in teaching art. Prior to this, those interested in becoming artists would apprentice themselves in the workshop of an established master. The Academy offered the student the chance to train before taking a job with an artist."

Tags:painting, sculpture, society, learning, academic

Abstract
The paper examines how Van Gogh used Japanese color technique, "line and dot" technique, and the "silhouetting' technique in his two works: "House and Figure" and "Portrait of a Peasant." The paper also shows how the Japanese woodblock tradition played a large role in helping Van Gogh form his painting style though the fluid styles of the master Hiroshige in "Blossoming Plum Tree." The paper relates that through this self-taught tutelage and copying of Hiroshige, Van Gogh was able to create an abstract style that was part of the burgeoning modernism of the Impressionist period.

Tags:gogh, art, japan

Abstract
This paper explains that painting in the 19th century, still highly influenced by the spirit of Romanticism, progressing through the "schools' of Realism, Impressionism and Post-Impressionism, proved an even more sensitive medium for personal expression. The author points out that the Impressionists sought to create the illusion of forms bathed in light and atmosphere, which required an extensive study of natural light as the source of all color, leading to the revelation that the actual color of an object is always modified by the quality of the light in which it is seen, by reflections from other objects and by the effects produced by colors lying against each other. The paper reviews in detail the work of Francisco Goya, Jacques Louis David, Eugene Delacroix, Jean-Auguste-Dominique Ingres, J.M.W. Turner, John Constable, Edouard Manet, Edgar Degas, Georges Seurat, Paul Cezanne, Paul Gauguin, Vincent Van Gogh and Auguste Rodin.

From the Paper
"The history of 19th century painting in its first sixty years has often been interpreted as a contest between Eugene Delacroix and Jean-Auguste-Dominique Ingres (1781-1867) who broke away from David on matters of artistic style, for he believed that David's art was too realistic and based far too much on Greek influences. For Ingres, painting encompassed flat and linear figures, a manner that was severely criticized as being "primitive" and Gothic. However, Ingres soon became the leader of the academic forces in their battle against Delacroix and his contemporaries."

Tags:color, romanticism, realism, impressionism, post-impressionism

Abstract
The paper analyzes the composition and technique of a painting from each of the most notable artistic periods in history; the Renaissance, Rococo and Impressionist periods. The paper develops an understanding of the technical and aesthetic value of these paintings as well as of the respective art movements as a whole. The paper concludes with a personal opinion that impressionism evokes the greatest visual and emotional appeal. There are color images of the three paintings that are examined in the paper.

Outline:
Introduction
Renaissance
Rococo
Impressionism
Conclusion

From the Paper
"Renaissance was a reaction to the Middle Ages and serve as the foundation for the subsequent Baroque period in Europe. Its etymological meaning is "rebirth" of classical antiquity, pertaining to the revival of arts and sciences after it was diminished because of the emphasis on religion. However, it should be noted the majority of the art work where commissioned either for the Church or by supporters of it (Gombrich, 1995). The period also marked the significance developments in artistic technique which included the development of linear perspective, spatial composition and definition of the proportions for human form. The most notable artist of the period includes Leonardo Da Vinci, Michelangelo, Raphael as well as Boticelli who while was briefly eclipsed by the first three artists rose to contemporary regard. However, the Da Vinci, Michelangelo and Raphael have been more specifically associated as High Renaissance artists or for the latter Renaissance arts (Stokstad, 2004)."

Tags:techniques, composition