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 impressionisticart: 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."
Abstract This paper analyzes the characteristics of the most influential painters during the Impressionism era to see whether Henry Fantin-Latour should be considered an Impressionist painter. The writer describes a brief history of previous art movements and analyzes the Impressionists' characteristic by examining some examples of the three great artists at that time: Claude Monet, Edgar Degas and Edouard Manet. The writer advocates that Fantin-Latour's paintings are really different from the Impressionists. The writer further discusses Fantin-Latour's three different kinds of paintings, the portraits, still life, and imaginative paintings, and explains that only the imaginative painting has a characteristic of the Impressionists' painting. The writer believes that Henry Fantin-Latour is not an Impressionist as his artwork is more realistic.
Outline:
Introduction
A Brief History
Great Representatives of the Impressionism
Fantin-Latour
Fantin-Latour's Artwork
Conclusion
Included in the paper are graphics (paintings) by Fantin-Latour.
From the Paper "Art is a product of human creativity and is a creation of beautiful things. Everyone has different interpretation in defining beautiful, as it is a form of expression of a person's feelings. There are many different forms of art, such as painting, music or photography. People have their own way in interpreting art. There is no universal rule of understanding a work of art. Over the centuries art has been used for different purposes. In the 19th century, during the modernism time, so many artists reacts to structures and definitions of the new academies new subject matter and new painterly values, they refer more to the philosophy of the modern art. Most artists wanted to show their own style and expressed it in their own way, even though they based on what they have learned at that time. "
Abstract This paper explores the influence of Japanese wood-block prints on Impressionist and Post-Impressionist painting. The writer introduces the evolution of wood-block printing in Japan and its distinctive form, technique and style of drawing that attracted the impressionists. This is followed by a listing of artists who were exposed to these prints and how they affected their works. These artists include Degas, Pissarro, Cassatt, Renoir, Morisot, and Manet among others.
From the Paper "This type of printing changed during time, and the works that we see today and also the ones the impressionist saw were the end product of a long evolution. "Printmaking is composed of the division of labour of many craftsmen, such as painters, engravers and printers, and needs at least the same number of different woodblocks as colours, often more than twenty wood-blocks. At first, there was just a one colour woodblock prints with brush-added colour in the 1710s, then two or three colours wood-block prints evolved in the 1740s, and finally in the 1760s the multi-colour wood-block prints called "nishiki-e" (brocade picture) was invented and continued to the early Meiji period in 1890s." "
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 ..."
Abstract This paper discusses how Post-Impressionist artists were interested in the ideas of Friedrich Nietzsche, particularly in his concept of the Ubermensch, a superman who would be capable through intense struggle of surmounting the lower forces that would limit his ability to achieve. and how the idea that man could evolve beyond his present capacities influenced the relationship of European man to previous cultures and to contemporary but less "civilized" societies. It explores the ways in which Paul Gauguin applied the Ubermensch concept to his art and to his life and examines parallel motifs in the oeuvres of his contemporaries. It details his life from his birth 1848 through his initial career as a stockbroker and his influence by Impressionistart.
From the Paper "The most enigmatic of his self-portraits is one of his 1889 ones, his now familiar features reduced almost to a caricature. His powerful body, hawk-like nose, slanted eyes and high cheekbones give him the appearance of a Mongol conqueror, and the gorgeous reds and golds of the paints create an exotic atmosphere. Two apples dangle over his shoulder, and a sinuous serpent meanders across his chest. Over his head, a halo hovers. He is now a Magus, a powerful supernatural being with divine powers ? the realization of the full potential of the ubermensch. Inasmuch as he will be dead in 1901, it may well be that his syphilis had progressed by 1889 to an extent that he was delusional. Certainly the ego and the violent personality that had been developing in Tahiti and later in Atuana reached their culmination in a belief in self that seems excessive, even for an artistic personality."
Tags: van, gogh, impressionists, art, modernist, biography
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."
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 paper examines Claude Monet's" Water Lilies" ("Nympheas"), "Fereghan Horse" from the Chinese Tang Dynasty, John Singer Sargent's "Mrs. Joshua Montgomery Sears" and Mary Cassatt's "Children in the Garden" ("The Nurse") from the Houston Museum of Fine Arts. The author points out that Claude Monet's water lilies depict the Japanese styled stillness that Monet desired in works of nature. The paper relates that in Sargent's work, "Mrs. Joshua Montgomery Sears, the use of oils reveal the complexity of paints that provide greatly contrasting chiaroscuro that abounds in the work. The author further notes that the main subject in Mary Cassatt's work is the profound sense of women relationships that exist within elite households.
From the Paper "The choppy brushwork of the fauna along the pathway is representative of Impressionist works of the period, while Cassatt abstracts the forms of the nurse and the children by denying them any detail. Small circular brush strokes define the flowers along the path, which help anchor the depth of the work. In effect, the composition of the painting provides some depth and perspective, as the nurse causally knits while the lone child plays at her side. By placing the woman and the two children off center of the painting, this provides the depth and abstraction of form need to bring out depth perception along the angle of the pathway."
Abstract The writer of this paper centers on the fields of Far East and Near East art also known as Orientalist art. This paper presents figures and facts pertaining to the genre of Orientalist art from the auction houses of Christie' and Sotheby's as well as others. This well-researched paper discusses the general status of the art industry, while also delving into current trends. This paper examines how the 9/11 terror attacks caused sales and prices in the art industry to drastically fall around the world. This paper discusses the published reports that claim that even prior to 9/11 the art market was showing signs of slowing down. This paper contains published statistics and data pertinent to the art market in general while also presenting 6 illustrated charts and graphs relevant to this particular topic.
Table of Contents:
Introduction
General Art Market Analysis
Orientalist Art Market Analysis
Conclusion
References
From the Paper "Luckily, the art market was able to rebound quite quickly, despite challenges in other sectors. "After the tragedy of September 11th, the art market has consistently trumped the performance of sluggish equities markets" ("Art investment", 2003). For this reason, the art market, in general, has seen a resurgence, despite the downturn attributed to September 11th. However, not all is smooth sailing for the industry. This was evidenced just prior to perhaps one of the largest events in the art market history was the sale of artwork collected by the late Malcolm Forbes. Forbes was an obsessive collector. From Faberge eggs to Orientalist paintings, Forbes collection grew for more than three decades. 361 pieces of art, from this lifetime of collecting went under the hammer at Christie's in London, in 2003."
Abstract This paper discusses how the human body has always been a constant subject in art and in particular western art from the ancient times. This essay examines the various ways in which the body was represented in art from ancient to modern times. Many great pieces of art have had the nude as their theme, or at least contained nudes. The nude is often the subject of art but can also be considered an art form. The paper also looks at the nude as a subject of art and how notions of gender differences, desire and identity reflected on the female nudity in art.
Abstract This paper analyzes Martin Heidegger's definition of art. The author claims that the origin of art is created from some form of activity on the part of the artist, whether it be creating a painting, song, sculpture or poetry. This paper focuses on Van Gogh's painting "A Pair of Shoes" and describes Heidegger's view of this particular work of art as well as his perception of the artist. The writer of this paper questions whether the artist creates the art or if art in fact creates the artist. This paper also discusses the significance of technology and nature in any work of art while describing Heidegger's definition of the 'thing' needed when creating art.
From the Paper "After mentioning the artist, Heidegger begins to question what the artist is. We must question then if the work is what makes the artist, or is it the artist that makes the work. He tells us that the artist is the source of the work, and the work is the source of the artist. Both the work and the artist depend on each other, and one of them cannot exist without the other. Both the artist and work are related to a thing that comes before each, and that is what Heidegger calls art. If artist and work are both dependent on each other to be the source of the other, so do to both depend on art as their source. Heidegger asks if art can be a source of a work of an artist. Heidegger then claims that art is nothing more than a collective noun that signifies nothing now."
Tags:art, book, literature, van, gogh, painting, poetry, technology, review, perception
Abstract This essay gives the historical and social background of modern art, explains the general ways that modernist work can be seen as uniquely different from art that came before, and looks at two specific examples of modern art's radically different approach. It clearly defines modern art and explains the foundations and philosophy behind art of the past hundred and fifty years.
From the Paper "When defining and discussing modern art, it is first important to clarify exactly what the term means. Modern art refers primarily to painting, sculpture, and architecture created since the blossoming of technology and modern society. In broader historical thinking, the word modern refers to that time after the Renaissance and the Age of Discovery, however, the modern art movement is generally agreed to have been between the 1860s and 1970s. Like many discussions about art history, these dates are subjective. Painting, sculpture, and architecture from this period of history are called "modern" or ?modernist.? For many art historians, modern art began with the work of Edward Manet. Manet was one of the first impressionists and modern artists, those who reacted to the very formal and rigid style of painting done inside studios and set by traditional institutions in the nineteenth century. Modernism ended with the start of what many refer to as "post-modernism" in the 1960s and 1970s. This essay will give the historical and social background of modern art, explain the general ways that modernist work can be seen as uniquely different from art that came before, and look at two specific examples of modern art's radically different approach to painting. When compared to Renaissance and other western "traditional art" up to the late nineteenth century, it will be seen that modernism was a totally new paradigm for art."
Abstract This paper explains that Barbara Kruger and the Guerrilla Girls have taken traditional methods of art application and placed them within the normative modes of advertising methods. The author points out that inter-disciplinary arts, which are more than just an art technique, has become a public forum for feminist issues. The paper relates that, by opening the doors to the way that art is perceived, both Kruger and the Guerrilla Girls have taken art out of the traditional confines of museums and art houses and into modern media formats.
From the Paper "This art analysis presents an inter-disciplinary study of the art and advertising methods of Barbara Kruger and the Guerrilla Girls. By taking various examples of advertising billboards, magazine ads and other forms of art used within the modern media, an inter-disciplinary mode of art is created through the work of these artists. Through the study of the work of both Barbara Kruger and the Guerrilla Girls, one can realize the feminism and cultural impact of mixed mediums within modern inter-disciplinary art."
Abstract The paper examines the reasons Ortega y Gasset provides to explain his belief that traditional art is true art and modern art is just a work of art. The paper argues against Ortega y Gasset's assertions with the belief that his opinions do not take into account the natural progression of the art form.
From the Paper "Jose Ortega y Gasset describes what he observes as the "emergence of a new artistic sensibility"(87) in his 1925 essay, "The Dehumanization of Art." His observations in light of "avant-garde" literature, art and theater are compared to his subjective thoughts on the traditional forms of art in poetry, theater and visual art. He argues that traditional art is the "true art" form; whereas, modern art is just art for the sake of art. I disagree with Ortega y Gasset's argument because it is now 2006 and his opinions, although respected, do not take into account the natural progression of the art form."
Abstract This paper investigates the activities of various groups that bring crafts, writing, drama, dance, fine arts, and music to prisons. One of the groups mentioned is "The Prison Creative Arts Project" from the University of Michigan, which holds exhibitions for prisoners? art, which they even sell. Another is the "Geese Theatre Company", a team of specialized theater practitioners, taking drama to prisons and probation services centers. The National Endowment for the Arts? program for juvenile offenders is also brought up. The paper explains how these programs constitute ?art-therapy? and how they benefit prisoners, both in prison and once they are released. It also looks at the school arena, recommending programs like these for the prevention of juvenile offences. The paper includes a glance at the costs of these programs and at the opinions of opponents to the programs.
From the Paper "Other people have had that question too, and it seems they have done something about it. They organize different groups, and take the arts"crafts, writing, drama, dance, fine arts, and music"to the prisons, hoping to make some sort of difference in the prisoners? lives. One of these groups, the Prison Creative Arts Project, from the University of Michigan, does just that. They hold exhibitions for prisoners? art, which they even sell. The prisoners just love this, because it is a chance to "prove" themselves, and to let people actually see who they are."
