| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "CLAUDE MONET VINCENT VAN GOGH": |
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Claude Monet and Vincent Van Gogh's "Sunflowers", 2007.
A comparative analysis of Claude Monet and Vincent Van Gogh's paintings known as "Sunflowers".
1,004 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper examines how both Claude Monet and Vincent Van Gogh selected the subject of sunflowers for two of their most famous still life paintings. It looks at how, although both artist's works may depict the same type of flower, the color, light and shading of the two works are completely different.
From the Paper
"The arrangement of the Van Gogh painting also forces the viewer to look more closely at the individual flowers. Most of the faces of the Van Gogh sunflowers, rather than turn away from the viewer, seem to look at the viewer directly, while others are dying, as if expressing their sadness as they look away. Because of their brightness, and the detail given to each individual flower, the centers of the healthy flowers seem to look like eyes, looking into the viewer's soul, rather than away at something else as in the case of Monet's painting. Even the colors of the central vase are brighter in Van Gogh's painting than in Monet's and jump out at the viewer in the center of the composition. The vase is painted with bright colors, while in the Monet painting the viewer hardly notices the off-center vase."
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Vincent Van Gogh, 2006.
This paper examines the life and artistic accomplishments of Vincent Van Gogh, as well as his introduction of the expressionist style of painting.
1,297 words (approx. 5.2 pages), 9 sources, APA, $ 43.95
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Abstract
The writer of this paper explores the life and artistic motivations of Vincent Van Gogh. Van Gogh moved to Paris in 1886 where he was exposed to the works of great artists such as Monet, Renoir Degas and Signac, which resulted in a dramatic shift to his usual style of painting. Van Gogh's subject matter had also changed, from dark, rugged peasants to more serene subjects. The artist created a new style of painting called expressionism, which symbolized the artists' inner feelings about the subjects he was painting. This paper discusses Van Gogh's various works of art which clearly show the inner turmoil the artist suffered during his lifetime.
From the Paper
"Near the end of his stay at Saint-Remy, Van Gogh's use of colors became more subdued. In "Wheat Field with a Reaper", Van Gogh used the reaper to symbolize death, as a figure toiling in the noontime heat, to hurry and get his tiresome chore finished. Van Gogh did not see death as a sad thing, in this painting he used a pure gold color to flood the work with light. Van Gogh left Saint-Remy in 1890 and spent the last two months of his life in Auvers-sur-Oise, a small picturesque village about twenty miles north of Paris. As his mental health worsened, Van Gogh suffered more severe bouts of depression, sometimes exploding in anger. After these episodes, he would go out into the fields and talk to himself."
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Vincent Van Gogh, 2006.
A biography of the life of Vincent Van Gogh.
2,314 words (approx. 9.3 pages), 4 sources, MLA, $ 71.95
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Abstract
This paper looks at the life and works of the artist Vincent Van Gogh who was born in 1853 in Holland and died in 1891. It looks at how Vincent Van Gogh was an extraordinary man who led a cursed life and how he constantly struggled with depression. The paper also ponders whether Van Gogh would have made many more masterpieces if he had not been sick or whether it was his mental illness that helped him to create the masterpieces he did.
From the Paper
"In 1880 Vincent decided he could still be used by God as an artist rather than a clergyman. He wrote: "To try to understand the real significance of what the great artists, the serious masters, tell us in their masterpieces, that leads to God; one man wrote or told it in a book; another, in a picture." He moved to Brussels and considered enrolling at the art academy, but rather chose to study independently. Sometimes he studied with Dutch artist Anthon van Rappard. While Vincent was not earning any money, his brother, Theo, (who was working at Goupil's Paris branch where Vincent was previously employed) sent him money. His brother continued to send him money until Vincent's death.5 "
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Vincent Van Gogh, 2005.
An analysis of the Japanese influence on the paintings of Vincent Van Gogh.
1,350 words (approx. 5.4 pages), 5 sources, $ 53.95
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Abstract
This paper analyzes paintings by Vincent Van Gogh. Particularly, the paper analyzes the Japanese influence on his paintings in relation to his painting technique and style. The paper discusses the influence that Hiroshige had on Van Gogh and how Van Gogh learnt to mimic his style from woodblock prints.
From the Paper
"Art Studies: The Japanese Influence on the Paintings of Vincent Van Gogh In this art study, the paintings of Vincent Van Gogh will be analyzed in relation to his painting technique and style. In understanding the various influences of Ukiyo-e Japanese prints within his painting Van Gogh had learned to use Hiroshige's style from various woodblock prints that he had come to know through Bing's "Japonisme" shop in Paris, France. By learning to mimic other artist's works, Van Gogh was able to understand how color worked on the canvas, and how he would have it applied in conjunction with his western pointillism approach to painting. In fact, it was Van Gogh attention to copying this Japanese master where the infusion of bold colors is brought to life."
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Vincent Van Gogh, 2000.
A look at the works and world of Vincent Van Gogh.
3,665 words (approx. 14.7 pages), 11 sources, $ 101.95
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Abstract
This paper takes a look at the life and work of Van Gogh. The paper concentrates on Van Gogh's prodigious output in a short time, how his mental stability affected his art, and his relationship with friends such as Gauguin.
From the Paper
Vincent van Gogh is generally considered one of the greatest painters in the history of art. In spite of his abridged life span, his creativity and productivity cranked out a total of more than 800 paintings and an equal number of drawings. A simple mathematical calculation revealed a stunning number: (on average) one painting AND one drawing every single week. However, overshadowed by his mental problems, some people, now or then, tend to conclude this enormous production as mere brash and outbursting works lacking of delicacy and accuracy.
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Vincent Van Gogh, 2002.
A biography of the life and career of the painter Vincent Van Gogh.
2,810 words (approx. 11.2 pages), 5 sources, MLA, $ 83.95
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Abstract
This paper examines how through a ten year period the work of Van Gogh ranged in style and meaning and how many of the changes he experienced were founded in the fact that he spent time with other artists. It provides a outline of his life and analyzes some of the life experiences and influences that affected his work. It discusses the different types of his work which ranged from self portraits and portraits to irises and vineyards.
From the Paper
"Vincent Van Gogh has frequently been referred to as the greatest Dutch painter since the time and work of Rembrandt. One of the most remembered accomplishments of Van Gogh in the world of art is his powerful and long lasting contribution to the changes in the genre of Expressionism. He influenced that genre not only with his works and statements within those works but also with the changes that his work underwent as the genre adapted to those changes. He is single-handedly noted for affecting the genre and influencing changes.
One of the most unusual facts about Van Gogh is the span of his works. Most artists that sustain historic recognition spend their entire life producing the works that become classics. Van Gogh produced all of the works the world admires in a short ten year span of life."
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Vincent Van Gogh, 1990.
This paper explores the life and art of 19th Century Dutch painter Vincent Van Gogh, arguing that his many problems helped produce his great works.
1,575 words (approx. 6.3 pages), 3 sources, $ 55.95
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From the Paper
"This study will explore the life and art of 19th Century Dutch painter Vincent Van Gogh. The thesis of the study will be the argument that without the many problems in his life (emotional, psychological, spiritual, physical, romantic, economic), it is highly unlikely that Van Gogh could have produced the astonishingly vital and passionate works which he did produce and which speak to us today, a century later, as powerfully as they spoke to those in his own time.
.... in their Introduction to Van Gogh, writes that we will likely never know beyond a doubt the nature of Van Gogh's alleged physical infirmities, including the possibility that he was an epileptic. However, ... add, the important point to keep in mind in exploring Van Gogh and his troubles is that at the heart of all those ... "
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Manet and Vincent Van Gogh, 2006.
A review and comparison of the use of color in the work of Manet and Van Gogh.
1,575 words (approx. 6.3 pages), 5 sources, $ 62.95
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Abstract
This paper discusses how the painting Portrait of a Peasant (1888) by Vincent Van Gogh offers some interesting color schemes to forge a brighter view of the peasant, as he appears in a bust perspective in this work. The usage of dark blues and purples accentuates the background, as the lighter blues create the jacket the man is wearing. Standing out in this painting, is the very bright yellow hat, which Van Gogh places on the man's head. The paper then goes on to discuss the work of Manet, drawing a comparison between the work of the two artists.
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Vincent Van Gogh's "Entrance To The Public Gardens At Arles", 1999.
Analyzes this 1888 painting's subject, composition, colors and technique.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"Vincent Van Gogh's Entrance to the Public Gardens at Arles was painted in September, 1888. The painting, which is owned by the Phillips Collection in Washington, D. C., measures 28 1/2" x 35 5/8". The work is oil paint on canvas.
The painter has represented a portion of a street passing in front of a walkway that leads into a public garden. At the entrance to the garden a man dressed in bright blue-green and wearing a yellow (straw?) hat stands, with his legs spread, reading a newspaper. Along the walk four people sit on benches, two on either side of the path. They, and a man at the end of the path are painted principally in black, with blue highlights. A rather rotund woman strolls away from the viewer, about two-thirds of the way down the walk. She is painted in blue and gray. None of the figures has distinguishable features and the ..."
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Vincent Van Gogh, 1996.
Life, career, style, influences of 19th Cent. Dutch painter, focusing on "Starry Night."
1,575 words (approx. 6.3 pages), 5 sources, $ 55.95
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From the Paper
"The general facts of Vincent Van Gogh's life are nearly as well known as his paintings, which are some of the most popular images in the history of art. His paintings are sold for record-breaking prices today, but he was almost unknown in his own lifetime. Van Gogh's life, maybe more than the lives of most painters, plays an important part in understanding his art. A biographical sketch of Van Gogh and an analysis of one work, his famous The Starry Night (1889), demonstrate how, for this artist, personality and circumstances affected the creation of his art.
Vincent Van Gogh was born in Holland in 1853. His father was a clergyman, a family tradition that Vincent was to consider as a career. But two of Van Gogh's uncles had a gallery in The Hague which they sold to an international art dealer, Goupil, who had galleries in several countries. Van Gogh had shown some..."
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"Women In The Garden" ( Monet ) and "La Berceuse" ( Van Gogh ), 1999.
Compares Monet's cool, abstract approach and Van Gogh's warm, emotional approach to the metaphor of fertility via women and flowers.
2,250 words (approx. 9.0 pages), 8 sources, $ 79.95
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Abstract
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea
From the Paper
"The association of women and flowers as a metaphor for fertility is at least as old as the Roman goddess Flora. It is not, therefore, surprising that both Monet, Women in the Garden (1866-67), and Van Gogh, La Berceuse (1889), employed this fairly common idea. But a comparison of the manner in which they used this visual trope demonstrates some of the fundamental differences in their approaches to painting. Monet's revolutionary realism did not preclude the use of a classically balanced composition. And his cool, somewhat distant, scientific approach is accompanied by a generalized, classically schematized metaphor. His presentation of the cycle of female fertility has an abstract, intellectualized quality even though, as biographical facts show, the theme may have had important personal associations at the time. Van Gogh's presentation, on ..."
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Beethoven and Van Gogh, 2008.
A comparative analysis of the psychology behind the works of Ludwig Van Beethoven and Vincent Van Gogh.
936 words (approx. 3.7 pages), 3 sources, MLA, $ 33.95
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Abstract
This paper examines various psychological factors within the behaviors and biographies of Ludwig Van Beethoven and Vincent Van Gogh. The psychological concept of "nature versus nurture" is examined to reveal the innate and behavioral aspects of Beethoven and Van Gogh's creative genius in music and art. It looks at how, although both artists often conveyed innate "natural" abilities, both artists were often supported through societal influences that provided them with the tools to create masterworks in their fields. In essence, the psychological aspects of "nature versus nurture" are analyzed, revealing the behavioral influences that nurtured the creative genius of Beethoven and Van Gogh.
From the Paper
"The life of Ludwig Van Beethoven is one that is wrought with a father's obsession to control his son's musical talents. When Beethoven was young, he was often forced by his father to practice the study of music and instrumentation. The psychological ramifications of nature versus nurture are very much a conflicting issue in Beethoven's early musical development. Although there is now way to gauge the innate talent of Beethoven, he certainly appears to be "naturally gifted" in the mind of his father."
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Munch and Van Gogh, 2002.
Compares the personal and religious views of death in the "Sick Room" by Edvard Munch and "The Sower" by Vincent van Gogh.
1,150 words (approx. 4.6 pages), 2 sources, $ 44.95
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Abstract
To the unaware and the obtuse, Edvard Munch and Vincent van Gogh simply made paintings. Much like a hot political speech or a fiery church sermon, there is evidence of passion for much more than what is simply on the surface of each artist's works. What becomes clear in looking deeply into not only the works themselves, but the mindset of each painter and the issues of import during the time in which they worked, is that Van Gogh, Munch, and artists like them could not contain their fears about the world and about their mortality in check and used their painting as self-therapy. What we see are not images that were intended for universal appeal; they are deeply personal works that demonstrate elements at the core of each man. Van Gogh's "The Sower", for instance, is a metaphor of not only the questioning of Christ in the Gospel of Mark (through the story of the Sower), but of the internal metaphor of sowing one's own life. Munch's "Death in the Sick Room" also demonstrates a religious parable and a personal one, that of his family surrounding his dying sister, Sofie, and of the crucifixion of Christ and the mourners of different shades who surrounded him. It is the purpose of this paper to examine the elements of personal and theological perspective employed in these two works and to explore their greater application and generalization to the viewer.
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Claude Monet's "Water Lily" Paintings.
This paper discusses Claude Monet's "Water Lily" paintings, which have had a major influence on contemporary artists.
4,170 words (approx. 16.7 pages), 29 sources, MLA, $ 111.95
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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."
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Kuroda Seiki and Claude Monet: New Methods in Composition, 2002.
Examination and comparison of Kuroda Seiki's "Withered Field (Grez)" and Claude Monet's "Waterloo Bridge, Grey Day".
3,150 words (approx. 12.6 pages), 10 sources, $ 115.95
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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.
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