Claude Monet's Water Lilies Research Paper

Download this Research Paper in word format (.doc)

Note: Sample below may appear distorted but all corresponding word document files contain proper formatting

Excerpt from Research Paper:

Art

Heinrich Campendonk's "Bucolic Landscape" exemplifies the genre of German expressionism. The playful panoply of colors on canvas, and the composition that borders on, but does not quite reach, the chaotic, engages the viewer. Every space of Campendonk's canvas is consumed in some way by shape, color, texture, and line. Although "Bucolic Landscape" is representational, it borders on the abstract. The viewer finds at least one human figure, and many animal and plant forms. These naturalistic images are rendered in deconstructive, cubist style and they integrate seamlessly with their environment. Thus, Campendonk suggests that his subject of a bucolic German landscape connotes the deep connection between the human being and the natural world. Campendonk is, however, keenly aware of the urban encroachment on pastoral peace. The scene is by no means bucolic, in spite of there being farm animals and wild ones as well. Loud colors and frantic lines signal rapid industrialization and urban sprawl potentially interfering with the bucolic beauty. Yet rather than interfere, the urban and industrial elements in the composition become as much a part of nature as the cow, deer, and cat.

At the midpoint of the canvas, Campendonk has skillfully created a cross, which visually divides the canvas into four equal quadrants. Moreover, the artist inserts clear (although not always continuous) lines that further affirm the separation of the canvas into quadrants. A horizontal axis and vertical axis complement the angularity of the various elements of the composition, and the cubist forms contained therein. Whereas the horizontal axis appears practically arbitrary from a representational point-of-view, the vertical axis is not. The vertical axis is formed at the top by what appears to be a skyscraper. The eye is drawn to the base of the building, and is guided by the nebulous green person who points downward, gesturing with left hand at the midpoint of a star formed by the intersection of four lines. Following the vertical axis down through and past the midpoint of the canvas, the eye comes to rest briefly at a flower and a watering pot. Other vertical elements on the canvas include several tree trunks and other plant forms.

The horizontal axis serves to sever the composition into a top and bottom half, just as the vertical line does. The result is a supremely well-balanced and structured composition that belies its initial impression of being haphazard and chaotic. A horizontal line finds no formal affinity with actual elements (as the vertical line does with the skyscraper and flower stem), but it matters not. The horizontal line does serve to add structure to the bovine figure, offering the illusion of three-dimensionality via shadow and color.

In addition to the linearity of form, the artist balances the composition with several curvilinear elements. Toward the top, in the upper right quadrant, several oval forms emerge, perhaps as the tops of factory smokestacks. Curved lines form the top of a factory building, which is partially obscured by a dark tree trunk. Corresponding with the tree trunk is a piece of unfinished lumber that cuts through the upper right and bottom right quadrants. That trunk has a sawed-off edge, and is colored differently to attract attention. The circular form of the end of the lumber is one of the most predominant circles in the composition. It is matched by the oval at the top, and also the black spot on the cow's rump. The eyes of the two men, of the deer-like creature in the upper right quadrant, and the center of the flowers are circular, whereas the eyes of the cat and cow are oval. Their ovals correspond with the large clamshell shape in the bottom right quadrant.

The upper left quadrant contains similarly vertical elements, including a palm frond-like figure. This palm frond parallels the form of the main human figure, whose arms are raised high as he reaches for the sky. Several curved elements are also present for balance in the upper left quadrant. In addition to the rounded heads and faces of the two human figures, a section of a parabolic construction element provides a solid substance.

The composition's vertical, horizontal, and curvilinear elements are punctuated by triangulation. Diagonal lines permeate the canvas and enhance its structural integrity. The man's shirt collar forms triangular forms that correspond to those on the frond next to him. The green man's jagged hair also consists of a series of triangles. Larger triangle forms create mountains in the far distance at the top of the canvas. At the bottom, triangulation occurs in the green bottoms of the man's trousers as well as in the shapes given to the cow and cat. The cat's paws are triangles placed next to rectangular legs. Ears of deer and cow are likewise triangular. In the upper right quadrant, a deer-like creature is composed almost entirely of triangular and pseudo-triangular forms. Triangles add depth, dimension, and texture to the cat and cow, which are central figures in the composition. In addition to triangles, the cat's body also includes a skillfully placed pentagon forming the breast and body. The tip of the pentagon coincides with diagonal lines at a point of convergence representing the shoulder. The same thing occurs at the cow's shoulder, which is triangular. The cow's red leg points diagonally down at the flower and stem forming the bottom of the vertical axis. Some diagonal lines coax the viewer's eye to moving around the canvas, as does the one that points directly upward from the bottom left of the canvas to the man's face. When the diagonal lines converge, as they do in the star form that the green man points to, the result is a resolution that combines rectilinear and triangular forms.

Color is evenly distributed across the canvas. With tones that are richly saturated, yet thinly applied, the artist creates a nuanced, layered, and textured appeal. Greens, reds, yellows, and blues blend with striking black outlines and shaded forms. Of all the forms in the composition, two are outstanding for their diversity of shape, line, and color. Those include the main man with his arms outstretched, and the large cat at the bottom of the composition. The cat straddles the right and left lower quadrants. Its legs are short and the cat lies low to the ground. The figure of the cat is a grounding force for the entire composition. The body of the cat adds weight, and a sense of solidity. This is directly juxtaposed with the wisps of smoke rising from the towers, and also with the uplifted arms of the man in the blue jacket. Moreover, the cat is walking on the ground. The cow and the two deer are situated in the center of the canvas and therefore do not convey gravity like the large cat. The cat is rendered in every color that is used elsewhere on the canvas. The white flower stem and watering pitcher that dissect the cat are the same elements that provide the vertical axis for the painting. These white elements are balanced by the black outlines of the cat's body, the black x-marks that add texture and dimension to its muscular frame, and the black ovals forming its pupils. The cat's head is blue, as are its chest and four legs. The nose and ears of the cat are burnt orange, and so is its ribcage. The cat's tail and the underside of its rump are green, complemented by a few patches of brick red.

These same color elements appear throughout the canvas. Reds are rendered primarily in brick, and are more saturated in some areas than others. Campendonk uses shading deftly, saturating colors for depth or applying the same colors with looser and less intense strokes in other areas for nuanced shading. There is no singular light…[continue]

Cite This Research Paper:

"Claude Monet's Water Lilies" (2012, November 12) Retrieved December 9, 2016, from http://www.paperdue.com/essay/claude-monet-water-lilies-107326

"Claude Monet's Water Lilies" 12 November 2012. Web.9 December. 2016. <http://www.paperdue.com/essay/claude-monet-water-lilies-107326>

"Claude Monet's Water Lilies", 12 November 2012, Accessed.9 December. 2016, http://www.paperdue.com/essay/claude-monet-water-lilies-107326

Other Documents Pertaining To This Topic

  • Art Monet Claude Monet and Water Lilies

    Art Monet Claude Monet and Water Lilies This research paper aims to discuss one of the better known impressionist artists, Claude Monet and his rendition series, one of the 'Water Lilies' on display in the Toledo Museum of Art. This research piece combines information about the life and works of the artist as well as the famous series of 48 landscapes started shortly before the armistice of World War I. Obviously, when one

  • Claude Monet Is Widely Recognized as One

    Claude Monet is widely recognized as one of the towering figures of 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 the dominant representations of the Impressionist movement. This paper is a biographical essay of Claude Monet. The first part of the paper looks at Monet's biography, including his

  • Art Claude Monet

    Art / Claude Monet PAINTING The Japanese Footbridge and the Water Lily Pool -- by Claude Monet Claude Monet's painting The Japanese Footbridge and the Water Lily (given above) is the scene of his residence in the village Giverny near Paris where the painter purchased a property of his own. He started to build a water garden which is now open to the public which is a Lily pond arched with a Japanese

  • Literature Claude Monet

    art is the lifeblood of a culture and the most entertaining form of expression, paintings are the key to the discipline of art. With the advancement of paintings, their techniques and the shifting trend all combines to determine the direction of a nation's culture. Like all other fields, history has witnessed revolutionary amendments in the field of art specifically in terms of paintings and various approaches. Claude Monet, the

  • Art Can Be Defined as

    The same thing can be said of painting and other forms of aesthetic art. Art allows us to feel. For example, when we look at DaVinci's Last Supper, we feel something. Claude Monet's Water Lilies provides us with another example of how art can make us feel something. It is important to note that these feelings can be almost anything. They do not have to be positive or negative

  • Art Masterpiece Bridge at Giverny

    The painter's choice of a pictorial vantage point creates the apparent symmetry of the bridge and the woven flower garlands. The point of the painting is not that such symmetry literally exists in nature, but that in the impression of the painter, such symmetry was evident to his eyes, at a particular moment in time and in his life. This painting would be especially useful to teach young children how

  • Art Memo We Are a Company at

    Art Memo We are a company at the head of the fashion industry. Our image is crucial to our success. The appearance, the environment, the overall decor, and the ambiance of our office space is what sends the first messages to our clients. If we expect consumers to value their appearance, then it is up to us to be role models for fashion sense and sensibility. Therefore, I propose the installation of


Read Full Research Paper
Copyright 2016 . All Rights Reserved