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Those were characterized by women frequently engaged in some type of grooming, such as bathing. Rather than the tightly-structured lines of his earlier works, these later works seemed more hurriedly-drawn and less meticulous than his early works.
For example, in Woman Drying Her Hair, a pastel on paper, Degas depicts the back of a nude woman, drying her hair. Unlike many of his works, which overtly differentiate between women of different classes and different occupations, this image in the photo is very every-woman. The bather is classically female, but the painting holds no clues as to her lifestyle outside of the bath. Moreover, the work demonstrates Degas' unique use of light, as it contains unrealistic amounts of shadow, almost as if the bather is caste in an artificial light. Though Degas rejected much of what has come to be associated with Impressionism, his works actually became more characteristic of Impressionism as he grew older.
Degas used a different approach in his sculpture than he did in his paintings. One notable difference is that Degas intended his paintings for exhibition, but did not intend to exhibit his sculptures. Moreover, it does not seem that he created his sculptures to be used as aids for his paintings. Instead, he seemed to approach sculpture as another way of approaching art. Unlike many of his paintings, which retained unfinished areas,...
In his paintings, the main subjects were generally completed, but Degas would frequently have large areas of empty space, making a work appear incomplete. In contrast, his sculptures were meticulously complete. For example, in Dancer at Rest, Hands behind Her Back, Right Leg Forward, Degas manages to convey the complete image of a dancer in a sparse manner that focuses entirely on his strong use of lines. While he uses lines and movement in his paintings, his use of color and the style of brushstroke, use of shadow, and other criteria can either enhance or detract from his bold use of lines. However, in sculpture, the product is generally complete, and relies almost entirely upon Degas' use of line and movement.
Works Cited
Degas, Edgar. Dancer at Rest, Hands Behind her Back, Right Leg Forward. Brooklyn Museum,
Brooklyn, NY, 1882-1895.
Degas, Edgar. Portrait of Mlle Fiocre in the Ballet "La Source." Brooklyn Museum, Brooklyn,
NY, 1867-1868.
Degas, Edgar. Woman Drying Her Hair. Brooklyn Museum, Brooklyn, NY, 1889.
Gauguin, Paul. Garden at Vaugirard. Ny Carlsberg Glyptotek, Copenhagen, Denmark, 1881.
Gauguin, Paul. Maurka. 1895. 22 Aug. 2009
.
Gauguin, Paul. The Yellow Christ. Albright-Knox Art Gallery, New York, NY, 1889.
Works Cited
Degas, Edgar. Dancer at Rest, Hands Behind her Back, Right Leg Forward. Brooklyn Museum,
Brooklyn, NY, 1882-1895.
Degas, Edgar. Portrait of Mlle Fiocre in the Ballet "La Source." Brooklyn Museum, Brooklyn,
NY, 1867-1868.
<http://www.lilithgallery.com/arthistory/postimpressionism/ArtHistory-PaulGauguin.html>.
Van Gogh was born in the Netherlands to a preacher and his early life had inauspicious surroundings. He was well into maturity when he realized his true vocation was painting, and though he developed his talent in isolation at first, his later experiences in Paris had a profound affect on his painting. Van Gogh is extremely famous for his insanity and mental difficulties, but these conditions also provided the basis
This exhibition shows the artists as young men struggling to make it on their own, showing the influences of their key friends including the Stein family. In addition to Picasso who would go on to become world known and the most famous of all artists living in the area of Paris Gertrude Stein was living at the time, Paul Cezanne, Edgar Degas, Paul Gauguin, Henri de Toulouse-Lautrec were also regular
Pissarro took a special interest in his attempts at painting, emphasizing that he should 'look for the nature that suits your temperament', and in 1876 Gauguin had a landscape in the style of Pissarro accepted at the Salon. In the meantime Pissarro had introduced him to Cezanne, for whose works he conceived a great respect-so much so that the older man began to fear that he would steal his
20th century humanities or modernism is the assumption that the autonomy of the individual is the sole source of meaning and truth. This belief, which stemmed from the application of reason and natural science, led to a perpetual search for unique and novel forms of expression (Keep, McLaughlin, & Parmar). Thus, it is evident that modernism discarded the Renaissance period's interest in the classical tradition and universal meaning, in
Van Gogh's "Self-Portrait with a Straw Hat" (1887) With an oeuvre of over 2000 works Van Gogh's artistic passion matched the intensity of his religious fervor. Religion and art were, essentially, the basis of Van Gogh's life. And the history of his life is, in a way, a history of modern Europe; in another way it is a history of the prelude to 20th century modern art; and in another way
Four men stand out as the penultimate figures of Post-Impressionism, namely, Georges Suerat (1859-1891), Paul Cezanne (1839-1906), Paul Gauguin (1843-1903) and Vincent Van Gogh (1853-1890), all of whom at first accepted the Impressionist methods and then moved away from it toward a new type of painting. In the case of Cezanne, the basis of his art had much to do with studying nature in a new way, for his aim