Painting Essays (Examples)

Painting
ead Monet's the Stroll

Monet

Monet's the Stroll, Camille Monet Her Son Jean (Woman With a Parasol)

This painting epitomizes the impressionistic style and artistic philosophy in a number of different ways. If one looks closely at the painting by Monet one can see that the foreground, the sky as well as the dress and parasol are created by many short strokes of opaque paint. This gives the impression of a moment captured and intense movement and dynamism. Essentially the term Impression refers to the ability to take a "snapshoot "as it were, of a moment in reality which is represented in its dynamic flow and beauty. This describes the painting by Monet, which is a good example of the Impressionist style and technique as well as of their distinct approach to art. The following discussion will explore this painting in detail.

Overview of Impressionism

Central to the Impressionistic school or movement in art is…

Painting analysis of Jean Helion's 1948 painting "Grande Citrouillerie" (Big Pumpkin Event)
Rather than a traditional harvest painting, as its title might suggest, "Grande Citrouillerie," or, in English translation the "Big Pumpkin Event," has the appearance of a poster or advertisement painted in an art deco fashion typical of the 19th century. The painting shows the form of a twisted, half cut open pumpkin with its inner seeds and hanging pulp revealed. The painting's colors are rich and autumnal in tone. The palate of the painting is made up of brilliant oranges, reds, yellows and burnt sienna. These warm tones convey the sense of the pumpkin's fall harvest season as well as form the lines of the fruit itself. The colors create a sense of seasonality and ripeness, as well as suggest the painting's subject of a ripe pumpkin. The colors' warmth, however, stands in contrast to the 'advertised' nature of…

His work can be seen as fitting into a wider context of artists working to represent the France their generally well-off and comfortably middle-class and upper-class purchasers wanted to see and to believe in. The purchasers of Millet's works may never have visited the Normandy countryside for themselves, but they could share in its beauty and its spiritual and moral values through Millet's art and the art of other painters like him. The fact that, rather than being dominated by perhaps unappealing figures of the poor and exploited peasantry this picture depicts an apparently attractive and straightforward landscape can only have increased its appeal, in contrast perhaps to some of Millet's earlier work in which the human figures of the workers dominate.
This picture is more than the simple, decorative landscape it may appear to be on first examination. A work by an artist whose painting of rural and peasant…

Is this a simple soldier pulling away the cadavers of his companions or death itself taking away dear individuals into the unknown? Who is connecting the physical bodies with the symbolic meaning of the stripes painted with their blood?
The characters in the background also play an important role in the creation of the painting. With their presence, they create an antithesis to the characters in the foreground. They are dressed in white and, apparently, their expressions are both those of consternation and pity for the victims. Going further with the allegory, this can in fact be seen as the American people looking at the entire people's victims with sadness. Patriotism is a wonderful thing, but the losses and moral impact is also not to be ignored.

The creative means by which the painting is made are relevant in building the right atmosphere and perception for the viewer. First of all,…

Painting as a Leisure Activity
History of Painting

Humans have been painting pictures since roughly 15,000 to 17,000 years ago. How do we know? The oldest known paintings were found on the walls of a cave near Lascaux, France, by in 1940 (by a dog named "robot" who led four boys into the cave). These extraordinary cave paintings (of very large animals: horses, bulls and stags), were tested through carbon dating and determined to have been done in Paleolithic times. Here are photos of the oldest paintings:

http://www.culture.fr/culture/arcnat/lascaux/en/.

What's the lure? Why do so many people paint in their leisure time?

Painting for leisure was just the right medicine for one of the most celebrated and respected leaders in the history of England, Sir Winston Churchill. While most of the Western world's educated citizens are aware of Churchill's intellect, wit, diplomatic greatness and uncompromising resilience during World War II - especially after Hitler's Nazis had…

Painting Interpretation
Saint Catherine of Alexandria

Saint Catherine of Alexandria was a favorite subject of art during the late enaissance. The painting of Saint Catherine to which this analysis will refer is held by the Metropolitan Museum of Art. It was painted by an unknown painter who is believed to have been from the Netherlands and painted the piece in the last quarter of the 15th century.

When examining a piece that portrays a famous person, it helps to know something about their story to aid in understanding the piece. Saint Catherine was a Christian saint virgin, who was martyred in the 4th century by Empower Maxentius. Saint Catherine opposed the pagan Emperor for executing Christians who refused to worship idols. She beat the Emperor in a debate about the matter and won. This enraged the Emperor who put her in prison. She was visited by hundreds, including the Emperors wife who converted…

III. Conclusion

Albert ierstadt is a renowned American painter, best known for his creations of beautiful landscapes from the American West. At the same time, he avoids including any humans in his paintings, which is also the case of the painting analyzed here. According to sources, this has a commercial purpose: offering the impression of the potential buyer, usually from the East Coast, that he is submerged in the nature all by himself

. At the same time, the lack of humans in his paintings is probably an attempt to portray nature as pure and virgin, yet unspoiled by the intervention of humans.

The painting Passing Storm over the Sierra Nevadas fits quite well in the pattern that has been described in the previous paragraph. Painted in 1870, it comes at a time when the fascination with the West, especially in the urban centers of the East Coast, is still great. At the…

Painting and Experience in Fifteenth Century Italy by Michael axandall. The paper presents the thesis of the book, evidence of the arguments put forward by the author to support his thesis, details of the structure of the book, and a critical analysis of the thesis put forward by axandall.
axandall's book is a classic of art history, which gives both an introduction to fifteenth century Italian painting, and also a discourse on how to interpret social history from the paintings of a particular era. The main thesis of the book is that the style of paintings in any particular era reflects the social life of the time. He argues that life is lent to the paintings by the assimilation of contemporary daily habits and fashions by their creators.

He argues, for example, that Renaissance painting became so vibrant at that time due to the expansion of other branches of the arts…

MoMA
In the Museum of Modern Art of New York City, New York there is an enormous oil painting on canvas which was painted by one of the most famous painters of all time, Pablo Picasso. The piece is entitled "Les Demoiselles d'Avignon" which means "The Young Ladies of Avignon" in English, an ironic title which will be made clear. The painting is extremely large, almost 8-foot square. Many of Picasso's paintings depicted scenes he had witnessed and people he had personally known. Although most Picasso paintings are interpretive and representational rather than obvious depictions of their subject, the emotion and authenticity of their subject is still visible to those who understand exactly what it is that the artist is trying to show. It is a large oil painting created in 1907 which depicts four prostitutes from Paris, France. The basic thematic point of the piece is that those who sell…

It is surprising in its theme and focus, because it was painted during the Victorian era, when many people were experimenting with seances and other occultism, and yet the general public did generally not accept that. And yet, this painting was, and it was purchased by the gallery shortly after it debuted, showing how much they valued the painting. All of the little details engage the reader, but they all have significance, too. The ravens are carrion eaters who prey on the dead, the snake is relevant to original sin, and the Egyptian motifs are ancient and mysterious. The actual "magic circle" is the red-hot circle in the sand, created by the woman's wand, and the painting is especially engaging and interesting. Every time the viewer looks at it they see something new and arresting, and that is a testament to a worthy work of art.
The Tate Gallery invested…

Claude was growing up so quickly. Soon, he would be a man, and do things like his father and leave her for school, and then for other worldly occupations, like marriage to another woman. Sooner yet Madame Monet would be occupied once again with the new, tiny wearer of the nightgown she was sewing. But for now, the mother and son could simply enjoy one another's presence in the garden.

Madame had sewn the blue dress Claude was wearing. Soon she would need to sew long pants for Claude, rather than an infant's dress. Her husband thought that Claude was already getting to old to wear such childish things. But he humored his wife until the next child would be born. Madame had not yet begun to show her 'condition' or to have to let out her own dresses, but it would be soon, she was sure. She smelled the air…

Edvard Munch's The Scream is perfectly poised at the position between several artistic periods and movements including Art Nouveau, Expressionism, and Symbolism, and the painting bears elements of all three of these. As the text puts it, Munch was "prolific, and throughout his life experimented with many different themes, palettes, and styles of drawing. (p. 85). The painting The Scream is clearly influenced by the "sinuous, constantly moving, curving line of Art Nouveau, combined with color dark of hue but brilliant in intensity," (Text p. 85). Additionally, the painting also reveals influences from Gauguin and other post-impressionists (Text, p. 85). The Scream belies the "symbolist tendencies" of Munch, as well as showing how the Norwegian artist would be the forebear of Expressionism (Text, p. 85). Impossible to pigeonhole, Munch's The Scream reveals a combination of Art Nouveau, Symbolist, and Expressionist trends.
As an Expressionist piece, The Scream literally does express an…

rt
PINTING No.

Untitled #14

rtist: John McLaughlin

Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary colors. The artist uses correspondingly constrained forms and shapes. champion of absolute abstraction, McLaughlin sought to stimulate "the viewer's natural desire for contemplation without benefit of a guiding principle." Untitled #14 exemplifies Mclaughlin's philosophy of abstraction. Using only black and white in solid architectural blocks, the artist encourages the viewer to speculate on the meaning of art itself.

PINTING No.

Equivalent

rtist: Richard nuszkiewicz

Date: 1966

Paragraph: Trained at the Yale University School of rt, Richard nuszkiewicz's career spans several different and seemingly divergent…

(oeck, and Sabartes)
Also of significance in the analysis of this work is the fact that many of the images used in the painting echo previous works by Picasso. The symbol and image of the bull for example is a motif that appears in many of his works prior to Guernica. (Larrea 11) These and other symbolic images, such as the dying hoses tend to emphasise the central thematic trajectory of the painting. The image of the horse in particular is a devastating image that is rendered in clear lines and stark contrasts of black and white. As one pundit notes,

Picasso could imagine more suffering in a horse's head than Rubens normally put into a whole Crucifixion. The spike tongues, the rolling eyes, the frantic splayed toes and fingers, the necks arched in spasm: these would be unendurable if their tension were not braced against the broken, but visible, order…

Art
The Painting Techniques of the Impressionists, Cubists, and Fauvists

During the late nineteenth and early twentieth centuries art styles were changing rapidly in France. Impressionism, Cubism, and Fauvism were three of the styles developed during this time. The painters involved were using new techniques with oil paint to change what was accepted as fine art. Their new techniques reflected societal changes happening all around them. The Age of Industrialization, economic fears, and omantic ideology had mixed together to form a perfect storm of revolution all over Europe. The "old world" of the middle ages, with its fixed doctrines, philosophies, and methods, seemed further and further away. Artists therefore sought new techniques that would help them to "create illusions" (as the Cubists did) or to emphasize style over substance (as the Fauvists did) or to reflect a world and way of life that was quickly being lost (as the Impressionists did). These…

Birth of Venus" and "Venus Anadyomene"
Sandro Botticelli's 1486 painting "The Birth of Venus" and Titian's 1520 painting "Venus Anadyomene" are two of history's most remarkable works depicting the Roman goddess. hile the former is meant to address Venus' birth directly, the latter only hints at the event, as it is difficult to determine whether or not Titian actually wanted to portray the goddess' birth or if he simply wanted to show her rising from the sea consequent to having a bath. Botticelli's painting is displayed in the Uffizi Gallery in Florence, Italy and Titian's painting is located in the National Gallery of Scotland in Edinburgh, Scotland.

According to classic mythology, Venus was born from the foaming waters of the sea, a foam that formed from the genitals of Uranus, who had them cut off by his son, Cronos, and thrown into the sea. Venus' birth is associated with a shell…

Goya, The Forge
Francisco Goya's "The Forge" is a realist painting that relies upon the earlier mythological genre to accomplish its meaning, a meaning which it can be argued is implicitly political. In reality, Goya appears to be painting a scene of village life: three men (a youth, an adult, and an old man) are working in a village smithy, hammering a piece of glowing metal on an anvil. Goya is representing ordinary working men here, so the painting is most properly called realist. However, the subject and composition are heavily reminiscent of a regular topos of mythological painting, the forge of Vulcan: examples before Goya are readily found, ranging from Diego Velazquez, Alessandro Gherardini, Pietro da Cortona, Luca Giordano, or even the rather ridiculous Rococo treatments of the theme by Francois Boucher. It is not necessary to know if Goya knew or made reference to any specific earlier treatment of…

Nineteenth Century Painting and Photography
Georges Seurat's La Grande Jatte

Georges Seurat was a post-Impressionist painter with a fascination for a mixture of urban life and rural landscape. His painting techniques are usually referred to as avant-garde pieces, with new advances toward depictions of color and light. In his later works, Seurat played with small dabs of color, unmodulating colors in his painting. His color relationships are evident in his later paintings.

The painting of A Sunday on La Grande Jatte (1884-86) depicts this color technique and style usually seen in Seurat's later works. Exhibited at the final Impressionist exhibition in 1886, the painting contrived a number of controversies in 19th century French society. La Grande Jatte is also considered Seurat's greatest masterpiece of his career in art. It is no wonder that the work is considered thus, his dot technique features a vivid amount of colors; there is a dot-mixture of orange,…

Giovanni Paolo Panini painting Interior St. Peter's, ome. This I found requirements info. 1st page
Giovanni Paolo Panini was a renowned painter and architect who created a number of works in the 18th century. He is perhaps best known for the interior painting he did at Saint Peter's Basilica in Italy. He was one of the most respected topographers in Italy during the 18th century, and was credited for his life-like depictions of people and structures -- particularly oman ruins (Allen Memorial Art Museum, no date).

Panini was born in 1691 and would eventually die in 1765. He spent much of his early life in Piacenza (which as been incorporated into part of Italy today). As a boy, Panini likely received some training in art, although his formal education in the subject would begin after 1711 when he moved to ome. His education would include studying with Benedetto Luti and erudition…

Modernist Painting 1965 by Clement Greenberg
Modernity

In "Modernist Painting," a 1965 essay by author Clement Greenberg, the writer elucidates a number of points that are fairly crucial to the definition and conception of the philosophy known as Modernism. long with distinguishing a number of examples of this line of thought that applies to disparate fields such as science, formal philosophy (largely originating from Immanuel Kant) and literature, Greenberg focuses the duration of this literary work upon modernist painting. Some of the most important elements of such painting are denoted by the author as being a reduction of the form of art to its basic elements, which are largely optical and confined to the limited space in which the painting actually is found. Therefore, there are a number of eminent visual artists whose work typifies one, if not more than one of these conventions, and which provides an excellent example of the…

art historian W.J.T. Mitchell asserted that there is no doubt that the classical and romantic genres of landscape painting evolved during the great age of European imperialism but have since been retired, accepted as part of the common repertory of kitsch.
In their induction in the quotidian consciousness of art, the seemingly simple representations provided by landscape paintings garnered acclaim for their ability to explore a dual metaphoric and physical reality, portraying not only the ideological concerns that exist outside the painter but also his interpretation of them. From the 17th Century to the 20th Century, landscape paintings changed in image, representation, popularity, and style, but from Poussin to Kiefer, the import of cultural encoding remained.

Like his contemporary Lorrain, Nicolas Poussin preferred the late afternoon light, drifting across his pastoral canvas with the golden solace of the fading sun. A precursor to the great age of Neoclassicism, for Poussin, the…

Fra Filippo Lippi - Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) Introduction
Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) remains one of Fra Filippo Lippi’s most prominent artworks and also one of the most well-known paintings of the 1440s. This text presents an argument to the effect that as far as the painting’s perspectival detail is concerned, the present piece remains Lippi’s most gratifying artworks. Further, an assessment of this artistic piece in light of other similar works by Lippi appears convincing that the artist derived his artistic prowess from several fronts namely; alignment with contemporaries and effective utilization of space. Towards this end, it would be prudent to conduct not only a perspectival exercise of the artwork in the context of other works by Lippi, but also discuss the present piece in the context of Lippi’s other artworks. It is important to note…

Museum GalleryThe Chicago Art Institute is currently housing Arrival of the Normandy Train, Gare Saint-Lazare (1877) by Claude Monet. Dimensions of the work are 60.3 80.2 cm (23 3/4 31 1/2 in.). It is part of the Museums Painting and Sculpture of Europe, Gallery 201. It is an oil on canvas done in the Impressionist style, which is a style I find attractive and is the reason I selected this work.In Arrival of the Normandy Train, Gare Saint-Lazare (1877), Claude Monet captures the energy and movement of a busy train station. The painting is full of life, with people rushing to and fro and a train steaming into the station. The colors are vibrant and the scene is chaotic, yet there is a sense of order and harmony. The composition is well balanced, with the train occupying the center of the painting and the people milling about in…

Impressionism: Introduction and Background Known for its radical departure from traditional aesthetics in painting and the decorative arts, Impressionism was a movement deeply rooted in its ideological, cultural, political, and sociological context. The characteristic visual features of Impressionist painting include experimentation with untraditional colors and styles that signal the early transition towards non-representational forms. Subject matters in Impressionist art changed from depicting officially sanctioned people, places, and symbols towards capturing snapshots of daily life. Beyond its core aesthetics, which do vary from artist to artist, Impressionism also highlighted changing social hierarchies related to race, class, and gender. Artists no longer worked solely on commission from religious or political patrons but also from a burgeoning bourgeoisie. The diversity within Impressionism also draws attention to the ways the movement manifested differently in different geographic regions, although the movement remained firmly rooted in France, and centered in Paris. From its beginning in the 1870s…

Art Review The painting “Beck (he/him)” by Eli depicts a queer/trans subject sitting on a bench. The background of the painting is very impressionistic, with foliage and the park behind the subject defined more by color and shade than by edge or boundary. The blurring of borders, however, reflects the blurring of gender in the subject. The subject is somewhat impressionistically portrayed as well—but here there is more focus on edge, more defined boundaries: the limbs and legs and face and features can all be discerned. What is most interesting about “Beck” however is that he is wearing large sunglasses that cover his eyes and create a mysterious effect on the viewer. The eyes are supposed to be the gateways to the soul, and here the viewer is unable to gain access to that soul so must look for meaning in the features of the face, the posture of the body,…

Fra Filippo Lippi - Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence)
Introduction

Annunciation (c. 1445 Wood, 175 x 183 cm San Lorenzo, Florence) remains one of Fra Filippo Lippi’s most prominent artworks and also one of the most well-known paintings of the 1440s.  This text presents an argument to the effect that as far as the painting’s perspectival detail is concerned, the present piece remains Lippi’s most gratifying artworks.  Further, an assessment of this artistic piece in light of other similar works by Lippi appears convincing that the artist derived his artistic prowess from several fronts namely; alignment with contemporaries and effective utilization of space.  Towards this end, it would be prudent to conduct not only a perspectival exercise of the artwork in the context of other works by Lippi, but also discuss the present piece in the context of Lippi’s other artworks.  It is important to note…

The black in the male cafe patrons' suits, renders an aura of sophistication. The combination of white and black grabs the eye and creates a sense of movement that corresponds with the lively dancing.
Painted only 12 years later, Van Gogh's "Night Cafe" conveys a completely different cafe ambiance. Whereas Renoir's cafe is full of life and light, Van Gogh's is strikingly lonely, occupied by a few sullen drunks with their heads on their tables and the central figure who stands next to a billiards table. Van Gogh uses muddy hues to parallel the theme of the painting. Renoir's black and white affair conveys a bourgeois ambiance, and Van Gogh's ruddy earth tones clearly impart a working class sensibility. Moreover, Van Gogh's cafe uses indoor lighting, which is less inspirational than the uplifting feeling from the open-air "Le Moulin de la Galette." Correspondingly, Van Gogh uses yellow for lights rather…

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 'sensations'. All three worked together for some time at Pontoise, where Pissarro and Gauguin drew pencil sketches of each other (Cabinet des Dessins, Louvre).
Gauguin settled for a while in ouen, painting every day after the bank he worked at closed.

Ultimately, he returned to Paris, painting in Pont-Aven, a well-known resort for artists.

X...for pic

Le Christ Jaune (the Yellow Christ) (Pioch, 2002) Still Life with Three Puppies 1888 (Pioch, 2002)

In "Sunny side down; Van Gogh and Gauguin," Martin Gayford (2006) asserts differences…

paintings and gives opinions about which ones are neo-classical and romantic, which ones use impressionism and how so. There were six sources used to complete this paper.
Throughout history art has been a universal language. The love or emotion that is elicited from a painting can happen regardless of the language the viewer speaks. Paintings do not require interpreters or language commonality. They speak to hearts and do so with a silent voice that draws emotion from those who view them. There are different styles of painting and different explanations of those styles. One can take several of the more well-known paintings and hold them against stylistic measure to determine how well they were followed and why those styles work for those particular works.

Styles

There are two paintings that are well-known and can be compared to determine the styles used and the efficiency of those styles. In Watteau's The Storm and…

paintings by David and Raoux would have to begin by pointing out that, although both painters dealt with scenes from classical antiquity, they did so almost 100 years apart. As a result, each artist brought to whatever story he was illustrating the preferences and styles of his own generation, not to mention a hint at the political situation in which he found himself.
Raoux (born 1677, died 1734) lived during The Enlightenment, an intellectual movement associated with the 18th century. Paris was, along with London, a center for the growing belief that human reason "could be used to combat ignorance, superstition, and tyranny and to build a better world." (SU eb site) Particularly, the thinkers of The Enlightenment wanted to be free of the constraints of religion as practiced then, and of the domination of society by an hereditary aristocracy. (SU eb site)

Raoux, in his painting Orpheus and Eurydice, painted…

It is more peaceful somehow than Auerbach's work, which seems to capture the person but also capture death, somehow. Both paintings are of a more modern school, rather than impressionistic or realistic, although Auerbach does incorporate some impressionist techniques into his works, especially in how he lays on thick, bold strokes of paint. Both artists use these bold strokes and lines as part of their message. I simply prefer the ocean scene to the more modern scene.
Both artists are historically significant. Homer is known as one of the best American painters of all time, and he usually painted maritime scenes which make the history of boating and sailing in America more real and more vivid. Auerbach manages to blend modern art with some impressionist techniques, such as laying on paint quite thickly. As a teacher, he was quite important to the art world and modern art's evolution from cubes…

Paintings -- Nude omen
The painting Reclining Nude, was done in 1917 by the Italian Amedeo Modigliani who lived from 1884-1920. Reclining Nude is oil painting on canvas, 23 7/7 high x 36 1/2 inches wide or 60.6 x 92.7 centimeters. It is currently owned and displayed by the Metropolitan Museum of Art in New York City having been acquired from the Mr. And Mrs. Klaus G. Perls Collection in 1997 (http: (www.met.org).

The voluptuous nude woman lies across the entire width of the painting in a provocative pose. Her hands and part of her arms and her feet and most of her legs are outside the picture. The very dark background appears to be a bed cover with which the very alive orange-ish glow of her skin is starkly in contrast. A pillow of white cradles her head and arms and a trail of white cover lies beneath her hips,…

As in the other painting, light provides the interpretation of the picture, but whereas ships or individuals may serve as subject of Cuyp's painting, here light serves as the subjects of Turner's. Light from the full moon shines on the glittering water, with silhouetted ships (as in the other picture) framing the view. The other picture draws your eye to the centerpiece; here, Turner draws your eye out to sea and to the corners of the panting. Nature sweeps a clear elliptical path and becomes the centerpiece brushing ships and flame to the sides.

A palette knife conveys mood and atmosphere. Some areas, such as the silvery-white moon and the orange torchlight are painted more thickly than others, and unlike Cuyp's canvass which is smooth and polished, Turner's is rough and textured with the raised surfaces perfectly catching and representing the light and drama of the scene. Here, the paint is…

Monet used brushstrokes and many shades of vivid greens and pinks to portray the garden as if it were viewed through a mist.
In 1910, English writer oger Fry coined the phrase "post impressionism" as he organized an exhibition in London (Shone, 1979, p. 9). Just as the paintings of the impressionists caused a scandal in the art world some forty years earlier, the post impressionist work of artists such as Gaugin and Van Gogh "outraged all notions of what good painting should be" (Shone, p. 9).

The post-impression movement included, in addition to Gaugin and Van Gogh, artists such as Toulouse-Lautrec, Seurat, and the later work of Cezanne. Like the Impressionists, these artists used real-life subjects, portraying them with distinct brushstrokes, thick paint, and bright colors. Times were changing, and the post-Impressionists responded by modernizing what the Impressionists had done, imposing more form and structure to show greater depth of…

Despite is probable Austrian origins in the more modern era, this piece reflects the oman style of capturing figures in statue form. Made from Ivory, it shows St. Sebastian in withering pain after he has been injured. The St. was martyred early on in Christian history, and this scene portrays his last dying breaths, being held up by a companion.
Both works present images of great warriors and figures in heir last few moments of life after being injured. Thus, it captures the true character of the figures in question by portraying them at their moment of ultimate weakness. Each figure is too weak to stand alone, and is being propped up by another object or person, which shows the true extent of their injuries. Additionally, the statues are similar in style, on being from the oman period, and the other being from the Medieval period trying to replicate the…

Museum Paintings
Fauvism in 20th-century Paintings

The medium I have selected for the time line I will be working on for the museum website is 20th-century Western painting, sharing the common theme of Fauvism.

th-century Western painting began with the weighty influence of painters like Paul Gauguin, Vincent van Gogh, Georges Seurat, Henri de Toulouse Lautrec and the like - all of whom played critical roles in shaping the modern art. At the start of the 20th-century Henri Matisse, along with a number of other young artists including Andre Derain, aoul Dufy, and Maurice de Vlaminck collectively influenced the existing Paris art scene by introducing "bold," vividly vibrant paintings of landscapes and figure. The style adopted by these young artists that have been referred to as Fauvism by critics. Fauvism is predominantly talked about as the style characteristic of the works of a seemingly loose group of Modern artists in early 1900s whose…

Botticelli's Mythological Paintings
The paintings done by different artists exemplify the influences that they have had throughout their life. The style and topics chosen for the artwork are two of the major elements of any painting. In Sandro Botticelli's work, the topics chosen for the painting are that he was influenced by the Renaissance Neoplatonism, coupled by the Medici Humanism all presented in his work in various ways.

Sandro Botticelli one of the great Italian masters of art demonstrated a preference for spirituality in his scenic patterns and portraits that were a reaction against the conceptual realism of Masaccio. His reaction was to introduce the elements of Gothic art which were shown through sentiment, passion, ornamental styles that used myths of the past creating allegory's and symbolic images, later combined with the Medici humanism. The Medici family, were the Renaissance patrons of Florentine art who changed the era of art to one…

Thomas Eakins painting "the swimming hole" with the section #11 of whitmans "song of myself"
Thomas Eakins' 1884 painting "The Swimming Hole" and Walt Whitman's eleventh section in the 1867 poem "Song of Myself" both address the prudery present contemporary to them in an attempt to have their public understand more regarding life's freedoms. These artworks employ straightforward eroticism meant to impress audiences through the concepts that it addresses. Both the painting and the poem generated much tension in the critic world, especially given that the public seemed intrigued with the controversial concepts that they put across. It is difficult to determine whether Whitman's poem is similar to Eakins' painting when considering the concepts that each artwork is meant to put across.

It is very probable that these two artists portrayed young men bathing together because they knew that this was not particularly strange for that era. However, the fact that…

storms paintings, atteau's the Storm and Delacroix's the Sea Galilee, and their relation to Neo-Classical and Romantic styles
This work bases on two storm art works, which depicts storm in two different ways. The differences are explainable through two different artwork styles, neo-classical and romantic styles. Neo-classic art commonly referred to as the revival of artistic canon came into practice in the mid 1700s. This form of art aimed at criticizing the government's oppression the people. Artiste of these times used this form of art to show their dissatisfaction with the mode of governance. They fought for democracy through artwork. Romantic art began during the late 18th century to mid-19th century. It aimed at rebelling against the neoclassical times. The movement began as an intellectual and artistic movement, but its agenda was rebellion against the oppression. It values included the following individualism, subjectivism, irrationalism, emotions, and nature. This art style…

renaissance paintings- VIGIN AND CHILD
Art has always been an important tool for understanding various eras and their influence. It has served as a reflection of the times during which it was created and for this reason, art is considered a very sensitive medium. It quickly absorbs the changes that witnesses in the surrounding culture and society. It is impossible for art to remain static and uninfluenced in the wake of societal upheaval. enaissance art therefore is a completely distinctive breed as it reflects the massive transformation in political and religious mood of the society. It depicts the changes that enaissance era underwent. While some painters paid closer attention to political problems that occurred during 14 and 15th century AD, others focused mainly on religious changes. These changes are most prominent in the several enaissance paintings that depict Virgin and Child theme.

Unlike the dogmatic nature of religious beliefs observed during medieval…

Artistic works are often referenced in categorized by their particular genre or style. For example, in painting there are a number of different genres such as Abstract, Impressionism, Modernism etc. (Harrison, 2009). The term "history paintings" or sometimes called "historical paintings" refers to a particular genre of painting where the genre is defined by the subject matter as opposed to the artistic style of painting (Wolfflin, 2012). The distinction between "history paintings" and "historical paintings" is a fine one; however, historical paintings are typically considered to be scenes from secular history, whereas history paintings can include depictions from history, mythology, or can simply contain allegorical material. Thus, most of the works of art that would be classified as his store coal paintings most likely are subsets of history; however, history paintings are not limited to the depiction of historical scenes. The term "history painting" has been traced back to the…

Renaissance was beginning to influence Italian painters in adapting their style in order for it to fit the needs of a more advanced world. Fra Angelico is recognized as one of the great early Italian painters from the Renaissance. In his work of decorating the Dominican Monastery of San Marco, he mastered a painting style that was reported to have been partly inspired from Masaccio, with his paintings expressing motion and being filled with linear perspective meant to suggest depth of space.

It had been a common thing for the wealthy and most important families of Florence to hire talented painters to paint for them. Sandro Botticelli had been just one of the many Renaissance painters to paint for the Medici family. Even if Botticelli had spent a large part of his time working for great families, he still found time to perform additional paintings such as the one in Vatican,…

This style came later during the latter part of his ten years as member of the Wiener Sezesion. The objective of this association was to separate themselves from contemporary art and to provide Vienna with quality foreign art pieces. Klimt's pieces, at first, failed to win renown and only became accepted with his so-called 'Golden period' called so due to the generous use of gold leaf in his paintings.
Klimt's encounter with Byzantine art and his being influenced by it, primarily, initiated from Alfred oller, a painter colleague who had a great influence on his life, and who had encouraged Klimt to visit avenna and study the famous mosaics there. oller himself had studied them when painting friezes and mural for the Breitenfelder-Kirche. Accordingly, Klimt visited avenna the following spring and, taking ollers advice, studied the mosaics. His companion, Max Lenz commented on the huge impact that the mosaics had…

Support for the figure being Diogenes rather than Socrates has been found in the fact that he is prone, and alone, which seems to suggest Diogenes' status as an antisocial Cynic -- he also called himself a 'dog.' However, the painting seems to depict in chronological order in the development of ancient philosophy, of the viewer moves his or her gaze from foreground to background and from left to right. This would suggest that the figure is Socrates. The bowl besides the lying figure if it is Socrates could symbolically signify his drinking of hemlock also suggests the death of Christ. Raphael, a Neo-Platonist in his philosophy, thus gave particular importance to Socrates' martyrdom (Bell 1995).
The artwork, as a glorification of the human, is sublimely Renaissance in nature, and typical of the period but it is also unique in the way that it celebrates philosophers and their intellectual arts,…

Will it be able to fly or glide, or float through the air. There is an unanswered question here. The girl is still blowing bubbles and has barely noticed what has happened yet. But two other gargoyles turn to watch this one gargoyle who has freed itself from its eternal bondage. One of these is screaming, as if he is afraid, or wants to join the one who has become free.
The young girl seems to be involved in what is before her, not the image of the gargoyle. But lying in the shadows is her teddy bear, an image of her babyhood, lying forgotten on the edge of the stone.

The gargoyles depicted in this painting are not the medieval norm. Though their heads are monstrous and have huge fangs, they are also half-human. The bodies are definitely human, though the back legs remind one of amphibians' legs, with huge…

Picasso's "Girl before a Mirror"
The artwork to be reviewed in this report is by the renowned painter Pablo Picasso. It is simply titled "Girl before a Mirror" and it features Marie-Therese Walter, the artist's young mistress. He created the artwork during the early 1930s. Currently, it is on display at the Museum of Modern Art in Midtown Manhattan, New York. Picasso makes use of line, color and shape to for present simultaneously symmetrical and reversed images that juxtaposes youth and old age.

The two sides of her body are simultaneously reverse and symmetrical. While one half of the painting depicts her as a curvy pregnant woman, the other half depicts an aged woman who is fragile. The woman in the reflection is portrayed as having a deflated stomach, with a sagging and lopsided chest and an aged face. The whole painting has a background of circles and diamonds. Convincing readers…

Michael Baxandall's Painting & Experience in 15th Century Italy
In his work, Painting & Experience In 15th Century Italy, the art critic Michael Baxandall attempted not simply to discuss the art of this particular period in Italian history, but to relate it this period's art to the social context that spawned the greatness and the significance of what we now call early Renaissance painting. Baxandall's central thesis is that the style of painting in any society, from the Renaissance to our own, is reflective not simply of an artistic tradition, handed down from master to master in terms of technique, but is also reflective of the rhythms and habits of ordinary, daily life. Baxandall attempts a synchronic, or specific and contextually located study of this period of art, and the perspective of the art's gazers, rather than attempts to make an argument about the nature of art in general in…

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Discussion 2

Until the 19th century, nature in art was usually, if present at all, merely the in background of portraits. History and human beings were considered the true, fitting subjects of art. However, as nature began to retreat from everyday life with the rise of technology, artists began to look on nature as a source of inspiration. As nature became rarer, artists gave nature more significance and importance -- nature became more symbolically significant, even as 'real' nature was being overrun by factories, cities, and railroads. Rather than something to be tamed, nature was now something precious. But although human beings may not be present in all Romantic depictions of nature, human thoughts about nature clearly are -- an artist always paints his or her own point-of-view, not a literal representation of nature. Even in the most realistic depictions of nature, the artist is always selective in what he or…

Art
"Howl" and "Guernica" Outline

The paper demonstrates the ways in which both pieces of art contemplate and express multiple themes, including those of religion, morality, happiness, life-affirmation, and freedom.

"Howl" is a poem that is both a mourning and a celebration of life.

"Guernica" is an expression of pain and war.

oth works of art have many themes and many of the same themes.

Ginserb, the 1950s, and "Howl"

He composed the poem in the middle of the 1950s, one of the greatest decades in history for mainstream America.

He is heavily influenced by previous poets and by his own lived experiences.

Howl" shows readers how they can be connected to spirituality, religion, and what is sarcred or holy with, and without the use of the formal church.

Poetry is another form of storytelling that is best when read/performed aloud.

Howling, Expression, and Jazz

A. If we are howling, either out of pain or out of pleasure, we are alive and…

Lessons Plans for Teaching Baroque Artwork
Lesson Plan 1: Overview of Baroque Style Painting

Lesson Part

Teacher Activity Description

Student Activity Description

Instruction Inquiry: A description of the learning activity and its objectives will be provided.

Teacher introduces the Baroque style of painting and describes the historical period in which it was most influential (early 16th century through the early 18th century) (Engel, 2012). For instance, according to Engel, "Baroque was generated when Italian art, as based on corporeal, exterior activity, aligned itself to northern or Germanic art with its emphasis on interior, psychological movements" (p. 3). In sum, Baroque paintings are characterized by several features, including dynamism (e.g., there is a sense of motion discernible in the artwork) that is complemented by distinctive artistic effects such as (a) strong curves, (b) elaborate decoration and (c) diminished lighting effects (Baroque painting, 2015. There were some regional difference in style, though, with southern Western Europe favoring…

Leonardo's Last Supper (1495-1498) does something very different from the other Renaissance portrayals of this scene from the Gospel. Unlike Andrea del Castagno's or Domenico Ghirlandaio's Last Supper versions, Leonardo's is at once more earthly (neither Christ nor the Apostles wear halos) and chaotic than the others -- and yet at the same time it is substantially more divine and imposing in its stark simplicity. This paper will trace the compositional, stylistic and symbolic development of the story of the Last Supper as it is told by Leonardo da Vinci in his masterpiece of the same name.
The first thing to note about the composition of Leonardo's Last Supper is that there is a distinct separation between the space occupied by Christ and the Apostles and the viewer. They exist together, cramped, huddled, literally on top of one another on one side of a long table covered like an altar by…

Archaeological Interpretations of Upper Paleolithic Cave Paintings
There are many questions related to the chronological spread of Paleolithic tool production and paintings due to geographical differences in the progress of the spread of such tool production. While radiocarbon dating has furthered the ability to identify specific time period information there are still limitations to this type of data. There has been loose identification of chronological periods of production and in cave paintings the more complex paintings are not always those most recently created. Difficulty exists in the establishment of regional progressions of development. While the combination of radiocarbon, thermoluminescence, and electron spin resonance dating techniques assisted investigators for the upper Paleolithic period in the reconstruction of "a reasonably coherent global chronology." (Bar-Yosef, 2002) At the same time there are still significant standard deviations along with other limitations in this dating of archaeological findings. This study examines these issues and limitations…

Masaccio, Fra Angelico, and Filippino Lippi
The Renaissance was a dynamic time in which religion, artwork, and new styles, thoughts and concepts regarding perspective and expression intertwined and impacted one another. The effect was an explosion of new talent, new advancements in painting, and new horizons achieved. This paper will show how this was achieved by examining three works from three influential Renaissance painters -- Masaccio, Fra Angelico and Filippino Lippi.

Masaccio

Masaccio's The Tribute Money (ca. 1420) is a perfect illustration of the complex formula of Renaissance religious symbolism and naturalistic beauty that characterized the works of art at this time. It tells the narrative story found in Matthew 17:24-27 in which Jesus and His disciples come to Capernaum and are told that they must pay the tribute. Jesus asks Simon Peter whether the children of the king or strangers pay the tribute. Peter answers that strangers pay it. Christ then asserts…

"Color has taken possession of me; no longer do I have to chase after it, I know that it has hold of me forever. That is the significance of this blessed moment. Color and I are one," Klee said (cited by Pioch). ith this revelation and the expressionist approach Klee learned under Blue Rider tutelage, Klee developed his signature style. After the First orld ar, both Klee and his friend and fellow expressionist Kandinsky taught at the Bauhaus School in Berlin. Klee taught at the Bauhaus School from 1921-1931. After that, Klee taught in Dusseldorf but was persecuted by the Nazis because of his work (Pioch). He moved back to Switzerland in 1933 and died there in 1940 from a disease called scleroderma.
The Bauhaus School represented a conceptual shift in art, as it celebrated design and craftsmanship as well as philosophical themes. The impact of Bauhaus on the history…

This exhibition of Chinese landscape painting shows how art functioned as a means of escape, personal empowerment, and also subtle political subversion throughout several successive dynasties. Yet the prevailing theme is even more literal than that: a genuine appreciation of the transformative power of nature. Chinese landscape painters were self-conscious in their desire to capture nature and convey what is symbolizes to the viewer. Kuo Hsi’s writings on the importance of actually going into nature show that the approach landscape artists took was essentially Daoist, and at times even bordering on the mystical (Bush & Shih). These are works that subvert the striking humanism of Confucianism, offering a welcome contrast to the rigid social ordering that constrained personal and public affairs. Nature in its purest form is wild, free, and unfettered, flowing naturally and unable to be fully controlled by human beings. At the same time, nature also has its…

Wall, Tapies, and Goldin: Photography and Painting From the Theoretical Perspective of Susan Sontag
The relationship between photography and painting, according to Susan Sontag, is that neither is really "capturing" the world that each attempts to depict. Rather they are capturing or depicting a perspective and the reality remains elusive. They are, in other words, projections of the artist's viewpoint; they are filtered through a particular zeitgeist -- and it is the zeitgeist that needs to be interpreted at root, not the painting or the picture. Painting and photography are merely means of identifying the spirit or ideology of a particular culture in a particular time and place. [footnoteRef:1] This paper will use Sontag's theoretical framework to analyze the relationship between photography and painting by examining three different works: A Sudden Gust of Wind (1993), photographed by Jeff Wall, Composition with Figures (1945), painted by Antoni Tapies, and Misty and Jimmy…

Medium
Wanderer above the Sea of Fog (1818) by Caspar David Friedrich is an oil-on-canvas omantic Movement representation of a young man metaphorically rising above the uncertainty of the world around him and transcending to a height that puts if not clarity on all things at least some perspective for the imagination. The painting literally depicts a young wanderer or hiker in the center of the frame, back to the viewer, as he gazes out over a rocky precipice to the valley before him, where rock structures stick up out of the surrounding fog. The fog, indeed, appears like waves of the sea crashing upon the rocks below, giving the young man the look of a solitary captain, aloft at the promontory peak of a ship as it makes its way through the dangerous straits ahead. The painting thus blurs the concept of sea, land and fog in a way…

Figures dressed in bright colors that are small and have impish expression upon their faces dance around him and engage in sin. However, most of the devils are portrayed as dark figures in the form of winged creatures. This creates a distinct contrast between the saint, the holy light of his practice, and the darkness of evil.
Both paintings feature a contrast of color as well as theme. The supernatural glow of the central saint contrasts with the darkness of temptation, just like the pure light of the music of Orpheus contrasts with the darkness of the wilderness. Both paintings, as well as depicting a subject, thus also convey an ideological point-of-view of the subject. In Orpheus Charming the Animals, even the wild beasts are stilled by the ability of Orpheus to play, reflecting the power of the human art of music. In Teniers' painting, the holy focus of the…

painting "The Artist's Studio" by the famous 19th century French painter Gustave Courbet. The artist's legacy and influence in the world of painting has also been explored.
Gustave Courbet:

The Artist's Studio

The Artist's Studio is a huge, monumental painting (11? 10? x 19? 9?) completed by Gustave Courbet in six weeks in 1854-55.

The artist sub-titled the painting as "A True Allegory Concerning Seven Years of My Artistic Life." The painting contains over twenty life-size figures in the artist's studio with Courbet himself occupying center-stage. He is shown painting a landscape attended by a dog, a small boy and a nude female figure looking over the artist's shoulder at the painting. "The world comes to be painted at my studio,"

the artist had remarked at the time. This is perhaps depicted in the seemingly lively, spirited group of people on the right side of the painting. The group supposedly consists of his friends…

hile not an example of Pop Art, the intense use of color and the pastiche of subject matter (although a pastiche of 'high art' rather than popular culture like arhol) demonstrates the contemporary nature of the work.
Like the earliest estern artists discussed in Gardner's Art Through the Ages, Naret pays visual homage to the subject of the art 'masters' that have come before him and adopts their subject matter (flowers, simple furniture) to his own style. His biography states he is inspired by the landscapes of his own region of Mexico. This stress upon personal interest in the landscape is Impressionistic, and highlights the difference in purpose between early estern and past estern art. Before the 19th century, art was functional in decoration and worship, and it transmitted the messages of political or ecclesiastical authority. The purpose of art was not to communicate the art's own soul or personal…