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Importance of landscape painting
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The Smoky Thames
For my research paper I will be using the piece, ‘The Smoky Thames’ from 1885 by John Singer Sargent. The theme I will be discussing is, ‘How does understanding a design and its aesthetic reflect the cultural context in which the designer/artist worked in the example you have chosen’. John Singer Sargent uses only gray scale and a dreary, inactive background to show the disarray and loss of hope in the Thames at the time.
John Singer Sargent was an American painter who was, “…known as the most fashionable portrait painter in the 19th century” (Ormond). Since Sargent was a child he had his sights set on becoming an artist, thus most of his energy went into pursuing his dream. Eventually Sargent and his father decided he should study in Paris in the studio of Carolus-Duran. During his studies he really paid attention to Velazquez, “ …Frans Hals was also an important influence on his brushwork”(Ormond). Sargent was known through out Europe for his exquisite portraiture skills, and did many commissions for people all over the world. Even though he was mainly recognized for his portraiture, Sargent also worked on landscapes and watercolors.
The River Thames has much history and is a very recognizable landmark in London. The earliest mention of the Thames is from 54 BC. When civilization started to take place in the United Kingdom, the River Thames was used as a main water source. As civilization began to spread out and more freshwater sources where discovered, “The Thames was used as a means of disposing waste produced from the city of London, effectively turning the river into an open sewer”(Sinclair). When the Thames started to be more occupied with pollution than with fresh water they had to evacuate th...
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...d their river. With his use of color in The Smoky Thames, is clear that Sargent’s mood was dismal at the time, since the colors portray melancholy. It is apparent
that Sargent had many ways to paint things as seen by the differences of his two pieces, and that The Smoky Thames is a beautiful landscape.
Works Cited
Richard Ormond. "Sargent, John Singer." Grove Art Online. Oxford Art Online. Oxford University Press. Web. 2 Dec. 2013.
Sargent, John Singer. The Smoky Thames. 1885. Oil on canvas. John Singer
Sargent, Milwaukee Art Museum.
Sargent, John Singer. Street In Venice. 1882. Oil on wood. National Gallery of
Art.
Sinclair, Mick (2007). The Thames: a cultural history. Oxford; New York:
Oxford University Press.
Trevor Fairbrother, John Singer Sargent, New York: Harry N. Abrams, 1994
Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
It is true that the voyage down the river has many aspects of a boy’s idyll. We owe much of its hold upon our imagination to the enchanting image of the raft’s unhurried drift with the current, the beauty of the river-all these things delight us...Then, of course, there is humor-- laughter so spontaneous, so free of bitterness present almost everywhere, grim a spectacle
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Jackson Pollock was an American abstract artist born in Cody, Wyoming in 1912. He was the youngest of his five brothers. Even though he was born on a farm, he never milked a cow and he was terrified of horses because he grew up in California. He dropped out of high school at the age of seventeen and proceeded to move to New York City with his older brother, Charles, and studied with Thomas Hart Benton at the Art Students League. Thomas Benton was already a great artist at the time in which Pollock studied with him. Benton acted like the father figure in Pollock’s life to replace the original that wasn’t there. Benton was known for his large murals that appear on ceilings or walls. “Jack was a rebellious sort at all times,” recalls his classmate and friend, artist Harold Lehman. He grew his hair long and helped pen a manifesto denouncing athletics, even though “he had a muscular build and the school wanted to put him on the football team,” says former teacher Doug Lemon. Pollock always was upset with himself in his studies because he had troubles drawing things like they were supposed to look. From 1938 to 1942, Jackson joined a Mexican workshop of people with a painter named David Siqueiros. This workshop painted the murals for the WPA Federal Art Projects. This new group of people started experimenting with new types of paint and new ways of applying it to large canvas. People say that this time period was when Jackson was stimulated with ideas from looking at the Mexican or WPA murals. Looking at paintings from Picasso and the surrealists also inspired Jackson at this time. The type of paint they used was mixing oil colors with paint used for painting cars. Jackson noticed that the shapes and colors they created were just as beautiful as anything else was. Jackson realized that you didn’t have to be able to draw perfect to make beautiful paintings. Jackson started developing a whole new way of painting that he had never tried before and his paintings were starting to look totally different from before.
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Mr. Vickers created this work by using oil paint on a canvas. His strokes follow the luminist style of hidden strokes with mixed hues. The subject is stated obviously in the title as the work is about the serene and beautiful view of the River Severn as it continues towards a mountainous backdrop and eventually disappears.
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Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Pioch, N. (2002, Jul 16). WebMuseum: Pollock, Jackson. Retrieved 3 30, 2014, from Pollock, Jackson: http://www.ibiblio.org/wm/paint/auth/pollock/
John Constable was an English painter who worked in the late 18th and early 19th centuries. While not highly regarded by his contemporaries, Constable is today regarded as one of the leading English painters of the era. He was a part of the Romanticism movement and is most remembered for his landscape paintings. His paintings were usually of his home and surroundings and did not dram
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The Spleen by Anne Finch, the Countess of Winchelsea, presents an interesting poetic illustration of depression in the spleen. The spleen for Finch is an enigma, it is mysterious, shape-shifting, and melancholic. Melancholy leads the subject to flashes of a grander, terrifying emotion: the sublime. The subject of Finch’s Pindaric ode experiences the sublime, and yet has the uncanny ability to reflect and reason on the feeling with acuity--even though the subject suffers from depression, which in effect dulls sensory information. The fact that she intensely perceives the sublime suggests a paradox where dulled senses can produce a penetrative emotional episode. To understand the paradox, the theory of the sublime and Finch’s engagement with the sublime in The Spleen must be traced to conceive the state of the dulled mind in the thrall of an infinite, and transcendent wave of emotion. The focus of this essay is that Finch understands that Dullness, as a by-product of depression, enables rational thought during a sublime experience. Furthermore, she thus illustrates her experience through images where she emphasizes her sensory information and her feelings, which were supposedly numbed by depression. Her feelings, indicated in The Spleen, are the crux to how Finch is able to simultaneously feel numb, and process the sublime.
Kleiner, Fred S. Gardner's Art Through the Ages. Boston: Clark Baxter, 2009. Print. The.
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