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comparing and contrasting artists
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Similarity in theme and color first drew me to select Elisabeth Condon’s Nocturne (Bob Rauschenberg Gallery) and Vincent van Gogh’s The Starry Night (Frank 348) for this research paper. Initially I wanted to pick two pieces that were different enough in order to form a decent comparison and yet alike enough to connect them in some way. In the art gallery, Nocturne gave me a feeling similar to the one I experienced when I first saw The Starry Night; there was something otherworldly and mystical about it. It made you look at a greater expanse then the bit of landscape that was shown in an unexpected way. Though each work was made in over a hundred year gap from the other, both works use a brilliant use of color and a view of the sky that suggests what is beyond the everyday. What will mainly be discussed is the works composition and any innovations the artists have contributed to the styles they used. There will also be brief information on the mediums used, the artists themselves, and the styles they employed. With that said, let us begin.
Nocturne is an acrylic, abstract painting consisting dominantly of cool colors. Part of what makes it so abstract visually are the washes that blur the landscape bits and what appears to be the sky surrounding it; there is no vanishing point or horizon line to help distinguish. The wash effect makes it look as if bodies of water go through what little land is shown and spill out towards the bottom of the work. The concept of space seems lost and it is left up to the observer of the piece to work around what is shown within the picture plane. Nocturne combines the environment seen in the every day with the greater expanse of the universe and paints the picture as if everything is of ...
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...rebles’ Artforms: An Introduction to the Visual Arts. 10th edition. Upper Saddle River, NJ: Prentice Hall, 2011. 347, 348. Book.
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Van Gogh, Vincent. The Starry Night. 1889. Oil on canvas. The Museum of Modern Art. New York. Figure 20.29. Prebles’Artforms: An Introduction to the Visual Arts. Frank, Patrick.10th edition. Upper Saddle River, NJ: Prentice Hall, 2011. 347, 348. Book.
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,
An artwork will consist of different elements that artists bring together to create different forms of art from paintings, sculptures, movies and more. These elements make up what a viewer sees and to help them understand. In the painting Twilight in the Wilderness created by Frederic Edwin Church in 1860 on page 106, a landscape depicting a sun setting behind rows of mountains is seen. In this painting, Church used specific elements to draw the viewer’s attention directly to the middle of the painting that consisted of the sun. Church primarily uses contrast to attract attention, but it is the different aspects of contrast that he uses that makes the painting come together. In Twilight in the Wilderness, Church uses color, rhythm, and focal
Vincent, Van Gogh. Van Gogh Museum, "To Theo van Gogh. Arles, Friday, 21 September 1888.." Accessed April 3, 2014. http://vangoghletters.org/vg/letters/let685/letter.html.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
The French 1884 oil on canvas painting The Song of the Lark by Jules-Adolphe Breton draws grasps a viewer’s attention. It draws an observer in by its intense but subtle subject matter and by the luminous sun in the background. Without the incandescent sun and the thoughtful look of the young woman, it would just be a bland earth-toned farm landscape. However, Breton understood what to add to his painting in order to give it drama that would instantly grab an onlooker’s interest.
Imagine you can own one of the famous painting in the world. Which one would it be? What will you do with it? If I got to own a famous painting, I would hang it in my bedroom and I’ll show it to my family. In this situation, If needed to narrow it down it will be The Persistence of Memory by Salvador Dali or Nighthawks by Edward Hopper. These paintings are extremely different, and their artistic movement is opposite from one another. By the end of this essay, you’re going to know the differences and similarities of these paintings.
In the mid 1800’s realism was developed as a style of painting to replicate the world as it was seen in a traditional artistic style. This allowed for a new style of art to be created that was based of a real moment or scene but to forget the traditional artistic laws such as distinct lines and forms. Approaching art from this impressionistic view Monet’s painted “Impression, Sunrise” bringing to life a natural scene of a hazy harbor using quick, short brush strokes and defining uses of color and natural light. Van Gough’s “Starry Night” uses similar impressionistic styles to paint a natural scene using vibrant contrasting colors, yet he embellishes the scene to create art that in not merely a landscape but a piece of self expression and shifted
Vincent van Gogh lived from 1853 to 1890 and is arguably the most famous painter of the post-impressionism era of art. His painting style was often
When viewing Georges Seurat’s, A Sunday on La Grande Jatte (Fig. 31-37), perception is changed vastly depending on the viewer 's proximity to the piece. At close range, all that is visible is a mass array of countless circular dots and tiny lines in a vast range of colors. Greens, blues, reds, oranges, yellows, white, browns, black and purples are all visible in a multitude of intensities. The Divisionism technique utilized causes this piece to appear as an abstract collection of colors when viewed at close range. Yet when distance is between the piece and the viewer, these seemingly sporadic dots come together to create a complete and detailed scene. Primarily consisting of biomorphic shapes, Seurat’s incorporates in every inch of the canvas
Vincent Van Gogh never gave up his style and insight in his early work compared to his later work. I will discuss the comparison of the Potato Eaters and Starry Night and even though there are obvious differences, the core of his passion and eccentricities can be seen.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
From first impressions of this painting, I was captivated by his ability of using lights and darks. Photographs of this work...
Like many of Van Gogh’s paintings, Olive Trees commences as a landscape and expands into a complex work, disclosing influences from other times and places. Using the color theory and separated brushstrokes of the Impressionists, the movement and vivid colors of the Romantics, and lighting and composition inspired by Millet, Van Gogh achieves the potency and significance that characterizes his work. Van Gogh’s paintings can’t possibly be mistaken for those of another artist of his time because, despite the fact that all of his means have criterion, his end results do not.
Van Gogh painted this art work when he was in the asylum room in Saint-Remy-de-Provence. It was just before sunrise when he was facing a window outside his room when he decided to depict it into a painting. Theo would receive letters from Van Gogh describing the starry nights and how he would spend his nights waiting for the sunrise. The Starry Night was the only painting he created that was a nocturne painting depicting yellow stars, swirls of blue clouds, and a yellow half moon with a view of different darker shades browns and blue with a view of a town below. This is by far my favorite piece of art work from Van Gogh. I enjoy this piece so much that when I was nine years old, I remember writing a short book with drawings highlighting important facts about his life. In which I drew The Starry Night and described it as the most beautiful painting in this world. The starry Night is now described as one of the finest famous painting of Van Gogh. It resides in The Museum of Modern Art in New York City since
In this essay will be talking about and comparing between the traditional painting Starry night by Vincent Van Gogh and the digital movie poster for Midnight in Paris designed by the company Cardinal Communications USA. Starry Night is an artwork that was painted in 1889 in an asylum at Saint-Remy-de-Provience, France while the Midnight in Paris poster is digitally made somewhere in the USA by someone in that company sometime in 2010. While both these artworks are very different, they have some similarities.