Modern Age Problem Twist with a French Classic In 1884, the french artist, Georges Seurat painted one of his well known paintings A Sunday on La Grande Jatte. Seurat used confined, dot-like dabs of oil paint. This technique that Seuret uses is known as Pointillism, “a form of painting in which tiny dots of primary-colors are used to generate secondary colors” (Malyon “Pointillism” 2016). Seurat paints people relaxing in a suburban park on an island by the Seine River known as La Grande Jatte. For his explanation for his painting, he explained he “wanted to make modern people, doing their everyday activities moving about as they do, and place them on the canvas organized by color” (The Art Institute of Chicago "A Sunday on La Grande Jatte" 2017). …show more content…
One example is Playboy issue from January 1974 front cover of Nancy Cameron. The background of the issue is the painting itself, zoomed in a bit, and Nancy Cameron in the center. She also looks like she would of been painted into the painting with the same dotted style that Seurat (Spivey "LUCAS SPIVEY" 2010). Another example is on the season seven finale of The Office, the cast recreated Seurat's painting as a poster, promoting the season finale. The dot style is not shown in the recreation, but it is photoshopped into looking like someone had painted it (Hibberd "The Office Seurat poster"
In “The Weekend,” George cheats on Lenore with Sarah, and she still chooses to stay with him and work out their issues. The story by Ann Beattie can relate to “The Awakening” by Kate Chopin because Edna cheats on Leonce with Robert and Alcee Arobin. After learning Edna cheats on him, Leonce decides to stay with Edna to work their relationship out. While nothing is wrong with their significant others, they cheat because something in them is unfulfilled. Lenore knows George cheats because he spends much of his time with the other women, but she never acknowledges it, until she talks with Julie one day; “she’s really the best friend I’ve ever had. We understand things—we don’t always have to talk about them. ‘Like her relationship with George,’
“Painting is a way to examine the world in ways denied me by the United States justice system, a way to travel beyond the walls and bars of the penitentiary. Through my paints I can be with my People—in touch with my culture, tradition, and spirit. I can watch little children in regalia, dancing and smiling; see my elders in prayer; behold the intense glow in a warrior’s eye. As I work the canvas, I am a free man.” – Leonard Peltier
“A picture is a poem without words” – Horace, the purpose of art is to reveal the sensations of life but also allows humans to express their emotions and views on certain aspects. Jean-Michel Basquiat was a Neo-Expressionist painter throughout the 1980’s who was known for his style. He was an African American artist and musician that was part of the SAMO. The SAMO was a graffiti group that wrote epigrams. While growing up, one of Basquiat's inspirations that encouraged him to paint was his diverse cultural heritage.
It seems to be his style of painting, thick brush strokes. It is not simple, there is much to the painting, there is emotion in the painting. It is a stunning piece made by him.
As Simon would watch his father's meticulous brushstrokes amidst the aroma of oil paints and the clutter of brushes, stretched canvases, and works in progress, something inside of him spoke of his own future. It was Joe's passion for his pastime that fostered within Simon the joy of creation for creation's sake, a true love of art, and an appreciation for the beauty of the human form. It was those early values that eventually guided Simon to follow in his father's footsteps as a portrait painter.
Georges Seurat used the pointillism approach and the use of color to make his painting, A Sunday Afternoon on the Island of La Grande Jatte, be as lifelike as possible. Seurat worked two years on this painting, preparing it woth at least twenty drawings and forty color sketched. In these preliminary drawings he analyzed, in detail every color relationship and every aspect of pictorial space. La Grande Jatte was like an experiment that involved perspective depth, the broad landscape planes of color and light, and the way shadows were used. Everything tends to come back to the surface of the picture, to emphasize and reiterate the two dimensional plane of which it was painted on. Also important worth mentioning is the way Seurat used and created the figures in the painting.
A Sunday Afternoon on the Island of La Grande Jatte, located in the Art Institute of Chicago, is one of the most recognizable paintings of the 19th century, a painting made by Frenchman Georges Seurat. Finished in 1886, it has gained much of its recognition over the time of its completion; the pop culture of today has played a pivotal role into the popularity of it. An example of that is being apart in one of the most recognizable scene in Ferris Bueller's Day Off, where one of the main characters is solely staring at the painting until he can’t even recognize the artwork. This painting also gets much attention because it was an early example of the style of pointillism, at the time; pointillism was becoming a new way of expressing one self with the new technique. It also brought upon about the way we saw paintings, and what we gained from the artwork as whole. In all this painting has become an icon in the art scene, due to the technique it used, and how much of an impact it has had in today culture.
himself through his mediums. He used oil on canvas for his medium in this painting. There are
... expression of the self. Pouring and flinging paint onto canvas, usually on the floor, he created large “all-over”—completely covered, large-scale—surfaces with no place for the eye to rest.
The composition of the painting takes place with the square of the canvas. The square is approximately 5' x 5'. A black frame surrounding the painting protrudes approximately 4" off the canvas. There is a 1" inlay between the canvas and frame. From this square, Reinhardt breaks the composition into six equal squares in three even rows. Texture is no where to be found in the painting. No visual indication of the artist's brush stroke is present. No varnished glare is given off by the piece. The entire work, including the frame, is completely matte. The squares take up the entire canvas in a checkerboard type arrangement. Each square is a slightly different shade of blue-black. It almost becomes impossible to see the difference between each square. The middle squares in the top and bottom rows shift more towards blue than the rest of the squares. The division of these middle squares become more obvious than the others. When the painting is looked at from a distance, it is almost impossible to see any of the squares at all. When looking from a far, all a viewer can see is a blackish blue canvas. As you stare longer into the painting, a halo begins to form around the corners of the canvas, creating a circle inside the square. Once you look away from the canvas, the circle is gone. With this observation in mind, we could say that the painting most definitely relies on the viewer. A viewer is required to look at the piece for its full affect. We could say that the squares in the painting are self-contained.
In this piece Benny has depicted himself in the artwork creating another piece of artwork. He is standing at a 45° angle as if he has been interrupted by us, the viewer. This is how Benny engages us, the viewer into his painting. As if we are just as much a part of it as he is. When looking at his painting from a distance it seems as if it is just another oil painting but upon closer observation you can clearly see the different fabrics that he uses to create the collage and which gives the painting its textures. He shows space in the painting by leaving the wall on which the canvas hangs, bare, as is the floor with the exception of the box of rags that he uses in his collage.
This painting by Vincent Van Gogh is on display at the Art Institute of Chicago Museum, in the Impressionism exhibit. There are many things going on in this painting that catch the viewer’s eye. The first is the piece’s vibrant colors, light blues and browns, bright greens, and more. The brush strokes that are very visible and can easily be identified as very thick some might even say bold. The furniture, the objects, and the setting are easy to identify and are proportioned to each other. There is so much to see in this piece to attempt to explain in only a few simple sentences.
There were problems with relationship of scale were some of the people were proportioned like the right-hand couple, the central dark dog, the lower left seated woman, the wet nurse and the woman fishing all coexist in precise relationship of scale, but for example the seated woman and the top hatted man are not to scale and Seurat knew this and thought that once the important figures were fixed the design would work. The only comparisons to other works is the individual pictures that led up to the final La Grande Jatte. Painted studies of figures include the strolling woman with the pet monkey; the seated foreground woman; the standing woman with the parasol in the center of the final painting; and one of the soldiers in the background. The differences in the arrangement of figures in a small study of the full composition compared to the final painting reveal the extent of Seurat’s adjustments and reworking’s during the creation of his masterpiece. Clearly, the artist’s self-consciously ambitious project involved calculation, but as the studies show, the creative genesis also involved intuition.
Sunday Afternoon on the Island of La Grande Jatte depicts wealthy French citizens relaxing, playing, basking in the sun, lounging in the shade, as well as boating and playing in the cool water on a beautiful sunny Sunday afternoon on the island of La Grande Jatte along the Seine River. The use of vibrant yellows, greens, oranges, and blues creates a sense of warmth, the sun bathing the figures in its glow. The darker blues and greens of the shadows created by the trees and figures creates a sense of cool, calm, and relaxation.
I chose to describe Jacob Lawrence because of the theme of relatable characteristics that each painting that I reviewed to brought to my remembrance For example the Barber Shop rendering from Jacobs spun my thoughts back to the simpler times of my youth. I would spend hours at the barbershop listening to all the stories and news of the day. Many of relatives had paintings similar to Lawrence’s style and looking over Mr. Lawrence’s work has a certain familiarity that I find comforting. Additionally, his attention to color, pattern and his detail research prior to producing a painting, certainly peaked my interest in becoming more familiar with the man and his works. His works were more recently viewed at Memphis Brooks Museum of Art, Nebraska at Sheldon Memorial Art Gallery, and Museum of Modern Art (Phillips Collection)