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Rousseau arts and sciences criticism
Rousseau arts and sciences criticism
Realism, impressionism, and beyond
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In the art piece that I have finished, I attempted to emulate such a style as seen in Henri Rousseau’s oil painting Woman With an Umbrella in an Exotic Forest. This piece was chosen for its subject matter, as it mixes two of the prime things Henri is remembered for painting in his signature manner: deep, detailed verdancy, and human figures. Although typically separate, this particular piece showcased both of his unique skill-sets in action together. While planning the piece, a portrait-style orientation was chosen, so as to remain close to the original. However, instead of employing oil paints, like those of Mr. Rousseau, I opted to paint with watercolor. Henri’s rich balance between vibrant, saturated tones and darker, duller shadows …show more content…
On both pieces, a slightly textured surface was used as a base. Upon that base lies the hallmark of Rousseau’s art - lush, exotic foliage punctuated only by a subdued blue sky and contrasting only with the central figure. In order to remain as close to Rousseau’s style as possible, the figures of the plants and the person were layered on, so as to achieve an overlapping effect that would in turn create Rousseau’s prime illusion of depth. Also similar was the choice to keep lighter colors in the foreground and transition to darker shades in the back. The woman wears a vibrant, puffy red dress, holding an ivory umbrella in both paintings, and sports hair of a color close to that of the trees. Once the sketch of complicated growth and initial watercolor was was completed, I then transitioned to markers, darkening areas in need of more shadow such as the trees and plants in the background, which paid more homage to Rousseau’s style. After, the use of watercolor pencils were added. Their soft texture aided in achieving the image of a more oily, thicker medium, such as that of the oil paint employed by the original artist. Lastly, as a finishing touch, the woman and the areas where plants crossed over one another were outlined faintly with a fine-point
Henri Matisse’s Bonheur de Vivre (Joy of Life) is remembered as one of his greatest and daring Fauve Paintings that incorporates many different references from other painters. From Cezanne’s painting, The Large Bathers, Matisse uses Cezanne’s technique of painting trees to resemble a stage and shapes the leaves to flow like the curtain. Matisse also paints his women as mirrors to the trees’ outline, making them extremely curvy, just like Cezanne. From Ingres, Matisse took the sexuality and idea of how a woman should be, and from Titan Matisse incorporated the sense of pleasure and freedom. Matisse not only uses vivid colors that capture the senses of the beholder, but he also uses the idea of perception and painted his masterpiece in such a
In the foreground a well to do couple with interlocked arms and a shared umbrella walks towards the viewer. By noting the angle of reflections from the lamppost and other figures it seems as if the painter is taking his view from directly in front of these persons, and being the most prominent figures they certainly warrant a more detailed discussion. The man gazes to his right. His eyes are a soft grayish hue and he walks assertively.
Everything in the artwork based on its style is abstracted because it is a collage piece. With Romare Bearden’s amazing collages, the one that I found very intriguing was At Connie’s Inn. What stood out to me in this particular collage were its warm colors of oil paints since it would remind me of the warm bright sun at its peak of sunset though its setting was during the night time. The warm and cool color paints are also partly dulled and diluted to have more of that collage feel pop out more. The colors that were involved were red, yellow, blue, and green. Green was the color which dominated the piece since it must have reminded Bearden of the time when he was in the Caribbean. The collage is very analogous based on the variety of colors
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.
The composition of the work consists of a portrait of Madame Matisse in the foreground and a background divided into several distinct areas of color. The division in the background is apparent in the juxtaposition of the mauve, orange and blue green, with the foreground divided primarily by the green strip itself, which runs down the middle of Madam Matisse’s face and separates the painting along a vertical axis. The background and foreground, however, are rendered almost completely flat, so that they seem to become part of one another, and Madame Matisse seems to become somewhat of a portrait within a portrait.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
By using a post-impressionist style called pointillism Signac was able to blend his colors in order to make the tree, sky, and lake morph together while still being easily distinguishable from one another.
Cezanne had a very interesting technique to the world at his time. Although this painting looks very old fashioned, at the time it was fresh and full with energy which inspired many painters to follow him. The lighting of this painting is very light. For the most part, the only dark elements of this painting are the tree branches and trunk. The leaves from the branches become brighter as they grow from the stems. The town of Provence as well looks bright as it appears to be a sunny day. The brightest part of the painting is in the middle of the painting, which consists the mountain. Many different shades go throughout the mountain, but it has a glow element to it. The ridges of the mountain have a darker touch.
He made landscape drawings of trees, women and even animals on La Grande Jatte scenery using this format in order to properly study their forms and shadows. Such conté crayon drawings studies include Seated Woman with a Parasol (1884/85), Woman Walking with a Parasol (1884), Landscape with dog (1884) and several drawings of trees. Once he was comfortable with his conté crayon drawings, he started applying color to his studies. One of his study paintings, The Island of La Grande Jatte (1884) shows just the landscape without any people or animals on it. In this study, Seurat studies how the light and shadow areas on the landscape will look like.
Artists often use color schemes and brush strokes to design their concealed emotions and throw them onto a canvas for many to interpret. However, artists such as Rene Magritte want nothing more than to make people question what is behind a layer of painting and question each individual design for what it is and seek what cannot be seen. Painter’s typically use colors to not only detail a painting, but express emotions through the gentle strokes of color. For example, bold colors often highlight what portions of the painting are meant to be the most significant to the viewer. In The Lovers I and The Lovers II each background is filled with light hues of blue, green, and red.
For Self Portrait with an Amber Necklace, she also used oil on canvas for this work. She uses color for expression, not representation. Modersohn-Becker has a unique style of painting, as she scratches texture into the paint after it is dry. This work does not feature much movement or symmetry. She looks very serene and one with nature.
The two works of art I am writing about are Henri Matisse’s “The Sorrows of the King” 1952 and “Le Bonheur de vivre” 1905-06. Both of these works are made my Henri Matieese. Matieese used all spectrum of colors in both these artworks. It is obvious to see the people painted in Le Bonheur de vivre, but not as easy to see what object is in the painting The Sorrow of the King. This paper will review Matisse’s decision and choices. Along with my own assumption. Matisse was best known for his interiors and the play of artificial light on everyday objects.
Figure one that appears on the illustrations page following the bibliography is a floral still life done by Rachel Ruysch entitled “Basket of Flowers” and completed in 1711. A perusal of the painting finds all of the elements of design and technique mentioned in a previous section of this essay on full display. The composition of the painting has several large flowers on display, surrounded by a variety of secondary types of spindly vines and leaves, all wispily supporting the main focal point of the picture12. Her use of color is subtle and real as well, and the detail adds an authenticity that makes the viewer want to lean in and inhale the lovely perfume of the blossoms. The use of light and shadow are easily recognized, and are a repeated theme in the floral still lifes of the time. Ruysch gives a sense of a darkened background while draws the eye to the lightened flowers that are front and center in the painting. Indeed, here is a perfect example of the use of the aforementioned techniques in a floral still
Taking a longer look, we’ll find strikingly vibrant wallpaper, themed patterns and a woman assembling fruits on a table with the same vibrant red and floral patterns as the wallpaper on the tablecloth. The scenery through the window has a similar theme to the red and blue. Moreover, the colors in the painting are a mixer of warm and cool ones, however warm colors act dominantly over the cool ones. Additionally, the window, chair and table are geometric shapes while the floral patterns; flowers, fruits and woman are organic ones. Furthermore, the space in the artwork proposes a cluttered perspective and a flattened surface that may cause a feeling of distress. The artist adopted all orientations of lines; vertical and horizontal lines are seen within the window, chair and the little house, whereas the diagonal line is reformed throughout the painting. The painter motions varied features of unity and harmony through colors, shapes and lines.
Light plays a very important role in this painting both in what it illuminates, and in what it does not. Light enters through a hole in the dense canopy of the forest highlighting mainly the woman and the tree from which she swings. Also illuminated, but less than the woman, is the man in the bushes and the cupid on the left. Although the man on the bench pulling the swing is cast in shadow, he is brought to our attention by the illuminated tree that is directly next to him. This play on light is highly symbolic of the relationships at wo...