André Derain is a fauvist artist who uses loose, unnatural colors and movement to create his paintings. Derain is a part of the Fauvist art movement. He created this movement with Henry Mattise. The two men were working on a painting together and when they finished it, an art critic dubbed it “the wild beasts” and that is loosely translated as Fauve (so the art movement and style started to become known as Fauvism). André Derain creates his paintings with vibrant colors that give the illusion of movement. Derain takes these colors and brushes them onto the canvas in a loose manner. Much like Surrealism, the brush strokes in Derain’s paintings are often visible. When I recreated “Three Figures Sitting on the Grass”, I stayed as close as possible
During Vincent Van Gogh’s childhood years, and even before he was born, impressionism was the most common form of art. Impressionism was a very limiting type of art, with certain colors and scenes one must paint with. A few artists had grown tired of impressionism, however, and wanted to create their own genre of art. These artists, including Paul Gaugin, Vincent Van Gogh, Henri de Toulouse-Lautrec, and Paul Cezanne, hoped to better express themselves by painting ...
The point of departure for Stella in 1958 for his new approach to abstraction was the flag paintings of Jasper Johns. Using various devices, Stella emphasized the flatness of the painting pattern, abolishing the three-dimensional image, and he was uncompromising as he refused to permit the introduction of deep recession behind the picture plane. The result was that the figure-ground relationship was almost completely eliminated as the stripes and orthogonal constituting the picture echoed the contours of the format. To achiev...
Artists are masters of manipulation. They create unimaginably realistic works of art by using tools, be it a paintbrush or a chisel as vehicles for their imagination to convey certain emotions or thoughts. Olympia, by Manet and Bierstadt’s Sierra Nevada Mountains both are mid nineteenth century paintings that provide the viewer with different levels of domain over the subject.
The first thing to notice about this painting is how incredibly involved and realistic the brushwork is. The couple’s faces are so delicately rendered. Every wrinkle is visible and every hair strand is in it’s place. The soft folds and patterns of their clothing, and the grain of the vertical boards on the house, are highly developed and reveal Wood’s incredible attention to detail. The man, especially, appears to be nearly photorealistic.
The techniques used reveal insights into the genre and philosophy behind these paintings. Surrealism has its roots in the ideas of Dada. According to the Metropolitan Museum of Art (2014), Dada centres on automatism where there is little or no planning of artworks - a concept which is explored in the quote from Rene Magritte. This gave way to the more contrived and conceptual manifestations witnessed in Dali and Gleeson's paintings. Dali used what he described as "hand-painted colour photography" (Mariorenzi, 2005) to depict with a hallucinatory effect the transformation of Narcissus. It is this which gives it it's Surrealist effect. Magrette's definition is very concrete, however surrealism is a loose term that encompasses many ideas. Just because it does not fulfil some criteria, it does not ...
The image, which is composed almost exclusively of rectangular swatches of broken colour, manages to effectively capture the rounded silhouettes of the rolling hills and the cows’ bodies in spite of its geometric basis. The rectangular brushstrokes, which appear to be thickly applied with a palette knife, convey structure and stability, while the organic forms of what the brushstrokes create, such as the cows and the hills, convey a sense of spontaneity and add visual
Leyster was a student of Frans Hals who seemingly was able to mimic some of his ability for loose brushwork. Her painting used vertical and diagonal lines and she used earthy colored browns and greys. The painting, “Young Flute Player” is a realistic painting. The boy is sitting in his chair lost in his music and behind him are other instruments, the violin and a recorder. “Leyster takes us to a blank background to reinforce all the details within.” (www.kweiseye.com) She does this in order for us to take in the full view, for example, his clothes that billow out from him or the patterns on the top of the chair. With the background not bustling with activity but being a simple brown background, your attention gets drawn to the boy playing the music. And with your attention on the boy you look and stare to try to “hear” what has him so intensely focused
Surrounded by paintings. Surrounded by color. My eyes traveled from painting to painting, taking me to new places. Finally, I landed at home. Titanium white spread on with a palette knife, with burst of colors painted with a dry brush. I was drawn to Autumn Lilies like a magnet to metal. I saw myself taking the brush from Mary G. L. Hood. I saw myself painting this painting.
Painted by Vincent Van Gogh during a final burst of activity in Auvers before his suicide in July, Houses at Auvers features many of the characteristic elements typical of Van Gogh; the experimentation with color, texture, and thick brush strokes. This painting depicts the view and landscape in early summer, highlighting the patchwork of houses and the rolling greenery. Van Gogh’s unique, thick brush strokes lead the eyes through the painting, create texture and patterns and also highlight and shadow objects in the early summer sun, while his experimentation with color creates contrast and a bright, vibrant image.
The appearance which painting #2 utilizes is abstract. The subject matter is exaggerated purposefully. While the scene is recognizable, the lines are thick. There are textured brush strokes noticeable, as well as the purposeful use of colors. The combination seems to add an almost dreamlike appearance to the scene, as they are more vibrant and rich than in reality. This scene is very simple, with relatively little going on. While this painting is very abstract, it is more towards the realistic end of the spectrum. Not only is the subject matter clearly recognizable, but the artists use of linear perspective and foreshortening draws the eye of the viewer deeper into the scene. A work of art with a similar position on the spectrum is Wheat Field
Although from the same artist group, these Impressionists originated from backgrounds that seemed worlds apart. Claude Monet, known as the “Master Impressionist” varied the themes in his artwork more than any other artist did. Monet’s work “Impression Sunrise”, of which the term “Impressionist” originates also gives rise to the title “Master Impressionist”. Edgar Degas started his career as an artist with nothing in common with Monet but the era in which they lived. From themes to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist artists on opposite ends of the earth. However, towards the climax of their lives as artists, Monet aided Degas in adopting Impressionist Aesthetic qualities.
Claude Monet is often considered one of greatest most dedicated of the Impressionist painters. His aim was to catch the light and atmosphere, something that was scarcely done before. He enjoyed painting outdoors and developed a free and spontaneous painting technique. His brushwork is remarkably flexible and varied. He often changed his technique, sometimes broad and sweeping other times dappled and sparkling.
When I imagine an artist, I picture a Parisian dabbing at a sprawling masterpiece between drags on a cigarette seated in an extravagantly long holder. He stands amid a motley sea of color, great splashes of vermillion and ultramarine and yellow ochre hiding the tarp on the studio floor. Somehow, not one lonely drop of paint adorns his Italian leather shoes with their pointed toes like baguettes.
It can be seen in Chagall’s composition the application of these movements principles of arbitrary colour and reorganization of the visual field, but he incorporates these principles with a dream like scape to create his own personal style.
...f the shadows is sprinkled with the orange of the ground, and the blue-violet of the mountains is both mixed with and adjacent to the yellow of the sky. The brushstrokes that carry this out are inspired by the Impressionists, but are more abundant and blunter than those an Impressionist would use.