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Influence of World War I on Modern Art
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George Wesley Bellows piece Waldo Peirce represents a portrait of a man that was completed in 1920s and shown to the public. This artwork was created through the use of impressionism and realism; artist Bellow was inspired through the French predecessors and was commissioned through a wealthy patron to paint this portrait for Waldo Peirce. It is a museum purchase, gift of the Charles E Merrill Trust with match funds from the M/J de Young Museum Society. Artist George Wesley Bellows was born on August 12, 1882 and raised in Ohio. Later, he passed away on January 28, 1925 in New York. He has his mother and a republican building contractor father. Bellow first artwork is “The Cross Eyed boy” and done amazing art pieces throughout his career as …show more content…
The light is glowing around where he is sitting and some part of his face is brighter as well. The consistent light source when I look at the bright. The light does not create the mood because he looks directly at us without a pleasing facial expression. The space is shallow and opened because we see only him and in a shallow depth space and emphasis solid intervals by where he is sitting. The main interest is near the foreground where we do not see if he is sitting on a platform or on a seat because the object is not there. This painting is a portrait that was commissioned to draw a portrait of him by an artist. It reflects on impression and realism through the effects of light and …show more content…
The American impressionists rejected the traditional way of how historical subject was in favor because of the idealized vision of modern life and from the salon. The exhibition is for artist and for modern space to sell their artwork. The portraits of wealthy patrons often emphasized traditional gender roles, especially for women back in those days. Several American artists studied in European academics in the capitals of Europe where they learned their methods and aesthetic ideals. When Artist Bellows painted the portrait of Waldo Peirce, Waldo Peirce was an educated man who was famous for his paintings and throughout his artistic career as a painter and public persona. He was in World War 1 and he drove ambulances, and later died at Massachusetts at the age of 85. He went through four marriages and now alone. This portrait can correlate and have similarities with the Rembrandt van Rijin Self-portrait because it has similar facial expression. This self-portrait has a staff on his left hand and Waldo Peirce portrait has a staff in his right hand. Therefore the eyes have different perspective that tells a slight story of apprehension. They have similar brush strokes in the portraits as I look closer into it. Both portraits were during the World War 1 and World War II significantly transformed the European politics, economics and culture. The “Great War” as World War 1 has impact and carries
The subject’s heads and the base of the banjo are positioned in the center section of the rectangle with both subjects looking downward at the instrument. The top of the banjo is pointing towards the right rectangle and leads the viewers’ eyes to the right side of the composition. Tanner used two different light sources that meet in the middle of the painting. To the right side of the painting there’s a warm light glowing from a fire that is just outside of the paintings view. For the most part, the artist used mostly earth tone colors in the painting. The two chairs, the floor, the cooking utensils, the coat thrown over the chair, the subjects and their clothing are all in various shades of brown and black. The exceptions are the use of white, yellow, gray and blue that are all used as sources of light. A warm light is washing over the young boy along with a stroke of white that streaks across his forehead. Most of the white and pale yellow (glow from a fire) is brightly illuminated to the right side of the painting while simultaneously throwing darkness onto the left side and front of the painting. Also to the left side of the painting, there are cooler colors of gray and blue that can be seen submerging the older man, the walls on the left side of the painting and in the shadows from objects in the entire background of the painting. In the very front of the painting, the light source is barely seen. The color
When looking at the painting it gives us a glimpse of the past. It looks almost like a photograph. The fine detail from the building on the right with the statue on top. The citizens walking around.
This particular painting is classified as a piece from the Impressionism era and was in the Impressionism section of the St. Louis Art Museum. The painting showed an up close view of a boy whose face could be seen. It looked as if he could have been walking right out of the painting. It looks to me as if his hands are behind is back in a cutesy way. He might be hoping or wishing for something. There was also a woman whose back was turned towards the audience. She was carrying an umbrella to block her from the sun maybe. Or there might even be rain coming as depicted by the gray sky above. There is also a bridge behind them. There seems to be some type of atmospheric perspective in this painting.
References 2, 7, 8- "Vincent Van Gogh- Portrait of an Artist" Jan Greenberg and Sandra Jordan, pages 7, 85, and 86. Published in 2001.
...indow streaming natural light seems to be the only source of light in the room. It falls directly on the action, the man holding the woman. Their shadows then form flawlessly across the canvas and their profiles are in perfect shape. The statue, which is behind the canvas, is in complete shadows, again signifying the conservative part of the image that hides in the shadows.
Before Impressionism came to be a major movement (around 1870-1800s), Neoclassical and Romanticism were still making their impacts. Remembering last week’s lesson, we know that both those styles were different in the fact that one was based on emotion, while the other was practical and serious. However, one thing they both shared was the fact that the artists were trying to get a message across; mostly having to do with the effects of the French Revolution, and/or being ordered to do so. With Impressionism, there is a clear difference from its predecessors.
The painting depicts two figures, the one of a woman and of a man. The dominating central figure is the one of the woman. We see her profile as she looks to the left. Her hands are crossed in a graceful manner. She has blonde hair and her figure is lit by what seems to be natur...
images in this painting, all of which have the power to symbolize to us, the viewer, of the painter’s
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
On Saturday, March 15, 2014, I visited the Metropolitan Museum in New York. The gallery #753, which is a part of so-called American Wing, features oil paintings of the revolutionary period in America. The paintings seen in this gallery celebrate heroes and hard-fought battles of the new nation. The most popular type of painting of that time remained portraiture. Portraits in extremely large numbers figured in interiors, where they were arranged to convey not only domestic, but political messages as well. Hence, it is natural, that such iconic figure like George Washington became a model for numerous artists of that era, including Gilbert Stuart and Charles Willson Peale, for whom Washington actually sat. Two exceptional portraits of Washington, the general and the the first President of the United States are highlighted in this paper.
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.
"National Gallery of Art." The Age of Watteau, Chardin, and Fragonard. N.p., n.d. Web. 14 May 2014.
We walked and walked looking at each art piece, which were all well displayed. Then as I looked at the back wall, a large oil canvas painting looked right back at me. I could feel its pain and so then, I decided to do my paper on this piece. The painting was The Ragpicker by Manet. (The Ragpicker. Edouard Manet.1865.Oil on canvas.) The painting was so enormous that it was hard to miss. Such a huge painting for one man, it almost looked life-like. The dimensions of this work is 76.75” x 51.25”. This scene seems to take place of a lower-class man late in his age, probably near his seventies, appears to be looking out of the corner of his eye. The ...
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.
Velazauez’s 1650 portrait of Juan de Pareja and Peale’s 1782 portrait of George Washington differ greatly in their places and times of origin, as well as the historical contexts in which they were painted. Their color palates and compositions appear as polar opposites to each other, and their subject matters are entirely dissimilar. Despite these apparent contrasts between the two works, they both preserve the likeness and honor the characters of their respective subjects. The comparison of these works illuminates how although both structure and context may vary significantly from portrait to portrait, there are characteristics inherent to many if not all portraits that remain unaltered even when in seemingly disparate contexts.