In the mid-1900s, Paris was restored by Emperor Napoleon III, bringing with him Académie des Beaux-Arts. This led to enforcement of traditional French styles and themes that would begin dominating art during the 19th century. This type of art was strict to historical and religious content, focusing more on portraits and less on nature or landscaping. Paintings were mean to look realistic, characterized by precise handwork, bold lines, and structure. Color was minimalized, sticking towards neutral tones that would not noticeably stand out. Salon de Paris was a popular annual art show held by The Académie each year. Juries would select artwork to display to the public for commission and exposure, but they served to be bias to their specific style …show more content…
This painting was created in 1872 on an oil canvas. Much like the title, this work of art captures the exact moment of a sunrise at the port of Le Havre. A bright, orange sun is depicted rising to the top center right of the painting, fulfilling the perfect Rule of Thirds and drawing the viewer’s direct attention. Two rowboats sail through the water, silhouettes of passengers and even a woman standing while paddling visible. The water and sky blend together with murky greys and blues of the early morning. Evident light begins illuminating the scene, remnants of yellow scattered about the water paired with the reflection of an orange hue from the sun. The sky begins fading into brighter, vibrant pinks, yellows, and oranges as the painting progresses upwards above the sun. At the horizon, there are darkened, misty depictions of steamships, cranes, and other various industrialized ships. They all blend together in the early morning fog that rests above the water, symbolizing the commercial and industrial presence taking over during that time period. The painting itself is said to have a various number of possible themes, ranging from peacefulness of the atmosphere to the empowerment of France. However, the most important factor of this painting is the style in which it was
Wayne, transforms this painting into a three dimensional abstract piece of art. The focal point of the painting are the figures that look like letters and numbers that are in the front of the piece of art. This is where your eyes expend more time, also sometimes forgiving the background. The way the artist is trying to present this piece is showing happiness, excitement, and dreams. Happiness because he transmits with the bright colours. After probably 15 minutes on front of the painting I can feel that the artist tries to show his happiness, but in serene calm. The excitement that he presents with the letters, numbers and figures is a signal that he feels anxious about what the future is going to bring. Also in the way that the colors in the background are present he is showing that no matter how dark our day can be always will be light to
Magical, poetic, and awe-aspiring. This is what mere words at its best can accomplish when trying to capture the essence of the painting, The Glory of the Light Within, by the renowned artist, Dale Terbush. This specific masterpiece is representative of Terbush’s art and reveals much about his outlook towards nature. Viewers are presented with a breathtaking scenery and a natural beauty depicted in all its glory in this panoramic view (the painting is 4x5 feet). Indeed, because the well-defined foreground, distinct middle ground, and dim background compose characteristics of a magical scenery, this vista is transformed into an ideal utopia.
The work that I have chosen to talk about was “The Old Stagecoach by Eastman Johnson.” This work would be considered a painting. The images that are shown in the painting are a old stagecoach as the name of the painting suggest. The stagecoach does not have any wheel and so it just sits on the ground. There are also a bunch of children that are portrayed playing inside and on top of the stagecoach. The colors that are used in this painting are all realistic, this is very important because it portrays what a warm summer day would like on a farm. There are a lot of different colors such as bright green grass and bright colors for the clothes that the children are wearing. There a quite a few principles are elements that are used in the painting. One of the first principles that I noticed was the emphasis of the stagecoach. It appears in the center of the image and is definitely the main focus of the image. The children in the image are definitely important to the painting to show how much the they enjoy the stagecoach. There is also a good use of variety in the colors used for what each child is wearing which also brings interest to the painting.
There were rays of sunlight that were depicted as well. The light in the painting seemed to be focused in the middle, where the stream was. Other areas and parts of the piece were dark or darker than the area in the middle. I think that a trick with shading or lighting was used. Perhaps, it was tenebrism.
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
At first glance, the cheerful bright blue sky on the upper portion of the painting caught the most attention. The second dominant feature is the small sailboat with seagulls on the background where Monet illustrated in brightest white. Examining closely in that particular area, it is noticeable that the artist intended to incorporate a sheer layer of white surrounding the sailboat to create the illusion of sheen light breaking through the clouds and reflecting into the ocean. Monet used a variation of values along with the combination of heavy and light individual brushstrokes to create uneven tones to show the movement of the water caused by the weather and the sun. Several layers of underpaint can also be seen as the artist’s intention for the waves to appear fuzzier. The fuzzy wave in the foreground to the right is slightly bulged from the canvas showing the finer brushstroke slightly dabbed on the surface. Dense cracking is present all over the painting possibly due to the painting being very
The framing of this painting is so important because it really makes the viewer think about what is truly important in life. Rockman used the vibrant
The visual appeal of the renovated city, along with other factors such as the high quality of the art schools, caused Impressionism to take off in Paris around this time (Thomson 2000: 19-20). Impressionist painters wanted to capture the present, not historical or idealistic scenes. For this reason, they painted boulevards, parks, train stations, and other places that were important to modern Paris life. Human figures were important subjects in their paintings, since one of the most effective ways to depict modern life is to show the people living in it.
His boat floats on the horizon and the sky above him is created with green and grey paint. Beneath him the ocean follows a similar color palette except with yellow lines for the ripples created in the water. Nothing is drawn with much detail, in fact both the man, mermaid, and island are drawn as nothing more than just a black silhouette. These silhouettes are painted much differently than the remainder of the painting, instead of being composed of multiple colors, they are a simple solid black mass. Within the silhouettes the artist has placed little white designs in a way that equals out the dark muddy colors. It certainly grabs the attention of the viewer, cueing them in on the subjects and story depicted. The painting seems to tell the story of exile, considering Bedia’s past it certainly is fitting, but that will be discussed in more detail later. Due to the dark setting, the viewer is left to assume that the the man is escaping in secrecy. The design he carries on his chest is a shooting star, while the one represented on the mermaid is the symbol for
Today, people associate the word “salon” with a place to get your hair, makeup, or nails done. It is also a place for women to gossip and talk about the latest fashions, music, and other pop culture. When you think about it, modern-day salons actually seem very similar to salons of the 18th century in France. Salons in the 18th century were held for discussions relating to art, fashion, politics, etc. These salons played a fundamental role in the cultural and intellectual development of France. Although salons provided a place for both women and men to congregate for intellectual discourse, women were the center of the life in the salon. These women carried a very important role as regulators. They selected their guests and decided the subjects of their meetings. Women also had the role as mediator by directing the discussion. The salon was an informal university for women in which they were able to exchange ideas, receive and give criticism, read their own works and hear the works and ideas of other intellectuals. These gatherings are responsible for the advancement of female expression and power in France.
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 Grand Palais served as one of the main buildings that helped solidify France as the supreme leader in the Arts. Like the Eiffel Tower in 1889, it served as a focus for the Exposition. However, the two structures were very different. The Grand Palais placed much greater emphasis on ornamentation. The famous French writer Paul Morand stated that, "while in 1889 architecture was happily on the threshold of an age of iron and steel, in 1900 it had gone back to styles such as those taught at the Beaux-Arts." The Grand Palais incorporated what is commonly referred to as "Beaux-Arts style", which was characterized by formal planning and rich decoration.
The French Revolution, indeed, changed the structure of economics and social sphere of the old regime, and also the ideology of that time. In the years that followed the Revolution, the always increasing senses of both freedom and individuality were evident, not only in French society, but also in art. As stated by Dowd, “leaders of the French Revolution consciously employed all forms of art to mobilize public sentiment in favor of the New France and French nationalism.” In between all the artistic areas, the art of painting had a special emphasis. After the Revolution, the French art academies and also schools were now less hierarchical and there was, now, more freedom of engaging into new themes, not being the apprentices so tied up to their masters footsteps, not being so forced to follow them.
This lack of respect and no real opportunity to interact intellectually with this Patriarchy gave the patrons and artists the fire to build their own way of having discussions and interactions with others through their salons in their home during the 18th century. The Salons were where Rococo art became well known and wanted throughout the elite. This woman dominated style helped create an opportunity, for many years after, for women to gain a sort of freedom that has been a struggle for them achieve.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.