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In this task, I am writing an analysis about Un Bar aux Folies- Bergère by French painter Édouard Manet. I will record my initial reaction, thoughts, and feelings on the selected artwork. I will also discuss interesting aspects of the work and examine the historical context of the period in which the work was painted. To conclude, I will present the knowledge I have gained and how this assignment have altered my thought regarding the selected work. A. Initial Reaction A1. Initial thoughts and feelings A barmaid dressed in black posing behind a bar and standing in the center. Seems to be a young woman, surrounded by bottles, pale, detached, looking down, isolated and sad; there is a velvet ribbon with a locket around her throat. Her reflection in the mirror has displaced to the right as if she was looking at someone or something in specific, perhaps the middle-aged man at the bar. I can see the reflection of his head and upper chest. He stares at the barmaid; his eyes are looking dark long into hers. Little green boots in the upper left-hand corner are …show more content…
Manet had an upper-class background, but also lived a bohemian life, and was determined to outrage the French Salon public with his indifference for academic conventions and his extraordinarily modern image of urban life. He related with the Impressionists; he was undoubtedly a significant influence on them. Recently, critics have acknowledged that he also learned from the Realism and Naturalism of his French contemporaries, and even from seventeenth-century Spanish painting. This interest in Old Masters and contemporary Realism provided him the basis for his revolutionary approach. Manet's modernity lies above all in his enthusiasm to update older genres of the painting by introducing new content or by modifying the conventional elements. He did so with an acute sensitivity to historical tradition and contemporary
Carol Armstrong begins her essay by pointing out the two main points that come about when discussing A Bar at the Folies-Bergere. These two points are the social context of the painting and its representation of 19th century Paris, and the internal structure of the painting itself with the use of space. She then goes on and addresses what she will be analyzing throughout her essay. She focuses on three main points, the still life of the counter and its commodities, the mirror and its “paintedness”, and the barmaid and her “infra-thin hinge” between the countertop and the mirror.
The painting “A Bar at the Folies-Bergère” is detail oriented and depicts unpopular topics. Examples of the details are green shoes dangling, a lady using binoculars in the reflection of the mirror, and the colors on the lady’s cheeks. Manet’s uses oranges to represent prostitution, and to others this is an unpleasant topic. The painting is relevant today in that people want details on where all of their hard earn money has gone. Why are people losing their homes, and if the market is lousy, why is it only lousy for the lower and middle class?
All the artist during that time all portrayed similar ideas that were introverted abstract art. Artist started portraying common objects in an abstract expressionism that were aggressive and emotional. During this era, Basquiat and other similar artist created pieces that were rich in detail that demonstrated different aspects of life. During this art movement, many people considered it be controversial and didn’t find the artwork to be intriguing. This movement started in Germany and later on settled in the United States. Neo-Expressionists were sometimes called Neue Wilden (“The Wild Ones”). The word Expressionism was a movement in poetry and in paintings and this is usually would present the subjective
In the Enseigne, art is also shown to serve a function that it has always fulfilled in every society founded on class differences. As a luxury commodity it is an index of social status. It marks the distinction between those who have the leisure and wealth to know about art and posses it, and those who do not. In Gersaint’s signboard, art is presented in a context where its social function is openly and self-consciously declared. In summary, Watteau reveals art to be a product of society, nevertheless he refashions past artistic traditions. Other than other contemporary painters however, his relationship to the past is not presented as a revolt, but rather like the appreciative, attentive commentary of a conversational partner.
The Interpretation/Meaning (III) will be written without any guideline points, the aim of this part will be to determine what the painter wanted to express with his piece of work and what it tells us in a symbolic or not instantly clear way. This part will also handle why the artist drew the painting the way he did it and why he chose various techniques or tools.
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
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.
Georges Seurat was a French born artist born on December 2nd 1859 in Paris, Frrance. He study at École des Beaux-Art, which was one of the most prestige art schools in the world, which is also known for training many of the renounced artist we know. George Seurat left the École des Beaux-Art and began to work on his own; he began to visit impressionist exhibitions, where he gained inspiration from the impressionist painters, such as Claude Monet. Seurat also was interested in the science of art; he explored perception, color theory and the psychological effect of line and form. Seurat experimented with all the ideas he had gained, he felt the need to go beyond the impressionist style, he started to focus on the permanence of paintin...
This assignment will provide an analysis of the Modernist artwork of Paul Cezanné's, Still-Life with Apples and Oranges (c.1899) within the art movement of Impressionism. The analysis will be based upon the aesthetic and ideological underpinnings of the avant-garde. This will be done with reference to the writings of Charles Harrison and Clement Greenberg. Firstly, Modernism and the avant-garde will be discussed as defined by Harrison and Greenberg as the introduction to the discussion of the chosen artwork of Cezanné, followed by the analysis of the artwork with reference to the writings and how Cezanné's artwork and artistic characteristics and personal views attribute to Still-Life with Apples and Oranges (c.1899) whilst being classified within the framework of Modernism.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
Romanticism was a deepened appreciation of the beauties of nature. It was a general exaltation of emotion over reason order and instinct. It was full of high passion. Romanticism was “a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities”, (Pioch). The art expressed passions and inner struggles. The artists of this time were supremely individual creators. To them the creative spirit was the most important thing of their art. They didn’t follow the strict adherence to formal rules and traditional procedures. They thought of the “imagination as the gateway to the transcendent experience and spiritual truth”, (Pioch). They had obsessive interests in folk culture, the medieval era, national and ethnic culture origins. Realism was and still is an accurately reproduction of reality or heroism of modern life. Realism came as a response to Romanticism. Realism struggled against the ‘over popularity’ of Romanticism. It consisted of many pieces of still life and domestic art. Courbet, Millet, and Zola were some more of the major artists doing Realism art. They aren’t as well known as many other artists because every one was doing this kind of art and it was hard to tell the differences between the artists that painted Realism paintings. Realism “became just one more style among others”, (Brown). They anticipated many of the concerns of the eighteen hundreds or of the century before. “Realism is a recurrent theme in art which becomes a coherent movement”, (Cruttenden 50) but only after 1850.
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.
White, Barbara Ehrlich. "Manet And Morisot." Impressionists Side by Side: Their Friendships, Rivalries, and Artistic Exchanges. New York: A.A. Knopf, 1996. 158-81. Print.
This discontent also had a big influence on artists, and they reacted differently as a result of it. Courbet painted pictures of labourers and everyday scenes, which was revolutionary for his time. Seurat developed his individual...
In order to explore new venues of creativity Modernists tinkered with the perception of reality. During the Renaissance, the depiction of a subject was very straight forward. A painting had to look like what it represented. The truth was absolute and right and wrong were clearly defined. For Modernists, the world is much more obscure. In Impressionist paintings, lines are not definite and things tend to blur together. Faces usually do not differentiate one person from another.