Yves Klein is most known for his anthropometries, which in current times have become more controversial than they once were. They were the use of the human body, in this case the female nude body, to create marks on a canvas. After all is said and done, Klein created marks on canvas and paper. He was, ultimately, just a painter. It was his exploration of mark making that made him truly unique in the history of art. While attending school he became friends with other artists who were to be part of the then forming Nouveau réalisme movement in France. This was, in many ways, their pop art derivative. The story goes that while laying on a beach, Klein and his friends decided it best to divide the world into their own realms. Of these, Klein chose …show more content…
It was a claim to a certain color, to a certain atmosphere, that created a new vigor in Klein’s art practice. It did not matter what the material, or immaterial, was that he used for his painting. Denys Riout explains how Yves Klein thought of painting:
Klein claimed that he was not an abstract painter. It is said that he was adamant that he was a figurative and realistic painter. Thierry de Duve states that within the Modernist mentality was a critical attitude, which ultimately meant that to be an artist, one had to make art for art’s sake, stating that art had to be universal, metaphysical, and ideological to its core. It is clear that Klein had attained this type of mental state, and his attitude, while some may call it pompous, is a major part of his success. This attitude is directly portrayed in Klein’s thought of Zones of Immaterial Pictorial Sensibility. These zones of immateriality are “pure space impregnated with his presence.” At this point it was not a matter of what was painted or with what, but that it was known that it was his. With this, it allowed him to consider all of his work painting and any of his exploration just another type of brush stroke in his repertoire. He himself states in an essay titled The Monochrome Adventure that he “leave(s) behind the ‘spectacle’ phenomenon of the conventional, ordinary, classical easel
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The accumulation of weathers acting on the canvas created a new means of mark making that was, once again, detached from the physical hand of the artist, but attached to the artist in its application through conceptual ideation and manifestation. It was not his interest to be involved in the painting’s process. He was most interested in being the creator, not the maker. For a brief time, Yves Klein created what he called Planetary Reliefs that involved topographical map reliefs and canvas impregnated with bits of natures, all covered in his signature International Klein Blue pigment. With this the marks are the implied marks that are created by the nature and debris that is present underneath the pigment. The blue pigment had become just the color, the color being Yves Klein’s
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 ...
Watteau’s Enseigne de Gersaint is one of the artist’s most fully realized works. It is ambitious and sophisticated in size and execution, in visual economy, and in content. It is consequently only masquerading under the guise of a signboard, a categori...
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.
himself through his mediums. He used oil on canvas for his medium in this painting. There are
The article Artists Mythologies and Media Genius, Madness and Art History (1980) by Griselda Pollock is a forty page essay where Pollock (1980), argues and explains her views on the crucial question, "how art history works" (Pollock, 1980, p.57). She emphasizes that there should be changes to the practice of art history and uses Van Gogh as a major example in her study. Her thesis is to prove that the meaning behind artworks should not be restricted only to the artist who creates it, but also to realize what kind of economical, financial, social situation the artist may have been in to influence the subject that is used. (Pollock, 1980, pg. 57) She explains her views through this thesis and further develops this idea by engaging in scholarly debates with art historians and researcher, and objecting to how they claim there is a general state of how art is read. She structures her paragraphs in ways that allows her to present different kinds of evidences from a variety sources while using a formal yet persuasive tone of voice to get her point across to the reader.
Mark Rothko is recognized as one of the greatest artists of the twentieth century and during his lifetime was touted as a leading figure in postwar American painting. He is one of the outstanding figures of Abstract Expressionism and one of the creators of Color Field Painting. As a result of his contribution of great talent and the ability to deliver exceptional works on canvas one of his final projects, the Rothko Chapel offered to him by Houston philanthropists John and Dominique de Menil, would ultimately anchor his name in the art world and in history. Without any one of the three, the man, the work on canvas, or the dream, the Rothko Chapel would never have been able to exist for the conceptualization of the artist, the creations on canvas and the architectural dynamics are what make the Rothko Chapel a product of brilliance.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
... expression of the self. Pouring and flinging paint onto canvas, usually on the floor, he created large “all-over”—completely covered, large-scale—surfaces with no place for the eye to rest.
Gustav Klimt (GUUS-tahf klimt), perhaps best known for his controversial style, came from humble beginnings and was trained in classical style. After years of serving as an architectural painter of murals throughout Vienna, he was criticized for his overtly erotic style. This criticism served as a turning point in his career. He then revised his own sense of artistic value that ultimately led to his fall from the conservative academic art world to self discovery with an inventive and versatile style that is untouched to this day.
Claude-Joseph Vernet’s oil on canvas painting titled Mountain Landscape with an Approaching Storm was created in 1775, and it is currently located in the European Art Galleries (18th- 19th Century North) 2nd Floor at the Dallas Museum of Art. It is a large-scale painting with overall dimensions of 64 1/2 x 103 1/4 in. (1 m 63.83 cm x 2 m 62.26 cm) and frame dimensions of 76 1/8 x 115 1/4 x 4 3/4 in. (1 m 93.36 cm x 2 m 92.74 cm x 12.07 cm). Vernet creates this piece by painting elements from nature and using organic shapes in order to create atmospheric effects, weather and different moods. This piece primarily depicts a landscape with a rocky mountainous terrain and villagers scrambling to an upcoming storm.
The painting was done near the beginning of the twentieth century when science was developing at a rapid rate. Einstein's Theory of Relativity was gaining ground at the time. Malevich's painting seemed to borrow from this theory that attempted to explain relative motion. His suprematism style attempted to capture a neo-realism in painting portraying pure feeling and perception. This new style was communicated by the discarding of natural references. Malevich grew tired of painting in the traditional style with everything looking and feeling the way they are in life. His new style tried to free viewer from their traditional a priori views concerning shape and colors imposed on them by their senses. Suprematist style focuses was on depictions of movement and dynamism. Flight and anti-gravity fascinated Malevich. Much of his paintings were a top down view of the subjects arranged on a white background. The white background represents infinite space, while the subjects were reduced to geometric blocks. The message of the paintings comes out in the relative position of the blocks to the background. The infinite background of the paintings is to divorce the paintings from the finite earth. Malevich himself said that his paintings "do not belong to the earth exclusively." The paintings sought to transcend to a different level. Malevich's suprematist style sought to take people to the fourth dimension, which was pure sensation.
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.
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.
...de its appearance and preserved... [t]he painter's way of seeing [and] reconstituted … the marks he [made] on the canvas or paper." (Berger 9-10) The fact that this concept is still relatable to a modern audience illustrates the magnitude of this work’s meaning.
Many believed that Modernist works were not “art” because they did not always look like real life. But what is “real life”? A new outlook on reality was taken by Modernists. What is true for one person at one time is not true for another person at a different time. Experimentation with perspective and truth was not confined to the canvas; it influenced literary circles as well.