Both artists use a significant style of the renaissance period where the chosen colors help in moderating the hues of the surrounding (Sayre, 2012). Therefore, both the authors were meant to achieve the theme of simplicity while showing substantial affluence. Additionally, both forms in the two paintings seem to be static as though they posed for the painter when making the drawing (Emison,
Pictorialism was a photography approach emphasizing the beauty of subject matter as beautifully rendered as any painter 's canvas and as skillfully constructed as any graphic artist 's composition rather than documenting of reality. Photographers explore the expressionistic potential of photography by injected own sensibility into the perception of image. In an effort to establish this new, technical medium as a fine art form, In composing Pictorialist photography by using “painterly” techniques such as soft focus, staged or stylized scenes, or the manipulation of negatives or prints. In the second half of the 19th century Pictorialism was the dominant tendency in photography. Introduction of Alfred Stieglitz Alfred Stieglitz was the impresario of art photography, who leading the movement of Pictoralism, not only introducing model art to America, but also made photography as an art form.
Melvin Williams Arth 1381 Professor Zalman 13 November 2014 Visual Analysis The painting, The Basket Chair c.1885 by Berth Morisot, and the painting The Orange Trees c. 1878 by Gustave Caillebotte, are both magnificent and interesting pieces that I got the opportunity to see. The paintings are both wonderful pieces and their composition overall is very impressive. Both paintings have different aspects in the way the artist displayed modernism, formal characteristics, class and gender, and the subject matter of the painting itself. These are great distinctions between Berth Morisot’s The Basket Chair, and Gustave Caillebotte’s The Orange Trees, but both paintings have their own distinctive style and sense of modernism that inspired the painters’
Art is often influenced by history. In the mid-nineteenth century, the French Revolution broke the strong regimes of feudalism to create a revolutionary road. The rapid transformation of the political and economic society makes the French seem to run the lines of history and forget noticing the beautiful meanings of each moment. At this time, art had its own voice. Impressionism
“Fading Elizabeth Siddall, beautiful in her dying, signifies the virility and immortality of Dante Gabriel Rossetti’s art” (Cherry & Pollock, 1984). This essay will think through the reasons to canonize Elisabeth Siddal in the paintings of Rossetti, drawing parallels between his life, central motives of Dante Alighieri’s “La Vita Nuova” and hidden symbolism of the drawing. Originally, to understand the relation between the poet and the painter, it is essential to make certain connection between the creation of first and the life of the second. Rossetti, who owed his name to Dante Alighieri, was particularly interested in his works since childhood, which, in turn, hugely influenced his worldview. By the age of twenty he was one of the co-creators of the alternative art movement called Pre-Raphaelite Brotherhood, which emerged as the opposition to the existed views of the Art Academy.
His work was large in scale, flamboyant in color, and fluidity. He is most closely linked with what is known as action painting. No drop of paint is an accident and loose, rapid sweeping brushstrokes make this style reminiscent of the Surrealists. Pollock became influenced by Picasso, Miro alongside Rothko and the surrealists but soon developed his own unique style which he would later become famous for. Mark Rothko’s technique of painting departs from Pollock’s actions.
French painter Jules De Balincourt has a way of balancing the biting with the blasé, fusing prismatic folk art with social commentary in a way that keeps both extremely palatable. His 2003 New York show Land of Many Uses consisted of 57 paintings in varying mediums that were aggressively political, but avoided being off-putting simply through the playful nature of their compositions, making contemplation of political themes—such as how we perceive the world through the way we draw our maps or the idea of "Peaceful Protest" as shown above—an easy, intellectual
This style of painting is often used for realistic paintings. Some of these paintings are marveled for how realistic they look. A Smoke Backstage is a good example of this art style and category as the artist William Harnett captures the correct size and lighting of the actual materials (Frank 9). Abstract art is a unique type of art as it uses the idea of objects, but paints them in a way that is overly simplified or changed drastically from the original object. It may be considered not natural at all or a distorted natural.
Key factors in the importance of Pre-Raphaelite painting was the emphasis on painting literary themes, involving romance, and developing psychological and social tension. Millais’ Isabella casts off the influence of William Etty, as well as the traditional composition, lighting, and detail of Victorian standards “Hunt, later repudiated the notion that the movement aimed at any kind of ‘revival’ of early Renaissance styles (Prettejohn 19).” The group focused on more significant subjects such as medieval tales, poetry, and religion, while emphasizing color and psychological stresses. The group individualized as they aged, with Rossetti concentrating more on mystical themes and individuality, and Hunt working towards realism, but with moralistic and modern themes. “In elevating color as a sensual element in painting these painters risked affronting those who associated color with what was disparaged as passionate, fleshy, and feminine in art - a lack of control and emotional excess in contrast to the disciplined rigor of sound draughtsmanship (Prettejohn 135).” Throughout the Pre-Raphaelite movement, art was focused on realism, while others strived away from that, and did more mystical like paintings, like
John Fowles’s The French Lieutenant’s Woman came to light in June 1969. It is clear that the novel tackles motifs such as love and intrigue, prototypical themes of the Victorian Novel. However, Fowles’s ultimate motive was not that of writing a conventional Victorian story but that of revealing an experimental narrative in which Victorian elements are explored from a perspective of the late sixties. Fowles presents us with a new reading of 1867, incorporating references of many of the events that took place during that gap of time. Barry Lewis states that “The postmodernist writer distrusts the wholeness and completion associated with traditional stories, and prefers to deal with other ways of structuring narrative.” (Stuart Sim (ed.)
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