Landscape paintings in Europe were revived during the 16th century while in East Asia they had already become a separate genre around the 10th century (Landscape Painting in Chinese Art, A Brief History). Rembrandt van Rijn was born in 1606 in the Netherlands and is considered one of the greatest Dutch painters of the era and worked during the Golden Age of Dutch paintings (Editor). It was then that the various genres of painting were created and arranged in order of their importance. History, portrait, and genre formed the top three while landscape and still life formed the lower levels (Gersh-Nesic). Rembrandts painting titled “Landscape with a stone bridge”, 1638, which was oil on wood is considered to be one of the few traditional landscape done by him.
Picasso strays from depicting reality in the sense that the picture would be recognizable in the natural world, but instead Picasso represents reality with his subjective lens. Similar to the previous two paintings I have discussed, this painting engages and challenges the audience to understand a piece of art that has a multi-faceted meaning. At first it appears like chaotic figures with no real sense of direction. There is no central focus point and the viewer’s eyes scan the entire canvas searching for a logical story. Picasso has taken issues of modern society and incorporated it into his painting.
Matisse has portrayed the scene in an inviting and light-filled way and with a large variety of tones and colors used to paint the boats floating on the calm sea and the sky during the sunset. The use of such unnatural colors and the presence of revolutionary minimalist strokes represent the key features of the “art of the beasts” and provoked agitation within the critics. The colours of the painting are the main characters
In addition to the columns that are stationed in the middle of the portrait there is a bridge that crosses a small, elegant waterfall on the left side of the background that ripples down the tan colored mountainside. On the outskirts of the portrait there are many trees which cause many to believe that the scene of the foreground takes place in the clearing of a forest. In the foreground of the portrait there are six animals that resemble cows that
The brilliant hues of greens, purples, reds, and yellows that are strategically brushstroke on the piece give of a sense of impressionism. The characteristics of this piece capture the modern them of leisure activity. Caillebotte’s young cousin Zoe and brother Martial are depicted in this piece through the two characters. Both characters are dressed relaxed and have middle to upper class attire. The painting contains element of modern style through the scenery and garden.
When looking closer, the women near the saint are angelic looking, and as they dissipate in the background, the forms of women seem to vanish. None of the female figures touch the monk, but one offers a glass of amber liquid. The Tassaerts painting could be an allegory in the personal struggle with alcoholism, seeing the monk as sobriety and the women the darkness of alcohol use. The painting “Temptation of Saint Hilarion” is a mixture or Realism and Romanticism and the combination of the two create the depth of emotion of this painting. Baudelaire mentions “that Romanticism is precisely situated neither in choice of subject in exact truth, but in feeling.” ( Honour, p 14) The monk, a symbol of purity, could be the reason he painted the scene this way.
Following down the painting, there is a man at the front of a large boat, pointing to the left. Behind him, another man is holding some instruments. In the background, there are waves of blue. At the left side of the painting, there are lightening bolts. At the bottom left of the painting, there is a board connecting the ground to the boats, allowing some animals to enter.
He also addressed social issues, peasantry and the grave working conditions of the poor. This is especially seen in The Stonebreakers. This painting shows two peasants, a boy and a grown man, in old ragged clothes, slaving away on boulders with mallets. The painting is very detailed to the point where it has no evidence of any characteristics from the Romanticism Era or any drama. Courbet also used dreary, monotonous, and mechanical colors throughout and this reflects the sombre tone of the painting of the two peasants working on the stones.
UtPicturaPoesis – written by Horace in ArsPoetica; meaning as is painting so is poetry It is perfectly legitimate and historically grounded to identify the dark bedrock of painting with matter. It is for centuries that the Catholic Church had viewed darkness as an inert matter or nothingness and light as the representative and the intervention of the Devine and the principle of creation. Many artists like Bernini,
In her poem ‘The Poetess’, Guest engages with the painting La Poétesse by the Spanish painter Joan Miró. Part of the Constellations, the gouache was painted in 1940., while Miró was fleeing the Nazis. Miró grew hopeless and had ‘the idea of expressing this mood and this anguish by drawing signs and forms … which would go up and caress the stars, fleeing from the stink and decay of a world built by Hitler and his friends.’ Miró, who never fully associated with a single style, gained his spontaneous quality noted in the Constellations from the surrealist movement. His painting La Poétesse, served as inspiration both for Guest and for the French writer André Breton in their equally titled poems ‘The Poetess’. While both writers engage with the painting each does so in a very different manner.