Monday 3rd :
Homework due Cezanne Essay
Wednesday 5th: Discuss the papers and your ideas of STILL LIFE & CRAFT Thursday 6th: Van Gogh art history MIDTERM
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prezi.com/lutaxqcbhqu_/?utm_campaign=share&utm_medium=copy Click the above link to access the ppt Georges Seurat is chiefly remembered as the pioneer of the Neo-Impressionist technique commonly known as Divisionism, or Pointillism, an approach associated with a softly flickering surface of small dots or strokes of color. His innovations derived from new quasi-scientific theories about color and expression, yet the graceful beauty of his work is explained by the influence of very different sources. Initially, he believed that great modern art would show contemporary life in ways similar to classical art, except that it would use technologically informed techniques. Later he grew more interested in Gothic art and popular posters, and the influence of these on his work make it some of the first modern art to make use of such unconventional sources for expression. His success quickly propelled him to the forefront of the Parisian avant-garde. His triumph was short-lived, as after barely a decade of mature work he died at the age of only 31. But his innovations would be highly influential, shaping the work of artists as diverse as Vincent Van Gogh and the Italian Futurists, while pictures like Sunday Afternoon on the Island of La Grand Jatte (1884) have since become widely popular icons. Key Ideas Seurat was inspired by a desire to abandon Impressionism's preoccupation with the fleeting moment, and instead to render what he regarded as the essential and unchanging in life. Nevertheless, he borrowed many of his approaches from Impressionism, from his love of modern subject matter and scenes of urban leisure, to his desire to avoid depicting only the 'local', or apparent, color of depicted objects, and instead to try to capture all the colors that interacted to produce their appearance. Seurat was fascinated by a range of scientific ideas about color, form and expression. He believed that lines tending in certain directions, and colors of a particular warmth or coolness, could have particular expressive effects. He also pursued the discovery that contrasting or complementary colors can optically mix to yield far more vivid tones that can be achieved by mixing paint alone. He called the technique he developed 'chromo-luminism', though it is better known as Divisionism (after the method of separating local color into separate dots), or Pointillism (after the tiny strokes of paint that were crucial to achieve the flickering effects of his surfaces). Although radical in his techniques, Seurat's initial instincts were conservative and classical when it came to style. He saw himself in the tradition of great Salon painters, and thought of the figures in his major pictures almost as if they were figures in monumental classical reliefs, though the subject matter - the different urban leisure pursuits of the bourgeois and the working class - was fully modern, and typically Impressionist. In Seurat's later work he left behind the calm, stately classicism of early pictures like Bathers at Asnières, and pioneered a more dynamic and stylized approach that was influenced by sources such as caricatures and popular posters. These brought a powerful new expressiveness to his work, and, much later, led him to be acclaimed by the Surrealists as an eccentric and a maverick. edit.
Synopsis Paul Cézanne was the preeminent French artist of the Post-Impressionist era, widely appreciated toward the end of his life for insisting that painting stay in touch with its material, if not virtually sculptural origins. Also known as the "Master of Aix" after his ancestral home in the South of France, Cézanne is credited with paving the way for the emergence of twenthieth-century modernism, both visually and conceptually. In retrospect, his work constitutes the most powerful and essential link between the ephemeral aspects of Impressionism and the more materialist, artistic movements of Fauvism, Cubism, Expressionism, and even complete abstraction. Key IdeasCézanne ultimately came to regard color, line, and "form" as constituting one and the same thing, or inseparable aspects for describing how the human eye actually experiences nature. Unsatisfied with the Impressionist dictum that painting is primarily a reflection of visual perception, Cézanne sought to make of his artistic practice a new kind of analytical discipline. In his hands, the canvas itself takes on the role of a screen where an artist's visual sensations are registered as he gazes intensely, and often repeatedly, at a given subject. Cézanne applied his pigments to the canvas in a series of discrete, methodical brushstrokes as though he were "constructing" a picture rather than "painting" it. Thus, his work remains true to an underlying architectural ideal: every portion of the canvas should contribute to its overall structural integrity. In Cézanne's mature pictures, even a simple apple might display a distinctly sculptural dimension. It is as if each item of still life, landscape, or portrait had been examined not from one but several or more angles, its material properties then recombined by the artist as no mere copy, but as what Cézanne called "a harmony parallel to nature." It was this aspect of Cézanne's analytical, time-based practice that led the future Cubists to regard him as their true mentor. Biography Childhood Paul Cézanne was born on January 19, 1839 in Aix-en-Provence in the South of France. His father was a wealthy lawyer and banker who strongly encouraged Paul to follow in his footsteps. Cézanne's eventual rejection of his authoritative father's aspirations led to a long, problematic relationship between the two, although, notably, the artist remained financially dependent on his family until his father's death in 1886. Early Training Cézanne was largely a self-taught artist. In 1859, he attended evening drawing classes in his native town of Aix. After moving to Paris in 1861, Cézanne twice attempted to enter the École des Beaux-Arts, but was turned down by the jury. Instead of acquiring professional training, Cézanne made frequent visits to the Musée de Louvre, where he copied works by Titian, Rubens, and Michelangelo. He also regularly visited the Académie Suisse, a studio where young art students could draw from the live model for a very modest monthly membership fee. While at the Académie, Cézanne met fellow painters Camille Pissarro, Claude Monet, and Auguste Renoir, who were at that time also struggling artists, but who would soon comprise the founding members of the nascent Impressionist movement. The early oils of Cézanne were executed in a rather somber palette. The paint was often applied in thick layers of impasto, adding a sense of heaviness to already solemn compositions. Cézanne's early painting indicated a focus on color in favor of well-delineated silhouettes and perspectives preferred by the French Academy and the jury of the annual Salon. While in Paris, Cézanne continuously submitted his works for exhibition at the Salon. All of his submissions, however, were refused. The artist also travelled regularly back to Aix to secure funding from his disapproving father. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Paul Cézanne Biography Continues LegacyWhen looking at Cézanne's late work, it is impossible to miss the emergence of a unique artistic approach. The rules of the Academy completely abandoned, and the aesthetics of Impressionism having been successfully employed but not copied, Cézanne offered a new way of comprehending the world through art. With his reputation evolving steadily in the late years of his life, an increasing number of young artists fell under the influence of his innovative vision. Among them was the young Pablo Picasso, who would soon steer the Western tradition of painting into yet another new and utterly unprecedented direction. It was Cézanne who taught the new generation of artists to liberate form from color in their art, thus creating a new and subjective pictorial reality, not merely a slavish imitation. The influence of Cézanne continued well into the 1930s and 1940s, when a new artistic manner was coming to fruition - that of Abstract Expressionism.
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Below are examples of modern Calligraphy. The following is a video on lino 2009 Q.17 - Art appreciation - Sample Answer2009 paper 17. A visit to an exhibition is best judged by the quality of art work on display and by the gallery space itself.. - Discuss this statement with reference to any named exhibition you have visited. and - Discuss two specific works from this exhibition in detail. Use sketches to illustrate your answer. 2009 Q17 Marking scheme A Name of Gallery/Exhibition. 10 B Discussion of statement with reference to visited exhibition . 10 C Detailed discussion of work 1. 10 D Detailed discussion of work 2. 10 E Sketches 10 Total : 50 ______________________________________________________ Sample Answer: The gallery I have visited and will discuss in my answer is the National Gallery of Ireland. The national gallery is just off Nassau street in the grounds of Leinster Lawn in Co.Dublin I had visited this gallery once before but on my most recent visit I had a better knowledge of art and the techniques used in its appreciation so I had a better awareness and understanding of the gallery structure and art work on display there, in particular the work of Irish artist Jack B.Yeats work displayed in the Yeats room which I will discuss in detail later. The paintings in the National gallery of Ireland belong to all the Irish public, everyone’s welcome to visit the gallery and entry is free. I noticed that the structure and layout of the building is well designed to display all of the different works of art, as the gallery flows from room to room so that each room leads on to next. This gallery is very well laid out and on arrival visitors receive a booklet with the floor plan so that they know the layout of the gallery and can find their way around easily, this is helpful as the gallery is very large and spacious and you could easily get lost. All of the exhibition rooms in this gallery were named on the plan and the centuries that the paintings came from. Each wing is colour coded & the gallery has 4 wings. We had a guide who showed us around the gallery and explained the different rooms & paintings to us. The galleries paintings are all arranged by themes eg: still life / landscapes etc. The overall atmosphere in this gallery is very calm and peaceful and the rooms are very large and spacious with lots of room for visitors to walk around and enjoy the Art work on display. . I agree with the statement above that ‘a visit to an art exhibition is best judged by the quality of art work on display’ and one exhibition on display in particular caught my attention and I feel this is the reason I really enjoyed my visit to this gallery. Before I visited the national gallery I thought it was only for wealthy artistic people but after my visit my opinion has changed. I now know that an art gallery is a place where works of art are cared for and displayed for everyone to visit & enjoy. We visited the ‘Yeats room’ featuring the art work of the famous Irish painter Jack B Yeats. This room is different from the rest of the gallery. The lighting is low and it is like that to protect & preserve the paintings done in watercolor and oil. There is also a glass barrier to protect the paintings. The low lighting makes the room very peaceful & creates a special atmosphere. And strong light may damage the paintings. Because the oil paint is applied very thickly your natural reaction is to want to touch it (the texture) and the paint was applied with large brushes & palette knives. Yeats loved to paint scenes from the west of Ireland. His paintings in the gallery are arranged from his early simple life drawings to his heavily applied knife paintings. The paintings are hung at eye level with info underneath it about each painting. My two favourite paintings on exhibit in the national gallery of Ireland in te ‘Yeats room’ by Yeats are ‘The liffey swim’ & ‘Grief’. The liffey swim – the subject matter of this painting is a sporting event in Dublin. We see a crowd cheering on swimmers as they swim up the liffey. We feel that we are actually looking at the race from where the crowd was standing. We can see a boy in a green hat trying to work his way into the crowd to sell papers. Yeats paints himself into the painting (something the does quite often) along with his wife Cotty. They are in the foreground, she wears a fancy hat and he wears a grey hat with a black band. Grief – this painting is very emotional. The subject matter (what the painting is about) is about war. It is a painting about the civil war in Ireland. In the centre there is a man on a horse with his arms raised. He seems to be angry. To the left of him I can see soldiers carrying rifles. A person in green leaves the scene. In the foreground Yeats shows the victims of war, a mother trying to comfort her dying baby, there is an old man on his knees with his hands in his face. He is either praying or just in despair. The gable of a house can be seen in the background with an explosion going off to the left. In the distance I can see a background of the sun rising which maybe is a symbol of hope. From his traditional period, ‘The Liffey Swim’ captures the excitement of this annual event in Dublin, but sporting events were always of interest to him.He painted with loose brush strokes in his later works and emotion became a stronger feature in his work. He felt that the paintings could speak for themselves, he said ‘It doesn’t matter who I am or what I am, people may think what they will of my pictures’. Another of Yeats most common images involved horses, and though he was never a horseman himself, he had a great affection for them. ‘For the Road’ expresses the understanding between horse and rider and the light of hope and optimism at the end of the tunnel. He died in March 1957 and has gained widespread international recognition as Irelands most renowned painter. In conclusion I really enjoyed my visit to the national gallery of Ireland & the Yeats room and I hope to return very soon to view all of the fantastic paintings from history. READ THE QUESTIONS Below is another strong documentary on Caravaggio. Above the curator of the London Beyond Caravaggio talks about the work. This is an essential watch
Excellent info and description of Caravaggios work. The setting is the National Gallery in London and the different setting allows you to see the work displayed differently.
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January 2019
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