Preparatory Sheets for Painting/ Poster must be submitted by the Thursday 1st of December. Do not stick down your Prep images we will lay these out in class. Refer to your checklist for your preparatory sheet as seen below. I will give you a sample justification during Thursday's class. . If you have yet to do so, you will need to complete 2 images of your possible final design. You need 2 slightly different images to show development! Ways to show development in your final drawings:
Everyone should be working on your Poster/ Painting by the 30th November. You will have 2weeks to complete these. I will collect these on the 14th of December. This work will determine your Christmas report. We will then begin to prepare for the next section of your Junior Cert - 3D
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Above are images from the English art system. Click this link to read an article which aids in how to explore and develop a theme www.studentartguide.com/articles/a-level-art-ideas
Click the above link to access my revision notes on neo-classicism up to realism.
prezi.com/ukhanllef51g/impressionism-the-beginnings-of-change/
Click the above file to download all my notes on Post- Impressionism. Click the link below to complete an online quiz to assist in your revision. www.khanacademy.org/humanities/becoming-modern/avant-garde-france/post-impressionism/e/post-impressionism Watch below to recap and revise Post-Impressionism SynopsisPost-Impressionism encompasses a wide range of distinct artistic styles that all share the common motivation of responding to the opticality of the Impressionist movement. The stylistic variations assembled under the general banner of Post-Impressionism range from the scientifically oriented Neo-Impressionism of Georges Seurat to the lush Symbolism of Paul Gauguin, but all concentrated on the subjective vision of the artist. The movement ushered in an era during which painting transcended its traditional role as a window onto the world and instead became a window into the artist's mind and soul. The far-reaching aesthetic impact of the Post-Impressionists influenced groups that arose during the turn of the twentieth century, like the Expressionists, as well as more contemporary movements, like the identity-related Feminist Art.
Key IdeasSymbolic and highly personal meanings were particularly important to Post-Impressionists such as Paul Gauguin and Vincent van Gogh. Rejecting interest in depicting the observed world, they instead looked to their memories and emotions in order to connect with the viewer on a deeper level. Structure, order, and the optical effects of color dominated the aesthetic vision of Post-Impressionists like Paul Cézanne, Georges Seurat, and Paul Signac. Rather than merely represent their surroundings, they relied upon the interrelations of color and shape to describe the world around them. Despite the various individualized styles, most Post-Impressionists focused on abstract form and pattern in the application of paint to the surface of the canvas. Their early leanings toward abstraction paved the way for the radical modernist exploration of abstraction that took place in the early twentieth century. Critics grouped the various styles within Post-Impressionism into two general, opposing stylistic trends - on one side was the structured, or geometric style that was the precursor to Cubism, while on the other side was the expressive, or non-geometric art that led to Abstract Expressionism. You will need to start working on the background for your Painting/Poster.
This section of your project must be completed by the 7th of December Next week you will need to start your Craft piece.
Development sheet 1: draw from primary objects. explore their inherent qualities. Sample Development sheet 2 for poster:
Include the possible layout, colour choices, armatures or sequence you will use to create the work. E.g. sequence is required when using batik to sort the colour combinations and mixing of dyes. Your first double class! prezi.com/eyhx3k-bcuo4/realism-to-impressionism/ Click the above link to access my PREZI. The Royal Academy supported the age-old belief that art should be instructive, morally uplifting, refined, inspired by the classical tradition, a good reflection of the national culture, and, above all, about beauty. But trying to keep young nineteenth-century artists’ eyes on the past became an issue! The world was changing rapidly and some artists wanted their work to be about their contemporary environment—about themselves and their own perceptions of life. In short, they believed that the modern era deserved to have a modern art. The Modern Era begins with the Industrial Revolution in the late eighteenth century. Clothing, food, heat, light and sanitation are a few of the basic areas that “modernized” the nineteenth century. Transportation was faster, getting things done got easier, shopping in the new department stores became an adventure, and people developed a sense of “leisure time”—thus the entertainment businesses grew.Paris transformed In Paris, the city was transformed from a medieval warren of streets to a grand urban center with wide boulevards, parks, shopping districts and multi-class dwellings (so that the division of class might be from floor to floor—the rich on the lower floors and the poor on the upper floors in one building—instead by neighborhood). Therefore, modern life was about social mixing, social mobility, frequent journeys from the city to the country and back, and a generally faster pace which has accelerated ever since.How could paintings and sculptures about classical gods and biblical stories relate to a population enchanted with this progress? In the middle of the nineteenth century, the young artists decided that it couldn’t and shouldn’t. In 1863 the poet and art critic Charles Baudelaire published an essay entitled “The Painter of Modern Life,” which declared that the artist must be of his/her own time.Courbet Gustave Courbet, A Burial at Ornans, 1849-50, oil on canvas, 314 x 663 cm (Musee d'Orsay, Paris) Gustave Courbet, a young fellow from the Franche-Comté, a province outside of Paris, came to the "big city" with a large ego and a sense of mission. He met Baudelaire and other progressive thinkers within the first years of making Paris his home. Then, he set himself up as the leader for a new art: Realism—“history painting” about real life. He believed that if he could not see something, he should not paint it. He also decided that his art should have a social consciousness that would awaken the self-involved Parisian to contemporary concerns: the good, the bad and the ugly. www.khanacademy.org/humanities/becoming-modern/avant-garde-france#realism
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Ms O'ReillyArt teacher Archives
January 2019
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