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prezi.com/kktki0hffrrc/?utm_campaign=share&utm_medium=copy BRONZE AGEKnowledge of metalworking gradually spread from Europe to Ireland during the 2nd millenium BC ( 2000 years Before Christ).The Bronze Age was called so after the metal Bronze which was a mixture of copper and tin. Copper was a soft metal which was easy to shape and mould and it was discovered that if a small amount of tin was added to copper that a much stronger metal was formed. This new metal was called Bronze. During the Bronze Age this new metal was used to make functional objects such as cooking pots, axes and shields. Gold was the preferred metal to make jewellery and decorative ornaments from. Unlike modern times, gold was commonly found in Ireland during the Bronze Age. Gold Discs Gold Discs , also called sun Discs were among the very first metal objects made in Ireland. A piece of gold was hammered flat until it became a thin sheet – like gold foil. Then the circular disc shape was cut out using a sharp tool. The decoration was made using a technique called Repoussé. This was where the design was hammered in from behind so that it stood up in relief in the front. In the Gold Disc from teldavnet the cruciform design was hammered in from behind. The edges of the disc were decorated with concentric circles which were made using the repoussé technique. It is believed that these Gold Discs were worn – in the hair or attached to clothes. There are two holes in the centre of the discs ( like a button) where gold wire would have been threaded through to tie the discs to the clothes or the hair. Gold Disc, Teldavnet, Co Monaghan. In this Gold Disc you can see just how thin the gold has become from being hammered- its like gold foil. You can also see the two holes in the centre which were used to fasten the gold disc using gold wire. Pair of gold discs, Tedavnet, Co. Monaghan. Early Bronze Age, 2200 – 2000 bc. Discovered in the roots of an old tree, this pair of discs is the largest and most sophisticated of the Early Bronze Age discs known from Ireland. A complex arrangement of raised lines, rows of dots and zig-zags has produced a central cross surrounded by concentric patterns similar to other discs but much more elaborate in composition and, technically, far superior. The combination of the techniques of repoussé, punching and polishing, together with the slight doming of the surfaces, highlights and gives a depth and texture to the discs not seen on other pieces. 1872:34, 35. D. 11.3 and 11.5 cm; Wt. 22.5 and 22.8 g.Armstrong 1920, 84; Cahill 1983, 100objects.ieLunula Blessington Lunula, Co WIcklow ; The British MuseumLunula were worn around the neck. They are cresent shaped and are called after the cresent moon – lunula. They were made by hammering gold flat into a sheet and cutting out the cresent shape using a sharp tool. They were decorated with a technique called “Incision”- this involved cutting or incising into the surface using a sharp tool. Typically the designs that were incised into a Lunula were chevrons (zig- zags) and Lozenges ( diamond shapes). Lunula were among the first gold objects to be made in Ireland and they date to the Early Bronze Age. Chevrons and Lozenges incised into the Blessington Lunula.Torcs Torcs are twisted bands of gold which were made in various sizes to be worn around the neck, arms,around the waist like a belt or even small ones to be worn as earrings. Torcs date from the middle Bronze Age. They use much more gold than the earlier Bronze Age objects such as the Gold Discs or Lunula and are a much heavier piece of jewellery. . A gold bar or band was twisted to form a rope like pattern. Often the gold bar was beaten thin at the edges to form a flange before being twisted. This is called flange twisting. It produces a much more delicate twisted edge than without flanging. Two gold torcs, Tara, Co. Meath. Middle Bronze Age, 1200 – 1000 bc. Found at the Rath of the Synods, Tara, Co. Meath, in 1810, these magnificent torcs which, between them, contain over a kilogram of gold, are the finest of their class from Ireland. They are of exceptionally large size and are further elaborated by the addition of extensions to the terminals, a feature which is not recorded elsewhere. Torcs of this type are made from bars of square or rectangular section, the angles of which have been hammered up to produce flanges. The even twisting of such a long bar requires considerable expertise and understanding of the working properties of the metal. W192, W173. D. 43.0 and 37.3 cm; Wt. 852.0 and 385.1 g. Armstrong 1920 159; Eogan 1967, 132–3, 139, 164; Cahill 1983, no. 9. 100 Objects.ie Gold Ribbon Torc . Found near Belfast. 3rd Century BC. National Museum of Ireland. In this Torc you can see that the edges of the gold band were beaten very thin before being twisted. This produces a very delicate appearance like a ribbon giving the name Ribbon Torc . Photo by Reena Ahluwalia. Flanged Gold Earrings, Castlerea, Co Roscommon Dress Fasteners Dress Fasteners of all sizes were made during the middle Bronze Age. This Fastener below is very large and heavy weighing over one kilo. It probably was used only for ceremonial purposes. It is decorated with engraved concentric circles. Gold Dress Fastner from Clones, Co Monaghan . Photo by Reena AhluwaliaGorget A Gorget is a type of gold collar to be worn around the neck. Gorgets were made during the Late Bronze Age and they display the range of artistry metalworking techniques that were developed during the Bronze Age. A Gorget is made in three sections. A collar and two Terminal Discs. The collar is decorated with rope pattern designs using the teacnique of Repoussé which involved hammering in the design from behind so that it stood out in relief. The terminal discs show a range of designs and techniques. In the centre a conical shaped boss stands out very prominently from the surface. Covering the surface of each disc is an elaborate design of rings of dots made in Repoussé and rings of incised concentric circles. [3:21] Gorget,, Gleninsheen, Co. Clare. Late Bronze Age, 800-700 bc. Found in a rock cleft in 1932 at Gleninsheen, Co. Clare, this collar is an exceptional example of the highly developed goldsmithing skills displayed by Irish craftsmen in the Late Bronze Age. While conforming closely to the pattern of ornamentation prescribed for such collars, the smith, by varying the detail of the motifs, has achieved a tour de force. In particular, the frontal terminal discs are of superb craftsmanship. The layout and execution of the designs incorporating concentric circles, rope patterns and conical and round bosses, have been expertly achieved. Gleeson 1934, 138–9; Cahill 1983, no. 21. 100 Objects.ie Detail of Gorget. This is a close up view of one of the Terminal Discs. You can see in the very centre there is a large cone shaped Boss. Decorating the surface of the Terminal Disc are rings of raised dots made using the Repoussé technique and also rings of concentric circles which have been engraved into the surface.
The Iron Age (c.1100-200 BCE) was marked by the smelting of iron ore into the metal iron. Far stronger and durable than bronze, whose introduction had characterized the previous Bronze Age. Metalwork Techniques: Repousse- hammering from the reverse side to create a design in low relief. low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief Chasing- metalwork technique used to define or refine the forms of a surface design and to bring them to the height of relief required. The metal is worked from the front by hammering with various tools that raise, depress, or push aside the metal without removing any from the surface (except when the term chasing, instead of the more appropriate term chiselling, is used to describe the removal of surplus metal from objects after casting). Chasing is the opposite of embossing, or repoussé, in which the metal is worked from the back to give a higher relief. A particular form of chasing, called flat chasing, which involves hammering with small, blunt tools to give a low-relief ornamentation, was popular for silver decoration in Europe Enamelling - It is in fact a type of glass applied by cutting pieces to shape; the pieces were then carefully heat softened and finally pressed into the metal-work. Soldering is a joining process. A rivet is essentially a two-headed and unthreaded bolt which holds two other pieces of metal together. Holes are drilled or punched through the two pieces of metal to be joined. Ironwork began in the Middle East about 1300 B.C. and gradually spread westwards over the following centuries. The Celtic peoples of Europe were using iron before the seventh century B.C. Knowledge of iron work arrived in Britain with the Hallstatt Celts by the sixth century B.C. Some vague influences of this immigration into England were found in Irish bronze weapons, but nothing substantial is known. The establishment of iron, as the superior metal for weapon and tool making, must have destroyed the Irish export industry in bronze. There is evidence that Irish society had reached a low ebb by the fourth century B.C. with only subsistence farming being carried out. In Switzerland in about 400 B.C. a new powerful group developed. The La Tene Celts named after the site near Lake Neuchatel where large quantities of their products were found. Luxury goods imported from Mediterranean countries brought these people in contact with classical art, which they adapted into a sinuous, abstract style of their own. By 300 B.C. some La Tene Celts were in Ireland. [7,26] it is unlikely that they met with much resistance from the poor native population. These Celtic invaders seem to have been a warlike people because most of the artifacts found from the first few hundred years of their occupation were weapons or the neck collars worn by Celtic warriors who fought the Romans in Europe. It was probably these same conflicts with the Romans and the Germanic people in Europe that drove the Celts to the extreme west of Europe. The fact that they were left in peace here for the next 1,000 years allowed a distinctly Celtic society to develop, unparalleled elsewhere in the world. Much of our knowledge of the Stone and Bronze Ages is based on the tombs and burial rites or tombs of the Iron Age, but habitation sites and ring forts in earth and stone are common throughout the country. Some forts were built for defence; others for rituals and most smaller ones were simply homesteads. Ring forts were still in use in Ireland after the Norman invasion in the twelfth century. Crannogs (artificial islands built in shallow lakes) were less common forms of dwelling but because they were man- made and less accessible they have often yielded many artefacts excavation. SCULPTURE A strange collection of sculptural objects in stone survives from the Iron Age. These are large boulders decorated with La Tene designs and a few small figure carvings, probably idols. Large dressed stones have been found at Turoe (Co. Galway), and Castlestrange (Co. Roscommon). These stones may have been boundary markers, or could have been used in some ancient ritual. The style however is La Tene (Celtic) and they are carved from native stone. The Le Tene style which dominates the Iron Age is a much more natural design than that of the Bronze Age. Gone are the tight geometric patterns (concentric circles, zig- zags etc.) and abstract shapes. In the Iron Age the artwork appears more realistic and based on nature. The pattern on the Turoe Stone takes the form of abstract leaf and vine shapes, trumpet ends and spirals all flowing in a more natural symmetry. Most of the stones are decorated with lines carved into the surface (“or incised carving”) but the Turoe Stone is sculpted in “low relief”.(The background is removed) This move away from “abstract” art towards a more natural realistic approach can also be seen in a series of statues which date from the Iron Age. They are crude and childlike and are probably totem figures used in rituals METALWORK While the Celts brought knowledge of iron they tended to use it for weapons and tools. Bronze and gold were widely used, but for more decorative objects. Gold in particular was used in the making of jewellery and symbolic pieces. These pieces are known as “status symbols”, for example The Broighter Collar and were only worn by the most powerful members of the group. Q.2 2004 La Tène culture influenced the art of metalwork and stonework in Ireland during the Iron Age. (a) Explain what you understand by the term La Tène. and (b) Describe and discuss two pieces of metalwork and one piece of stonework where this influence can be seen. Illustrate your answer A (a) Origin and Meaning • Celtic Society • Switzerland – Lake Neuchâtel • Introduction of Iron • Definition of La Tene design – foliage, plant and honeysuckle design • Mediterranean influence 10 B (b) Metalwork Example • Form – shape, size, material • Decoration of surface/design • Techniques used in construction • Function 15 C Stonework Example • Form • Decoration/Design • Techniques used in decoration • Possible function 15 D Sketches 10 Total 50 prezi.com/0am0aybdhb1r/?utm_campaign=share&utm_medium=copy
Don't be too hard on yourselves. Accept failures, challenge yourself and enjoy the process of creating. You are truly a gifted group of students. Step back from the art. Show off your work to friends and family. Accept the genuine awe and amazement of those who respond. I see such unique and individual expression in all of you. Confidence is key! prezi.com/gsngyqiidhwi/?utm_campaign=share&utm_medium=copy . Click this link to access my online PREZI
Click the above link to download my powerpoint on the Stone Age.
Pre-Christian Ireland- Stone age Neolithic Age 3700-2000 B.C. Around 3700 B.C. the hunter gatherers and fishermen were replaced with people from central Europe, who travelled to Ireland through England or Scotland. What we know about these farmers comes from their stone graves called megalithic tombs. They placed importance on life after death by building imposing resting placed for the dead rather than for the living. These people were organised farmers with complex social groups. They brought livestock with them, they cleared forests and the whole island had regular contact with land overseas. The people who made Newgrange were intelligent and organised, farmers and had a good knowledge of astronomy. They set a lot of importance on ritual symbolism. They used the river to transport materials, therefore had good knowledge of engineering. They lived in wattle and daub huts. Megalithic (large stone) Burial Monuments
Ardara, Co. Donegal 170 in total around Ireland Between 3 and 7 standing stones supporting 1 or 2 capstones Single slabs rested against back to form the chamber.
Has a rectangular or circular burial chamber, with a corbelled roof. The chamber would serves as the tomb and the court would hold the rituals
Newgrange Located in the Boyne Valley Co. Meath Constructed around 3000-2000
The passage is 21m long, it is lines and roofed with large stones and slopes gently upwards. There is one main chamber and 3 niches, with stone basins Roof of chamber is corbelled, layers of flattish stone in circles, each layer moving further inwards than the one below, until closed by single stone at the top. Stones tilted downwards to stop water entering the chamber Once there stood 32 standing stones (monoliths) now there are only 12, believed to be used for astronomical observations. Now believed not to be contemporary with the mound. 97 kerbstones form the perimeter of the mound and a wall of white quartz stone stands on top.
Used for ceremonies and rituals Burial chamber lights upon the 21st of December, which also helped it function as a calendar to the people. Number of cremated remains found is relatively small compare to the size of the community and the length of time for which the mounds were used. This suggests that only important members of the community were buried there or that they were ritual or sacrificial burials. Some believe tat the designs on the stones relate to the movements of sun, moon and planets, which would have been a way to keep track of the seasons and important community events
The Stone Age people obviously from there amazing commitment had a very deep belief in the meaning and function of these tombs, as they were not even used for their own benefit of shelter. It also suggests that the society was well established and they had time to make wondrously huge tombs. Construction probably began with the layout of the passages as their orientation to the sun was an essential part of the purpose. The line kerb would have been laid out early on as it was the retaining structure for the body of the mound.
Entrance stone Carved with pointed flint stone and hammer, the channels on this are 4cm wide. On the far left there are lozenges, and as we move right we can see a triple spiral, then two double spirals surrounded by waves, curves and zig zags. Kerbstone 52 Situated opposite the entrance stone. Highly decorated but less harmoniously than the entrance stone. Consists of 3 sections. Diamonds on the bottom left, spirals on the top left and group of concentric circles with dots and rectangles Above the entrance to the passage there is a roof box, the lintel above this is decorated with radiating triangle carvings. www.studentartguide.com/featured/personal-investigation-portraiture-age Portrait project based on Lucian Freud and Jenny Saville Identity and self esteem are closely related and developing self esteem and a strong sense of identity are very important to good mental health. Your sense of identity has to do with who you think you are and how you perceive yourself. ... Self esteem is how you value yourself. It has to do with your sense of self-worth. Identity is the way we perceive and express ourselves. Factors and conditions that an individual is born with—such as ethnic heritage, sex, or one's body—often play a role in defining one's identity. However, many aspects of a person's identity change throughout his or her life. Just some sample sketchbook work to hopefully inspire you all!www.studentartguide.com/articles/art-sketchbook-ideas
Key IdeasUnsatisfied 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 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. line-of-action.com/practice-tools/figure-drawing/ .
prezi.com/e19yehfrxpuy/?utm_campaign=share&utm_medium=copy See the link for access to my presentation. Synopsis Always remembered as an Impressionist, Edgar Degas was a member of the seminal group of Paris artists who began to exhibit together in the 1870s. He shared many of their novel techniques, was intrigued by the challenge of capturing effects of light and attracted to scenes of urban leisure. But Degas's academic training, and his own personal predilection toward Realism, set him apart from his peers, and he rejected the label 'Impressionist' preferring to describe himself as an 'Independent.' His inherited wealth gave him the comfort to find his own way, and later it also enabled him to withdraw from the Paris art world and sell pictures at his discretion. He was intrigued by the human figure, and in his many images of women - dancers, singers, and laundresses - he strove to capture the body in unusual positions. While critics of Impressionists focused their attacks on their formal innovations, it was Degas's lower-class subjects that brought him the most disapproval. Key Ideas Degas rejected the typical subjects that were made popular by the academies, such as scenes from history and myth, and instead he explored modern life. Like the Realists and Impressionists, he often painted images of middle class leisure in the city. Degas' academic training encouraged a strong classical tendency in his art, which conflicted with the approach of the Impressionists. While he valued line as a means to describe contours and to lend solid compositional structure to a picture, they favored color, and more concentration on surface texture. As well, he preferred to work from sketches and memory in the traditional academic manner, while they were more interested in painting outdoors (en plein air). Degas' enduring interest in the human figure was shaped by his academic training, but he approached it in innovative ways. He captured strange postures from unusual angles under artificial light. He rejected the academic ideal of the mythical or historical subject, and instead sought his figures in modern situations, such as at the ballet. Like many of the Impressionists, Degas was significantly influenced by Japanese prints, which suggested novel approaches to composition. The prints had bold linear designs and a sense of flatness that was very different from the traditional Western picture with its perspective view of the world. Biography Childhood Edgar Degas was the eldest of five children of Célestine Musson de Gas, an American by birth, and Auguste de Gas, a banker. Edgar later changed his surname to the less aristocratic sounding 'Degas' in 1870. Born into a wealthy Franco-Italian family, he was encouraged from an early age to pursue the arts, though not as a long-term career. Following his graduation in 1853 with a baccalaureate in literature, the eighteen-year-old Degas registered at the Louvre as a copyist, which he claimed later in life is the foundation for any true artist. After a brief period at law school, in 1855 he was admitted to the École des Beaux-Arts in Paris, where he studied drawing under the academic artist Louis Lamothe, a former pupil of Jean-Auguste-Dominique Ingres. That same year, the Exposition Universelle took place, and Degas was enthralled by Gustave Courbet's Pavilion of Realism. It was also at the Exposition that Degas first met Ingres, a painter several years his senior, whose personal guidance was valuable. Early Period and Training In 1865, when Degas was aged 22, he traveled to Naples, Italy, to visit his aunt, the Baroness Bellini and her family. This three-year trip was an important moment in his development, and resulted in the Realist portrait The Bellini Family (1859). He spent countless hours combing the museums and galleries of Italy, carefully studying Renaissance works by Michelangelo, Raphael and Titian, among others. In 1864, while copying a picture by Velázquez at the Louvre, he met Édouard Manet, who by chance was copying the same painting. His friendship with Manet was instrumental in the development of Impressionism. The following year, Degas exhibited at the Paris Salon, the first of six consecutive showings, showing works such as Édouard Manet and Mme. Manet and The Orchestra of the Opera (both 1868-69), paintings that subtly blurred the lines between straight portraiture and genre painting. - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Edgar Degas Biography Continues LegacyAlthough Degas suffered criticism during his lifetime, by the time of his death his reputation was secure as one of the leaders of late 19th century French art. His distinct difference from the Impressionists, his greater tendency toward Realism, had also come to be appreciated. His standing has only increased since his death, though since the 1970s he was been the focus of a lot of scholarly attention and criticism, primarily focused around his images of women, which have been seen as misogynistic. prezi.com/phvtkgow9ly7/?utm_campaign=share&utm_medium=copy&rc=ex0share Click this link to access a revision ppt on Impressionism SynopsisImpressionism can be considered the first distinctly modern movement in painting. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Its originators were artists who rejected the official, government-sanctioned exhibitions, or salons, and were consequently shunned by powerful academic art institutions. In turning away from the fine finish and detail to which most artists of their day aspired, the Impressionists aimed to capture the momentary, sensory effect of a scene - the impression objects made on the eye in a fleeting instant. To achieve this effect, many Impressionist artists moved from the studio to the streets and countryside, painting en plein air. Key Ideas
In 1863, at the official yearly art salon, the all-important event of the French art world, a large number of artists were not allowed to participate, leading to public outcry. The same year, the Salon des Refusés ("Salon of the Refused") was formed in response to allow the exhibition of works by artists who had previously been refused entrance to the official salon. Some of the exhibitors were Paul Cézanne, Camille Pissarro, James Whistler, and the early iconoclast Édouard Manet. Although promoted by authorities and sanctioned by Emperor Napoleon III, the 1863 exhibition caused a scandal, due largely to the unconventional themes and styles of works such as Manet's Le déjeuner sur l'herbe (1863), which featured clothed men and naked women enjoying an afternoon picnic (the women were not classical depictions of a nude, but rather women that took off their clothes). Édouard Manet and the Painting Revolution Édouard Manet was among the first and most important innovators to emerge in the public exhibition scene in Paris. Although he grew up in admiration of the Old Masters, he began to incorporate an innovative, looser painting style and brighter palette in the early 1860s. He also started to focus on images of everyday life, such as scenes in cafes, boudoirs, and out in the street. His anti-academic style and quintessentially modern subject matter soon attracted the attention of artists on the fringes and influenced a new type of painting that would diverge from the standards of the official salon. Similar to Le déjeuner sur l'herbe, his other works such as Olympia (1863) gave the emerging group ideas to depict that were not previously considered art-worthy. French Cafes and Diversity One of the popular venues for the individuals that were to become the Impressionist to meet and discuss painting and art were Parisian cafes. In particular, Cafe Guerbois in Montmartre was frequented by Manet starting 1866. Renoir, Bazille, Sisley, Monet, Degas, Cezanne and Pissarro would come, while Caillebotte and Bazille had studios nearby and would often join the gatherings. Other personalities joined the creative group including writers, critics, and the photographer Nadar, and most notably the writer Emile Zola that both added to the ethos of the group, and later championed their work in print. Part of the interesting dynamics of the group was the variety of personalities, economic circumstances, and political views. Monet, Renoir, and Pissarro had lower and working class backgrounds while Morisot, Caillebotte, and Degas were from haute bourgeoisie roots. Mary Cassatt was American (and a woman) and Alfred Sisley was Anglo-French. This diversity of personalities may be the reason so much success arose from all these individual, and group, efforts. The Impressionist Exhibitions Though not yet united by any particular style, the fledgling group shared a general sense of antipathy toward overbearing academic standards of fine art, and decided to come together in the group themselves Société Anonyme des Artistes Peintres, Sculpteurs, Graveurs, etc.("Artists, Painters, Sculptors, Engravers, Inc."). In general, all the painters had very limitted success financially and had few works accepted in the salon exhibitions in Paris. So they held an alternative exhibition in 1874 in the studio of photographer Felix Nadar. It was not until the third exhibition in 1877 that they began to call themselves the Impressionists. While their first exhibition received limited public attention and most of the eight exhibition they held actually cost money rather than earned money for the cooperative of artists, their later shows attracted vast audiences, with attendance records well in to the thousands. Despite some attention, most members of the group sold very few works in all the years the exhibitions took place, and some of the artists were incredibly poor through many of these years. The Term "Impressionism"The movement gained its name after the hostile French critic Louis Leroy, reviewing the first major Impressionist exhibition of 1874, seized on the title of Claude Monet's painting Impression, Sunrise (1873), and accused the group of painting nothing but impressions. The Impressionists embraced the moniker, though they also referred to themselves as the "Independents," referring to the subversive principles of the Société des Artistes Indépendants and the group's efforts to detach itself from academic artistic conventions. Although the styles practiced by the Impressionists varied considerably (and in fact not all of the artists would accept Leroy's title), they were bound together by a common interest in the representation of visual perception, based in fleeting optical impressions, and the focus on ephemeral moments of modern life. Concepts and Styles Claude Monet and Plein Air PaintingClaude Monet is perhaps the most celebrated of the Impressionists. He was renowned for his mastery of natural light and painted at many different times of day in an attempt to capture changing conditions. He tended to paint simple impressions or subtle hints of his subjects, using very soft brushstrokes and unmixed colors to create a natural vibrating effect, as if nature itself were alive on the canvas. He did not wait for paint to dry before applying successive layers; this "wet on wet" technique produced softer edges and blurred boundaries that merely suggested a three-dimensional plane, rather than depicting it realistically. Monet's technique of painting outdoors, known as plein air painting, was practiced widely among the Impressionists. Inherited from the landscape painters of the Barbizon School, this approach led to innovations in the representation of sunlight and the passage of time, which were two central motifs of Impressionist painting. While Monet is largely associated with the tradition of plein air, Berthe Morisot, Camille Pissarro, and Alfred Sisley, among others, also painted outside in order to create their lucid portrayals of the transience of the natural world. Impressionist Figures by Degas and Renoir Other Impressionists, like Edgar Degas, were less interested in painting outdoors and rejected the idea that painting should be a spontaneous act. Considered a highly skilled draftsman and portraitist, Degas preferred indoor scenes of modern life: people sitting in cafes, musicians in an orchestra pit, ballet dancers performing mundane tasks at rehearsal. He also tended to delineate his forms with greater clarity than Claude Monet and Camille Pissarro, using harder lines and thicker brushstrokes. Similarly, other artists such as Pierre-Auguste Renoir, Berthe Morisot, and Mary Cassatt focused on the figure and the internal psychology of the individual. Renoir, known for his use of vibrant, saturated colors, depicted the daily activities of individuals from his neighborhood of Montmartre, and, in particular, portrayed the social pastimes of Parisian society. While Renoir, like Morisot and Cassatt, also painted outdoors, he emphasized the emotional attributes of his subjects, using light and loose brushwork to highlight the human form. The Women of Impressionism Whereas the male Impressionists painted figures mainly within the public context of the city, Morisot focused on the female figure and the private lives of women in late-nineteenth-century society. The first woman to exhibit with the Impressionists, she created rich compositions that highlighted the internal, highly personal sphere of feminine society, often emphasizing the maternal bond between mother and child in paintings such as The Cradle (1872). Together with Mary Cassatt, Eva Gonzales, and Marie Bracquemond, she was considered one of the three central female figures of the movement. Cassatt, an American painter who moved to Paris in 1866 and began exhibiting with the Impressionists in 1879, depicted the private sphere of the home, but also represented the woman in the public spaces of the newly modernized city, as in her painting At the Opera (1879). Her work features a number of innovations, including the reduction of three-dimensional space and the application of bright, even garish colors in her paintings, both of which heralded later developments in modern art. Impressionist Cityscapes Since the movement was deeply embedded within Parisian society, Impressionism was also greatly influenced by Baron Georges-Eugène Haussmann's renovation of the city in the 1860s. Haussmann's urban project, also referred to as "Haussmannization," sought to modernize the city and largely centered in the construction of wide boulevards, which became the literal hub of public social activity. This reconstruction of the city also led to the rise of the flaneur: an idler or lounger who roamed the public spaces of the city in order to be seen, while remaining detached from the crowd. In many Impressionist paintings, the detachment of the flaneur is closely associated with modernity and the estrangement of the individual within the metropolis. These themes of urbanity are depicted in the work of Gustave Caillebotte, a later proponent of the Impressionist movement, who focused on panoramic views of the city and the psychology of its citizens. Although more realistic in style than other Impressionists, Caillebotte's images such as Paris, Rainy Day (1877) depict the artist's reaction to the changing nature of modern society, showing a flaneur in his characteristic black coat and top hat, strolling through the open space of the boulevard while gazing at passersby. Other Impressionists depicted the fleeting impressions and movements of the metropolis in cityscapes such as Monet's Boulevard des Capucines (1873) and Pissarro's The Boulevard Montmarte, Afternoon (1897). Similarly, these works emphasize the geometrical arrangement of public space through the careful delineation of buildings, trees, and streets. By applying crude brushstrokes and impressionistic streaks of color, they evoke the rapid tempo of modern life as a central facet of late-nineteenth-century urban society. Later Developments Although the Impressionists proved to be a diverse group, they came together regularly to discuss their work and exhibit. The group collaborated on eight exhibitions between 1874 and 1886 while slowly beginning to unravel. Many felt they had mastered the early, experimental styles that had won them attention and wanted to move on to explore other avenues. Others, anxious about the continued commercial failure of their work, changed course. The Triumph of Impressionism The ultimate acceptance and glory of the Impressionist movement is largely the achievement of Paul Durand-Ruel, a French art dealer that lived in London. Monet met Durand-Ruel in 1971 and the gallerist purchased Impressionist works and exhibited them in London for many years. Sales were meager, but starting in the late 1880s, he started showing Impressionsist works in the United States with growing success. In the next few years, having exhibited in New York, Philadelphia, and Chicago Durand-Ruel was able to entice an audience of American buyers that bought more Impressionist works than were ever sold in France. Prices for Impressionst works skyrocketed (as much as 10 times), to the point that Monet became a millionaire. Moreover, Impressionism almost became academic to the point that a whole group of American painters descended on Monet's residence in Giverny to learn from the leader of the group. The Inspiration for Future Modernists Meanwhile, the lessons of the style were taken up by a new generation. If Manet bridged the gap between Realism and Impressionism, then Paul Cézanne was the artist who bridged the gap between Impressionism and Post-Impressionism. Cézanne learned much from Impressionist technique, but he evolved a more deliberate style of paint handling, and, toward the end of his life, a closer attention to the structure of the forms that his broad, repetitive brushstrokes depicted. As he once put it, he wished to "redo [Nicolas] Poussin after nature and make Impressionism something solid and durable like the Old Masters." Cézanne wished to break down objects into their basic geometric constituents and depict their essential building blocks. This experiment would ultimately prove highly influential for the development of Cubism by Pablo Picasso and Georges Braque. Later still, many modern artists looked to Impressionism. For example, although the movement is not generally considered to have had a powerful impact on Abstract Expressionism, one can trace important similarities in its artists' works. Philip Guston was once described as a latter-day "American Impressionist," and the surface qualities, suggestions of light, and "all-over" treatment of form in Jackson Pollock's work, all point to the work of Claude Monet. Below is a sample answer for the Hugh Lane Gallery. Example of Art gallery Essay - This got an A. It's about the Hughe Lane Galleryin Dublin and two works of Art. I recently visited the Hugh Lane Dublin City Gallery on a class trip. I had visited the gallery once before but on this occasion 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. The gallery is located in Charlemont house in north Dublin. This is a fitting setting as the building is of neo-classical design and many of the works on display date from this period. The gallery display modern and contemporary art, with substantial collection of impressionism. Charlemont house was designed for Lord Charlemont by the architect Sir. William Chambers. The building did not become the Hugh Lane Gallery until 1933, when the Hugh Lane collection was relocated to the house. Hugh Lanewas a philanthropist who spent much of his life collecting fine examples of art. Having no previous knowledge of art he chose pieces based on the opinions of his friends, eventually forming his own eye for art. Lane would raise the money for the art by asking the wealthy for donation and getting deals from artists who would offer him a lower price or even donate the work for free. Hugh Lane demanded that these works be made freely available to the public and this was upheld in his will as they were transfered into state ownership. I noticed that the layout of the building is well designed to display works of art as the house is designed with as series of networking rooms. This means that each room leads on to the other as was originally intended for socialising. Although this wasn't part of the original house, it still would of been important to Sir Hugh Lane to be able to entertain in the house.Today is means that the progression from room to room flows naturally and allows an orders and chronological hanging of the work while allowing the viewer to focus on the paintings in a single room. Each painting is also given its own space to focus on, with no more than two to a wall. In addition smaller painting are often hung adjacent to larger painting to put emphasis on size and scale. Paintings are usually hung with the centre of the picture being around eye level as this allows the best view of the painting. Tags are never placed near the entrance of the room, rather than the doorway so as not to detract from the paintings themselves. The information given is usually; the title, the artist, medium, the date painted, birth and death of artist along with a brief history of the artist life and work. To surmise, all of the above techniques mean that the work is presented in a very clear and informative manner which effectively engages the viewer. Modern technology has allowed for an even more comprehensive background of the artist, such as the interactive video screens in the Francis Bacon studio. There is also a movie room where there is an interview with Francis Bacon shown on screen which is viewed before entering the studio. The gallery also has a book ship with an extensive range of subjects allowing patrons to learn more about the artwork after their visit. In old galleries the walls are painted in rich victorian colours, in keeping with the period of the displayed. A number of skylights are in place to provide natural lights along with spotlights angles at the wall (to prevent glare). The newer galleries, such as the Francis Bacon studio, are generally all white with no frames on the paintings, allowing the viewer to focus on the work itself. Large skylight provide a great amount of natural light, along with artificial adjustable spots on sliding mounts.The gallery also has certain artifacts which are highlighted so as to draw out their characteristics. For example, the Harry Clarke room is devoted entirely to displays of stained glass. The room is almost completely dark with black walls and very soft, low lighting. Each piece of stained glass is placed in front of its own light source, slotted into the wall. This draws out all of the unique colours of the glass and completely focuses the viewer's attention on the work. The Francis Bacon Studio is one of the only three preserved studios in the world. To do this every detail of Bacon's studio in London was recorded, the disassembled and reassembled in the Hugh Lane Gallery. The studio gives a fantastic insight into Bacon's work and the creative processes behind it. It is located in a newer parts of the gallery, designed with the sole purpose of highlighting Bacon's work. The studio is seen before Bacon's paintings, allowing the viewer to better appreciate the work. While visiting the gallery there were two paintings on display that I found particularly appealing. Both were impressionist works, painted by Claude Monet. The first "Lavacourt under snow" is a landscape painting depicting a few small picturesque houses in the countryside covered by snow. The painting is very tranquil with small quick brushstrokes, capturing the fading light and pale pinks of the sky.The painting was hung in its original frame in the style of the late 19th Century. The second painting is called "Waterloo Bridge", by Monet. Monet spent a considerable amount of time in London. While there, he made many paintings of the Thames, enjoying the way the fog influenced the light and its effect on the water. The painting shows waterloo bridge from an obscured angle with part of the bridge cut off and out of frame. The painting shows the bridge in the early hours of the morning with a heavy mist present. The pale pinks and reds of the rising sun can be seen distorted in the water. London city can be seen in the background, obscured and slightly out of focus. Monet is renowned for his brilliant renditions of light at the different times of day. In addition his penchant for capturing a scene of natural beauty in a man made and industrial environment is clearly evident and particularly effective when viewed in person. I thoroughly enjoyed my art gallery visit as I was able to fully see the skill and artistry that is used in a gallery to highlight and focus the works of art on display. In addition seeing many of the paintings I have studied in person mean that I now have a better understanding and appreciation of them.
Below are examples of Imaginative and Still life. Some images are a combination of the both. There must be pictorial depth in your image .
Click this link to access my presentation on Manet. prezi.com/4xrhnd_zkq-p/edouard-manet-art-for-a-democratic-age/ BBC have a brill documentary called Manet: the man who invented Modern Art. It can be streamed from sites which I cannot post to this webpage During your pre-exams and the midterm you must answer SECTION 3, question 16. Use the information below to guide you. prezi.com/cv3ofmb686a0/?utm_campaign=share&utm_medium=copy Click the beyond Caravaggio ppt to get info on how to answer some of the general info
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Ms O'ReillyArt teacher Archives
January 2019
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