Four men stand out as the penultimate figures of Post-Impressionism, namely, Georges Suerat (1859-1891), Paul Cezanne (1839-1906), Paul Gauguin (1843-1903) and Vincent Van Gogh (1853-1890), all of whom at first accepted the Impressionist methods and then moved away from it toward a new type of painting.
In the case of Cezanne, the basis of his art had much to do with studying nature in a new way, for his aim was not to represent truth or reality but to seek some kind of lasting structure behind the formless and the fleeting shades of color that the human eye usually misses. His Still Life (1890, oil on canvas) represents this ambiguity by having the forms in this painting appear out-of-sync with their true appearances.
Unlike Cezanne who used an almost scientific approach for ordering color, Vincent Van Gogh did exactly the opposite, for he exploited new color to express his emotions as they occur in everyday life. His insistence on the expressive value of color led him to develop a personal expressiveness in the application of the paint itself. The thickness, shape and direction of his brushstrokes created an almost tactile feeling, a counterpart of his intense color schemes. In one of his letters to his brother Theo, Vincent Van Gogh wrote that "instead of trying to reproduce exactly what lies before my eyes, I use color more arbitrarily so as to express myself emotionally... " (Needham 256). This quality is best seen in the Night Cafe (1888, oil on canvas) which conveys an oppressive atmosphere of evil through the deliberate distortion of color. In this cafe, the ceiling is a poisonous green, contrasted against the red walls; the floor is an acid yellow and is manipulated by the green surface of the billiard table. And the proprietor, a "pale demon that rules over the place, rise like a specter from the edge of the billiard table... A tilted perspective that suggests the spinning world of nausea" (Holt 268).
Even more illustrative of Van Gogh's Expressionist's method is Starry Night (1889, oil on canvas) in which Van Gogh envisions the universe filled with whirling and exploding...
but, just owning a house didn't make a man's house a home, there was the definite need for a woman -- and if she couldn't be a wife, then she would be a sister or daughter (123). For women, the home was a place of work, for it was where they put in their long hard hours while the men were away working. The home was her reason for
In Braque's "Woman with a Guitar we can see the foreshadowing of the Synthetic Cubism period, when he introduces stenciling and lettering, a practice that Picasso was soon to imitate. Figure 7: Picasso, Le Guitariste"(1910 Figure 8: Braque "Woman with a Guitar" (1913 Synthetic Cubism/Collage 1912-1914: Braque was beginning to experiment further now by mixing materials such as sand and sawdust into his paint to create a more textured, built- up look and what
The sense of comparison is not necessarily explicit but rather implicit. It seems that Fanny is a mere observant to the way in which Mary comes to life her life and to adjust to the requirements of her education, both in a spiritual manner as well as in a financial one. The education of the individual at the time consisted of different aspects, but most importantly, it had one aim
Thus, they are under the same constraints. Emma describes the problem with her life in a scene at mealtime. The meals, in fact, symbolize her complete distain, as all the "bitterness of existence" seems to be heaped on her plate. The smell of the boiled beef mixes with the odors of sickliness that arise from her soul. The image of the plate is her flat, boring, unchanging life. To escape this
De La Croix, 865-66. Artists in the nineteenth century were confronted by three innovations that fatefully affected their craft: the camera, the mass produced print, and the printed reproduction. The collective techniques of an industrial age forced nineteenth century artists to analyze their function and to study closely the physical nature of their medium. Hyde, Minor, Art History's History. 32-35. Baroque Art emerged in Europe around 1600, as a reaction against
This painting deals with a terrifying massacre and refers to an historical event when twenty thousand Greeks were killed by Turks on the Greek island of Chios. While there are references to nature in the representation of the landscape and the sky, the central focus of the work is the terrible and emotionally moving historical event and its human effect. The painting is intended to evoke a response in the viewer
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