¶ … Train in the Countryside" (c. 1872) by Claude Monet and "Sunday Afternoon on the Island of Grande Jatte" (1884) by G. Seurat
In their artworks, "Train in the Countryside" (c. 1872) and "Sunday Afternoon on the Island of Grande Jatte" (1884), Claude Monet and Georges Seurat, respectively, present two very different views of life in the 19th century. To identify these differences and the techniques and motifs that are offered to the viewer, this paper analyzes these paintings and reviews the relevant literature, followed by a summary of the research and important findings concerning these two paintings in the conclusion.
How the painting by Claude Monet "Train in the Countryside" is presented and what techniques and motifs it offers to the viewer
As shown in Figure 1 below, the trail of smoke left by the locomotive describes a Golden Section arc that is appealing to the eye even if viewers do not understand its significance.
Figure 1. "Train in the Countryside" (c. 1872) by Claude Monet
Source: https://upload.wikimedia.org/wikipedia/commons/
The picture is divided into a pattern of four general horizontal and vertical quadrants comprised of the sky in the background, the forest in the foreground of the train trestles to establish a horizon, the shadow-covered meadow in the foreground with multiple strollers (some with umbrellas) broken up only by the verticality of the prominent tree to the left of the painting. It is also apparent that this scene extends to infinity to the left and right, but has been cropped to present a curved sense of direction in the painting itself....
Last Supper is an extremely pivotal and tense event and moment. "The Last Supper" is supposedly the last meal that Jesus took with his disciples before he was killed. At this final meal, Jesus alerts his disciples of his knowledge that one of them will and has betrayed him. The painting depicts the moments supposedly that immediately followed Jesus' words. Da Vinci's Last Supper is depicted in this ritual meal as
In conclusion, Heinrich Wolfflin, an art critic of the early 1950's, points out that Leonardo's the Last Supper exhibits all of the classical elements of Western art and those of the High Renaissance. Also, the three major trends of 15th century painting, being monumentality and mathematically ordered space at the expense of movement and the freedom of movement at the expense of monumentality and controlled space, are all harmonized and
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Leonardo's Last Supper (1495-1498) does something very different from the other Renaissance portrayals of this scene from the Gospel. Unlike Andrea del Castagno's or Domenico Ghirlandaio's Last Supper versions, Leonardo's is at once more earthly (neither Christ nor the Apostles wear halos) and chaotic than the others -- and yet at the same time it is substantially more divine and imposing in its stark simplicity. This paper will trace the
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