If they are a couple, they have no children together. Whereas Morisot focuses on the child in "The Basket Chair," Caillebotte accomplishes the opposite. Caillebotte's painting lacks emotional intensity, because his palette is far more retrained than that of Morisot. Morisot's garden is rendered in vivid greens and intensely saturated hues. Caillebotte's, on the other hand, is a more staid palette. Furthermore, unlike Morisot's fenced-off garden, Caillebotte's is a public park. Yet there are no other people in the park: which suggests that there are a disproportionate number of wealthy elite in Paris at the time of painting. In their own ways, the two Impressionists suggest that the bourgeois live in a world apart from the working class society. Beyond the boundaries of their respective gardens, scores of working class French men and women toil to feed the burgeoning capitalist enterprise that characterizes urbanization and industrialization. However, the subjects in the Caillebotte and Morisot paintings do not seem to work very much at all. Both Berthe Morisot and Gustave Caillebotte use a garden setting to convey themes related to social, economic, and political realities in late nineteenth-century France. The bourgeoisie...
Instead, the viewer is treated to an insider version of how the wealthy life a life of utter leisure. Symbolism related to fertility and femininity pervade both paintings, albeit differently. Whereas Morisot clearly paints a scene in which womb and phallic imagery converge on a child, Caillebotte accomplishes exactly the opposite. By showing a barren orange tree and a child-free couple, the artist suggests that modern women do not need to be confined to their roles as wife or mother. The Impressionist renderings of upper-class life reveal changes in social, economic, and political climates.
Art PAINTING No. Untitled #14 Artist: John McLaughlin Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. A career in the military and foreign services brought him to Japan, exposing him to different artistic perspectives, forms, and styles. However, Mondrian would influence McLaughlin's artistic influences far more. McLaughlin came to rely on a minimalist color palette consisting often of only solid chunks of black, white, or primary
" In other words, this barmaid "is automatic and impersonal" and reflects the upper-class social nature of Paris with its drinkers and party-goers enjoying themselves immensely while the barmaid merely stares into oblivion as if bored to death with her surroundings and her life (Monan, 2006, 435). In contrast to these two paintings by Manet, Edgar Degas' Ballet Rehearsal (1876, oil on canvas) presents "the infinite variety of particular movements that
Henri Matisse Still Life after Jan Davidsz. de Heem's 'La Desserte' Henri Matisse was one of the great "colorist of the 20th century" and is one of Picasso's rivals in the area of innovations. Matisse is reported to have "emerged as a Postimpressionist, and first achieved prominence as the leader of the French movement Fauvism." (The Art Story, 2011) Matisse was interested in Cubism but rejected this seeking rather to use color
Impressionism: Introduction and Background Known for its radical departure from traditional aesthetics in painting and the decorative arts, Impressionism was a movement deeply rooted in its ideological, cultural, political, and sociological context. The characteristic visual features of Impressionist painting include experimentation with untraditional colors and styles that signal the early transition towards non-representational forms. Subject matters in Impressionist art changed from depicting officially sanctioned people, places, and symbols towards capturing snapshots
In reality, Van Gogh did not seek nor did he analyze the harmony of nature here; instead, he transformed it by projecting a vision entirely all his own. In conclusion, the great Impressionist painters revealed in their work a restless, self-conscious search for freedom of expression so characteristic of the late 1880's and into the early years of the 20th century. Their desire for a more modern form of expression
" (Ansell and Fraprie, 2007) Ruisdael possesses the ability to "render nature's subtleties in a faithful manner that botanists have been able to identify species of plants and trees in his paintings and oceanographers have marveled at his accurate depiction of breaking waves." (Burlington House, Royal Academy of Arts, 2006) it is also stated of Ruisdael's sea paintings as follows: "As a painter of the sea, he far surpasses all the
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