Painting
ead Monet's the Stroll

Monet

Monet's the Stroll, Camille Monet Her Son Jean (Woman With a Parasol)

This painting epitomizes the impressionistic style and artistic philosophy in a number of different ways. If one looks closely at the painting by Monet one can see that the foreground, the sky as well as the dress and parasol are created by many short strokes of opaque paint. This gives the impression of a moment captured and intense movement and dynamism. Essentially the term Impression refers to the ability to take a "snapshoot "as it were, of a moment in reality which is represented in its dynamic flow and beauty. This describes the painting by Monet, which is a good example of the Impressionist style and technique as well as of their distinct approach to art. The following discussion will explore this painting in detail.

Overview of Impressionism

Central to the Impressionistic school or movement in art is…...

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References

Impressionism: Art and Modernity. Retrieved from  http://www.metmuseum.org/toah/hd/imml/hd_imml.htm 

Impressionism - Biography of Claude MONET. Retrieved from  http://www.impressionniste.net/monet_claude.htm 

WebMuseum: Monet, Claude: The Stroll, Camille Monet and Her Son Jean (Woman

with a Parasol). Retrieved from  http://www.ibiblio.org/wm/paint/auth/monet/later/parasol/

Painting analysis of Jean Helion's 1948 painting "Grande Citrouillerie" (Big Pumpkin Event)
Rather than a traditional harvest painting, as its title might suggest, "Grande Citrouillerie," or, in English translation the "Big Pumpkin Event," has the appearance of a poster or advertisement painted in an art deco fashion typical of the 19th century. The painting shows the form of a twisted, half cut open pumpkin with its inner seeds and hanging pulp revealed. The painting's colors are rich and autumnal in tone. The palate of the painting is made up of brilliant oranges, reds, yellows and burnt sienna. These warm tones convey the sense of the pumpkin's fall harvest season as well as form the lines of the fruit itself. The colors create a sense of seasonality and ripeness, as well as suggest the painting's subject of a ripe pumpkin. The colors' warmth, however, stands in contrast to the 'advertised' nature of…...

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Works Cited

"Dreams." The Painter's Keys. Quotes: Jean Helion. 2005.

 http://www.painterskeys.com/auth_search.asp?name=Jean%20Helion 

Helion, Jean." Grande Citrouillerie." English translation: "Big Pumpkin Event." 1948. http://www.centrepompidou.fr/Pompidou/Edition.nsf/Docs/IDA826BA170C043D3FC1256F5D004E1C27?OpenDocument .

"Jean Helion." Artnet. 2005.  http://www.artnet.com/artist/21215/Jean-Helion.html

His work can be seen as fitting into a wider context of artists working to represent the France their generally well-off and comfortably middle-class and upper-class purchasers wanted to see and to believe in. The purchasers of Millet's works may never have visited the Normandy countryside for themselves, but they could share in its beauty and its spiritual and moral values through Millet's art and the art of other painters like him. The fact that, rather than being dominated by perhaps unappealing figures of the poor and exploited peasantry this picture depicts an apparently attractive and straightforward landscape can only have increased its appeal, in contrast perhaps to some of Millet's earlier work in which the human figures of the workers dominate.
This picture is more than the simple, decorative landscape it may appear to be on first examination. A work by an artist whose painting of rural and peasant…...

Is this a simple soldier pulling away the cadavers of his companions or death itself taking away dear individuals into the unknown? Who is connecting the physical bodies with the symbolic meaning of the stripes painted with their blood?
The characters in the background also play an important role in the creation of the painting. With their presence, they create an antithesis to the characters in the foreground. They are dressed in white and, apparently, their expressions are both those of consternation and pity for the victims. Going further with the allegory, this can in fact be seen as the American people looking at the entire people's victims with sadness. Patriotism is a wonderful thing, but the losses and moral impact is also not to be ignored.

The creative means by which the painting is made are relevant in building the right atmosphere and perception for the viewer. First of all,…...

Painting as a Leisure Activity
History of Painting

Humans have been painting pictures since roughly 15,000 to 17,000 years ago. How do we know? The oldest known paintings were found on the walls of a cave near Lascaux, France, by in 1940 (by a dog named "robot" who led four boys into the cave). These extraordinary cave paintings (of very large animals: horses, bulls and stags), were tested through carbon dating and determined to have been done in Paleolithic times. Here are photos of the oldest paintings:

http://www.culture.fr/culture/arcnat/lascaux/en/.

What's the lure? Why do so many people paint in their leisure time?

Painting for leisure was just the right medicine for one of the most celebrated and respected leaders in the history of England, Sir Winston Churchill. While most of the Western world's educated citizens are aware of Churchill's intellect, wit, diplomatic greatness and uncompromising resilience during World War II - especially after Hitler's Nazis had…...

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References

Churchill, Winston S. (1950). Painting as a Pastime: An instructive and inspiring

Invitation to the joy of painting. New York: Cornerstone Library.

Il Chiostro Presents (2003). Yoga & Painting in Lake Garda, Italy, with Linda

Novick. http://www.ilchiostgro.com/Garda.htm.

Painting Interpretation
Saint Catherine of Alexandria

Saint Catherine of Alexandria was a favorite subject of art during the late enaissance. The painting of Saint Catherine to which this analysis will refer is held by the Metropolitan Museum of Art. It was painted by an unknown painter who is believed to have been from the Netherlands and painted the piece in the last quarter of the 15th century.

When examining a piece that portrays a famous person, it helps to know something about their story to aid in understanding the piece. Saint Catherine was a Christian saint virgin, who was martyred in the 4th century by Empower Maxentius. Saint Catherine opposed the pagan Emperor for executing Christians who refused to worship idols. She beat the Emperor in a debate about the matter and won. This enraged the Emperor who put her in prison. She was visited by hundreds, including the Emperors wife who converted…...

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References

Stokstad, Marilyn in collaboration with David Cateforis. Art History. Upper Saddle River, NJ:

Pearson/Prentice Hall, c2005.

Lewis, K.(2000) The Cult of St. Katherine of Alexiandria in Late Medieval England (Rochester:

The Boydell Press, 2000),

III. Conclusion

Albert ierstadt is a renowned American painter, best known for his creations of beautiful landscapes from the American West. At the same time, he avoids including any humans in his paintings, which is also the case of the painting analyzed here. According to sources, this has a commercial purpose: offering the impression of the potential buyer, usually from the East Coast, that he is submerged in the nature all by himself

. At the same time, the lack of humans in his paintings is probably an attempt to portray nature as pure and virgin, yet unspoiled by the intervention of humans.

The painting Passing Storm over the Sierra Nevadas fits quite well in the pattern that has been described in the previous paragraph. Painted in 1870, it comes at a time when the fascination with the West, especially in the urban centers of the East Coast, is still great. At the…...

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Bibliography

1. On the Internet at   Last retrieved on August 5, 2009http://www.samuseum.org/collections/collection.php?uid=2 .

2. On the Internet at   Last retrieved on August 5, 2009http://www.xmission.com/~emailbox/glenda/bierstadt/bierstadt.html .

On the Internet at

Painting and Experience in Fifteenth Century Italy by Michael axandall. The paper presents the thesis of the book, evidence of the arguments put forward by the author to support his thesis, details of the structure of the book, and a critical analysis of the thesis put forward by axandall.
axandall's book is a classic of art history, which gives both an introduction to fifteenth century Italian painting, and also a discourse on how to interpret social history from the paintings of a particular era. The main thesis of the book is that the style of paintings in any particular era reflects the social life of the time. He argues that life is lent to the paintings by the assimilation of contemporary daily habits and fashions by their creators.

He argues, for example, that Renaissance painting became so vibrant at that time due to the expansion of other branches of the arts…...

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Bibliography, incorporating copies of many original documents, allows the reader to continue to follow Baxandall on his exploration of these ideas.

How important is the book for art history? Baxandall's book gives us a new, more involved and complete, way of looking at art. The manner in which Baxandall presents his argument is logical, forceful, and ultimately persuasive. His new method of viewing art lends more depth to the study of art history, and to art appreciation in general. His argument is presented in clear, and stark terms, which leaves the argument difficult to avoid or to refute.

Baxandall has given a gift to us all: that of having empathy with the artist, to truly understand where they are painting from, in terms of their motivation, and how they are painting, in terms of their surroundings, supporters and methodologies. This is an invaluable lesson that Baxandall offers, to be well-heeded by students of art history, and lovers of art, in all its many and varied forms.

Never before has such a thought-provoking book been written on the subject of interpreting paintings, particularly fifteenth century Italian paintings, and one's view of art is changed after reading, digesting, and assimilating, Baxandall's arguments. This book, and its core arguments, are central to a thorough understanding and appreciation of art in general.

Baxandall has done students of art history, and art lovers, a great favor in writing this book. Cultural and historical empathy are the way forward for the analysis of art.

MoMA
In the Museum of Modern Art of New York City, New York there is an enormous oil painting on canvas which was painted by one of the most famous painters of all time, Pablo Picasso. The piece is entitled "Les Demoiselles d'Avignon" which means "The Young Ladies of Avignon" in English, an ironic title which will be made clear. The painting is extremely large, almost 8-foot square. Many of Picasso's paintings depicted scenes he had witnessed and people he had personally known. Although most Picasso paintings are interpretive and representational rather than obvious depictions of their subject, the emotion and authenticity of their subject is still visible to those who understand exactly what it is that the artist is trying to show. It is a large oil painting created in 1907 which depicts four prostitutes from Paris, France. The basic thematic point of the piece is that those who sell…...

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Works Cited:

Plagens, Peter. "Which is the Most Influential Work of Art in the Last 100 Years?" Newsweek.

2007. Print.

It is surprising in its theme and focus, because it was painted during the Victorian era, when many people were experimenting with seances and other occultism, and yet the general public did generally not accept that. And yet, this painting was, and it was purchased by the gallery shortly after it debuted, showing how much they valued the painting. All of the little details engage the reader, but they all have significance, too. The ravens are carrion eaters who prey on the dead, the snake is relevant to original sin, and the Egyptian motifs are ancient and mysterious. The actual "magic circle" is the red-hot circle in the sand, created by the woman's wand, and the painting is especially engaging and interesting. Every time the viewer looks at it they see something new and arresting, and that is a testament to a worthy work of art.
The Tate Gallery invested…...

Claude was growing up so quickly. Soon, he would be a man, and do things like his father and leave her for school, and then for other worldly occupations, like marriage to another woman. Sooner yet Madame Monet would be occupied once again with the new, tiny wearer of the nightgown she was sewing. But for now, the mother and son could simply enjoy one another's presence in the garden.

Madame had sewn the blue dress Claude was wearing. Soon she would need to sew long pants for Claude, rather than an infant's dress. Her husband thought that Claude was already getting to old to wear such childish things. But he humored his wife until the next child would be born. Madame had not yet begun to show her 'condition' or to have to let out her own dresses, but it would be soon, she was sure. She smelled the air…...

Edvard Munch's The Scream is perfectly poised at the position between several artistic periods and movements including Art Nouveau, Expressionism, and Symbolism, and the painting bears elements of all three of these. As the text puts it, Munch was "prolific, and throughout his life experimented with many different themes, palettes, and styles of drawing. (p. 85). The painting The Scream is clearly influenced by the "sinuous, constantly moving, curving line of Art Nouveau, combined with color dark of hue but brilliant in intensity," (Text p. 85). Additionally, the painting also reveals influences from Gauguin and other post-impressionists (Text, p. 85). The Scream belies the "symbolist tendencies" of Munch, as well as showing how the Norwegian artist would be the forebear of Expressionism (Text, p. 85). Impossible to pigeonhole, Munch's The Scream reveals a combination of Art Nouveau, Symbolist, and Expressionist trends.
As an Expressionist piece, The Scream literally does express an…...

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References

Loshak, D. (1989). Space, time, and Edvard Munch. The Burlington Magazine 1033, 273-282.

Prideaux, S. (2007). Edvard Munch. Yale University Press.

"The Scream, 1893 by Edvard Munch," (2011). Edvard Munch. Retrieved online:  http://www.edvardmunch.org/the-scream.jsp

rt
PINTING No.

Untitled #14

rtist: John McLaughlin

Paragraph: John McLaughlin was not a formally trained artist and started painting relatively late in life. 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 colors. The artist uses correspondingly constrained forms and shapes. champion of absolute abstraction, McLaughlin sought to stimulate "the viewer's natural desire for contemplation without benefit of a guiding principle." Untitled #14 exemplifies Mclaughlin's philosophy of abstraction. Using only black and white in solid architectural blocks, the artist encourages the viewer to speculate on the meaning of art itself.

PINTING No.

Equivalent

rtist: Richard nuszkiewicz

Date: 1966

Paragraph: Trained at the Yale University School of rt, Richard nuszkiewicz's career spans several different and seemingly divergent…...

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Artist: Sean Scully

Date: 1983

Paragraph: Sean Scully was born in Ireland, but spent a majority of his life in the United States. He developed a unique style of abstraction influenced by his Irish upbringing. Angel suggests the transcendence of barriers: the left panel of the oil painting is strongly suggestive of wire fencing; the right of a wooden wall as if from a barn. These figurative barriers mirror the social and political barriers extant in the politics of Scully's native Ireland. Because Scully avoids absolute straight lines, there is a natural, organic feel to Angel. Coexistence of opposites like black and white correspond to an unsettling yet paradoxically uplifting mood.

(oeck, and Sabartes)
Also of significance in the analysis of this work is the fact that many of the images used in the painting echo previous works by Picasso. The symbol and image of the bull for example is a motif that appears in many of his works prior to Guernica. (Larrea 11) These and other symbolic images, such as the dying hoses tend to emphasise the central thematic trajectory of the painting. The image of the horse in particular is a devastating image that is rendered in clear lines and stark contrasts of black and white. As one pundit notes,

Picasso could imagine more suffering in a horse's head than Rubens normally put into a whole Crucifixion. The spike tongues, the rolling eyes, the frantic splayed toes and fingers, the necks arched in spasm: these would be unendurable if their tension were not braced against the broken, but visible, order…...

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Bibliography www.questia.com/PM.qst?a=o&d=99009989

Boeck, Wilhelm, and Jaime Sabartes. Picasso. New York: Harry N. Abrams, 1955. Questia. 27 Apr. 2008  http://www.questia.com/PM.qst?a=o&d=99009991 .

A www.questia.com/PM.qst?a=o&d=98067655

Cassou, Jean. Picasso. Trans. Mary Chamot. New York: The Art Book Publications, 1940. Questia. 27 Apr. 2008  http://www.questia.com/PM.qst?a=o&d=98067657 .

A www.questia.com/PM.qst?a=o&d=3804692

Art
The Painting Techniques of the Impressionists, Cubists, and Fauvists

During the late nineteenth and early twentieth centuries art styles were changing rapidly in France. Impressionism, Cubism, and Fauvism were three of the styles developed during this time. The painters involved were using new techniques with oil paint to change what was accepted as fine art. Their new techniques reflected societal changes happening all around them. The Age of Industrialization, economic fears, and omantic ideology had mixed together to form a perfect storm of revolution all over Europe. The "old world" of the middle ages, with its fixed doctrines, philosophies, and methods, seemed further and further away. Artists therefore sought new techniques that would help them to "create illusions" (as the Cubists did) or to emphasize style over substance (as the Fauvists did) or to reflect a world and way of life that was quickly being lost (as the Impressionists did). These…...

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Reference List

Johnson, P. (2003). Art: A New History. NY: HarperCollins.

Wolfe, T. (1975). The Painted Word. NY: Picador.

Certainly! Here are the answers to your art analysis worksheet, part one, with proper spacing and format:

1. Title of the artwork: The Starry Night
Artist: Vincent van Gogh
Year of creation: 1889
Medium: Oil on canvas

2. Formal analysis:
- Line: Van Gogh uses bold, curvy lines to depict the swirling sky and cypress trees. Short, thin brushstrokes are used for details.
- Shape: The artwork features various organic shapes like the crescent moon, stars, and swirling clouds.
- Color: A vibrant and contrasting color palette is used, with deep blues dominating the sky, complemented by the yellow stars and tree....

Art Heist Unravels: The Case of the Stolen Masterpieces

In the annals of art crime, the recent theft of a collection of priceless masterpieces from the National Gallery has sent shockwaves through the art world and beyond. The heist, which occurred under the cover of darkness, has left authorities baffled and the public reeling in disbelief.

The Stolen Treasures

The stolen works include some of the most iconic and valuable paintings in history. Among them are "The Starry Night" by Vincent van Gogh, "The Mona Lisa" by Leonardo da Vinci, and "The Girl with a Pearl Earring" by Johannes Vermeer. Their combined value....

1. The evolution of photography as an art form
2. The impact of social media on photography
3. The role of photojournalism in shaping public opinion
4. The ethics of photo manipulation and editing
5. The importance of composition and framing in photography
6. The representation of cultural diversity in photography
7. The use of photography in documenting historical events
8. The psychology of photography and its influence on perception
9. The future of photography in the digital age
10. The power of visual storytelling through photography.
11. The influence of famous photographers on modern photography trends
12. The intersection of technology and photography in the 21st century
13. The significance of....

Title 1: "Echoes of the Past: The Profound Impact of Memories on the Human Experience"

Title 2: "The Ripple Effects of Memory: Shaping Lives Through Past Experiences"

Title 3: "Memory's Tapestry: Weaving Identity and Shaping Destiny"

Title 4: "The Memory Crucible: Forging Character and Inspiring Action"

Title 5: "Memory's Labyrinth: Navigating the Maze of Past Events"

Title 6: "The Psychological Imprint of Memory: A Journey Through Time's Echoes"

Title 7: "Memory's Canvas: Painting the Palettes of Our Lives"

Title 8: "The Symphony of Memory: A Harmony of Past, Present, and Future"

Title 9: "Memory's Mirror: Reflecting the Fragility and Resilience of the Human Spirit"

Title 10: "The Legacy of....