Andr Lee Derain Research Paper

Andr Lee Derain Research Paper
AndrГЁ Derain painted Madame Matisse au kimono in the pivotal summer of 1905. Derain and his fellow painter and companion, Henri Matisse spent
the summer in the French fishing town of Collioure working alongside one another. They developed a colourful and expressive style renowned as
Fauvism which is now considered the first twentieth century movement in modern art. The experimentation and artworks created in Collioure were
exhibited at the Salon d'Automne in Paris later that year. The exhibition proved to be hugely influential as it launched the beginning of an avant–garde
movement within the art world. These early works also led to the publicity that awarded Derain with a successful commission in London the following
year. While Derain is... Show more content on Helpwriting.net ...
Their works did not intend to employ greater meanings or address social or political issues. The actual subjects of Fauvist art can seem almost
irrelevant as the bright and thick colours become independent subjects of their own. Derain himself had said "We were always intoxicated with colour,
with words that speak of colour, and with the sun that makes colours live". At the turn of the centuryimpressionism was in decline and whilst the fauves
continued to work from nature their expressive technique and intensified colours conveyed a new philosophy and direction in art. Madame Matisse,
the subject of this particular portrait often appears in Fauvist works. This is because the Fauvists artists worked closely together. At the time of this
piece Derain was living with matisse and his wife in Collioure and Matisse himself had sketched a similar image of his wife. The kimono Madame
Mattise wears in the portrait also features throughout multiple pieces and is said to be a favourable garment of Madame Matisse. This clothing motif
highlights the growing influence of Japanese culture and lifestyle in France during the 1900's. As trading ports were opened Japanese art and aesthetics
were heavily embraced by the European
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The Movement Of The 20th Century
My chosen movement is "Abstraction", which became popular in the 20th century. It drew inspiration from several other art movements, for example;
Fauvism, which consisted of jarring colours and simplification of imagery, and Cubism, which was made up of reconstructed abstract imagery
(Lewis, 2015). One of the Abstraction movement's objectives was to push the boundaries of how the artist described their world, they wanted to
create art that conveyed the changes occurring in science and technology, through non literal imagery. This meant that artists sought inspiration from
new historical and cultural resources, like art from distant countries, for example; Polynesian and Aboriginal Art. As they depicted the world
differently to most western artists, often utilising lines, shapes and patterns that western art tended to shun before the late 19th century. The
Abstraction movement's goals, as described by the Drawing Center, were furthered by artists of this period seeking ways to describe motion in their
art, as this was impossible to do within the realm of realism, therefore artists had to use more abstract methods to capture movement. This led to
artists using lines and gestural strokes to invoke a sense of movement, e.g; Len Lye's "Snow Birds Making Snow, 1936". I have chosen to analyse
Len Lye's works, specifically his animations, as he was a prominent practitioner of Abstraction. I will be analysing 3 of his works, Tuaslava, 1929,
Rainbow Dance 1936 and Swinging the

Features Of Post Impressionism
Post–impressionism was an art movement between the end of 19th century and the beginning of 20th century, started in France. It was a breach of
Impressionism. During the period of Impressionism, some artists started to dissatisfied to the style as Impressionism depended too much on visual and
scientific analysis. They thought Impressionism only focused on the techniques and effects of light and shadow but neglect the importance of subject
matters. Some young artists and critics demanded a shift in the focus of representational arts. Paul CГ©zanne, Georges Seurat, Paul Gauguin and
Vincent Van Goghwere the four giants of Post–impressionism.
Paul CГ©zanne
Georges Seurat
Vincent Van Gogh
Paul Gauguin The 1880s was a decade of extremes to France. There was the depression in the mid–1880s, but were also rapid industrialization and
economic growth. As a capitalist society under industrialization, materialism was popular among France. Some artists attempted to outrage the
art–loving public through revolutionary painting techniques, for example Neo– Impressionism of Seurat, in order to fight against materialism. They ...
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The artists described the world around them through their works. Modern life provides the dominant subject matter. The art pieces could connect with
the viewer on a deeper level as they expressed memories and emotions. The period emphasized on form and content. The objects were usually in
abstract form and pattern. The aesthetic vision was dominated by structure, order and optical effects of color. Interrelations of color and shape were
also found in the works of Post–impressionism. Critics grouped the various styles within Post– Impressionism into two general, opposing stylistic
trends, on one side was the structured, or geometric style that was the precursor to Cubism, while on the other side was the expressive, or
non–geometric art that led to Abstract

Andre Derain The Turning Road Analysis
Gianna Sorola Professor Reed Art Appreciation 1301 18 October 2017 The Turning Road, L'Estaque Andre Derain AndrГЁ Derain, born in Chatou,
France in 1880 was one of the few leaders of the Fauvists movement (although only lasting three short years). Playing a vital part in this new movement,
it enabled him to achieve recognition in all of his paintings. Fauvists was created in the early twentieth century, by modern artist whom emphasized
painterly qualities. By having strong, vibrant colors that represent realistic values. This style of art was inspired by the impressionists' era, they (the
founding leaders of fauvists) wanted to capture the impact of lighting and the atmosphere within. The word Fauve translates into "wild beast"... Show
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Derain adds variation to the shapes to create several forms within the painting. The turning roads are created and flow freely for the fact that the free
form arc. From what I can infer, the last tree on the right was altered by making it thicker on the edges. Many of the forms are characterized by the
trees, bridges, buildings and people. Nevertheless, other forms can be considered non–characterized and just serve to increase the elegance of the
painting. Although, he avoided using three dimensional forms to the best of his ability to attempt of the curve road that displayed three planes. Across
the other forms, they are implied three–dimensional. The appearance of three–dimensional was reached by using tonal techniques, which were shading
and smearing. When AndrГЁ Derain was painting in a three dimensional style, it was to portray the trees and walkway in different angles. This allowed
the observers to see the foreground. Although, using one perspective style, the features throughout the background appear to disappear into the horizon,
therefore being unclear. The main type of lines used in The Turning Road are extremely pronounced, strong, thick and dark. However, through the
painting, some of the lines are thin in certain part of areas to avoid the attention. This would stimulate the different textures throughout the painting.
With the textures of the painting it would also trigger the motion of the painting. In the works of "The Turning Road,

What Was Cubism And Fauvism?
What is Cubism and Fauvism? Well, lets start with Cubism first. Cubism is a style of modern art developed by Pablo Picasso and Georges Braque.
These two artist were always working with each other very closely, so closely that their paintings were almost indistinguishable in who the artist was.
Fauvism on the other hand, "was the first of the avant–garde movements that flourished in France in the early years of the twentieth century" (Rewald,
Hilbrunn Timeline of Art History). Fauvism was first portrayed by Henri Matisse and also shown somewhat in the paints of Van Gogh's. So what is the
different between Cubism and Fauvism? Many characteristics separate Cubism from Fauvism, such as: multiple angles, reconstruct objects, flattened
space and geometric blocks of color. There are also many characteristics that separate Fauvism from Cubism, such as: sketchy brushwork, explosive
colors, impulsive brushwork, and having themes of modern urban alienation. Some of the artists of Cubism and the paintings that we learned about are
Pablo Picasso and his House on the Hill, and Georges Braque and his Violin and Palette. These paintings are easier on the eye compared to Fauvism.
Fauvism has a more bold personality and can sometimes be harsh on the eyes. Artists of Fauvism include Henri Matisse and Van Gogh. Henri Matisse
most famous Fauvism painting that the book talked about was The Joy of Life (Le Bonheur de vivre). This painting is full of colors exploding across
the canvas. The Joy of

Essay about Henry Matisse's Madam Matisse: The Green Line
Madam Matisse: The Green Line
Henry Matisse, one of the most influential members of the Fauve movement, was responsible for much of the attention brought to it and its respective
members. One of his works, Madame Matisse: The Green Line, more or less serves as an excellent example of what he was trying to accomplish in
art: the use of color to express and convey emotions.
The composition of the work consists of a portrait of Madame Matisse in the foreground and a background divided into several distinct areas of color.
The division in the background is apparent in the juxtaposition of the mauve, orange and blue green, with the foreground divided primarily by the green
strip itself, which runs down the middle of Madam Matisse's ... Show more content on Helpwriting.net ...
There is no real light source in the work. However, both sides of Madame Matisse's face seem to be illuminated by the use of warm, bright colors, as to
suggest that maybe there is a fire burning or a window directly in front her. By the same token, the dark, shaded area behind her and over her left
shoulder is confusing because it also suggests a light source in front of her and to the right, yet there is no shading on her face to accompany it.
Lines and shapes play an important role in this work because they work together to establish balance. This is achieved through the use of both
geometric and organic shapes, with the organic representing the figure of the woman and the geometric establishing the background and its division of
color. The lines in the work are both dominant outlines on her shoulders, hair, and left neckline, and blurred lines like the details on her garments and
the contour of her right cheek and chin.
Painting technique can be described as the use of several layers of oil paint on canvas with visible brush strokes and some texture.
A personal interpretation of the piece reveals a paramount example of Matisse's ability to use color as an emotional appeal. He is able to convey a love
of his wife through the carefully chosen combination of colors, as well as the different aspects of his wife's personality. The yellow on her face seems
to portray a harder,

Arguments Against Impressionist Art
Impressionist artwork becomes very unpopular among art critics because find their colors vulgar and thought each artist couldn't draw. They view their
composition as strange unfinished artwork. Their technique of using short, slapdash brushstroke made their paintings look and seem obscure.
Impression art violated every rule of the Academy, the school of conservative art.Impressionism was the art of a modern urban scene. I am not
surprised of their opinion because Impressionists artwork was modern and unique. The Academy only deemed "history painting" as acceptable and
critics awarding paintings (Gersh–Nesic).
I founded a liking in both Monet and Renoir artwork. Though, I can agree with some of the critic's opinions of their artwork I still

Le Bonheur De Vivre: Henri Matisse's The Joy Of Life
Le Bonheur de vivre, or The Joy of Life, is a composition painted by Henri Matisse. Created in the years between 1905 and 1906, Le Bonheur de
vivre is a well known painting today, and is one of the building blocks of early modernism. The Fauves, which translates into "Wild beasts", were a
group of French painters who were apart of the first 20th century movement in modern art, called Fauvism.1 These painters shared similar interests and
aspirations. Fauvism derived from the exemplary works from Post–Impressionist painters like Vincent Van Gogh, Georges Seurat, Paul Cezanne and
Paul Gaughuin. Among these well renowned artists was Henri Matisse, who really took the forefront of the Fauvism movement. Matisse and the other
Fauves used intense color in their works, to describe light and space while also communicating the emotions and inner thought of the artists behind the
compositions. Matisse, as the dominant figure of the fauve group, believed that color could be the primary element in conveying the meaning to a work
of art, and practiced this notion throughout his career. Matisse described his theory, " What characterized fauvism was that we rejected imitative... Show
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The figures can be identified as nude woman and men in a bright, vibrant, landscape scenery. Instead of painting a typical and most recognizable scene
of a contemporary park, Matisse tests the boundaries with sensuality, vibrancy and expression. Many of Matisse's works express sensuality, the
curvature of the figures bodies, their nude and strewn about positions, depict serenity and a sense of true relaxation and paradise. The line and
curvature of the figures bodies takes the viewer on a journey. The curving and sweeping of the arcs of each person's back, out stretched arms, and
further twisted bodies move the viewers eye all about the canvas, covering every

Pablo Blanche Dubois
Introductory Wall Text The Album of La Revue Blanche, a collection of prints commissioned by the late 19th century Parisian anarchist journal La
Revue Blanche, provides not only an insight into popular fin–de–siГЁcle French print culture, but also a beautiful case–study in the techniques
developed by leading artists in the realm of fine art lithography. As a graphic art that makes use of the immiscibility of grease and water, this
planographic printing process provides a wide array of stylistic possibilities as these various prints demonstrate. As the new invention of photography
was rapidly replacing the traditional print as the sole means for reproductions in the late 19th century, artistic quality in prints became increasingly
important and printmaking flourished as an independent art form. Parisian print publishers and dealers soon began to produce albums of prints
published regularly in limited editions that were purchased by a rapidly growing group of... Show more content on Helpwriting.net ...
The sheer range of stylistic effects within lithography is vast, and the artists of La Revue Blanche display ever more inventive ways of working in this
medium. For some of these artists, the Revue's commission would become a hallmark moment in their career, and inspire much more sustained work
in the graphic arts. For others, it bolstered an already flourishing graphic career. In this sense, La Revue played an active role in promoting the modern
lithographic print, and is perhaps one of the most successful examples of the symbiotic relationship between avant–garde art prints and the particular
culture that fueled their

Classical Characteristics Of Baroque Art
Beginning with the Baroque period, the Baroque was an art movement in the 17th and early 18th century which comes after the Renaissance before
the Enlightenment, Neoclassicism. It's origins, like renaissance art, were in Italy and the historical context really have is two historical movements
that are associated with the Baroque. First, the Counter Reformation and second, Absolutism. As far as the Baroque tradition it represents a
rejection of renaissance restraint. When looking at the School of Athens by Raphael, we can see this very technically perfect painting from the
Renaissance where it looks like it could've been posed for which is what renaissance art is, restraint, that you are supposed to think about balance
in the composition, and you're supposed to hold something back. Renaissance art was not very emotional. One thing we should note is this painting
of Aneas Fleeing Burning Troy by Federico Baroccci, is not restraint. We see a bunch of running around, burning fires, it's not balanced, and there's
more action, but at the same time we still see this framework of classical themes. When looking at Baroque art, we'll still be able to see themes that
are very religious or grounded in the Greco Roman classical traditions. More characteristics of Baroque art we can see are motion, emotion, grandeur,
and contrast. A piece of work where we can see almost all of these characteristics would be St. Michael the Archangel by Guido Reni. We see St.
Michael trampling the devil,

Kazimir Malevich As A Modernist
In this essay I shall analyze the work of Kazimir Malevich, and examine whether he can be described as avant–garde modernist. I will present how his
means of expression and style changed with time, making references to his work, history and cultural context. First, I will explain the principles of
avant–garde and modernism, and show painter's background. Secondly, I will research on the beginnings of his work, and how he came to
suprematism. Then I will focus on the final period of his life and artwork. Kazimir Malevich was a Russian painter and art theorist, living at the turn of
the 19th and 20th centuries. He became the creator of a breakthrough artistic style called suprematism. Malevich studied drawing in Kiev and Moscow,
thus he ... Show more content on Helpwriting.net ...
He was constantly developing his style, and looking for innovative techniques and forms. As he said, "I think that first of all art is that not everyone
can understand a thing in depths. This is left only to the black sheep of time."1 In 1915 he announced the revolutionary program of suprematism, the
most radical direction of abstraction. He rejected the iconography of visual art, recognizing a straight line and a square as the symbols of man's
superiority over chaos. It was a revolutionary moment that forever signed him into history as a leading representative of avant–garde modernism. In his
manifesto, he mentioned: "By "Suprematism" I mean the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the
objective world are, in themselves, meaningless; the significant thing is feeling."2 In 1930 Malevich began to slowly move away from suprematism,
creating similar works in neo–suprematism. Gradually, he began to turn back to the style he used at the beginning of his career. Towards the end of
his life he became more and more isolated, departed from abstraction and came back to painting simplified landscapes, realistic paintings, and portraits.
Malevich died at the age of 56, in illness, as communist authorities did not allow him to leave the country

The Influence Of Impressionism
Impressionist art, in its spectacular focus on atmosphere and the elusively delicate movement of light and air, such as Monet's ethereal "Vetheuil in
the Fog" (1879), was innovative, going against everything taught as traditional and proper by the Salon authority. We see artists such as Manet
defying artistic traditions with racy confrontation in "Le dГ©jeuner sur l'herbe" (1863), and impressions of modern middle class life, rather than
historical figures, as we see in Cassett's "At the Opera" (1880). Impressionists captured instants in time in the lives of the middle class people, rather
than the classical focus on divine scenes or images of the elite. The ground–breaking beliefs and styles of the Impressionists, along with their persistence
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In my opinion, all are influenced in some way, however minor, to the movements which came before it, even if it is in the form of rebellion. I believe
that together, all modern art movements, of which there are even more than I have discussed here; treat us to a fabulous panorama of life and the extent
of human feeling. The depths of our darkest thoughts are plumbed in one painting, while the next causes our heart to soar with the joy of feeling alive.
Perhaps the famous Dada artist Arp summarized art best, even from his own movement that tried to go against art itself, in that the work of art is
unfinished without us (TheArtStory.org, n.d.). Impressionist or otherwise, we become part of the final work of art and complete

Painting At The Oklahoma City Museum Of Art
On September 4, 2016, I visited the Matisse in His Time exhibit at the Oklahoma City Museum of Art. This exhibit is home to a plethora of pieces by
many different European artists from the 19th and 20th centuries. While it is focused on Matisse and his extensive works, containing more than 50 of
his pieces, there are many portraits and sculptures by other influential artists from that time period including Renoir, Picasso, and Georges Braque.
Three of the most appealing works that I encountered in this exhibit are Maurice de Vlaminck's Portrait of PГЁre Bouju, Pablo Picasso's Reclining
Woman on a Blue Divan, and Henri Matisse's sculpture series Henriette I, Henriette II, and Henriette III.
One of the most visually intriguing pieces in the exhibit is the Portrait of PГЁre Bouju by Maurice de Vlaminck. It was painted around the year
1900 by the French artist. It is not particularly beautiful by normal standards. At first glance, the texture of the paint stands out more than any other
feature. It has very strongly defined brush strokes and thick paint in portions, especially the face of the man and the background. The lines in the
paint are mostly straight, short, and wide with some that are thinner and wavy, like the smoke. The man is in the center of the canvas, he is the only
discernable image, and he is almost devoid of detail aside from the face and the hat. The colors are almost entirely neutral aside from the red scarf. In
this oil on canvas portrait the man is wearing a

The impact of industrial revolution on modern art Essay
Impact of Industrial Revolution on Modern Art at the turn of the 20th Century.
To understand most period and movements in modern art, one must first understand the context in which they occurred. When one looks at the various
artistic styles, one will realize how artists react to historical and cultural changes and how artists perceive their relation to society.
The transition between the 19th and 20th century has brought further development of modernistic ideas, concepts and techniques in art. Inspired by
Cezanne's idea, saying that all nature objects can be illustrated with just three geometrical figures: cube, sphere and cone, Pablo Picasso created his first
paintings, which became the icons of modern art and cubism movement in ... Show more content on Helpwriting.net ...
Kandinsky transformed colour into a completely abstract art absolutely divorced from subject matter. The fauvists and expressionists shared an
appreciation of the pure and simplified shapes of various examples of primitive art, an enthusiasm that was generated by Gauguin and extended to
Picasso, Brancusi, Modigliani, Derain, and others.
Cubism
About 1909 the implications of CГ©zanne's highly organized yet revolutionary spatial structures were expanded by Picasso and Braque, who invented
an abstract art of still lives converted into shifting volumes and planes. Cubism, developed by the artists of the school of Paris, went through several
stages and had an enormous influence on European and American painting and sculpture. In sculpture its notable exponents included Picasso,
Duchamp–Villon, Lipchitz, GonzГЎlez, and Archipenko, who began to realize the possibilities of convex and concave volumes. Cubism was absorbed
in Italy by the exponents of futurism and in Germany by the Blaue Reiter group; both these movements were cut short by the advent of World War I.
Fauvism and cubism were introduced by members of the Eight to a generally shocked American audience in

The Between Edouard Vuillard 's Interior With A Screen (...
The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown,
developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time
again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach
them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly
magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and
design choices employed in these attempts, a comparison will be made between Edouard Vuillard's Interior With a Screen (1909–1910) and Henri
Matisse's Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist's approach to the subject of the female nude will be closely analyzed,
compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of
each work and what the artist intended when creating it will also be provided. The analysis of these paintings will begin with Vuillard's oil painting
Interior With a Screen. This piece depicts a female nude placed in the interior a large and furnished room; the woman appears to be slightly hunched
over

Post Impressionism and Art Essay
Post Impressionism and Art
Modernism is an art movement that is characterized by a deliberate departure from tradition to a more expressive form that distinguishes many styles in
the arts and literature of the late nineteenth and twentieth century. Emile Bernard was part of this modern art movement as can be seen in his painting,
"Breton Woman and Haystacks", painted around 1888. Impressionists were modern artists who tended to paint outside landscapes and street scenes and
were concerned with the effects of light. Bernard was a Post–Impressionist artist who considered Impressionism too casual or too naturalistic, and
sought a means of exploring emotion in paint. Bernard's work, "Breton Woman and Haystacks", depicts a woman in... Show more content on
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He also liked their version of Catholicism because they believed God was noticeable in everyday life. This attraction to the Breton way of life is
apparent by the way Bernard paints them. Both the woman and the landscape are drawn simply; the figures do not look realistic but the viewer is
able to distinguish what each object is. The simple geometric form of the woman's hat and the shape of the haystacks are very similar in contour, yet
both are easily discernable. Likewise, the trees and the clouds are alike in their shape, as well as the curves of the woman's eyes and mouth are similar
to the rolling hills behind her. The painting is considered to be abstract because the imagery used in the work departs from representational accuracy.
Abstract artists such as Bernard select and then exaggerate or simplify the forms suggested by the world around them. Bernard's rendering of the
Breton woman in her simple attire juxtaposed with the countryside communicates his belief that she is nearer to nature and God than contemporary
peoples. The stylized delineation of the figures and the vivid colors convey the emotion and imaginative sensibility of the Breton women rather than
simply recording what Bernard saw.
The dramatic color Bernard used in "Breton Woman and Haystacks" along with the large areas of open space and bold lines that define structure,
volume and texture are all characteristics of the

Georgia O Keeffe's Art Analysis
Georgia O'Keeffe is considered the mother of American Modernism, known for her New Mexico landscapes, New York buildings, and abstract flowers
portrayed with precise line and form. She was the first American artist to paint in unadulterated abstraction, painting flowers with exquisitely portrayed
details, making them looks as if they had been magnified.
One of these paintings is the Red Canna, which she painted in 1924. O'Keeffe's flowers look like they were viewed through a camera's macro lens.
The focus of O'Keeffe's flower paintings were simplified lines, shape, and color. The focal point is the small petals in center of the flower, which
almost look like a small flame, that spreads out into an inferno of color. My eyes were drawn to the ... Show more content on Helpwriting.net ...
Towers, cubes and ramps were designed for exhibits, with functionality and lighting in mind. White plaster was used for the exterior and titanium–zinc
alloy for the roofs. Vitra Design Museum has curved ribbon–like areas that break up the more angular style of the building. Gehry's design embodies
the relationship of art and architecture to create a unique style.
Weisman Art Museum completed in 1993, University of Minnesota, MN incorporates the original brick and sandstone buildings into the design,
creating a futuristic feel with the stainless steel used to create a sail like effect, making for an intriguing facade. Gehry drew inspiration for the
building's shapes from the cliffs, where the University of Minnesota overlooks the Mississippi river. Gehry's ability to blend existing structures and
deconstructionism, for a new dynamic style, is achieved by the Weisman Art Museum.
Frank Gehry's deconstructivism evolution is showcased by the use of non–traditional materials, conscientious detail to the building's intended use
which elevates his architecture into

Abstract Art : Art And Art
In days past artists made art that was representational. Meaning, they did their absolute best to create art that closely resembled what was seen in the
real world. They put as much time and effort into their work as they could; creating masterpieces that are now on display in museums across the world.
In modern times, artists have turned away from the traditional way of making art, and are now creating art that is not constrained by the guidelines of
representational art. This style of art is called abstract art. Abstract art is used to illustrate the how the artist might feel or to express a certain message
the artist wants to communicate. In this turning away from traditional art, an artist no longer needs the skill, time, or effort to communicate with the
viewer. Abstract artists only have to write out what they want their art to say on a piece of paper instead of using the craftsmanship required to
simultaneously create a beautiful piece of artwork and communicate their meaning behind the artwork. If abstract artists are only concerned with
expressing themselves and not the actual art, is it legitimate art? The answer to this question would put in perspective what art is truly about. The
aesthetics or the meaning? Abstract Art contains no form of legitimate craftsmanship. Since the times of Rembrandt and before, art has been used to
add beauty and provide delight for the eye of the viewer. In abstract art, however, this is not the case. The aesthetics of abstract art

Fauves Attributes In Art
Introduction
The colour attributes could be separated into three parts: hue, saturation and luminance. In the colour theory, the hue refers to the colour of images,
while saturation describes the intensity (purity) of the hue (Steven, 2013). The saturation is thus identified as the intensity of colours in artworks
which is ranged from pure colour to grey. A single colour is purer as the saturation increases, while the saturation decreases as the colour goes paler.
The aim of this assignment is to describe and analyse the Fauves paintings, an artistic genre which speaks highly of saturation more than hue or
luminance, as saturation could better express their personalities and feelings.
The Fauvism was founded in 1905 in France by twentieth–century modern artists. Unlike the others, the Fauvism could be absolutely deemed as a
unique genre as it does not have special theory and principle yet is promoted by large numbers of artists in a short period (Freeman, 1990). This
artistic style is in favour of creating a strong effect of paintings through bright and colours by announcing emotional expressionism. The Fauves absorbs
the essence of Oriental and African arts, then crease a unique simple and sparse prospect on purpose. One of the most famous painting works named
The Creole Dancer (as shown in Fig.1), painted by the greatest artist of the Fauves, Henri Matisse, is presented below and is to develop a
demonstration of how saturation interferes differently (Roger, 2009).

Madam Matisse- (the green line) Essay
The Artwork.
'Madam Matisse' is a rather famous portrait of Matisse's wife, and is a great example of a fauvist artwork, using many bold, bright and contrasting
colours throughout the painting. This painting was created using oil and tempura on canvas; tempera being a glutinous water–soluble material such as
egg yolk, which is added to painting medium. The paint has been applied in bold, thick and vigorous brushstrokes, in several layers, along with added
texture. The green line in the centre of Madam Matisse's face has been well placed as a shadow line, and also in order to prevent the face from sinking
into the strong flat colours in the background. The face is also divided into a warm, and cool side, and the brushstrokes also add to ... Show more
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There are many examples which are similar to this work, also being fauve or using the bright, bold colour which is an important feature of this piece.
Such paintings include; Apples(1916), and Girl with green eyes (1908).
Artwork –World.
The artwork reflects aspects of the world at the time it was created through the use of colour and painting techniques of the fauvist movement, which
was a new development of the time. Matisse was one of the most dominant figures in the movement and was also the 'founding father'. This new
movement was largely influenced by such painters as Van Gogh and Picasso, both whom fauvists greatly admired. The fauvists also tried to translate
their feelings into colour on the canvas board, which they applied roughly, in thick strokes, almost clumsily. Their art was rather free, and of a very
expressive nature.
These techniques; such as colour use, was made possible due to the developments in paint, and the production and availability of brighter and stronger
colour. This was also new to the art world at this time.
Apart from Matisse's new found and developed personal style which is an obvious feature and aspect of this work, it is unlikely that any other events
of the time affected this work. Matisse simply chose subject

Romanticism In Western Society
Since the Enlightenment, western society began to massively shift in norms and behaviors. Authoritarian governments and the heavily religious society
began to die away to make way for more enlightened leadership. As art is one of the major definitions of society, art went through drastic changes as
well. Instead of focusing on nationalism, religion, and the positive effects of the enlightenment, artists began to depict the more dark and abstract sides
of society. Artists of many future movements and styles would depict the negative changes in society in their works, and their ideals and emotions
through unconventional ways, namely in abstract art. These movements and styles were very out of the societal norms at the time. However, as the
movement continued, more and more viewers began to warm up to these movements, and their fame and popularity would raise.
A counterculture to the Enlightenment, Romanticist artists and philosophers believed in the innocence of man, namely the child, and the poison
society creates. Romanticists yearned for more personal freedoms than the Enlightenment offered. They also disliked many of the changes the
Enlightenment was bringing, namely the Industrial revolution and the realism that was flooding the arts. Romanticist artists counteracted this by
creating works showing the darker side of the enlightenment, and society as a whole. These works would also depict the better sides of the world,
particularly nature, in many iconic landscapes.

Harmony In White : Henri Matisse And His Use In Color
Henri Matisse was mostly known for his use in color. Although he was a French artist Matisse was influenced by many cultures. The idea of Fauvism
was created by Matisse that soon made his work famous, and influential for many artists to come. One of his first drawings in the early twentieth
century developed this term called fauvism; Harmony in Red. In each piece of his work he used such vibrant colors to help draw attention to this new
idea of fauvism. These vibrant colors, and large brush strokes allow more feeling to be made when evaluating, and viewing his work. Starting with
his background Matisse was mostly known for his use of bright colors. He also worked as a sculptor, printmaker, and draughtsman, but was strongly
known for his paintings. According to Biography, "Matisse began painting while recuperating from an illness, and his vocation as an artist was
confirmed." (Editors at Biography) Matisse began learning more about art; while also exhibiting some of his work, this soon led to his breakthrough.
The breakthrough led him to his innovation of fauvism. Now, beginning with Harmony in Red; Matisse revealed bright hue colors, and patterns to
develop the innovation of fauvism. Like most artists Matisse began his work with an influence by other art forms, and artists. According to, Art Forms
"He saw a large collection of Gauguin's Tahitian works in 1905 and soon he extended the older artist's innovations." (Frank. 393) With most artists,
there is a certain source

Woman With A Hat Analysis : Woman With A Hat
Brock Wright
November 1, 2017
ARHS 1020
Lucia Abramovich
Woman with a Hat Analysis Woman with a Hat is an oil on canvas painting by Henri Matisse, created in 1905. The painting is considered one of the
first ever Fauvist works, and was displayed at the Salon d'Automne in Paris, an exhibit which defined the movement. Matisse was a French artist who
had actually worked in several mediums, but was most famous for his paintings. He was born in Le Cateau–Cambresis, Northern France, in 1869. He
first began painting in 1889 with a small assortment of paintings supplies his mother had gifted him during a period when he was recovering from
illness. He joined Gustave Moreau, who would become an inspirational leader for Matisse's Fauvist movement, at his studio in 1891. In 1896, Matisse
began working with an Australian impressionist painter John Peter Russell, who Matisse would credit as having taught him color theory. Russel
introduced him to impressionism and the works of Vincent van Gogh; Matisse's relationship with Russell would drastically evolve his painting style.
Matisse's early work took influence from neo–impressionism, post–impressionism, and divisionism, a style which Matisse took up after reading Paul
Signac's essay D'EugГЁne Delacroix au NГ©o–impressionisme. Exploration of these styles would influence his movement into the revolutionary style
of Fauvism. Fauvism emphasized painterly qualities and strong, vibrant color choices. It emphasized these qualities over

Compare And Contrast Cezanne And The Large Bathers
Unit 7 Written Assignment Can Matisse's Bonheur de Vivre and Picasso's Les Demoiselle's d'Avignon can considered inspired by Paul CГ©zanne's,
The Large Bathers? Introduction To understand the relationship between the above works and Cezanne's The Large Bathers it is important to firstly
understand the work which is deemed to be influential. Cezanne's painting is certainly an influential piece. What makes this piece of particular
fascination is not the subject but the approach and style. This is not an image of privileged people at leisure being depicted in an image of beauty and
glamor. Instead, the people featured are misshapen and distorted. This is a long departure from the classical idea of a nude. Another interesting feature
that... Show more content on Helpwriting.net ...
The three paintings overall, have a significant part to play in the revolution of art. Making a statement, portraying emotions and looking life while at
the same time challenging how art can be perceived. When these paintings were exhibited for the first time, they must have been captivating, while at
the same time as being an inspiration, the artists have also distanced themselves from this work. As discussed previously The Large Bathers is not a
vivid image of beauty. Upon looking at the Matisse's Bonheur de Vivre we see that ultimate departure. My interpretation is of this painting is that it is
certainly a contrast with the bright colors while at the same time also having a somewhat distorted view of reality and of the human form. This
painting was certainly significant in making a bold statement of the human form as well as of human existence being viewed as being leisurely and
indulgent. The second painting, could be seen as a departure, just as discussed taking the dehumanization to a different level. The distortion is far more
angular and of course, as noted above, the background follows this distortion and further emphasizes this style of

Gauguin Where Do We Come From What Are We Where Are We Going
Gauguin Where Do We Come From What Are We Where Are We Going
–Paul Gauguin (1848–1903)
–Where do we come from? What are we? Where are we going?
–1897
–Oil on Canvas, 5 feet by 12 feet
–Museum of Fine Arts, Boston
Where do we come from? What are we? Where are we going?, is the self–acclaimed masterpiece of Paul Gauguins' career. It represents the culmination
of his ideas and beliefs that he acquired throughout his life as a painter. Many visual characteristics of the painting, such as the color, line, and light are
unrealistic in nature, but serve to emphasize the tropical surroundings in which Gauguin loved to paint. Although the organization of the characters in
this lush jungle clearing seem random, Gauguin intended this work ... Show more content on Helpwriting.net ...
The idol also represents a change in color tones from the rest of the painting. It has been painted in a light blue, similar to the coloring of background
elements. According to Gauguin, this figure represents "the beyond," which is emphasized by its close relationship in color to nature. (Museum of Fine
Arts, Boston)
Although the use of line and light is not as defined as the color scheme, they still play an important role in the overall organization of the painting.
Gauguin uses curvilinear lines throughout this work with no right angles or sharp points. The outlines in the background are fairly blurry and some
of the lines blend into one another. In contrast, the characters in the foreground are comprised of precise, sharp lines. Gauguin goes as far as lightly
outlining the bodies with a dark line in order to give them a sense of depth. Light also serves to enhance certain aspects of the painting. Gauguin has
been careful in his use of light to create some areas of brightness and some of darkness. The central figure glows in the bright light, which shines
down on her from above. This light shows the importance of the decision of whether to pick the fruit or not. It is focused so directly on one area and
is void in the others.
The organization and relationships of the characters, animals, and background elements in Where do we come from? seem to be fairly unorganized and
random, but Gauguin has placed them in this order consciously. The painting is

How Did Henri Matisse Influence Art
Henri Matisse was an extravagant artist they lived from 1869 till 1954. Throughout his life he pushed the boundaries of what was acceptable in art
and helping head the fauvism art movement of the time. His life through art progressed through several stages, firstly his early influences in his
childhood home and surroundings, secondly his early days of art at the academies of Paris and his first years on his own and thirdly his later life
when he delved into the more progressive art movements of the times. Henri Matisse was born December 31st, 1869 in a small village in
northwestern France. His family took part in grain farming as was the norm for the area. throughout his childhood his parents taught him the lesson of
hard work and determination that would help in later as he quoted his father always saying, '"be quick!', 'look out!', 'Run along!', 'Get cracking!'" one
of his earliest ... Show more content on Helpwriting.net ...
During his early years in the profession he was often panned as being vulgar and pornographic. But then as more abstract movements took hold of
the industry he quickly gained fame and popularity in places as far and as varied as Russia, America, Britain, France and even some of northern
Africa. In his early years he would use more classical styles but as he grew as a person he would reach into styles such as fauvism and abstract. His
mediums would grow to encompass painting, sculpting and paper crafts. Throughout his life he was varied but his lasting impression is definite, the
abstract art world was forever changed because of him.
In conclusion Henri Matisse's life spanned two war and countless hardships, he would leave the world with three children. Throughout it all he would
paint, he would paint until he changed the world with his brush. These ideas would shock some and delight others but no matter what the ideas have
and will continue to have a lasting impression on the world of

How Does A Horse See The World, By Herschel B.
With the advent of Modernism in the early twentieth century, many artists and critics began making theoretical pronouncements about their works
and ideas. Using three different artists and their writings from the Theories of Modern Art book by Herschel B. Chipp. I will study the artist's
works and ideas in relation to the role of art in their society, the role of traditional practices in art, their view on nature versus reality, and their view
on the relationship between art and truth. The three artists and works will be the Fauvist Henri Matisse's "Notes of a Painter," the German
Expressionist Franz Marc's "How Does a Horse See the World?" as well as "Aphorism," and lastly the Dadaist Jean Arp's, "Abstract Art, Concrete Art."
This section... Show more content on Helpwriting.net ...
Truth is always on the move. It is always somewhere, but never in the foreground, never on the surface." Unlike Matisse, who talked about truths as
challenges, Marc seems a little lost about truth in artwork or maybe that was simply how he felt at that time. Marc's words conveyed an elusive
quality to truth, that they cannot be seen or touched so easily as Matisse implied. I think this elusiveness is best symbolized in his Stables. In
"Abstract Art, Concrete Art," page 390, Jean Arp expressed his idea of a main truth, that artists do not want to copy nature but produce it. That they
wish to create their own art directly and not have to interpret it from nature. As I was reading it felt like Arp had a good understanding of what he
believed to be the important truths in art and he continually strived to create artwork that conveyed those ideas, as can be seen in his Birds in an

The Chapel of Vence: Art and Enlightenment
The Chapel of Vence: Art and Enlightenment Best known for his use of color, Henri Matisse cleverly cultivated his status as a modern artist using
many different styles of painting from Impressionism to Fauvism. The artwork of Matisse has been a milestone in the history of painting. Henri
Matisse's self–proclaimed masterpiece, however, a chapel in Vence, France, is a small, minimalist building. The amalgamation ofmodern art and the
sacred creates a unique spiritual experience in that it welcomes Christians and non–Christians alike to appreciate the artist's religious symbolism. The
elegantly simple architecture of the chapel, the use of light in the space, and the binary of colors on opposite walls have a calming, cleansing, and ...
This binary of color palettes represents a juxtaposition between doctrine and spirituality: the black and white embody the Christian tradition while the
harmonizing colors of the windows symbolize the trinity of sun, nature, sea and sky. Looking through the windows one sees the individual, vivid
colors that are characteristic of Matisse's art. As one steps back, however, the colors become identifiable figures and coalesce to become real, tangible
images. The yellow and blue accentuate each other as our sensation is the most intense when two extremes are juxtaposed. Matisse uses color
brightness, balance and contrast between colors to improve visual aesthetics. This combination of the dynamic and the static really makes the space
come alive. Matisse's Chapel of the Rosary in Saint–Paul de Vence epitomizes his modern style with its simple architecture, transcendental lighting, and
color contrast. No less is this a religious experience than the visits to classic cathedrals that dominate the French landscape from the shores of Mont St.
Michel, to the Ile de la Cite's Notre Dame, to the countless other examples of the French expression of faith through architecture. I must admit to
surprise at this overwhelming reaction on my part to Matisse's talent as an architect and designer. Winding up the mountains to this remote convent, my
mind questioned the

Gabriel Faure Research Paper
Zachary Zaret
Dr. Anglin
French Song Rep
11 May 2015
Gabriel FaurГ©: Program Notes
"For me, art, and especially music, exist to elevate us as far as possible above everyday existence." – FaurГ©
Gabriel FaurГ© (May 12, 1845 – November 4, 1924) majorly influenced modern French music with his tender and gracious style. FaurГ©'s proficient
music abilities were apparent at a very young age. When his Swiss teacher Louis Niedermeyer first heard young Gabriel, he instantly welcomed him as
a new student. FaurГ© also studied piano with Camille Saint–SaГ«ns, where he adopted musical styles of both Franz Liszt and Richard Wagner. He
was employed as a church organist at The Church of La Madeline in Paris, alongside being appointed professor of composition ... Show more content
on Helpwriting.net ...
FaurГ© was wise to employ the works of Pudhomme. Later in his career, he was the first to win a Nobel Prize for his poetry. Through text painting,
FaurГ© is able to capture this repetitive movement. The pianist hands, rock to and fro playing contrasting rhythms. This tension moving side to side
suggests the Sailors conflict between being out at work and their lives at home. The piece then continues to move to exemplify the rolling waves of
the sea, rocking the cradles of the children left at home; then of the sadness of the spouses the sailors must leave on land to make a

Henri Matisse Essay
Henri Matisse
Henri Matisse was born December 31st, 1869 to two storeowners, Emile and Heloise Matisse. His father wanted him to be a lawyer, so later on in
life he could takeover the family business. They sent him to Henri Martin Grammar School where he studied to be a lawyer. There was a hint of artist in
Henri because while working as a lawyer's assistant he took up a drawing course (Essers 7). It was for curtain design but it seemed to be destiny for
a lawyer's assistant to take up such a distant hobby as drawing. At the age of 21, his intestinal operation led to appendicitis. Henri was on bed rest for
most of 1890 and to help him occupy his time, his mother bought him a set of paints. That was the turning point in ... Show more content on
Helpwriting.net ...
Matisse then began studying at a school started by a fellow artist and friend Camillo because he was not confident enough in his ability to be an
independent artist. In 1903, Matisse started accepting harshful commissions that took a toll on him. He became so sick that he though to give up
painting. This is when he produced Studio under the Eaves. Matisse told his son, "That was the transition from valeurs to colors" (Essers 12). The
next year he read Paul Signac's "From Delacroix to Neo–Impressionism". Matisse began to move further away from the techniques and style of
Impressionism. The famous summer of 1905 was spent in Collioure with Derain and Maurice de Vlaminck. This summer marked the most important
turning point in Matisse's art career. During the summer, they experimented with the pointillism techniques of Seurat, but towards the end of the
summer, the three artists had moved in a very different direction. The paintings produced in Collioure rejected Impression and began a new movement.
They exhibited their works in the Salon d'Automne, which they also founded in 1903. The paintings, View of Collioure and Le Bonheur de Vivre
received loud criticism from nearly everyone who had seen them. Louis Vauxcelles, gave them the name the "Fauves" (Flam 79). They were nicknamed
the "wild beasts" because of their use and experimentation with bright, unnatural colors. Their grass was not green, but

Color Analysis And Research Of Artwork Abroad
Color Analysis and Research of Artwork Abroad The painting I chose to analyze was Azalea Garden by Patrick Heron. Heron was born in 1920 in
Leeds (near West Yorkshire). His beginnings in art started at a young age creating textiles with his father and then started being influenced by Post
–
Impressionist artist Paul Cezanne whose works he saw in London's National Gallery. Post– Impressionists were focused on emotions and the deeper
meanings in life and how it translates to the canvas. In addition to, Cezanne he was deeply influenced by the works of Georges Braque, and Henri
Matisse. George Braque helped developed Cubism; while Matisse was engaged in the Fauvist movement which both influence can be seen in his
earlier works. Herons first official painting was Piano created in 1943, which was said to have inspiration by the artists mentioned above but as he
moved more towards Abstraction gained influence from Mark Rotcho. In around 1956 Heron fully indulged himself into the Abstract Expressionist
style experimenting with bright colors and geometric forms. As his career continued to grow he started being referred to as, " The greatest English
Master of colour theory in painting." Abstract Expressionist painter Jackson Pollock is also recognized for his use of color and how it related to the
canvas. In the Azalea Garden painting you can see a direct influence that Heron had from Pollock pieces. Pollock's paintings such as Full Fathom Five
and White Cathedral lends to the

Who Is Vincent Van Gogh's The Courtesan Гўв‚¬вЂњ An Image Of...
zia (ARTH 110–01 – Dr. Baluyut), December 6th, 2016.
Van Gogh's 'The Courtesan' – An Image of Utopia
Beginning in the 1870s and extending into the 1900s, two major styles of art became prevalent in the country of France; Impressionism and
Post–Impressionism. Impressionism resulted from the feelings of chaos and instability from a major increase in population, showing scenes in a sketch
like manner through a portrayal of senses. By the mid 1880s, Post–Impressionism emerged, causing a return from the spontaneity that was missing
traditional elements and explored expressing emotion while still using formal elements. Vincent Van Goghused the Post–Impressionist influence of
Japonisme, the Japanese aesthetic associated with the new useage of ... Show more content on Helpwriting.net ...
The main subject, the woman, was essentially copied and enlarged from a woodblock print by Keisai Eisen featured on the cover of a popular
magazine in France from May 1886. Though the background of the garden scene does demonstrate some use of perspective, the main central image of
the Japanese woman remains very flat and one dimensional, a technique typical in wood–block prints. The dark outlines on a majority of the
environment is reminiscent of methods used to produce a Japanese print. He used many Japanese motifs in the work, such as the bamboo, water lilies,
and the boat in the landscape portion of the painting, paying homage to the culture Van Gogh was borrowing so heavily from by utilizing well known
symbols of the

Interior With A Screen Vs Blue Nano
The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. Naturally, with such
an impressively expansive history, avenues of art are visited time and time again. Artists seek not only to bring their own personal flavor and meaning
to timeless concepts, but to find ways to reinvent them. While not all creators can make such a great impact in art, their efforts give birth to some truly
magnificent works. In an effort to create an understanding, as well an appreciation, of the nuances and design choices employed in these attempts, a
comparison will be made between Edouard Vuillard's Interior With a Screen (1909–1910) and Henri Matisse's Blue Nude (Souvenir of Biskra) (1907).
... Show more content on Helpwriting.net ...
In terms of color Interior With a Screen is a somewhat brighter and more "pleasant" piece, while Blue Nude (Souvenir of Biskra)'s colors offer a
harsh contrast between light and dark. Vuillard's piece tends to drift more towards the traditional female nude composition; the woman in the
painting is has a more typical feminine form and her pose is at least vaguely natural. Vuillard does deviate through the abbreviated look of the
woman; the distorted appearance eliminates some of the more voyeuristic aspects of the subject matter. Matisse's painting goes for a far more
distorted, even somewhat grotesque image. The bizarre pose, harsh angles, and unnatural proportions make the subject rather hard on one's eyes.
This piece seems to go in the opposite direction of the traditional nude. The way the figures interact with the setting is also vastly different.
Vuillard's subject almost seems to blend with the room, which seems as important to the piece as the woman, while Matisse's subject clashes harshly
with the setting and nearly overwhelms it. Overall, Vuillard seems to go for a more aesthetically pleasing yet vaguely defined composition, while
Matisse attempts a twisted and hardened take on the subject. Two artworks so similar in subject, yet incredibly different in design. The art world
holds many familiar images with many different takes and twists on them. Vuillard and Matisse are just two of countless great artists that have graced
the world with theirs'. Pieces like Interior With a Screen and Blue Nude (Souvenir of Biskra) are prime examples of what a little ingenuity can create.
Talent and creativity like this can only improve the art as a

Effect Of Postimpressionists On The Next Generation Essay
Postimpressionism
Postimpressionism was a movement in late–19th–century French painting that emphasized the artist's personal response to a subject.
Postimpressionism takes its name from an art movement that immediately preceded it: Impressionism. But whereas impressionist painters concentrated
on the depiction of a subject's immediate appearance, postimpressionists focused on emotional or spiritual meanings that the subject might convey.
Although impressionist artists interpreted what they saw, their approach nevertheless remained rooted in observation of the natural world.
Postimpressionists conveyed their personal responses to the world around them through the use of strong, unnatural colors and exaggeration or slight
distortion of ... Show more content on Helpwriting.net ...
The unnaturally blocky forms of the bathers' bodies conform to the angularity of the trees that frame them. To unify different parts of the composition,
he used shades of green, brown, and blue interchangeably in the depiction of sky, earth, flesh, and foliage. The unfinished quality of CГ©zanne's
paintings and his choppy, unblended brushstrokes convey the immediacy of his personal experience. His technique appealed strongly to other
postimpressionists seeking ways to evoke emotional responses in viewers.
Seurat and van Gogh also drew their subjects from the world around them; Seurat concentrated primarily on the urban life of Paris, while van Gogh
focused on rural scenes. The symbolist movement, a literary movement that stressed the expression of the artist's inner vision as the purpose of art,
influenced both artists, along with Van Gogh's friend Paul Gauguin.
While in Paris in 1886, Vincent van Gogh experimented briefly with neoimpressionism, but found its techniques too restrictive. Instead, he used
broader brush strokes and incorporated large zones of single colors into his compositions. A former preacher, van Gogh gave his paintings a spiritual
charge through technique, subject matter, and color. The thick, energetic brushstrokes in Crows in the Wheatfields (1890), which he painted just two
and a half weeks before his suicide, suggest turbulence. Dark birds hover in a brilliant blue sky

Analysis Of Oil Painting : Tiger In A Tropical Storm
Surprised!, also known as Tiger in a Tropical Storm, is an oil painting that was produced in 1891 by a post impressionist painter. The painter was
well known as Henri Rousseau, whom created all his pieces in Paris, France. Surprised! was the first of the jungle themed paintings, and this is
relevant to all of Rousseau's pieces because many of his paintings took place in the jungle ("Henri Rousseau Paintings, Biography, Quotes"). Surprised!
features objects and details that will carry through to his later works ("Henri Rousseau Paintings"). As mentioned before, Henri Rousseau painted many
jungle themed pieces. Rousseau worked to portray contemporaries between the home life and wildlife. Although Henri never travelled outside of
France, the jungle theme expressed in his paintings came from experience through common visits to the city's natural history museums and Paris zoos
(Henri Rousseau Paintings). Henri Rousseau painted with such detail, symbolism, and colors, as well as making an everlasting impression on the
post–impressionist movement, modern art, and artists of that period. Henri Rousseau employs many different colors, textures, and shades within the
painting called Surprised!. The focus of the painting is the tiger in the crouched position ready to pounce on the prey, which is not depicted in the
painting, but is interpreted that it is just off to the right of the canvas ("Henri Rousseau Paintings"). The tiger has been lurking in the grass while the
rain, swaying

Modernized Art Forms and Styles Essay examples
The beginning of the 20th–century ushered in a new era of Technology: Automobiles, Trains, Airplanes and the Telegraph, changed the way we
perceived and interpreted the world. This new modern era, as it would later be called, had a profound impact on the Arts and Architecture. Gone was
the old romanticism and symbolism that had dominated the 19th–entury earlier. Instead, Artists around the world started to incorporate the emerging
geometrics of technology into their art. Cubism, Futurism, Fauvism, Nonobjective art, and the International Style are all examples of art forms and
styles that adapted the abstract geometrics that technology offered. Cubism is an art form movement that helped shape early 20th century art and the
Modernist ... Show more content on Helpwriting.net ...
Picasso also influenced sculpture with his assemblages "artworks that where built up, or pieced together, from miscellaneous or commonplace
materials". (Fiero, p.10) Picasso and Braque vision to break with the routine and convey abstraction using geometrics would have profound influences
on art movements around the world. One such movement that was influenced by Cubism's use of geometrics was Futurism. Its founder, Filippo
Tommaso Marinetti "called for a style that linked contemporary expression to industry, technology, and urban life." (Fiero, p.11) Marinetti was
captivated by early 20th century technology: the speed of the car, the airplane and the emerging industrial city. In 1909 in a series of manifestos, he
fiercely prompted the contemporary concepts of the future to be included in all the arts. Key figures in this movement include the Italian sculptures
Umberto Boccioni. "His near life bronze sculpture captures the sensation of motion as it pushes forward like an automated robot" (Fiero.p11) Even
what we now take for granted "the street light" was something to awe in the early 20th century as evident by the work of Giacomo Balla whose
painting the Street Light according to author Fiero recalls "Balla wittily claimed that this painting, in which electric light

The Art Of Paul Cezanne
Introduction Henri Matisse and Pablo Picasso were both profoundly influenced by the art of Paul CГ©zanne, somewhat ironically since the latter is
reported to have been quite uncertain of his artistic contributions and anxious about his legacies (Merleau–Ponty, 1945). Picasso described CГ©zanne
as "my one and only master" ; while Matisse noted that "it is undoubtedly to CГ©zanne that I owe the most" . The Large Bathers was one of two
final paintings produced by CГ©zanne in 1906, the year of his death. At this stage Matisse had acquired a reputation as an upcoming artistic leader
via an exhibition in 1905 (Bio, n.d. #1); while Picasso was a 25 year old prodigy who had already secured lucrative patronage (Bio, n.d. #2). The three
paintings of interest must be considered in the context of their artists' evolution. To examine the relationship between the three paintings, I will first
briefly summarise the artistic trends of the day to provide context, then examine The Large Bathers. I will then compare and contrast Matisse's Bonheur
de Vivre and Picasso's Les Demoiselles d'Avignon, both with The Large Bathers and with each other. Europe, 1906 The turn of a century brings with it
opportunities for reflection about the old and wonder about the new – along with both excitement and trepidation. At the entry to the twentieth century,
social and technological change were continuing at historically unprecedented pace. The signs and pressures of development were all around and
Europe was

Andre Derain London Bridge Essay examples
Cheryl Alberti
Art Appreciation – Midterm
September 5th, 2010
"Andre Derain, London Bridge"
Visual Elements
Line – I believe implied lines were used in this painting. Some edges are clear with a defined start and finish. The line weight varies. The lines also
vary in width and length. Mostly straight lines with a few curves.
Shape – The shapes range from rectangles, arches, and squares, to blurs that appear to be buildings in the far back corner.
Mass – I believe the mass is actual. The Bridge itself is the bulk of the artwork, its mass size stretches across the painting.
Space – Space is created by the placement of the bridge and the buildings in the background. 1. Two Dimensional – The water and the boats appear to ...
Motion can be possible with the fact that the boat appears to be going into the tunnel and the water appears to have movement.1. Implying Motion –
Derain chose to use brushstrokes that would imply that the water was moving making motion appear possible. 2. Actual Motion –
Light– Discrimination between light and dark.
1. Seeing light – Light appears to be reflecting in the water and in the skies horizon. The waters value is of a lighter choice of colors where as the
tunnels and the buildings depths are darker. 2. Implied Light – Chiaroscuro is used for the tunnels and the buildings to show depth. The water
definitely has strong value contrasts where as the buildings in the back going into the distance have minimal contrasts. 3. Light as a Medium – The
pigments used carry the medium in the painting.
Color – Color is definitely an important fact in this piece. This particular artist developed Fauvism along with Henri Matisse. Using bold colors and
exaggerating color in their art. Derain was known as a Les Fauves painter. Les Fauves believed that color should be used to express the artists feelings
about a subject, rather than simply describe what it looks like. This painting has two main characteristics a simplified drawing with exaggerated color.
Texture – The texture used in the London Bridge creates the feeling of the art. The texture used is implied.

Essay on The Artwork of Henry Matisse
Matisse once said, "A good art work should be like an arm chair in which you could relax at the end of the day". This statement of Matisse's
indicates that artist's artwork should be an art of balance, of purity and tranquillity devoid of troubling or depressing subject matter. An art which is
created for everyone in society and that is like a pacifying influence, something like a good arm chair in which you could rest from physical fatigue.
Moreover, his paintings are about imagination, dreams and about the nature itself. Matisse's Fauvist paintings "Large Red interior" and "Open Window
Collioure" are great examples of Matisse's attitude and response to the world around him. The artworks reflect the theories of Fauvists, revealing...
The division of the canvas into patches of pure unmixed, warm and strident colour positioned in powerful contrasts with each other, translating the
emotions of Matisse. This creates a balance in the artwork by applying equilibrium of colours on both of the sides of the canvas. Primitively, this
was the way of Fauvists expressing their emotions, through the use of vibrant colours and compositions. In this way we can see that Matisse
artwork is an art of balance which avoids the depressing subject matter. Henri Matisse further explores the Fauvists ideas in his art work, through
the use of the lines and shapes. The lines and shapes play a significant role in the work and the lines work together to establish balance. The balance
of lines and shapes is achieved through the geometric and organic shapes. The painting 'Open window, Collioure' is typically simplified into shapes
and forms whose details are conveyed by untouched brush strokes of roughly the same size. This creates an overall harmony that is unexpected in a
composition of such incompatible and dramatic complementary colours. Furthermore, the key to his success in using such intense colours was the
realization that he had to simplify his drawing. Matisse was aware that if he intensified the colours for the expressive effect, it would be necessary to
reduce the amount of detail used in drawing shapes and lines of the objects. Moreover, by applying the same type of

Andr Lee Derain Research Paper

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Andr Lee Derain Research Paper