The document discusses the author's love of art and painting. It shares a quote from an artist's letter to his son about putting one's soul into their work to find others who understand them. The document also mentions that the love of art cannot be taught, but rather caught or spread to others.
THE ART OF PISSARRO (Part 2) surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
Rene Magritte was a Belgian surrealist artist born in 1898. He began taking art classes in 1910 and exhibited his first paintings in 1920. Some key events in his life included his mother killing herself in 1912, marrying Georgette Berger in 1922 who became his muse, and deciding to devote himself fully to painting in 1926. He is known as a pioneer of surrealism, creating hundreds of mysterious paintings until his death from pancreatic cancer in 1967 at age 68.
The document provides instructions for a one-point perspective drawing assignment. Students are asked to choose an inspirational word and draw it in block letters using one-point perspective with a horizon line and vanishing point. The document also provides background information on Vincent Van Gogh including his life and the Expressionist style he pioneered using color and brushstrokes to convey emotion. Students are then asked to complete a one-point perspective drawing copying Van Gogh's Bedroom in Arles and imitating his Expressionist technique and use of color.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Mark Rothko created abstract paintings that he hoped could be displayed in dim lighting to immerse viewers and induce meditation. While many galleries could not meet his lighting conditions, they established Rothko Rooms to surround audiences in his work and elicit pure, strong emotions. Rothko aimed to visually evoke basic human feelings like tragedy and ecstasy through color, rather than be intellectually understood, as some viewers have cried in front of his pieces.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
This document discusses various types of art including painting styles like pop art, realism, cubism, and surrealism. It asks the reader to identify different types of paintings like abstract, landscape, sculpture, self-portrait, still-life, and portrait. It provides words to complete sentences about painting qualities like mood, style, relevance, and use of color. It encourages speculating about meanings and stories behind paintings. Finally, it prompts discussion around considering graffiti and other expressions as art forms.
THE ART OF PISSARRO (Part 2) surveys the long and productive life and paintings of JACOB CAMILLE PISSARRO. He was called the “Father of Impressionism” for his knowledge and support of those artists. He explored many subjects and a variety of aesthetic approaches in his paintings. He always glorified the landscapes and the people in his works. He said he saw “Beauty in spots where others see nothing.” (1893)
Rene Magritte was a Belgian surrealist artist born in 1898. He began taking art classes in 1910 and exhibited his first paintings in 1920. Some key events in his life included his mother killing herself in 1912, marrying Georgette Berger in 1922 who became his muse, and deciding to devote himself fully to painting in 1926. He is known as a pioneer of surrealism, creating hundreds of mysterious paintings until his death from pancreatic cancer in 1967 at age 68.
The document provides instructions for a one-point perspective drawing assignment. Students are asked to choose an inspirational word and draw it in block letters using one-point perspective with a horizon line and vanishing point. The document also provides background information on Vincent Van Gogh including his life and the Expressionist style he pioneered using color and brushstrokes to convey emotion. Students are then asked to complete a one-point perspective drawing copying Van Gogh's Bedroom in Arles and imitating his Expressionist technique and use of color.
Pantomine is an online magazine focused on color, graphic design, art, and fashion. The magazine divides its content by color and its mission is to showcase visual beauty through color. It believes in using color and art to appeal to the soul in both a rational and irrational way.
This document discusses different forms of art including visual arts, film, performance art, poetry performance, architecture, dance, literary art, theater, and applied arts. It provides descriptions of each art form, noting that visual arts appeal to sight and include mediums like painting and sculpture. Film is described as using sequences of still images to create the illusion of movement. Performance art uses the human body as a medium. Architecture creates beautiful buildings through structure, lines, and forms. Dance follows rhythmic music through movement. Literary art uses words to express emotions. Theater presents imaginary events with live performers. Applied arts increase the aesthetic value of everyday items.
Mark Rothko created abstract paintings that he hoped could be displayed in dim lighting to immerse viewers and induce meditation. While many galleries could not meet his lighting conditions, they established Rothko Rooms to surround audiences in his work and elicit pure, strong emotions. Rothko aimed to visually evoke basic human feelings like tragedy and ecstasy through color, rather than be intellectually understood, as some viewers have cried in front of his pieces.
Moon Rahman is a freelance artist from Bangladesh who paints her thoughts and inner fears onto canvas. She was unaware of her artistic talents until 2004 when she began experimenting with leftover paints while her husband was away. Her works depict biomorphic forms and everyday objects composed in a way that evokes hidden violence and fear. Living in Dhaka exposed her to many unknown faces and facts that may have influenced her disturbing aesthetic. Though largely self-taught, her pieces possess a quality that engages contemporary viewers in a spiritual dialogue about humanity's unsettling fears within the universe.
This document discusses various types of art including painting styles like pop art, realism, cubism, and surrealism. It asks the reader to identify different types of paintings like abstract, landscape, sculpture, self-portrait, still-life, and portrait. It provides words to complete sentences about painting qualities like mood, style, relevance, and use of color. It encourages speculating about meanings and stories behind paintings. Finally, it prompts discussion around considering graffiti and other expressions as art forms.
This document discusses how artists use color and light to convey emotion and set moods. It provides examples of artists like Rembrandt, Monet, and Sargent who mastered using contrasts of light and dark or warm and cool colors. The document also explains how monochromatic color schemes can enhance particular moods and how backlighting, moonlight, or glow effects can make paintings more evocative. Finally, it discusses color theory and using chromatic scales with lighter, brighter, and warmer colors in the light areas to enhance the illusion of light in a painting.
Sarolta Ban was born in 1982 in Budapest, Hungary. She started as a jewelry designer but later discovered her passion for digital photo manipulation, which became her main artistic focus. In her photos, she combines ordinary elements to give them new stories and meanings. The interpretations of her pictures are open-ended, allowing each viewer to find their own personal aspects within them.
The document discusses French and Czech Surrealism. It describes Surrealism as a cultural movement originating in France that aimed to liberate the mind through techniques like automatic drawing. Key French Surrealists included Andre Breton, Max Ernst, and Salvador Dali. Czech Surrealism began in the 1930s with figures like Karel Teige and Vítězslav Nezval who were influenced by trips to Paris to meet French Surrealists like Breton. The movement in Czechoslovakia was expressed through art, literature and magazines like Devětsil. There is no consensus on when exactly Surrealism ended as a movement.
Sabir Tahir oglu Hajiyev and Svetlana Hajiyev are married artists who graduated from the Academy of Arts Repin in St. Petersburg in 1993 with degrees in architecture and specializing in painting and art. They create paintings that contain elements of irony and are not depictions of real people or events. Many of their paintings feature a mysterious woman dressed in blue.
Surrealism emerged after World War 1 from Dadaism, Romanticism, and psychoanalysis. [1] It focuses on using dreamlike imagery and the unconscious mind to create bizarre, thought-provoking art. [2] Key figures like Andre Breton, Salvador Dali, and Rene Magritte used techniques like automatism to challenge rational thought. [3] Surrealism had a major influence on art and culture through its emphasis on intuition and challenging social norms.
Gazmend Freitag is a contemporary Albanian painter born in 1968 in Kosovo who currently lives and works in Linz, Austria. Even as a child he showed talent for drawing. As an artist, Gazmend is known for his figurative works created with emotion and emphasis on portraits, particularly on fabrics. His compositions are influenced by his observations of surroundings and follow a romantic style. Some of his notable works include Die Junge Nadege from 2012, Der Kuss from 2013, Keti from 2013, and Sonjuschkas Tanz from 2015.
Sergei Isupov's artwork "The History of Lovers" depicts a strange folk narrative character through a unique ceramic sculpture that leaves the story and message ambiguous. Isupov draws inspiration from human diversity and sees his works as created by people rather than himself. The artwork aims to engage viewers in thinking about the story and meaning. Isupov's sculptures have robust, racially distinct facial features representing universal experiences and elaborate designs on the bottom speaking to identity, sexuality, and relationships.
Rembrandt Harmensz van Rijn, History of his Life Brighton Smith
Rembrandt was born in 1606 in Leiden, Holland to a miller named Harmen Gerritsz van Rijn and Neeltgen van Rijn. He studied art under Jacob Isaacsz van Swanenburgh for three years and later Pieter Lastman. Rembrandt's wife Saskia van Uylenburgh and three of their four sons died in the same year, and he later became bankrupt and had his estate confiscated. Rembrandt influenced many later artists and died in 1669, buried in a rented grave in Amsterdam.
Symbolism refers to the use of symbols or images to represent abstract ideas or concepts. The Symbolist movement emerged in France in the late 19th century as artists and writers rejected Realism in favor of more subjective and ambiguous works that drew from emotions, dreams, and the spiritual psyche. Symbolists believed that art should represent absolute truths indirectly through metaphor and symbolism. Some precursors to Symbolism include Romanticism and works like Baudelaire's Les Fleurs du Mal, which developed an aesthetic of using symbols.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
0873103 Art as a Form of Human Expressionmprimrose
My presentation is going to be about art as a form of human expression; The purpose of works of art may be to communicate ideas through the politically-, spiritually-, or philosophically-motivated art.
creative industries 1: 12 expressionism and cubismElisa Raho
The document discusses the Expressionist movement in art, which originated in Germany and Austria between 1905-1918. Expressionism aimed to depict subjective emotions and reactions to the world rather than objective reality through distorted forms, arbitrary colors, and jarring compositions. Notable Expressionist artist Edvard Munch used vivid colors and thick brushstrokes to convey intense emotions related to anxiety, pain, and love. Expressionism also influenced film, architecture, and other artists who sought to strongly impose the artist's own perspective through techniques like asymmetrical angles and contrasts of light and dark.
Mariusz Lewandowski is a Polish artist born in 1960 who lives in northern Poland and takes inspiration from his own mind as well as music and the unexplained. His mysterious painting depicts hazy mountains in the light of a full moon and wandering people who seem unsure of their direction, painted in dark colors. Lewandowski creates other works in addition to this mysterious piece.
Expressionism was a modernist movement originating in Germany in the early 20th century. Expressionist artists sought to express emotions and ideas rather than physical reality by distorting the world from a subjective perspective. Key expressionist artists included Paul Klee and Marc Chagall. Paul Klee was influenced by expressionism, cubism, and surrealism and worked in many media. Marc Chagall was a Russian-French artist known for his vibrant colors and use of stained glass windows to express intense colors changing with light and perspective. Both artists expressed inner experiences through distorted forms and perspectives.
This document provides an overview of various art styles and techniques. It discusses nonrepresentational art styles like Cubism, Fauvism, Surrealism, Pointillism, Realism, and Impressionism. It also covers Pop Art, Expressionism, and techniques used in art like drawing, painting, printing/printmaking, mosaics, and collages. Key artists mentioned include Pablo Picasso, Vincent Van Gogh, Andy Warhol, and Roy Lichtenstein. The document aims to inform the reader about departures from realistic depiction in art and the use of techniques, shapes, colors, and juxtapositions to achieve different artistic goals.
Susan Herbert is an artist born in 1945 who did not receive formal artistic training but was inspired by cats in her work. She had various part-time jobs before her career as an artist, including working at the box office for the Royal Shakespeare Company, and used her spare time to draw and paint, especially cats. Cats have been featured in art for centuries and Susan Herbert is one of the most famous modern artists known for her cat-inspired paintings.
Expressionism emerged in early 20th century Germany and Austria as an avant-garde art movement. Expressionist artists sought to depict subjective emotions and inner experiences rather than objective reality through vivid colors, exaggerated forms, and jarring compositions. Major expressionist groups included Die Brücke and Der Blaue Reiter, whose works explored feelings of anxiety and turmoil through distorted figures and scenes. Prominent expressionist artists like Munch, Dix, and Beckmann used expressive styles to convey intense personal emotions and criticisms of modern society.
Chetan Bhavsar is a civil engineer whose hobby is painting and sketches. While not a professional artist, his sketches are very natural and he is inspired by M.F. Husain. He creates sketches using various materials like inkpen, watercolor, oilpaint, and pencils depicting people, animals, women, and trees. Some of his paintings and sketches have received recognition on international artistic platforms. In the future, he hopes to work with mixed media as a new material for digital painting and do painting work using his mobile phone on weekends and free time.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document discusses how artists use color and light to convey emotion and set moods. It provides examples of artists like Rembrandt, Monet, and Sargent who mastered using contrasts of light and dark or warm and cool colors. The document also explains how monochromatic color schemes can enhance particular moods and how backlighting, moonlight, or glow effects can make paintings more evocative. Finally, it discusses color theory and using chromatic scales with lighter, brighter, and warmer colors in the light areas to enhance the illusion of light in a painting.
Sarolta Ban was born in 1982 in Budapest, Hungary. She started as a jewelry designer but later discovered her passion for digital photo manipulation, which became her main artistic focus. In her photos, she combines ordinary elements to give them new stories and meanings. The interpretations of her pictures are open-ended, allowing each viewer to find their own personal aspects within them.
The document discusses French and Czech Surrealism. It describes Surrealism as a cultural movement originating in France that aimed to liberate the mind through techniques like automatic drawing. Key French Surrealists included Andre Breton, Max Ernst, and Salvador Dali. Czech Surrealism began in the 1930s with figures like Karel Teige and Vítězslav Nezval who were influenced by trips to Paris to meet French Surrealists like Breton. The movement in Czechoslovakia was expressed through art, literature and magazines like Devětsil. There is no consensus on when exactly Surrealism ended as a movement.
Sabir Tahir oglu Hajiyev and Svetlana Hajiyev are married artists who graduated from the Academy of Arts Repin in St. Petersburg in 1993 with degrees in architecture and specializing in painting and art. They create paintings that contain elements of irony and are not depictions of real people or events. Many of their paintings feature a mysterious woman dressed in blue.
Surrealism emerged after World War 1 from Dadaism, Romanticism, and psychoanalysis. [1] It focuses on using dreamlike imagery and the unconscious mind to create bizarre, thought-provoking art. [2] Key figures like Andre Breton, Salvador Dali, and Rene Magritte used techniques like automatism to challenge rational thought. [3] Surrealism had a major influence on art and culture through its emphasis on intuition and challenging social norms.
Gazmend Freitag is a contemporary Albanian painter born in 1968 in Kosovo who currently lives and works in Linz, Austria. Even as a child he showed talent for drawing. As an artist, Gazmend is known for his figurative works created with emotion and emphasis on portraits, particularly on fabrics. His compositions are influenced by his observations of surroundings and follow a romantic style. Some of his notable works include Die Junge Nadege from 2012, Der Kuss from 2013, Keti from 2013, and Sonjuschkas Tanz from 2015.
Sergei Isupov's artwork "The History of Lovers" depicts a strange folk narrative character through a unique ceramic sculpture that leaves the story and message ambiguous. Isupov draws inspiration from human diversity and sees his works as created by people rather than himself. The artwork aims to engage viewers in thinking about the story and meaning. Isupov's sculptures have robust, racially distinct facial features representing universal experiences and elaborate designs on the bottom speaking to identity, sexuality, and relationships.
Rembrandt Harmensz van Rijn, History of his Life Brighton Smith
Rembrandt was born in 1606 in Leiden, Holland to a miller named Harmen Gerritsz van Rijn and Neeltgen van Rijn. He studied art under Jacob Isaacsz van Swanenburgh for three years and later Pieter Lastman. Rembrandt's wife Saskia van Uylenburgh and three of their four sons died in the same year, and he later became bankrupt and had his estate confiscated. Rembrandt influenced many later artists and died in 1669, buried in a rented grave in Amsterdam.
Symbolism refers to the use of symbols or images to represent abstract ideas or concepts. The Symbolist movement emerged in France in the late 19th century as artists and writers rejected Realism in favor of more subjective and ambiguous works that drew from emotions, dreams, and the spiritual psyche. Symbolists believed that art should represent absolute truths indirectly through metaphor and symbolism. Some precursors to Symbolism include Romanticism and works like Baudelaire's Les Fleurs du Mal, which developed an aesthetic of using symbols.
1. The document discusses different forms of art including paintings, sculpture, architecture, and music. It provides quotes and information about various famous artists like Da Vinci, Van Gogh, Michelangelo, Beethoven, and others.
2. The quotes discuss themes like art elevating the human mind, the power of art to shake people into new ways of seeing, creativity arising from limitations, and music bypassing rationality.
3. Architecture is discussed as being frozen music that people walk through and that influences activities. Different famous architectural works are also mentioned like St. Catherine's Palace, Park Güell, and the Colosseum.
0873103 Art as a Form of Human Expressionmprimrose
My presentation is going to be about art as a form of human expression; The purpose of works of art may be to communicate ideas through the politically-, spiritually-, or philosophically-motivated art.
creative industries 1: 12 expressionism and cubismElisa Raho
The document discusses the Expressionist movement in art, which originated in Germany and Austria between 1905-1918. Expressionism aimed to depict subjective emotions and reactions to the world rather than objective reality through distorted forms, arbitrary colors, and jarring compositions. Notable Expressionist artist Edvard Munch used vivid colors and thick brushstrokes to convey intense emotions related to anxiety, pain, and love. Expressionism also influenced film, architecture, and other artists who sought to strongly impose the artist's own perspective through techniques like asymmetrical angles and contrasts of light and dark.
Mariusz Lewandowski is a Polish artist born in 1960 who lives in northern Poland and takes inspiration from his own mind as well as music and the unexplained. His mysterious painting depicts hazy mountains in the light of a full moon and wandering people who seem unsure of their direction, painted in dark colors. Lewandowski creates other works in addition to this mysterious piece.
Expressionism was a modernist movement originating in Germany in the early 20th century. Expressionist artists sought to express emotions and ideas rather than physical reality by distorting the world from a subjective perspective. Key expressionist artists included Paul Klee and Marc Chagall. Paul Klee was influenced by expressionism, cubism, and surrealism and worked in many media. Marc Chagall was a Russian-French artist known for his vibrant colors and use of stained glass windows to express intense colors changing with light and perspective. Both artists expressed inner experiences through distorted forms and perspectives.
This document provides an overview of various art styles and techniques. It discusses nonrepresentational art styles like Cubism, Fauvism, Surrealism, Pointillism, Realism, and Impressionism. It also covers Pop Art, Expressionism, and techniques used in art like drawing, painting, printing/printmaking, mosaics, and collages. Key artists mentioned include Pablo Picasso, Vincent Van Gogh, Andy Warhol, and Roy Lichtenstein. The document aims to inform the reader about departures from realistic depiction in art and the use of techniques, shapes, colors, and juxtapositions to achieve different artistic goals.
Susan Herbert is an artist born in 1945 who did not receive formal artistic training but was inspired by cats in her work. She had various part-time jobs before her career as an artist, including working at the box office for the Royal Shakespeare Company, and used her spare time to draw and paint, especially cats. Cats have been featured in art for centuries and Susan Herbert is one of the most famous modern artists known for her cat-inspired paintings.
Expressionism emerged in early 20th century Germany and Austria as an avant-garde art movement. Expressionist artists sought to depict subjective emotions and inner experiences rather than objective reality through vivid colors, exaggerated forms, and jarring compositions. Major expressionist groups included Die Brücke and Der Blaue Reiter, whose works explored feelings of anxiety and turmoil through distorted figures and scenes. Prominent expressionist artists like Munch, Dix, and Beckmann used expressive styles to convey intense personal emotions and criticisms of modern society.
Chetan Bhavsar is a civil engineer whose hobby is painting and sketches. While not a professional artist, his sketches are very natural and he is inspired by M.F. Husain. He creates sketches using various materials like inkpen, watercolor, oilpaint, and pencils depicting people, animals, women, and trees. Some of his paintings and sketches have received recognition on international artistic platforms. In the future, he hopes to work with mixed media as a new material for digital painting and do painting work using his mobile phone on weekends and free time.
THE ART OF CHAGALL (Part 1)
THE ART OF CHAGALL is a survey of the early life and art of this quintessential Jewish artist. From his birth in Vitebsk, an East European village (shtetl), he goes to St. Petersburg to study art and then to Paris. There he encounters the avant-garde aesthetics of Modernism. It has a powerful impact upon him and his future development. The beginnings of an exciting life!
The document discusses the idea that love of art cannot be taught, but can only be awakened within individuals through exposure to great works of art and artists. While some are naturally more receptive to art than others, regularly viewing and experiencing beautiful creations can inspire an appreciation and passion for art within most people.
The passage describes the ritual observance of the Passover feast as commanded by God to the Israelites before their exodus from Egypt. It details how they were to select an unblemished lamb on the 10th day of the month and slaughter it at twilight on the 14th day. They were to smear its blood on their doorposts and eat the meat that night while dressed for travel. This was to serve as a memorial meal commemorating God delivering them from bondage in Egypt when he struck down the firstborn of Egypt but passed over Israelite houses with lamb's blood on their doors.
This document provides an overview of the Jewish holiday of Purim, as told through the story in the Book of Esther. It discusses the historical context of the story, summarizes the key events, and explores how Purim is celebrated through traditional customs like reading the Scroll of Esther, wearing costumes, giving gifts to the poor, and enacting parodies of the story. The document also includes images from historical manuscripts and artworks depicting scenes from the Book of Esther and Purim celebrations.
The document discusses the biblical origins and importance of the Sabbath. It cites Genesis 2:1-3 which describes God resting on the seventh day and blessing it. It also cites Exodus 31:16, in which the Israelites are commanded to observe the Sabbath as a perpetual covenant. The document hopes to make the art of the Sabbath contagious to the reader.
This document is part three of an article about the art of Reuven Rubin by Myrna Teck, an independent scholar. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another. The author hopes that through this article, she has helped spread and make contagious the art of Reuven Rubin to the reader.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
The document discusses the art of Reuven Rubin and how the love of art cannot be taught but rather caught from exposure to art. It hopes to make the love of Rubin's art contagious to the reader through exposure to discussing aspects of his work and life as an artist.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught by being exposed to inspiring works. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the analysis in part two of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught but rather caught or learned through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through the discussion in part two of the article.
This document is a continuation of an analysis of the art of Reuven Rubin. It discusses how the love of art cannot be taught, but rather can only be caught or spread from one person to another in a contagious manner. The author hopes to make the passion and techniques of Rubin's art contagious to the reader through their analysis.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document is part two of an article about the art of Reuven Rubin by Myrna Teck. It discusses how the love of art cannot be taught, but rather caught through exposure. The author hopes to make the passion and techniques of Rubin's art contagious to the reader in this second part of the article.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
This document appears to be part two of a book or paper on the art of Reuven Rubin written by Myrna Teck, an independent scholar. It contains page numbers but no other text content. The final pages state that the love of art cannot be taught but only caught, and the author hopes to make the topic of Rubin's art contagious to the reader.
The document provides information about the Jewish holiday of Sukkot through descriptions, images, and explanations of various symbols and rituals associated with Sukkot, including: the four species; decorations for sukkah booths such as painted scenes, papercuts, and textiles; and decorative etrog containers and boxes for holding the citron fruit used during the holiday observances.
The document discusses the art of the High Holidays including Rosh Hashanah and Yom Kippur. It lists important prayers and readings for those holidays such as Shema, Kaddish, Avinu Malkenu, Unetaneh Tokef, Kol Nidre, Akeda, and the Haftorah of Jonah. It notes that the love of art cannot be taught but rather caught, and hopes to make the art of the High Holidays contagious to the reader.
The High Holidays consist of Rosh Hashonah (Head of the Year: 9/08-9/10) and Yom Kippur (Day of Atonement: 9/17-9/10). The 10 Days between the two holidays are called “The Days of Awe.” Jewish people apologize to anyone whom they may have offended and look within inward to be accepted into the Book of Life, which closes at the end of Yom Kippur. The High Holidays are the most important Holy days in the Jewish calendar, after the Sabbath.
THE ART OF THE HIGH HOLIDAYS is a chronological and geographic overview of visual art objects, synagogues, and their symbolism related to these two observances.
LAND USE LAND COVER AND NDVI OF MIRZAPUR DISTRICT, UPRAHUL
This Dissertation explores the particular circumstances of Mirzapur, a region located in the
core of India. Mirzapur, with its varied terrains and abundant biodiversity, offers an optimal
environment for investigating the changes in vegetation cover dynamics. Our study utilizes
advanced technologies such as GIS (Geographic Information Systems) and Remote sensing to
analyze the transformations that have taken place over the course of a decade.
The complex relationship between human activities and the environment has been the focus
of extensive research and worry. As the global community grapples with swift urbanization,
population expansion, and economic progress, the effects on natural ecosystems are becoming
more evident. A crucial element of this impact is the alteration of vegetation cover, which plays a
significant role in maintaining the ecological equilibrium of our planet.Land serves as the foundation for all human activities and provides the necessary materials for
these activities. As the most crucial natural resource, its utilization by humans results in different
'Land uses,' which are determined by both human activities and the physical characteristics of the
land.
The utilization of land is impacted by human needs and environmental factors. In countries
like India, rapid population growth and the emphasis on extensive resource exploitation can lead
to significant land degradation, adversely affecting the region's land cover.
Therefore, human intervention has significantly influenced land use patterns over many
centuries, evolving its structure over time and space. In the present era, these changes have
accelerated due to factors such as agriculture and urbanization. Information regarding land use and
cover is essential for various planning and management tasks related to the Earth's surface,
providing crucial environmental data for scientific, resource management, policy purposes, and
diverse human activities.
Accurate understanding of land use and cover is imperative for the development planning
of any area. Consequently, a wide range of professionals, including earth system scientists, land
and water managers, and urban planners, are interested in obtaining data on land use and cover
changes, conversion trends, and other related patterns. The spatial dimensions of land use and
cover support policymakers and scientists in making well-informed decisions, as alterations in
these patterns indicate shifts in economic and social conditions. Monitoring such changes with the
help of Advanced technologies like Remote Sensing and Geographic Information Systems is
crucial for coordinated efforts across different administrative levels. Advanced technologies like
Remote Sensing and Geographic Information Systems
9
Changes in vegetation cover refer to variations in the distribution, composition, and overall
structure of plant communities across different temporal and spatial scales. These changes can
occur natural.
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This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
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Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
1. The Art of Part Two: PEOPLE MYRNA TECK, PH.D. INDEPENDENT SCHOLAR
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27. Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for? (Letters to his son, Lucien) November 20, 1883
28. It is said that the love of ART cannot be TAUGHT IT can only be CAUGHT!
29. So, I hope I’ve made The Art of Contagious to you today!
Editor's Notes
THE ART OF PISSARRO Pissarro, L.& Rewald, J. (Ed.) (1981). Letters to His son Lucien. Nov. 20, 1883, p. 38. In Schirrmeister, A. (1982). Camille Pissarro . NY: The Metropolitan Mus. Review: 1830: Jacob Camille Pissarro born on July 10 th in St. Thomas 1842-47: Studies in France 1855: Returns to France permanently 1859: Salon accepts one of his landscapes 1860: Becomes friendly with Ludovic Piette and with Julie Vellay 1862: Julie has a miscarriage 1863: O on February 20 th , their son Lucien is born 1864: Visits Piette in Montfoucault 1865: Daughter, Jeanne-Rachel is born 1868: Salon accepts two of his Pontoise landscapes 1870: Salon accepts two landscapes. He flees Louveciennes during Franco-Prussian War Marries Julie in London while staying at home of half-sister 1871: Sells two paintings to Paul Durand-Ruel In November, their son Georges is born 1872: Settles in Pontoise with Cezanne 1873: His paintings bring high prices at various auctions He and Monet organize independent exhibitions opposed to Salon 1874: 1 st exhibition of “Impressionists” dubbed by ironic critic In April, daughter Jeanne-Rachel (Minette) dies at age 9 In July, son Felix is born 1875: spends fall at Piette’s in Montfoucault 1876: Shows 12 works in the 2 nd Impressionist exhibition 1877: His works bring very low prices at auction Ludovic Piette dies 1878: In September, his son Ludovic-Rodolphe is born 1879: Pissarro shows 38 works in 4 th Impressionist Exhibition 1880: Sends 11 paintings and etchings to the 5 th Impressionist exhibition 1881: Participates with 11 landscapes in 6 th Impressionist Exhibition In August, his daughter Jeanne is born 1882: Sends 36 canvases and gouaches to the 7 th Impressionist Exhibition 1884: Leaves Osny for Eragny near Gisors (Eure) Their last child, Paul Emile is born Pissarro is faced with grave financial problems. 1886: Exhibits 20 ‘divisionist’ paintings in 8 th Impressionist Exhibition 1887: Durand-Ruel refuses to buy his recent, pointillist paintings Pissarro is again in financial straits Julie is so discouraged that she considers suicide 1889: Suffers from chronic eye infection 1890: Abandons divisionism Theo asks Camille to accept Vincent as a boarder Mme Pissarro objects to a SICK man among her small children Camille listens to his wife! (BIBLICAL CITATION!) 1892: Durand-Ruel organizes very successful retrospective Lucien marries Esther Bensusan, a Sephardic Jew (What are the chances of this happening? The implication is that some Jewish attitudes, beliefs, and behaviors were transmitted to his son. These are all cultural characteristics). 1897: In November, son Felix dies in England at age 23 Exhibits in Pittsburgh at the Second International Show 1901: Dies of blood poisoning from abcess of the prostate 1905: Lucien wrote to his mother: “ Don’t worry about father, HE WILL NEVER BE FORGOTTEN… .when he does come up, it will be for good . (MAY HIS MEMORY BE FOR A BLESSING!)
2. MAP Rothkopf, K. (2007). Pissarro: Creating The Impressionist landscape. Baltimore: Philip Wilson Publishers, Ltd. These are some of the sites around Paris where Pissarro painted 1855-57: moves to France 1858: Sets up studio in Paris 1863: Moves to La Varenne-saint-Hillaire,near Marne river 1866: Moves to L’Hermitage, a small hamlet in Pontoise 1869: Moves to Louveciennes, a suburb of Paris 1870: Franco-Prussian war begins 7/19. Dec.-moves to London 1871: Returns to Louveciennes; house wrecked by soldiers 1872: Moves back to Pontoise 1874: Visits Piette at Montfoucault; earliest peasant paintings 1882: Left Pontoise for Eragny and stayed until death
LA MERE LARCHEVEQUE, 1880 Rewald, J. (1963) Pissarro. NY: Abrams Pissarro examined the role and condition of peasants for many hours He accorded great dignity to their lot in life He did not dramatize or glorify He simply documented their individuality
PEASANT WOMAN, 1880/81 Rewald, J. (1963) Pissarro. NY: Abrams Oil on canvas. 28 3/4” x 23 5/8” National Gallery of Art. Washington, D.C. Chester Dale Collection 1879: Pissarro worked in Pontoise He showed 38 works in 4 th Impression Exhibition 1880: Pissarro sent 11 paintings to the 5 th Impressionist Exhibition 1881: He tried to avoid conflict between artists about 6 th Exhibition Pissarro participated with 11 landscapes He worked with Cezanne and Gauguin in Pontoise August 1881: Daughter Jeanne was born 1882: Sent 36 canvases to the 7 th Impressionist Exhibition Pissarro and his family left Pontoise finally on December 1, 1882 They initially settled in a small village called Osny They then left for Eragny Pissarro lived there until his death in 1903 1883: Durand-Ruel organized first one-man show of Pissarro Begins correspondence with Lucien in London Durand-Ruel opens Impressionists in London Pissarro was not successful
SEATED PEASANT WOMAN, 1885 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 28 1/4 x 23” (724 x 59 cm). Yale University Art Gallery. Gift of Mr. And Mrs. Paul Mellon, B.A. 1929 (PV676) Pissarro emphasized the poise and nobility in this peasant woman His organizational arrangement in this painting is powerful Her angled left elbow is repeated in the pattern of her scarf Her sense of concentration and stability is conveyed This painting was created with a strong sense of composition
THE YOUNG MAID, 1896 Rewald, J. (1963) Pissarro. NY: Abrams And Cogniat, R. (1975) Pissarro. New York: Crown publishers. Pissarro had an instinctive drive for independence It was an intuitive non-conformism It made him commit himself wholly to the causes he thought good These were both in the realm of art and in the field of politics This position made him aid whatever appeared original He was an ardent and courageous advocate of innovators He thought Impressionism could be fortified by a solid structure It had the power to transform revolutionary art into classicism Interaction plays an important role in Impressionism Pissarro was well aware of how the viewer reacted to his work Impressionism is a more ‘scientic’ approach to depicting color
WOMAN IN FRONT OF A MIRROR, 1887 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Gouache. 12 1/2 x 9 1/2” (32 x 24 cm). Private collection. United States (PV1421) Notice the arrangement of this composition Pissarro sought a more dynamic organization for static objects His approach is a stimulating alternative to symmetrical placement Regarding Neo-Impressionism, Pissarro said: o “Really Impressionism was nothing but a pure theory of observation, without losing hold of fantasy, liberty, or grandeur—in a word, of all that makes an art great.”
YOUNG FLEMISH MAID, 1896 Cogniat, R. (1975) Pissarro. New York: Crown publishers. Oil on canvas. 21 7/16 x 17 3/3” Stephen Hahn Gallery. New York Once again, Pissarro’s choice of imagery is very revealing He could easily have easily omitted some objects He included the edge of the chair, open doorway and bedroom beyond He also broke up the space directly behind the seated subject His choices reflect a more ‘realistic’ or ‘’modernist’ approach He documented what existed and what he saw
MAIDSERVANT-1867 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 36 1/2 x 28 1/4” (93.6 x 73.7 cm) The Chrysler Museum, Norfolk, VA (PV53) By contrast, this painting was done nearly 30 years before Pissarro shows respect for the maidservant He also includes a bench, tree trunk, etc. Yet his paint handling is more traditional Light comes from the right and highlights the maid’s back It also creates a swath of light on the ground But there is no scintillating fragmentation of brushstroke Pissarro’s paint technique is very traditional His choice of focusing on the maid’s back is not! At this time, Pissarro’s sensitivity to the role of servants increased
STUDY FOR CAFÉ AU LAIT, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Black chalk. 23 x 17 14” (59.5 x 44 cm). Private Collection CAFÉ AU LAIT, 1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/2 x 21 3/8” (65.3 x 54.8 cm). The Art Institute of Chicago. Potter Palmer Collection. 1922.436 (PV549) Rewald, J. (1963) Pissarro. NY: Abrams He observed closely and with kindness Pissarro was known for his even temper He connected to servants as equals
THE LITTLE COUNTRY MAID, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). The Tate Gallery. London. (PV575) and Rewald, J. (1963) Pissarro. NY: Abrams At this time, Pissarro’s sensitivity to the role of servants increased Pissarro was fanatical about his own work His letters to his sons communicate his ardor for his profession He had passion for its strenuous physical and mental demands
YOUNG WOMAN MENDING, 1895 Cogniat, R. (1973) Pissarro. New York: Crown Publisher. Oil on canvas. 25 5/8 x 21 3/8” Art Institute of Chicago. Gift of Mrs. Leigh B. Block. and GIRL SEWING, 1895 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 5/8 x 21 3/8” Art Institute of Chicago. Gift of Mrs. Leigh B. Block. 1959,36 (PV934) This painting was done the same year as his FOOT BATH and BATHER Notice how all the surface areas are fragmented with short strokes This exists even though he had abandoned divisionism/Impressionism His sensitivity to the play of light on various textures is clear
GIRL WASHING PLATES, c. 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 33 1/4 x 25 5/8” (85 x 65.7 cm) Fitzwilliam Museum, Cambridge, England (PV579) Pissarro’s choice of subject matter may remind one of Millet’s work Degas captured the essential distinction: o “Millet? Yes, his sower sows for Humanity. Pissarro’s peasants work for their bread.” Even Pissarro noticed this and wrote: o “they are all throwing Millet at my head, but Millet was biblical! For a Hebrew, there is not much of that in me. It’s curious!” He opposed Millet’s sentimentality in vehement terms
PEASANT UNTANGLING WOOL, 1875 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 21 1/4 x 18” (55 x 46 cm). Foundation e.G. Buhrle Collection. Zurich. (PV270) The family went to Montfoucault around mid-August 1874 This was a few months after the death of their 2nd daughter, Jeanne It was also a month after the birth of their third son, Felix They were distressed and almost penniless They stayed at the Piettes all summer Their last stay was during the autumn of 1876 Montfoucault offered Pissarro isolation from Paris and Pontoise It offered an opportunity to study peasant life in direct terms Montfoucault was a tiny hamlet, with approximately 50 inhabitants It was virtually on the border between Brittany and Normandy The nearest town is 12 to 15 miles Here a sense of distance and isolation pervades Pissarro’s works His figures in Montfoucault paintings are static Montfoucault was a place from which there is nowhere else to go Pissarro’s choice of subject matter may remind one of Millet’s work Degas captured the essential distinction: o “Millet? Yes, his sower sows for Humanity. Pissarro’s peasants work for their bread.” Even Pissarro noticed this and wrote: o “they are all throwing Millet at my head, but Millet was biblical! For a Hebrew, there is not much of that in me. It’s curious!” He opposed Millet’s sentimentality in vehement terms
PEASANT WOMAN WITH BASKET, c. 1889 Cogniat, R. (1975) Pissarro. New York: Crown publishers. Oil on canvas. 6 1/4 x 7” Faure Museum. Aix-les-Bains. Pissarro had an instinctive drive for independence It was an intuitive non-conformism It made him commit himself wholly to the causes he thought good These were both in the realm of art and in the field of politics This position made him aid whatever appeared original He was an ardent and courageous advocate of innovators He thought Impressionism could be fortified by a solid structure It had the power to transform revolutionary art into classicism His form of Impressionism had roots in scientific principles At 55, he did not fear to commit himself to follow a new path On February 20, 1889, he wrote to Seurat: o “The execution of my work is not rapid enough, in my opinion, and there is not the instantaneous reaction of the senses which I deem essential.” Pissarro advised a young painter: “ An artist must seek that aspect of nature which is compatible with his temperament and choose his subject matter more for its form and color than for its design possibilities. It is futile to outline and thereby restrict forms…..Paint what you see and what you feel. Paint freely and without hesitation, for it is important to set down the first impression….You should have but one master: nature; it is she you must always consult.”
PEASANT WOMAN AT SPINNING WHEEL, 1885-90??? Rewald, J. (1963). Camille Pissarro. NY: Abrams. Charcoal. Collection of Mr. And Mrs. Lazaro Phillips, Montreal. This drawing was done during a time of grave financial stress Lucien had returned to France to do illustrations for periodicals This was his effort to assist his parents financially Pissarro was enamored of Seurat’s color theories He painted his first “divisionist” canvas He explained new ‘scientific impressionism” to Durand-Ruel, dealer This shows Pissarro’s openness to new ideas, even at 55 years old
LA MERE PRESLY-Montfoucalt, 1874 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 28 1/4 x 23 1/2” (73 x 60 cm). Private collection (PV288) Some of Pissarro’s women peasants stuck in their immobility Pissarro visited Montfoucault many times in the mid 1870s He worked on integrating the figure into the landscape He created novel approaches He delineated figures and objects with angular contours These are fragmented into many short straight lines They form a polygonal, almost crystal-like outline This solved the tension between the figure and its background
SEATED PEASANT, SUNSET, 1892 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 1/2 x 25 1/4” (81 x 65 cm). Private collection (PV 824) After expressing some satisfaction to Lucien at having completed, SEATED PEASANT , Pissarro defined his new method: o “I stand more than ever for the impression from memory: you get less the thing itself, but vulgarity goes also, to let the truth, half seen and felt, emerge. Further: o “Really Impressionism was nothing but a pure theory of observation, without losing hold of fantasy, liberty, or grandeur—in a word, of all that makes an art great.”
THE BATHER, 1893 Cogniat, R. (1973?) Pissarro. New York: Crown Publisher Oil. 13 3/4 x 10 5/8” National Gallery of Art, Washington, DC. Chester Dale Collection. Pissarro was in his 60s when he painted this and the following two An instantaneous reaction of the senses occurs here The woman (is she putting on or taking off her garment?)is idyllic She is sheltered by a huge tree and a soft bank A body of water reflects light on her back She is not far from a city of some sort Is this a reverie? Was she a ‘real’ person? Is this an older man’s wishful thinking?
WOMAN AND CHILD AT THE WELL-1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 3/4 x 25 1/8” (81.5 x 66.4 cm) The Art Institute of Chicago. Potter Palmer Collection. 1922.436 (PV574) And Rewald, J. (1963). Camille Pissarro.
PEASANTS CHATTING IN THE FARMYARD, ERAGNY, 1895-1902 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 31 1/2 X 25 1/4” (81 X 65 CM). PRIVATE COLLECTION, FRANCE (PV1272)
APPLE PICKERS-1881 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm). Collection Evelyn A. J. Hall (PV545)
PEASANT DIGGING, 1882 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 25 1/4 x 21” (65 x 54 cm) Private collection. Switzerland (PV577) Pissarro’s “biblical” quality was attributed to Millet’s influence His rejection of it is central to Pissarro’s figure paintings By extension, it is central to Pissarro’s aesthetics The ”Biblical” quality stands for a sign It was a gesture, mood, or expression It referred to an ethereal, religious, or mythical content Or, it hinted at some form of “beyond” It may have suggested o An ideal o A lost paradise o A longing for happiness, or o A striving for something other than the present conditions None of this exists in Pissarro’s figures They do not carry a message with a lofty content or any ideal Rather, the glorification is in the fact that they simply: ARE Their existence is appropriate and sufficient celebration Pissarro advised one not to impose a meaning on their reveries He was very aware of the price of his individualistic outlook Was he stubborn? Stiff-necked? This is an adjective frequently—and biblically—given to Jews! He shrewdly observed o “too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.” Pissarro abhorred any art whose function was to deliver a message He equated anarchy, art, nature, living, and the beautiful His new understanding was not o Idealistic nor materialistic o religious nor socialist o literary nor factual o symbolist nor realist o representational nor illustrative Each of these would hobble or circumscribe his SENSATION Pissarro’s figures are simple and sincere They are not on show and no pretense animates their action They have nothing to say: They are absorbed by their own reverie or their chores Pissarro gave repeated voice to a dream: o “I believe that there will be another generation who will be more sincere, more studious, and less malign, who will achieve the dream.” ( PROPHECY?) Pissarro was interested in the unfathomable aspect of his figures’ He called their dreams ‘ABSOLUTE LIBERTY” This was pertinent to the artistic individual factor—the SENSATION
MAKING PEA TRELLISES, 1887 Cogniat, R. (1973?) Pissarro. New York: Crown Publisher. Oil. Faue Museum, Ais les-Bains.
WOMEN PLANTING PEASTICKS, date? Thomson, R. (1990). Camille Pissarro . NY: New Amsterdam Books. He was very aware of the price of his individualistic outlook Was he stubborn? Stiff-necked? This is an adjective frequently—and biblically—given to Jews! He shrewdly observed o “too serious to appeal to the masses and not enough exotic tradition to be understood by the dilettante.” Pissarro abhorred any art whose function was to deliver a message He equated anarchy, art, nature, living, and the beautiful His new understanding was not o Idealistic nor materialistic o religious nor socialist o literary nor factual o symbolist nor realist o representational nor illustrative Each of these would hobble or circumscribe his SENSATION Pissarro’s figures are simple and sincere They are not on show and no pretense animates their action They have nothing to say: They are absorbed by their own reverie or their chores Pissarro gave repeated voice to a dream: o “I believe that there will be another generation who will be more sincere, more studious, and less malign, who will achieve the dream.” ( PROPHECY?) Pissarro was interested in the unfathomable aspect of his figures’ He called their dreams ‘ABSOLUTE LIBERTY” This was pertinent to the artistic individual factor—the SENSATION
PICKING PEAS, ERAGNY, c. 1893 Pissarro, J. (1993). Camille Pissarro. New York: Harry Abrams. Oil on canvas. 18 x 21 1/2” (45 x 55 cm). The Langmatt Foundation, Sidney and Jenny Brown, Baden, Switzerland (PV857)
Camille Pissarro wrote: “ Painting, art in general, enchants me. It is my life. What else matters? When you put all your soul into a work, all that is noble in you, you cannot fail to find a kindred soul who understands you, and you do not need a host of such spirits. Is that not all an artist should wish for?” Was Pissarro committed to ‘REPAIRING THE WORLD?” This Jewish tradition (Pirke Avot-Ethics of the Fathers) requires you to be the best that YOU can be!