1. In the next phase of our journey through art history we will observe the
Cubist works of Pablo Picasso and George Brauque. We will focus on the
attempts of these artists to depict the passing time and the idea that
multiple perspectives that can exist in one moment. The main idea behind
their work is to find a more real “truth”
2. IDEAS ARE BUILT UPON IDEAS
• Movements in Art and literature are visibly and conceptually noticeable as a progression
of thought.
• Artists and writers are often REACTING to the concepts, ideas and methods that have
come before them.
• Artists “build” from the rules and guidelines of past movements with the goal to either:
Push current conventions further
• OR
• React against conventions to create a new mode of expression.
• Art is never created in a void! Internal (personal experience, health and culture) and
external (war, money and technological advancements etc) realities impact all creation.
4. AMERICAN NATURALISM
• Prior to the impressionist art movement painters were highly trained and skilled masters
of their craft.
• They most often would paint commissioned portraits of the elite
• OR
• Still lives that were used to show wealth as well.
• Art in American began to focus on the wild landscape, resources and change. But all in all
are still based in Imitationism or Realism
• Realism (or naturalism) in the arts is the attempt to represent subject matter truthfully,
without artificiality and avoiding artistic conventions, implausible, exotic and supernatural
elements.
8. AMERICAN NATURALISM
• In fine art panting, "naturalism" describes a true-to-life style which involves the
representation or depiction of nature (including people) with the least possible distortion
or interpretation.
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11. • LIFE= A series of “fleeting moments” (move or pass quickly, lasting a very short time)
• Attempted to capture these moments and forever freeze them in time.
• RADICALS in their time, early impressionists violated the rules of academic painting.
• FREE BRUSH STROKES Short and Broken.
• Scenes of modern life and often painted outside.
12. HOW IMPRESSIONISTS PAINTED THEIR REALITY
• LIGHT. REAL SUNLIGHT is the most important factor for Impressionist painters.
• Focused on How sunlight illuminates, fades and reflects.
• Simple subjects such as a landscape or simple ordinary movements or moment of daily
life.
• Formal Qualities:
• Big Smushy brush strokes.
• Blending
• Undefined lines
• NO BLACK
• Color Harmonies
Why did they focus on LIGHT?
They focused on light to illustrate the passing of time. Claude Monet: 1908
13. • Claude Monet once wrote ““when you go out to paint, try to forget what objects you
have before you- a tree, a house, a field, or whatever, merely think, Here is a little
square of blue, here an oblong of pink, here a streak of yellow and paint it just as it
looks to you, the exact color and shape, until it give your own naïve impression of the
scene before you.”
• He said he wishes he was born blind and then suddenly gained his sight so that he
could have begun to paint this way without knowing what the objects were that he
saw before him. He held that the first real look at the motif was likely to truest and
most unprejudiced one.
What do you think he meant by
this statement?
14. LITERATURE AND MUSIC FOLLOW AND
INFLUENCE ARTISTIC MOVEMENTS.
• For writers: Pages = Canvas
• Verbs and adjectives = Colors on their pallet.
• Literary Devices = Painter's Technique
• Authors of this time used literary devices to SLOW the passing of time,
allowing us to linger on every image of a FLEETING scene.
• Examples: Catching someone’s eye from across a crowded room.
• The moment before a long anticipated kiss.
• A sunset.
• The split second before the light fades from a stage.
• “The lights grow brighter as the earth lurches away from the sun, and now
the orchestra is playing yellow cocktail music and the opera of voices pitches
a key higher.” Great Gatsby by F. Scott Fitzgerald
• Expanded the sentence to slow the syntax so the reader can linger on every
image and involve their senses. He attempts to bring the reading into the
scene, to see, to hear, to feel and to be a part of the moment.
15. POST IMPRESSIONISM TAKING THE
FLEETING MOMENT A BIT FURTHER
• Building and expanding from IMPRESSIONISM, POST-
IMPRESSIONISM opened the door for artist to become
more experimental with technique and imbed personal
and emotional elements into their work.
• Take Risks and push painting to the outermost limits to
see what they could get away with.
• How did they do this?
Cropping/Composition
Color Harmonies
Multiple Light Sources
Reintroduction of black outlines
Henri de Toulouse-Lautrec
(1864-1901) Moulin Rouge 1893
16. • Also in this movement, artists begin to manipulate the depth and
balance of their compositions, distort proportions and balance
and manipulate and exaggerate the use of color.
Clockwise from top left:
Cezanne
Cezanne
Degas
Seurat
Van Gogh
Caravaggio changed the world of painting by shifting the focus from the Saints and the Elites to the common man/woman and their experience and interpretations of the world around them. He gave the world a chance to see the world through the eyes of another and find empathy and commonality. He painted reality.
Radicals in their time, early Impressionists violated the rules of academic painting. They began by constructing their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors.
Previously, still lifes and portraits as well as landscapes had usually been painted in the studio.[1]
Burning of Parliament is the popular name for the fire which destroyed the Palace of Westminster, the home of the Parliament of the United Kingdom, on 16 October 1834
