James Ensor.
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James Ensor was a Belgian painter born in 1860 in Ostend. He left school at age 15 to become an artist and had a studio in his parents' attic. Ensor was innovative in his use of light and satire and had a deep interest in carnival performances and masks. One of his most famous works is Christ's Entry Into Brussels, which depicted a carnival scene in Jerusalem and was a precursor to Expressionism. Ensor incorporated masks and skeletons in many of his works and used bizarre subjects and bright colors. He died in 1949 in Ostend at the age of 89.
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Most of us outside of Scandinavia, are unfamiliar with Nordic pictorial and sculptural traditions. But their paintings do reflect their underlying Nordic cultures, social values on compassion & emotion and finally their natural environment. The Nordic approach is visually less intense and flamboyant as compared with the Italian Baroque or to the French Impressionist. Their approach is more humanistic and much closer to our daily life. Stylistically their 18C and 19C paintings were mostly realism with clarity, sharpness, crispness and on occasion melancholia. It much closer to ordinary persons and our life.
Expressionism
Expressionism emerged in Germany around 1910 as a reaction against Impressionism. It focused on emotive and interpretive art through distortion and exaggeration to convey emotional experiences. Major expressionist groups included Die Brücke, Der Blaue Reiter, and Die Neue Sachlichkeit. Expressionist art used vivid colors, dynamic forms, and exaggeration to depict intense emotions and subjective perspectives rather than realistic representations. Pioneering expressionist artists included Edvard Munch, Ernst Ludwig Kirchner, Emil Nolde, Wassily Kandinsky, Franz Marc, George Grosz, and Max Beckmann.
Expressionism Individuals Overview
The document provides information on several individual Expressionist artists including Paula Modersohn-Becker, Käthe Kollwitz, Max Beckmann, Paul Klee, Gustav Klimt, and Egon Schiele. It discusses their backgrounds, influences, styles, subject matters, and how their work reflected the social and political issues of early 20th century Germany and Austria.
Impressionism
Impressionism was an artistic movement that developed in France in the late 19th century. Artists such as Monet, Pissarro, Renoir, and Degas broke from traditional techniques to focus on capturing the effects of light and color through loose brushwork. Monet's painting Impression, Sunrise gave the movement its name. Key characteristics included painting outdoors and using dabs of color and optical mixing on the canvas. Post-Impressionism emerged later in the century as artists sought to combine Impressionism's techniques with more traditional composition and design.
English project: My favourite paintings
Από τους μαθητές/τριες του Α2:Νίκος Σπασέγκος, Απόστολος Γκαβανόζης, Αντώνης Δοντσόπουλος, Θανάσης Στοϊκόπουλος, Γιώργος Γκαβανόζης και Άννα Μαλίγκου
Leaflet
This exhibition features the abstract photography works of Edward Steichen, Francesca Woodman, and Tommy Nease. The title refers to how isolation is a major part of modern society, where people feel like unseen "wallflowers" in others' lives. Steichen was an influential early 20th century fashion photographer and museum director known for his moody black and white images. Woodman explored themes of gender equality and identity through her blurry nude self-portraits. Nease creates a ghostly mood through experimental techniques with exposure and sharpness. The curators hope the exhibition expresses the theme of isolation in different ways and that visitors enjoy and are thought-provoked by the works.
Impressionism and more + Composers
Impressionism, Neo-Classicism, Primitivism, and Avant-Garde musical styles emerged in the 20th century alongside influential composers such as Debussy, Ravel, Schoenberg, Stravinsky, Bartok, Prokofiev, and Poulec. These styles incorporated new harmonic and textural approaches that pushed boundaries and influenced later composers.
Colonial Empires About 1900This map is really important .docx
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
Colonial Empires About 1900This map is really important .docx
Colonial Empires About 1900
This map is really important in understanding how non-Western cultures would have a profound impact on art of the early 20th century. Africa, in particular, was divided among many nations with France taking a huge chunk. Many items would be imported into Europe and would inspire artists like Picasso and Matisse, as you will see.
HENRI MATISSE, Luxe, calme et volupté, 1904-5
Fauvism:
Bold colors of Van Gogh, but used them as complete artistic expression; figure was secondary to color, form, and line; combination of subjective expression and pure optical sensation
Called the fauves by critics who thought the artists like Matisse painted like wild beasts
Combination of Impressionism’s love of nature with Post-Impressionism’s love of expressive color; influenced by African art
Impression upon other coming of age avant-garde artists who were trying to take what Cézanne started even further
Not an entirely cohesive movement as the artists all had their own personal agendas
Henri Matisse first studied law, but in 1891 enrolled in art school and studied under Bouguereau (whose idea later rejected) then studied with Moreau in 1892 who encouraged him to follow his own direction. Later he would experiment with non-descriptive color. He met Andre Derain and Maurice de Vlaminck in 1900 who would also work in the fauvist style.
I’m showing you other works by Matisse so that you get a sense of how much he experimented during the first decade of the 20th century. This piece is a radical reinterpretation of French pastoral landscape painting. We have nudes who don’t have a care in the world, an idyllic female world. There are staccato brushstrokes and color straight from the paint tube applied in a rainbow of colors.
HENRI MATISSE, Blue Nude: Memory of Biskra, 1907
Influences of African art can be seen in the exaggeration of the female body, especially in the breasts and buttocks, and in the mask-like face. The extreme position of the body makes it look like the figure is composed of different people. The color is inherently Fauve in that it isn’t descriptive of nature. This is part of the odalisque tradition, but his painting isn’t seductive and erotic because Matisse believed that he was creating a picture, not a woman.
Figure 24-3 HENRI MATISSE, Red Room (Harmony in Red), 1908–1909. Oil on canvas, approx.
5’ 11” x 8’ 1”. State Hermitage Museum, Saint Petersburg.
This painting is more abstract. The use of color is very unconventional and gives the painting a sense of flatness. It is more decorative in surface patterning; a new pictorial space is defined by color and line. Matisse is doing something important here: he’s tell you that you’re looking at a painting, not an actual view of the world. By emphasizing the flatness of the surface, he’s emphasizing that it is a thing in and of itself.
Figure 24-6 ERNST LUDWIG KIRCHNER, Street, Dresden, 1908 (dated 1907). Oil on canvas, 4’ 11 1/4” x 6’ 6 7/8”. M.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ﾊEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
Yulya's presentation
Karl Briullov was an internationally renowned Russian painter who was regarded as a key figure in transitioning from Russian neoclassicism to romanticism. He is best known for his work "The Last Day of Pompeii", a vast historical painting completed between 1830-1833 that was praised by Pushkin and Gogol. While teaching at the Imperial Academy of Arts from 1836-1848, Briullov developed a portrait style that blended neoclassical simplicity with romantic tendencies, showing psychological depth. He died in Rome in 1852 while working on a cathedral ceiling mural.
James abbott mc neill whistler
The document provides details about the 1864 painting "Purple and Rose: The Lange Leizen of the Six Marks" by American artist James Abbott McNeill Whistler. The painting depicts Whistler's mistress Joanna Hiffernan posing in a Chinese-style robe, surrounded by Chinese porcelain and other decor. It reflects Whistler's interest in Japanese and Chinese aesthetics and his belief that art should be appreciated solely for its visual qualities rather than for narrative or moral messages.
Portrait Masters to Inspire Study
This document introduces several portrait masters from different time periods and locations to inspire further study. It provides brief biographies on Vincent Van Gogh, Ferdinand Hodler, Eugene Delacroix, John Singer Sargent, Mary Cassatt, Egon Schiele, Edvard Munch, Max Beckmann, Amedeo Modigliani, and Edward Hopper, summarizing their styles and influences in painting portraiture.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ﾊEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
Orientalism - An Eurocentric Fantasy
1) Orientalism began in the 15th century but became popular in 19th century France, depicting scenes from Turkey, the Middle East, and North Africa under colonial rule.
2) Artists like Eugene Delacroix and Jean-Leon Gerome traveled to the region and painted contemporary life, with some works depicting fantasy scenes.
3) Edward Said criticized orientalism for promoting stereotypes that justified western imperialism, though some scholars note the demand for such works.
A 14 creating a set of math tasks related to famous artists
Here are potential responses to the questions:
1. Several of the artists were contemporaries: Kandinsky, Mondrian, van Gogh, and Miró were all active in the late 19th/early 20th centuries. Vasarely, Escher, and Stella were mid-20th century artists.
2. Ages at death ranged from 29 (van Gogh) to 84 (Miró). Others who died younger included Kandinsky at 77 and Escher at 73. Vasarely and Stella both lived into their 90s.
3. Most began painting professionally in their 20s or 30s, but their styles evolved throughout their careers from figurative to abstract. Escher was notably
Magazine For Print
Eduardo Paolozzi (1924-2005) was a Scottish artist known for pioneering Pop Art, but preferred to think of himself as a Surrealist. A new exhibition at Pallant House Gallery focuses on Paolozzi's collages, which mixed images from magazines and newspapers to comment on consumer culture and the modern world. Through his varied works in painting, sculpture, prints, and more, Paolozzi sought to express the contradictions of his time. While famous for his colorful Pop Art prints and large sculptures, this exhibition illustrates that he was much more than just a Pop artist, delving into the subconscious and wanting to say something about the changing world.
Similar to James Ensor. (20)
Colonial Empires About 1900This map is really important .docx
Colonial Empires About 1900This map is really important .docx
Colonial Empires About 1900This map is really important .docx
Colonial Empires About 1900This map is really important .docx
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
A 14 creating a set of math tasks related to famous artists
A 14 creating a set of math tasks related to famous artists
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Boudoir photography, a genre that captures intimate and sensual images of individuals, has experienced significant transformation over the years, particularly in New York City (NYC). Known for its diversity and vibrant arts scene, NYC has been a hub for the evolution of various art forms, including boudoir photography. This article delves into the historical background, cultural significance, technological advancements, and the contemporary landscape of boudoir photography in NYC.My storyboard for a sword fight scene with lightsabers
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一比一原版(QUT毕业证)昆士兰科技大学毕业证成绩单如何办理
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Ealing London Independent Photography meeting - June 2024
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James Ensor.
- 1. Ensor. James
- 2. Biography. James Sidney Edouard, Baron Ensor was born on April 13, 1860 in Ostend, Belgium. His father was James Frederic Ensor, born in Brussels. It was a cultured man and he studied engineering in England and Germany. His mother was Maria Catherina Haegheman, a Belgian. Ensor had no interest in academic study and left school at fifteen to begin his training as an artist. From 1877-1880, he attended the Académie Royale des Beaux-Arts in Brussels He had a studio in the attic of his parents' house. He made three brief trips to France and two in the Netherlands in the 1880s. He also did a four-day trip to London in 1892. He died on November 19, 1949 in the city of his birth, in Belgium.
- 3. Art. Innovative and allegorical use of light. Prominent use of satire. Deep interest in carnival and performance. His own self-fashioning and use of masking, travesty, and role-playing.
- 4. Ensor's early works depict realistic scenes in a somber style. Russian Music (1881) The Drunkards (1883)
- 5. Then he favored increasingly bizarre subject matter, and he used more bright colors. He was inspired by ones that her mother sold that were figures in grotesque masks. The Scandalized Masks Skeletons Fighting over a Hanged Man
- 6. MATURE WORK. Subjects: carnivals, masks, puppetry, skeletons, and fantastic allegories are dominant. He dressed skeletons, and used masks as a theatrical aspect in his still lifes. He liked masks plastic forms, bright colors, and potential for psychological impact.
- 7. BETWEEN 1888 AND1892. He turned on religious themes because he has a personal disgust for the humanity. In 1888 he created forty-five etchings. He created as well Christ's Entry Into Brussels in 1889 is considered his most famous work and was a precursor to Expressionism. Christ's Entry Into Brussels is a recreation, parody of the entry in Jerusalem, set in the carnival holidays. The courtship it forms this multitude in the first term, all of them covered, covered his faces with masks. Complex composition, full persons', elements, with a composition, surface of the picture absolutely cover Horrovaqui, with intense and grating colors, which connect with what then will be the painting fauvista.
- 8. Christ's Entry Into Brussels
- 9. In the final years of the 19th century, his style softened and he painted less. His paintings had an aggressive sarcasm and scatology that had characterized his work, and much of his output consisted of mild repetitions of earlier works. The Artist's Mother in Death The Vile Vivisectors
- 10. Some paintings. Christ's Entry Into Brussels in 1889. The Lamp Boy (1880). Russian Music (1881). The Drunkards (1883). The Scandalized Masks (1883). Skeletons Fighting over a Hanged Man (1891). Christ's Entry Into Brussels in 1889. Les Aureoles du Christ of 1885. The Artist's Mother in Death (1915). The Vile Vivisectors (1925). Carnaval sur la plage (1887). La mort poursuivant le troupeau des humains (1896). Le bal fantastique (1889).
- 12. Videos.