tag:blogger.com,1999:blog-51358121527241692742024-03-25T06:58:03.668-07:00Modernist Art Historydrawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-5135812152724169274.post-53766110540829966002015-01-25T19:37:00.001-08:002015-04-12T21:18:55.958-07:00Impressionism: Moon Tang talks on Renoir's Two Sisters(On the Terrace), 1881.<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-QVXUEzYu7No/VPHFhqbZK0I/AAAAAAAAElM/ROSg5c_ihMg/s1600/Pierre-Auguste%2BRenoir-Two%2BSisters(On%2Bthe%2BTerrace).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-QVXUEzYu7No/VPHFhqbZK0I/AAAAAAAAElM/ROSg5c_ihMg/s1600/Pierre-Auguste%2BRenoir-Two%2BSisters(On%2Bthe%2BTerrace).jpg" height="400" width="320" /></a></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Artist: Pierre-Auguste Renoir<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Title: <i>‘Two
Sisters’/ ‘On the Terrace’</i><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Year: 1881<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Medium: Oil on canvas</span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;">Dimensions: 100.5 x 80 cm<o:p></o:p></span><br />
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">Pierre-Auguste
Renoir was an important French impressionist artist who was famous for painting
women and warm family scenes. When the time he visited Chatou, where Renoir
considered as ‘the most pleasant of all Paris suburbs’<a href="file:///C:/Users/Moon%20Tang/Documents/A%20Moon's%20Doc/Y2%202/Western%20Art/Research%20Essay_Two%20Sisters(On%20the%20Terrace).docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></a>,
in 1881, he painted one of his most popular paintings, <i>‘Two Sisters’</i>. <i>‘Two Sisters’</i>,
or <i>‘On the Terrace’</i> which is the
second title given by its first owner Paul Durand-Ruel, is an oil-on-canvas
painting with the dimensions of 100.5cm x 80cm. It was painted at the terrace
of Maison Fournaise, a restaurant in Chatou.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">As shown in its
names, the painting depicted two sisters, who were in fact not real sisters but
two unrelated models for the painting, on the terrace of the restaurant with a
basket of colourful wool. The elder sister, who was wearing a scarlet hat and
dark blue dress, was sitting and looking left with her dark narrowed eyes, seems
to be thinking of something, while the younger girl wearing white dress and
blue hat with fresh flowers standing next to her was looking straight to the
spectators with her bright and innocent blue eyes. For the background, there
were vines and white flowers that just came into bloom, sparse trees and leaves
in pale green. It showed that it was in the time of spring. In between the gaps
of the branches, there were some boats along the river. Such lively scene with
the two sisters, who were both in springtime of their life, gives spectators a
feeling of tranquil, warm and joy.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">As mentioned, <i>‘On the Terrace’</i> was painted by an
impressionist during the time when impressionist style was popular. Thus, this
painting did include some characteristics and techniques that are unique to
impressionism as well.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">First, the artwork
was painted with visible brushstroke, which was very common in impressionist
paintings. The artists before the rise of impressionism usually mixed the
colours well when painting. This means that, for instance, they would paint the
object with a pure blue colour when they were depicting something blue. If some
other colours were essential, such as black for shadow, they would mix up two
colours well. Later, since impressionists discovered that the colour of
different parts of an object would, in fact, have tiny differences under light,
they tried to present such differences they observed by painting the artworks
with unmixed and visible brushstroke, which became one of the important
characteristics of impressionist style.<span style="color: red;"> </span></span><span lang="EN-US">In
<i>‘Two Sisters’</i>, no matter it is the
trees, river, flowers or the hats and dresses of the sisters, all brushstrokes can
be clearly seen. Take the white dress of the younger girl as an example.
Instead of depicting the dress with a large area of well-mixed white paint,
Renoir seems to be painting the dress with his brush one stroke followed by
another so as to ensure different colours of paints had little mixing. Thus,
every brushstrokes, which are in white, blue and orange, on the dress are
visible. The leaves behind the sisters as well, each stroke of the yellow and
green paint can be seen clearly. Such kind of technique, in some way, enables
the colour of objects depicted become more natural and vivid, and thus makes
the artworks become more realistic. The only exceptions in the painting may be
the faces of the two sisters, which are relatively smooth and delicate.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">Second, the subject
matter of the painting is similar to the common theme in impressionism.
Different from the realist who mainly focused on political events or life of
working class, impressionist artists, who were mostly from the bourgeois
families, preferred painting the social life of middle class, scenes of leisure
activities or landscapes. Obviously, <i>‘On
the Terrace’</i></span><span lang="EN-GB"> captured a scene of everyday life of the
middle class people at that time. From the beautiful dressing of the sisters
and the pose of the elder lady, which was sitting straight with her hands
overlapping on her thigh elegantly, it is very likely that they were from the
middle class. Also, the lively plants and some boats, which were partly blocked
by the sparse trees, behind created a warm and leisure atmosphere. It is clear
that it depicted the leisure time of middle-class ladies instead of something
related to social or political events at that time. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">Third,
which is also the most important point, is the use of colour in <i>‘Two Sisters’</i>. Previously, artists
usually painted the objects with their expected colours instead of the real
colour, including the tiny colour differences in every parts of the object that
they should have observed. For example, since artists expected that shadows
only appear as black or brown, only these two colours would be used when they
needed to paint shadows. Later in 19<sup>th</sup> Century, due to the
scientific development, there was a big progress of colour use when compared
impressionists to the realist artists. People at that time found that shadows
are not just black or brown in colour, which was accepted as true over the past
decades, it is, in fact, appeared as various colours under the effect of light.
In other words, most of the ‘black’ colour that people saw is actually not the
pure black but mixture of contrast colours, like blue and orange, red and
green, and purple and yellow in a group. With such cognition, the impressionists
started avoid using black paint, when it was a must to present colour of black,
they would present it by mixing complementary colours. Such kind of technique
was also presented in <i>‘Two Sisters’</i>.
For example, the shadow of the elder sister’s sleeves. The colour of the shadow
may easily be identified as black if spectators just view the artwork briefly.
Nevertheless, Renoir, in fact, mixed up orange and blue paint to present the
shadow. So did that of the boats behind. Orange was used to show their shadows
on the river, which was mainly painted in blue. Apart from presenting shadow,
contrast colours were also used to make paintings livelier. As mentioned,
impressionist discovered that colours are affected by lights. They thus used
the complementary colours to make the objects much closer to the reality. For
instance, the green pot behind the younger girl in the painting. Its contrast
colour, red, was also applied on it, and this made the pot become more real and
three-dimensional. Similar technique was also applied when Renoir was painting
the dark blue dress of the elder sister. Some strokes of orange, which is the
complementary colour of blue, were painted so as to present the colours to the
spectators more vivid.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">Through its visible
brushstrokes, use of colour and objected depicted, <i>‘On the Terrace’ </i>can be considered as a typical impressionist
painting, which means that colour take a very important role in its
constitution. Colours were not only used to present the effect of light as
mentioned above, it was also used to attract the attention of spectators.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">There
are mainly three points of focus in <i>‘Two
Sisters’</i>, which spectators would easily pay attention to at first sight. The
first one is the scarlet hat of the elder lady. Her hat in sharp red colour was
painted thickly, and it formed a big contrast with her dress, which also
covered quite a large area with solid dark blue paint in the artwork. This
caught the attention of viewers easily. The second focus is the hat of the
younger girl. There were beautiful and colourful flowers, which was exquisitely
depicted, on her hat. Same as that of the elder sister, the younger girl’s hat was
painted thickly with solid colours, and this enables the flowers to stand out
from the smoothly-painted object around, for example the face and hair of the
younger sister. Such solid and multicolored area formed a very attractive point
in this painting as well. The third point is the basket of wool balls on the
bottom left corner of the artwork. Similar to the techniques used for painting
the hat of the little girl, balls of wools with various bright colours were
painted with thick and visible brushstroke. It did catch the eyes of spectators
at once. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">For
the background of the painting, although various colours were also applied,
they were not concentrated enough and were painted thinly and unclearly. For instance,
the branches and leaves on the top right hand corner of the painting. Unlike the
three focus points mentioned or even the branches just behind the younger
sister, those branches were painted so softly that they were nearly invisible.
As a result, there was no clear focus in the background. <o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">In
short, the three attractive points in <i>‘Two
Sisters’</i> were created with the help of colour use. These three focuses, which
are the hat of elder sister, flowers on the younger girl’s hat, and the basket
of wool balls, located in the middle, right and bottom left of the painting
respectively. They formed a triangle that enables the subject matters of the painting,
which are the two sisters, to stand out from the relatively messy and disperse background
and catch the attention of viewers.<o:p></o:p></span></span></div>
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<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">The painting <i>‘Two Sisters’</i> is now collected in the Art
Institute of Chicago, and it is one of the most popular paintings there. The
main reason why it is beloved by so many people may be the positive feeling it
transmitted to spectators. <i>‘Two Sisters’</i>
presents the beauty of spring and youth to us. The two sisters who were in
springtime of their life, and the lively and colourful background created a
fresh and hopeful atmosphere. Also, with the bright colours used and
impressionist techniques applied, it enables spectators to find themselves in
such a wonderful and harmonious environment. At the same time, through their
expression, the elder sister gives viewers a kind of peaceful and harmonious
feeling while the younger girl shows her innocent and pure to us. By
appreciating the painting, it seems that spectators could escape from the
stress of everyday life, be purified and become peaceful. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The artworks is so harmonious except one place,
which is the basket of wool balls. A question come into most spectators’ mind after
they discovered the balls of wools in the bottom left corner: <i>‘Since the painting was capturing a scene on
the terrace, which is in the open air, the balls of wools, which usually
appears in indoor setting, seems to be quite inharmonious to the whole scene.
What is the reason for Renoir to have such setting?’</i> It has been suggested
that it might be a response of Renoir to a critic. The critic compared the
painting of Renoir to knitting and described one of his artworks as ‘a weak
sketch seemingly executed in wool of different colours’.<a href="file:///C:/Users/Moon%20Tang/Documents/A%20Moon's%20Doc/Y2%202/Western%20Art/Research%20Essay_Two%20Sisters(On%20the%20Terrace).docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></a>
In response, Renoir did paint a basket of wool balls in his artwork. The
suggestion might be true, but there may also be some other reasons since, in
fact, no one really knows how Renoir was thinking at that time.</span></span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US"><br /></span></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">In conclusion, there is no doubt that <i>'On the Terrace'</i> by Renoir is an impressionist painting with joyful and leisure theme, visible brushstrokes, and well use of various bright colours. And it gives spectators a feeling of peaceful, warm and harmony.</span></span><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="file:///C:/Users/Moon%20Tang/Documents/A%20Moon's%20Doc/Y2%202/Western%20Art/Research%20Essay_Two%20Sisters(On%20the%20Terrace).docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US">The State Hermitage Museum of
Russia, <i>Auguste Renoir The Two Sisters(On
the Terrace) From the collection of the Art Institute of Chicago. </i>Retrieved
from: </span><span lang="EN-US"><a href="https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/">https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/</a></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><a href="file:///C:/Users/Moon%20Tang/Documents/A%20Moon's%20Doc/Y2%202/Western%20Art/Research%20Essay_Two%20Sisters(On%20the%20Terrace).docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US">The State Hermitage Museum of
Russia, <i>Auguste Renoir The Two Sisters(On
the Terrace) From the collection of the Art Institute of Chicago. </i>Retrieved
from: </span><span lang="EN-US"><a href="https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/">https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/</a></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<b><span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;">Books</span></b></div>
<ol>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -24pt;">White, Barbara Ehrlich. </span><i style="font-family: Arial, Helvetica, sans-serif; text-indent: -24pt;">Renoir, his life, art, and letters</i><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -24pt;">. New York: Abrams, 1984</span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="text-indent: -24pt;">Feist, Peter H. </span><i style="text-indent: -24pt;">Pierre-Auguste
Renoir 1841-1919: A Dream of Harmony</i><span style="text-indent: -24pt;">. Koln: Taschen, 2000</span></span></li>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>Websites</b></span></div>
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<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Debra N. Mancoff. <i>Paintings by Pierre-Auguste Renoir</i>. Retrieved from: <a href="http://entertainment.howstuffworks.com/arts/artwork/paintings-by-pierre-auguste-renoir8.htm" style="text-indent: -32px;">http://entertainment.howstuffworks.com/arts/artwork/paintings-by-pierre-auguste-renoir8.htm</a></span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #222222; text-indent: -24pt;">Masaccio. </span><i style="color: #222222; text-indent: -24pt;">Art Saturday: On the Terrace(Two Sisters) by Renoir</i><span style="background-color: white; color: #222222; text-indent: -24pt;">. Retrieved from: </span><a href="http://my.firedoglake.com/masaccio/2010/04/10/art-saturday-on-the-terrace-two-sisters-by-renoir/" style="text-indent: -24pt;">http://my.firedoglake.com/masaccio/2010/04/10/art-saturday-on-the-terrace-two-sisters-by-renoir/</a></span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="text-indent: -24pt;">Stephen F. Condren(2010). <i>Two Sisters(On the Terrace) by Pierre-Auguste Renoir</i>. Retrieved from: </span><span lang="EN-US" style="text-indent: -24pt;"><a href="http://stephencondren.blogspot.hk/2010/12/two-sisters-on-terrace-by-pierre.html">http://stephencondren.blogspot.hk/2010/12/two-sisters-on-terrace-by-pierre.html</a></span></span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="text-indent: -24pt;">The Art Institute of Chicogo. <i>Overview: Renoir’s Two Sisters(On the Terrace).</i> Retrieved from: </span><span lang="EN-US" style="text-indent: -24pt;"><a href="http://www.artic.edu/aic/resources/resource/81">http://www.artic.edu/aic/resources/resource/81</a></span></span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="text-indent: -24pt;">The Art Institute of Chicogo. <i>Summary: Renoir’s Two Sisters(On the Terrace).</i> Retrieved from: </span><span style="text-indent: -24pt;"><a href="http://www.artic.edu/aic/resources/resource/154" style="text-indent: -24pt;">http://www.artic.edu/aic/resources/resource/154</a></span></span></li>
<li style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US">The State Hermitage Museum of Russia, <i>Auguste Renoir The Two Sisters(On the Terrace) From the collection of the Art Institute of Chicago. </i>Retrieved from: </span><a href="https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/" style="text-indent: -32px;">https://www.hermitagemuseum.org/wps/portal/hermitage/what-s-on/temp_exh/1999_2013/hm4_1_x/!ut/p/a1/</a></span></li>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-9538885797597349622015-01-25T19:33:00.004-08:002015-04-11T14:56:38.224-07:00Impressionsim: Pansy Ha talks on Edgar Degas's The Dancing Class, 1874. <div class="pt10 b0" style="border: 0px; color: #333333; font-family: Arial, sans-serif; font-size: 12px; line-height: 15px; outline: 0px; padding-bottom: 0px !important; padding-left: 0px; padding-right: 0px; padding-top: 10px !important; vertical-align: baseline;">
<a href="http://3.bp.blogspot.com/-h3GiGlTZfYA/VPLXWKizZ-I/AAAAAAAAElg/ZsdvGhKKUPI/s1600/the-dancing-class-1874.jpg!Blog.jpg" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="http://3.bp.blogspot.com/-h3GiGlTZfYA/VPLXWKizZ-I/AAAAAAAAElg/ZsdvGhKKUPI/s1600/the-dancing-class-1874.jpg!Blog.jpg" height="640" width="548" /></a><br />
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<b><span lang="EN-US">Artist:</span></b><span lang="EN-US"> Edgar Degas<o:p></o:p></span></div>
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<b><span lang="EN-US">Start Date:</span></b><span lang="EN-US"> 1871<o:p></o:p></span></div>
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<b><span lang="EN-US">Completion Date:</span></b><b><span lang="EN-US"> </span></b><span lang="EN-US">1874<o:p></o:p></span></div>
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<b><span lang="EN-US">Style:</span></b><span lang="EN-US"> Impressionism</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Technique:</span></b><span lang="EN-US"> oil<o:p></o:p></span></div>
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<b><span lang="EN-US">Material:</span></b><span lang="EN-US"> canvas<o:p></o:p></span></div>
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<b><span lang="EN-US">Dimensions:</span></b><span lang="EN-US"> 85 x 75 cm</span></div>
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<b><u>(DRAFT) Essay</u></b></div>
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<span lang="EN-US">The rise of
Impressionism is one of the biggest art movements in art history. It gave
people a whole new concept about art. Before the 18<sup>th</sup> century,
people tended to paint about myths or royal life, and the more the paintings
looked real or alive, the better it is. However, for the impressionism
painting, the brushstrokes are much more visible and fleeting appearance of
light usually occupied most part of the canvas. </span><span lang="EN-US" style="mso-fareast-language: ZH-TW;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">Edgar Degas
(1834-1917), as a</span><span lang="EN-US" style="mso-fareast-language: ZH-TW;">n
avant-garde artist of the impressionist movement, his works was greatly
influenced by the Japanese woodblock prints, which often has an unusual point
of view while doing the artwork. </span><span lang="EN-US">Paul Valéry</span><span lang="EN-US" style="mso-fareast-language: ZH-TW;"> (1871-1945), a French philosopher
once</span><span lang="EN-US"> wrote</span><span lang="EN-US" style="mso-fareast-language: ZH-TW;"> in his article</span><span lang="EN-US"> "Degas is one of the very
few painters who gave the ground its true importance. He has some admirable
floors".</span><span lang="EN-US" style="mso-fareast-language: ZH-TW;"> Degas
did have a unique and extraordinary observation while doing his artwork. Many
of his artworks (usually paintings and sculptures) have a particular viewpoint.
<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">The Ballet Class (La Classe de Danse) is one
of the most famous paintings among all the other works by Degas. Many may already
knows that ballerinas no matter in rehearsal or at rest and bourgeoisie women
were Degas favorite theme in his artworks, like Dance Class, Ballet Rehearsal, Dancers
in Pink, L Absinthe, The Tub, The Singer with the Glove and so on. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">In The Ballet Class, you can see a group of
dancers nearly at the end of the class, listening feedbacks from their teacher,
the famous French ballet </span><span lang="EN-US">master Jules Perrot, who
happened to be Degas’ friend and always allowed Degas to his classes. Most of
the ballerinas were seems exhausted after intensive training, they were
scratching their back while stretching and twisting their body parts. Some of
them were already taking off their accessories and fixing the clothes. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">The painting is
defined as an impressionism artwork for a few reasons. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US">Impasto. A
drawing technique usually used in oil painting. Apart from being visible, the
brushstrokes are also very thick </span><span lang="EN-US" style="mso-fareast-language: ZH-TW;">so that the paint can be mix together. That’s why impasto is usually
only seen in oil painting because of the thickness of the paint and the time
needed for drying. (Impasto can sometimes apply on acrylic painting as well).
Though we are not seeing the actual work of the Ballet Class, we can still see
the visible, short brushstrokes all over the canvas. <o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">The light. Impressionist painters rarely use
black color in the painting. The dark paint that we see is the mix of the
complementary colors, even for the shadow. Not to mention that most of the
impressionist paintings are tended to be brighter and lighter. In the Ballet
Class, you can actually observe how the artist depicted the light of the room.
The right and bottom part of the painting is obviously the major part of the
light, which we can guess is where the light (or even the sunshine from the
outdoor) came from. It can also draw more attention from viewers when they
first look at the painting. I believe the first thing that catch an eye from
most of us in this ballet classroom are the two ballerinas with yellow and
green ribbon and their teachers on the right side, which are the brightest
objects in the room. In addition, it is hard not to notice the mirror with the
broad arch at the upper central part of the painting, we can have a sneak part
of part of the room and find the source of the light.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">As mentioned before, Degas had an unusual
viewpoint for his objects. Here he was viewing the studio diagonally in a
slightly raised angle, like he was sitting on a chair at the other side of the
room, observing the class carefully. The wall in the furthest corner is painted
with dark green, and viewers can hardly see the faces of the ballerinas over
there, so they looked less clear than those at the front. As the two ballerinas
were standing nearest around the Degas, there is more detail on them. You can
see the overlapping brushstrokes of the layers of their hair and cloths. Ballerinas’
clothes are usually bulky and is kind of see through, in the painting, we can
actually feel the realness and gracefulness of their dresses with the thick but
short brushstrokes. Not to mention the floor in the painting, which occupy a
large proportion of the canvas (around a quarter of the whole canvas). Degas
liked to give details to the floor like mentioned before, we can actually know
more about the painting by looking into it. The texture of the studio’s floor
looks a bit moistened, it is designed in this way to prevent slipping while
people is dancing. Moreover, we can also see there are quite a lot of scratches
on the floor, which were guessed are the mark of the ballet master’s baton when
he beats times when training his students.<o:p></o:p></span></div>
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<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">I always have an interest on impressionist
artwork, not only of its special and unique techniques, but it feels like I can
connect with the artists and share the feelings with him/her while I am
appreciating their works. Although you cannot get a very clear image of the
objects, you are still able to tell the story about it. The Ballet Class first
interested me because of its rich paint. Degas used complementary colors in the
drawing, like red and green, yellow and blue, white and dark. It looks colorful
for me and catches my sight. Other than that I think the viewpoint of how the
Degas looked at the studio is fascinating, many of the paintings that we
usually see are horizontal and flat, like looking straight or directly to the
objects, or looking from a high or low point of view, but in this painting, we
share the same angle with Degas and know more about the objects. Apart from
giving me warm and connected feeling, the Ballet Class somehow makes me feel
comfortable to look at. I feel peace, but also the seriousness and strictness
of having a ballet class with a real master. There are so many to look at with
a few groups of ballerinas, the teacher, the room itself and other small
objects in it, everything seems like telling a story to its audiences.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-indent: 36.0pt;">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">After appreciating the Ballet Class, I keep
thinking if there is any special meaning for Degas to paint in this particular
viewpoint, so as his other painting with special viewpoint. Other than that,
how would the subjects, in this case, the ballerinas (and other women in his
other paintings) felt when they saw his painting (if they have the chance)?
Since impressionist was not popular and even hated by people at that time (18<sup>th</sup>
century), they think impressionist were like stretch that hadn’t finished yet
and hideous, they did not considered it as art, people tended to only know how
to appreciate realist painting. So what would the people being depicted by the
impressionist would think when they saw themselves looked blur and unreal in
the “artwork” ?</span> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Reference(s):<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">"Edgar Degas The Ballet Class."
Musée D'Orsay.
http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/la-classe-de-danse-169.html?no_cache=1.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">"EDGAR DEGAS: THE GREAT IMPRESSIONISTS
- History/Biography/Art (documentary)." YouTube. <a href="https://www.youtube.com/watch?v=QSYpdoFTIBE"><span style="font-family: Times; font-size: 14.0pt; mso-bidi-font-family: Times;">https://www.youtube.com/watch?v=QSYpdoFTIBE</span></a>.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">DeVonyar, Jill, and Richard Kendall. <i>Degas
and the Art of Japan</i>. New Haven: Yale University Press, 2007.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US">Reff, Theodore. Degas: the artist's mind.
New York: Metropolitan Museum of Art, 1976.<o:p></o:p></span></div>
<div class="MsoNormal">
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<span lang="EN-US">Rubin, James H. Impressionism. London:
Phaidon, 1999.<o:p></o:p></span></div>
<br />
<br />
<br /></div>
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<div style="text-align: center;">
<b><u>3-mins presentation</u></b></div>
</div>
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<span lang="EN-US">I believe some of you may have seen this painting before, as it is quite a famous work of both Degas</span><span lang="EN-US"> and impressionism</span><span lang="EN-US">. </span><span lang="EN-US">And i</span><span lang="EN-US">f you have </span><span lang="EN-US">the chance to </span><span lang="EN-US">see the other work </span><span lang="EN-US">of</span><span lang="EN-US"> </span><span lang="EN-US">him</span><span lang="EN-US">, you’ll know that ballerinas at work w</span><span lang="EN-US">ere</span><span lang="EN-US"> his favourite theme of his artwork. </span><span lang="EN-US">But w</span><span lang="EN-US">hat’s </span><span lang="EN-US">more </span><span lang="EN-US">interesting is, Degas had not so much interests to paint the ballerinas on stages with all the lighting, but to catch the moment of them backstage or</span><span lang="EN-US"> during</span><span lang="EN-US"> training. </span><span lang="EN-US"></span></div>
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<span lang="EN-US">Like this one</span><span lang="EN-US"> on the screen</span><span lang="EN-US">, showing a brunch of ballerinas having a class with Jules Perrot, an actual ballet master at that time in Paris.</span><span lang="EN-US"> </span><span lang="EN-US">It was near the end of the class, the students were exhausted, they were scratching their back by stretching and twisting their body parts</span><span lang="EN-US">. S</span><span lang="EN-US">ome of them were fixing their clothes and accessories while listening to their teacher. </span></div>
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<span lang="EN-US">You can see that Degas caught the moment of the ballerinas’ most spontaneous, natural, ordinary gestures, when they were relaxed and the body slump after the exhausting practi</span><span lang="EN-US">ce</span><span lang="EN-US"> of the class. One more thing you can notice in this painting is that the view point from Degas, which is slightly raised diagonally across the studio, to the vanishing perspective of the floor</span><span lang="EN-US">, which tells you he’s observing his subject closely. It looked like it’s just a snapshot, but it was actually carefully planed.</span></div>
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<span lang="EN-US">You can also see that like most of the other impressionism </span><span lang="EN-US">art works</span><span lang="EN-US">, the color of this painting is</span><span lang="EN-US"> mostly light and bright. And the liveliness of the brushstroke gives you the feeling of existence from the painting. You can actually know all the spaces in the room by the open composition on the canvas and the sharp lighting and shading of the room, for example, the color of the furthest corner of the room was obviously deeper and the center of the room is much lighter. You can also see the lights on the people’s faces to tell that sunlight was coming in from the right side of the painting.</span></div>
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<span lang="EN-US">And of course, the overlapping brushstrokes shows the layers of the clothes and hair. The dresses of ballerinas are usually more bulky and see through feeling, in the painting, you can feel the realness and the gracefulness of the dresses with the thick brushstrokes.</span></div>
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<span lang="EN-US">And lastly, I have to mention the floor of the painting. As you can see, it occupied quite a large proportion of the canvas. I am not sure if you can see it, but the floor was a </span><span lang="EN-US">bit moistened</span><span lang="EN-US"> to prevent slipping of the dancers. Degas put details of the floor, it’s not smooth but textured. And there’s some scratches on the floor which maybe the mark of the ballet master’s baton when he beats times on the floor.</span></div>
</div>
drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com7tag:blogger.com,1999:blog-5135812152724169274.post-10937791773590425682015-01-25T19:33:00.001-08:002015-04-12T20:11:45.093-07:00Impressionism: Chilam Lau talks on Claude Monet's Sunrise, 1872<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-hTNqZh7K9Mk/VMZfMMzemvI/AAAAAAAAEhQ/SBwJkc8JvXE/s1600/sunrise.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-hTNqZh7K9Mk/VMZfMMzemvI/AAAAAAAAEhQ/SBwJkc8JvXE/s1600/sunrise.jpg" height="295" width="400" /></a></div>
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<b><u><span lang="EN-US">Title: Impression</span></u></b><b><u><span lang="EN-US">, </span><span lang="EN-US">Sunrise</span></u></b></div>
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<b><u><span lang="EN-US">Artist: Claude Monet</span></u></b></div>
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<b><u><span lang="EN-US">Year: 1872</span></u></b></div>
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<b><u><span lang="EN-US">Material:
oil on canvas </span></u></b></div>
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<b><u><span lang="EN-US">Dimension: 48 cm
× 63 cm</span></u></b><b><u><span lang="EN-US"><o:p></o:p></span></u></b></div>
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<br />
Draft Essay</div>
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<b><span lang="EN-US">Introduction<o:p></o:p></span></b></div>
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<span lang="EN-US">Impression, Sunrise is a painting
by Claude Monet, which hung at its first exhibition in 1874</span><span lang="EN-US">. At
that time, most visitors were disgusted and even claimed that they were unable
to recognize what was shown at all. A</span><span lang="EN-US">rt critic Louis
Leroy derisively used the term “Impressionistic,” from the title of this
painting, to describe Monet’s works. It gave rise to the name of the</span><span lang="EN-US"> </span><span lang="EN-US">Impressionist movement. </span><b><span lang="EN-US"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">It
is different from the </span><span lang="EN-AU">the expression of emotion</span><span lang="EN-AU"> </span><span lang="EN-US">in Romanticism or the</span><span lang="EN-AU"> truthful </span><span lang="EN-AU">and </span><span lang="EN-AU">representation of the real world</span><span lang="EN-AU"> </span><span lang="EN-US">clearly
in Realism, ordinary things of life is the main depicted object in Impressionism. In
traditional painting, artists used to draw the objects based on the inherent
color, therefore the dark color tone was the mainly color tendency. But for the
Impressionism, the artists focus on capturing the visual impression and the
pursuit of color change of light. They wanted to capture the transient effects
and momentary of sunlight on the object by using visible brush strokes of mixed
and pure unmixed color to portray the shading and outline to achieve an effect
of intense color transient. </span><span lang="EN-US">As Monet said:</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">〝</span><span lang="EN-US">Landscape is nothing but an impression, and an instantaneous one.</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">〞</span><span lang="EN-US"> </span><span lang="EN-US"><o:p></o:p></span></div>
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<b><span lang="EN-US">Historical </span><span lang="EN-US">Background</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">For the historical background, the subject of this painting is the
harbour of Le Havre in France. After the Franco-Prussian War from 1870-1871, France
began its recovery from the war</span><span lang="EN-US">,</span><span lang="EN-US"> </span><span lang="EN-US">art
was to play an important role in the revitalization.</span><span lang="EN-US"> </span><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">According
to an article published in Oxford Art, it mentioned that “The Impressionists’
subjects of the 1870s gave no hint of the destruction of the war. In
celebrating the French countryside and the new face of Paris, they, like other
citizens, seemed to be interested in putting the national humiliation behind
them.”</span><span lang="EN-US"> Monet had a heavy engagement with the
revitalization of french pride and spirit. At the time of Impression, Sunrise’s
creation, Le Havre harbor was the site of many of the city’s largest and most
important industries. The sunrise represents the post-war recovery of France
and the hope.</span><span lang="EN-US"> <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The haziness in Impression, Sunrise is not only</span><span lang="EN-US">
due</span><span lang="EN-US"> to the morning mists of the channel, but also to
the emissions produced by factories and steam ships. </span><span lang="EN-US">T</span><span lang="EN-US">he construction site </span><span lang="EN-US">include cranes and heavy machinery </span><span lang="EN-US">is neatly located between the rising sun and its reflections, as if
this orange </span><span lang="EN-US">sun</span><span lang="EN-US"> is rising</span><span lang="EN-US"> represent
</span><span lang="EN-US">the promises of a new day </span><span lang="EN-US">and the </span><span lang="EN-US">renewed hope </span><span lang="EN-US">is enhancing</span><span lang="EN-US">.</span><span lang="EN-US"><o:p></o:p></span></div>
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<br /></div>
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<b><span lang="EN-US"> Analyze</span></b><b><span lang="EN-US"><o:p></o:p></span></b></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The
features of Impressionist painting include relatively small, thin, yet visible
brush strokes without modification, open and boundless composition, emphasis on
accurate depiction of light and its changing qualities. It focuses on the
ordinary subject matter, the sensation and experience produced by the landscape
and unusual visual angles are the crucial elements. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The subject of painting is the early morning sun depicted is rising
over the foggy harbor. This painting show the key features of Impressionist
art, include the </span><span lang="EN-US">unusual viewpoint and open composition, </span><span lang="EN-US">the visible brushstrokes</span><span lang="EN-US">, </span><span lang="EN-US">and distinct
application of color</span><span lang="EN-US">. Those elements constituted the </span><span lang="EN-US">preoccupation with capturing the fleeting appearance of light and
the surface appearance of reality</span><span lang="EN-US"> in Impression,
Sunrise</span><span lang="EN-US">. </span><b><span lang="EN-US"> </span></b><span lang="EN-US"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">First,
the viewpoint and composition of Impression,
Sunrise is simple, borderless and unusual, which created the sensation and
atmosphere. Monet choose a direct perception of scene –the sunrise
view of Le Havre harbor to express his sensation and the experience of the
world around him, which also is the best suits the play of light, shadow and
coloring of nature in front of him. For the composition, Monet used the construction
site, three boats and the ripple constitute a triangular composition. And the construction
site as a structuring element in the back, but the diagonally arranged boats
creates the spatial distance. Due to achieve the atmospheric effect and capture
the constant change of light, the most important thing of composition is to create
the sense of space and impression. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Second,
the pure and intense colors affected by variations in lighting create a momentary
effect of light, atmosphere or movement in this painting. As the mentioned by “Monet-
Nature into art”, “color was rooted in one particular approach to the
relationship between nature and color…form and space should instead be
suggested by contrasts and variations of color”. </span><span lang="EN-US">Monet
incorporates mostly cool, dull colors into the painting with blues and grays,
but also includes the warm colors noticed in the sky and the red-orange
sun. </span><span lang="EN-US"> </span><span lang="EN-US">This noticeably bright
color draws attention to the main focus of the sun</span><span lang="EN-US"> and the dark
color of the nearest boat also capture the sight of spectators.</span><span lang="EN-US"> Monet mixed large amounts of lead white to express the natural ligh</span><span lang="EN-US">t.
Therefore, the dark and shape color contrary to the cool tone of seawater. In addition, t</span><span lang="EN-US">he clouds
</span><span lang="EN-US">and sea </span><span lang="EN-US">are colored by the rising sun</span><span lang="EN-US">.</span><span lang="EN-US"> </span><span lang="EN-US">C</span><span lang="EN-US">olors are placed side by
side in the sky and water portions of the painting, but </span><span lang="EN-US">seem
</span><span lang="EN-US">mix together at the same time.</span><span lang="EN-US"> The colors
change from bright to light and the greys are tinged with blues which shows transient
of the natural light in the misty sky. Then, t</span><span lang="EN-US">he dense
mist, the boats, the distant buildings, cranes, ships, boom only take shape </span><span lang="EN-US">colored
by blue</span><span lang="EN-US">.</span><span lang="EN-US"> It seems like those objects were mixed as
whole with sky and sea.</span><span lang="EN-US"> In addition, </span><span lang="EN-US">t</span><span lang="EN-US">he </span><span lang="EN-US">light pink</span><span lang="EN-US"> and orange
sunlight into the whole picture creates a realistic picture with natural light,
the rich atmospheric effects and a particular moment in time.</span><span lang="EN-US"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Finally</span><span lang="EN-US">, </span><span lang="EN-US">Monet used juxtaposed and visible brushstrokes
making up a perspective space or hierarchies of forms.</span><span lang="EN-US"> To
quote Monet’s word:</span><span style="font-family: "新細明體","serif"; mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">〝</span><span lang="EN-US">When you go out to paint, try to forget
what objects you have before you, a tree, a house, a field or whatever, </span><span lang="EN-US">m</span><span lang="EN-US">erely 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 gives you your own naive impression of the scene before
you.</span><span lang="EN-US"> The brushstrokes are equally important as integral to the whole scene. T</span><span lang="EN-US">he smaller, more fragmented brushstrokes quickly capture the essence
of the subject without focusing on any detail of the scene, such as the darker
brushstrokes in water create motion, and ripples, while hints of orange</span><span lang="EN-US">,
lead white and</span><span lang="EN-US"> </span><span lang="EN-US">light pink </span><span lang="EN-US">appear as </span><span lang="EN-US">the</span><span lang="EN-US"> reflection of
the sunrise in the</span><span lang="EN-US"> sea</span><span lang="EN-US">. And he used the blue
brushstroke</span><span lang="EN-US">s</span><span lang="EN-US"> to draw the silhouettes
of the boats</span><span lang="EN-US">, </span><span lang="EN-US">buildings </span><span lang="EN-US">and
construction site to </span><span lang="EN-US">create a looming feeling. That
looks like messy brushstrokes suggests the protean </span><span lang="EN-US">and harmony</span><span lang="EN-US"> nature. </span><span lang="EN-US"><o:p></o:p></span></div>
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<br /></div>
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<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">The
content is the most important elements of traditional art works, such as the classical
focus on religious and historical themes; Romanticism often based on the literary
stories and exotic; Realism trying to depict an event associated with the
society. But the main pursuit of impressionism is the light change and the effect
of intense color transient; the plot is not much interest. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">In
Impression, Sunrise, it just depicted a simple scene of sunrise. I care how to
draw, the art forms, how the color and lines can create a visual impression and
excitement, the sensation for the spectators and the artist instead of its
contents and what it is painting. The focus shifted to a purely visual
experience to me in this painting. The effect of intense color transient and
the atmospheric effects created by Impression, Sunrise seems brings me to that
moment to appreciate the rising sun on the harbor. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">Because
the performance of impressionist painter is not an object itself, but the light
changes in the objects and their impressions and feelings. Therefore even from
the same viewpoint, different artists may have different expressing way toward
the objects, it is interesting to appreciate unique angel for this painting. <o:p></o:p></span></div>
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<b><span lang="EN-US">Conclusion<o:p></o:p></span></b></div>
<div class="MsoNormal">
<span lang="EN-US">Impression, Sunrise as
the first magnum opus of Impressionism, Monet</span><span lang="EN-US"> successfully
captured predecessors ignored or considered impossible to render the impression
with a painting. No longer limited to fixed and eternal landscape, but also
including the objects’ momentary visual appearance by the transient effects. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US">As Robert Herbert has shown, this painting is a
recreation of visual experience in terms of relationship of color and surface
pattern, replacing the perspective structure and sharp tonal contrasts of traditional
landscape. Impressionism is the starting point for the traditional art of
turning to modern art, and Impression, Sunrise
play an important role on it. <o:p></o:p></span></div>
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<div class="MsoNormal">
<b><span lang="EN-US">Question:</span></b><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-align: justify; text-indent: -18.0pt; text-justify: inter-ideograph;">
<!--[if !supportLists]--><span lang="EN-US">1.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US">There are numerous vertical
elements can be found throughout this hazy landscape such as the Cranes and
heavy machinery. Someone said it can balance the composition with horizontal
brushstrokes in the sky and water portions; but someone said it just capture
the natural moment. What do you think about this? <br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US">2.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US">Someone said Impression, Sunrise is lack of concern with composition, do you
agree about that?<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><br /></span>
<span lang="EN-US" style="font-family: "Arial","sans-serif"; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"><b>References:</b></span><br />
1.<span style="font-size: x-small;"> <a data-auto="citation_title" href="https://www.blogger.com/null" name="citation" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #333333; font-family: Georgia, serif; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="color: black;">THE FIRST IMPRESSIONIST EXHIBITION AND <span data-auto="strong_text" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" xmlns:translation="urn:EBSCO-Translation">MONET'S</span> IMPRESSION, <span data-auto="strong_text" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" xmlns:translation="urn:EBSCO-Translation">SUNRISE</span>: A TALE OF TIMING, COMMERCE AND PATRIOTISM.</span></a></span><br />
<span style="font-size: x-small;"><a data-auto="link" href="https://www.blogger.com/null" id="linkTuckerPaul" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; font-family: Helvetica, Arial, sans-serif; line-height: 16.7999992370605px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Search for Tucker, Paul">Tucker, Paul, </a><a data-auto="link" href="https://www.blogger.com/null" id="link" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; font-family: Helvetica, Arial, sans-serif; line-height: 16.7999992370605px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;" title="Search for Art History">Art History</a><span style="font-family: Helvetica, Arial, sans-serif; line-height: 16.79px;">. Dec84, Vol. 7 Issue 4, p465-476. 16p.</span></span><br />
<span style="font-size: x-small;"><span style="font-family: Helvetica, Arial, sans-serif; line-height: 16.79px;"><br /></span>
<span style="font-family: Helvetica, Arial, sans-serif; line-height: 16.79px;">2. </span><span style="background-color: white; font-family: arial, sans-serif; white-space: nowrap;">Impression, Sunrise by Monet – Facts & History of the Paintin</span><span style="background-color: white; font-family: arial, sans-serif; white-space: nowrap;">g</span></span><br />
<span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: x-small; line-height: 16.79px;"> http://totallyhistory.com/impression-sunrise/</span></span><br />
<span style="font-family: Helvetica, Arial, sans-serif;"><span style="font-size: x-small; line-height: 16.79px;"><br /></span></span>
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<!--[if !supportLists]--><b><span lang="EN-US">1.<span style="font-size: 7pt; font-stretch: normal; font-weight: normal;">
</span></span></b><!--[endif]--><b><span lang="EN-US">The
first Impressionist exhibition and Monet's "Impression, Sunrise": a
tale of timing, commerce and patriotism<o:p></o:p></span></b></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-para-margin-left: 0gd;">
<span lang="EN-US"><a href="http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=ed9d0303-2ebd-483f-acf1-a9ff7c3ba5ca%40sessionmgr4005&vid=1&hid=4204"><b>http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=ed9d0303-2ebd-483f-acf1-a9ff7c3ba5ca%40sessionmgr4005&vid=1&hid=4204</b></a></span><span lang="EN-US"><o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US">2.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US"><Monet-Nature into art> John House,
Yale University Press<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-para-margin-left: 0gd;">
<span lang="EN-US"> New Haven And London<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US">3.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US">Oxford Art Online, Impressionism<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-para-margin-left: 0gd;">
<span lang="EN-US">http://web.a.ebscohost.com/ehost/pdfviewer/pdfviewer?sid=ed9d0303-2ebd-483f-acf1-a9ff7c3ba5ca%40sessionmgr4005&vid=1&hid=4204
(The first Impressionist exhibition and Monet's "Impression,
Sunrise": a tale of timing, commerce and patriotism)<a href="http://www.oxfordartonline.com/subscriber/article/grove/art/T040015?q=monet+sunrise&search=quick&pos=12&_start=1#firsthit">www.oxfordartonline.com/subscriber/article/grove/art/T040015?q=monet+sunrise&search=quick&pos=12&_start=1#firsthit</a><o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US">4.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN-US">Claude Monet: Impressionism's leading light,</span><span lang="EN-US" style="color: #4c4c4c; font-family: "Verdana","sans-serif"; font-size: 14.5pt; mso-bidi-font-size: 11.0pt;"> </span><span lang="EN-US">Stuckey, Charles F USA Today 124.2606 (Nov 1995): 36.<o:p></o:p></span></div>
<br />
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-para-margin-left: 0gd;">
<span lang="EN-US">http://search.proquest.com/docview/214580971?pq-origsite=summon&accountid=12107<o:p></o:p></span></div>
<span style="font-family: Helvetica, Arial, sans-serif;"><span style="line-height: 16.79px;"><br /></span></span>
<br />
<span style="font-size: x-small;"><a data-auto="citation_title" href="https://www.blogger.com/null" name="citation" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border: 0px; color: #333333; font-family: Georgia, serif; line-height: 24px; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><br /></a></span></div>
drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-70075743410771558822015-01-25T19:32:00.001-08:002015-04-12T10:49:39.795-07:00Impressionism: Jos Tam talks on Pierre-Auguste Renoir's Luncheon of the Boating Party, 1881. <div class="separator" style="clear: both; text-align: center;">
<a href="http://renoir.chez.com/images/canot_large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://renoir.chez.com/images/canot_large.jpg" height="300" width="400" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Artist : Pierre-Auguste Renoir</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Date of Creation :1881 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Style : Impressionism</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Medium : Oil on canvas</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Dimensions : 132.20 x 175.60 cm</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Analysis of this artwork</span></div>
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Draft Essay</div>
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<b><i><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Luncheon of the
Boating Party <o:p></o:p></span></i></b></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;">This painting looks sharply bright, fresh and lively. It
is different from the styles of academism and classicism. The styles of
academism and classicism are serious, rigid or even dull whereas the styles of
impressionism are vivid, active and relaxing.
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;">Although Renoir was poor, his paintings are mostly clear,
beautiful with a warm tone. Especially his techniques of applying optical
theories from physics and stippling, a new skill created by impressionists,
seem to make the picture look hazy and bright. </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;">The
picture </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;">lets audience feel fantastic and comfortable. The female
portraits especially reflect his painting techniques.<o:p></o:p></span></div>
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<b><span lang="EN-US" style="font-family: "Times New Roman",serif; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Composition<o:p></o:p></span></b></div>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">The arrangement of Luncheon
of the Boating Party shows a new Impressionist movement which the characters
are no longer aristocrats or religious figures but are bourgeois or citizens.
The bourgeois or citizens became more powerful and had more money after The
Industrial Revolution and French Revolution. They were able to buy some
expensive paintings so it was why Renoir depicted the daily life of residents. <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">Renoir carefully and
skillfully uses space, color, shape, and texture to paint the scene he saw. The
bottles, table wares, food and figures are the shapes to the canvas and the
people overlap that gives a sense of space and perspective.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;"><br />
<span style="background: white;">Renoir also makes his composition neater and
tighter by using design methods such as harmony, repetition and balance.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">Audience can realize a
series of movement through the facial expression and actions and of the
characters.<o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">Repetition is indicated
through the stripes on the background representing some plants, </span><span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">the
</span><span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">pattern of the gazebo cover,
the yellow or black hats and posts in the railing which attract people’s eyes
to stay around the canvas. </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;"><br />
<br />
<span style="background: white;">The artist thickly applies brushstrokes but
there are also some delicate ones so the picture can be more sophisticated, and
speckles of crossed red and white make the painting splendid and superb. For
impressionists, they started revealing their brushstrokes deliberately, their
paintings were not like the classicism oil paintings which not likely showing
the brushstrokes. It is because showing their brushstrokes meant showing the
artist’s personal characteristics and styles. </span><br />
<br />
<span style="background: white;">With regard to balance, Renoir is an intelligent
painter. He succeeds in distributing two figures on the left while twelve on the
right. The tilting floorboards allows the characters on the upper-right corner
to be easily noticeable and this enhanced the feeling of informality and intimacy.</span><br />
<br />
<span style="background: white;">There is no evidence proved that Renoir prepared
any draft drawings for</span></span><span class="apple-converted-space"><span lang="EN-US" style="background: white; font-size: 16pt;"> </span></span><span lang="EN-US"><a href="http://www.artble.com/artists/pierre-auguste_renoir/paintings/luncheon_of_the_boating_party" title="Luncheon of the Boating Party"><i><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 16.0pt; mso-themecolor: text1;">Luncheon of the Boating Party</span></i></a></span><span class="apple-converted-space"><i><span lang="EN-US" style="background: white; font-size: 16pt;"> </span></i></span><span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">or that he did any initial sketches on the canvas. A common
Impressionist approach was that they directly developed the composition and
painted on the canvas. </span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">It is believed that Renoir collected
most of his ideas at the Maison Fournaise early on to organize this
arrangement. He made a lot of changes in composition when painting this
masterpiece. One of the most significant example is that the striped awning which
aims at further enforcing the feeling of intimacy was added. Additionally, the
trees emphasizes the cozy atmosphere so everyone just enjoys the party.<o:p></o:p></span></div>
<h2 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-size: 16pt;">Coloring and Lighting<o:p></o:p></span></h2>
<h2 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-size: 16pt; font-weight: normal;">Impressionist
painters were opposed to classical and academic painting, and also Romanticism
which wilted and decayed gradually. They were inspired by Realism promoted by
Corot, Courbet and Barbizon School. They also adopted other countries such as
Japan, China painting techniques as well as applying modern science, especially
optics that light produce all colors. So they were based on the spectrum (red,
orange, yellow, green, blue, indigo and violet) to mix colors. Owing to the
changing of light, they thought they should capture momentary light shine for
revealing the nature. Therefore the painters advocated to go outside and paint
the nature in different period of the day. The painters like scientists would
directly observe the subtle changes in color by their own eyes</span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;"> </span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;">and paint according to
their sense of the scene.<o:p></o:p></span></h2>
<h2 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-size: 16pt; font-weight: normal;">The colors used by Renoir are very wide and he
contrasts the Prussian blue and green with Cadmium orange and vermillion. There
are some typical example, when viewer looks at the blue clothes, the darker
side of the blue clothes was made by the mixture and blue and orange. Renoir
gave up black and tried to contrast colors to paint the dark side. This skill
can make the picture be brighter and sharper, not like those gloom painting in
classicism. This painting applying lots of colors reflects both the Impressionism
and time period. Texture is performed by the figures as viewers could easily
discover the brushstrokes of coloring. Renoir’s palette also has many golden
tones and the skin of women shows red from the sun light. The hats and arms are
also further clues of a sunny day. Skills of layering and blending to represent
glowing skin with subtle tints of green and blue which make some part of skin
be darker.</span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;"><o:p></o:p></span></h2>
<h2 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 16pt; font-weight: normal;">There is a great arrangement of
light throughout <i>Luncheon of the Boating
Party</i>. The prime light source is the balcony and the table, vests, cloth
and of the two men in the leading-edge reflected the beaming sunlight. This painting
captures the temporary effects of changing light and color</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 16pt;">.</span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;"> For handling shadowing, an Impressionist paintings</span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;"> </span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;">deny
black like traditional painting but use contrasts of color to shadow instead. Therefore,
the picture can have brightness</span><span lang="EN-US" style="font-size: 16pt; font-weight: normal;"><o:p></o:p></span></h2>
<h2 style="background: white; margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-size: 16pt;">Mood, Tone and Emotion<o:p></o:p></span></h2>
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<span lang="EN-US" style="background: white; font-family: 'Times New Roman', serif; font-size: 16pt;">In conventional Impressionist
style Renoir illustrated a scene from modern daily life and based it in the
Restaurant Fournaise a place he knew well .Chatou was one of Renoir's favorite
place to drae and <i>Luncheon of the Boating
Party </i>is a portrait of his friends having a Sunday afternoon lunch on the
balcony of the restaurant. His purpose was to take a usual scene and create a middle
class party that portrayed the teenagers and beauty of his peers.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 16pt;"><o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span class="NormalTextRun SCX259880433" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; font-size: 14.6666669845581px; line-height: 20px; margin: 0px; padding: 0px;"><br /></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px; line-height: 20px;"><b>Discuss questions :</b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px; line-height: 20px;">1.Does this painting reflect the lives of citizens?</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px; line-height: 20px;">2.What are the statuses or</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px; line-height: 20px;"> careers of the characters in this painting?</span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: 14.6666669845581px; line-height: 20px;"><b>References :</b></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial, Helvetica, sans-serif;"><span class="TextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; line-height: 28px; margin: 0px; padding: 0px; text-align: left;" xml:lang="EN-US"><span class="NormalTextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; margin: 0px; padding: 0px;">Teacher's Guide for </span></span><span class="TextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; line-height: 28px; margin: 0px; padding: 0px; text-align: left;" xml:lang="EN-US"><span class="NormalTextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; margin: 0px; padding: 0px;">Luncheon of the Boating Party</span></span><span class="TextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; line-height: 28px; margin: 0px; padding: 0px; text-align: left;" xml:lang="EN-US"><span class="NormalTextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; margin: 0px; padding: 0px;"> </span></span><span class="LineBreakBlob BlobObject SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; color: #365f91; line-height: 28px; margin: 0px; padding: 0px; text-align: left;"><span class="SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; margin: 0px; padding: 0px;"> </span></span></span><span class="TextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; font-family: Cambria, serif; line-height: 28px; margin: 0px; padding: 0px; text-align: left;" xml:lang="EN-US"><span class="NormalTextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; margin: 0px; padding: 0px;">by Susan Vreeland</span></span></span></div>
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<span class="TextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: white; margin: 0px; padding: 0px; text-align: left;" xml:lang="EN-US"><span class="NormalTextRun SCX243049357" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; margin: 0px; padding: 0px;"><span class="TextRun SCX155728606" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; cursor: text; margin: 0px; padding: 0px;" xml:lang="EN-US"><span class="NormalTextRun SCX155728606" style="-webkit-tap-highlight-color: transparent; -webkit-user-drag: none; -webkit-user-select: text; background-color: inherit; line-height: 28px; margin: 0px; padding: 0px;"><span style="font-family: Arial, Helvetica, sans-serif; font-size: x-small;"><i>http://creatingwithwisdom.blogspot.hk/2011/10/pierre-auguste-renoir-luncheon-of.html</i></span></span></span></span></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-11906613702842016422015-01-19T01:45:00.006-08:002015-04-19T02:44:31.297-07:00Romanticism: Ariel Chow talks on Delacroix's The Death of Sardanapalus, 1827.<div class="separator" style="clear: both; text-align: center;">
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<a href="http://4.bp.blogspot.com/-_PiYmguWaqE/VTN4Ijo0AOI/AAAAAAAAEqQ/imo9Nlsu8lI/s1600/Eugen%2BDelcroix018.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-_PiYmguWaqE/VTN4Ijo0AOI/AAAAAAAAEqQ/imo9Nlsu8lI/s1600/Eugen%2BDelcroix018.jpg" height="327" width="400" /></a></div>
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<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Artist: Eugene Delacroix</span></span><br />
<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Year: 1827 </span></span><br />
<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Dimensions: 392 x 496 cm</span></span><br />
<span class="s1"><span style="font-family: Georgia, Times New Roman, serif;">Medium: Oil on Canvas</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="s1"><i>The Death of Sardanapalus</i> was created from the inspiration of Byron's 1821 tragedy <i>Sardanapalus</i>. Yet, Delacroix did not precisely follow the text in the poem, but to depict in a more destructive way by his own imagination.</span></span><br />
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<span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">In <i>The Death of Sardanapalus</i>, the city of Assyrian King, Sardanapalus, was under attack by an alliance of Medes, Persians and Babylonians. Learning that he was going to be defeated, instead of facing this humiliation, he would rather choose to end his life together with all his precious possessions. His concubines, including his favorite Myrrha, his horses, his slaves were all stabbed and killed. He watched the whole progress in his eyes before he ordered to light his funeral pyre around him</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">. That is to say, he would rather destroy all his valuable possessions than have them left in the hands of his enemies.</span><br />
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<span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">Looking into the details of the painting, although the content was considered barbaric and unfavorable by the contemporary critics, this large Salon painting is generally regarded as one of Delacroix’s masterpieces nowadays</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">. According to John P. O’Neill, “This was the largest, the most Rubensian, the most lavishly colored and ornamented, the most voluptuously savage of Delacroix's paintings to date.”</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;"> It was an early example of practicing the newly invented Romantic picture type, the vignette, with the most bright color and the light shines on the same spot</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">. From the painting, the light focuses on the bottom right part, one of the King’s concubines was being stabbed. As it edges, surroundings become less defined and darker, even the King himself is a bit hidden in the shadow. It is possible that Delacroix tried to depict the King like an “outsider” since he remained apathetic among the corpses and chaos, as to achieve greater dramatic contrast. Unlike the thick brushstrokes style he practiced in his other artworks, most parts of this painting were in tight and precise brushstrokes. Together with the lavish red and yellow colors jumping off, the whole painting seems like a “sophisticated murderous scene”. </span><br />
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<span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">As a work created in the peak of Romantic movement, I would say this painting is quite a typical artwork of romanticism. Especially for the emphasis on the expression of emotion</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">. The brutal killing creates savage scenes on the painting. His women, slaves, horses, all struggle to live. Their despair facial expressions and outstretched body gestures clearly show their fear and pain. Too many killings occurred at the same time. When they were depicted on the one single painting, it seems kind of “crowded”. This contributes to create a more chaotic atmosphere, despite the King himself. He reclined on his extravagant bed, lying on a sumptuous red cushion, remained emotionless watching the whole progress. In his eyes we see no apathy for his formerly beloved treasures. The great contrast contributes to the dramatic tension of the painting.</span><br />
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<span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">Apart from the expression of emotion, the painting profoundly shows Delacroix’s individual imagination. As a matter of fact, the artwork was created before his oriental trip. It is to say that, it was his pre-oriental painting</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">. The painting itself is depicting an oriental story, it is easy to discover that Delacroix tried hard to paint the oriental elements as detailed as possible, from the decorations of the king’s bedroom, people’s costumes, and the rich red and yellow color etc. By that time Delacroix had never been to the east, all the elements he depicted were under his own imagination to the mysterious east in the eyes of an European. That is how the painting gives a very exotic feeling, together with the sense of nostalgia for the past and the interest in “long ago” and “far away” stories, which reflect the features of romantic art</span><span class="s2" style="font-family: Georgia, 'Times New Roman', serif;"><sup></sup></span><span class="s1" style="font-family: Georgia, 'Times New Roman', serif;">.</span><br />
<span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span>
<span style="font-family: Georgia, 'Times New Roman', serif;">To me, it was a shock when I saw the painting at the first time. Barbaric, violent, cruel, sentimental, helplessness, dramatic, desperate, desire, despair, decadence, destruction… these are the words that first came into my mind. Seeing the chaotic scenes all over the painting, I soon discovered there was one character not involved with the others — the King. I quickly assume that there must be an interesting story behind. That explains how this painting aroused my interest. It is true that this painting is filled with violent elements. However, I personally see this is the means that the artist used to show his ideas, just like any other means used by other artists. </span><br />
<span class="s1"><span style="font-family: Georgia, 'Times New Roman', serif;"><br /></span></span>
<span class="s1"><span style="font-family: Georgia, 'Times New Roman', serif;">I shall not try to guess what Delacroix tried to convey, perhaps only he would truly know. While in my view, I think it can relate to the historical background. By that time, French Revolution was in progress and Charles X was still the king of France. The painting thoroughly reflects the extreme degeneration of human desires. The Assyrian king not only wanted to be the ruler of his kingdom in his lifetime, but also afterlife. Perhaps the painting also question about the monarchy, whether they really care about the well-being of their people, or just exploit them to satisfied royal members’ personally desires.</span></span><br />
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<span class="s1"><span style="font-family: Georgia, 'Times New Roman', serif;">In conclusion, not only as a masterpiece of artwork, The Death of Sardanapalus remained much to be discussed by people. Different people have different views and no definite answers should be given. At last, here are two questions that I am interested to hear the response from others: “ Do you think this is a typical Romantic artwork? Why or why not?” and “ Do you think this artwork have any correlation with the historical background happening during that period?</span></span><br />
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Reference list:<br />
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<span class="s1">books:</span></div>
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<span class="s4">Laurie Schneider-Adams, Art Across Time: Vol II, Boston: McGraw Hill College, 2002</span></div>
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John P. O’Neill, edited, Eugène Delacroix (1798-1863) : paintings, drawings, and prints from North American collections, New York: Metropolitan Museum of Art, 1991</div>
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<span class="s1"></span>website:</div>
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<span class="s3"><a href="http://www.artble.com/artists/eugene_delacroix/paintings/the_death_of_sardanapalus">http://www.artble.com/artists/eugene_delacroix/paintings/the_death_of_sardanapalus</a></span></div>
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<span class="s3"><a href="http://www.everything2.com/title/The+Death+of+Sardanapalus">http://www.everything2.com/title/The+Death+of+Sardanapalus</a></span></div>
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<span class="s3"><a href="http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-death-of-sardanapalus-1827-eugegravene-delacroix-2015856.html">http://www.independent.co.uk/arts-entertainment/art/great-works/great-works-the-death-of-sardanapalus-1827-eugegravene-delacroix-2015856.html</a></span></div>
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<span class="s3"><a href="http://www.eugene-delacroix.com/death-of-sardanapalus.jsp">http://www.eugene-delacroix.com/death-of-sardanapalus.jsp</a></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-32180316870575684452015-01-19T01:45:00.003-08:002015-04-08T06:57:27.432-07:00Romanticism:Hazel Tse talks on Goya's The Third of May 1808, 1814.<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-X9AQD4MhiBQ/VM4_K49e8KI/AAAAAAAAEiI/ttUGAdj_RiE/s1600/300px-El_Tres_de_Mayo%2C_by_Francisco_de_Goya%2C_from_Prado_thin_black_margin.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: black;"><img border="0" src="http://2.bp.blogspot.com/-X9AQD4MhiBQ/VM4_K49e8KI/AAAAAAAAEiI/ttUGAdj_RiE/s1600/300px-El_Tres_de_Mayo%2C_by_Francisco_de_Goya%2C_from_Prado_thin_black_margin.jpg" /></span></a></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Artist: Francisco Goya<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Completion Date: 1814<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Style: Romanticism<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Genre: history painting<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Technique: oil<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif; font-weight: normal;"><span style="font-size: x-small;">Material: canvas<o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: black; font-family: "Calibri Light",sans-serif; mso-ascii-theme-font: major-latin; mso-bidi-font-family: "Times New Roman"; mso-hansi-theme-font: major-latin;"><span style="font-weight: normal;"><span style="font-size: x-small;">Dimensions: 266 x 345 cm</span></span><b><o:p></o:p></b></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">Questions: what is the under-meaning of
this art? Is there any political view taken in this art? What technique is
used? How did printer express his feeling about this war?<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><u1:p></u1:p><u1:p></u1:p>The third of may 1808 is an art work
printed by Francisco de Goya which was about a random executions in third and
second of may in 1808. These executions come from the wars in Puerto del Sol
area of Madrid. The uprising of Spanish happened and such execution were
repeated in Spanish countryside. Madrid people rose up and against French
invaders, receiving a swift and retribution of barbarousness.<b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
In 1807, Napoleon invaded Spain and made Charles IV and his son Ferdinand VII
to give up the throne. The Spaniards rebelled while they sent the members of
Spain royal family to France because they feared there would be execution than
exile. On the second of May 1808, French fired and gathered in protest in the
royal palace which located in Madrid which leaded to the street fighting in the
city. Hundreds of revolts and executions were arose. Although the initial
rebellion was successful, the Peninsular War plagued Joseph’s rule. (Napoleon’s
brother)<b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
Goya admired the French enlightenment of freedoms previously. Spanish were
weary of Charles IVs’ faltering efforts and the improvement of Ferdinand. But
Napoleon stopped anything that Spanish liberals wanted for freedom of French.
He welcomed the movement of French and against inquisition of Spain. However,
wars were happened in the name of democracy and freedom, faith was lost in
their claims. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
During the 6 years of occupation by French, Goya was living in Madrid. There is
so much speculation about whether he saw the event of ‘the second of May’ and
‘the third of May’. Evidences show that he owned a property in La Quinta.
Massacres were taken place in there too. Goya maybe the victim, being the
observer. The ‘Disasters of War’ and ‘Black Paintings’ are from the last
several years of Goya’s life. These maybe the annotation of the barbaric
characteristic of wars, painful effects on the whole society. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
Working in the Spanish royal court as a designer and printer, Goya had created
profitable relationship between the clergy and nobility. He found that he was
in a tough spot as being a supporter of republics’ founding of new French. The
relationship between Spain and France became precarious, especially the
beheading of French Louis XVI, Goya separated the output between royal
portraits and satirical prints that damaged the religion and society
institutions. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">The third of May was well-known that it appeared in covers of book
and postage stamps. Epitomizing Goya’s art and Spanish spirit of revolutionary
heroism. The violence moved depicting public execution on 3 may 1808. Comparing
to street battle of vigour, Spaniards gained upper hand, the massacre of
people, which French carried out for avenge, had been painted in the most
attractive color. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
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At the left of the art, unarmed people are kneeling with mingled blood and
bodies of death. They are facing a firing squad and at the back of a mound. On
the right , the first squad is ready to fire and carry out execution. Spectators
gather at the back and watch the condemnation and execution. The sky is black
which is full of sadness and gloominess. The palace is lifeless and lacks of
grandeur. The illumination comes from the lantern between the feet of the
soldiers. The church is full of darkness and it stands silently at the face of
French invaders. The hill in the mirrors mid-ground in the monk grasping his
firsts which leads the viewers’ eyes to the anonymous figure of Napoleonic
army. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
The man with white shirt seems to be a Christ figure. The stance likes Christ
on the cross and he has stigmata about Christ. And this man maybe the martyr of
the town. That’s why he is in white shirt but not soiled. Also, his clothes are
clean which has a big difference comparing to other Spaniards. These people at
the back are wearing blood stained and dirty clothes with dark colors. The man
is white shirt also gives the squad a pleading symbol. He knows he is going to
be shoot. Besides, the V spread arms represent peace and something the squad don’t
regard for. Also, this V makes a focal point of the work which becomes a
dynamic choice of the composition. His shape mirrors with the death at the
foreground which face outwards towards audience and open a space to that of the
audience. It seems like he falls into audience’s space and includes viewers’
action. The central figure is also in the strong light opposing to other parts.
There is lots of empty space between the central figure. The facial expression
of the central figure is stronger than other parts of the work. hatch
brush strokes are visible which creates energetic effect. Lights from the
lantern in the background adds drama at the stage. <b><o:p></o:p></b></span></span></div>
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The dead bodies who had already been shoot were tossed aside so as to make room
for next victims. These dead people were cast aside left and piled up . they
would be burnt. Whether dead bodies were picked up is in the basis of whether
they carried weapon which shows inhuman treatment to citizens and lacks of
human concerns. The paintings shoes clearly that people who were shot were
lying on the bloody pools. Callousness and senselessness can be observed in
this painting. <b><o:p></o:p></b></span></span></div>
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The face of the squad are hidden from viewers but victims can see their face
clearly and find that they are being stared down by squad’s guns. Unsoiled
clothing means that the squad are above dirty clothes which place them in a
higher level. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">These victims are meaningless and useless to the squad. Any live
can be quickly shoot down by them. <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
The lantern is set between these 2 groups of people which creates a dramatic
light at the stage. The light illuminates on the victims to the left side
including the monk. From the center of the work and the immediate right, other
victims stand next to be shot. The center focus is the man kneeling the
bloodied dead bodies which had been executed. Flinging widely of his arms seems
that he would like to appeal. <b><o:p></o:p></b></span></span></div>
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The squad was engulfed by the shadow showing as a very large, solid, and
impressive unit. Their shako form an immutable column. Most of their faces are
hidden but the man of the right main victim peeps towards the soldiers. <b><o:p></o:p></b></span></span></div>
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This art focuses on the death and the one who would be dead. It is reasonable
to conclude that this painting consists essence of death and horror.<b><o:p></o:p></b></span></span></div>
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Sympathy is aroused from the observation because of the helpless people who are
going to die. However, we can observe it from other perspective. These people
need to face justice. Oppression is turned against them. The monk reminds
audiences the inquisition of Spanish. After experiencing the destruction and
death, here comes their fate. Painters didn’t show us the real faces of the
executioners because it is really not important that who carries out the
justice. Some said that they are French soldiers but some said that their
uniform does not support this view. <b><o:p></o:p></b></span></span></div>
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Spectators who are watching the execution seems to be innocent because they are
not in invasion or uprising. But some said that they are treacherous who had
benefited in being Spanish but refusing to fight for their own country. They
said these spectators were the cowards who watched the execution of heroes.
Guilty of these cowards’ makes that they will not have direct eyes contact with
the condemned one or the soldiers. Some of them watched the execution with
hesitance while some of them feel shameful with covering their eyes. <b><o:p></o:p></b></span></span></div>
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Goya chose not to admire the glory of the leader but the nameless person in the
street. Spanish regarded this work as an icon of nationalism. Mass media always
draw publics’ attention to the normal peoples’ view of political events even
their own experience or their response to conflicts and wars.<b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;"><br />
Death is an inevitability for us in everyone’s life. This work is about
universal and enduring theme that it talks about the death of Spain. The
unpleasant quality that the blood is caking and these dead bodies are piling
up, the clear fear in this description of characters in the work are alive that
are waiting for their fate and death. The true horror is that the moment of
central figure before death, the facial expression creates viewers wonder his
thoughts and bringing viewers round to our death too.<b><o:p></o:p></b></span></span></div>
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<span style="font-size: x-small;"><i><span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;">Source : </span></i><b><span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><o:p></o:p></span></b></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">1.Romanticism by Hugh Honour<br />
(New York : Harper & Row, c1979)<b><o:p></o:p></b></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; mso-outline-level: 4;">
<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">2.Romanticism and art / William Vaughan <b><o:p></o:p></b></span></span></div>
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<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">(London : Thames and Hudson, c1994)<b><o:p></o:p></b></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm; mso-outline-level: 4;">
<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">3. <span class="apple-converted-space"> </span>A companion to European Romanticism / edited by Michael <span class="apple-converted-space"> </span>Ferber<br />
(Malden, MA ; Oxford : Blackwell Pub., 2005)<b><o:p></o:p></b></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">4. H. W.
Janson, History of Art, 5th ed. (Harry N. Abrams, Inc., 1962/1995).<o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0cm;">
<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">30,000 Years of
Art. (Phaidon Press Ltd., 2007) </span></span><br />
<span lang="EN-US" style="font-family: 'Calibri Light', sans-serif;"><span style="font-size: x-small;">5.<o:p></o:p></span></span><span style="font-family: Calibri Light, sans-serif; font-size: x-small;">Art : the world of art, from aboriginal to American pop, Renaissance masters to postmodernism / general editor, Robert Belton ; foreword by Christopher Rothko (New York : Watson-Guptill Publications, 2002)</span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-60792871680038612532015-01-19T01:45:00.001-08:002015-04-12T20:11:22.039-07:00Romanticism: Gemma Yim talks on Caspar David Friedrich's Wanderer above the sea of mist, 1818.<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-hvmGuoE6uio/VMXCAl3vhsI/AAAAAAAAEg4/0JAaY5l1jxw/s1600/wanderer-above-the-sea-of-fog-18181350656820931.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-hvmGuoE6uio/VMXCAl3vhsI/AAAAAAAAEg4/0JAaY5l1jxw/s1600/wanderer-above-the-sea-of-fog-18181350656820931.jpg" height="640" width="499" /></a></div>
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;">Title: Wanderer above the sea of mist </span></span></div>
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;">Artist: Caspar
David Friedrich </span></span></div>
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<span lang="EN-US"><span style="font-family: Georgia, Times New Roman, serif;">Completion date: 1817/1818</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Material: oil/canvas </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;">Dimension: 74.8x94.8cm</span><br />
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<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">Caspar David Friedrich, a significant and awe-inspiring
figure in the Romantic period, once said, </span></div>
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<span style="font-family: "Cambria","serif"; font-size: 11.5pt; line-height: 107%;">The pure, frank sentiments we hold in our hearts
are the only truthful sources of art. A painting which does not take its
inspiration from the heart is nothing more than futile juggling. All authentic
art is conceived at a sacred moment and nourished in a blessed hour; an inner
impulse creates it, often without the artist being aware of it. <a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><span class="MsoFootnoteReference"><span style="font-family: "Cambria","serif"; font-size: 11.5pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN; mso-fareast-theme-font: minor-fareast;"></span></span></span></span></a>(Jansen, 2005)</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">According to his words, art itself is more a design than
spirit, like an echo from heart. Compared with the art form, the feeling and
inspiration of the artist is more important to express the moment of awe and truth
and it is clearly shown in all of Friedrich’s painting. In fact, looking at all
paintings of Friedrich, it always embraces a high presence of nature and, more
specifically, God. In the view of many scholars and art curators, Friedrich’s
painting is almost religious, encircled by a heavy sense of philosophy and
belief, especially with his background as a protestant. To further study
Friedrich’s aesthetic world, the following will analyze a piece of Friedrich’s
work, <i style="mso-bidi-font-style: normal;">A Wanderer above the Sea of Mist</i>,
in terms of its style, historical context and commentary from other artists and
scholars. In general, my objective in the following paper is to show the aesthetic
and historical context of Friedrich’s work, especially the sense of sublimity
and beauty reflected in the painting<i style="mso-bidi-font-style: normal;"> A
Wanderer above the Sea of Mist.</i></span></div>
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<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Firstly, regarding to</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;"> the style of the painting, <i style="mso-bidi-font-style: normal;">A Wanderer above the Sea of Mist</i> is an iconic piece of Romantic
artwork. What the style of Romanism really is, according to the definition of
scholars Duro and Greenhalgh, “Romanticism rejected the universalizing rules of
Classicism in favour of an emphasis on the individual imagination, the
relationship of the individual to nature, the expression of emotion and a
profoundly subjective approach to beauty” (Duro and Greenhalgh, 1992). Hence,
with the above features, we can classify the painting as a Romantic artwork with
the sense of individuality and sublimity emphasized in its content, composition
and colour tone. To begin with its content, the objects chosen in the painting
suggests a sense of awe and sublimity. With the presence of the rocky
mountains, the mist, the sky and the man, the infinite scenery, the stillness
of time and the back view of the men, in some sense, implies the connection
between the nature and human, leading the viewer to study the painting in a
more philosophical way, like a meditation. Also, with layers of mist, the
contour of the objects is rather blurry and unclear, giving a sense of uncertainty
and vulnerability to the viewers. Not only does it suggests the vulnerability
of men in front of the nature, but also triggers a sense of awe and sublimity
to the nature and also God. </span></div>
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<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">In term of the composition of the painting, Friedrich
constructed an intriguing setting with the clever arrangement of objects.
First of all, instead of painting horizontally as many others he portrayed, he
chose to make the painting drawn vertically, which enhances the upright
position of the wanderer shown in the painting. Also, there are several
diagonal lines that point towards the man himself, including the contour of the
mountains on the right and the left, which constructs two diagonal lines and
both come to the vanishing point, ending with the wanderer. Besides, as the fog
swirls around in the background, it brings the viewer back to the presence of
the rocky mountain which the man is standing, going a diagonal line up towards
the man. Among all, the most intriguing part is the back view of the man that
he face is hidden to the viewers. With those diagonal lines constructed and
pointed to the center, the view is in fact concealed by the back view of the
men. On one hand, it allow the viewers to imagine the emotion and facial
expression of the man, which is probably amazed and awed by the nature and the
infinite scenery. On the other hand, the blockage of the man also invite the
viewer and recreate the natural scenery with their own imagination, filling the
hidden part with their own creativity. This also encourages individual
imagination and emotion filled in the painting. Hence, subject to the
individual imagination and feeling to the painting, different people may have
different version of the natural scenery ahead of the wanderer. Even so, some scholars
also have different interpretation to the back view of the wanderer. Instead of
inviting the viewer to imagine their own version of natural scenery ahead of
the man, some claims that the center of the painting is actually the wanderer
himself who climb to the top of the mountain and face the nature with pride and
self-recognition. Yet, scholars still commonly view it as an invitation than an
emphasis on human ego, especially with the taller mountains far ahead of the
wanderer.</span></div>
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<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">For the colour tone used in the painting, it emphasizes a
sense of harmony between the nature and human with the soft colours of the sky,
the wanderer and the mountains. To analyze the colour element in the painting,
it is dominated by a shade of blue and element of red and yellow is much less
prominent. Also, even for the clothing of the wanderer, it is also dark blue,
matching with the dark colour of the rock he is standing. As shown, all colour
used in the painting is harmonious to each other, giving a sense of calm and unity
in the whole picture. Besides, the dominance of blue in the painting also
suggests a sense of confusion and gloom. Even though it is not necessarily
implied that the painter is sad or depressed owing to its situation, the hint
of confusion strengthens a sense of sublimity and the stillness of time. And as
mentioned, soft colours used in the painting, in some sense, shows the unity of
the nature and human as a whole, implying the strong bond between human, nature
and God. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">Furthermore, speaking of the historical context of the
painting, the sense of individuality and sublimity is embedded in the art in
Friedrich owing to a web of historical factors, included the Enlightenment
movement and the Napoleonic War. For the influence of the Enlightenment
movement, </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">since
the mid-17<sup>th</sup> century, there was a new wave of philosophy prevailing
in Europe, called as the age of enlightenment, which emphasized reason,
analysis and individualism rather than traditional lines of authority. Under
the critics of philosophers like John Locke, Voltaire and Jean-Jacques
Rousseau, it greatly challenged the traditional hierarchy in society, dominated
by the absolute monarchy and the religious privileges. Hence, with the rational
reasoning and the question to the existing political and social system, it
helped the emergence of ideas like individualism and afterwards, freedom and
liberty, paving way for the rise of Romanticism in the 18<sup>th</sup> century.
Among all philosophers in this period, a German philosopher, Immanuel Kant
influenced the philosophy in Germany greatly. Apart from promoting the idea of
reason and analyze, Kant also introduce his aesthetic philosophy regarding to
beauty and sublimity in art. According his book <i style="mso-bidi-font-style: normal;">Observations on the Feeling of the Beautiful and Sublime</i> published
in 1764, it is divided into four sections and, in the first section of his
book,</span> <span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Kant focus on
discussing the feelings of the beautiful and the sublime, which, on one hand, feeling
of beauty related to “a pleasant sensation but one that is joyous and smiling"
On the other hand, feelings of sublimity “arouse enjoyment but with horror"
(Immanuel and Patrick, 2011) As shown, the enlightenment advocate the idea od
individualism and sublimity and these ideas is clearly shown in the painting of
Friedrich, especially in A Wanderer above the Sea of Mist as discussed earlier.
</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Moreover,
speaking of the influence of the Napoleonic War, during the devastating war
from 1799 to 1815, a lot of young men were sent to the battlefield to fight
against the aggression of Napoleon, included the Germanian states. After the
war, even temporary peace was granted under the revision of the traditional
monarchy,</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;"> </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">the </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">Germanian states </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">were still</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;"> recover</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">ing</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;"> from
the savage of the war. Under this circumstance, since Germany was not yet an
established nation and have a clear vision of their future, German in that
period shared the sense of uncertainty and worry about their future. The worst
seems to have passed but the future was still so misty. </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Thus, shown in the
painting A Wanderer above the Sea of Mist, t</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">he wanderer seems to climb up
to the top of the hill and look out to future and question, what is our future
vision? </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Hence, with the
background of the devastating war and the nation building process enhances the
feeling in the painting with the sense of confusion and ambiguity. Even though
the imagination of the viewers about the hidden scenery is rather subjective,
the uncertainty is clearly projected from the misty view in the painting.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">In
conclusion, Friedrich’s A Wanderer above the Sea of Mist projects a heavy sense
of Romanticism with the composition, object used and colour tones of the
painting and it provides a vast space for individual imagination. As a Romantic
artwork, this painting can always connect the viewer with the emotion created
in the picture owing to the sense of stillness and individuality. When we look
at the piece in different time period, it touches our soul with the different
imagined scenery created in the hidden space. Even though it is an old piece of
artwork that drew over 200 years ago, it is always new to look at and
appreciate. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">Reference:</span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">1. Börsch-Supan, Helmut, Caspar David Friedrich, (München:
Prestel, c1990)</span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">2. Wolf, Norbert, Caspar David Friedrich,1774-1840 : the painter
of stillness, (Köln ; London : Taschen, c2003)</span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">3. Siegei, Linda, “Synesthesia and the paintings of Caspar
David Friedrich”, Art Journal, Vol. 33, No. 3 (Spring 1974), pp.196-204<span style="mso-spacerun: yes;"> </span></span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">4. Prager, Brad, "Kant in Caspar David Friedrich's
Frame",<i style="mso-bidi-font-style: normal;"> Art History</i>, Vol. 25,
No. 1 (Feb 2002), pp 68-86</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;"></span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">5.
Greenhalgh, Michael, and Paul Duro, <i style="mso-bidi-font-style: normal;">Essential
Art History</i>, (London: Bloomsbury, 1992), pp 257. </span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">6.
</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%;">Jansen,
"Culture Art Culture: Caspar D. Friedrich and the Wasteland<i style="mso-bidi-font-style: normal;">." Bits of News</i>, March 3, 2005</span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">, accessed on 03,
April, 2015, <a href="http://www.bitsofnews.com/content/view/154/42/">http://www.bitsofnews.com/content/view/154/42/</a></span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">7.</span><span style="font-size: 12.0pt; line-height: 107%;"> </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Kant, Immanuel, and Patrick R. Frierson,<i style="mso-bidi-font-style: normal;"> Immanuel Kant: Observations on the Feeling
of the Beautiful and Sublime and Other Writings,</i> (Cambridge: Cambridge
University Press, 2011), pp.26, 47</span></div>
<div class="MsoNormal">
<span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">8.</span><span style="font-size: 12.0pt; line-height: 107%;"> </span><span style="font-family: "Cambria","serif"; font-size: 12.0pt; line-height: 107%; mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;">Brose, Eric Dorn, "A Revolutionary Challenge",
<i style="mso-bidi-font-style: normal;">In German History, 1789-1871: From the
Holy Roman Empire to the Bismarckian Reich</i>, (R.I.: Berghahn Books, 1997),
pp. 62-79</span></div>
<div style="mso-element: footnote-list;">
<br clear="all" />
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<br />
<span style="mso-fareast-font-family: PMingLiU; mso-fareast-language: ZH-TW;"></span></div>
</div>
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<!--EndFragment-->drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-16149535004978636492015-01-19T01:44:00.015-08:002015-01-25T19:45:47.831-08:00Romanticism: (Francis Tam) talks on (Delacroix)'s (liberty leading the people}, {1830}.drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-6377930382950557722015-01-19T01:44:00.013-08:002015-04-14T07:32:52.302-07:00Romanticism: Hester Yip talks on J.M.W. Turner's The Fighting Temeraire, 1839.<br />
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<a href="http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ng/624x544/ng_ng_ng524_624x544.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://ichef.bbci.co.uk/arts/yourpaintings/images/paintings/ng/624x544/ng_ng_ng524_624x544.jpg" height="295" width="400" /></a></div>
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<a href="http://www.nationalgallery.org.uk/cid-classification/classification/picture/joseph-mallord-william-turner,-the-fighting-temeraire/262581/*/moduleId/ZoomTool/x/88/y/0/z/1" style="font-size: small;">http://www.nationalgallery.org.uk/cid-classification/classification/picture/joseph-mallord-william-turner,-the-fighting-temeraire/262581/*/moduleId/ZoomTool/x/88/y/0/z/1</a><br />
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">Joseph Mallord William Turner</span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">The Fighting Temeraire tugged her last berth to be broken up</span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">1839</span></div>
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<span lang="EN-US" style="font-family: Trebuchet MS, sans-serif;">Oil on canvas</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">90.7 x 121.6cm</span></div>
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<span lang="EN-US">“The Fighting
Temeraire”, created by the English painter Joseph Mallord William Turner, is
one of the most representative work in the romanticism era. It portrayed the
scene when the battleship “Temeraire” was being tugged to the berth for
dissembling. The work was completed in 1839 when the Industrial Revolution
brought substantial change to the world. The Temeraire, as once a glorious
battleship of the Great Britain Empire, was no longer in use and ended up in
discommissioning.</span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US">To distinguish
whether “the Fighting Temeraire” could be regarded as a romantic art, the
characteristics of romantic art should first be addressed. Romantic arts does
not have a clear definition, it is even said that “there is no romantic style
in the visual arts if by that is meant a common language of visual forms and
means of expression”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a>
What romantic art emphasize, instead of a specific form or way of painting, is the
expression of feeling. The 19<sup>th</sup> century French poet Baudelaire
referred romanticism as “precisely situated neither in choice of subject nor in
exact truth, but in a way of feeling”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></a>.
Emotional expression and sentiment are seen as the important traits of romantic
art. The romantic artist express their ideal through their work, but in a way
that “could be sensed only in the individual soul and lay beyond the bounds of
logical discourse"<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a>. One
of the landscape painter in the romanticism epoch, Casper David Friedrich said
“t</span><span lang="EN-US">he artist should not only paint what he
sees before him, but also what he sees within him.</span><span lang="EN-US">”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a> In addition
to individual feeling and emotional expression, imagination is as well a
pivotal element of romantic arts. Joshua Reynolds, the president of the London
Royal Academy in 1772, mentioned that “</span><span lang="EN-US" style="font-size: 11.5pt;">we need not be mortified or discouraged at not being able
to execute the conceptions of a romantic imagination. Art has its boundaries,
though imagination has none</span><span lang="EN-US">”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></a>. The
word “romantic”, was regarded as “that imagination which is most free” by the
philosopher Henry More.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn6" name="_ednref6" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[vi]</span></span><!--[endif]--></span></a>
Romantic arts, although could not be categorized by style, should involve the
expression of emotion, individual sensibility and imagination.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US"> With the
above three features, the Fighting Temeraire can now be examined its way in
fitting into the frame of romantic art. At the first glance, the work gives a
wide view of the vastness of the ocean and evoke a feeling of decline with the
sharp red setting sun. The main objects of the work are the setting sun on the
right and the two ships on the left. The ships on the left, when taken a closer
look, are a small, brown steamboat tugging a large, light-colored battleship,
the Temeraire. The contradiction between these two ships is strong. The
steamboat is small, dark and solid. Burning red smoke belch out from its funnel
which, in some sense, echo with the flaming red setting sun. The Temeraire, on
the other hand, is huge, grand but pale. Its white and golden color suggest its
glorious past, but in the painting it is being tugged by a small steamboat. The
sails are furled up. When the painting was exhibited in 1839, Turner added
these lines: The flag which braved the battle and the breeze, no longer owns
her.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn7" name="_ednref7" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[vii]</span></span><!--[endif]--></span></a> <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph;">
<span lang="EN-US">The Temeraire was
noble in Turner’s eyes. The ship was depicted deliberately in a way that seems
more elegant than it was in the actual situation. Judy Egerton, a scholar on 18<sup>th</sup>
century British art, pointed out that “the picture is almost certainly painted
wholly from the artist’s imagination”.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn8" name="_ednref8" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[viii]</span></span><!--[endif]--></span></a> The
claim is supported by circumstantial evidence that Turner did not actually
witnessed the towing of the Temeraire as he was not in Britain at the time.
What Turner painted, rather than the real outlook of the ship, was more an
idealized one. The three masts, for example, were removed before the towing for
auction as valuable timber.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn9" name="_ednref9" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[ix]</span></span><!--[endif]--></span></a> The
setting sun, too, was more likely imaginary as the towing “was almost certainly
conducted in daytime”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn10" name="_ednref10" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[x]</span></span><!--[endif]--></span></a>. It
exist seemingly for its symbolic meaning and for the sake of the creation of
atmosphere. From the above, it could be infer that the painting “the Fighting
Temeraire” is a romantic art as it comprise of Turner’s personal emotion, individual
sensibility and imagination.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US"> In the
painting, Turner exerted his strong emotion through impasto, brushstroke and
choose of color. In the background sky, the setting sun and cloud were created
by applying heavy, thick paint which clumps on the canvas.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn11" name="_ednref11" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[xi]</span></span><!--[endif]--></span></a> The
bright red color even illuminates the sea. The perspective of the painting is
extended from the back sun to the front ships through the extension of line and
the gradient of the red color, which created a wide view. The battleship and
the steamboat occupied one third of the space of the painting. The Temeraire,
although painted in detail, have much less intense color than the steamboat. The
sea is calm, revealed by the still and clear reflections. The painting, with
the above elements, created a peaceful and tranquil atmosphere with nostalgic
feeling. The major colors used in this painting are red and blue. The contrast
between the pair of complementary color, along with the objects depicted
respectively, could create a sharp impression to the viewer. On the left of the
painting, the color blue is largely applied. In between the large space of
emptiness in the sea and the sky, the Temeraire with the tugboat gives a strong
feeling of lonesome. The Temeraire was being tugged in a vast sea in its last
time. Blue, as often associated with peace, serenity and gloomy, adequately
illustrated the ending of the Temeraire. On the right side, however, gives a
much more lively feeling. Although the red setting sun arouse the feeling of
decline on one hand, it represents hope on the other hand. On the shore near
the edge of the painting, the buildings are tall and new. With the red light cast
from the sun, it seems to generate a feeling of thriving future.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US"> The Fighting
Temeraire leaves me a strong feeling when I first looked at it. The painting
itself is very powerful in emotion. The battleship, although pale in color, is
exquisite and beautiful. The setting sun, as the first thing to notice, is
indeed forceful. Different from the ordinary smooth paintings, the Fighting Temeraire
is rough, bold, yet dynamic. The remarkable strong sense of lonesome was
represented by the large space of sea and sky. The painting skills of Turner is
unquestionable which involves great sense of personal style. The color of the
red sun does not blend perfectly, yet this is one of the part what makes the
painting so moving. Reynolds once said “</span><span lang="EN-US" style="font-size: 11.5pt;">If you mean to preserve the most perfect beauty in its
most perfect state, you cannot express the passions, all of which produce
distortion and deformity, more or less, in the most beautiful faces.</span><span lang="EN-US">”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_edn12" name="_ednref12" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: 新細明體; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[xii]</span></span><!--[endif]--></span></a> As a
romantic art, the Fighting Temeraire is outstanding in the emotion it
expressed. The day of the glorious past was already the past, and the Temeraire
would only stay in the mind of those who remember.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">References:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">A. Books<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph;">
<span lang="EN-US">1. Laurie
Schneider-Adams, <i>Art Across Time, Vol II,
2<sup>nd</sup> edition</i> (Boston: McGraw Hill College, 2002)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph;">
<span lang="EN-US">2. Hugh Honour, <i>Romanticism </i>(New York: Westview Press,
1979)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-indent: 24.0pt; text-justify: inter-ideograph;">
<span lang="EN-US">3. William Vaughan</span><span lang="EN-US">, <i>Romanticism and Art</i> (London: Thomas and Hudson Ltd, 1994)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<span lang="EN-US">B. Websites<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-indent: 24.0pt;">
<span lang="EN-US">1. The
National gallery, “Heroine of Trafalgar: The Fighting Temeraire”, <a href="http://www.nationalgallery.org.uk/paintings/learn-about-art/paintings-in-depth/heroine-of-trafalgar-the-fighting-temeraire">http://www.nationalgallery.org.uk/paintings/learn-about-art/paintings-in-depth/heroine-of-trafalgar-the-fighting-temeraire</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-indent: 24.0pt;">
<span lang="EN-US">2.
Encyclopedia Britannica, “Romanticism”, <a href="http://global.britannica.com/EBchecked/topic/508675/Romanticism">http://global.britannica.com/EBchecked/topic/508675/Romanticism</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-indent: 24.0pt;">
<span lang="EN-US">3. The
Metropolitan Museum of Art, “Romanticism”, <a href="http://www.metmuseum.org/toah/hd/roma/hd_roma.htm">http://www.metmuseum.org/toah/hd/roma/hd_roma.htm</a><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan; text-indent: 24.0pt;">
<span lang="EN-US">4. Khan
Academy, “Turner, the Fighting Temeraire”, <a href="https://www.khanacademy.org/humanities/becoming-modern/romanticism/england-constable-turner/a/turner-the-fighting-temeraire">https://www.khanacademy.org/humanities/becoming-modern/romanticism/england-constable-turner/a/turner-the-fighting-temeraire</a></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan;">
<span lang="EN-US">C. Magazine article<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 8.0pt; mso-pagination: widow-orphan;">
<span lang="EN-US"> 1. Anne Lyles, “Exhibition Reviews: The
Fighting Temeraire” <i>The Burlington
Magazine</i>, Sep., 1995, pp.633-634<o:p></o:p></span></div>
<br />
<div>
<!--[if !supportEndnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="edn1">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> Honour, <i>Romanticism</i>, p.15<o:p></o:p></span></div>
</div>
<div id="edn2">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> </span><span lang="EN-US" style="font-size: 10pt;">The Metropolitan Museum of Art, “Romanticism”</span><span lang="EN-US" style="font-size: 10.0pt;"><o:p></o:p></span></div>
</div>
<div id="edn3">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> Honour, <i>Romanticism</i>, p.16<o:p></o:p></span></div>
</div>
<div id="edn4">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> Vaughan, Romanticism and Art, p.24<o:p></o:p></span></div>
</div>
<div id="edn5">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> Vaughan, Romanticism and Art, p.13<o:p></o:p></span></div>
</div>
<div id="edn6">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref6" name="_edn6" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[vi]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> Vaughan, Romanticism and Art, p.13<o:p></o:p></span></div>
</div>
<div id="edn7">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref7" name="_edn7" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[vii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> </span><span lang="EN-US" style="font-size: 10pt;">The National gallery, “Heroine of Trafalgar: The Fighting
Temeraire”</span><span lang="EN-US" style="font-size: 10.0pt;"><o:p></o:p></span></div>
</div>
<div id="edn8">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref8" name="_edn8" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[viii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> </span><span lang="EN-US" style="font-size: 10pt;">Anne Lyles, “Exhibition Reviews: The Fighting Temeraire”,
p.633</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="edn9">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref9" name="_edn9" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ix]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 10pt;">The National
gallery, “Heroine of Trafalgar: The Fighting Temeraire”</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="edn10">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref10" name="_edn10" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[x]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 10pt;">Anne Lyles,
“Exhibition Reviews: The Fighting Temeraire”, p.633</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="edn11">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref11" name="_edn11" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[xi]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 10pt;">Khan Academy,
“Turner, the Fighting Temeraire”</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="edn12">
<div class="MsoEndnoteText">
<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ednref12" name="_edn12" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[xii]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 10.0pt;">Vaughan,
Romanticism and Art, p.13</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
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<br /></div>
</div>
drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-347537840370686362015-01-19T01:44:00.011-08:002015-01-22T20:31:39.496-08:00Romanticism: (Your full name) talks on (Artist's family name)'s (name of art piece}, {year}.drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-32914859485067132802015-01-19T01:44:00.007-08:002015-04-12T21:08:25.029-07:00Realism: Snowie Wong talks on Courbet 's "Interior of My Studio: A Real Allegory Summing Up Seven Years of My Life as an Artist from 1848 to 1855", (1855).<div class="separator" style="clear: both; text-align: center;">
<a href="http://1.bp.blogspot.com/-9r0i1MCdfR8/VMW75S7oidI/AAAAAAAAEf4/zqoiEhbSoe4/s1600/LESSING_ART_1039490316.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-9r0i1MCdfR8/VMW75S7oidI/AAAAAAAAEf4/zqoiEhbSoe4/s1600/LESSING_ART_1039490316.jpg" height="385" width="640" /></a></div>
<br />
<span style="font-family: Times, Times New Roman, serif;"><b> </b></span><b style="line-height: 150%;"><span lang="EN-US" style="line-height: 150%;">Artist: </span></b><span lang="EN-US" style="line-height: 150%;"> Gustave Courbet</span><br />
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<b><span lang="EN-US" style="line-height: 150%;">Title: </span></b><span lang="EN-US" style="line-height: 150%;"> "The Painter's Studio: A Real Allegory Summing Up Seven Years of My Life as an Artist
from 1848 to 1855"<o:p></o:p></span></div>
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<b><span lang="EN-US" style="line-height: 150%;">Year: </span></b><span lang="EN-US" style="line-height: 150%;"> 1855<o:p></o:p></span></div>
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<b><span lang="EN-US" style="line-height: 150%;">Medium: </span></b><span lang="EN-US" style="line-height: 150%;"> oil on canvas<b> <o:p></o:p></b></span></div>
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<b><span lang="EN-US" style="line-height: 150%;">Dimension:</span></b><span lang="EN-US" style="line-height: 150%;"> 359 x 598 cm<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: large;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">I.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]--><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Introduction</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">“The Painter’s Studio: A Real Allegory Summing Up Seven Years of My
Life as an Artist from 1848 to 1855” is one of the most famous paintings of the
artist, Gustave Courbet. Not only the large size of the painting, but also the
complex combination of a large amount of figures in the painting amazed the
spectators. The painting also astonished everyone since it seems to bring out
an issue of the society and call awareness on it, which is the main feature of
Realism. Everyone looking at the painting will be busy at puzzling all the
hints in it with a considerable questions in their mind, and I am no exception.
<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">This painting is categorized into the style of Realism since it
focuses on the life of workers and peasants and brings out the social issue of
French society at that time. However, the question of the ultimate message that
Courbet wanted to bring out through the painting has stirred up much debate
among the art critics. Some critics even claimed that Courbet presented his
political belief in this painting. So in this essay, I am going to first
introduce more details about this painting, and then I will discuss why and how
this painting fit into the style of Realism as well as analyze the message that
may probably carried out in the painting.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: large;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">II.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]--><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Details and
Analysis of the work</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><o:p></o:p></span></span></div>
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<u><span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Historical
background<o:p></o:p></span></u></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Gustave
Courbet finished this work in 1855 in Paris and he wanted to exhibit it.
However, “The Painter</span><span lang="FR" style="font-family: Calibri; mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">’</span><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">s Studio” was rejected by the selection
committee of the Exposition Universelle des Beaux-Arts, which was going to hold
in Paris in late 1855. Courbet then showed everyone this work in his personal
exhibition in the same year<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[1]</span></span><!--[endif]--></span></span></a>. <o:p></o:p></span></span></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">In the
seven years from 1848 to 1855 that mentioned in the title of the painting,
France was undergoing a state of war. Starting from the February Revolution and
the proclamation of the Second Republic in 1848, to the declaration of war on
Russia by Napoleon III, while at the same time the financial crisis broke out
due to the war in June 1848. The French society was suffering from the poverty
and the policy of the emperor</span><span lang="FR" style="font-family: Calibri; mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">’</span><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">s policy.<o:p></o:p></span></span></div>
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<u><span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Features of the painting<o:p></o:p></span></u></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">“The
painter</span><span lang="FR" style="font-family: Calibri; mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">’</span><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">s studio” is a large oil painting on canvas,
which is 361 x 598cm in size. It depicted the studio that Courbet occupied on
the Rue Hautefeuille in Paris from 1840s until 1871. There are total thirty
figures in the painting; including the painter himself in the right middle,
sitting on a chair and completing the landscape painting, with a naked model
and a young boy around him.<span style="mso-spacerun: yes;"> </span>Other
figures included the supporters of the artist and his friends with identifiable
faces, for example, Baudelaire, Champfleury, Buchon and Promayet, the kissing
couple, and also a huntsman and an Irishwomen feeding a baby on the floor, to
list just a few. The man seated on the chair, wearing high boots at the front
of the left part is spotted, he is considered as the portrait of Napoleon III
since he was often symbolized by a jackboot<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[2]</span></span><!--[endif]--></span></span></a>. These figures are divided
into three parts, the left, middle and the right part. According to the letter
from Courbet to Champfleury, who is Courbet</span><span lang="FR" style="font-family: Calibri; mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">’</span><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">s friend that
also appeared in the right part of the painting, Courbet described the right
part as “all the shareholders, that is friends, workers, and art lovers”, and
the left part as “the other world of ordinary life, the people, misery,
poverty, riches, the exploited, the exploiters, those who live on death”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><sup><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span lang="EN-US" style="border: none; color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[3]</span></sup><!--[endif]--></span></sup></a>
<o:p></o:p></span></span></div>
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<u><span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Analysis
of the painting<o:p></o:p></span></u></div>
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<span style="font-size: large;"><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">There are
parallel lines formed among the painting by the direction and gestures of the
characters, which make the three parts of the painting looks connected and
coordinate although they have no communication and there are actually nothing
linked between them. The naked model, the kid standing in front of the artist,
the tree on the painting that the artist is working on, on the right side, the
man who is sitting on a wood chair, the man sit on the table reading a book,
the man with a big black hat sitting on the left side and the curtain at the
background</span><span lang="DA" style="font-family: Calibri; mso-ansi-language: DA; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"> formed </span><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">a set of parallel lines; while the artist, the
manikin behind the painting, the art lovers admiring Courbet's work and the
upper body of the kissing women on the right side, and the man with boots who
is said as Napoleon III on the left part formed another set of parallel lines
in a opposite direction.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Among all
the figures in the painting, the naked model standing behind the artist is
being highlighted and spotted in the first instance because of the light color
tone. She is holding a long white cloak with her right hand but failed to cover
her left breast. She looks inharmonious in the painting since she is the only
one person who wore no clothes among all of the clothed people. It also seems
so strange because the artist is turning his back to her and not looking at her
at all. Meanwhile, the artist is actually drawing a landscape painting, which
means that there is no need for the model standing there. Some of the critic
pointed out that she is likely the symbol of the classic and traditional art
style since it is common to see this kind of naked figures in the traditional
painting. She seems to act as a role of muses to the artist and inspire him. In
the meantime, the artist turning his back to her seems to mean that the artist
hope to break though the traditional art style<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[4]</span></span><!--[endif]--></span></span></a>.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">The male
manikin with a torturous pose, which is abandoned, also called people’s
attention. It comes together with some guitar, dagger and hat that are thrown
everywhere on the floor of the studio. They may act as a symbol that represented
the tradition art style, especially the style of Romanticism. This token again
showed the artist’s determination of bringing out a new art style.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-size: large;"><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">III.<span style="font-family: 'Times New Roman'; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;">
</span></span></span><!--[endif]--><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">How this work
fits into Realism</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Unlike other Realistic painting by Courbet or other artists, “The
painter’s studio” did not depict the natural or real scene life, like the
Burial At Ornans (1849-1850) or the Stonebreaker (1849) by Courbet; it carried
out the message of contemporary life and social issue by symbolic. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">We can still find out some distinct features of Realism in the
painting, for example, the un-ideal body of the naked model and the un-posed
characters, however, it does not rely solely on the ‘real’ of depiction but
more on satire and symbolic.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">First, Courbet
created a strong contrast between the atmosphere of the left and right group in
terms of lighting and the gesture of the characters. The overall lighting of
the right part is brighter then the left part. The faces of the people in the
left part cannot be seen clearly except the man believed as Napoleon III sit at
the front; while the faces of most of the characters in the right are clearly
depicted, and their clothes also showed that they are in a superior class. In
the meantime, the up-straight gesture of the characters in the right part makes
them look more confident; contrasting to the characters in left part, they look
depress and frustrated because of their crooked poses and downward line of
sight. This contrast then emphasized the suffering situation of the characters
in the left part, which the artist wanted to call attention on.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Moreover,
the skull on the newspaper, which showed behind the landscape painting, can
also be considered as an example of satire in the painting. It may be a sign to
reflect the death of journalism of France at that time since the emperor
pressed the right of reporting. Courbet achieved his aim of Realism through
satire by engaging in social comment. And I think this may probably be the
reason why Courbet made a contrast between real and allegory in the title of
this painting.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: medium; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">On top of
these two allusions, there are still many riddles in the painting. The
conjecture of the representation of Napoleon III is the hottest topic discussed
by the art critics. But if the man seated on the chair in the front of left
part is really the representation of Napoleon III, so why he is placed on the
left part as Courbet describe this group of people as “people who lived on
death”? Some art critics inferred that Napoleon III is depicted here as a
Poacher, who had taken the country for his own good<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[5]</span></span><!--[endif]--></span></span></a>, however, some critics
have different point of view. Klaus Herding in his book “Courbet: To Venture
Independence”, mentioned that the emperor portrayed in the painting together
with socialists and foreigners in the left part of the painting is “to
symbolically demonstrate the possibility of the peaceful coexistence of diverse
opinions and stances”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn6" name="_ftnref6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[6]</span></span><!--[endif]--></span></span></a>. Nevertheless, Courbet
described nothing detailed about this part, and it is ambiguity to affirm the
meaning behind with insufficient information showed in the painting.<o:p></o:p></span></div>
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</span></span></span><!--[endif]--><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Conclusion</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="font-size: large;">Courbet put the world into his own studio in “The Painter’s Studio”.
Although the thirty characters are arranged unevenly without linkage in the
studio, the picture that they created is ordered within chaos. The scene that
“The Painter’s Studio” depicted is not captured from ‘real’ life just as other
works of Realism, but it did reflected some issues of the French society at
that time, for example, the freedom of news, by the means of using symbols and
allusions. There are still many puzzles that not yet be solved in the painting,
the meaning that Courbet wanted to bring out though the painting maybe deeper
than our imagination. But the thing I can sure is that Courbet’s “The Painter’s
Studio” is a milestone in the style of Realism as well as in the art history.</span><o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";">(1725 words)<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><span style="mso-list: Ignore;">V.<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]--><span lang="EN-US" style="font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;">Reference</span><span lang="EN-US" style="font-family: "Trebuchet MS"; mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<b style="mso-bidi-font-weight: normal;"><u style="text-underline: #000000;"><span lang="EN-US" style="mso-bidi-font-family: "Trebuchet MS"; mso-fareast-font-family: "Trebuchet MS";">Books<o:p></o:p></span></u></b></div>
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<span lang="EN-US">Fried, Michael.
<i style="mso-bidi-font-style: normal;">Courbet’s Realism</i>. Chicago: The University
of Chicago Press, 1990.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US">Herding,
Klaus. <i style="mso-bidi-font-style: normal;">Courbet: To Venture Independence</i>.
New York: Yale University, 1991.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US">Schneider-Adams,
Laurie. <i style="mso-bidi-font-style: normal;">Art Across Time</i>, Vol II, 2<sup>nd</sup>
edition. Boston: McGraw Hill College, 2002.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Times;">Beaumont, Matthew. <i style="mso-bidi-font-style: normal;">Adventures in realism.</i> UK: Blackwell Publishing Ltd , 2007.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<b style="mso-bidi-font-weight: normal;"><u style="text-underline: #000000;"><span lang="EN-US" style="mso-bidi-font-family: Times;">Journal<o:p></o:p></span></u></b></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US">Bianclotti,
Vedette. “A Study of Gustave Courbet’s ‘Realism’”. <i style="mso-bidi-font-style: normal;">The Motley View</i> (October 20, 2011). <a href="https://ardfilmjournal.wordpress.com/tag/the-painters-studio/">https://ardfilmjournal.wordpress.com/tag/the-painters-studio/</a><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<b style="mso-bidi-font-weight: normal;"><u style="text-underline: #000000;"><span lang="EN-US">Website<o:p></o:p></span></u></b></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US" style="mso-bidi-font-family: Arial;">Galitz, Kathryn Calley. "Gustave
Courbet (1819–1877)". <i style="mso-bidi-font-style: normal;">In Heilbrunn
Timeline of Art History.</i> New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/gust/hd_gust.htm (May 2009)<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US">“</span><span lang="EN-US" style="color: windowtext; mso-bidi-font-family: Times;">The avant-garde:
Realism, Impressionism and Post-Impressionism” Khan Academy (2015).<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274" name="_GoBack"></a><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US" style="color: windowtext; mso-bidi-font-family: Times;"><a href="https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france"><span style="color: black;">https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france</span></a><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<br /></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US" style="color: windowtext; mso-bidi-font-family: Times;"><span style="mso-spacerun: yes;"> </span></span><span lang="EN-US" style="mso-bidi-font-family: Times;">“</span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-bidi-font-family: Verdana;">Gustave Courbet <span style="mso-bidi-font-style: italic;">The Artist's Studio”</span></span></i><span lang="EN-US" style="mso-bidi-font-family: Verdana;">.</span><span lang="EN-US" style="mso-bidi-font-family: Times;"> </span><span lang="EN-US" style="color: windowtext; mso-bidi-font-family: Times;">Musee
d’Orsay</span><span lang="EN-US" style="mso-bidi-font-family: Times;"> (2006).<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 54.0pt;">
<span lang="EN-US" style="color: windowtext; mso-bidi-font-family: Times;"><a href="http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/latelier-du-peintre-7091.html?no_cache=1"><span style="color: black;">http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/latelier-du-peintre-7091.html?no_cache=1</span></a><o:p></o:p></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Arial Unicode MS"; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-family: Cambria; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-fareast-language: ZH-HK;">Kathryn Calley Galitz, “<span style="color: #2b2b2b;">Gustave Courbet
(1819–1877)”, The Metropolitan Museum of Art: Heilbrunn Timeline of Art
History, http://www.metmuseum.org/toah/hd/gust/hd_gust.htm</span></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Cambria; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: ZH-HK;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Michael Fried, <i style="mso-bidi-font-style: normal;">Courbet’s
Realism</i> (Chicago: The University of Chicago Press, 1990), 158<o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><sup><span lang="EN-US" style="font-family: Calibri; font-size: 10.0pt; mso-bidi-font-family: Calibri; mso-fareast-font-family: Calibri;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><sup><span lang="EN-US" style="border: none; color: black; font-family: Calibri; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: ZH-HK;">[3]</span></sup><!--[endif]--></span></span></sup></a><span lang="EN-US"> Laurie Schneider-Adams, <i style="mso-bidi-font-style: normal;">Art Across Time</i>, Vol II, 2<sup>nd</sup>
edition (Boston: McGraw Hill College, 2002), 782</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: ZH-HK;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US">Khan Academy, “</span><span lang="EN-US" style="color: windowtext; font-size: 10.0pt; mso-bidi-font-family: Times;">The
avant-garde: Realism, Impressionism and Post-Impressionism” Khan Academy, https://www.khanacademy.org/humanities/becoming-modern/avant-garde-france</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Cambria; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: ZH-HK;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Vedette Bianclotti, “A Study of Gustave Courbet’s
‘Realism’”, The Motley View (October 20, 2011)
https://ardfilmjournal.wordpress.com/tag/the-painters-studio/<o:p></o:p></span></span></div>
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<span style="font-size: x-small;"><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref6" name="_ftn6" style="mso-footnote-id: ftn6;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Cambria; font-size: 10.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Cambria; mso-bidi-language: AR-SA; mso-fareast-font-family: Cambria; mso-fareast-language: ZH-HK;">[6]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Klaus Herding, <i style="mso-bidi-font-style: normal;">Courbet:
To Venture Independence</i> (New York: Yale University, 1991), 57</span></span><span lang="EN-US"><o:p></o:p></span></div>
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<!--EndFragment-->drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-62642956224038147722015-01-19T01:44:00.005-08:002015-04-13T01:14:41.977-07:00Realism: Phoebe Ng talks on Daumier's Third Class Carriage, 1862.<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman"; font-size: large;">Artist:
Honore Daumier<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman"; font-size: large;">Title:
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<span style="font-family: "Times New Roman"; font-size: large;">Year:
1862-1864<o:p></o:p></span></div>
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65.4 x 90.2 cm<o:p></o:p></span></div>
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<span style="font-size: large;"><i>The Third Class Carriage</i> was finished by Honoré Daumier between 1862-1864. Daumier was a French Realist painter, caricaturist and sculptor, who mostly depicted the political and social life in France in the 19 century. In this painting, Daumier captured the plight of a poor family in a third class carriage. He also used the satire on the social problems produced by Industrial Revolution. In this essay, I will focus on the painting’s historical background at the first part. At the second part, I will explain how the painting fit into the Realism movement.</span></div>
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<span style="font-size: large;">Created in the 19<sup>th</sup> century, the painting fit into the French society under industrialization in many aspects. Industrial Revolution was a period in the late 18<sup>th</sup> and early 19<sup>th</sup> centuries, which took place in England but soon spread to Europe and America. </span></div>
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<span style="font-size: large;">Transportation industry was one of the most significant changes, especially the invention of railroad, which connected people to different places within a short period of time. Being such a distinctive feature of industrialization, railroad was often the topic of Daumier’s paintings. The author of the book on Daumier, Dr. Sarah Symmons examined his artwork and categorized it under different headings including “<i>Railways and omnibuses”,</i> showing railroad as an emerging industry at that time. (Walker, 2005) In the painting, Daumier depicted a lot of passengers sitting in a cramped third class carriage, suggesting there was a huge demand on transportation in Paris at that time.</span></div>
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<span style="font-size: large;">The painting also revealed many social problems in the 19<sup>th</sup> century France. Factories were built mainly in big cities. Urbanization made lots of people moving from villages to big cities for jobs. The people in the painting looked like the ones who only depended on their physical skills, probably peasants or hand crafters. (Angel, 2010) Perhaps they were travelling to cities for jobs. The mechanization of agriculture and manufacturing caused by Industrial Revolution were probably responsible for that. Perhaps they were no longer hired since they would be replaced by machine. It fit into the French society, where craftsman was replaced by machine and crafts became manufactured goods. (Adams, 2002)</span></div>
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<span style="font-size: large;">Apart from urbanization, the painting also suggested some problems such as poverty and overcrowding, which fit into the 19<sup>th</sup> century France. The family’s clothing and the environment gave a sense of dirtiness and coarseness, showing that they were very poor. In addition, a lot of passengers crowded together in a small carriage, which suggested that there was a serious overcrowding issue. In fact, Paris was unable to satisfy the flow of arriving workers from the rural areas, causing inadequate space, overcrowded hosing and unsanitary environment. Paris working class was having a poor living condition and facing many difficulties.</span></div>
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<span style="font-size: large;">On the other hand, French social hierarchy was also revealed by the separation of carriages. In the painting, the passengers were the working classes who were in the bottom of the society. Apart from this painting, Daumier also created another two paintings, which were <i>The First Class Carriage</i> and <i>The Second Class Carriage</i> with the depiction of upper classes and better environment of the carriages. In fact, modernization improved the living standard of Parisians, but also widened the wealth gap. While owners became rich from industrialization, many workers were exploited. The class division between upper class and lower class were polarized. (Adams, 2002)</span></div>
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<span style="font-size: large;">To make a short conclusion, this painting was a microcosm of the lower class in 19<sup>th</sup> century France. It revealed the various social problems that brought by industrialization.</span></div>
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<span style="font-size: large;">The painting was regarded as a Realism painting. The Realism movement was centered in France in the mid 19<sup>th</sup> century. It appeared as an opposition to Neo-classicism and Romanticism, which focused on the objective depiction of the real world without idealization and often communicated a political and social satire. The painting could fit into Realism in many aspects.</span></div>
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<span style="font-size: large;">Firstly, an important feature of Realism was the “<b>typicalness</b>” of the subject matter. It was not random or arbitrary, but reflected in the choice of representative lower class in the society. (Wu, 2008) The subject matter of Realism painting was ordinary people, who usually were workers or peasants. It was completely different with the depiction of legends and heroes in Romanticism. In The Third Class Carriage, an ordinary and underprivileged family was taking a ride. It provided the viewer a sense of unimportance since it was just anonymous lower class people doing everyday life activity with ordinary surroundings. Although these were just ordinary people and things, they were the most representative people, event and environment to reflect the injustice of French society at the modernization period. Their artistic images were the “<i>summarization and crystallization of real life</i>”. (Wu, 2008) Although they were just an infant, a child, a mother and a grandmother, it showed the completion of life cycle of all stages. From the absence of a male adult, it was suggested that the women were living on their owns and having a hard time.</span></div>
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<span style="font-size: large;">Secondly, Realism also emphasized “<b>objectivity and truthfulness</b>.” Realism suggested that the subjects should be represented in a truthful and objective manner without any idealization. It aimed to depict the real world whether the subjects were beautiful or ugly, noble or vulgar. (Tuffelli, 2004) Being a member of the working class, Daumier clearly knew what did the society look like as he experienced it everyday. In the painting, he spoke the invisible truth about the real life in France during modernization. The rebuilding policy Haussmannization turned Paris into a modern metropolis, but high price was paid for this huge transformation. The lower class citizens obviously did not enjoy the development. The weariness on the old lady’s face, her old, dirty clothing and the cramped environment brutally revealed the truth. There was no room for luxury and leisure in this painting. A French art critic, Arsène Alexandre held the view that the painting represented <i>“a comprehensive summary of human life, with all its miseries and blemishes, thwarted joys and excruciating trials that force one to a fatalistic resignation”, </i>which “<i>was a universal image of poverty during industrialization</i>”. (National Gallery of Canada, 1999) It was very thought provoking since it showed that modernization did not better life for everyone, but disfranchised some people socially and economically. (Angel, 2010)</span></div>
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<span style="font-size: large;">This truthful representation of reality was achieved by Daumier’s thick and evident brushstroke. The marks of the brushstroke were visible such as the black color used to depict the somber carriage and the worn clothing. Black lines were used to outline the contours of the people, especially the face and the hands of the old lady. Although it seemed rough and unfinished while compared to the invisible and smooth one in Romanticism, this vigorous style communicated a sense of “naturalness” to the viewers as well as to describe the <i>“fluctuating tide of humanity.” </i>(Journal of the Royal Society of Arts, 1947)</span></div>
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<span style="font-size: large;">In addition, the down-to-earth color also helped achieve the truthfulness. In Baroque and Rococo style, the artists tended to use bright colors to make the paintings beautiful and dynamic. In contrast, a somber color palette liked black and brown were more tended to use in <i>The Third Class Carriage</i>. The sienna wall and roof of the carriage created a sense of dullness. The benches and the clothes were shadowed, suggesting that they were worn and faded. All these things created a monotonous environment. As the author of <i>Daumier The Painter, Scharf said, “ The sun never shines in Daumier’s painting.”</i> Even there was a light illuminating the family, the atmosphere was still melancholic because of the suffering and weariness that expressed in their faces. (Angel, 2010) To depict the dim environment, the use of dark color was very natural and appropriate. Moreover, since dark color was always associated with negative feeling, it helped reflect the emotion and psychology of the figures. </span></div>
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<span style="font-size: large;">Moreover, “naturalness” can be achieved by the gesture of the figures. In the painting, the people were not staged and posted. They did not look at the viewer as if they did not recognize that they were being observed. (Angel, 2010) Some of them even turn away and opposite to the viewers. It was like Daumier just captured the immediate activities of the people. He also showed his skillful technique when he gave a deep sympathetic insight to the figures. An accumulated experience of suffering was expressed in the old lady’s heavy lidded eyes. Her sight was absorbed in thought. Perhaps she was thinking about the poor old days. Perhaps she was worrying about the future they were heading. Next to her was a boy sleeping with relaxation. Perhaps he was having the boldest dream that he would not dare to have when he was awake. (Journal of the Royal Society of Arts, 1947) Placing the family opposite to the viewers, they faced away from the passengers at the back, which emphasized the isolation from the society. Camille Pelletan commented that in this painting, Daumier <i>“creates a masterpiece: all the figures are true, alive, imbued with personality and an incredible accuracy of movement, in striking relief.”</i> In addition, a contemporary artist and critic, Emile Bernard, marked <i>“when the others only painted the clothing, Daumier entered the soul”</i>. (Gwin, 2000) Being given the most complex psychology, they were no longer “figures” but real people in real life.</span></div>
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<span style="font-size: large;">Thirdly, <b>“contemporaneity”</b> was another characteristic of Realism. The Realist held the view that the contemporary world was the only valid subject of the contemporary artists. (Nochlin, 1990) For example, Courbet wrote that: <i>“ I hold the artists of one century basically incapable of reproducing the aspect of a past or future century…The history of an era is finished with that era itself and with those of its representatives who have expressed it.”</i> (Nochlin, 1990) In the painting, Daumier captured the plight of lower class people in the third class carriage as he experienced it, which only belonged to the mid 19<sup>th</sup> century in France. The family was the witness of the contemporary world. The environment only reflected that certain period of time-the industrial age. Daumier was not depicting the historical events or the future world but the contemporary world. </span></div>
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<span style="font-size: large;">Fourthly, <b>“criticalness”</b> was also an important feature of Realism paintings, which often commented on the social issues and criticized the darkness of the contemporary society. In the book <i>Art Across Time</i>, Laurie Schneider Adams stated that <i>“ the style that best corresponded to the new social awareness was Realism…The primary concerns of the realist movement were direct observation of society and nature, and political and social satire.”</i> In the painting, Daumier used the social satire on the problems brought by Industrial Revolution by depicting the self-control and tolerance of the passengers even when they were cramped in a coarse carriage. (Wu, 2008) He criticized the inequality in the society and showed his sympathy to the lower class people.</span></div>
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<span style="font-size: large;">In my opinion, I think this work was very significant since it revealed the social problems and provoked people’s sympathy and awareness for the poor. Although it might not bring huge changes to the social issues, it was admirable to have an intention to speak for the poor and criticize the injustice. It was also a brave act for Daumier to paint this after all the imprisonment and censorship. Compared to Neo-classism and Romanticism, Realism may lack advanced skills and sense of beauty, but it pursues a social factualness and emotional truthfulness. Arts in this sense are no long rich people’s decorations, but a reflection of the real world. This is very evocative and important because it is much closer to human beings and human life, which is something that people can reach and relate to. It does not only praise the good things in life, but also reveals the hardships and that what “real life” is.</span></div>
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<span style="font-size: large;">To conclude, The Third Class Carriage fit in the Realism movement in various aspects, regarding its typicalness, objectivity and truthfulness, contemporaneity and criticalness. The painting was also an epitome of the French society in the mid 19<sup>th</sup> century, which revealed the naked truth of the problems of industrialization. </span></div>
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<span style="text-decoration: underline;"><span style="font-size: large;">Bibliography</span></span></div>
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<span style="font-size: large;">Books</span></div>
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<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Tuffelli, Nicole. <i>19th Century French Art.</i> Edinburge: Chambers Harrap Publishers Ltd, 2004.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Nochlin, Linda. <i>Realism.</i> London: Penguin Books, 1990.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Adams, Laurie Schneider. <i>Act Across Time.</i> Boston: McGraw Hill College, 2002.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Ma, Fenglin. <i>Realism-summer and winter with the rise and fall of political art.</i> Hubei: Hubei Fine Arts Publishing House, 2005.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">National Gallery of Canada. <i>Daumier 1808-1879.</i> Ottawa: National Gallery of Canada, 1999.</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Journals</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal; min-height: 15px;">
<span style="font-size: large;"><br /></span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Walker, J. A. "Book and Catalogues in Brief." <i>The Art Book</i> 12 (2005): 57-58.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">H, A. F. "Book Review of Daumier. Third Class Railway Carriage by S. L. Faison." <i>Journal of the Royal Society</i>, 1947: 473.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Gwin, Peter. "Honore Daumier." <i>Art & Leisure</i>, 2000: 47.</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Wu, Xiaowei. "The heaviness behind the ordinary-Appreciation of Daumier's the Third Class Carriage." <i>China Culture</i>, 2008: 11.</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Websites</span></div>
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<span style="font-size: large;"><br /></span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Angel, A. D. <i>Daumier's Third Class Carriage.</i> 6 26, 2010. http://anabobana14.blogspot.tw/2010/06/daumiers-third-class-carriage.html (accessed 4 5, 1015).</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Hogarty, S. B. <i>FRAME WORK: Third Class Carriage by Honore Daumier.</i> 5 25, 2011. http://legionofhonor.famsf.org/blog/framework-third-class-carriage-honor-daumier (accessed 4 5, 2015).</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Artble. <i>The Third Class Carriage Analysis.</i> http://www.artble.com/artists/honore_daumier/paintings/the_third-class_carriage/more_information/analysis (accessed 4 5, 2015).</span></div>
<div style="font-family: 'Times New Roman'; line-height: normal;">
<span style="font-size: large;">Staff from History.com. <i>Industrial Revolution.</i> 2009. http://www.history.com/topics/industrial-revolution (accessed 4 5, 2015).</span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com4tag:blogger.com,1999:blog-5135812152724169274.post-44110968164196761522015-01-19T01:44:00.003-08:002015-04-26T06:04:38.752-07:00Realism: Kassidy Wong talks on Courbet's "After Dinner at Ornans", 1849.<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-eNQ25yti2vk/VNzY3PKfp6I/AAAAAAAAEkE/S7D3JwoKdT0/s1600/After%2BDinner%2Bat%2BOrnans.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-eNQ25yti2vk/VNzY3PKfp6I/AAAAAAAAEkE/S7D3JwoKdT0/s1600/After%2BDinner%2Bat%2BOrnans.jpg" height="301" width="400" /></a></div>
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<b>Artist: Gustave Courbet </b><br />
<b>Title: After Dinner at Ornans </b><br />
<b>Year: 1848-1849 </b><br />
<b>Medium: Oil on canvas </b><br />
<b>Dimension: 195 x 257 cm</b><br />
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<i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">After
Dinner at Ornans</span></i><span class="apple-converted-space"><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">was a
painting by Gustave Courbet during 1848-1849. It is an oil painting on canvas
and its size is 195 x 257 cm. Jean Désiré Gustave Courbet was a French painter
born in 1819. Courbet was only interested in painting what he observed and
depicting the real world. “Show me the angle and I’ll paint one” is a famous
quote about Courbet and he was known as the chief exponent of 19th-century
French Realist paintings and influential to most of the paintings of that
period.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">In this
essay, first I will briefly describe the artwork and follow by the historical
background of France in mid-19<sup>th</sup> century. Then I will continue with
explaining the realism. After that, I will further discuss the composition of
this painting and how this painting fits in the style of realism. At last, I
will sum up the whole essay with my opinion.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">After
Dinner at Ornans</span></i><span class="apple-converted-space"><span lang="EN-US" style="font-family: 'Times New Roman', serif;"> </span></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;">was one of
his early famous paintings. Courbet painted numbers of peasants and
comtemporary ‘history’ paintings between 1849 – 55, such as<span class="apple-converted-space"> </span><i>A Burial at Ornans</i><span class="apple-converted-space"> </span>and<span class="apple-converted-space"> </span><i>The
Meetings</i>.<span class="apple-converted-space"> </span><i>After Dinner at
Ornans</i><span class="apple-converted-space"> </span>,this life-sized
painting depicted the honest image of the simple provincial life and the rural
atmosphere. It was an enormous rendering of a silent evening that Courbet and
his intimates were relaxing around the table after dinner. The man in the
left-size was Courbet’s father and the one in the background was Urbain Cuenot,
one of the regular visitors. Adolphe Marlet was the one with his back turned.
They were listening to the music performed by Promayet, who is the one on the
extreme right side playing his instrument. This painting was a direct
observation from the everyday lives of the working class instead an idealized
or exotic imagery.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> In
19<sup>th</sup> century, France entered a period after French Revolution. In
the mid-19<sup>th</sup> century, July Monarchy was ended and the period of the
Second Empire was being developed. It built the idea of capitalism. The French
society called for a democratic reform. The desire of electoral reforms was
strong and thus France was entered the period of Second Empire in 1852. Political
reform in France was remarkable and it also resulted in social changes. Before
mid-19<sup>th</sup> century, Romanticism was promoted in France and it sought
for ‘ideal’. Nonetheless, the idealized country was not realized. At the same
time, rationalization was developed in Europe. People started to rethink their
reality rationally. Instead of imaginary and emotional in Romanticism, people
attempted to reveal the darkness of the society truly and depict the truth. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Before
mid-19<sup>th</sup><span class="apple-converted-space"> </span>century, art
in France was dominated by the academies (primarily known as Neo-classicism and
Romanticism) which emphasized the exotic scenes and aesthetic experience. It
usually bring with a strong emotion and exaggeration of the scenery. Thus, when
Courbet’s paintings was shown in the Salon, it brought a great debate on the
style of Art as his art work was completely different from what people’
cognition of art – which was Realism.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">
Realism is regarded as an attempt that representing the outside world
objectively based on the dispassionate observation of contemporary life (Rubin,
Oxford Art Online). Realist painters used spontaneous details to portray
typical contemporary life and situation truthfully. The word ‘Real’ means it is
not man-made or imaginary (Bianciotti, 2011). It is a rejection of unreal and
artificial situation. They avoided the idealized and exotic Neo-classicism and
Romanticism, instead, focusing on the everyday life of ordinary people.
According to Malpas (1997), it stated<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif; font-size: 11pt;">“Gustave Courbet proposed that instead of a history subject, or
the moral, sentiment or ‘story’ of the painting dictating how it should look,
as was nineteenth-century academic practice, the painter should let things and
their appearance stand for themselves.”<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Courbet valued the importance of a real
painting and he depicted the reality of working class. "Painting is an
essentially concrete art and can only consist of the representation of real and
existing things . . . an object which is abstract, not visible, non-existent,
is not within the realm of painting” (Courbet, 1861).<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <o:p></o:p></span></div>
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<i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">After
dinner at Ornans<span class="apple-converted-space"> </span></span></i><span lang="EN-US" style="font-family: 'Times New Roman', serif;">is a
life-size painting which means the objects in the painting are in real-life
scale. Courbet was engrossed in the ‘real’ paintings thus most of his earliest
paintings were painted in life-size. This kind of paintings bring the
truthfulness of the scene and tallied with the style of ‘Realism’. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <span class="apple-converted-space"> </span><i>After dinner at Ornans</i><span class="apple-converted-space"> </span>depicts a serene evening. The entire
painting was in tones of brown. It shown a usual working class life without any
exaggeration. The colours used in this paintings conformed to the place and the
time which teemed with quietness. Lighting comes from right side (outside) and
the central part of the painting is contrasted with the surrounded part.
Objects in the foreground and middle ground are clearly shown, however, objects
in the background submerged by the dark color. “It deeply impressive for its
harmony of browns, grays, whites, and blacks within a narrow but marvelously
nuanced range of values” (Fried, 1992). Though the tones of brown are
originally harmonious, Courbet showed his skill of detaildness within few
colours.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">The man in
the middle, who grasps the attention of the audience first, nonetheless, is
excluded from the painting as only his back is shown. The other three men were
dressed in darker colour and more likely to dissolve into the background. It is
no doubt that this lighting was naturally from the sunlight and Courbet was not
supposed to emphasize anyone of them. All of them are in the lower part of the
painting and it shown that Courbet’s eye level was higher than the men sit. He
should be sit on a higher chair to create this eye level. None of them was the
main character in this paintings and the settings was ordinary without an
obvious posture.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">The facial
expression of those men was stuporous as they were all experiencing the music.
The room is immersed in quietness and tiredness. The only sound is come from
the instrument and none of the men was going to break the silent. The scene of
the painting is ordinary, simple, normal and reflects the actual scene of that
moment which we can identify it as a realist painting.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> <span class="apple-converted-space"> </span><i>After dinner at Ornans</i><span class="apple-converted-space"> is depicting four ordinary French men in the
evening. It was a usual scene in mid-19<sup>th</sup> century France. </span>Its scale shows that Courbet tried to depict
the actual scene of that moment as it is a life-sized painting. <span class="apple-converted-space">There is no main character in this painting and it
was truly reflecting the actual rural lives of the French. </span><i>After
dinner </i>is unemotional, real and
revealing the unseen side of the noble class who dominated the Academy. <o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">Courbet
gained his fame with<span class="apple-converted-space"> </span><i>After
dinner at Ornans.<span class="apple-converted-space"> </span></i>Salon was known
as the exhibition of the artwork of different artists. Before Courbet, the
paintings displayed in the Salon were in the style of Romanticism. This
painting is showing the real life of the contemporary rural area where was
unfamiliar with the bourgeois. It prompted to a debate as visitors were shocked
by the reveal of unusual characteristics of social commitment and ugliness of
the real people. Courbet was given with a gold medal because of this painting,
it resulted that he needed not to submit his paintings to the Salon jury.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">
This painting is scrupulous. Every corner of the room is detailedly depicted,
either the men’ clothes or the paper on the floor. The composition is
harmonious and nothing is abrupt in this painting. In my opinion, the first sight
of this painting was dark and without any focal point. After admiring it for
few times, I was truly impressed by the skills of the painter and gazed into
the unreadable background.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;">The reason
of gaining fame of this painting was it revealed what French dominated class
refused to know. They sought for ideal country and exotic scene. They did not
accept the imperfect society and the real life of the working class. They
agreed that art should be controlled by the upper class. However, this painting
swayed their status in the Academy and forced them to accept the truth. The
truth was cruel but brought the new understanding to the others in the field of
painting. Realism is not only a style of art or literature, and also an
innovation of the society.<o:p></o:p></span></div>
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<br /></div>
<br />
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<span lang="EN-US" style="font-family: 'Times New Roman', serif;"> To summarize,
realism was an important change in the 19<sup>th</sup> century. It did not
influence the French artist only, but the whole Europe. Though <i>After Dinner
at Ornans </i>is not as famous as <i>The
Studio</i> or <i>The Stonebreaker</i>, it was the painting that Courbet gained the
acknowledgement from the Salon. Realism is not only a style, it is also a
criticism of the society.<o:p></o:p></span></div>
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<b><i>Reference:</i></b><br />
<b><br /></b>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;">Gustave-Courbet.com, “After Dinner at Ornans, 1848 by Gustave Courbet”, <a href="http://www.gustave-courbet.com/after-dinner-at-ornans.jsp%23prettyPhoto">http://www.gustave-courbet.com/after-dinner-at-ornans.jsp#prettyPhoto</a><o:p></o:p></span><br />
<br />
<h1 style="background: white; margin-top: 0cm;">
<span style="font-size: small;"><span lang="EN-US" style="color: #111111; font-family: 'Times New Roman', serif; font-weight: normal;">James Malpas,</span><span lang="EN-US" style="color: #111111; font-family: 'Times New Roman', serif; font-weight: normal;"> </span><span class="a-size-large"><i><span lang="EN-US" style="color: #111111; font-family: 'Times New Roman', serif; font-weight: normal;">Realism (Movements
in Modern Art series),</span></i></span><span class="a-size-large"><span lang="EN-US" style="color: #111111; font-family: 'Times New Roman', serif; font-weight: normal;"> (USA: Tate
Publishing, 1997)</span></span></span></h1>
</div>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;">Michael Fried, ‘Painter into Painting: An After Dinner at Ornans and The Stonebreakers’ in <i style="mso-bidi-font-style: normal;">Courbet’s Realism</i>, (Chicago: University of Chicago Press, 1992), 85-95.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="mso-fareast-language: ZH-TW;">Ross Finocchio, "Nineteenth-Century French Realism", in <i style="mso-bidi-font-style: normal;">Heilbrunn Timeline of Art History</i>, (New York: The Metropolitan Museum of Art, 2004), http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm (accessed on February 15, 2015)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;">Stephen Eisenman, "The Rhetoric of Realism: Courbet and the Origins of the Avant-Garde," in Stephen Eisenman, <i style="mso-bidi-font-style: normal;">Nineteenth Century Art</i>, 212-220<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;"></span></div>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;">Web Gallery of Art, “Courbet, Gustave – After Dinner at Ornans”, Web Gallery of Art, <a href="http://www.wga.hu/html_m/c/courbet/1/courb102.html">http://www.wga.hu/html_m/c/courbet/1/courb102.html</a></span><br />
<br />
<div style="margin-bottom: .0001pt; margin: 0cm;">
何政廣,《世界名畫家全集-庫爾貝<span style="font-family: 'Times New Roman', serif;"> </span>寫實主義大師》,河北:河北教育出版社,<span lang="EN-US" style="font-family: 'Times New Roman', serif;">2001</span>年。<span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<b>Notes on Presentation</b><br />
<br />
<ul>
<li>Description of the painting ( painter, year, size)</li>
<li>Brief introduction of the painting</li>
<li>Introduction to Realism</li>
<li>The composition of the painting and how it fits Realism</li>
<li><b><i>Question: </i></b>Most of
the earliest realist paintings by Courbet were life-sized paintings, including
this one, what will it change if this work turns into a smaller size instead of
a large-scale composition?</li>
</ul>
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<span lang="EN-US" style="mso-fareast-language: ZH-TW;"><br /></span></div>
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<b><br /></b>drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-36321374098278086682015-01-19T01:44:00.001-08:002015-01-25T19:37:45.716-08:00Realism: yaulam talks on (Artist's family name)'s (name of art piece}, {year}.drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-84560407921247883082015-01-19T01:43:00.017-08:002015-04-26T13:53:00.975-07:00Realism: Cheeling Yiu talks on Courbet's Proudhon and his children,1865<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-zmcguX-jIso/VMXCOKAvdWI/AAAAAAAAEhA/_VlklvcO5CI/s1600/Proudhon-children.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-zmcguX-jIso/VMXCOKAvdWI/AAAAAAAAEhA/_VlklvcO5CI/s1600/Proudhon-children.jpg" height="295" width="400" /></a></div>
<a href="http://www.nationalgallery.org.uk/cid-classification/classification/picture/joseph-mallord-william-turner,-the-fighting-temeraire/262581/*/moduleId/ZoomTool/x/88/y/0/z/1" style="background-color: white; text-decoration: none;"><span style="color: black; font-family: Times, Times New Roman, serif;">http://2.bp.blogspot.com/-zmcguX-jIso/VMXCOKAvdWI/AAAAAAAAEhA/_VlklvcO5CI/s1600/Proudhon-children.jpg</span></a><br />
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Artist:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Jean Désiré
Gustave Courbet<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Title:<br />
Location:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Proudhon and his children<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Musée
Du Petit Palais, Paris, France<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Year:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">1865<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Medium:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Oil <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">Dimension:<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Times, Times New Roman, serif; font-size: 9.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">147 x 198cm</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">This painting named ‘’Proudhon and his
children’’, was painted by Jean Désiré Gustave Courbet in 1865 France. The
medium in this work is oil in 147 x 198 cm dimensions. This art work is a piece
of reflection of Realism, with little linkage with Romanism.
The explanation of some historical background, how this work fits into
Realism and Romanism and the impression it makes on me will be discussed below.
At last, there will be two key questions raised from the work for further
discussions.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">The artwork's relation to</span><span lang="EN-US"> </span><span lang="EN-US">Realism</span><span lang="EN-US"> </span><span lang="EN-US">& Romanticism</span><span lang="EN-US"> </span><span lang="EN-US">at</span><span lang="EN-US"> </span><span lang="EN-US">1853</span><span lang="EN-US"><br />
This piece of work is showing at the time of 1853, in a realistic style. At
the period of time in France, </span><span lang="EN">“</span><span lang="EN">Romantic</span><span lang="EN">”</span><span lang="EN"> Realism had emerged in the writings of <a href="https://www.blogger.com/null" name="I0522251"></a>Honoré
de Balzac (e.g. <i>Les Paysans</i>, 1844), <a href="https://www.blogger.com/null" name="I0522252"></a>George Sand
(e.g. <i>La Mare au diable</i>, 1846) and <a href="https://www.blogger.com/null" name="I0522253"></a>Champfleury
(e.g. <i>Les Oies de Noël</i>, 1853) and in paintings by <a href="https://www.blogger.com/null" name="I0522254"></a>Philippe-Auguste
Jeanron, <a href="https://www.blogger.com/null" name="I0522255"></a>Armand Leleux, <a href="https://www.blogger.com/null" name="I0522256"></a>Adolphe
Leleux, <a href="https://www.blogger.com/null" name="I0522257"></a>François Bonvin, <a href="https://www.blogger.com/null" name="I0522258"></a>Théodule
Ribot.<span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN">[1]</span></span><!--[endif]--></span></span><span lang="EN"> </span><span lang="EN">Romantic Re</span><span lang="EN">alism </span><span lang="EN">praised</span><span lang="EN">
the simplicity of rural life and </span><span lang="EN">different
</span><span lang="EN">domestic tasks</span><span lang="EN">
that women were handling</span><span lang="EN">.</span><span lang="EN"> However, in this
painting, </span><span lang="EN">Courbet </span><span lang="EN">did </span><span lang="EN">not</span><span lang="EN"> to</span><span lang="EN"> </span><span lang="EN">paint out the life
or how he would praise </span><span lang="EN">the peasants </span><span lang="EN">like some
aristocratic drawings </span><span lang="EN">but presented them </span><span lang="EN">directly to
criticize</span><span lang="EN"> </span><span lang="EN">the traditions in art world.</span><span lang="EN"> </span><span lang="EN"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">The main
character in this painting Pierre-Joseph Proudhon, was a French
libertarian <a href="https://www.blogger.com/null" name="ref138598"></a>socialist and journalist. On the
top step at the left is clearly shown "PJ.P/1853." Courbet may have
chosen that year for these two reasons: it was the year when one of Proudhon's
important books, La philosophie du progres, was published (and banned); and it
was a moment of living a warm and loved family, with two children living
happily together. However, in the following year, the girl in the picture who
was playing with her cups died of cholera. Thus, the marked of that year was
reasonable and remarkable for Proudhon so was secretly marked on the stair.</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">When we look
more detail into the picture, we will find that the family was not completely
drawn. Proudhon, being a person who was anti-Semitism and sexism[2], may provide
some ideas of why the characters in the picture missed a “mother”. A handcraft
historiographer Linda Nochlin</span><span lang="EN-US"> </span><span lang="EN-US">gave</span><span lang="EN-US"> </span><span lang="EN-US">out that</span><span lang="EN-US"> </span><span lang="EN-US">at the same time to</span><span lang="EN-US"> </span><span lang="EN-US">his</span><span lang="EN-US"> </span><span lang="EN-US">first</span><span lang="EN-US"> </span><span lang="EN-US">articulations of anarchism Proudhon also
wrote and published "the most coherent anti-feminist</span><span lang="EN-US" style="color: #222222;"> part of its time, or maybe,
whatever different," La Pornocratie ou les femmes dans les temps
modernes, which "raises all the main issues about woman's position is
society and her strong sensuality in sexuality that was unmatched in any other
text."</span><span lang="EN-US" style="color: #222222;"> </span><a href="https://www.blogger.com/null" name="_ftnref1"></a><span lang="EN-US" style="color: #222222;">Therefore, it could be possible that
the disappearance of Proudhon’s wife was because of his philosophy about racism
and anti-sexism. He might think that there was just little importance of a
mother in a family, or even the society, therefore, Courbet drew his concept
out in this painting, in a hidden way by just made mother appeared in woven
cloth and an empty rattan chair.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="color: #222222;"><span style="font-family: Times, Times New Roman, serif;">There were two
significant statements that Courbet made in his artistic life. </span></span><span lang="EN-US" style="color: #222222; font-family: Times, 'Times New Roman', serif;">First, Courbet’s
‘Manifesto of Realism’, entitled Le Réalisme, which he published for his
exhibition in Paris in 1855, expressed his ideas about creating his own style.
The manifesto emphasized the importance of the existing and traditional drawing
techniques and knowledge, but at the same time to bring about the new personal
styles. Moreover, he announced that he would like to interpret the society from
different aspects, in order to become a “real” man and to draw a masterpiece
representing the modern society. The second one was a realistic statement in
1861 saying that "painting is an esse</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">ntially concrete art and can
only consist in the representation of real and existing things," It
shows that </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">he rejected “decorating” the reality, and
not to care about to be criticized.<a href="file:///C:/Users/Chee/Desktop/final%20exam%20-vis2104.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span></span></a>
</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">The below shows
how he achieved his goal and manifesto.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">The whole
picture</span><span lang="EN-US"> </span><span lang="EN-US">is really</span><span lang="EN-US"> </span><span lang="EN-US">looked</span><span lang="EN-US"> </span><span lang="EN-US">like one of those simple days that had
passed in the year of 1853. It consisted of direct observation of society
and nature.</span><span lang="EN-US"> </span><span lang="EN-US">Proudhon was the only character who appears to stand out
from his surroundings,</span><span lang="EN-US"> </span><span lang="EN-US">like daydreaming in the garden of his
house,</span><span lang="EN-US"> </span><span lang="EN-US">with the eyes staring at the painter. It</span><span lang="EN-US"> </span><span lang="EN-US">raises</span><span lang="EN-US"> </span><span lang="EN-US">a mood of realism as it is like looking
at the audience, like looking at the painter when we are being drawn by him.</span><span lang="EN-US"> </span><span lang="EN-US">It gives a sense of direct interactions
between the audience and Proudhon, and Proudhon with Courbet. Also, the
whole tone of colors used is plain and warm-toned like pale brown, pale green,
white and blue-green. It expressed the down-to-earth manner in a simple way
that realism describes.</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">On the other hand,the feeling of</span><span lang="EN-US"> </span><span lang="EN-US">Romanticism</span><span lang="EN-US"> </span><span lang="EN-US">was also shown in the picture. The
natural environment shown here</span><span lang="EN-US"> </span><span lang="EN-US">was pretty dark, like the trees at the
back of the people, except the pink flower at the back of Proudhon.</span></span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">Together with the light colors used on
the costumes of the people, a contraction has highlighted the main character in
the painting.</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">In the meantime, the two little girls</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">were playing with their ''toys'</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">-</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">the alphabet, teacups and pitcher,</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">they were somehow combining with</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">the natural environment</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">behind them, showing one of the features
of romanticism – the relationship of the individual to nature in</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">romanticism.</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">Besides, they</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; line-height: normal;">were constructed in a way that having
large heads on short and fat bodies, their askew heads on misty facial
expressions which might emphasize the personal imagination and psychological
states that Courbet expressing.</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">What impressed
me</span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">My first sight
of this piece of work is lovely and a picture depicting the life of a family.
Finally, I realized that it is</span><span lang="EN-US"> </span><span lang="EN-US">a</span><span lang="EN-US"> </span><span lang="EN-US">mixture of romanticism and realism.</span><span lang="EN-US"> </span><span lang="EN-US">With a quite real scene captured in
Proudhon's life with his two daughters, the two sweeties were drawn in a
romantic style, pretty elegant</span><span lang="EN-US"> </span><span lang="EN-US">and attractive. It is really interesting
to look at the paintings that drawn</span><span lang="EN-US"> </span><span lang="EN-US">in realism</span><span lang="EN-US"> </span><span lang="EN-US">at</span><span lang="EN-US"> </span><span lang="EN-US">the old times, as they showed the
actual states people lived, giving a shock when compares the life to the modern
world. Especially in this piece of drawing, the unclear interactions between
the two girls with their dad attracted me in the first sight. It is because
normally, the paintings showing family are usually giving a sense of
connections, no matter actions or eye contacts between family members. But in
this case, three of them seemed doing different things, having their personal
descriptions and states of mind, which impressed me and forced me to find out
the background or story behind the painting. In addition, the mixture of styles
in this artwork is quite interesting for me to discover. After observing this
painting, I think that all the styles can be fused together to create
impressive art works. It is because art is free, creative and sometimes
personal. No matter what kind of style it is, it expressed something by the
artist that is the most important thing, but not the styles of artwork. Such as
many famous paintings created by Van Gogh in the 1800s are also the combination
of impressionism and expressionism; but we cannot deny that they are great
works. I think the fusion of styles appeared during the gaps social and trend
changed. With different social environment at different places, artists create
a huge variety of artworks with mixture of different styles, which diversified
the database of art.<o:p></o:p></span></span></div>
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In conclusion, it is a painting representing a simple capture of Proudhon's
life in France in the 1800s. With the combination and communication between
Realism and Romanticism, it created a leisure and gorgeous view, producing a
relaxing atmosphere to make people enjoy watching it in detail. This work piece
also recorded the concept and revolution that Proudhon raised at that period of
time, which makes it not only an artwork with artistic features, but also
social and political involved. It inspired the people at that time, and us, in
the modern era to think more and look deeper into artworks, because there may
be different reflection and stories you get when you look deeper into them.<br /> </span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">Reference</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">1</span><span lang="EN-US"> </span><span lang="EN-US">Gustave-Courbet.com,"Portrait of
P.J. Proudhon, 1865 by Gustave Courbet”, http://www.gustave-courbet.com/portrait-of-p-j-proudhon.jsp</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">2</span><span lang="EN-US"> </span><span lang="EN-US">HEILBRUNN TIMELINE OF ART HISTORY,
"Nineteenth–Century French Realism", <a href="http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm"><span style="color: blue; mso-bidi-font-size: 11.0pt;">http://www.metmuseum.org/toah/hd/rlsm/hd_rlsm.htm</span></a></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">3</span><span lang="EN-US"> </span><span lang="EN-US">Linda Nochlin, <i>Courbet</i>,</span><span lang="EN-US"> </span><span lang="EN-US">Thames & Hudson,2007,</span><span lang="EN-US"> </span><span lang="EN-US">p. 220, note 34</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">4</span><span lang="EN-US"> </span><span lang="EN-US">Rubin, James Henry,</span><span lang="EN-US"> </span><i><span lang="EN-US">Realism and Social Vision in Courbet
& Proudhon</span></i><span lang="EN-US">,</span><span lang="EN-US"> </span><span lang="EN-US">Princeton, N.J.: Princeton University
Press, 1980</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif;"><span lang="EN-US">5 Georges Riat,</span><span lang="EN-US"> </span><i><span lang="EN-US">Gustave Courbet</span></i><span lang="EN-US">, Parkstone
Press</span><span lang="EN-US">,
2008</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<!--[if !supportFootnotes]--><span style="font-family: Times, Times New Roman, serif;">6 </span><span style="font-family: Times, 'Times New Roman', serif;">何政廣,《世界名畫家全集 庫爾貝 寫實主義大師》河北:河北教育出版社田,</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">2001</span><span style="font-family: Times, 'Times New Roman', serif;">,</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">11</span><span style="font-family: Times, 'Times New Roman', serif;">。</span></div>
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<span style="font-family: Times, Times New Roman, serif;">7 </span><span class="author" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN" style="color: #333333;">J. H. Rubin</span></span><span lang="EN" style="color: #333333; font-family: Times, 'Times New Roman', serif;">. <span class="article-name">"Realism." </span><em>Grove Art Online</em>. <em>Oxford Art Online</em>. <span class="site-name-affix">Oxford University Press</span><span class="1">, 2015</span>, <span class="uri">http://www.oxfordartonline.com/subscriber/article/grove/art/T070996(</span> accessed <span class="1">April 2</span></span><span class="1" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN" style="color: #333333;">5)</span></span><span style="font-family: Times, Times New Roman, serif;"><br clear="all" />
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<span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">[1]</span><span class="author" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN" style="color: #333333;">J. H. Rubin</span></span><span lang="EN" style="color: #333333; font-family: Times, 'Times New Roman', serif;">. <span class="article-name">"Realism." </span><em>Grove Art Online</em>. <em>Oxford Art Online</em>. <span class="site-name-affix">Oxford University Press</span><span class="1">, 2015</span>, <span class="uri">http://www.oxfordartonline.com/subscriber/article/grove/art/T070996(</span> accessed <span class="1">April 2</span></span><span class="1" style="font-family: Times, 'Times New Roman', serif;"><span lang="EN" style="color: #333333;">5)</span></span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;"> </span><br />
<span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;"><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US"><a href="file:///C:/Users/Chee/Desktop/final%20exam%20-vis2104.docx#_ftnref1" title="">[2]</a></span></span><a href="file:///C:/Users/Chee/Desktop/final%20exam%20-vis2104.docx#_ftnref1" title=""></a></span></span><span lang="EN-US"> </span>Linda Nochlin, <i>Courbet</i>,</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">Thames & Hudson,2007,</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif;">p. 220, note 34</span></div>
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<span style="font-family: Times, Times New Roman, serif;"><a href="file:///C:/Users/Chee/Desktop/final%20exam%20-vis2104.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span><!--[endif]--></span></span></a>何政廣,《世界名畫家全集 庫爾貝 寫實主義大師》河北:河北教育出版社田,<span lang="EN-US">2001</span>,<span lang="EN-US">11</span>。</span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com4tag:blogger.com,1999:blog-5135812152724169274.post-75392223736549351042015-01-19T01:43:00.015-08:002015-04-12T08:46:22.268-07:00Realism: Shirley Lam talks on Honore Daumier's Freedom of the Press: Don't Meddle with It , {1834}.<div class="separator" style="clear: both; text-align: center;">
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<a href="http://3.bp.blogspot.com/-TL9t-V5dxok/VNW_ghT_EJI/AAAAAAAAEjk/l42rxl5ibDo/s1600/Capture.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-TL9t-V5dxok/VNW_ghT_EJI/AAAAAAAAEjk/l42rxl5ibDo/s1600/Capture.PNG" height="235" width="320" /></a></div>
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Basic information:<br />
Artist: Honore Daumier <br />
Title: Freedom of the Press: Don't Meddle with it<br />
Year: 1834<br />
Dimensions:(30.5x43.2)cm<br />
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Essay:<br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">In
this article, I will firstly introduce the artwork “Freedom of the Press: Don’t
meddle with it” and give the full details of the work. This article also
contains the explanation of how this work fits into realism and the reason why
this work interest me a lot.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span><br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">The
name of the artwork is Freedom of the Press: Don’t meddle with it. It drew by
Honore Daumier in 1834. The medium is lithograph and the dimension is 30.7 x
43.2 cm. </span><span lang="EN-US" style="color: black; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN; mso-themecolor: text1;">This painting is a
caricature. </span><span lang="EN-US">Honore Daumier has been called the <i>"Michelangelo
of caricature"</i> and his place in history as the caricaturist of 19th
century French political and social history is assured.</span><span lang="EN-US" style="mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN;"> </span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">When
we first look at this artwork, we can easily discover that this artwork
contains three parts. However, without doubt, most of the viewer will firstly
focus on the man stands at front. The artwork spotlights the man as we can see
that he stands at front and the middle of the artwork. Also, he was the biggest
size man in this work. After recognizing the significance, we will have a
deeper look about the meaning of different parts. The man stands at front is
wearing working-class dress. He stands firm with a serious facial expression, holds
the fists firmly. Moreover, just behind him, we could discover a rock written “Freedom
of the Press”. On the left, members of the bourgeoisie feebly brandish an
umbrella. On the right, the dethroned and crownless figure of Charles X
receives ineffectual aid from two other monarchs in configuration. From the
whole structure and the expression of different people, we could see that the
painting is expressing the idea that power of the press is ultimately greater
than that of a king.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">The
work “Freedom of the Press: Don’t meddle with it” is a Realism style artwork.
The definition about Realism is of paramount importance. </span><span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">The school focussed on worker and peasant scenes
depicted in a gritty or earthy manner. From this artwork, we could find the
gritty manner too. Let us focus on the man stands at front, he was actually </span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">a
</span><span lang="EN-US" style="color: black; mso-themecolor: text1;">young printer
personifying the freedom of the press</span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">. From his facial expression,
we could see his gritty manner as a printer. As I mentioned above, he has a serious
and steady facial expression. He looks for the left side without any smile on
his face and a determined jaw. In addition, from his hands and posture we could
see his gritty manner too. He stands firm, with clenched fists which identified
that he was confirmed for the thing he does.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Besides,
Realism is a movement that aims for a truthful and objective representation of
the real world. </span><span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">The primary concerns of the
realist movement were direct observation of society and nature, and political
and social satire”. From the artwork “Freedom of the Press: Don’t meddle with
it” we could see the characteristic about the realism. The painter Daumier used
the depiction of dress to express different characters. The printer is wearing
in working-class dress, not an elegant or rich dressing. On the left side, we
could see the bourgeoisies are wearing more grand clothing which identify that
they are middle class. On the other hand, the king and monarch have crowns and
specific imperial clothing. Daumier observed the clothing of different people
and different stage and he uses some symbolised clothing to identify the status
of the characters. <o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">In addition, another definition about realism is
that in the visual arts the style that best corresponded to the new social
awareness is realism. From this painting, we could clearly recognise its
meaning. It is about the press power is greater than the king. We could
discover in the painting that the printer is at front and he stands firm in
front of the “freedom of press”. On the other hand, the bourgeoisie is angry
and the king is going to die. We could conclude that the power of the press
defeats the other power. It relates to the social awareness that people starts
to discover the importance of the press. Drawing this painting is to spread the
idea that the power of press can defeat the power of king.<o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Lastly, realism style engages in social comment and
satire. This painting is a caricature and it is easy to understands its behind
meaning. It satirizes the power of the rich and the king. Although the rich has
money and power and the king has the unlimited and supreme power, they lose to
the power of press. Freedom of press is of utmost importance to the society.
The press could change the thinking of the citizens and even create the
revolution to the unfairness.<o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
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<span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>After explaining how the artwork relates to
the Realism style, I will talk more about the reason why this work interest me
a lot. <o:p></o:p></span></div>
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<span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>Before discussing about the reason why I
choose this painting, I would like to explain the reason why I would choose
realism. In the art history, there are many different styles, like, cubism,
expressionism. In many art history book, the article introduces realism is far
less than expressionism and impressionism. However, I still insist to choose
realism. The reason is that the painting in realism is describing something
real exist. In some style, like expressionism, it may not be the real and
existing thing in the world. I would want to explore more about the real thing
happen in the 19<sup>th</sup> century and have a deeper look and understanding
of them. Realism is a style which will express the direct observation of
society and nature. Some of the paintings engage in social comment and satire
too. It is so much attractive to me. As I learnt before, before the realism,
the artworks are mainly for the religion, political and the imperial. However,
after the realism, the art can open to other social background. The artwork is
created for the society and expresses the opinion of the society. We could see
that, realism is an important period which leads the artworks to the mass.<o:p></o:p></span></div>
<br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>The reason why
I choose this specific painting is that it is a caricature. Caricature is a
more special expression than the one with color. Other colorful painting, color
is an important element. It can express the atmosphere and feeling of the whole
painting. It can also strengthen the meaning of the painting too. However, in
this painting, color is not the main element anymore. We need to observe the
painting in order to understand the meaning of the painting. The more
interesting thing is that, caricature is always depicts the satire of the
society. I can know more about that century by the painting. <o:p></o:p></span></div>
<br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>Realism
style also has many caricatures, the reason I choose this painting is that it
relates to nowadays life too. It is hard for me to give comment on the painting
technique or whether it is beautiful as different people have different view. I
desire to talk about the expression of Daumier. We could see he clearly express
the meaning by the structure of the painting, the gesture, the depiction of the
dress and the facial expression of different characters. The viewer can easily
understand the meaning. Another important thing interests me a lot than other
painting is the meaning of this artwork. The painting implies that the power of
press is greater than the power of king. This meaning is still important in nowadays
life and it is still a social issue at present. This painting can disseminate
to nowadays society and it can be a historical example too.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
<br />
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-spacerun: yes;"> </span>In
conclusion, “Freedom of the Press: Don’t meddle with it” is a Realism style
caricature. It engages in social comment and satire. It is an interesting
painting and I grasp more information about this style and 19<sup>th</sup>
century.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Reference:<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
<br />
<div class="MsoListParagraph" style="margin: 0cm 0cm 0pt 18pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-list: Ignore;">1.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Laurie Schneider-Adams, <i>Art Across Time, </i>Boston:
McGraw Hill College, 2002, 779).</span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p></o:p></span></div>
<br />
<div class="MsoListParagraph" style="margin: 0cm 0cm 0pt 18pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-list: Ignore;">2.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-AU" style="color: black; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Duro and Greenhalgh, <i>Essential Art History</i>,
London: Bloomsbury, 1992, 246</span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p></o:p></span></div>
<br />
<div class="MsoListParagraph" style="margin: 0cm 0cm 0pt 18pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-list: Ignore;">3.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Nochlin,
Linda, Realism in art, Pelician,1971<o:p></o:p></span></div>
<br />
<div class="MsoListParagraph" style="margin: 0cm 0cm 0pt 18pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18pt;">
<!--[if !supportLists]--><span class="MsoHyperlink"><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1; text-decoration: none; text-underline: none;"><span style="mso-list: Ignore;"><u>4.</u><span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span></span><!--[endif]--><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Art
gallery NSW, collection, Honore Daumier, website:</span><span lang="EN-US" style="color: black; mso-themecolor: text1;"> </span><span lang="EN-US"><a href="http://www.artgallery.nsw.gov.au/collection/works/DO33.1967/"><span style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">http://www.artgallery.nsw.gov.au/collection/works/DO33.1967/</span></a></span><span class="MsoHyperlink"><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1; text-decoration: none; text-underline: none;"><o:p></o:p></span></span></div>
<br />
<div class="MsoListParagraph" style="margin: 0cm 0cm 0pt 18pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18pt;">
<!--[if !supportLists]--><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-list: Ignore;">5.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><!--[endif]--><u><span class="MsoHyperlink"><span lang="EN-US" style="color: black; mso-fareast-font-family: SimSun; mso-fareast-language: ZH-CN; mso-themecolor: text1;">Artable, Honore
Daumier, website: http://www.artble.com/artists/honore_daumier</span></span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p></o:p></span></u></div>
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<!--[if !supportLists]--><span lang="EN-US" style="color: black; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><span style="mso-list: Ignore;">6.<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">Honore
Daumier- Revenge via caricature , website:</span><span lang="EN-US" style="color: black; mso-themecolor: text1;"> </span><span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;">http://opinionatedart.com/caricaturists/2013/6/2/honor-daumier-the-reluctant-master-of-caricature-part-2<o:p></o:p></span></div>
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<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p> </o:p></span></div>
<span lang="EN-US" style="color: black; mso-fareast-language: ZH-HK; mso-themecolor: text1;"><o:p></o:p></span><br />
<br />
<br />
Presentation:<br />
<dl>
<dt>Further information<div class="separator" style="clear: both; text-align: center;">
<a href="http://2.bp.blogspot.com/-60B_2PXINuU/VODZMDLvgqI/AAAAAAAAEk0/D5o9KtZRqGc/s1600/C23150.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
</dt>
<dd>In 1832 Daumier served time in prison for an inflammatory
caricature of King Louis-Philippe. Two years later he drew this defiant
image of a strong young printer personifying the freedom of the press.
On the right hand side we see the fallen King Charles X, attended by
foreign monarchs with money bags. On the right hand side the angry
figure waving an umbrella is intended for Louis-Philippe.<br />
<br />
The implication of this image is that the power of the press is ultimately greater than that of a king.<br />
<br />
<br />
<br />
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<span lang="EN-US" style="color: red; font-family: "新細明體","serif"; mso-bidi-font-family: 新細明體; mso-fareast-language: ZH-HK;"><span style="mso-list: Ignore;">•<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";"> </span></span></span><span lang="EN-US" style="color: red; font-family: "新細明體","serif"; mso-bidi-font-family: 新細明體; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-HK; mso-font-kerning: 0pt;">Q: Realism </span><span lang="EN-AU" style="color: red; mso-ansi-language: EN-AU; mso-fareast-language: ZH-HK;">took place between about 1840 and 1870/1890.
This picture drew in 1830. Is it still a realism painting? How can we identify?
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</dd></dl>
drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-40611632951480214762015-01-19T01:43:00.013-08:002015-04-12T20:50:07.775-07:00Impressionism: Heidi Yu talks on Monet's "The Manneporte (Étretat)", 1883<img src="http://images.metmuseum.org/CRDImages/ep/original/DT1897.jpg" height="512" width="640" /><br />
<br />
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(Étretat)</span><span lang="EN-US"><o:p></o:p></span></div>
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<b><u><span lang="EN-US">Introduction<o:p></o:p></span></u></b></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">The Manneporte
(Étretat) is a fabulous painting painted by Claude Monet (1840–1926) in 1883.</span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"> The dimensions of this painting is 65.4 x
81.3 cm and the </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">medium of it is oil on canvas. And it is
located at The Metropolitan Museum of Art in New York. According to different
features, this painting is one of the works of the Impressionism. In this
essay, </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">there will be fall into several
parts. Firstly, the historical information of Impressionism and the reason of
how the work fits into Impressionism would be mentioned. Then it will move to
the analysis of the paint. Last but not least, there would be some reflection
on this painting. <o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">Historical background<o:p></o:p></span></u></b></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">
In the 19th century, scientists found that the sunlight contains seven
colors in which red, orange, yellow, green, blue, indigo and violet. This
impressed some painters that the color of an item is affected by light. In the
meantime, photography was being more general. Painting was facing a big
challenge because it started losing the function of recording things.<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #222222; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a>
Therefore, some painters turned to concern with the changes in light and color.
These features led to the development of the Impressionism. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><br /></span>
<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">
In order to study the color and light, Monet painted serval series of paintings
in a single object under different weather or light conditions. <a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #222222; font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<b><u><span lang="EN-US">How the work fits into Impressionism<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US"> <i>“…the
more I go on, the more I see that a lot of work has to be done in order to
render what I seek: “instantaneity”…”</i><a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a><i><o:p></o:p></i></span></div>
<div class="MsoNormal" style="mso-char-indent-count: 15.0; text-indent: 180.0pt;">
<span lang="EN-US">----Letter from Monet to Geffroy,
21<sup>st</sup> July, 1890<o:p></o:p></span></div>
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<br /></div>
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<span lang="EN-US"> Monet was seeking for “instantaneity” all the
time, including the time that was painting The Manneporte (</span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Étretat). Although
the weather of Étretat was inclement, there were still a series of the
landscape in Étretat during 1882-1885. Monet did lots of painting outdoors and
it was different when it compares to the Academic artists.</span><a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US"><br /></span>
<span lang="EN-US"> One of the Feature of Impressionism is the
painting </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">having visible brushstrokes. In this painting, it is totally different
with the previous period. There are thick brushstrokes that describe the motion
of the choppy waters and the texture of arched door. There were some negative
comments that the paints and works of Impressionism are rough and unfinished.
But the purpose of the Impressionists is not painted the object as the real
object. They were not depicted the object as photographing. And the
brushstrokes were shaping the object actually. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;"><br /></span>
<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">
Moreover, the Impressionists were </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">concerned with the
natural properties of light. They studied in light and color caused by weather
conditions, and Monet try to get the changes of light. In their world, there
was not any absolutely white or black. The color that they used to depict depends
on the weather and the time of the painting. In the painting, the sunlight
shining on the rock surface creates the contrast of light and dark, and the
colors expresses the texture of the rock. Instead of just using the light of
white color, several of colors were used to show the texture of the rock
surface. For example, using the orange, yellow and gold to show the sunlight
shining on the rock. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><br /></span>
<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Different from other periods and
styles, the </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">Japanese Wood
Block Prints influenced Impressionists a lot. In the 19th century, there were
dealings between Europe and the East countries. Therefore, the Eastern arts and
cultures started to spread in the Western world. </span><a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri, sans-serif; font-size: 12pt;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Influenced by
Japanese Wood Block Prints, The Manneporte (Étretat) </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">is in cut-off compositions. </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Monet draws a
partly asymmetric arched door, we can only see the right side of the arched
door, and the left side of it is cut away. </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-font-kerning: 0pt;">The arched door can broaden to the outside of the picture,
but Monet decided to depict a part of the object only. <o:p></o:p></span></div>
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<b><u><span lang="EN-US">Analysis<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US"> Apart from how </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">The Manneporte
(Étretat) fits into the Impressionism, here are some particular elements of
this painting would be mentioned.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><br /></span>
<span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Firstly, there are some special color tone different
from the previous periods and styles. </span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">On the bottom of this painting, the dark
color show the power of the ocean. But Monet did not using only black to express
the dark. He used the brown, dark green and dark yellow so forth. There are
also some light brushstrokes in which using the light blue and white to show
the spray. </span><span lang="EN-US">Not like the
painting depicted by those Academic artists, </span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Monet brought a vibrant
brightness to his works by using unmediated colors.</span><span lang="EN-US"> He</span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> tried to use pure color instead of the
mixed color in this picture. Our eyes can mix the color ourselves, it brings
about the colors look much more freshly. </span><span lang="EN-US"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><br /></span>
<span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Moreover, there are the
contrast between human and nature in this picture. Actually, there are two
little figures in the painting. “There are tiny figures below the archway in
the picture of </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">The Manneporte (Étretat), witness to the
bright sunlight on eroded limestone and to the crashing waves – forces of nature
that craved out the grate gap in the ponderous hulk. Yet their experiences are vicarious:
they are temporary visitors who always concentrate on unusual formations,
desirable because they were ‘picturesque’.”</span><a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10pt;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-font-kerning: 0pt;"> Comparing </span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">with the ocean with great momentum, human
seems to be very fragile.</span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><u><span lang="EN-US">Conclusion<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">To
conclude, </span><span lang="EN-US" style="color: #222222; mso-bidi-font-family: Arial; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">The Manneporte (Étretat) is a painting that fits the Impressionism style
and have different elements. But is there any special elements in the picture? What do people think about the figures below the arched door?</span><span lang="EN-US"><o:p></o:p></span></div>
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<br /></div>
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<b><u><span lang="EN-US">References<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US" style="background: white; color: #333333; mso-bidi-font-family: Times; mso-bidi-font-size: 12.0pt;">Sumner, Ann
(2005). <i>Colour and Light: Fifty Impressionist and Post-Impressionist
Works at the National Museum of Wales</i>. Cardiff: National Museum of Wales.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-US" style="background: white; color: #333333; mso-bidi-font-family: Times; mso-bidi-font-size: 12.0pt;">Laurie
Schneider-Adams (2002). Vol II of <i>Art Across Time.<span class="apple-converted-space"> </span></i>2nd edition. Boston: McGraw Hill
College.</span><span lang="EN-US"><o:p></o:p></span></div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<span lang="EN-US" style="font-size: 12.0pt;">S.WEBB &
SON (Distributors) LTD. (2003). <i>The
Pocket Encyclopedia of Impressionists</i>. <o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #444444; font-family: Helvetica, sans-serif; font-size: 9pt;">JAMES H. RUBIN
(1999).<i> Impressionism Art and Ideas. </i>Phaidon.<o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
<br /></div>
<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
<span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-bidi-font-weight: bold; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">The Collection Online - The Metropolitan Museum of
Art</span><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
<b><span lang="EN-US" style="color: #888888; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><a href="http://www.metmuseum.org/collection/the-collection-nline/search/438823?=&imgno=0&tabname=label">http://www.metmuseum.org/collection/the-collection-nline/search/438823?=&imgno=0&tabname=label</a></span></b><span lang="EN-US" style="color: #222222; font-family: "Arial",sans-serif; font-size: 10.0pt; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<br /></div>
<br />
<div>
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<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoNormal">
<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 10.0pt;"> </span><span lang="EN-US" style="background: white; font-size: 10.0pt; mso-bidi-font-family: Times;">Sumner, Ann (2005). <i>Colour
and Light: Fifty Impressionist and Post-Impressionist Works at the National
Museum of Wales</i>. Cardiff: National Museum of Wales.</span><span lang="EN-US" style="font-size: 10.0pt;"><o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="background: white; mso-bidi-font-family: Times;">Laurie Schneider-Adams (2002). Vol II of <i>Art Across
Time.<span class="apple-converted-space"> </span></i>2nd edition. Boston:
McGraw Hill College.</span><span lang="EN-US"><o:p></o:p></span></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> S.WEBB & SON (Distributors) LTD. (2003). The Pocket
Encyclopedia of Impressionists. <o:p></o:p></span></div>
</div>
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<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="background: white; mso-bidi-font-family: Times;">Laurie Schneider-Adams (2002). Vol II of <i>Art Across
Time.<span class="apple-converted-space"> </span></i>2nd edition. Boston:
McGraw Hill College.</span><span lang="EN-US" style="background: white; font-family: "Times",serif; font-size: 10.5pt;"><br />
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<a href="file:///C:/Users/heidiyu1213/Dropbox/2014-15%20sem2/VIS2104/Draft%20essay.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="background: white; font-family: "Times",serif;">Laurie Schneider-Adams (2002). Vol II of <i>Art Across
Time.<span class="apple-converted-space"> </span></i>2nd edition. Boston:
McGraw Hill College.</span><span lang="EN-US"><o:p></o:p></span></div>
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Ideas. </i>Phaidon.<i><o:p></o:p></i></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-68548843835152388092015-01-19T01:43:00.011-08:002015-04-26T13:25:38.931-07:00Post-Impressionsim: Hazel Chan talks on Van Gogh's "Wheatfield with Crows", 1890<div class="MsoNormal" style="background: white; line-height: 13.85pt; mso-pagination: widow-orphan;">
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Title: Wheatfield with Crows</span></b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Artist: Vincent Van Gogh</span></b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Year: 1890</span></b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Medium: Oil on canvas</span></b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Dimensions: 50.5 x 103 cm</span></b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Introduction </span></b><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">“I do not
invent the whole picture; on the contrary, I find it all ready in nature, only
it must be disentangled”<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[1]</span></span><!--[endif]--></span></span></a>
said Van Gogh. The artwork ‘Wheatfield with Crows’ was painted by Vincent Van
Gogh in July 1890. It is oil on canvas with a dimension of 50.5 x 103
cm. The artwork is suggested to be one of the last paintings before van
Gogh’s death. It arouses the debate because originally there is a popular
belief claiming this painting is a ‘suicide note’ and it expressed his
depressed mental state, but the related evidence has not been found. In
addition, a biography of Van Gogh was written by </span><span lang="EN-US" style="color: #424242; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Steven Naifeh and Gregory White Smith </span><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">in 2011. It even overthrew the view that
van Gogh committed suicide. </span><span lang="EN-US" style="color: #424242; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Steven Naifeh and Gregory White Smith suggested that Van Gogh was
accidentally killed because of the evidences. For example, </span><span lang="EN-US" style="color: #262626; font-family: Georgia; font-size: 16.0pt; mso-bidi-font-family: Georgia; mso-font-kerning: 0pt;">the angle of the gunshot was unlike
a suicide, and the gun was disappeared.</span><a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> So, the death of Van Gogh and the background
of this painting were not verified. Yet, this does not appear to be a barrier
of appreciation of the painting. In the following article, I will
first in introduce the content of the artwork, then analyze how it fit into
Post-Impressionism, at last I will discuss my own opinion. </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Content of ‘Wheatfield with Crows’ </span></b><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">In
this landscape painting, there is a large piece of yellow wheat
occupying two thirds of the painting. In the wheat field, there are three
winding paths with green grass aside. The paths are pointing to different
directions. The terminal points of the paths are unseen. Above the field, there
is a dark blue sky. A flock of crows are flying over the wheat field and the
sky. In the following, we will look at the features that make this artwork a
post-impressionist one. <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> <b>The
Features of Post-Impressionism in This Painting </b> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">This
painting is classified as a Post-Impressionist one. By analyzing several
aspects, we can find out how it fit into Post-Impressionism. </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<u style="text-underline: #1A1A1A;"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Brushstrokes </span></u><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">First, it
shows a response to Impressionism as van Gogh painted it with visible
brushstrokes. The paint is thickly applied and the brushstrokes are so
powerful. For example, the impasto is used to draw the dark blue sky and
the corns. The brushstrokes are structural as they follow the shape of the
objects, like the paths, the direction of brushstrokes is changed
according to the curve of the paths. Besides, the Post-Impressionist painters are not
interested in portraying the real world of external appearance, and van Gogh was
one of them. It can be told by the dramatic feelings created by the
brushstrokes. The brushstroke of the corns and the crows are alike, so a
fuzzy feeling arises. And the crows are gradually merged with the dark
blue sky, which is a picture that does not exist in reality. Therefore,
the brushstrokes give the viewers a sense
of unreality. </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<u style="text-underline: #1A1A1A;"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Location </span></u><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Second,
Post-Impressionist artists are interested in portraying the areas on the
outskirts of Paris, and this painting is an example of it. The artwork is
describing the scenery in Orville town, which is a town near Paris. </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<u style="text-underline: #1A1A1A;"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Color </span></u><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Third,
showing personal imagination and individual painting style is one of
the features of Post-Impressionism, and the dramatic color tone in this
artwork shows van Gogh’s l imagination and inventive painting style. Using
vivid colors is a characteristic of van Gogh's individual painting style. His
use of colors was influenced a lot by the laws of Delacroix and the theory of
complementary colors. <a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[3]</span></span><!--[endif]--></span></span></a>"Wheatfield
with Crows" exhibited the basic principles of the theories, as the colors
are in a strong contrast between the blue sky and yellow wheat, and between the
red paths and green stripes. </span><sup><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 13.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">1</span></sup><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">He uses big contrasting vivid color – blue
and orange tinge for the whole artwork. So a dramatically dark threatening sky
and the large piece of golden corns stretching to the horizon are created. In a
letter, which Van Gogh wrote in 1884, he gave an explanation, </span><i><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 16.0pt; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">"summer is the
contrast between blues and the orange tinge in the golden bronze of wheat"<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn4" name="_ftnref4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[4]</span></b></span><!--[endif]--></span></span></a></span></i><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 16.0pt; mso-bidi-font-family: "Times New Roman"; mso-font-kerning: 0pt;">.</span><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> It shows that his imagination of
a summer scenery is expressed through his own painting style. </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<u style="text-underline: #1A1A1A;"><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Composition </span></u><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Lastly,
the composition is also on the basis of his own inventive style. Unlike the
other paintings, the frame of ‘Wheatfield with Crows’ is unusually wide, which
gives us a sense of loneliness. The wheat field is very broad, especially when
it occupies about two-thirds of the painting. However, the two sides are
cut-off, the distant destinations where the paths are leading to are unknown.
And even the middle one, also do not show clearly where the destination
is. </span><span lang="EN-US" style="color: #1a1a1a; font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: widow-orphan; text-autospace: none;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US" style="font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;">My Opinion<o:p></o:p></span></b></div>
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<span lang="EN-US" style="font-family: Calibri; font-size: 16.0pt; mso-bidi-font-family: Calibri; mso-font-kerning: 0pt;">When I first look at this
painting, I found it is different from lots of Van Gogh’s work because it gives
me a strong feeling of depress and loneliness. I found the painting is vivid
but at the same time unreal, like it is a scene in a dream. So, I started look
at some article about it. After I search in some websites and books, I found
that most people claimed that it is the last painting and a suicide note of Van
Gogh. And some even interpret the symbolic meanings in the painting. For
example, some people said the three paths in the painting are from nowhere
leading to nowhere, and this implied the confused directions of his life, and
the separate paths represented his past, present and future.<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftn5" name="_ftnref5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Calibri; font-size: 16.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[5]</span></span><!--[endif]--></span></span></a>
I found the painting is quite mysterious and then it interests me to keep
searching its detail. However, when I keep doing research for it, I found that
the claim of most people is not supported by evidence. Also, gradually I found
that, it is not necessary to link up the painting with the artist’s life.
Without a dramatic Van Gogh’s life story, it is still a great painting that
deserves us to appreciate. Besides, when I look at the painting, I found that </span><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">there are some interesting questions in
this artwork, which van Gogh maybe leaves them to the viewers. For example,
where are the crows from and where are they flying to? Are they flying towards
the sky or the viewers? If they are flying towards the viewers and painter, it
seems the oppressing feeling will be very strong. I think this is what Van
Gogh leaves for us to imagine.</span><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-fareast-language: ZH-TW; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: widow-orphan; text-autospace: none;">
<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: widow-orphan; text-autospace: none;">
<b><span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Conclusion <o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: widow-orphan; text-autospace: none;">
<span lang="EN-US" style="color: #1a1a1a; font-family: Arial; font-size: 16.0pt; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">This is a masterpiece that stirred up a debate about its historical
background, but it is not a key point. What matters are the technique and the
feeling it brings to the viewers. In this painting, we can see that Van Gogh
succeeded in showing the disentangled nature in his picture.</span><span lang="EN-US" style="font-family: Tahoma; font-size: 8.0pt; mso-bidi-font-family: Tahoma; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-ansi-language: EN-US; mso-bidi-font-family: Verdana; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt;">[1]</span><!--[endif]--></span></span></a><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;"> Mary Tompkins Lewis, <i style="mso-bidi-font-style: normal;">Impressionism and Post Impressionism</i>
(London: University of California Press, 2007), 271.</span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">Steven
Naifeh, Gregory White Smith</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">, </span><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Verdana; mso-bidi-font-weight: bold; mso-font-kerning: 0pt;">Van Gogh: the Life</span></i><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;"> (</span><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Verdana; mso-font-kerning: 0pt;">New York: Random House</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">, 2011),<span style="mso-spacerun: yes;"> </span>.</span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">Maejie
Vellekoop, Muriel Geldof, Ella Hendriks, Leo Jansen, Alberto de Tagel</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">.</span><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">Van Gogh's Studio Practice</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">.Brussels: </span><span lang="EN-US" style="color: #1a1a1a; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">Mercatorfonds</span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">, 2013.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref4" name="_ftn4" style="mso-footnote-id: ftn4;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="color: #262626; font-family: "Times New Roman"; font-size: 13.0pt; mso-bidi-font-family: Helvetica; mso-font-kerning: 0pt;">John
Leighton, Vincent Van Gogh: Wheatfield with Crows (Zwolle: Waanders
Publishers, 1999), 39.</span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="https://www.blogger.com/blogger.g?blogID=5135812152724169274#_ftnref5" name="_ftn5" style="mso-footnote-id: ftn5;" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span style="mso-special-character: footnote;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: Cambria; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-HK; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></span></span></a><span lang="EN-US"> Vggallery, Wheatfield With Crows, http://www.vggallery.com/painting/p_0779.htm<o:p></o:p></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com1tag:blogger.com,1999:blog-5135812152724169274.post-84726248180434011732015-01-19T01:43:00.009-08:002015-04-19T08:31:32.209-07:00Post-Impressionsim: Sally Ng talks on Seurat's Sunday Afternoon On The Island Of La Grande Jatte, 1886.<img border="0" src="http://3.bp.blogspot.com/-91bFhy_DABY/VMXAzGYw3BI/AAAAAAAAEgc/gnMdLMObNyg/s1600/Seurat%2CGeorges_SundayAfternoonOnTheIslandOfLaGrandeJatte_1886.JPG" height="234" width="320" /> <br />
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<span lang="EN-US">Title : <b><i>A Sunday Afternoon on the Island of La Grande Jatte</i></b></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Artist : Georges Seurat</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Year : from 1884 – 1886</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Type : oil on canvas</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Dimensions : 207.6 cm x 308 cm</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<i><span lang="EN-US">A Sunday Afternoon on the Island of La Grande Jatte </span></i><span lang="EN-US">was the largest and best-known painting of Georges Seurat. He started the painting by sitting in the park in a spring afternoon, seeing various people relaxing in the park and he sketched them. He focused on the landscape on the painting a lot, as well as the color, and the light of the painting. This painting then became very famous until now, due to its detailing and mystery. Many people are still very interested in the meaning behind this painting. This paper will discuss about how Seurat got this painting idea and why is it so popular.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">The most attractive point of the painting must be the little dots, all over the canvas, which form the whole painting. Seurat used small horizontal brushstrokes of complementary colors to be the first lawyer of the painting, and then added more small dots on it. This approach made the whole painting more solid as human eyes will perceive it as a single shade or hue. It is also interesting that our eyes can mixed the colors of the dots automatically while seeing the painting. Amazingly, when we step back of the painting, it is not easy for us to see those dots. We will just get the whole picture immediately. It is believed that this painting form, which is a scientific basis, is called pointillism<a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri, sans-serif; font-size: 12pt;">[1]</span></span></span></a> (which also called divisionism during that time), would make the colors of the painting more powerful and sharp. This technique required the artist keep making small dots, but cannot blend the colors together on the canvas. Therefore, using pointillism, Seurat need to make a lot of efforts on the painting, and must be very patient to paint the picture dot by dot. Pointillism has sublimate impressionism to another level, which generally called “neo-impressionism” and Seurat was the founder of this style. Before painting on the canvas directly, Seurat did a lot of sketching of different parts of the painting, which is important to do so as the painting was such a huge one.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Unlike the impressionists, post-impressionists tend to focus on light and use pure colors on different objects, instead of expressing the real-life subject matters<a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri, sans-serif; font-size: 12pt;">[2]</span></span></span></a> . Also, post-impressionists were inclined to stress personal feelings and imagination through their paintings. This somehow explains Seurat’s ideas of the painting. For example, there is a big darken part on the ground that represent the shadow of maybe a big tree, and the remaining parts of the painting are mostly bright, to show how sunny the weather was, as it should be, on Sunday. The figures in the painting are like surround with steam --- bright and shine. Guess Seurat wanted to express how beautiful the sunshine on people, just like in reality. Nearly everything that Seurat painted in this picture were quite straightforward, as most post-impressionists. Moreover, keen on portraying Paris outskirts areas was one of the special features of post-impressionism. It also explains why <i>A Sunday Afternoon on the Island of La Grande Jatte</i> can fit into post-impressionism, while the place in the painting is a area which is at Paris gates.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">The figures in the painting – no matter people or animals – they were mostly separated. People were doing their own things, some were strolling, some were fishing and some were just sitting on the grassland. They looked all unrelated. It probably because of Seurat’s preparation of the painting. He had been sitting on the island every morning for 6 months, observing and sketching different visitors there. The figures on the painting did not appear all at once. They were like a combination of Seurat’s memory of the island. Scholars nowadays are interested in guessing the meaning behind each figure in the painting. For example, the woman who is very large painted on the right side. Some claim that she was a courtesan, with a man who was financially supporting her life, also with her pets- a dog which was quite expensive during that period and a monkey which means prostitution, guessed by viewer. Those brown triangles on the right edge were also unclear. Were they tree roots or dresses of ladies? People are still busy discussing. These guesswork seem very reasonable and fair. Nevertheless, over-interpreting will just destroy the mystery of the painting. There must be some reasons for Seurat to paint them that way, no matter it is by natural ideas or really on purpose. As a viewer, we can have our own interpretation on the painting without referring to any scholars, in order to really admire the artwork in our own perspectives.<br /><br /></span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">Another interesting peach of the painting is the monkey that leashed by the woman on the right side. Many of us might not focus on the monkey at first. However, here comes to the bizarre thing – the monkey was not there in the painting under x-ray<a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri, sans-serif; font-size: 12pt;">[3]</span></span></span></a>. It is believed that the monkey was added later on the painting, but not in the first draft. This showed Seurat’s uncertainty of adding the monkey. Actually, we can see that he was changing his mind of the ideas of the painting over and over again, through his sketching and drafts. It was like he knew that this painting will appeal a huge attention of the society, therefore he spent such a long time to finish it. Scholars guess the monkey means prostitution there. It is because in 1880s, “mother monkey “in French means prostitution, and prostitutions were very popular in La Grande Jatte during that time. If this is a real message that Seurat hidden in the painting, then he probably used the girl who was fishing nearly the river in the painting, again, to describe the unhealthy atmosphere of the island. Was she really fishing? Or she was doing another kind of ‘fishing’ like what a prostitute does? This would be an interesting question to discuss.<br /><br />I believe that through this painting, Seurat showed his love and adore of the relaxing feeling of Sunday afternoon. And this is why this work interests me. In Hong Kong, where a city full of tall buildings and crowded people, it is hard to find a place like the island in the painting. However, this painting gives viewers a feeling that it is like we can step into the painting at any time to enjoy the sunshine and the beautiful view together. I love this relaxing feeling that this painting has brought me. Also, I like the open-ended meaning of the painting, which I can imagine those meanings behind each figure, without being told of what they actually mean.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span lang="EN-US">One question I wonder of the work was that: Seurat painted another very similar painting - <i>Bathers at Asnières</i><a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span lang="EN-US" style="color: black; font-family: Calibri, sans-serif; font-size: 12pt;">[4]</span></span></span></a> before <i>A Sunday Afternoon on the Island of La Grande Jatte </i>. What is the main difference of two paintings and why he had to paint such a similar work? In many details, we can see that two paintings seem related to each other. For instance, a boat in the river appeared in both artworks, which might point out that actually the working man and the bourgeoisie were at the same place, at the same time, looking at each other. Moreover, the size of two paintings were also very similar, which is hard for people not to imagine that they were a pair of paintings. I guess the <i>A Sunday Afternoon on the Island of La Grande Jatte </i>represent the lives of bourgeoisie, from their clothing to their life style; and <i>Bathers at Asnières </i>represent the working-class. There is a big contrast bewteen these two class. First, we can see that the clothing and the actions of the workers are very different as the bourgeoisie. The lower class did not wear clothes on their top while the middle class were so particular on their pretty clothes. On the other hand, those lower class looked so free that they did not care how they look like; but the bourgeoisie were so careful of their movement, they were all trying to be elegant. This two groups of people were on the same place and doing the same thing, but the way they acted and their attuides were so unlike.Guess that Seurat would like to compare the strongly class differences in his society through these two paintings.<br /><br /><i>A Sunday Afternoon on the Island of La Grande Jatte </i>was such an impressive artwork as it has been re-created in different forms for so many times. Its mystery and pointillism was the most significant spots of the whole painting with no doubt. It still leaves people guessing all the details after more than a century without having agreements. Those mystery details fit Seurat’s strange and silent personality. Seurat showed his new idea and skill of painting in this artwork, which had a huge effect on post-impressionism and even other visual styles.</span><span lang="EN-US" style="font-family: 'Times New Roman', serif;"><o:p></o:p></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: xx-small;"><a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US">[1]</span></span></span></span></a><span lang="EN-US"> </span><span lang="EN-US">A Sunday on La Grande Jatte , ART INSTITVTE CHICAGO</span><br /><span style="white-space: pre-wrap;">http://www.artic.edu/aic/collections/artwork/27992</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: xx-small;"><a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US">[2]</span></span></span></span></a><span lang="EN-US"> Post-Impressionism</span><span style="white-space: pre-wrap;"><span lang="EN-US"><br /></span><span lang="EN-US">http://magazine.99ys.com/periodical/per_152/article--480--1635_1.shtml</span></span><span lang="EN-US"><o:p></o:p></span></span></div>
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<a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftnref3" name="_ftn3" style="font-family: Times, 'Times New Roman', serif; font-size: x-small;" title=""><span class="MsoFootnoteReference"><span lang="EN-US">[3]</span></span></a><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;"> </span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">BBC</span><span style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">:</span><span lang="EN-US" style="font-family: Times, 'Times New Roman', serif; font-size: xx-small;">The Private Life of A Masterpiece-A Sunday Afternoon on the Island of La Grande Jatte</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: xx-small;"><span style="white-space: pre-wrap;">http://ielts.xdf.cn/201212/9240503.html</span><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: xx-small;"><a href="file:///F:/YEAR%202/VIS%20carol/draft%20essay.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><span class="MsoFootnoteReference"><span lang="EN-US">[4]</span></span></span></span></a><span lang="EN-US"> </span><i><span lang="EN-US">Bathers at Asnières ,</span></i><span style="white-space: pre-wrap;"><span lang="EN-US">(picture)</span></span><span style="white-space: pre-wrap;"><span lang="EN-US"><br /></span>http://fa.topit.me/a/b3/e4/113114143587be4b3al.jpg</span></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com2tag:blogger.com,1999:blog-5135812152724169274.post-45753910489672271302015-01-19T01:43:00.007-08:002015-01-22T20:36:56.184-08:00Post-Impressionsim: (Your full name) talks on (Artist's family name)'s (name of art piece}, {year}.drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-23062104101851568712015-01-19T01:43:00.005-08:002015-04-11T00:55:22.618-07:00Post-Impressionism: Kaki Ng talks on Vincent van Gogh 's Bedroom at Arles, 1889.<div class="MsoNormal" style="mso-pagination: widow-orphan; text-align: justify; text-justify: inter-ideograph;">
<b><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Artist: </span></b><b><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">
</span></b><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Vincent van Gogh</span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Title: </span></b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> Bedroom at Arles<o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Year: </span></b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> 18</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">89 (Third version)<o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Medium: </span></b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">oil on canvas<o:p></o:p></span></div>
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<b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Dimension:</span></b><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> 72</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> x </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">90</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> cm<o:p></o:p></span><br />
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<a href="http://1.bp.blogspot.com/-tu5SkR1kq5E/VPwirmsdwbI/AAAAAAAAEmo/QqynD9zdZac/s1600/VanGogh%2CVincent_BedroomAtArles_1889.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://1.bp.blogspot.com/-tu5SkR1kq5E/VPwirmsdwbI/AAAAAAAAEmo/QqynD9zdZac/s1600/VanGogh%2CVincent_BedroomAtArles_1889.JPG" height="507" width="640" /></a></div>
<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><br /></span></div>
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<span lang="EN-US" style="font-size: 11.0pt;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Bedroom at Arles</span><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> is a famous painting,</span><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> painted by van Gogh in
1888</span><span lang="EN-US" style="background: white; color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">. The medium of it is oil
on canvas and it is </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">72 x 90 cm</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">. This art work belongs to the
category of post-impressionism. In this essay, it will focus on the </span><span lang="EN-US" style="font-size: 11.0pt; layout-grid-mode: line; mso-bidi-font-family: Tahoma;">explanation of its historical context and background, how this work fits
into the style of post-impressionism, why this work interests me and finally
will be two key quotes about the work in question and my point of view.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Bedroom at Arles was painted</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">by</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">van Gogh</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">after he </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">moved from Paris to
Arles in the south of France. Before he left Paris, he met most of what are now
considered the famous Impressionist artists of that period. He moved and
excited by their work and ideas, therefore, he started to paint with the
characteristics of post-impressionism.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> <a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_edn1" name="_ednref1" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: #222222; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></a></span><span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">There are three authentic versions of th</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">e</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> painting</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">, Bedroom at Arles</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> described in his letters.</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> Actually, i</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">t is easily discernible from one another by the pictures
on the wall </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">in</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> the right</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> hand side</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">. </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">The one discussed in
this essay is the third version finished in summer 1889. Since h</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">e decided to redo some of his "best" compositions in smaller
size</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> (reduction)</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> for his mother and sister, the pictures on the wall were replaced by two
women.<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_edn2" name="_ednref2" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Calibri, sans-serif; font-size: 11pt;">[ii]</span></span><!--[endif]--></span></a></span><span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">Th</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">is</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> painting depicts Van Gogh's bedroom in Arles and known as his </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Yellow_House_(Arles)" title="Yellow House (Arles)"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-size: 11pt;">Yellow House</span></a></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">. </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">Inside the bedroom, t</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">he door in the right hand side is opening to the upper floor and the
staircase; the door in the left served the guest room he held prepared
for </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Paul_Gauguin" title="Paul Gauguin"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-size: 11pt;">Gauguin</span></a></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">. The window in the front wall was looking to Place Lamartine and its public
gardens. </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">T</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">he decoration and setting</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> of the bedroom</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> is simple and pleasant. There are some necessary
furniture, like bed, </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">chairs, </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">pillows, bottles and some pictures on the wall.</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> It enables to create the atmosphere of relaxing
and comfortable and be the</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-size: 11pt;"> symbolic of restful peace.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Apart from the description of the painting, the following
will be the explanation of how the work fits into the style of
post-impressionism by analyzing the characteristics of it. It comes with no
surprise that t</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">he key difference between post-impressionism and impressionism is that
post-impressionism is less interest in portraying the real world of external
appearances and be more interest in expressing the artist imagination and individual
painting style.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> Therefore, the power of colour used,
unusual perspective of the bedroom and the artist’s emotional expression on
this painting can state the relation between Bedroom at Arles and
post-impressionism.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Firstly, </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Bedroom at Arles</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">can be
categorized as</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> post-impressionism</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> due to the use
of bright colour and distinctive brushstrokes</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> Obviously, r</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">ed is the only pure color found on this painting, </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">which</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> showed on the coverlet.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> Red is an
extremely strong colour and attracted people’s attention.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> Also, the backgr</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">ou</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">nd color of the wall is blue, in which
created a strong contrast</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> with red</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">. </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">The bright and bold use of colour on the painting is the
vibrant palette, which is a typical style of painting used by Vincent late in
his Paris period. During </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">his Arles and Saint-Rémy period</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">, yellow is his favourite colour, in which can also be
indicated in this painting.<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_edn3" name="_ednref3" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: #222222; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></a>
Therefore, this painting emphasize on artist’s individual painting style as it
showed on the use of colour.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Another striking
aspect of this painting is the unusual perspective of the bedroom. It can be
easily identified that the shape of the room is peculiar. The work is
unrealistic by showing the warped portrayal of the bedroom, in which the</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> object</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">s</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">, like tables,
chairs and bed</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> skewed downward toward the viewer. </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Not only can it create the feeling of unrealistic, but it can also make it
oppressive. Also, </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">the painting </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">is extremely</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> unique and easily recognizable as</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;"> th</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">e</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">bed</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">room was not </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">typical </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">rectangular but trapezoid</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">.</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">It showed </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">an obtuse angle in the left hand corner of the front wall
and an acute angle at the right.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">It is
different from the typical and normal one that we are living nowadays. </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">In the other
word, this painting emphasize on the artist imagination, rather that the real
world. </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">What’s more, the strongest reason that Bedroom at Arles
fits into the post-impressionist category is that the painting represented Van
Gogh’s emotional connection to the picture. As mentioned above, the painting depicted
his actual room, known as Yellow house. Through this painting, Van Gogh trended
to express him emotion and personal feeling. Many scholars put forward that
idea that t</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">he atmosphere created on this painting is highly isolation and tension.
There is no presence of figure on it and only a self-portrait can be found on
the wall of the bedroom.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> And </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #333333; font-size: 11pt;">the hue of
the red blanket that covers the bed made the painting filled with tension.
According to the reading, the painting is a “psychological self-portrait”</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> </span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">as</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;"> through the setting of the bedroom, it
expresses the emotion of the artist. There are two pillows lie side by side on
a single bed and two chairs faced to the bed separately. There are two bottles
on the table and a double window next to a single mirror. Such things can
represent that the artist wishes to achieve the fulfillment of building
relationship with woman, but failed.</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> Definitely,
the emotional content of the painting presented by the artist completely
indicated the painting beyond to the style of post-impressionism.</span><span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">When I look around many different types of painting, like
the landscape and portraiture, I was attracted by this painting because of the
bright colour and objects. As the colour mainly used on the painting is red,
blue and yellow, which are bright and attractive colours. Also, the objects
depicted on the painting is some simply things, like bed, pillows and some
furniture. Both of them are some daily life things that people use in everyday
life. Through the simply objects, Van Gogh tried to express his personal
emotion. It is amazing that an artist can express some special meanings by
using some simply things. As I know that Van Gogh is a famous
post-impressionism painter, I would like to understand the emotion and personal
feeling of Van Gogh presented on this painting. Lastly, I am quite doubtful of
the purpose of the unusual perspective of the bedroom as it is the first time
of me to see a room that is not rectangular, but trapezoid. Therefore, I am
interested in this painting and would like to find out the answers of my doubt through
this essay.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Furthermore, the following is the quotes about the work
from different scholars and resources. The first one is from a comparative
study of Vincent van Gogh’s Bedroom series by Luc Megens. The quote </span><span lang="EN-US" style="font-size: 11pt;">“Nowadays, Vincent van Gogh’s Bedroom in Arles is
one of his best-known paintings and from the artist’s letters we know that it
was one he was particularly pleased with” <a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_edn4" name="_ednref4" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="color: black; font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></a>
state</span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;">d the popularity and satisfactory of this painting.
</span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">The second one is from the Website of</span><i><span lang="EN-US" style="font-size: 11.0pt;"> Life and Times of Vincent Van Gogh</span></i><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">. There is an analysis of Van Gogh’s Bedroom at Arles and it raised the
debate that if the bedroom depicted by him is his real room. The quote is “Undoubtedly,
Vincent’s room did not really look the way he portrayed it. Yet in a letter to
his brother Theo, his description of this picture includes no acknowledgment of
intentionally conveying upheaval.”<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_edn5" name="_ednref5" title=""><span class="MsoEndnoteReference"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></a>
And then is a quote from </span><span lang="EN-US" style="font-size: 11.0pt;">Masterpiece
of the month: Vincent Van Gogh by <a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Chertok,+Bobbi/$N?accountid=12107" title="Chertok, Bobbi"><span style="color: windowtext;">Chertok, Bobbi</span></a>;<span class="apple-converted-space"> </span><a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Goody+Hirshfeld/$N?accountid=12107" id="lateralSearch" title="Goody Hirshfeld"><span style="color: windowtext;">Goody
Hirshfeld</span></a>;<span class="apple-converted-space"> </span><a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Rosh,+Marilyn/$N?accountid=12107" id="lateralSearch" title="Rosh, Marilyn"><span style="color: windowtext;">Rosh,
Marilyn</span></a>. <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">“Understanding the Painting
Van Gogh wrote about this painting to his brother Theo: "This time it is
simply my bedroom, only here color is to do everything." Van Gogh's vivid,
rich colors were inspired by the Mediterranean sunlight in the south of France.</span>”
It mentioned that the room depicted on the painting is Van’s bedroom.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 11pt;">Last but not least, two questions about the work,
Bedroom at Arles were raised. The first question is that w</span><span lang="EN-US" style="color: #222222; font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">hy the artist
used trapezoid instead of <span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;">rectangular as the
sharp of the bedroom?</span></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;"> Is it in order to have b</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">etter visual effect or
create the unrealistic effect?</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;"> </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">The other question is that m</span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;">ost of the things are centralized on the upper part of the painting. And
there is no object on the lower part. So what is the purpose of this
distribution and setting? </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #252525; font-size: 11pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-size: 11pt;">For the one question, from my point of
view, the artist is aimed to create the feeling of unrealistic as the style of
post-impressionism do not focus on the reality of things, but more focus on
artist’s own style. It used trapezoid as the shape of the bedroom, which is
different from common bedroom. And it can be said that the painting can represent
artist’s individual imagination and own style. Van sees his bedroom as his
studio so he tried to make it creative and think out of the box. Also, I think
that the distribution and setting of the bedroom made it complicated and
clumsy. The objects mainly centralized on the upper part, which is oppressive.<o:p></o:p></span></div>
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<span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">All in all, Van Gogh’s Bedroom at Arles is one of the
well-known paintings and the style of the painting is </span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #4c4c4c; font-family: Verdana, sans-serif; font-size: 9pt;">influenced by the art of the Impressionists</span>. This painting
beyond to the category of post-impressionism due to the use of bright colour,
unusual perspective of the bedroom and emotional connection with the artist. <span lang="EN-US" style="color: #222222; font-size: 10.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;">Reference:<o:p></o:p></span></div>
<div class="MsoListParagraph" style="background: white; line-height: 12.0pt; margin-left: 18.0pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18.0pt;">
<!--[if !supportLists]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">1.<span style="font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial;">Richard R. Brettell and Van Gogh, </span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-weight: bold;">Van Gogh's
"Bedrooms at Arles": The Problem of Priority, </span><cite><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-hansi-theme-font: minor-latin;">Art Institute of Chicago Museum Studies, </span></cite><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial;">Vol. 12, No. 2, The Helen
Birch Bartlett Memorial Collection (1986), pp. 136-151<o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">2.<span style="font-size: 7pt; font-stretch: normal; font-weight: normal; line-height: normal;"> </span></span></b><!--[endif]--><span lang="EN-US" style="font-size: 11.0pt;"><a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Chertok,+Bobbi/$N?accountid=12107" title="Chertok, Bobbi"><span style="color: windowtext;">Chertok, Bobbi</span></a>;<span class="apple-converted-space"> </span><a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Goody+Hirshfeld/$N?accountid=12107" id="lateralSearch" title="Goody Hirshfeld"><span style="color: windowtext;">Goody
Hirshfeld</span></a>;<span class="apple-converted-space"> </span><a href="http://proxy1.library.ln.edu.hk:2061/indexinglinkhandler/sng/au/Rosh,+Marilyn/$N?accountid=12107" id="lateralSearch" title="Rosh, Marilyn"><span style="color: windowtext;">Rosh,
Marilyn</span></a>, Masterpiece of the month: Vincent Van Gogh,<b> <a href="http://proxy1.library.ln.edu.hk:2061/pubidlinkhandler/sng/pubtitle/Instructor+$281999$29/$N/46605/DocView/224392864/fulltextwithgraphics/2FA1CAFDA8A3491FPQ/1?accountid=12107" title="Click to search for more items from this journal"><strong><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-family: Calibri, sans-serif; font-weight: normal;">Instructor (1999)</span></strong></a></b></span><b><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">3.<span style="font-size: 7pt; font-stretch: normal; line-height: normal;">
</span></span><!--[endif]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt;">Paul Richard Washington Post Staff Writer,</span><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Arial; mso-font-kerning: 0pt;"> 444 Days in Arles, The Washington post, 1984<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">4.<span style="font-size: 7pt; font-stretch: normal;"> </span></span><!--[endif]--><span lang="EN-US" style="font-size: 11.0pt;">A comparative study of Vincent van Gogh's
Bedroom series, <a href="http://www.academia.edu/9870906/A_comparative_study_of_Vincent_van_Goghs_Bedroom_series" target="_blank"><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext;">Johanna</span><span class="apple-converted-space"><u><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext;"> </span></u></span><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext;">Salvant -
Academia.edu</span></a></span><span lang="EN" style="font-size: 11.0pt;"> </span><span lang="EN-US" style="font-size: 11.0pt;"><a href="http://www.researchgate.net/profile/Luc_Megens"><span style="color: windowtext;">Luc
Megens</span></a> Nov 21, 2014<o:p></o:p></span></div>
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<!--[if !supportLists]--><span lang="EN-US" style="font-size: 11.0pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin;">5.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><i><span lang="EN-US" style="font-size: 11.0pt;">Life
and Times of Vincent Van Gogh</span></i><span lang="EN-US" style="font-size: 11.0pt;">
<span style="background: white;">Bedroom at Arles – analysis </span>http://lifeofvangogh.com/paintings/bedroom-at-arles-analysis/<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_ednref1" name="_edn1" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[i]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 11.0pt;">http://en.wikipedia.org/wiki/Bedroom_in_Arles<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_ednref2" name="_edn2" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 11.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[ii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 11.0pt;">
http://en.wikipedia.org/wiki/Bedroom_in_Arles<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_ednref3" name="_edn3" title=""><span class="MsoEndnoteReference"><span lang="EN-US" style="font-size: 11.0pt;"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iii]</span></span><!--[endif]--></span></span></a><span lang="EN-US" style="font-size: 11.0pt;"> Vincent’s Bedroom at Arles - Style, Vggallery<br />
http://www.vggallery.com/painting/p_0482.htm<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_ednref4" name="_edn4" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[iv]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><span lang="EN-US" style="font-size: 11.0pt;">A comparative
study of Vincent van Gogh's Bedroom series, </span><span lang="EN-US"><a href="http://www.academia.edu/9870906/A_comparative_study_of_Vincent_van_Goghs_Bedroom_series" target="_blank"><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-size: 11pt;">Johanna</span><span class="apple-converted-space"><u><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-size: 11pt;"> </span></u></span><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: windowtext; font-size: 11pt;">Salvant - Academia.edu</span></a></span><span lang="EN" style="font-size: 11.0pt;"> </span><span lang="EN-US"><a href="http://www.researchgate.net/profile/Luc_Megens"><span style="color: windowtext; font-size: 11.0pt;">Luc Megens</span></a></span><b><span lang="EN-US" style="font-size: 11.0pt;"> </span></b><span lang="EN-US" style="font-size: 11.0pt;">Nov 21, 2014</span><span lang="EN-US"><o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Desktop/year2/vis104/VIS%20essay-Vincent%20van%20Gogh.docx#_ednref5" name="_edn5" title=""><span class="MsoEndnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Calibri","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[v]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> </span><i><span lang="EN-US" style="font-size: 11pt;">Life
and Times of Vincent Van Gogh</span></i><span lang="EN-US" style="font-size: 11.0pt;">
<span style="background: white;">Bedroom at Arles – analysis </span>http://lifeofvangogh.com/paintings/bedroom-at-arles-analysis</span><span lang="EN-US">/<o:p></o:p></span></div>
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-73412750898979300222015-01-19T01:43:00.003-08:002015-01-25T20:23:53.267-08:00Post-Impressionism: (yaulam) talks on cezanne's card player,1892.drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com0tag:blogger.com,1999:blog-5135812152724169274.post-53826588674943884932015-01-19T01:43:00.001-08:002015-04-19T08:50:00.584-07:00Cubism: Cathy Wong talks on Braque's Violin and Pitcher, 1910.<div class="separator" style="clear: both; text-align: center;">
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<img alt="Violin and pitcher - Georges Braque" src="http://uploads8.wikiart.org/images/georges-braque/violin-and-pitcher-1910.jpg!Blog.jpg" /><br />
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Title:</span><span lang="EN" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;"> <b><i><span style="background: white;">Violin and pitcher</span></i></b></span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;"><o:p></o:p></span></span></div>
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<span lang="EN" style="color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt; mso-ansi-language: EN; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Year: 1910<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Artist: Georges Braque<br />
Medium: oil on canvas</span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;"><br />
Dimensions: 117 x 73.5 cm<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">In the early
20<sup>th</sup> century, Georges Braque, one of the pioneers, created a highly influential
art style, which is with </span><span lang="EN-US" style="background: rgb(250, 250, 250); font-family: Arial, sans-serif; font-size: 11pt;">geometric
forms and abstracted works "cubes”, called Cubism. Braque said that as
soon as “people started to define Cubism, to establish limits and principles, I
got the hell out”. Therefore, he produced </span><i><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 11pt;">Violin and pitcher </span></i><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 11pt;">to acknowledge the
artifice of Cubism.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><i><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 11pt;">Violin and pitcher</span></i><span lang="EN" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 11pt;"> is definitely related
to Cubism, the early period of Cubism style, especially fits into analytic
Cubism. The feature of this style is based on the analytical dissection of objects
in space, breaking them down into component parts as seen from multiple
viewpoints. These fragments would assemble into an interlocking plane to create
a more complete picture with reduced color and a strong linear framework. This artwork
is fit into those features as analysis as below. </span><span lang="EN" style="background: rgb(250, 250, 250); font-family: Arial, sans-serif; font-size: 11pt;"> </span><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: rgb(250, 250, 250); font-family: Arial, sans-serif; font-size: 11pt;">First, at first glance, the picture is hard to
find a “real” still life clearly. The only thing can realize is many geometric
shapes on a flat, 2D surface. However, </span><span lang="EN-US" style="background: white; font-size: 11pt;">the violin is easy to see in an interlocking plane, compared
to some other Cubist works. The strings and body of a violin in this picture is
the most stand out part. As Bolton (2000, p.11) stated that, it is “disjointed,
as though it has been broken and rearranged, or viewed through rippled glass”. This
artwork is use of </span><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">multiple viewpoints.</span><span lang="EN" style="background: white; font-size: 11pt;"> </span><span lang="EN-US" style="background: white; font-size: 11pt;">Then, the next still life in
this picture is the pitcher. The pitcher is less obvious, but it is above of
and to the left of the violin, which it shows a marked C-shape on the upper lip.
It blends into the background and the space around it is as important as
itself. The whole picture is full with merging everything together. And it fits
into the feature of Cubism, use of space and </span><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">from multiple
viewpoints.</span><span lang="EN" style="background: white; font-size: 11pt;"> </span><span lang="EN-US" style="background: white; font-size: 11pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #191919; font-size: 11.0pt;">As Cubists abandoned traditional single-point<span class="apple-converted-space"> </span>perspective,</span><span class="apple-converted-space"><u><span lang="EN-US" style="color: #0099cc; font-size: 11.0pt;"> </span></u></span><span lang="EN-US" style="color: #191919; font-size: 11.0pt;">instead
subjects were presented from various viewpoints simultaneously. This broke the “rules”
of art that had been followed since the Renaissance. Although Cubism is
sometimes regarded as being a move away from reality, it was in fact an attempt
to present more reality, showing different sides or facets, as if you were
walking around an object. As the above mentioned, this artwork fulfilled some
main feature of Cubism. <o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #191919; font-size: 11.0pt;">Second, the color of this picture is limited. Braque only used
earth color, like brown, greens, and warm grey, which is </span><span lang="EN-US" style="background: white; color: #252525; font-size: 11.0pt;">the natural colors found in dirt, moss, trees and rocks</span>,
to finish the whole picture. As the color is limited, the conventional way for making
shadow also have to abandon instead of using <span lang="EN-US" style="font-size: 11.0pt;">chiaroscuro shading<span style="background: white; color: #252525;"> and strong linear framework to create 3D
on a flat. In the picture, there are full with strong lines, which seems to be
irregular and most of them are straight lines rather than a curve, except some
key feature of the still life, for instance, the shape of the violin. For the
background, it also paints with the straight linear framework. Those angular
shapes merge together and blur in the whole picture in a confusing way. Therefore,
this work is fit into Cubism. <o:p></o:p></span></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="background: rgb(250, 250, 250); font-family: Arial, sans-serif; font-size: 11pt;">Third, Cubists believed that paintings should
create an illusion of reality and tried to create it of showing an object as if
in real or 3D space, which did as well as in this work. At the top of the
composition of this work, an illusionistic ‘nail’ was appeared and hammered
into the wall. There is nothing appears to hang on the nail, but the whole
pyramidal landslide of objects which constitute the still life below it. It is
trompe l’oeil (an eye-fooling game), which destined to give us a more profound
sense of illusion, not of things seen but of things imagined , and it also heightens
our sense of painted illusion by placing the nail close to the edge of the
composition. It makes an illusion that </span><span lang="EN-US" style="background: white; font-size: 11pt;">the nail is not in the same space as the pitcher and violin. The
nail seems to be in<span class="apple-converted-space"> </span><em><span style="border: none windowtext 1.0pt; font-family: "Arial","sans-serif"; font-style: normal; mso-bidi-font-style: italic; mso-border-alt: none windowtext 0cm; padding: 0cm;">our</span></em><span class="apple-converted-space"> </span>space as
the color of the nail is darker than anything in the picture, even the violin
and pitcher. So, it makes an illusion of reality that the nail is closer to us than
the pitcher and violin and creates a 3D space. Cox (2000, p.232) explained that
“It disrupts the new spatial illusions of Cubism, and seems to imply that the
whole picture is after all a mere surface, a strange or even silly contrivance
with no more depth than a piece of paper pinned to a wall.” However, it may be
just as counterfeit as the illusionism of Cubism since the nail is no more real
than the rest. </span><span lang="EN-US" style="font-size: 11.0pt;">Such signs, the nail, import ready-made cultural symbols
into otherwise illusionistic environments. It juxtaposed a traditional form of
illusion with an alternative Cubist one. To create a higher conceptual realism,
the ‘signs’ is a new language and representation of art. This artwork has those
special features of Cubism. <span style="background: rgb(250, 250, 250);"><o:p></o:p></span></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">This
work interests me by its color, representation and the style. The paintings
from <span style="color: #191919;">the Renaissance</span> used to be very colorful
and attractive, at least it is not use limited color to paint it, even though
in others cubist’s work, for example, Picasso’s Les Demoiselles d’Avignon,
which is also in bright color. However, this artwork is used the earth tone to
finish, only few colors for painting. So, it is hard to paint an object for
more reality as without the traditional way to create the space and shadow in a
flat canvas, but chiaroscuro shading.<o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Also,
the use of space is also strange to me. Its representation is used the whole
picture with all broken up angular planes and surfaces. It is hard to
distinguish the background and the still life object as all are interlocking
planes. Although Braque has many painting about musical instruments and vessels,
it still has no sense of how to form such a certain style of cubism. Even the
still life is the same, the composition would be different. And the real
background and objects would not be realized as everything is merging together.<o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Besides,
its own style is very stand out and unique at that period. Braque tried to approach
a new language of art, Cubist sign language, which consisted of a deliberately
limited vocabulary: lines, broken circles, stippled chiaroscuro shading and
austere sepia coloration. The whole composition was sometimes held together by
a large pyramid or a parallax weaving together of broad planes. (Cox, 2000) Also,
it broke the ‘rule’ of one single perspective for painting. It tried to look
like more reality by painting in several viewpoints or in different time to
paint. Compared to other art movement, it is more recognizable for its style. <o:p></o:p></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 11.0pt;">All
in all, </span><i><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Violin and pitcher</span></i><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;"> fits into Cubism,
especially in analytical Cubism, regarding its composition, space, color tone,
viewpoint and such sign, which represent the Cubism style.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span lang="EN" style="background: white; color: #222222; font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Questions:<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Arial;">1.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">As Cubism is in fact an attempt to be more
reality, can it be called post-realism? Is it a way to show the difference
between photography and art? </span><span lang="EN-US" style="font-size: 11.0pt;"><o:p></o:p></span></span></div>
<div class="MsoListParagraph" style="margin-left: 18.0pt; mso-list: l0 level1 lfo1; mso-para-margin-left: 0gd; text-indent: -18.0pt;">
<!--[if !supportLists]--><span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-fareast-font-family: Arial;">2.<span style="font-size: 7pt; font-stretch: normal;">
</span></span><!--[endif]--><span lang="EN" style="background: white; color: #222222; font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN; mso-bidi-font-style: italic; mso-bidi-font-weight: bold; mso-fareast-font-family: 新細明體; mso-font-kerning: 0pt;">Why Braque had to limit the color into earth
tone? For reality or not? </span><span lang="EN" style="font-size: 11.0pt;"> </span><span lang="EN-US" style="font-size: 11.0pt;"><o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Reference:<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Cox,
Neil. <i>Cubism</i>. London: Phaidon
Press Limited, 2000.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Antliff,
Mark and Leighten, Patricia. <i>Cubism
and Culture. </i>London: Thames & Hudson Limited, 2001.<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Bolton,
Linda. <i>Art revolutions: cubism</i>.
London: Belitha Press Limited, 2000.<o:p></o:p></span></div>
<h3 style="background: white; line-height: 12.65pt; margin-bottom: .0001pt; margin: 0cm;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span style="font-size: small; font-weight: normal;"><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt; font-weight: normal; mso-bidi-font-weight: bold;">Dickins, Rosie. </span><i><span lang="EN-US">The Usborne Introduction
to Modern Art</span></i><span lang="EN-US">.</span><span class="apple-converted-space"><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 8.5pt;"> </span></span><span lang="EN-US" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: Arial, sans-serif; font-size: 11pt; font-weight: normal;">EDC Pub, 2005. </span></span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt; font-weight: normal; mso-fareast-font-family: 新細明體; mso-fareast-theme-font: minor-fareast;"><o:p></o:p></span></span></h3>
<div class="MsoNormal">
<span lang="EN-US" style="background: white; font-family: Arial, Helvetica, sans-serif; font-size: 11.0pt;">Adams, L. S. Art Across Time: V, 2002.</span><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt;"> <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-family: "Arial","sans-serif"; font-size: 11.0pt; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast;"></span></span><br />
<h1 class="entry-title" style="background: rgb(255, 255, 255); border: 0px; line-height: 1.3em; margin: 0px; outline: 0px; padding: 0px; text-rendering: optimizelegibility; vertical-align: baseline;">
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drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com3tag:blogger.com,1999:blog-5135812152724169274.post-80729887974683872222015-01-19T01:42:00.017-08:002015-01-25T20:27:43.075-08:00Cubism: (Oliver Kwan) talks on (Picasso)'s (Les Demoiselles d'Avignon}, {1907}.<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&frm=1&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=https%3A%2F%2Fsheldondwebb.wordpress.com%2F2011%2F04%2F08%2Finfluenced-by-african-americans-pablo-picasso-les-demoiselles-davignon-france-1907%2F&ei=hbjFVOPlJMqF8gWp2ICYDA&psig=AFQjCNEWJVdRqVhA4YrQfkpU6xn1fUOpGw&ust=1422330372891274" data-ved="0CAcQjRw" href="https://www.google.com.hk/url?sa=i&rct=j&q=&esrc=s&frm=1&source=images&cd=&cad=rja&uact=8&ved=0CAcQjRw&url=https%3A%2F%2Fsheldondwebb.wordpress.com%2F2011%2F04%2F08%2Finfluenced-by-african-americans-pablo-picasso-les-demoiselles-davignon-france-1907%2F&ei=hbjFVOPlJMqF8gWp2ICYDA&psig=AFQjCNEWJVdRqVhA4YrQfkpU6xn1fUOpGw&ust=1422330372891274" id="irc_mil" jsaction="mousedown:irc.rl;keydown:irc.rlk;irc.il;" style="border: 0px currentColor;"><img height="560" id="irc_mi" src="https://sheldondwebb.files.wordpress.com/2011/04/201299201.jpg" style="margin-top: 0px;" width="531" /></a>drawingloverhttp://www.blogger.com/profile/08856395085535462107noreply@blogger.com1tag:blogger.com,1999:blog-5135812152724169274.post-85184514484673663152015-01-19T01:42:00.015-08:002015-04-22T12:30:31.026-07:00Cubism: Yannie Yeung talks on Picasso's the Weeping Woman, 1937.<div class="separator" style="clear: both; text-align: center;">
<a href="https://content.ngv.vic.gov.au/col-images/1280/EPUB001665.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://content.ngv.vic.gov.au/col-images/1280/EPUB001665.jpg" width="327" /></a></div>
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Artist: Pablo Picasso</div>
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Title: The Weeping Woman</div>
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Year: 1937</div>
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Medium: Oil on canvas</div>
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Dimensions: 60 x 49 cm</div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Introduction<o:p></o:p></span></u></b></div>
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<span lang="EN-US">The Weeping Woman is an oil on canvas
painted by Picasso in 1937. It painted
about a woman, Dora Maar, a photography and also Picasso’s lover. Picasso remembered clearly Maar’s crying when
her father passed away. He thinks Maar
is always a weeping woman so he choose to paint her.<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></a> Moreover, the Weeping Woman had relation to
the historical background of that time. It
was a visual expression of anger to the Spanish Civil War.<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></a> The Spanish Civil War began in 1936, year
after that Picasso finished The Weeping Woman.
So the Weeping Woman is considered to be the continuation of the tragedy
in his painting <i>Guernica</i>, which
showed the consequences of war – death, and death brings depression and
sadness. Judi Freeman described the painting
as a symbol of human misery.<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></a> The woman in Picasso’s painting was representing
innocent people who suffered from pain of losing their love and home during the
war.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Cubism Features and Work
Analysis: Multiple Viewpoints<o:p></o:p></span></u></b></div>
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<span lang="EN-US">The Weeping Woman carries several cubist
features:<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span lang="EN-US">First, it used multiple viewpoints that
showed collage. For example, there are 2
body positions we can find in the painting.
One is the frontal face which can be seen through Maar’s eyes. At the same time, the profile view of Maar
was seen on her month and teeth. It
created a 3D effect. In addition, there
were overlapping shapes. A handkerchief
was placed in front of Maar’s month, but we can also see her biting the
handkerchief and the whole picture made the handkerchief look like
transparent. Showing the action of Maar
biting the handkerchief could demonstrate Maar painful and uncomfortable
feelings and she might want to vent through biting. Maar’s fierce look of stuffing the
handkerchief between her teeth with her hands creasing on the handkerchief was
an expression of her anger and distress.
Lastly, Maar was holding her handkerchief in her hands, but on other
perspective, her hands was like praying.
This might suggest that she was praying for her father and the people
suffering from the war. Picasso combined
multiple viewpoints in one painting to show Maar painful and angry feelings.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Angular Planes<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">Second, the picture space was constructed
through angular planes. The eyes of Maar
were round and the composition shapes of her face were triangle, square and
circle. For instance, her handkerchief
was geometric and even spiky and her face had been dislocated. Maar’s face was like being cut up and put
back in a random order that was not symmetrical. Her nose and month were not in their normal
positions. That made Maar’s face fragmental
and her handkerchief was just like a broken mirror. The Weeping Woman contained a number of
geometric shapes and hard-edged lines. This
irregular shapes made the whole picture not harmonious and created emotions of
restless as well as nervous. It was
truth that Maar was very upset and she might need comfort. Yet there also seemed to be a wall to protect
Maar from the outside world and the glasses of the handkerchief would hurt
people. The poor woman, in the meantime,
was hard to approach.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Colors<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">Apart from this, the Weeping Woman used
bright and vibrant colors. The wall on
the background was yellow and brown. It
showed an indoor place where Dora Maar was located. Additionally, she was wearing a black color
clothing. In this case, Maar might be attending
the funeral of her father. Therefore, on
such an occasion, Maar was depress and weak.
The colors used in the painting were mostly not in harmony and they also
made contrast. For example, green
blended in yellow in half of the woman’s face.
Green and yellow represented illness that Maar might be too upset and
the tragedy made her unwell. These two
colors were contrast to the purple blush around her eyes and nose. Apparently, Maar had been crying and wiping
her tears away for a long time. So there
were blood stasis left on her face to show that it was difficult of Maar to
calm down from the misery. Furthermore,
the other half of Maar’s face and the handkerchief were painted in white color.
It was the contrast color of Maar’s
clothing. White was used to describe
someone in shock or sickness, but it never did appeared on a human’s face, as
well as green and purple. Picasso might
want to emphasize how strong the feeling was to suffer from the pain of losing
someone she loved. This is how Sir Ronald
Penrose, Picasso’s friend and also the owner of this painting, response to the
white color, “The white handkerchief pressed to her face hides nothing of the
agonized grimace on her lip: it serves merely to bleach her cheeks with the
color of death.”<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span><!--[endif]--></span></a> This white face was not only pathetic, it was horrible
as well that like kind of ghostly figure and it was the color of death. This sorrow emotion also demonstrated what
the war brought. At that time, people
were afraid of war and death. Besides, Picasso
used bright colors of red and blue in the woman’s hat. They made a big contrast to the yellow
background, the woman’s face and the woman’s black hair. These emotional colors used in the painting expressed
some very strong feelings like angry and worried. People were dissatisfied of the government
who brought them into the war. Bright
colors were usually used in some joyful and positive environments. Picasso used lots of bright colors in this
painting, but when those colors being put together, they were not harmonious
and it created uncomfortable feeling.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Own Opinions<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">Looking deeper in this painting, it is
noticing that the woman’s eyes kept wide-opened. Maar is so upset in the painting and she even cannot
stop crying. Normally, our eyes become
smaller or closed when we are crying since it would be unbearable if we do not
close our eyes and let the tears drop down. However, it was not the case in
Picasso’s painting. People might keep
their eyes close when they can be healed by themselves and they can handle what
they have suffered. Then, it might
suggested that an open eyes means a person is searching for others’ help or
he/she is shocked. It might be truth
that Maar was looking for comfort because she cannot stop crying by
herself. Her eyes were full of
unbearable pain and her faces were full of tears as well as blood stasis and
the handkerchief was useless except of being a tool to give vent of her
emotions. Maar was feeble and frustrated
so she kept her eyes open to look for help from the outside world. What is more, in the Weeping Woman, the reason
might be related to the historical background that there were many death during
the Spanish Civil War. Picasso chose to
paint a big, rounded eyes as he might want to express the condition of the refugees. They were helpless. They were the most innocent group of people
during the civil war and because of the war, they lost everything and the
government was not protecting them. Therefore,
the woman might be a symbol of these citizen who were afraid of the reality and
asking for mercy by showing her painful eyes.<o:p></o:p></span></div>
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<span lang="EN-US">The Weeping Woman, through its title and
the whole picture of the painting, it was believed to be expressions of blue
and painful. Nonetheless, Ronald raised
another totally different view. He
thought it represented a more optimistic faith. He said, “As the stream follows across the
contour of her cheek it passes her ear, the form of which is not unlike a bee
come to distill honey from the salt of despair.”<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[5]</span></span><!--[endif]--></span></a>
Also, he explained the woman’s right ear
has turned into a bird and the bird was sipping at her tears.<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 11.0pt; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></a> It was a sign of new life and hope. There were more symbolic items, such as the
blue flower on her hat and her hair. The
blossoming flower gave a sign of a new beginning. Maar’s hair which flows like a river could
take away her sorrow. Those symbolized
very positive and hopeful meanings. Although
hope cannot erase her pain of the moment, she would be pacified and move on
from the sadness one day. In my own
opinion, hope still could not be seen at the moment. It is a fact that the dark day would pass
eventually, yet the war was going on and no one knew when it would end. People were still in fear. And Maar also could not recover from the
sadness of losing her father. Picasso
wanted the civil war end but if he thought the pain could be erased, he might
painted a woman who was getting better instead of painting such a heartbreaking
woman.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14.0pt; mso-bidi-font-size: 11.0pt;">Conclusion<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<span lang="EN-US">The Weeping Woman contained two
meanings. The first one was a painful
woman who had lost her father. Her
emotions were shown through the bright and contrast colors that had an
uncomfortable feeling. Moreover, Picasso
used cubist features such as multiple viewpoints and angular planes to create
irregular lines and shapes. It made the
woman’s face looked fragmental and her depression was being expressed. On the other hand, the Weeping Woman implied
the effects of the Spanish Civil War which would brought along innumerable death. That was why the picture had complex feelings
of anger and grief. It was the
reflection to the reality.</span></div>
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<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[1]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Jonathan Jones, <i>Weeping
Woman, Pablo Picasso (1937)</i> (The Guardian, 2000), http://www.theguardian.com/culture/2000/may/13/art.<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[2]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Kirstie Beaven, <i>Pablo
Picasso: Weeping Woman Work</i> (Tate, 2010), http://www.tate.org.uk/context-comment/blogs/pablo-picasso-weeping-woman-work-week-26-april-2010.<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[3]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Judi Freeman, Picasso and the Weeping Women: The Years of Marie-Thérèse
Walter and Dora Maar, <i>Woman’s Art Journal
17</i> (1996):47-49.<o:p></o:p></span></div>
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<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[4]</span></span></span></span></a><a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span lang="EN-US">[5]</span></span></a><span lang="EN-US"> </span>Sir Ronald Penrose, <i>Picasso,
His Life and Work </i>(3rd ed.) (University of California Press, 1981), 314.</div>
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<div class="MsoFootnoteText">
<a href="file:///C:/Users/user/Documents/Year2%20Sem2/VIS2104%20-%20western%20art/The%20Weeping%20Woman.docx#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span lang="EN-US"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span lang="EN-US" style="font-family: "Calibri",sans-serif; font-size: 10.0pt; mso-ansi-language: EN-US; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: 新細明體; mso-fareast-language: ZH-TW; mso-fareast-theme-font: minor-fareast; mso-hansi-theme-font: minor-latin;">[6]</span></span><!--[endif]--></span></span></a><span lang="EN-US"> Jonathan Jones, <i>Weeping
Woman, Pablo Picasso (1937)</i> (The Guardian, 2000), http://www.theguardian.com/culture/2000/may/13/art.<o:p></o:p></span></div>
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<b><u><span lang="EN-US" style="font-size: 14pt;">References<o:p></o:p></span></u></b></div>
<div class="MsoNormal">
<u><span lang="EN-US">Book and Journal<o:p></o:p></span></u></div>
<div class="MsoListParagraph" style="margin-left: 24pt; text-indent: -24pt;">
<span lang="EN-US">1.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">Freeman, Judi. Picasso and the Weeping Women: The Years of Marie-Thérèse Walter and Dora Maar.<i> Woman’s Art Journal 17</i> (1996): 47-49.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 24pt; text-indent: -24pt;">
<span lang="EN-US">2.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">Kissick, John. <i>Art: Context and Criticism </i>(2<sup>nd</sup> ed.). The McGraw-Hill Companies, Inc., 1996.<o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 24pt; text-indent: -24pt;">
<span lang="EN-US">3.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">Penrose, Sir Ronald, <i>Picasso, His Life and Work</i> (3<sup>rd</sup> ed.), University of California Press, 1981.<o:p></o:p></span></div>
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<div class="MsoNormal">
<u><span lang="EN-US">Website<o:p></o:p></span></u></div>
<div class="MsoListParagraph" style="margin-left: 24pt; text-indent: -24pt;">
<span lang="EN-US">4.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">Tate Blogs. Beaven, Kirstie: Pablo Picasso: Weeping Woman Work, April 26, 2010. Tate. <a href="http://www.tate.org.uk/context-comment/blogs/pablo-picasso-weeping-woman-work-week-26-april-2010">http://www.tate.org.uk/context-comment/blogs/pablo-picasso-weeping-woman-work-week-26-april-2010</a><o:p></o:p></span></div>
<div class="MsoListParagraph" style="margin-left: 24pt; text-indent: -24pt;">
<span lang="EN-US">5.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">The Guardian Culture. Jones, Jonathan: Weeping Woman, Pablo Picasso (1937), May 13, 2000. The Guardian. <a href="http://www.theguardian.com/culture/2000/may/13/art">http://www.theguardian.com/culture/2000/may/13/art</a><o:p></o:p></span></div>
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<span lang="EN-US">6.<span style="font-size: 7pt;"> </span></span><span lang="EN-US">Junior Art Think. Weeping Woman. <a href="https://sites.google.com/site/juniorartthink/welcome/weeping-woman">https://sites.google.com/site/juniorartthink/welcome/weeping-woman</a></span></div>
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