Nineteenth century painting witnessed an unprecedented array of trends, ranging from Neoclassicism to Impressionism and Symbolism. In this variety of currents, there still were artists who managed to preserve their dedication to one trend throughout whole their life.
One of them is William Adolphe Bouguereau, a French academic painter who kept true to realistic genre paintings and traditional mythological subjects (Grove Dictionary 40). Bouguereau’s oil on canvas Adoration (1897) is a classical example of Academic-style painting, involving an almost photo-realistic depiction of the models in a pseudo-mythological scene.
Bouguereau’s academism reveals itself in the way the artist employs visual elements and principles. The clear, transparent colors set off the main group against a darker background and make it almost glowing, tinting the perfect translucent skin by the soft dark coloring of some clothing.
The color palette is reserved and yet serene, which supports the general calm and tranquil mood of the painting. The gentle lines of the bodies merge in harmony, revealing the natural perfection of human stature. Draped in softly falling tunics, the female bodies remind of the contours of the ancient statues. Polishing the skin texture to flawlessness, by play of light and shadow Bouguereau creates rounded and soft shapes that attract and delight by their innocent grace.
The center of interest in the painting, emphasized by the color contrasts, is definitely the central group of five young women, reaching out for a yet more important figure of a boy in the center of the composition. On the one hand, his figure is helping to balance the three female figures on the left.
On the other hand, he is a self-sufficient central figure. This visual balance is achieved by placing the boy’s body exactly in the middle of the painting and leveling out the three figures on the left by painting one of them in dark clothing and making it less visible at first sight.
The group of six is placed on a darker background of a forest — such “primeval woods” background is typical for Bouguereau (Van Hook 46); and yet farther at a distance one sees ancient temples placed on a hill. This three-level perspective reminds of the compositional principles practiced by the Renaissance artists.
Together with the formal aspects, Bouguereau employs semantic elements to emphasize his academic orientation. The title of the painting refers the viewer to the religious theme of adoration of the Magi. In Bouguereau’s Adoration, however, the Biblical figures of the Magi and the newborn Christ are replaced by the group of young women expressing their admiration to a flaunting boy.
This reminds, in its turn, of the ancient subject of adoration of Cupid by nymphs. The boy in Bouguereau’s painting possesses most of Cupid’s typical attributes: wings and arrow which he is still deciding where to shoot. Reminding of the Biblical Magi, one of the young women is holding a bouquet of flowers, as a gift to the newborn and a guarantee of his favor.
As a symbol of the painting’s reference to antiquity, Bouguereau places the silhouettes of the ancient temples in the background. The non-conflict, placid atmosphere of the painting reminds of the pastoral images of the Greeks and provides yet another link to the classical art.
Classified by his contemporaries as one of the most ardent followers of “academic realism”, William Adolphe Bouguereau confirms this title throughout all his creative life (Van Hook 43). One of his late works, Adoration, demonstrates how little his style changed, revealing impeccable academic professionalism both in visual elements and principles and in content and subject matter.
Works Cited
Bouguereau, William Adolphe. Admiration. 1897. San Antonio Museum of Art, San Antonio, Texas.
“Bouguereau, William(-Adolphe).” The Grove Dictionary of Art: From Monet to Cézanne: Late 19th-Century French Artists. 2000. Print.
Van Hook, Bailey. Angels of Art: Women and Art in American Society, 1876-1914. University Park, PA: Pennsylvania State University, 1996. Print.
The beginning of twentieth century was marked by revolutionary changes in social life: the discoveries made by the science and the achievements of the technical process transformed the course of life once and for all. The tendency for mechanization and, inter alia, employment of automobiles unprecedentedly speeded up the life pace.
The general enthusiasm for the future of mechanized planet could not be overlooked by the creative community. Poets, musicians, and artists involved into a major revision of creative principles underlying their work. Resulting from this attempt at comprehending the universal trends and employing them for the purposes of art were literary works that served as guidelines for creative activities.
A characteristic feature of those writings is the ardent tone of their authors persuading the readers of the comprehensive righteousness of their theories and of their exclusive importance for the success of future art. Among the most observable projections of the art development course are Filippo Marinetti’s “Manifesto of Futurism” (1908), Naum Gabo’s “The Realistic Manifesto” (1920), and Piet Mondrian’s “Neo Plasticism: the General Principle of Plastic Equivalence” (1920).
The ideas laid out in those works defined the framework for creative practices of many prominent artists, and connections can be drawn, inter alia, with the paintings by such masters as Gino Severini, Marcel Duchamp, and Marc Chagall.
The Italian painter Gino Severini was among the artists who signed Marinetti’s “Manifesto of Futurism” in 1910, and his works naturally reflected the Futurists’ ideas ever since. Marinetti’s inspirational writing urges the artists to break away from the placid rationality of traditional art in order to overcome the mystic ideals of the past (Marinetti 1908, 284–285).
He insists on the necessity to demonstrate a courageously daring attitude in painting and to depict the energy and the beauty of speed in an eternal movement to new findings (Marinetti 1908, 286).
Dynamism is the key characteristics of Futuristic art, and this is perfectly reflected in Severini’s painting Dynamic Hieroglyphic of the Bal Tabarin (1912). The artist uses the setting of the dancehall as the most appropriate scene of dynamic motion and captures the sweeping movement of dance that involves not only the central image of a dancing woman, but the whole surrounding background (Severini 1912).
In order to create the sensation of movement, Severini employs the method of dissecting the image into multiple parts of various geometric shapes and placing those parts in a chaotic collage making them as if dance in the air. This technique also helps to represent simultaneity of movements happening at the same time and creates a rhythm that in its kaleidoscope of overlapping transparent forms reminds of Mondrian’s idea of pure plastic: art is no longer description put rather plastic expression (Mondrian 288).
Another idea of Mondrian’s is rendered in Severini’s painting: the idea of unity of arts (Mondrian 289). By introducing the words ‘valse’ and ‘polka’ in his painting, Severini draws in associations with certain music and its movement that on the one hand foster the unity of arts in his canvas, and on the other hand allow the viewer perceive the smooth movement of valse interrupted by the irregularity of polka in a dancehall (Cork1976, 221).
Another bright representative of modernistic art, Marcel Duchamp appears the messenger of the futuristic delight of mechanisms. In his most revealing canvas The Passage from Virgin to the Bride (1912), Duchamp reflects Mondrian’s idea of plastic expression on the one hand and the futuristic idea of mechanization on the other hand (Duchamp 1912).
When looking at the painting, the stupefied observer can only guess where the virgin and the bride are, and whether they are at all present. There is no actual description of conventional parts of human body: everything that is depicted can be described as nothing else but geometrical shapes that remind of mechanical parts and laboratory equipment.
The absence of actual body parts in a painting intended to depict a human body and the substitution of limbs with shapes that rather reminds a mechanism echoes Mondrian’s idea of not description but plastic expression. Duchamp experiments with planes of picture: due to artful employment of light and shade techniques, various graphic segments as if move and change their position to form relationship with various bordering elements.
On the one hand, this perpetual motion is the essence of Futurism as such: futurists speed on throughout Marinetti’s “Manifesto” — and so do the fragments of Duchamp’s canvas. On the other hand, this hard-to-trace motion is symbolic of the swift transition of a virgin to a bride: the bridal state lasts no more than one day and is over as soon as the wedding is celebrated (Seigel 1995, 73).
In the context of contemporary artistic practices largely dominated by theoretical postulates, the artistic personality of Marc Chagall is singled out by his peculiar approach of not working by prescription but primarily using the canvas as a means of rendering artistic, not theoretical messages.
In this sense his attitude is close to the position of Russian sculptor Naum Gabo which he laid out in his work “The Realistic Manifesto” (1920). Together with recognizing the necessity for searching new artistic forms, Gabo denies the efficiency of Futurism and Cubism since according to him those two movements operate on the surface of art and do not appeal to its basis (Gabo 1920, 326).
Gabo calls upon the artists to base the foundations of their work on the real laws of life which are eternal and objective; he emphasizes the necessity to neglect abstract manner of thinking and engage in a realistic approach (Gabo 1920, 328). A connection to these ideas is traced in Marc Chagall’s canvas I and the Village (1911) where the artist assumes a down-to-earth approach to painting.
The subject of the canvas is obvious even without knowing its title: the central images of a countryman and a cow joining their looks in a loving gaze provide an understanding of the mutual importance of animals and people (Chagall 1911). Such attitude was characteristic of Chagall’s background from peasant Russia: born into a family of Orthodox Jews, the future painter was raised on ideals of mutual charity and good deals (Larson 1985, 91).
From the clarity with which Chagall paints the figures of people and cattle, the silhouettes of village houses and church, it becomes clear that he follows the principle of rather depiction than plastic expression and thus is here opposed to Mondrian’s views (Mondrian 1920, 288). On the other hand, Mondrian’s ideas on importance of composition are strikingly obvious in I and the Village (Mondrian 1920, 289).
The four sections of the work — the cow, the man, the village, and the tree — are juxtaposed in a symmetrical arrangement and thus clearly render the message of the painting: everything is arranged in harmony, with the tree of life being the source of existence (Walther and Metzger 2000, 20).
The paintings of Severini, Duchamp, and Chagall discussed above were all painted at approximately the same time period. The more sensational is the contrast between them in terms of ideas that constitute their theoretical background and practical implementation. While all three paintings are united by the same technique of Cubism, they demonstrate crucial divergence in the way or treating and depicting reality.
Reference List
Chagall, Marc. I and the Village. 1911. Oil on canvas. The Museum of Modern Arts, New York.
Cork, Richard. Vorticism and Abstract Art in the First Machine Age: Origins and Development. Berkeley and Los Angeles, CA: University of California Press, 1976.
Duchamp, Marcel. The Passage from Virgin to the Bride. 1912. Oil on canvas. The Museum of Modern Arts, New York.
Gabo, Naum. 1920. The Realistic Manifesto. In Theories of Modern Art: A Source Book by Artists and Critics, ed. Hershel B. Chipp, 325–330. Berkeley and Los Angeles, CA: University of California Press, 1970.
Larson, Kay. Chagall before the Fall. New York Magazine, 27 May 1985: 91–92.
Marinetti, Filippo Tomasso. 1908. The Foundations and Manifesto of Futurism. In Theories of Modern Art: A Source Book by Artists and Critics, ed. Hershel B. Chipp, 284–289. Berkeley and Los Angeles, CA: University of California Press, 1970.
Mondrian, Piet. 1920. Neo Plasticism: the General Principle of Plastic Equivalence. In Art in Theory 1900–1990: An Anthology of Changing Ideas, eds. Charles Harrison and Paul Wood, 287–290. Oxford: Blackwell Publishers, 1993.
Seigel, Jerrold E. The Private Worlds of Marcel Duchamp: Desire, Liberation, and the Self in Modern Culture. Berkeley and Los Angeles, CA: University of California Press, 1995.
Severini, Gino. Dynamic Hieroglyphic of the Bal Tabarin. 1912. Oil on canvas with sequins. The Museum of Modern Arts, New York.
Walther, Ingo F., and Rainer Metzger. Marc Chagall, 1887-1985: Painting as Poetry. Köln: Taschen, 2000.
This painting displays a young man blowing soap bubbles that are drawn from a cup containing liquid soap using a straw. The artist in this piece employs several colors to bring out clearly the elements of design, For instance the tone of this painting is presented by merging white color with a darker color. This implies that in real life the boy was blowing those soap bubbles in the night because there is very little light in the background.
Jean Simeon Chardin was the son to a cabinet minister and he spent most of his time in Paris. Born in 1969 and through his life, he was normally attracted to themes that revolved around children games and domestic activities in still presentations. He was popularly known as the master of still life.
His artistic character was propelled by his father, who designed billiard tables. Chardin married Saintard in 1731 and during his career he captured the interests of the Royal Academy with other paintings such as The Ray (1725 – 1726), The Buffet (1728), and Woman Sealing a Letter (1733) (National Gallery of Art). Jean died in Paris in 1779, leaving great works that are still emulated by artists.
In the 17th century, bubbles symbolized the transience of life. It is perceived that Chardin wanted to use this piece of art to demonstrate how delicate life is. In real life a normal burble only lasts for a few minutes after it has been blown. In simple language this theme means that a person’s life can end at any time as long as one is alive.
The art has elicited different themes in regards to the paintings. Some argue that the boy was lazy and he was only wasting his time. But Chardin wanted to twist the theme and designed the painting to depict the essence of soap bubbles and life. The bubbles have been painted white and light brown to create an emphasis on them by distinguishing them from the rest of the painting.
Elements of Art
The color in these soap bubbles creates a variance in the size of the bubble. The bubble has a lighter color to create an element of time. By making the bubble a little bit darker, the painter is demonstrating the event prior to the breaking of a bubble. Dark colors and light colors that is dark brown and white color have been applied to improve on the contrast of the painting to enable the audience draw a line between the bubbles and the clothing worn by the young man in this painting.
The skin complexion of the young man blends with the color of his jacket to present a smooth texture. Light in this painting is injected from the left to create an outline of the young man’s image.
The boundaries created by the bubble represent the line element, in which the bubble is shown as increasing in size. Also the lips of the boy blowing the bubble and the boys’ eyes show some movement in regards to the line element.
Chardin represent the painting in a two dimensional form with the help of light and color. Hutchings, et al. insist that lighting in art is a very vital aspect because if it were not there paintings would create confusions hence fail to deliver their intended purpose. More lighting presents a smooth tone while little or no light creates a rough tone (210).
In depicting the dimension, the shape of the painting is enhanced by the boundaries of the window and the soap bubbles. The background wall implies that the boys are standing inside a small room or a corridor, thus creating a contour of the expected boundary.
The area or space occupied by the painting is clearly represented by the shape of the painting. In this case only the boys, the glass with soap liquid, and a small portion of the window gives us the idea of the intended space by Cardin.
The other white spot on the bubble is induced by the light that is reflected across the painting. Bubbles can be overlapped to increase their intensity. Owing to the position of the soap bubble in this painting the background of the bubble is not clear. If the bubble was somewhere above the table one could recognize its background. This is created by the brightness and darkness of light.
Principles of Design used
The painting is well balanced. This evenness is achieved by balancing between darkness and brightness. The proportion of this painting is also balanced because the painting seems to occupy three quarters of the canvas. Perhaps if the light was shone from the light we wouldn’t recognize the straw.
The contrast of a painting is determined by the objects laid out in a painting and the ones the painter intends to highlight. The different elements of art such as line, form, color, texture, and shape are well represented in the art; as described in the previous section.
The art work is efficiently unified, with each element of art arranged in a consistent manner. For instance, white color represents the boy’s shirt and the soap liquid. This also creates a repeated pattern, where the coat that the boy wears is well represented by the line and color element to create a smooth texture.
There seems to be a lot of harmony in the colors used in this painting because they all seem to be directly related. The background of this painting is perfected by combining extreme black color with brown. This merge creates a shadow that dominates the painting, thus depicting asymmetrical principle.
The glittering on the bubble also implies the full length of the bubble and therefore describes the pressure and the rythm exerted on to the bubble which will make it burst. This pressure refers to the situations in life that pushes people to a point of life and death. The young mans cheeks do not indicate any form of stretching because if it were so his cheeks would be swollen but instead he looks relaxed.
The young man’s eyes look like they have been closed but this impression is brought by his head facing down wards to concentrate on the bubble. Perhaps he is analyzing how much and how long he can blow his bubbles.
This shows some form of emphasis. The color of the jacket worn by the boy and the shirt plus his skin complexion is not in conflict because they only vary in their contrasts. This toning creates unity among the objects displayed in this painting. The jacket worn by this boy has a smooth texture that blends well with the background shadow.
The circular shape of a bubble is important because it ensures that the bubble occupies very little space in the air hence they are easily suspended into the air. This lightness makes the bubble to cut through the air because of its intensity thus it can not be overlapped by other objects that are usually present in the air. Thus, Chardin has created a formal balance with the evenness of the bubble. Stein argues that the duration that a soap bubble takes in the air is influenced by the humidity of the air (21).
The variety principle in this painting is depicted through the incorporation of artistic elements in different degrees. The smooth texture in this painting creates a cool mood. The soap bubble seems to dominate the focus of the young boy because he looks downward to show his attention to the bubble.
According to Opera bubbles are also used in early childhood education to teach children about shapes hence they should be attractive to attract the attention of children (13). In this painting there are two forms of shadows. The first one derived from the overlapping created by the image of the boy hence the source of light is barred from reaching certain areas. The other form of shadow is imaginary because we expect shadowing to be applied almost in every painting.
This latter shadow is due to insufficient lighting on some parts of the painting. For instance part of the boy’s hair is not visible because it has been merged with the background shadow to create a smooth tone. Hardin has clearly proved that a shadow does not have to be black but it must have a complimenting color.
Style of the Art
This painting is created using the still picture concept. The boy’s focus can be manipulated to create different focuses. It is possible for other painters to make changes on this painting. This can done by shading more light on the background of this painting to help the audience identify other parts in the painting that are visible but one can not tell what they are. One notable part in this painting that is not clearly visible is the right hand side of the boy.
It is important to note that the lighting in this painting visualizes only the right hand part of the boy that includes his right arm and half of his chest. One has to look very carefully in the painting to identify the left hand side of the boy’s image. This is due to the fact that only the foremost part of the boy’s left arm is visible.
His upper arm is not visible because it has been overlapped by the dark background. His elbow is creates a transparent appearance by shading very little light on it. This pale color on his elbow can confuse the audience because personally I didn’t realize it was his elbow hence I thought it was another object in the background.
This is achieved by making some objects in this painting to be more visible than others. If the boy’s complexion was darker the painter would have shed more light on the background to enable the audience to identify the boy.
Artist’s Purpose
The purpose of this art work is to depict how life is delicate like a soap bubble. In this painting when one looks at the painting the first thing that captures the sight is the boy. Though the container that holds the liquid is not too close to the boy it is visibility follows that of the boy.
This is because of the white color used to present the volume in the container. The format of this painting is appropriate because it accommodates all the objects comfortable. If the format was tall some objects would not have fitted into the painting hence the painters choose his format well.
Conclusion
The Soap Bubble is an interesting painting because it depicts the common activities that children engage in. Sometimes it is difficult to notice how important small things can be meaningful to our life. In this art work, Chardrin has created a piece that makes people to think about life in greater context; life is delicate like a soap bubble, therefore there is need to spend our lives in the best ways possible. Thus, this art work was picked because it represents the classical elements of art and the principles of design.
Works Cited
Hutchings, Michael, et al.”Proof of the Double Bubble Conjecture.” Differential Geometry. Ann. of Math. (2), Vol. 155 (2002), no. 2, 459-4896.
Opera, John. “The Mathematics of Soap Films – Explorations with Maple.” Student Mathematical Library v. 10. USA: American mathematical Society, 2000. Print.
Stein, David, et al. How to make Monstrous, Huge, Unbelievably Big Bubbles. California: Klutz, Inc, 2005. Print.
Painting artists use different artistic styles and colors to portray the impression of their drawings. The painting of The Raft of the Medusa by Theodore Gericault, a French painter emotionally portrays the survival and hardships experiences of the passengers in a raft, who survived the sinking of the French ship, La Medusa.
The Gulf Stream painting by the American artist, Winslow Homer, depicts a man struggling amidst strong waves of the sea in a small fishing boat. This essay is going to compare and contrast the two paintings: The Raft of the Medusa and The Gulf Stream in relation to romanticism and impressionism ages.
Comparison
The similarity of the two paintings literally depicts people struggling for their lives amidst strong waves in the sea. In The Raft of the Medusa, the passengers who had survived the sinking of their ship are crowded on the raft. After the sinking of their ship, many people sunk and died leaving only few people as survivors.
The survivors endured severed hardships of starvation and cannibalism for thirteen days in the Atlantic sea before the rescue. In comparison, The Gulf Stream painting shows a man on a small fishing boat in the sea full of hurricane waves as he struggle helplessly awaiting rescue. Both this paintings shows an element of romanticism because they elicit emotional response in the viewers.
Romanticism
The Raft of the Medusa is a romantic art due to its emotional depiction. The painting portrays the tragic accident in the sea according to the perception of the artist. The artistic freedom of imagination and fantasy of the tragic accident shows romanticism. In romanticism, the artist has freedom to paint adventurous and fantastic events to depict emotions.
The artist uses dull and dark colors like browns, black and deep red to depict the solemn scene of accident. To avoid distraction of the viewers to specific details, the artist used short brush strokes together with the light and shades to portray clearly the figures in the entire painting. The Raft of the Medusa portrays the ideals of the romanticism and this has made it be considered as a romantic icon.
Impressionism
Although The Gulf Steam portrays the elements of the romantic art, its painting styles is based on the impressionistic art. Impressionistic art focuses on creating an impression by use of bright water paints on specific objects. The Gulf Steam ignores other background information but focuses on the man in the small boat and the sea waves.
Impression arts are characterized by the use of bright paint strokes and the light reflection of the watercolors. Impressionists seek to attract the attention of the viewer to the subject rather than to the details. The Gulf Steam is an impressionistic art because of the use of bright watercolors and the impression focuses only on one subject.
Conclusion
Artists can use romanticism and impressionism in the depiction of their drawing depending on the impact they want to pass onto the viewers. Romanticism entails emotional depiction of the details in tragic events like The Raft of the Medusa while impressionism involves focusing of the main subject of the painting and neglecting the background information as in The Gulf Steam. Although impressionism and romanticism differ, both are necessary in a painting to give the desired and vivid impression to the viewers.
Since times immemorial people have exploring the mysterious connection between the man and the nature. The ancient people believed that life was governed by mysterious natural powers to which divine omnipotence was ascribed. With the coming of the industrial era, the distance between the man and the nature grew larger until a disastrous point was achieved when mechanical and artificial things substituted what would normally come from nature.
However, in the modern era of environmentalism, people appear to be turning back to their origins in an attempt to save the planet from an ecological catastrophe. This tendency is reflected in modern art that chooses the unity of the man and the nature as one of its main topics.
One of the examples illustrating the unity of the man and the nature is an artwork by Lloyd Walsh Flesh to Earth (1995). This is an oil on canvas diptych that consists of two images, 40 by 30 inches each: a rose in its full blossom and a torso of a mature woman with loose hair and arms crossed to cover her naked breasts . The thematic affinity of the two paintings can be traced in the way Walsh manages the formal elements: the color, the light, and the composition.
Both paintings are performed in a brown color scheme that reminds sepia effects in photography. The light falls on both the rose and the woman from the right, which is emphasized by a distinct shift in the tints of the color from a very light beige to the darkest brown. Each of the two paintings has only one item depicted in it, which immensely focuses the viewer’s attention and evokes contemplation on the deeper meaning of the paintings.
A second illustration of the connection between the man and the nature can be found in an artwork by Betty Ward Man with Sunflower, The man with the sunflower hand making love to the woman whose hair is a river (2004–2006).
The first thing that turns the viewer’s attention is the medium of this 54 by 54 inches round image: it is a cotton embroidery set off with silk petals and put in a hand-carved metal frame. The composition of the artwork clearly comprises three zones. The right half of the embroidery depicts a body of a naked woman whose long luxuriant hair curls and flows in blue waves as the waters of a river.
In the bottom left part of the embroidery, there is a body of a naked man whose green hair reminds grass blades and who is stretching his hand – in shape of a sunflower – to the woman. Yet another image is featured at the top left part of the embroidery: a woman sitting on a chair with her legs crossed.
The body of the woman and the chair itself are done in shades of grey and black, which sets this image off as extraneous to the colorful unity of the other two bodies. Such a contrast suggests a semantic opposition between the world of nature filled with color and love, and the colorless world of civilization.
Both works attracted my attention and won my appreciation by their sincerity and suggestion of a deeper meaning. Although it is possible to enjoy each of them simply for the beauty of line, color, light, and composition, it appears even more exciting to think about the ideas underlying the artworks.
The titles of the works provide sufficient hints for deciphering their meaning. Flesh to Earth suggests categorizing the woman as ‘flesh’ and the rose as ‘earth’ and uniting them on the basis of their similar nature. The rose is splendid in its bloom, and so is the woman in her heyday.
From this parallelism stems the idea that human life cycle is similar to that of plants, and thus the immediate connection between the man and the nature is established. An analogous idea comes to one’s mind when looking at Man with Sunflower: the couple in love merge with each other and with powers of nature, while the image of a colorless woman remains solitary in the seclusion of civilization.
Trough observation of modern artworks, it becomes possible to realize how much significance is given by artists to the connection between the man and the nature. The message of such artworks reads that only via this ultimate bond is happiness and harmony possible on this planet.
Works Cited
Walsh, Lloyd. Flesh to Earth. 1995. San Antonio Museum of Art, San Antonio, Texas.
Ward, Betty. Man with Sunflower, The man with the sunflower hand making love to the woman whose hair is a river. 2004–2006. San Antonio Museum of Art, San Antonio, Texas.
Salvador Dali is one of the most extraordinary personalities of the 20th century. His way of life was a manifestation of his uniqueness and his art maintains his extravagant ideas.
The famous painter was born in Figueres (Spain) on May 11, 1904 (McNeese&Dali 14). His father was a respected lawyer and nobody could assume that Salvador would become a painter. However, Dali started painting quite early and in 1925 he already had his first exhibition (Fèlix Fanés 1). Dali’s first works were impressionistic. In fact, his style developed from Impressionism to Pointillism and Cubism. Thus, one of his earliest works is Smiling Venus (1922).
The medium of this picture is tempered on cardboard (51.50 x 50.30 cm). The picture is a depiction of a girl lying on the beach. Dali used the technique of Pointillism to depict the landscape in the background. This is an impressionistic work which reveals the “ironic version of the feminine archetypes of Noucetisme” (Fèlix Fanés 7).
Another early work, Self-Portrait with “L’Humanité” is dated 1923 and is created in the cubistic style. Medium is mixed (oil, gouache and collage) on cardboard. The picture depicts a man without mouth in a blue shirt. In the background, there is a mirror with the man’s reflection, pictures, a newspaper and papers.
Dali’s Works
One of the Most Famous Works
Of course, one of the most famous paintings by Dali is The Persistence of Memory (1931). Medium is oil on canvas (24.1 x 33 cm). In fact, this was the first picture by Dali which impressed me the most. Now it is hard for me to distinguish the best of his work, but some time ago I would say that it was The Persistence of Memory.
It is a surrealistic work revealing the subjectivity of time and suggests that “time can vary greatly in human perception” (Clemens and Dalrymple 62). The picture depicts several melting watches, in the background cliffs and the quiet water are depicted. In the centre of the painting, the misshapen head is depicted.
Symbols in Dali’s Works
Such unusual surrealistic images make the painting (and the entire Dali art) unique and recognizable. He uses lots of symbols to reveal his ideas of subjectivity of the reality. Some of his most used symbols are watches (which symbolize time and life) and eggs (symbolizing life and creation). Of course, these symbols occur in many works. However, it is impossible to omit one more image abundantly depicted in Dali’s works, i.e. his muse – his Gala.
This Russian woman has entered his life to stay in his art and his heart forever. Dali depicts Gala in various images, as a muse, as a goddess, as a mortal woman, as a mythological character. However, no matter what exactly is depicted on the painting, the most important in Dali’s works is that they make the viewer think of life and many other eternal issues trying to self-reflect. Bright colours and surrealistic images create the whole world of Dali’s visions, dreams and manifestos.
The Uniqueness of Dali’s Works
Salvador Dali was a talented and fruitful person, he created thousands of paintings, sculptures and other works of art. It can be quite difficult to distinguish his preferred medium since Dali’s middle name could be Diversity. Of course, he liked canvas and oil, but the medium become insignificant when his works extend the borders of reality of those who have ever seen them.
Works Cited
Clemens, J., Dalrymple, S. Time Mastery: How Temporal Intelligence Will Make You a Stronger, More Effective Leader. New York: AMACOM Div American Mgmt Assn, 2005.
Fanés, F. Salvador Dalí: The Construction of the Image, 1925-1930. New Haven: Yale University Press, 2007.
McNeese, T., Dalí, S. Salvador Dali. New York: Infobase Publishing, 2006.
Johann Strauss II was also known as Johann Baptist Strauss, Johann Strauss Jr., the Younger, or the Son. He was born on 25th October 1825 and died on 3rd June 1899 (Gartenberg 123).
Strauss who was also the most prominent of the Strauss family was born in St. Ulrich and died in Vienna where he was buried at the Zentralfriedhof. As Crittenden indicates, “the composer was of an Austrian nationality and mainly did light music in particular dance music and even operettas” (89). He is also known to have composed quadrilles, polkas, waltzes, ballets, operettas, opera and marches.
Even though his father opposed his pursuit of music, he secretly involved himself in studying the art. He is mostly remembered for some of his great waltz pieces such as “tales from the Vienna woods”, “Kaiser-Walzer”, and “The Blue Danube”. In polka, he is well known for pieces like “Tritsh–Tratsh” and “Pizzicato”. Some of his best-known operettas are “Die Fledermaus” and “Der Zigeunerbaron”.
Chosen pieces
Some of the songs that were incorporated in this report are:
Die Fledermaus (The Bat), overture to the operetta (RV 503-1) (8:31)
Conductor: Martin Sieghart, Genre: waltz.
Geschichten aus dem Wienerwald (Tales from the Vienna Woods), waltz for orchestra, Op. 325 (RV 325) (11:59)
Conductor: Ondrej Lenard. Genre: waltz
Annen-Polka, for orchestra, Op. 117 (RV 117) (4:31)
Conductor: Johannes Wildner: Genre: Polka
Wiener Blut (Vienna Blood), waltz for orchestra, Op. 354 (RV 354) (8:29)
Conductor: Ondrej Lenard. Genre: waltz
Rosen aus dem Suden (Roses from the South), waltz for orchestra, Op. 388 (RV 388) (8:25)
Conductor: Ondrej Lenard. Genre: waltz
Sources
The main sources of reading are:
Jacob, H. E. Johann Strauss, Father and Son: A Century of Light Music. The Greystone Press. 1940.
Gartenberg, Egon . Johann Strauss — End of an Era. Pennsylvania State University Press. 1972
Traubner, Richard. Operetta: A theatrical history. Routledge. p. 131
Crittenden, Camille. Johann Strauss and Vienna. Cambridge University Press. p. 89.
Fantel, Hans. The Waltz Kings. William Morrow & Company. p. 76
Gänzl, Kurt. The Encyclopedia of Musical Theatre (3 Volumes). New York: Schirmer Books, 2001
Reason for choosing the composer
The main reason for choosing Johann Strauss was due to his music type. Being a fan of the piano and waltzes, his work was a good combination which is worth any kind of research. As much as his work does not enjoy much popularity in the modern world, Strauss has contributed much from his dance pieces which have been made operetta themes in today’s music world.
Some of his pieces such are “Cagliostro-Walzer” and “Kuss-Walzer” among others have managed to become well known in the modern world of music being able to survive obscurity. His rich background in music having written waltzes, operettas, mazurkas and so many other genres gives one the desire to know more of this great waltz legend (Traubner 131).
Composer’s family
Johann Strauss hails from a musical family in that his father, Johann Strauss, Sr. was a great name in the orchestra in those days. The major problem that he encountered was lack of support from his father who did not want him to engage in music and instead he forced him to be a banker (Gänzl 99).
Due to very huge support from his mother, he managed to get secret violin lessons from one of the leading violinist in the dad’s orchestra, Franz Amon. He was able to acquire full concentration in music as a career when they parted ways with his father after he abandoned them. At this time with additional motherly support, he was able to be a composer (Fantel 76).
Gänzl (99) states, “He studied harmony and counterpoint from Professor Joachim Hoffman in a private school. He also had lessons from a composer, Joseph Drechsler, who taught him harmony too”. He was also a student of Anton Kollman who engaged him in orchestra thus making him have the confidence of seeking authority to perform in Vienna.
He first recruited a small orchestra group though his first performance was at the Dommayer’s in 1844 after successfully convincing the management of his prowess. He was later through several years able to perform to various audiences, both home and away which made him such a great name. One of the greatest performances was in the USA in the late 1970s where he performed the Blue Danube waltz.
Great pieces
Some of the greatest pieces in the list of his songs that I really like are: – The blue Danube: this is a piano piece that is easy to understand and grasp. For any one who would have a choice of practicing, it proves so simple to practice and play. It has a playable arrangement where one can rarely lose the bits.
Roses from the south: the completeness of the music due to the very easy piano transcriptions makes this a great piece to listen to and also to practice with. This piece also has a fine replay by Andre Rieu who did it with a 1667 violin making it so smooth and understandable such that listening to the original part becomes more and more interesting. Andre has tried to put the song in modern day though the original impact of Strauss was the driving key point.
Die Fledermaus (The Bat), overture to the operetta (RV 503-1): this classic has a sweet tempting melody and nice rhythms. It also has plot twists that are quite humorous. The song begins with a motif in a trio where Einstein is put in jail by mistake. The overture opens with a classical allegretto and instances of brutes which have been sounded by horns and flutes. The interrupting applause shows how the piece was like at that time thus falling in as one of my favorites.
Impact
The overall impact of the musician’s pieces was overwhelming. In the first instance, the starting point of his career life was so much grounded by problems like the instances of his father whipping him to “beat music out of him” and challenging career at the beginning (Lamb 56).
This makes me feel that there are various ways which might try to hinder one’s pursuit of something but they should not be obstacles. If Strauss felt and abided to the wishes of his father, we would not be discussing him in this paper. The emotional way in which he has expressed some of his music like the bat gives one a feeling of experience of what goes on in day to day’s life and thus entrench a feeling of responsibility in a person.
Works Cited
Crittenden, Camille. Johann Strauss and Vienna. Cambridge University Press. p. 89. 1996. Print.
Gänzl, Kurt. The Encyclopedia of Musical Theatre (3 Volumes). New York: Schirmer Books, 2001. print.
Gartenberg, Egon . Johann Strauss — End of an Era. Pennsylvania State University Press. 1972. print.
Fantel, Hans. The Waltz Kings. William Morrow & Company. p. 76.1987. print
Lamb, Andrew, ‘Strauss, Johann’ in the New Grove Dictionary of Opera, ed. London: Stanley Sadie. 1992. print.
Traubner, Richard. Operetta: A theatrical history. Routledge. p. 131. 1999. print.
To analyze a piece of art, one needs to have an open mind and an inquisitive nature to do it. This is because whereas some arts are straight forward, others have hidden meanings that need to be critically analyzed so as to understand it. Analyzing a piece of art helps to determine the purpose of the art and help to understand the information it tries to bring across without words.
When analyzing any piece of work, the form, technique and material are the central key factors (Mamiya and Kleiner 3). This paper will give an outline on how to analyze a given piece of art named ‘Tarantula Necklace with Red Drops’ by Kiki Smith created in 2008.
Elements and Design Principles
In any piece of art work, there have to be some elements and principles though the presence of some of this elements or principles will be more noticeable than others when analyzing an art work, one should be able to point out the outstanding elements in the piece of art being analyzed (Peter and Olsen 6).
Art element includes the line, value, shapes, form, space, color and texture. The line is the art outline and the basic element in analyzing art work; they lead the eyes to analyze various compositions and they also create more shapes.
Value is the tone of the design being analyzed; it determines the degree of darkness or light in the art and how contrast has been created between values. Shapes are formed by the outline of lines taking a particular form such as a rectangle, square or even undefined irregular shapes and geometric shapes. The form defines the dimension of the art describing its width, depth and length.
Design can also take the form of cylinders, balls, pyramids or even boxes. Space determines the spacing or the area between the objects. The spacing between the objects can be either too big or too small and this can affect how one views that object. Color defines space, lines, forms and shapes and further differentiates them. Different color shades helps to give a particular effect when analyzing the object. Texture of the art is the feel of the surface of the art; it can be rough or smooth, a drawing can determine the texture of the object.
The principles on the other hand integrate the elements of art. The principles include balance, contrast, movement, emphasis, pattern, proportion and unity. Balance is created through the harmonious combination of the texture, shapes, colors and forms. Contrast is playing with some of the elements to hold the analyzer’s eyes and to guide them through the artwork and this helps to achieve movement.
Movement leads the eyes to the emphasized areas. It is guided by contrasting shapes, colors or lines in the art. Emphasis is developed by the artist contrasting the colors, shapes and textures in order to direct your view to a particular part of the object.
Pattern is the repetition of forms or shapes across the piece work to achieve a particular pattern. The proportion is achieved when the sizes of the piece of work is perfectly harmonized. Unity is when all the principles have been harmonized; some artists deliberately fail to harmonize the principles if they want to create certain feelings of anxiety (Don 15).
Analysis Of An Art Work
The art work being analyzed is titled ‘Tarantula Necklace with Red Drops’ by Kiki Smith created in 2008. The art work depicts two necklaces, one with one red gem and the other with a spider as its pendant and three red gems. The art has been done using free flowing curvilinear lines that forms a circular necklace creating a natural feeling in this art work. It also uses implied lines to form the spider in one of the necklace.
The quality of lines in this art work is short and thin creating a feeling of intimacy associated with the necklace. The function of lines in this art work expresses the value of the necklaces. The cross-hatching in this art has been achieved by the intersecting lines that form the necklaces and they have been drawn too close creating a dark value.
The contour lines create a circular outline of the necklace further forming a spider form pendant and lose hangings where the gems have been attached. The tenebrism of the art creates a dramatic illumination with its contrasting shades of light and darkness. The darkness is however dominant in the art.
The artist has used a realistic form in her piece of work. The function of the piece portrays class and sophistication therefore complimenting well with its form. The space between the objects is not very wide; it has a contrast of dark and light shade depicting a strong feeling associated with the art. The perspective in this art represents an intuitive kind of feeling that implies a sense of reality in the necklaces with gems.
The artist further strikes a balance in her art there is a harmonious flow in the contrast shades of light and dark, the forms shaped and the texture strikes a very good balance. She further creates an emphasis to the spider pendant shape making it the focal point of the art. She has successfully achieved this by the contrasting shades and forms that shape the spider.
The sizes of the necklaces are also harmonized achieving the required proportion and its form scale. The circle lines on the necklace forms a rhythm in their repetition creating a harmonious form in the eyes. The artist has also harmonized all the principles thus achieving the unity of the art.
Conclusion
When analyzing art, one needs to put themselves in the mind of the artist by simply defining the art in order to get the meaning of the art. The ‘Tarantula Necklace with Red Drops’ analyzed above simply defines a woman of class.
The shades are well mixed and contrasted to bring out the real sophistication. One needs to have a mind that is both intuitive and inquisitive to be able to analyze the art in question. The intuitive mind helps to see more than just what is portrayed on the outside of the art and the inquisitive mind provides an answer to the intuition.
One should be able to point out and identify the elements in the art. The outstanding elements should be clearly stated as the artist uses major elements such as lines. The principles on the other hand blends with the elements and are key in analyzing a piece of art. The core content in the art work should be able to interpret what the artist intends to say or portray using pictures upon analyzing.
Works Cited
Don, Charles. Mind in Art: Cognitive Foundations in Art Education. New York: Taylor and Francis e-Library, 2009. Print.
Mamiya, Cute and Kleiner, Frudes. Gardner’s Art Through The Ages. New York: Academic Press, 2001. Print.
Peter, Lukas and Olsen, Stein. Aesthetics and the Philosophy of art: The Analytic Tradition. London: Barnes and Noble Publishing, 1998. Print.
Parthenon was an ancient place of worship that was built in 438BCE on the acropolis of Athens by Phidias, who was a renowned sculpture. It was built as a dwelling place for the goddess known as Athena who was perceived to be the administrator of Athens.
Although the state of its structure has deteriorated there are still remains of what it used to be such as columns and roofing. It is easy to spot the temple in acropolis because it was built on a higher ground. The temple was later damaged during the battles that took place between Greece and her enemies.
Whitley explains that the temple was used as a place of worship by ancient inhabitants of Athens. This was evidenced by the marbles that were collected from the temple soon after the battles were over (35). Among the most important artifacts of the temple included the sculpture of the goddess Athena which had a very unique finish because it was composed of ivory.
The statue was later stolen by a roman emperor who took it with him to modern Istanbul but after a few years it was damaged during numerous battles that were experienced between the Roman Empire and her enemies that were aimed at forcing her neighbors to convert to Christianity.
In the years that followed acropolis was invaded by Ottoman who later used the temple as an Islamic place of worship and also as a store for keeping weapons. In September 1687 a shell busted which made the entire roof to cave in .The intensity of its smash up was so deep such that it could not be rebuilt.
The damage of the temple made some people to steal the artifacts that used to be housed in the temple. The early visitors to Athens included the ambassador of Britain who requested the Athens authorities to allow him to gather the artifacts of the temple. The ambassador assembled artifacts from the scene of the temple’s destruction and also bought some from the locals of Athens and later moved them to his country where they were and still are exhibited in the museum of London.
To this date Greece still insists that those artifacts should be returned to her but this has not gone down well with London because it does not wish to comply with the orders from Greece. The art in this temple reflects on the culture of Greece which is based on conflicting ideologies that are presented evenly. They include principles of light and darkness among many others.
According to Neils, the columns of the temple appear to be bending at the middle perhaps due to the stress exerted by the roof. They are well spaced from each other to allow the light to penetrate (63). Different points of view illustrate the evenness between light and darkness. There are no straight lines in the structure of the temple because the entire lines look distorted.
The temple is used to display the skills of ancient artists in the ancient days. The finishing of the temple is rough because one can still see the marks that the masons chisel made as he tried to dress the stones to create a uniform shape. The temple could have lasted longer were it not for the battles and the changes in climate that has led to erosion of its surface.
The walls of this temple look so bare but one can not tell whether its plaster was eroded by weather or was simply was not there. The columns of this temple appear to have been erected on the stylobate. The columns are of the same length and they tend to protrude outwards to shield the verandah from rain water.
The construction of Parthenon is said to have taken the longest duration due to the time taken to avail the building materials because they were not within close proximity to the temple hence more time was spent in ferrying the materials. Actually the decorations that are seen on its walls were done much later after the construction of the temple had been fully completed
The panes of this temple were chiseled in high relief which was common in a majority of such buildings during ancient days. They were perfectly mounted onto the outside of the walls and they were used as decorations as well as mediums of illustrating the confrontations that took place among the gods.
The temple also served as a bank because there was a designated room that was meant for storing money. Frieze was used to decorate the exterior walls of the temple and also illustrate the rituals that were practiced by the ancient inhabitants of Greece.
The east panel employs sculptures that illustrate how the goddess of Athens came into existence. The panels indicate that Athena was fathered by another god called Zeus. Athena is said to have been conceived in the head of his father Zeus and when his time was due for delivery he experienced a sharp headache on his head. He therefore instructed other gods to hit his head which caused his head to disintegrate and Athena was extracted from his head during this process.
The western panels illustrate the struggle for supremacy that revolved around Athena and Poseidon because each of them wanted to be recognized. The panels are no longer present because they were eroded by weather.
Works Cited
Neils, Jennifer. The Parthenon: From Antiquity to the Present. Ed. Cambridge: Cambridge University Press, 2005. Print.
Whitley, James. “The Archaeology of Democracy: Classical Athens.” The Archaeological of Ancient Greece. Cambridge: Cambridge University Press, 2001. Print.
This paper intends to discuss the similarities and differences of two different styles of pieces. The first one is Jean-Auguste Dominiques Ingres’s, Grand Odalisque, and the second piece is, Henri Matisse’s, The Woman with a Hat.
The discussion will show the emergence of exotic cultures’ influences, similarities and course the painters’ similarities on different eras of time[1]. Even though, there are six to seven decades in between these artists’ working eras, their styles of redirecting the art education towards new limits, are familiar.
Both artists’ pieces are influenced by the near East exoticism; to be more specific, Matisse’s, The Woman with a Hat, was painted in south France, when at the time, traveling between continents started to become a more efficient possibility, resulting in increased numbers of different cultures emerging from human trade and ending up in south France.
This was enough cause for Matisse to get influenced and experiment with the wild colors and exotic appeal of the idea of the East even he never left Europe to see the North Africa nor its wide palette of cultural connections made available on his time[2].
On the other hand, Ingres Grand Odalisque’s cause of birth was more politically involved under Napoleon’s leadership. With the help of the new technologies helping human kind to travel through oceans more efficiently, through the early stages of industrialism, and of course Napoleon’s unstoppable urge to walk towards the East, brought in a forbidden curiosity to the neoclassical art world’s newly trained artists to take a step beyond from what was thought to them.
Napoleon’s sister, Queen Caroline Murat, commissioned the piece in 1814 for which Ingres never get paid for, because of the collapse of the Murat regime in 1815 on Ottoman ground; by the end of the Napoleon’s dynasty, he ended up in Rome (Krén 1) where he belonged because of his —.
The primitive state of the East, with its savagery of women being held in Harem’s, exploited and available, was a clear sign of a fallen empire already (Krén 2). Even though, the idea of Harem was not accepted at all on Europe, it sure exhilarated the French artists, enough to start a new movement called, romanticism in its essence with sincerity and need of new exotic visual tastes.
Jean-Auguste’s Odalisque caused serious amount of criticism because of the style mixes of neoclassicism with new unorthodox romantic themes (Grande Odalisque 1). Imaginary world of romantic love, freedom of thought, individualism and self-expressionism was everything the Ingres chose instead of an accepted single style of academic art thought and imposed on class teachings (Wright1).
As the best student of Jacques-Louis David’s, Ingres refused the foundation of an orthodox teaching of arts at an early age. Instead, he focused his self-educatory behavior on the original Greek and Roman art[3].
The initial response towards the piece was the close and brutal examination of the women’s body’s proportions and the lack of realism on anatomical level (Grande Odalisque 2). Ingres was not aware however, that in a year, Manet’s Olympia, would be admired by the whole art exhibition community making it unfair his time.
Time passed and his unorthodoxly executed piece would find its real value after couple years by getting accepted from the artist community and by later years encourages artists like Matisse to discover female nude all over again (Wright 2).
Henry Matisse[4] was one of the most influential and progressive artists of the 20th century. His works were also greatly influenced by new technological advancements and cultural relations. It was reflected in the psychology and spirituality of his works. His “stylistic innovations fundamentally altered the course of modern art and affected the art of several generations of younger painters, spanned almost six and a half decades” (Dabrowski n. pg.). His main intention was to examine the essence of things.
Much of his works were inspired by Ingres’ Grand Odalisque which was not recognized by critics of the Ingres’ period, but was acknowledged later. New tendencies in painting were reflected in Matisse’s use of colors, which he used “in their maximum strength” (Lewis and Lewis 396).
He discovered that colors can have a great influence on produce a desirable effect. The discovery of this idea helped him to add many decorative elements to his pictures and, at the same time, avoid chaotic scenes[5]. He promoted that color and shape can give to the artist more freedom and let the fantasy create unpredictable scenes.
Indeed, the paintings of Matisse are full of life and energy. His innovative style suggested the escape from the rules of realism and gave “a respond to natural world, that he called a living harmony of colors, a harmony analogous to a musical composition” (Lewis and Lewis 396). Though, some of Matisse’s works were not pleasantly accepted, he remains one the of the first artists “responsible for significant developments in painting and sculpture” (Henri Matisse n. pg.).
Thus, Henry Matisse and Jean-Auguste Dominiques Ingres are two painters that brought innovations in the paintings of their époques. Their works were formed under the influences of great social and cultural relations and both artists were innovators who introduced new technological advancements in their times. Thus, two paintings under analysis, Grand Odalisque, and The Woman with a Hat show the differences and similarities in the styles of both artists.
As it has already been mentioned, the painting by Ingres was inspired by the exotics of the East. It depicts “a woman of the harem surrounded by luxurious accessories in a pose reminiscent of David’s Madame Recamier”.
The artist used mild colors and lines to transfer the beauty of a real woman, and “not an allegory of Venus” (Krén 2) like it was in works by Titian and Giorgione. In addition, the artist managed to show the Western beauty surrounded by Eastern scenery, though, he was not inspired by the works of Eastern artists, as their traditions did not allow painting nude women.
Moreover, women in Turkish harems were dressed in costumes, rather than being nude. So, the painting of Ingress was a mixture of classical traditions, exotic Eastern theme and modern technique of painting. He was the first who managed to unite these issues in one picture.
As well as Ingres’ Odalisque, Matisse’s The Woman with a Hat was an innovation in the world of art and “in the center of controversy” (Woman with a Hat n. pg.) that put a beginning to a new artistic movement. As it has already been mentioned, Matisse made use of new methods in use of colors that allowed creation of everyday scenes without adding chaos to the whole picture.
The Woman with a Hat suggested more individualistic and expressive style that marked out the author as innovator. The unnatural use of colors add life and expressiveness to the picture. The woman is depicted in a classical French dress, she is a typical French bourgeoisie. However, the lines and colors make it passionate and expressive. The hat is very significant detail that puts together the focus of the picture, in other words, it is a central figure of the painting.
The hat is the most bright and rich in color element of the picture. It attracts attention and, actually, holds it. With closer look, the picture seems abstract and non-real, however, the technique suggests that one should have the overall impression and perceive each element as a single unite. This technique was also adopted by Pablo Picasso who also made his contribution to new artistic movement called later expressionism.
So, Jean-Auguste Dominiques Ingres and Henri Matisse are two great artists separated in time, but very close in perception of art. Each of them introduced new painting technique in painting that literally changed the attitude to the meaning and purpose of art. Both, Ingress and Matisse, were representatives of different styles and schools. However, it was Ingres who inspired Matisse to create many of his works.
The major issues that made those artists introduce such radical changes into the world of art were great social, political and scientific innovations, as well as technological development. Society could not stay the same and, as art is the reflection of the social changes, it could not be unchanged as well. Thus, new tendencies in art were the result of new psychological and cultural changes in society in times of Ingress and Matisse.
Works Cited
Dabrowski, Magdalena. “Henri Matisse (1869–1954)“. In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art. Web.
