Category: Impressionism

Impressionism is a style of art often known as optical realism. It is denoted by a unique visual experience with light effects and movements in the manner objects appear. Key highlights of this art style include pure primary colors and little strokes to compliment the light reflected (Wildendstein, 2010).

Claude Monet, a key French painter, was among the founders of this style of painting. He was well able to incorporate elements of art which involved bright distinct colors, small strokes to create unique and elaborate pieces of art work that fall under this style of art (Kelder, 1978). Most impressionists perceive that the human eye is a tremendous vessel.

“The Stroll, Camille Monet and Her Son Jean (Woman with a Parasol)” is one of the great works of Monet. The portrait is of the wife Camille and his son Jean who are on the hillside against a cloudless sky. In this masterpiece, it is evident that it was painted outside on a summer day in open air where Monet’s family seems to be out strolling in the meadow.

Monet, in his pursuit to capture the son and wife’s likenesses, uses strokes of bright color creating a spontaneous effect throughout the portrait. The folds on Camille depict the breeze which seems to blow the thin fabric across her face. Light is seen to come from the right side creating contrasting breeze from the left side. This unique feel from the wind and the sun converge at the middle of the canvas (WebMuseum, 2002).

Another aspect depicted from this painting is that of perspective. It is seen to be upward as the view from the bottom is able to shield the images away from the sky which gives it a great feel of both light and sun. Depth is yet another aspect highlighted in this painting. The son seems to appear from his waist upwards, enabling Monet to comfortably create a feel of depth into the work of art. Color and line are well highlighted in this painting bringing a contrast of light, sun and the wind (WebMuseum, 2002).

Green as the dominant color appears on the parasol and the grass on the hillside signifying nature. This color unifies the parasol and the grass on the hill, creating a flow of the eyes from one point (the parasol) to the bottom (the hillside) (Monet & Gattinara 2004). This flow attracts the eyes to concentrate on the art work as denoted by the shadows on the grass. The painting appears to be blurry as one cannot tell if Mrs. Monet is walking or not.

On scrutinizing the painting from a distance, clarity diminishes. The presence of light compliments the wind and movement in this portrait. One cannot be in a position to pinpoint exactly where the clouds seem to seize existence as the wind gently blows Mrs. Monet’s scarf. Light seems to bring in a feel of perspective as the portrait is viewed from the bottom where the grass is, all the way to the top where the clouds lie. Green as the prevalent color unifies the parasol and the hillside.

This makes it bring in rhythm as the eyes flow from the parasol’s handle to its top, then slowly to the green that appears on the hillside. The sun rays shining from behind Mrs. Monet seems to give the parasol a bright white look that also compliments her veil, as reflections from the flowers beneath radiantly give her front a nice touch of yellow (Monet & Gattinara 2004). The vibrant colors and light used by Monet are key features in accentuating this painting style known as impressionism.

Philosophy is defined as determining the truth; which involves a number of years of studying some of the greatest minds of history, which we eventually uphold in life (Wildendstein, 2010). The impressionist style of painting concentrates on the impression as a whole, created by a scene through a rigorous use of pure (unmixed) primary colors in conjunction with small brush strokes to intensify the actual reflected light. Monet in his painting, “The Stroll, Camille Monet and Her Son Jean (Woman with a Parasol)”, is scrupulous enough to convey this style through the use of vibrant colors; a key feature of style. The short broken strokes of the brushes used also depict form which is a key element of art in this painting technique.

Effects of light are also amplified through the extensive use of color. This, in Monet’s “The Stroll, Camille Monet and Her Son Jean (Woman with a Parasol)” when the shadow in the grass, was rendered through the effect of light. The use of brushes in a relaxed manner leaves the piece of art with a touch of naturalness (Monet & Gattinara, 2004). However, he has thoughtfully been able to blend in light with these colors to bring in a feeling on perspective.

In Monet’s work, it is quite clear that philosophy creates a beautiful illusion in our minds which in turn opens up tremendous possibilities for art through representation (Issacson & Monet, 1978). This is achieved though the reality of knowledge. Impressionism clearly comes out as the greatest form of art when combined with philosophy because it gives everything a sense of change yet preserving the time line.

In conclusion, the bright distinct colors, small strokes and effects of light incorporated in this unique painting technique make the lovers of art appreciate the impressionist’s expertise that involves the “minds eye” dexterity. This goes a long way in retaining a mental picture of the viewed work of art.

This technique of painting is viewed both brightly and full of life. Art as a language brings out that which nature cannot bring forth. Impressionalism as a form of art qualifies as it not only represents the outward physical view of things but highlights their inward significance.

References

Issacson, J. and Monet, C. (1978). Claude Monet, observation and reflection. London: Phaidon.

Kelder, D. (1978). Great masters of French impressionism. London, UK: Crown Publisher.

Monet, C. and Gattinara, F. C. (2004). Woman with a parasol. New York, NY: Barrons.

WebMuseum. (2002). Monet, Claude: The stroll, Camille Monet and the son Jean (Woman with a parasol). Web.

Wildendstein, D. (2010). Monet, or, the triumph of impressionalism. Los Angeles, CA: Taschen America LLC.

One of the world’s most mysterious and at the same time elegant branch of arts, impressionism, is both a riddle and an answer to it. Suggesting people to take a closer look into their own minds, impressionism offered that the spectator could incorporate his vision of the world together with that one of the author.

Despite its seeming simplicity and inspiring shapes, impressionism conveys the most complicated ideas and bases on philosophical and cultural foundation that has a history of its own. Discovering the ideas underlying the impressionists’ paintings, on can open the whole wide world in front of his/her eyes.

Speaking of the techniques that the artists used in creating their impressionism masterpieces, one must note that the style which impressionists used ensued from the peculiar vision of the world which impressionism presupposed.

Oriented exclusively on the ideas and perceptions of the artists, this style of painting could not be considered as a separate trend in visual arts – this is rather a string of ideas embodied in paintings. Depicted on the paper, the world picture of impressionists turned into the door to the other world – the world where the reality mixed with the surreal to create one of the most incredible cocktails. As van Gunsteren explained,

We may, first of all, certainly discount the more loose or merely lyrical usage in which impressionism means anything ‘fanciful’, ‘disorderly’ or ‘illogical’. Having done so, however, it is possible to penetrate to a fairly solid core of the new ideas and methods, which gave the group cohesion even without the formalized rules of a ‘school’ of French painters. (29)

Thus, it is obvious that there is more to impressionism that merely distorting the usual forms and shapes, turning them into a chaotic something. With the powerful idea in the background, an impressionism painting obtains the meaning of its own. With help of the impressionism vision, one can see the reverse side of the world, the subconscious and the sub-real. Getting into the depth of people’s minds, these images depict ideas, not objects, which is why this style differs from what the mankind is used to so much.

It is quite peculiar that impressionists were a kind of rebels in the sphere of art, breaking all possible laws of painting to create the ones of their own. According to Salvi, “The Impressionists broke many rues of academic painting. One was their insistence on working direct from experience” (16). This was where the idea of the plein-air technique appeared from – trying to find the right environment to create the masterpieces of their own, impressionists tried to break the boundaries of space, which led them to creating outdoors.

For them, painting did not mean staying behind closed doors in the cold light of a studio, but taking easel, canvas and paints and working en plein air (outdoors). This gave their canvases a feeling of spontaneity, but also required some new painting techniques. (Salvi 16)

Monet offered a perfect example of what the plein-air method of painting is. With his masterpiece called The Japanese Bridge, the author managed to represent not only the new idea of art, but also the new means to create it with. Painted with the plein-air technique, this was the essence of impressionism, the very spirit of the new art.

Breathing with the fresh ideas, this painting stirred the most unusual thoughts. Intriguing and capturing, this was the kind of masterpieces that gripped one and would not let go for another couple of hours. The creation required deep considerations and thorough meditations to understand the ideas underlying it.

Another perfect specimen of the new style of painting was the Water-Lily Pond that can be considered the perfect beginning of the impressionists’ triumph. With help of the peculiar open-air technique and the unusual, non-traditional approach to the art, the impressionism embodied in the Water-Lily Pond created quite a stir in the artistic circles.

This was a new and original way of expressing the ideas without fearing of being misunderstood – for impressionism could be understood in a million of ways; everything depended on the spectator.

Indeed, the new art helped people to understand art in its new shape. Hiding beyond the disguise of the chaotic and the subconscious, the paintings created by impressionists made people open their eyes and see the reality the way it is. At this point, the definition of impressionism intertwines with the idea of ripping the world of its veil.

Lying bare and naked in front of the artist, the world took the most incredible shapes, which were depicted in the numerous impressionism paintings. Shockingly surreal and at the same time grotesquely true, these pieces broke new ground not only in the sphere of arts, but also in people’s lives.

Considering the three theories of art which Frank suggests, one can see clearly the way impressionism develop as the time passed by. Starting from what further on was called the theory of representation, the new style developed into the “pure seeing”, which later on evolved into the “experimental aesthetics” (Frank 2006).

Due to the organic and swift way in which the ideas of impressionism evolved, the latter shaped quickly and in rather natural way. Relying on their own vision of the world and their ideas concerning people and nature, artists embodied their impressions into peculiar and intriguing artworks. To understand the train of impressionists’ ideas, one has to consider the paintings by Monet as the founder of the new artistic tendency. For instance, his painting Irises is the very idea of impressionism itself:

To understand the essence of this peculiar vision, one has to consider the expressive theory. Painting their feelings on the canvas, artists could get rid of the haunting ideas for a while. But then the need to tell the world important truths took its toll on the artists again… Trying to regard “the flux of sensation in its totality”, as Holt brilliantly noted, they created the world of their own, the world that mirrored the reality.

In his creation Bathers at La Grenouillère, the artist also followed the famous representation style, with help of which he created most of his pieces. Like the rest of his pictures, this creation also featured the famous plein-air technique and followed the principles of the representation style. However, it must be admitted that this creation of the great artist also incorporated some elements of the traditional vision of the world as well.

Taking a closer look at the picture, one case that the artist deviated from the way in which he began creating the impressionist works. It has gained certain sociological meaning, for it considers the society in general rather that the sufferings of an individual.

Thus, there are no doubts that the impressionist ideas were broadening as the experience of the artists grew, and the spectrum of the ideas that could be communicated with help of the paintings grew increasingly huge. This is the right time to start talking about the formal theories of impressionism.

It cannot be denied that the pictures that followed Monet’s innovation in the world of art were mainly inspired by the great author of the Water-Lily Pond. However, there are no doubts that the main source of the painter’s inspiration came from their observations of the world, their meditations and their philosophical approach to understand the nature of a human being and the place the latter takes in the great circle of life.

However, it would be erroneous to speak of formal theories as of something that fit impressionists’ ideas impeccably once applied. It would be better to suggest that the formal approach was to be tailored to the ideas of impressionism. Since the latter presupposed the denial of any norms at all, the formal approach could not be applied to the paintings strictly. As Lanier noted,

Although there are similarities in their [impressionists’] art, these artists had no “formal theory” and “abandoned any fixed program.” They diminished the importance of subject matte, denied the importance of genre and subjected everything to the stamp of their own personalities and sensibilities. (79)

However, it cannot be claimed that the sociocultural element of the impressionists’ paintings appeared only as time passed; one had better say that it became obvious only as certain time passed. Therefore, it can be suggested that the impressionism paintings helped the society get ready for certain changes in the vision of the world and the world philosophy. Since such transition could turn rather painful and ever impossible without any links to the previous experience, impressionism served as a bridge between the old and the new.

Considering the paintings from the sociocultural point of view, one has to admit that the authors of the pictures were trying to communicate their opinion concerning the most important vents in the social life of the then epoch. With help of their attempts, the paintings opened a door to the world where people could face their most secret ideas and feelings and realise that these are integral parts of themselves.

Every single picture created in the period when impressionism reigned spoke of the floating world, the time of changes, the instability and the attempts to relate a man to the nature. As Frank himself explains, the expressive theory of impressionism is one of the means to approach the mysterious pictures of impressionists, filled with the meaning that only the authors could see distinctly: “All art works are made by people.

The skill level, persona; intent, mental state, gender, or mindset of the creator must play a role in the creative process” (Frank 96). Glancing at the creations of impressionists, one can understand that the ideas of the world as chaos were only beginning to appear in their creations, whereas most of the pictures conveyed the idea of beauty in the natural and the irrational, the blurred vision of the world.

With help of the new artistic tendency, people have managed to experience an escape to an artistic Wonderland, which they must thank impressionists for. Unless Monet, Morisot, Renoir and all the rest had not contributed their viewpoint to the world of art, the latter would have been incomplete.

Works Cited

Frank, Patric. Prebles’ Artforms: An Introduction to the Visual Arts, 8^th Ed. Upper Saddle River, NJ: Prentice Hall, 2006. Print.

Holt, Ysanne. British Artists and the Modernist Landscape. Surrey, UK: Ashgate Publishing, Ltd., 2003. Print.

Lanier, Doris. Absinthe the Cocaine of the Nineteenth Century: A History of the Hallucinogenic Drug and Its Effect on Artists and Writers in Europe and the United States. Jefferson, NC: McFarland, 2004. Print.

Salvi, Francesco. The Impressionists. Minneapolis, MN: The Oliver Press, 2008. Print.

Van Gunsteren, Julia. Katherine Mansfield and Literary Impressionism. Amsterdam: Rodopi 1990. Print.

Born in Paris, France, in 1840, Claude Monet is considered to be the founder of impressionist style and philosophy in painting. Throughout his career, Monet portrayed consistence and prolific application of impressionism philosophy in his paintings, which emphasized on his perceptions of nature “as it is”.

In fact, one of his early paintings, “the Impression Sunrise”, is considered the foundation of the impressionist movement. Monet believed that his work was based on scientific study of life and nature (Rewald, 2009). Therefore, most of his works were paintings of various aspects of nature, especially landscapes and real-life scenarios.

Monet’s painting “The Water Lilies” is an example of his work that portrays how Monet viewed and valued the nature. This painting indicates that the painter appreciated it and sought to present the aspect of nature as it appeared in the environment. The painting, which was done using oil on canvas style, depicts a scenery in a Pond, somewhere in France.

It shows an aesthetic scene created by light reflection by water and several water lilies on the water surface. According to analysts, Monet used his view of nature with an aim of appreciating the nature and inspiring human’s appreciation of their world.

Figure 1: Claude Monet’s Water Lillies, 1919 (Rewald, 2009)

It is most likely that Monet’s target audience was the public in general. It was probably meant to show off the beauty of pods in Paris. The color in the painting indicates how the painter used different colors to depict nature. Light reflection by water under the water lilies is a major aspect of the painting. It provides an indication that Monet wanted to impress the audience with the beauty of surrounding nature.

In fact, this 1919 painting was done during the last days of Monet’s work and life, after over seventy years of painting. During this time, Monet had already developed his impressionist idea and decided to paint landscape throughout his remaining days.

As aforementioned, Monet’s Water Lilies painting belongs to the impressionist era. Therefore, it is worth reviewing the meaning of the19^th century artistic style and philosophy. Impressionism comes from the French term Impression, which was derived from Monet’s earlier work “Impression, soleil levent” (Impression, Sunrise).

However, it is worth noting that Monet did not use this term to refer to his idea, but rather Louis Leroy, an art critic, used coined the term “Impressionism” to refer to the movement that was started by artists like Claude Monet (Rewald, 2009).

In paintings, Impressionist style has a number of unique characteristics that are worth mentioning. For instance, they have a relatively small size and a small thickness. In addition, the paintings use brush strokes to depict visible scenarios using a mixture of colors. Normally, the paintings depict use of bright colors that are appealing to the viewer’s eye, with an aim of catching people’s attention.

The composition of the impression painting, as shown in “The Water Lilies”, is relatively open. In addition, such paintings emphasize on the use of light to show various aspects of the scene. The light falls on the surface of the objects revealing the aesthetic aspect of the colors used.

Colors are also applied side-by-side, a technique that was used to ensure a good mixing of colors to create an aesthetic and vibrant surface. Monet’s work also shows how complementary colors are used to obtain dark colors, such as dark and grey tones. It is worth noting that Monet avoided black paint, but mixed complementary colors to achieve gray and dark tones.

Moreover, impressionism emphasizes on the subject matter. In this case, Monet’s work depicts nature “as it is” and the beautifulness associated with it. In addition, Impressionist style in painting emphasized on time and space. Light was used to depict the nature as it appears during the day. Most impressionist painters avoided depicting night scenes (Denvir, 2010). This is one major aspect of impressionism, which Claude Monet displayed in his Water Lilies painting.

Apart from Monet, a number of other artists took advantage of the premixed paints available in the European art during the century. For example, Berthe Morisot’s “Reading” was painted in 1873 and depicts a woman reading a book, probably the Bible, while seating on grass in a field somewhere in France. Other examples include Camille Pissaro’s “Hay Harvest at Eragny” (1901) and Renoir’s “Girl with a Hoop” (1885).

Figure 2: Berthe Morisot’s Reading, 1873 (Denvir, 2010).

Figure 3: Camille Pissarro’s Hay Harvest at Éragny, 1901 (Moskowitz & Sérullaz, 2009).

Figure 4: Pierre-Auguste Renoir, Girl with a Hoop, 1885 (Rewald, 2009)

Reflection

Studying Monet’s life and work shows that the impressionist artists emphasized on common and natural objects and scenes. The style avoids the use of imaginations, which contradicts the earlier styles. In addition, they avoid religious and political topics in their work. The presentation of nature is achieved because premixed colors were readily available in the market. These are issues worth learning.

The study of impressionist style using such examples as “The Water Lilies” has improved the way I view the nature. It has shown that an emphasis on representing the natural environment attracts human attention. In addition, I have realized that people should appreciate the nature. Therefore, Monet’s Water Lilies can be rated 9 out of 10 because it is simple yet attractive.

In addition, it depicts things that are there in the environment, yet we pay little attention. It should also be rated high because it acts as a way of inspiring people to protect their environment. The painting means that students studying art should focus on simple but important aspects of life. In my research, I would like to learn how impressionist artists changed the way we view nature and how they have inspired modern art.

References

Denvir, B. (2010). The Thames and Hudson Encyclopaedia of Impressionism. London: Thames and Hudson

Moskowitz, I., & Sérullaz, M. (2009). French Impressionists: A Selection of Drawings of the French 19th Century. Boston and Toronto: Little, Brown and Company

Rewald, J. (2009). The History of Impressionism. New York: The Museum of Modern Art.

What is the message that the artist is trying to convey?

The work of art in the subject here is a painting of the woodcutter by Pissarro. The message he wanted to convey here is how workers are shaped by the nature of the work they do. This means that, at all times, people take some motions forced into them by the nature of their works. In the painting, Pissarro painted a peasant laborer working on a woodcutter. The worker is shown positioning himself in a way such that he can move the woodcutter to and fro remarkably easily. This means that, in a while, these people end up changing their shapes due to their nature of work (Sabbeth 48).

For instance, if a laborer is delegated to operate the woodcutter and they work for more than two years, chances are high that their normal posture has to be affected. Also, Pissarro conveys another message which is the working condition for peasant laborers. The person cutting wood is not in the company of other workers. This means that jobs were delegated hence on any farmworkers spent most of their time alone going about with their duties. From this one can conclude that peasant laborers were overworked. This is evident from the amount of work seen in the painting whereby only one person is supposed to cut wood for the entire farm.

Is there a connection between the content of the painting and the Age of Industrialism?

According to the painting, there is a connection between its contents and industrialization. This means that the message conveyed has some elements of industrialization in it. Industrialization came about with the development of industries hence converting human lives. It impacted human lives positively hence helping them to upgrade their living standards. In the painting, the peasant laborer is in clothes that were brought into human lives by industrialization.

This means that human beings get clothes that are manufactured in industries (Pissarro, Pissarro, and d’Orsay 85). If the painting was to represent eras where industrialization had not been featured in human lives, there would be direct indication since the worker would be shown in animal skins and other traditional attires. Also, industrialization changed human lives, and this is why the man in the painting is referred to as a peasant worker.

This means that the man is working so that he can get some money to fund his needs in life. The need for money came with industrialization. Finally, the woodcutter itself is an industrial invention. In the olden days, people used stone tools to split wood or just consumed logs in their normal states. The woodcutter has a metal blade hence proving that industrialization had taken place at the time of the paintings.

Which segment of society is being portrayed?

Pissarro’s painting portrayed a segment of the society which comprised of the poor and low-income earners. These are people who have to work under hostile circumstances to feed their families. This is evident in the description of the woodcutter painting where it is said that the man is a peasant laborer. This means that he is poorly paid and given a lot of work to do by his boss. In many societies, peasant workers face a lot of troubles since they are exposed to vast dangers in the course of their duties. For instance, they may be given blunt working tools that end up giving them difficulties in accomplishing their set goals.

In the picture, it is evident that the man is struggling to make ends meet to make a living. Poor people are exposed to all sorts of low-quality lives. For instance, we can see the man working alone amid trees. Human beings require company, but employers ignore that essence. If the painting had to portray the high-income earners in the society, their scenario would be different and more people could have been shown. This is because high-income earners in the society are seen in groups discussing business or in celebrations. This happens because they have a lot of money to wine and dine at the expense of their poor laborers.

Is the artist portraying any of society’s problems? If so, how is she/he doing so?

The artist is portraying a societal problem because he is targeting poor people in society. The artist is trying to portray how peasant laborers work hard and get poor wages. For instance, the way he has shown the worker changing his posture to operate the cutter effectively, it is evident that he is struggling. Also, the painting can be shown as evidence of how much work the man is doing alone. The artist wants to show working conditions for peasant laborers (Brodskaïa 67). The man in the painting is alone in the midst of trees, and this proves that there is boredom in the workplace. These issues need to be addressed because peasant laborers are human beings just like the rich, therefore, their human needs to be respected.

Works Cited

Brodskaïa, Nathalia. Impressionism. London: Parkstone International, 2010. Print.

Pissarro, Joachim, Pissarro Camille and d’Orsay Musée. Pioneering modern painting: Cézanne & Pissarro 1865-1885. New York: Museum of Modern Art, 2005. Print.

Sabbeth, Carol. Monet and the Impressionists for Kids: Their Lives and Ideas, 21 Activities. Chicago: Chicago Review Press, 2002. Print.

The art movement of impressionism can be acclaimed as one of the most popular and famous ones in the whole history of art. Its famous representatives are Frédéric Bazille, Gustave Caillebotte, Paul Cézanne, Edgar Degas, Édouard Manet, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir, Théo van Rysselberghe and Alfred Sisley. This art movement is initiated by the French painters during the period of Napoleon’s rein. This historical period is significant by its thirst for aesthetics and beauty which found its implementation in the works of its representatives. Among the most significant works accomplished by the painters from impressionism are “Girl with a Hoop” by Pierre-Auguste Renoir, “Dance at Le Moulin de la Galette (Bal du moulin de la Galette), Musée d’Orsay” by Pierre-Auguste Renoir, “The Cliff at Étretat after the Storm” by Claude Monet, “Woman with a Parasol” by Claude Monet, “Soleil Levant” by Claude Monet and “Boulevard Montmartr” by Camille Pissarro. The techniques applied by the representatives of this movement cab be evaluated as a classical ones as such painters worked with usual color harmony and traditional stroke methods.

Speaking about my personal reflections on the movement of impressionism, I would say that I am quite fascinated with the works accomplished in this style. The paintings by impressionists are full of enjoyment, emotions and feelings; they inspire and educate, and can be described as full of life and energy. I have chosen this movement as it serves as a source of my joy, and it is a pleasure to discuss its inimitable characteristics. One of the most outstanding peculiarities of this movement is the technique of its painters. This technique is especially remarkable by its ability to create a feeling of vibrancy of colors and shapes which makes the painting alive and realistic. The works accomplished by the painters of this style are so perfect for me that I am not even able to find any points in it to be criticized.

One of the art works of the impressionism which is very appealing for me is Claude Monet’s “Water Lilies”(Monet). Claude Monet’s “Water Lilies” can be described as featuring complementary colours, high level of saturation and vibrancy which makes it very appealing to the audience. In this painting Monet resorts to the use of natural hues and bright tones which adds to the picture’s colour harmony and the positive impression it produces. The entire painting’s colour system appears very bright and thus, producing pleasant impression. Monet uses light colour for this picture which makes it appearing nearer to the viewer. In addition, the colours in this painting appear perceptually vibrate adding to its special liveliness and charm. Such vibrant colours as red, blue, yellow, violate, and pink were often used by impressionist to affect their audience. Monet also applies highly compliment colour in this painting. Separated colours of every image when they are evaluated together by the viewer seem to produce new ones from a distance. This can be observed in the colours of the lilies which seem to appear rosier from distance when affected by blue. The picture presents a good example of strong contrast adding to its easy perception by different viewers. This painting can be described as one of the most vivid examples of such tendency by impressionists to whom Monet can be related as one of the most outstanding.

Works Cited

Monet, Claude. “Water Lilies”. n. d. Web.

Post-Impressionism is one of the most vivid art movements of the period between 1880 and 1905 which developed mainly in such European countries as France and England. Following the ideas of Impressionism, such painters as Paul Cezanne developed their unique vision of depicting emotions and impressions in a picture.

Paul Cezanne (1839–1906), the French artist, is often discussed as the founder of Post-Impressionism movement and its ideologist. The new approach to reflecting personal emotions can be observed with references to Cezanne’s paintings. Focusing on the personal vision of art, the artist developed the links between previous Impressionism and further Cubism (Medina).

That is why, the works by Cezanne are characterized by the extreme focusing on forms and colors in order to represent the author’s specific vision of the world. Thus, to understand the variety and depth of Cezanne’s paintings, it is necessary to concentrate on the most famous works of the artist.

In his works, Cezanne intended to demonstrate emotions and ideas which could be reflected in abstract artificial forms. The artists did not pay much attention to perspectives and to the relations between foreground and background because the main focus was on the meaning which often could be rather symbolic. The works by Cezanne are easily recognized because of the strict forms and contrasts (Medina).

To accentuate definite objects, the artist often used simple colors, but with developing a lot of tones. Furthermore, Cezanne effectively used the play of light.

Compote, Pitcher and Fruit, 1892 The Black Marble Clock, 1869–1871

This approach helped draw the audience’s attention to the meaning of the paintings instead of presenting the natural objects in relation to their real forms and colors. From this point, Post-Impressionism is the art of emotions and deep ideas in which the depicted objects serve only for reflecting these ideas (Rabinow).

Woman Seated, in Blue, 1902 The Card Players, 1892

It seems that in his works, Cezanne did not differentiate between the approaches to depicting the humans, natural objects, or artificial objects. Bold multidirectional strokes are typical for all Cezanne’s paintings in spite of the object for depiction. From this point, it is interesting to pay attention to Cezanne’s depiction of the nature and landscapes.

The changes in the perspective and spaces are represented by the artist with the help of changing colors and contrasting the tones (Rabinow). Cezanne’s landscapes are intended to represent the artist’s emotions about them rather than the actual forms and spaces.

Chateau Noir, 1900 Mont Sainte Victoire, 1900

The works by many Post-Impressionists are discussed as independent and individual. Cezanne’s paintings are also incomparable with the works of the other artists because of the unique emotional brushwork and focus on abstractionism.

The artist developed the theory of art according to which only ideas and impressions with emotions can form the further art peace as the reflection of the author’s ideals (Medina). To emphasize the opposition between the ideal and naturalistic worlds, Cezanne used artificial strict and constructed forms and bold brushwork.

Les Grandes Baigneuses, 1898-1905 Jas de Bouffan, 1885–1887

Paul Cezanne is the unique artist whose works influenced the art perceptions of not only the representatives of Post-Impressionism because of the developed and applied theory or art but also the visions of the further artists who realized the ideas supported by Cezanne in Cubism and other movements associated with the abstract art.

Works Cited

Medina, Joyce. Cézanne and Modernism: The Poetics of Painting. USA: SUNY Press, 1995. Print.

Rabinow, Rebecca. Cézanne to Picasso. USA: Metropolitan Museum of Art, 2006. Print.

Race Horses

The painting entitled Race Horses by a French artist Edgar Degas was produced in 1855-88 (Stein, Bailey, & Miller, 2009). It is one among many works in his jockeys series. The picture is immediately distinguished from his earlier works by the very rare medium of Degas’s oeuvre: pastel and a tropical wood panel. It depicts the three jockeys sitting on the horses that stand very closely, thereby forming a close unit in the foreground (Stein et al., 2009).

The horse with a rider behind them, along with the looming church tower and a patchwork of buildings across the hills, form the background of the picture. The impressionist style of the work is clear from the open composition and the light brush strokes. The painting would fit nicely in the main office. It will always remind employees that a high-growth business is like a race—a focus should be on the future with the mind staying in the present moment. It will also underscore the progressive orientation of the company.

Dancer

Dancer is another painting by Edgar Degas that will fit nicely into our company’s corporate image that is synonymous with the lightness and precision of dance. This picture was created in 1880, and it depicts a standing figure of the ballerina that adjusts her closing (Stein et al., 2009). It is closely related to his other drawings of the dance classes. The lightness of the pastel and the construction of space, which moves the main figure on the forefront and allows experiencing it from the unusual visual angle, are among the most conspicuous characteristics of the Impressionist style. The anticipation of movement that always feels like an inseparable part of the human perception suffuses the work with an almost visible shiver.

The picture might be showcased in one of the project management offices and would be in line with the corporate strategy, which regards the behavior of every single individual as the main prerequisite for the success of the whole enterprise.

Roses and Lilies

Roses and Lilies is a painting produced by French artist and lithographer Henri Fantin-Latour in 1888 (Stein et al., 2009). The work shows stems of lilies cut in full blossom and placed in a glass vase. Left to them is a bowl of blooming roses, white petals of which are slightly touched with delicate blue brushes. The artful economy of means, so inherent to Impressionist style, provides a warm undertone to work and will serve as a gentle reminder to everyone looking at this picture that it is possible to achieve great results with minimum capital. It will be placed in the main office and will underscore the corporate identity of the company, which places a great emphasis on the optimum utilization of resources.

Mont Saint Victoire

Mont Saint Victoire is a work of French Post-Impressionist painter Paul Cézanne.

The artist exercises in the expression of color and form in his masterful depiction of the mountain surrounded by white splashes of paint that define the structure of Aix en Provence. It is clear that Cézanne explores the way in which different brush strokes change his impression. The process of painting for him becomes the medium or even the end in itself (Sayre, 2015). The delicate graduations of gentle colors will become an object of artistic perfection for the reception area of one of the company’s offices. The negligence of traditional rules of composition and thick brushstrokes that indicate Post-Impressionist style would correspond with the creative spirit of the company and convey the image of the free-thinking enterprise to its customers.

La Goulue

The work of a French painter Henri de Toulouse-Lautrec La Goulue, created in 1891, would be a beautiful part of the company’s art collection (Hill, 1980). The picture that closely resembles a poster is produced with the stylistic similarity to the Japanese woodcuts. It perfectly captures the eccentricity and odd nature of the concert hall in a swift and airy sketch. The work depicts the artist La Goulue performing a can-can for the black silhouettes of the auditory (Hill, 1980). It would make a strong graphic statement if it were featured in the corporate headquarters. Communicating corporate identity in the bold, indirect way, so inherent to the Post-Impressionist style, the picture would be perfectly in line with the company’s image.

The Sower

Van Gogh produced this miniature but extremely impressive canvas during the time Gauguin was living at his home in 1888 (Hill, 1980). The Sower follows the traditions of Japanese artists. Van Gogh used vast plain areas of the picture intersected with dark colors in order to intensify the isolation in the intersection object. It seems that he rejected the traditions of Impressionism, almost intentionally intensifying the use of geometric forms.

The thick application of paint suggests that the painting was produced in the Post-Impressionist style. The distortion of the silhouette for dramatic expressive effect and almost arbitrary dobs of color harmonically wrap around the symbolic content of the picture. The powerful image of the Sower against the glowing sun creates a long-lasting impression and sends an almost biblical message (Hill, 1980). It will represent the company’s intention to leave a long-lasting legacy for future generations.

References

Hill, I. (1980). Post-Impressionism. New York, NY: Galley Press.

Sayre, H. (2012). The Humanities: Culture, Continuity, and Change. Volume II: 1600 to the Present. (2nd ed.). Upper Saddle River, NJ: Prentice-Hall.

Stein, S., Bailey, C., & Miller, A. (2009). Masterpieces of Impressionism and post-impressionism. New York, NY: Metropolitan Museum of Art.

The reproductions of six pieces of art have been chosen for the company’s corporate offices. Three of the pieces belong to Impressionism, and they are “The Waterlily Pond” (1899) by Claude Monet, “Blue Dancers” (1899) by Edgar Degas, and “The Boulevard Montmartre at Night” (1890) by Camille Pissarro. The other three works represent the Post-Impressionism genre. They are “The Pine Tree at Saint-Tropez” (1909) by Paul Signac, “The Starry Night” (1889) by Vincent van Gogh, and “Bridge over a Pond” (1898) by Paul Cezanne.

“The Waterlily Pond” is a canvas full of green colors that creates an atmosphere of inspiration and tranquility. The painting depicts the bridge that blends with the surrounding nature. The pond with the reflections of grass and trees in it is covered with white water lilies that consort harmoniously into the landscape. The trees and other vegetation in the background are depicted schematically vividly supplementing and animating the picture.

As an Impressionist painter, Claude Monet tried to capture a fleeting moment in his works with the life in motion (Shiff, 2014). He managed to capture and convey the atmosphere that prevailed at that unique moment in the image of the Japanese bridge and the pond: a static picture seems alive and breathing, the foliage and water find reflections in each other. The lilies landscape is filled with light and air, and they contrast a bit with the background of the greenery.

It should be noted that there is a vista in this picture: the foreground objects appear in brighter colors while the background is saturated with deeper colors in the shade and pastel tones in the light. This picture would be perfect for the reception to create a relaxed atmosphere of openness and harmony. The picture will be placed centrally in the corporate office to reveal the harmonious approach, which is a directive of the company’s performance.

The painting “Blue Dancers” portrays the four ballerinas dressed in blue costumes. The picture creates an effect of a stopped shot from a silent movie. This reproduction will be hung in the recreation area, where customers and clients will be able to settle down in anticipation of the meeting. This picture fits well with the mood and color scheme of Monet’s work and creates integrity.

The painting “The Boulevard Montmartre at Night” reflects the life of a large, lively boulevard. Extremely clear and simple motif receding into the distance of the street creates a clear compositional framework (Shiff, 2014). This urban landscape distinguishes the desire to make a wide coverage area combining it with small-scale figures and crews. This painting is suitable for the smallest office; the texture and pattern construction will help to expand the space visually and support the dynamic work environment.

About Post-Impressionism, Paul Signac’s painting will be placed at the headquarters. The depiction of a tree with a spreading crown that dominates the surrounding landscape showing the true power of nature is suitable to emphasize the importance of the company’s leadership. The color range of bright and contrasting tones and semitones, orange points, and bright color combinations build up a decorative picture of reality (Eddy, 2014). This work of art will be a symbol of the power concentration, mental strength, expertise, and potential of the company that stands firmly on its core organizational principles.

The other two pictures of the Post-Impressionist genre can be hung in the office, where the company holds its general meeting. The first painting “The Starry Night” presents stars and the moon as the key objects. Also, the painter utilized a special technique to paint the objects so that they look dynamic as though moving. This canvas will be placed to create momentum; it will set the tone for the organization. “Bridge over the Pond,” will be hung on the opposing side.

It depicts the verdure of the trees and their reflection in the water. Cezanne used such a ratio of tones that builds a form free of details, which is stable and eternal. This painting will represent the diversity that characterizes the company and the successful cooperation of all its members. Besides, it will motivate the employees to achieve results by overcoming the bridge (Ekanem, 2015).

It is crucial to note the historical significance of the selected paintings. The chosen works in the style of Impressionism refer to the visible, external side of the world while the Post-Impressionist canvases focus on the knowledge of the true nature of the phenomena, turn to the knowledge, and establish a connection on a deeper level. The interrelation of internal and external contents displays and correlates with the ethics and views of the company (Ballard, Feibleman, Morrison, Reck, & Whittemore, 2012).

For this reason, the chosen paintings reflect the organization’s mission and philosophy (Ashby, 2012). It is also worth mentioning that the three paintings made in the Post-Impressionist style convey sustainability that is the guiding principle of the company.

Post-Impressionists focused on the structure (Poore, 2013). In this connection, the selected reproductions will embody the aesthetics of the work that the company propagandizes. More importantly, the choice of paintings and their historical significance emphasize that the form is not possible without content, which correlates with the philosophy of the company.

I hope that I was able to meet the requirements and reflect the guiding principles of the company through the appropriate choice of works of art.

References

Ashby, F. (2012). Revitalize your corporate culture. Abingdon, UK: Routledge.

Ballard, E., Feibleman, J., Morrison, P., Reck, A., & Whittemore, R. (2012). Studies in social philosophy. New York, NY: Springer.

Eddy, A. (2014). Cubists and post-impressionism. Charleston, SC: BiblioLife.

Ekanem, A. (2015). Living big on a small budget. Raleigh, NC: Lulu.com.

Poore, H. (2013). The new tendency in art; post impressionism, cubism, futurism. Charleston, SC: BiblioLife.

Shiff, R. (2014). Cezanne and the end of impressionism. Chicago, IL: University of Chicago Press.

If I were one of the judges for the next Salon de Refuses, I would recommend Paul Cézanne’s masterpiece Mont Sainte-Victoire (1902-1904). This particular work should be chosen due to its impeccable technical realization of the idea, intricate symbolism, and eye-pleasing aesthetics. This vast, colorful, and enigmatic painting can be considered one of the artist’s most notable works. Gardner and Kleiner report that in his series of works, Cézanne aimed at providing the audience with an opportunity to analyze the lines and colors of nature (369).

From a technical standpoint, it is clear that Cézanne wanted to make impressionism enduring and solids. The painting draws the viewer’s attention with its vivid use of color and a relatively light color palette. Notably, the proportions of the figures presented in the painting vary; they are not fixed by particular linear perspectives (Gardner and Kleiner 369). Even though the composition is quite complex and includes many figures and symbols, it is well-balanced. Cézanne’s work may even be considered analytical, as opposed to presenting photography-like scenery.

Another work that I would recommend including is Paul Gauguin’s masterpiece under the title of Where Do We Come From? What Are We? Where Are We Going?. “Where Do We Come From?…” was painted during Gauguin’s trip to Haiti, where he transformed his experience of contacting a foreign culture into an art piece that can resonate with any person who would give it some thought (Gardner and Kleiner 368).

The painting is notable for its thick, coarse brushstrokes, which were the tenets of impressionism. From a symbolical standpoint, “Where Do We Come From?…” is quite thought-provoking. To follow the narrative, the viewer needs to figure out how to read the painting and what to focus on.

Further, the viewer is prompted to reflect on their own life and maybe even contemplate the inevitable death. In a way, the closeness of death in line with the philosophy of impressionism that rejoices in the beauty of a moment. Overall, the elements of a puzzle in this painting are truly encaptivating and another reason why it should become the centerpiece of the Salon des Refuses.

Work Cited

Gardner, Helen, and Fred S. Kleiner. Gardner’s Art Through the Ages: A Concise Global History. Wadsworth/Cengage Learning, 2009.

Introduction

Impressionism and post impressionism are two art periods that were developed in France. Impressionism developed between 1863 and 1890, while post impressionism was developed between 1886 and 1905. The two methods laid an emphasis on painting as an art work. Impressionism paintings were relatively small and thin, and the brush strokes were visible. Inclusion of movement in human perception was also incorporated in this era as compared to the previous painting eras.

Another significant attributes of impressionism paintings were the unusual visible angles. Impressionism came about due to the rejection of Monet painting that incorporated nude painting. Later, the public was allowed to decide the painting and they were impressed by this kind of style that incorporated independence and rebellion (Maurice, 1962).

The impressionism era was greatly brought about by the industrial revolution and modernism like, scientific inventions, better transport methods as well as growing in middle classes and secularism (Simpson, 2011).

On the other hand, post impressionism came about due to lack of importance given to the subject matter and impressionism failing to give an element of structure in their paintings. It had the same features as impressionism, which included the use of vivid colors, use of real life subject matter, and use of distinctive brushing strokes, as well as applying of thick paint.

Post impressionism art era was also characterized by having younger painters, who were more focused in emphasizing geometric forms in their paintings. Post impressionism was brought about by social and political repressions, which lead to social inequities and unrest, and was expressed in painting by the intellectual painters (Bowness, 1979).

Comparison between impressionism and post impressionism paintings

There are various similarities between impressionism and post impressionism art eras in terms of their paintings. These include the use of the vivid colors, use of real life subject matters and distinctive blush strokes. However, there were differences which included emphasis on the usage of geometric forms and usage of arbitrary colors, which were used in post impressionism.

There was also a distinction in age of the painters whereby, impressionism painters were generally older as compared to post impressionism painters. The freedom of the artist is also another distinction between the two periods as post impressionism artists had more freedom than the ones in impressionism era (Bowness, 1979).

Purpose for continuing the tradition of the impressionism

Continuation of the Impression artistic period is necessary since it gave a rise of usage color to express brightness of light. Ultimately, there was need to incorporate the post impressionism since it brought about simplification in painting as well as enhancing emotional impact. The need to give painting more meaning beyond an impression by incorporation of geometry as well as mathematics was also the need to supplement impressionism with post impressionism (Rewald, 1978).

The Bal du Moulin de la Galette is a panting done by Piere-Auguste Renoir in 1876 under impressionism movement, this painting was a snap shot of real life that shows the richness of form as well as fluidity of brush. On the other hand, the Mont Sainte-Victoire seen from Bellevue is a painting done by Paul Cezanne in 1885 under post impressionism era. It highlights a form of painting in this era; this painting has light and colors giving an impression of a pattern that is not imposed on nature and still gives the natural look (Malorny, 2001).

The later painting under the Post impressionism era is distinct from the former one because there is great use of geometric shapes as well clarity to natural scenes; this has been achieved without giving up on optical realism usually used in impressionism. The paint work of landscape which was incorporated in the impression era is greatly enhanced in the latter painting.

Post impressionism has a great deal to do with the later revolutions that occurred throughout the world due to their major campaign of individualized expression and freedom among artists (Simpson, 2011).. Features which were never before incorporate in the world of painting were incorporated in this era this included: using of power of symbols and color as well as using of physiological depth and emotions.

Traditional conventions of modeling were changed within this era with simplification of structure and form that enhanced impact emotionally. Abstract techniques were greatly emphasized in respect to detail as well as experimentation in the mixing of paint and application of the same. Scientific methods and principles were greatly in application as well as mathematics and optics.

There are many features of today’s painting that were borrowed in this era they include but not limited to the following: Van Gong’s brush work, Seurat’s dots, Gauguin’s distinctive color harmonies and Cezanne’s geometric shapes (Simpson, 2011).

The artist in this period underwent personal consequences risking everything to explore individualistic emotions and impressions. No wonder the paintings in this period experienced a lot of mockery, lack of official support as personal conditions of poverty to the betterment of aspiring artists and transform the artists’ ways of expressions (Bowness, 1979).

References

Becks-Malorny, U. ( 2001). Paul Cézanne, 1839-1906: pioneer of modernism. Taschen: Taschen.

Bowness, A. (1979). Post-Impressionism. Cross-Currents in European Painting. London: Royal Academy of Arts & Weidenfeld and Nicolson,.

Rewald, J. (1978). Post-Impressionism: From Van Gogh to Gauguin. London: Secker & Warburg.

Simpson, G. (2011). Impressionism. Retrieved February 21, 2011, Impressionism. Web.