The moment I saw Vincent Van Gogh’s painting, Irises, I knew this was the perfect piece to learn more about its distinguishable design. By looking at his artwork the first thing that came to my mind was Paul Cezanne’s The Basket of the Apples. Cezanne’s painting simply depicts a veneer-made container holding apples on a table with other items, while Van Gogh’s work displays an outdoor image of blue flowers called irises. Even though the artworks do not present the same material, both the fruits and blossoms were completely removed from its natural configurations. These masterpieces, led me to the notion that there lies a connection between them, but after doing research I found a number of differences that splits Van Gogh’s and Cezanne’s artistic…
An artist can create art work through a creative process. An element of this process is critical thinking. Artists’ creativity process begins with seeing. It then goes from seeing to imagining and from imagining to making (Sayre, 2009). This essay will provide an explanation of artists’ roles. The essay will also include two chosen works of art, one of which embodies the role of the artist and the other holds symbolic significance requiring the application of iconography.…
“In 1860, when I ran from the plantation in Virginia, I decided to be twelve years old. COuld’ve been anywhere from nine to fourteen, but as Frederick Douglass, that great man, said, you might as well ask a horse how old he is as a slave” (Stolz 3). This quote was said by Cezanne Pinto, the main character of the historical novel, Cezanne Pinto, about a young slave living on a plantation in Virginia with high hopes of freedom and an education. Originally born Deucy Clayburn, Cezanne spent his time as a slave working in the stables due to his gift with horses. The story is told from the point of view of an approximately ninety-year-old Cezanne, reflecting on his journeys with the cook, Tamar, to escape slavery. Although he faces many hardships of discrimination, he never let it get in the way of his dreams. In the end, the old man rests in peace with the satisfaction of living a…
The author suggest that we ask ourselves: “What is the purpose of this work of art (and what is the purpose of art in general)? What does it mean? What is my reaction to the work and why do I feel this way? How do the formal qualities of the work-such as color, its organization, its size and scale-affect my reaction? What do I value in works of art?”…
Paul Cezanne was credited with saying, “When I judge art, I take my painting and put it next to a God made object like a tree or a flower. If it clashes, it is not art.” I believe in was in Cezanne’s style to focus on natural things, trees, bodies, water. And it is apparent that other artists, throughout time have also focused on these things but have also channeled into Cezanne’s inspiration, dug deep down in order to muster their own images. Matisse’s Bonheir de Vivre and Picasso’s Les Demoiselles d’Avignon are both examples of work that drew inspiration from Cezanne. I will be discussing their similarities to Cezanne’s greatest work but I will also be discussing how they did not follow in Cezanne’s footprints.…
Peanuts (2012) aims to highlight basic composition; reducing objects to simplified form and colour. Desks, canned olives, loaves of bread, Charlie Brown cartoons, cheap pizza flyers – all methodically placed around the Chisenhale Gallery space in London. Marten harmonises these reduced elements to create a skeuomorphic representation of everyday objects, branding and iconography . Her twisted ‘still life’ exists in complete fabrication and relies heavily on individual perception. In the current world of retinal impatience, simulacra are everything .…
According to art critic Clive Wilson, writing in 1914, Cézanne was ‘the Christopher Columbus of a new continent of form (Harrison, C, 2008, p.63). Considered a revolutionist, Cézanne helped pave the way for other modern artists and his abstract tendencies contributed to the Cubist Movement. Robert Cumming (The Courtald Institute of Art, 2011) said Cézanne ‘was so influential as to play a key role in changing the face of art.’ This essay will examine whether Still Life with Plaster Cast (Plate 1.3.32) – with its narrow tonal values and a limited…
Cézanne’s painting has no illusion of reality due to the easily detected brushwork, little sense of depth, and delineation of form. There is almost no three-dimensionality, an element crucial to the creation of illusion, whereas in Vecchio’s there are several elements that create an idea of reality, an idea that the scene before us is indeed happening: the strong light sources that apparently model the figures and other objects, the traceable vanishing point, which is almost impossible to detect in Cézanne’s Bathers, and the significant contrast between the darker and lighter areas. The density of the brushstrokes and the absence of details in Cézanne’s painting break the illusion of the visual effect created by the harmony of colours, whereas in the Bathing Nymphs there is no apparent trace of the brushwork.…
Greuze’s moral dramas (one of which is the Broken eggs) reacted against Rococo. By pronouncing feelings and emotion they were also opposed by the rational and science-oriented representatives of Enlightenment. It puts Greuze’s creations exactly along with other artists in the 18th century who developed the same taste in their works– Taste for Natural.…
In this composition, we can see Cézannes painting technique is clearly recognisable, as it is different from many other artists, his work is characterised by his brush strokes; these can sometimes be repetitive , sensitive or exploratory depending on what Cezanne is painting. He uses a blocky form which gives the piece uniqueness and shows his signature style. The simple, natural colours show his emotions as being quite depressed and sad at this period of time. He uses a couple of shades of each colour and then builds on top.…
Those who criticised L. thought, his art denied that art is a transformation of experience. The pratice of mere copying erased the relavance of the artist’s hand, the significance of individual touch, the principle of originality. The absence of gesture marked the loss of a masculine presence.…
The Techniques that these two artist use in their works and exhibitions are polar opposites. Antonio Lopez in his “World of Fashion Art” exhibition makes use of any number of drawing instruments to mark a two-dimensional medium. Instruments used include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, and various metals (such as silverpoint). In Contemporary art today, an artist who practices or works in drawing may be called a draftsman or advertising and promoting fashion maker. The human body, human form, bodies, fashion art, 70's 80's pencil, photography, paint, colored pencil are all present within Lopez's work. The accurate gesture drawing, realistic figure drawing, figure studies, art of drapery, wrinkles of fabric studies are included within Lopez's work. Fashion patterns within material and Layered collage are also prevalent within his work.…
Easel painting, large-format wall painting, performance, stage design both for movie and theatre, and interior design constitute just a part (fragment) of his artistic activity field. Immense abundance [great richness] of means, the variety of materials contribute to this continuously vivid, creative and revelatory [exploratory] path. The determination, with which J. Cz. manically circles, like a moth, around certain painterly issues, connected especially with the op art vision of perceiving reality, provokes (us?) to look for the origins of his interests and choices. Following the full…
[ 8 ]. Carol Donnell-Kotrozo, “Cezanne, Cubism, and the Destination Theory of Style,” in Journal of Aesthetic Education, Vol. 13, NO. 4 (University of Illinois Press, 1979) p. 93-108…
Today we tend to think of the work of art in terms of the artist, who, acting through his powers of imagination, willfully brings into being his creation. But this artist-centered interpretation of the text is really a more recent development, first seen in the early nineteenth century. As Abrams demonstrates in the "Orientation of Critical Theories" chapter of his book The Mirror and the Lamp: Romantic theory and the Critical Tradition (1953), the dominant modes of thinking about art have, throughout history, been rather different.…