Although different pieces of art come from different eras and different artists, what makes a composition fine art is its ability to evoke emotions in the viewer. These emotions can range from misery to ecstasy and everything in between. Conversely, if there are no feelings experienced by the majority viewers, no matter if they're positive or negative, than that piece does not fit into the genre of fine art.
The great thing about genuinely fine art is the fact that the experience of emotion is absolutely subjective. It is true that a work of art has a certain message embodied in it and an intended emotional response; however, with fine art the experience is different from person to person. Great artistic compositions do trigger similar responses in the viewer; yet, each individual has their own unique interpretation of the meaning and orientation of feelings towards the piece. No matter how similar or different these results are, none of them are the same.
Out of all the amazing creations at the Museum of Fine Arts in Houston, four paintings stand out among them all. These are Paul Cezanne's Bottom of the Ravine, Paul Gauguin's Arearea II, Vincent van Gogh's The Rocks, and Georges Seurat's Young Woman Powdering Herself. What makes these painting prominent idols of attraction is the fact that they are so simple, yet they convey a deep meaning. And like all fine art each viewer has their own personal perception and reaction to these paintings, perhaps because of their uncomplicated surface appearance.
What all of these compositions have in common is that they all depict natural occurrences. Whether or not the events and the contents are based on something or a scene that actually did exist is irrelevant. What matters is that these paintings are composed of images and settings which actually can exist or could have existed. This elicits a personal connection between the viewer and these fine arts since what they are viewing is something that is actually tangible rather than surreal and abstract.
Paul Cezanne was a painter of the Post- Impressionism era which was a further extension of Impressionism with fewer boundaries; yet, both of these styles contained images that can exist in the real world. The major difference the distinguishes these two different styles of painting is that Impressionism strives to achieve a photographic type of quality (just an example of the degree of which these paintings resembled real life since cameras were not yet invented), whereas Post-Impressionism does indeed contain elements that do exist in life but with a less rigid attempt to depict how the images would appear in real life. Thus, Post-Impressionism is less limited by precision yet composes life-like scenes. This gives these paintings an almost cartoon like appearance. This era is also distinguished from symbolism in that symbolism is more of a reflection of ideas.
Paul Cezanne was the genius behind the composition Bottom of the Ravine. This painting fits perfectly into the scheme of Post-Impressionism as it displays a mountainside, a life-like image, but in a loose cartoon-like fashion. This is done by using fewer colors and shades than would actually appear on a real mountain and also having each color distinguished from its surroundings rather than blending together as it would naturally occur.
The main subject in this piece is the mountain that is prominent because of its large size and the fact that it is the dominant figure with all the other objects, which are trees, existing on it and the background, the sky, being the only thing contrasting with it. The sky is far too plain to be the subject of the painting and each trees is too undistinguished to be the subject; yet the fact that it contrasts with the mountain causes it to play a vital role in this work in that it brings out the green shrubbery and the mountain as a whole.
The colors are shades mainly of blues, yellows, and greens. They were applied with blotted...
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