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Example research essay topic: Primary Colors Urban Life - 1,209 words

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... goes of bourgeois, proletarian, and peasant classes, proved so compelling that Marxist notions affected public policy throughout the Euro-American world for nearly a century. The arts were similarly affected, both in practice and in theory, by Marxist systems stressing fundamentally economic forces that underlie all modern civilization. This influence produced numerous Impressionist images that present or analyze class relations, family structures, and individual anxieties in the midst of social struggles. In capital, products are continually created and accumulated in new ways.

This was true with Impressionist art. Similar to other goods it was marketed. It was at this time that art became a commodity. Like other commodities, art had to transform regularly without losing value to be successful.

Its value was determined by the speed of exchange. Yet, art does not completely follow the market formula of other commodities. First, because of the inherently critical nature of art making in modern society, art economics cannot be defined in set rules. Secondly, the idea central to artistic theory is that art can transcend time and can assume increasing financial value with time. As impressionistic art was circulated in the webs of capitalism, global knowledge of its existence rose. Different forms of art from around the world were also brought to the attention of the impressionists.

The most prominent of influential foreign art was Japanese block prints. Block prints were marked for their simplified lines, use of diagonals, margin cut images, surprising viewpoints, and decorative patterning. The impressionists found these techniques fascinating and applied them to their paintings. The famous female impressionist Mary Cassatt was renowned for her work with Japanese block printing. Not only did she make block prints of her own, but many of her paintings show direct relationships to Japanese block prints. A close friend of Cassatt's, Degas, also followed the methods of block printing in his works.

A crucial part that is involved in the art market, is criticism. Criticism determined the relationship between impressionistic art and the capitalist society. This form of criticism was found in exhibitions rather than sales. This was because impressionistic exhibitions produced the conditions for criticism in the form of published reviews, whereas sales usually produced only bills of sale, shipping documents, and other forms of receipt. Yet viewers of art were not the only critics. Impressionistic art itself was a critic of the swiftly changing capitalist world.

At the time, new factories and buildings were being created in place of older structures. Many artists disapproved of the destruction of the traditional buildings. In a hurry to record the old buildings before their complete destruction, urban photographs would be taken. From the photographs, painting would then be created.

These photographs were considered a form of preservation through representation. Many paintings also displayed urban life genre. The impressionists of these paintings were usually in support of urbanization. The energy of artistic modernism, with its ability to embody the excitement of the modern city, was a major feature of impressionistic art in this period. Paintings of this sort included the shopping scenes of Franz Marc and Kirchner, the urban constructions paintings among futuristic painters; the black-and-white punctuation of Vallotton's urban prints; the gritty representations of New York by John Sloan, Joseph Stella, and Edward Steichen; Degas's brothels, and Toulouse-Lautrec's cafes. 6 Each of these impressionistic works reflected the painters positive attitude toward the modernizing world. They stressed notions of balance, order, harmony, and internal unity in reflection of their importance as essential conditions of modern urban life.

The new ways of life were not only based in economic related aspects of culture, but also in scientific advancements. Impressionism's arrival at the time of new technologies allowed for advancements in the field of art, and specifically impressionism to be great. Firstly, impressionists were the first to paint the out-of-doors while outside. This was made possible by the advent of tubes of paint. Before tubes of paint, the small mixing bowls used for paint would dry up quickly when outside. The famous impressionist, Renoir said, "Without tubes of paint, there would have been no impressionism. " 7 Portable easels also allowed impressionists to more easily paint outside.

Scientific experiments with chemical pigments brought a greater variety of colors to the art world as well. Yet, their was a single technology that had a tremendous influence on impressionism. Though present some time before impressionism, the expansion of photography throughout the nineteenth and twentieth centuries impacted impressionistic works. During the time of realism, photography first began its influence in the art world.

Upon inspection of the actual colors that made composed a photographic image, painters learned that various combinations of small dots of primary colors created the wide spectrum of colors. This followed a key characteristic of impressionism where paintings were made of small strokes of the primary colors. Photography was also praised for its precise accuracy that could then be imitated in realistic paintings. The certain type of photography used at the time by impressionists was called daguerreotype. Daguerreotype was also known as glass-plate photography and it produced absolutely smooth and insistently linear representations of a subject. This emphasis on edges was disliked by impressionists and considered too crude.

They did not want to "freeze" the subject with hard outlines. The type of photography mimicked by impressionists was called calotte or the paper-negative process. This kind of photography produced rougher images whose tonal masses defined their subjects in terms of value more than outline. This was admired by the impressionists who appreciated an image for its entire emotional appearance rather than its detailed borders. Impressionists also appreciated photographs because when an object was in motion it appeared blurry.

This gave the image a less realistic and more impressionistic form. Photographs were often cropped at the edges as well, sometimes leaving half of an object out of the picture. This was imitated in many impressionistic paintings. When the world of art transformed to impressionism, these two forms of photography laid the foundation for the two basic divisions of impressionism. The first of these, was Transparent Impressionism.

This included painters of mostly landscape or urban views. Transparent impressionistic paintings portrayed what appeared to be the impressions of visual reality. Monet was the known for his practicing this style. In his works, the subject of the painting was the entire visual field in front of the painter rather than clearly separate forms in "illusionistic space. " 8 The eye is finished over the reality.

The other division of impressionism was called Mediated Impressionism. Under this painters constructed images emphasizing the contingent and elliptical aspects of a subject. Impressionists such as Degas and Mary Cassatt were mainly figure painters of Mediated Impressionism. In their works, visual reality was conceived not as a vibrant colorful field, but as a social world in which the figure and its various grounds were analyzed. It is in these ways that Impressionism was shaped by a changing society. As the economic world made its first steps toward modernization, the art world followed in its path.

The subjects, surfaces, imagery, texture, composition, and color of art endured numerous alterations in the span of just two centuries. These changes continued in correspondence with the advancements and modifications of technology, the economy, culture, and the social structure. Bibliography:


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