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Example research essay topic: Claude Monet Van Gogh - 1,230 words

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In 1874, fifty-five artists held the first independent group show of Impressionist art. The unfriendly reviewer Louis Leroy to a canvas by Claude Monet first applied the name impressionism in 1874; it has come to be used very freely. In easiest terms, French Impressionism was an especially undersized, avant-garde movement whose affiliates tested from 1870 to 1880 with painterly habits to attain light on canvas. Impressionism entails a certain technique, primarily the acquirement of light on canvas through the use of pure, lurid, bright colours, and such stylistic and compositional elements as a shallow, two-dimensional space, occupied by compressed forms, an up tilted picture plane resulting in a high horizon, off-centre focal points, preference for dynamic diagonals rather than static verticals and horizontals, and the juxtaposition of decorative patterns and textures. Post Impressionism is a term used to describe those influenced by the Impressionism movement. There is no fixed style to Post Impressionism like there was with Impressionism, all of the artists of the Post Impressionist movement had different directions with their painting style, and they werent a coherent group like the Impressionists either.

Their work does however have more of an emotionally charged style. Post Impressionism was given its name in 1910 when an exhibition of the works by the likes of Cezanne, Gauguin, Van Gogh and Toulouse-Lautrec were shown in The Metropolitan Museum of Art in New York. British art critic gave the works the term of Post Impressionist. Post Impressionism did not begin in 1910 however, the term almost seems absurd as Post Impressionism began while the original Impressionists were still very much popular and in action. Post Impressionism began in France, much like Impressionism did and ended not long after Impressionism, Post Impressionism and its main artists with their distinct and very different styles mostly all led or inspired other movements in Modernism.

The Post Impressionists still continued to have a similar style to the Impressionists but with fewer limitations. There was a continuation of the use of vivid colours, and the bold dollops of unmixed paint were still used. The subject matter also remained quite similar with real-life, ordinary subjects being chosen, emotion and expression was however one thing that was different from the Impressionist painting in their work. They went beyond just painting something normal, they were able to put mood and emotion into their works. Post Impressionism took painting to new levels, Impressionism had previously made the break from all the rules of painting and now Post Impressionism was able to go beyond that, as mentioned before many of the Post Impressionists led to other art movements. Cezannes structural work eventually led to cubism and Van Gogh's symbolic, expressive paintings led to expressionism.

Summarising the transition in styles from Impressionism and Post Impressionism there is an obvious link in some of the main foundations of style and subject within the similar movements. Post Impressionism appears to most significantly work on an emotional level. Plein Air is a French term meaning in the open air. In art history it refers to a perception that a painting conveys, the sensations of being in the open air. This eminence was much sought after by the Impressionists, and before them the Barbizon School of landscape artists who painted in the Forest Fontainebleau into the 1840 s.

Possibly further more than any other, Claude Monet was the archetypal plein air painter. He was possessed with encapsulating the effects of light on the landscape in an almost scientific way, also in seizing the atmospheric envelope of the landscape. The Impressionists preferred landscape, some incorporated structural design followed by figure studies and still lifes. Human figures, when dealt with, most often came from high society and were mainly portrayed in leisure, urban activities. Artists neglected classical studio themes to go outside and paint the landscape that surrounded them.

On the other hand, some Impressionists, painted the rural poor just as they saw them, with a rough-textured technique that displeased establishment. So in subject matter is somewhat juxtaposed. In its exercise of colour, Impressionism radically deviated from tradition. Progress in the areas of optics and colour theory enthralled these painters.

Working outdoors, Impressionists provided the play of sunshine and the tones of the environment with a palette of bolder yet lighter colours than classical studio painters used. In 1666, Sir Isaac Newton had shown that white light could be split into many colours. Including the three primary colours, red, blue, and yellow - by a prism. The Impressionists learned how to form the prismatic colours with a palette of unadulterated, concentrated pigments and white.

Not like Academy painters, who sheltered their canvases with a sinister underpainting, Impressionists worked on unprepared white canvas or a pale grey or cream background for a lighter and brighter end product. Eugene Chevreuls book, published in 1839, On the Law of Simultaneous Contrast of Colours, directed the Impressionist custom of laying down strokes of pure, balancing colours. Chevreul found that colours alter in relation to the extra colours by them. Complementary colours, or those directly opposite each other on his colour wheel, make the most powerful effects when sited next to each other, he wrote. Red-green or blue-orange mixtures cause an actual vibration in the viewers eye so that colour appears to leap off the canvas. So that viewers react sensitively to the glittering sunlight on Monet's rivers or the splash of orange costume on Degas ballet dancers.

Artists such as Renoir wanted their colours to convey noise, if the could not achieve this at first, they added further colours until they achieved the voluble effect wanted. The Impressionists, regardless of claiming to paint instinctively and unknowingly what they saw, strangely enough learn how to achieve the desired effect by examining precedent, scientific theories. The Industrial Revolution brought economic prosperity to France, and Emperor Napoleon III set out to formulate Paris as the showpiece of Europe. He appointed civic planner Baron Hausmann, Prefect of the Seine, to replace the dirty, old medieval city with wide boulevards, parks, and monuments. The new steel-ribbed railroad stations and bridges were feats of modern engineering. Cafs, restaurants, and theatres attracted the influential new merchant class who had made their homes in and around Paris, also known as the bourgeoisie.

Most Impressionists were born in the bourgeoisie class, this cleaner, more well off world was the world they painted. "Make us see and understand, with brush or with pencil, how great and poetic we are in our cravats and our leather boots, " the poet Charles Baudelaire challenged his friend douard Manet. The Impressionists, who were also known as the "Independents, " (what they preferred to be called), brought together a wide variety of these influences, beliefs, and styles when they first exhibited and met in Paris cafs to discuss art. Their rejection of the Academy and the Academy's rejection of them unified the crowd. The Impressionists favoured landscape, some of which incorporated architecture followed by figure studies and still lifes. Human figures, when dealt with, most often came from the upper classes and were first and foremost portrayed in leisure activities with largely urban surroundings. Impressionism disregarded and broke every one of the rules of the French Academy of Fine Arts, the unadventurous school that had subjugated art education and taste ever since 1648.

Impressionist scenes of modern urban and country life were a remote cry from the Academic e...


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Research essay sample on Claude Monet Van Gogh

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