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Example research essay topic: Vincent Van Gogh Early 20 Th Century - 1,287 words

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... el, the Dutch Leo Gospel, the Danish S"odense, the British Lyall Watson. Among the members of the Paris school, Soutine, Pain and Modigliani have been attached to Expressionism. Fauvism Between 1901 and 1906, several comprehensive exhibitions were held in Paris, making the work of Vincent van Gogh, Paul Gauguin, and Paul C'elaine widely accessible for the first time. For the painters who saw the achievements of these great artists, the effect was one of liberation and they began to experiment with radical new styles. Fauvism was the first movement of this modern period, in which color ruled supreme.

The advent of Modernism if often dated by the appearance of the Fauve's in Paris at the Salon d'Automne in 1905. Their style of painting, using non-naturalistic colors, was one of the first avant-garde developments in European art. They greatly admired van Gogh, who said of his own work: ''Instead of trying to render what I see before me, I use color in a completely arbitrary way to express myself powerfully''. The Fauvists carried this idea further, translating their feelings into color with a rough, almost clumsy style. Matisse was a dominant figure in the movement; other Fauvists included Vlaminck, Derain, Marquet, and Rouault. However, they did not form a cohesive group and by 1908 a number of painters had seceded to Cubism.

Fauvism was a short-lived movement, lasting only as long as its originator, Henri Matisse (1869 - 1954), fought to find the artistic freedom he needed. Matisse had to make color serve his art, rather as Gauguin needed to paint the sand pink to express an emotion. The Fauvists believed absolutely in color as an emotional force. With Matisse and his friends, Maurice de Vlaminck (1876 - 1958) and Andr'e Derain (1880 - 1954), color lost its descriptive qualities and became luminous, creating light rather than imitating it. They astonished viewers at the 1905 Salon d'Automne: the art critic Louis Vauxcelles saw their bold paintings surrounding a conventional sculpture of a young boy, and remarked that it was like a Donatello "parmi les fauve's'' (among the wild beasts). The painterly freedom of the Fauve's and their expressive use of color gave splendid proof of their intelligent study of van Gogh's art.

But their art seemed brasher than anything seen before did. During its brief flourishing, Fauvism had some notable adherents. Vlaminck ignored the wealth of art in the Louvre, preferring to collect the African masks that became so important to early 20 th century art. Derain also showed a primitive wildness in his Fauve period.

He shared a studio with Vlaminck for a while and their works at the period seem to share a power: both reveal an unselfconscious use of color and shape, a delight in the sheer patterning of things. This may not be profound art but it does give visual pleasure. Fauvism was a style of painting that flourished in France from 1898 to 1908; it used pure, brilliant colour, applied straight from the paint tubes in an aggressive, direct manner to create a sense of an explosion on the canvas. The Fauve's painted directly from nature as the Impressionists had before them, but their works were invested with a strong expressive reaction to the subjects they painted. First formally exhibited in Paris in 1905, Fauvist paintings shocked visitors to the annual Salon d'Automne; it was here that Auxcelles, who, because of the violence of their works, dubbed the painters 'Les Fauve's' (Wild Beasts). The leader of the group was Henri Matisse, who had arrived at the Fauve style after careful, critical study of the masters of Postimpressionism Paul Gauguin, Vincent van Gogh, and Georges Seurat.

Matisse's methodical studies led him to reject traditional renderings of three-dimensional space and to seek instead a new picture space defined by movement of colour. Matisse exhibited his famous 'Woman with the Hat' at the 1905 exhibition; brisk strokes of colour -- blues, greens, and reds -- form an energetic, expressive view of the woman. As always in Matisse's Fauve style, his painting is ruled by his intuitive sense of formal order. Other members of the group included two painters from Ch^area, Fr. , Andr'e Derain and Maurice de Vlaminck, who, together with Matisse, formed the nucleus of the Fauve's. Derain's Fauve paintings translate every tone of a landscape into pure colour, applied with short, forceful brushstrokes.

The agitated swirls of intense colour in Vlaminck's works are indebted to the expressive power of van Gogh. Three young painters from Le Havre were also attracted to Fauvism by the strong personality of Matisse. Other Friend found the emotional connotations of the bright Fauve colours a relief from the mediocre Impressionism he practiced. His companion Raoul Dufy developed a rather carefree ornamental version of the bold style that suited his own personal aesthetic nature; and Georges Braque created a definite sense of rhythm and structure out of small spots of colour, foreshadowing his development of Cubism. Albert Marquet, Matisse's fellow student at the 'Ecole des Beaux-Arts in the 1890 s, also participated in Fauvism, as did the Dutchman Kees van Dongen, who applied the style to depictions of the fashionable society of Paris. Fauvism was for most of these artists a transitional, learning stage.

By 1908 a revived interest in Paul C'elaine's vision of the order and structure of nature had led them to reject the turbulent emotionalism of Fauvism in favour of the logic of Cubism. Matisse alone pursued the course he had pioneered, achieving a sophisticated balance between his own emotions and the world he painted. Cubism "The art of painting original arrangements composed of elements taken from conceived rather than perceived reality. '' Guillaume Apollinaire, The Beginnings of Cubism, 1912. After Cubism, the world never looked the same again: it was one of the most influential and revolutionary movements in art. The Spaniard Pablo Picasso and the Frenchman Georges Braque splintered the visual world not wantonly, but sensuously and beautifully with their new art. They provided what we could almost call a God's-eye view of reality: every aspect of the whole subject, seen simultaneously in a single dimension.

The main influence for this art form probably came from C'elaine's style of reducing forms to their essential planes and geometric shapes. The Cubist movement in painting was developed by Picasso and Braque around 1907 and became a major influence on Western art. The artists chose to break down the subjects they were painting into a number of facets, showing several different aspects of one object simultaneously. The work up to 1912 is known as Analytical Cubism, concentrating on geometrical forms using subdued colors. The second phase, known as Synthetic Cubism, used more decorative shapes, stencilling, collage, and brighter colors. It was then that artists such as Picasso and Braque started to use pieces of cut-up newspaper in their paintings.

An early 20 th-century school of painting and sculpture in which the subject matter is portrayed by geometric forms without realistic detail, stressing abstract form at the expense of other pictorial elements largely by use of intersecting often transparent cubes and cones. C'elaine influenced cubism, the highly influential visual arts style of the 20 th century that was created principally by Picasso and Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro and refuting time-honoured theories of art as the imitation of nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented a new reality in paintings that depicted radically fragmented objects, whose several sides were seen simultaneously. this has been collected from various resources on the net...

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Research essay sample on Vincent Van Gogh Early 20 Th Century

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