The Similarities Between John Sloan And John Constable

Although the two drawings have the same subject matter, the treaty signing at Medicine Creek Lodge, they both have different appearances, meanings, and viewpoints. The point of view of two different cultures focuses contrast on the art. The only thing which can be said about the two renditions of

While the painters after the Impressionism period were collectively called the “Post-Impressionists,” the label is quite reductive. Each artist had their own unique style, from Seurat’s pointillism to Signac’s mosaic-like divisionism, Cezanne, Émile Bernard, and others. These artists were all connected in that they were reacting to the aesthetics of Impressionism. Two of the more influential painters from this movement were Vincent van Gogh and Paul Gauguin, who aimed to connect with viewers on a deeper level by access Nature’s mystery and meaning beyond its superficial, observable level. However, each artist’s approach to achieving this goal was different. In close examination of Vincent van Gogh’s Self-Portrait (Dedicated to Paul Gauguin) and Paul Gauguin’s Self-Portrait with Portrait of Émile Bernard (Les misérables), one may clearly see the two artists’ contrasting styles on display.

Painters were not interested in making a picture realistic-they did not use perspective. The more important figures in the painting were frequently made larger than all the others, and often the element of landscape was omitted completely. Members of the Holy Family for example, would be painted against a background of shining gold, which signified the heavens.

The painting depicts a singular mountain with trees and abstract landmasses in the foreground. The trees are placed in such a way that they seem to echo the shape of the mountain. This is an example of Cézanne’s attempt to created a structured composition out of the scenes that he observes in nature. Cézanne was not depicting nature as it was, but rather he was, as he called it, making “a construction after nature” (Stokstad,1013). This is one idea that lead Cézanne away from the impressionists, who were more concerned with reproducing on canvas exactly what their eyes perceived. Another thing that was different between Cézanne’s style and the impressionists’ was the way that he applied paint to the canvas. For example, in this painting, the trees and land in the foreground are loosely painted in; their forms are created by an amalgamation of colored blotches. The blotches of color often bleed into each other, and the forms that they represent begin to dissolve. The image is flattened by the ambiguous forms in several spot in this painting, creating a disruption in the illusionistic space and bring the viewer’s focus on the inherently flat surface of the painting. The most effective technique that Cézanne employs in his attempt at depicting space in this painting is atmospheric perspective. Coloring the mountain with the same shades of blue

John Taylor’s work of art, Treaty Signing at Medicine Creek Lodge, may seem to be portraying very much alike affair, however, there are numerous differences from Howling Wolf’s work of genius, Treaty Signing at Medicine Creek Lodge. I believe that Taylor’s work tends to be more figurative as it represents the naturalistic of substance which can be distinguished clearly. Wolf’s art piece turned out to be more conceptual such that the objects expresses more on the non realistic. In addition, Taylor’s work can also be described as more of a sketch form possibly used by pen or pencil. On the other hand, Wolf's drawings are more of freedom of lines where it seems more of children's art work. The landscapes of these two are definitely differ from

Davies images are usually shot from a very high vantage point, this creates vast and extremely detailed views. His images will often juxtapose natural environments with some industrial elements. He wants to create highly detailed and crafted images to convey a sense of reality in his work, but also be made in an understated way. These ideas will allow the viewer to draw their own personalized conclusions. He also gives political and historical context next to his images, but doesn’t show his own views on the changing urban landscapes. One of his famous set of images is called ‘Durham Coalfield’. These images are showing the exploration of the impact of the industry working on coalfields. The set of 33 images is an excellent example of how the composition and black and white in his images makes us perceive them in a whole different way. Image number 14 of the 33 in the set is probably the most famous. The cranes in the background of the image reminds the viewer what he is trying to portray to his audience.

The next piece is that of artist Henri Rousseau, born on May 21, 1844, in Laval, France. Rousseau’s painting “Suburban Scene” is termed a landscape painting. This painting was chosen particularly because the subject of a housing community and the artwork represents our world of real estate. The painting depicts a peaceful neighborhood, showing a lake and people fishing, as a real estate company we are matching individuals to communities as portrayed in the portrait.

The illustration in #7.16, Trestle Work, Promontory Point, Salt Lake Valley by Andrew J.Russell is an image of a railroad track connecting two paths with men working on the site. Russell believed that the west was a great location to conduct his work because of the openness and freedom that was out there. Also to observe the natural scenery that it has to offer, which many have traveled to obtain such freedom and visual aspects of nature. As for #7.17, El Eaches or Three Brothers by Carleton E. Watkins is a description of a landscape winter forest by a lake, his purpose for this image was to capture the viewer's attention with the richness and the detail of the forest. For an individual to absorb the composition of the mountains in the picture

During this period, Humphrey did a series of remarkably natural portraits of children. He worked in many media including “oils on canvas, on board, on masonite; charcoal, chalk, pastel, and pencil drawings; watercolours; gouache; ink and watercolour; and acrylic gouache.” The interpretation of his subject matter of “sombre children and deserted Saint John streets, as a constructed chronicle of life in the Maritimes informed by the tenets of social realism” Gemey Kelly states that “Humphrey denied any overt interest in the social-realist agenda, arguing that his work had to do with formal and not political or social concerns.” Humphrey was “self-actualized not as a regionalist or social realist painter, but as an artist associated with the advanced art of his time as he understood it: the modernism of the School of Paris, of Czanne and Matisse.” He continually referred to his work as "universal" and to himself as a "modern," using the word as a noun as was common at the time. As we can see in figure 4, 5 and 6, He mainly draws people and landscape of Saint John where he lives. Although he did not intend to be a regionalist, people assume him as regionalist because a lot of his painting is from Saint

The first American group of painters, The Hudson School of Romantic Landscapes, was lead by Thomas Cole, who was born in 1801 in England. He went to Philadelphia and Ohio as a traveling portrait painter in 1819. In addition, he traveled to Europe where he painted many Italian subjects, and later many of the scenes in his paintings came from his European studies. He died in 1848 at the age of 47. Cole’s artwork represents the Romantic style of painting, especially in his famous work The Oxbow (Fulwider 618). In the life and time around Thomas Cole, three things stand out. The major themes in Cole’s artwork, what was romantic about the Hudson River School’s art, and why landscape was a national religious symbol for Americans.

In spite of this, a few photos with high detail, Henry McArdle’s The Battle of San Jacinto and Private Gustavus Sohon’s Crossing the Hellgate, were reduced to a size that didn’t properly support the authors’ written investigation of the artwork. In addition, certain photos were excluded from the book; Fanny Palmer’s illustration Across the Continent, though described, is nowhere to be seen for instance. It is frustrating to read about an artwork with no representation of it; it is further aggravating to discover that the designer of the book placed photos pages away from the writing in an inconsistent way throughout the

The texture of the canvas works very well with the subject matter portrayed in the painting. The grassy hill side and the leaves of the trees are especially complimented by the canvas. It makes the leaves feel like they are slightly moving, this combined with the lack of detail itself the leaves. This is contrasted nicely with the very detailed renderings of the trunks and branches of the trees, the

In the early nineteenth century landscape artists painted scenes of America’s east side near the Hudson River, but by the mid-nineteenth century Landscape artists tended to paint portraits of the newly explored western territory and the South American tropics to show a more extravagant side of the United States.

In many of Thomas Cole’s pictures he depicts the mountains as wells as a river next to it. In this picture it shows the right side being bright and light and the left being darker which gives a viewer some sort of meaning such as past and future. Cole believed art was more than a picture but words a whole story to inspire many of more artists after him. A painting of Northampton Massachusetts after a storm and the day clears up. The landscape of America has a by encompassing a union of the picturesque.

One of Vincent Van Gogh’s most world renowned paintings is his landscape oil painting Starry Night. The painting displays a small town underneath an unusual yet still extremely beautiful night sky. In this night sky, Van Gogh utilizes an array of colors that blend well together in order to enhance the sky as a whole. The town is clearly a small one due to the amount of buildings that are present in the painting itself. In this small town most of the buildings have lights on which symbolize life in a community. Another visual in Starry Night is the mountain like figures that appear in the background of the illustrious painting. Several things contribute to the beauty of Van Gogh’s painting which are the painting’s function, context, style, and design. Van Gogh’s utilization of these elements help bring further emphasis to his work in Starry Night.