Fauves Attributes In Art

Rigaud’s color scheme conveys Louis XIV’s wealth and splendor. The simple, yet rich, primary colors are very Baroque. The curtain that fills the top of the painting is vibrant red and gold and Louis XIV’s robes and the furniture are deep blue and gold. These colors are reflected again in the fabric covering the ground. The colors are strong, splendid, and dramatic, reminding the viewer they are looking at a powerful man. Conversely, Boucher’s palette is almost cloying. He uses the sweet pastels very common in Rococo art. The colors are still luxurious, but more playful and less serious. They create a sense of fun and lightheartedness rather than power. Each of these color schemes reflects the intentions of the artist and interests of the time period. Rigaud’s work shows Louis XIV’s power and wealth and Boucher’s shows the joy of Madame de Pompadour’s opulent

Additionally, while analyzing the portrait of Lady Frances Knowles the importance of color is also used however it is to express different meanings. It is easy to see that the artist of this piece finds color very important due to the vast color pallet he uses in order to contrast the colors

Impressionism is an artistic style of painting that originated in France in the 1870s. This style of painting attempts to capture an experience or emotion opposed depicting a scene accurately. Every impressionistic painter has a distinct method of rendering as well as their own distinct set of qualities that reflect the artist themselves. For instance, The Basket Chair by Berthe Morisot and The Orange Trees by Gustave Caillebotte are two impressionist works of art of oils on canvas that contrast in many ways. These two paintings will be compared side by side with an in depth approach comparing the artist’s personal status in society, modernism’s role in the piece, and the execution of composition.

The poem "The Harlem Dancer" is specifically about a women who dances. This is evident from the first two lines "applauding youth laughed with young prostitutes and watched her perfect, half clothed body sway." Despite the fact that the woman is a dancer the speaker finds beauty in her. He compares her voice to "blended flutes" given her an elegant qualities that seems to contradict the environment she is in. The speaker notices the way in which she carries herself on stage, with grace and calm. Even though she's a dancer she carries her self with pride, and in a way this shines more of her beauty. In line 10 reality finally sets in for the speaker when he acknowledges the "tossed coins in praise". He had been so mesmerized by the woman's elegance

As we all know, color is the voice for the artist 's sentiment. It makes up the appearance of a picture. Color is the decisive factor in depths of the two-dimensional plane of the artwork, making the viewer feel physically and mentally attracted, or the context of things - the phenomenon the author wants to present. Colors have been around for a long time, but there is not a common definition for colors. And perhaps humans are one of the luckiest creatures that can identify colors. Often, the recipient 's eye knows a myriad of colors and colors that always change based on the relationship between light and perspective. In art, color creates a sense of

The colors that are used in Falguiere’s oil painting help to create a mood using an intense earthy color palette with various analogous colors. The analogous colors that are used in the work of art vary between yellow and red, they are more natural to represent colors skin tone and dark clothing and a more idealistic space. The colors have a great intensity with the red being very deep and even the yellows and browns of the flesh are very bright. The bright colors bring focus to the foreground and the darker more muted colors are in the background. This is done by the artist to add focus to the composition. The pattern with color is that the foreground is lighter and brighter so lighter colors are used, with the audience they are more muted

The art world has been host to a vast menagerie of talent, intellect, and creativity for about as long as human culture has existed. It has grown, developed, and changed just as humanity has. Naturally, with such an impressively expansive history, various avenues of art are visited time and time again by new artists. Artists seek not only to bring their own personal flavor and meaning to timeless concepts, but to find new ways to approach them. While not every single creator and craftsman can make such a great impact on art or the world, their efforts have given birth to some truly magnificent and unique works. In an effort to create a more meaningful understanding, as well a deeper appreciation, of the nuances, techniques, and design choices employed in these attempts, a comparison will be made between Edouard Vuillard’s Interior With a Screen (1909-1910) and Henri Matisse’s Blue Nude (Souvenir of Biskra) (1907). In this essay, each artist’s approach to the subject of the female nude will be closely analyzed, compared, and contrasted, as will their styles of painting, handling of visual elements, and their use of the principles of design. An interpretation of each work and what the artist intended when creating it will also be provided.

The feel of the picture lends to emotions of unease and recognition of sexual innuendo. The colors of the painting are vibrant, but for the most part are dark. The heavy tones and shades of the colors are well balanced throughout the piece. It can be noted that the brightest shades of color are found on areas depicting the actual woman. In areas that are understood as landscape, the colors are more dreary and create a sense of instability. Even Hess observes that the

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.

Artists use colour as a form of expression, this has become a common aspect of contemporary art. Colour today in art is not usually regarded as an embellishment for form but rather as the essential material from which form is created. This changing role of colour has keynoted a general revolution in human thinking, leading to greater visual perceptions. (Sloane, n.d.) Early as 1966, Gerhard Ritcher has created paintings purely based on colour charts, to some this was a complete “indifferent composition” to produce, however it was seen to perform like a “great classical masterpiece” (Lubbock, 2011)

When one looks at the painting White light, an array of colors spring off the canvas and permeate one’s senses. The primary and intense color of red is softened by the primary colors of yellow and blue. While the tertiary color of green subtly takes its place among the hues to give some balance. The perceivable tones of black and white add value and seem to give some

“Primitivism” was a cultural attitude that arose in Europe during the late 19th and 20th century in opposition to the increasingly decadent and materialistic European culture. Rather than an artistic movement, “primitivism” is a European conception of foreign civilizations and lands as “simple”, less developed, and naive. This is an important distinction to make, because “primitivism” was defined in the eyes of the Europeans who saw foreign civilizations as unsophisticated, indicating that the concept of “primitivism” is heavily biased in the view of the Europeans. Paul Gauguin and Henri Matisse were two artists that were highly influenced by the concept of “primitivism,” and some similarity can be depicted in their works such as the use of female nudes, vivid colors, and artistic techniques. However, their definition and methods of achieving “primitivism” differ heavily, due to the fact that the vagueness of “primitivism” allows it to be a self-defined concept. These similarities and differences can be seen through the two works of art The Spirit of the Dead Watching by Paul Gauguin, and The Blue Nude by Henri Matisse, and the way they depict women in each of the pieces.

One of the connections this article has to the 1920s is that artists during this time period were more flamboyant and extravagant with their artwork ans it was filled with colors of all sorts, like Cugat’s painting of Daisy with the stream of green light coming out of her eye.

The Large Bathers, 1898-1905 is the largest of Paul Cezanne's pictures and has been cited as an example of his ideal of composition and his restoration of classic monumentality after its lapse during the nineteenth century. Cézanne’s great achievement forced the young Picasso, Matisse, and many other artists to contend with the implications of Cézanne’s art. This essay will discuss how both Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon are considered as inspired by and breaking free of The Large Bathers.

Mira Alphrette Meyers. 18. Female. African American. Born and raised in Miami. Unaffiliated with any religion. Fully capable. Lower middle class. Married parents. Heterosexual. Single. College freshman. Usually when I share these facts with people, they begin to play their own movie of who they think I am. However, these surface level facts only offer a limited view, a snapshot, of who I really am. While these are details play a part of who I am, they are not my sole being.