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Difference between revisions of "Adding Pigment"

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==Impressionism==
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Impressionism started in the early 1870’s as an interval of time between Realism and Symbolism. Artists were detached from objectivity and based their ideals upon sensation. Ideals such as expression of sensations derived from nature without any preconceived knowledge of nature. Many artists used short brush strokes and unblended vivid colors focusing in the effects of light. This style gave many works of art in this period a sense of spontaneity and modernity. <ref name="Art Criticism">Venturi, L. (1941). The Aesthetic Idea of Impressionism. The Journal of Aesthetics and Art Criticism, 1(1), 34-45. doi:10.2307/426742..</ref>
 
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Impressionism was founded by revolutionary artists such as started with Claude Monet, Camille Pissarro and Pierre Renoir, among others. Accused by critics as sketches or impressions and not finished art this artist painted the appearance of reality. Impressionist were too fond of free imagination and rejected objectivity and intellectualism. Throughout history individuals have questioned whether Impressionists based their style only on sensation. Those who contend that their division of colors followed the scientific theories of Chevereu, Maxwell, and Rood. However, a letter written by Pissarro in 1886 explains that the idea of applying scientific theories to paintings originated with Seurat. This started a new style in reaction against Impressionism, called Neo-Impressionism or Pointillism.
 
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===[[Claude Monet]]===
 
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It can be said that Monet is the father of Impressionism with his new technique of immediate perception. We can admire this technique in a painting in the Worcester Art Museum called Water Lilies (1908). You can easily recognize Monet’s “Water Lilies” as he painted approximately 250 of them. Each painting is unique, but we can see how can his idea ever-changing image, the indefinite and freely painted forms also point the way toward the more expressive painting techniques. He painted at different times of the day the same landscape. In the Worcester canvas we observe how he captures the light and pastel colors possibly indicating that it is early morning. He created this close up of the pond as he was observing with the cluster of lilies in the left bottom corner of the painting. Is easy to recognize them as lilies with his use brushstrokes of warm pinks and pastel green. In the rest we can find an impression of a reflection of a tree with scattered lilies on it.  By capturing the moment as quick as possible the pond seems realistic but with not as clearly defined contour lines. "My only merit lies in having painted directly in front of nature, seeking to render my impressions of the most fleeting effects” said Monet in a letter to Evan Charteris. ​<ref name="Jstor">Francis, H. (1960). Claude Monet Water Lilies. The Bulletin of the Cleveland Museum of Art, 47(8), 192-198.</ref>
 
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As Monet, Pissarro used high vivid colors and illumination in landscapes. Camille Jacob Pissarro one of the greatest Impressionist. His paintings were dominated with bluish-green color and small alternating patches. One great example of this is The Boulevard Montmartre at Night (1897) currently located at The National Gallery, London.  With the use of paint strokes and intense colors Pissarro leaves use with an impression of a boulevard. The use of dark shades of blue and Cadmium yellow lets us know that it is a night view.  The Boulevard Montmartre as he saw it from his hotel room at the Hôtel de Russie on the corner of the Boulevard des Italiens and the Rue Drouot. Another thing Monet and Pissarro did in common was producing a series of paintings of this view at different times of the day. He was quite impressed with the boulevard and every single object in it. He ended up creating an appearance of aerial view of this boulevard with unclear figures and bright colors, a key Impressionist theme.
 
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While Pissarro depicted cities and locals, Renoir focused in the topics of rural life. Renoir contented that the chief point in any artistic problem was irregularity.  Pierre Renoir paintings were mainly people in different situations. However, w e can observe that during this impressionist period, how in most of his paintings he barely outlined characters and objects in nature. As he saw art and nature beauty in been irregular. A great example of this is when Renoir worked with Monet at the Grenouillère specially Bathers at La Grenouillère. We can see in that the painting gives an impression of water and people as bathers. The details are not precise because of the way he used the brushstrokes of vivid color. This instantaneous brushstrokes and vivid colors fit perfectly in the Impressionistic style.
 
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Art

Revision as of 14:56, 30 May 2017

Adding Pigment

by akgiacoman

Adding Pigment
Milestone Image
Your Project Page Picture Caption

Abstract

"A London Full of Colour" is a project that aims to portray a different reality of the daily life of London citizens. By picturing different scenarios in their reality comparing them to the reality that I choose for each one of them, the audience will be able to admire the beauty and uniqueness of the city from a different perspective. I have gone to international poetry competitions and taken painting and photography courses before arriving to college. This project will combine my favorite forms of expression through art and hopefully brighten the days of the viewers. The main message I wish to convey is that every single one of us chooses the reality they want to live in, meaning that the same place could be seen as a prison for our souls or a wonderland for our imagination. The goal of this Milestone, however, is to paint five oil/pastel surrealistic paintings of the most emblematic sites in London exaggerating the use of bright colors instead of the usual gray palette that is seen due to the weather.

Introduction


I suggest you save this section for last. Describe the essence of this project. Cover what the project is and who cares in the first two sentences. Then cover what others have done like it, how your project is different. Discuss the extent to which your strategy for completing this project was new to you, or an extension of previous HUA experiences.

As you continue to think about your project milestones, reread the "Goals" narrative on defining project milestones from the HU2900 syllabus. Remember: the idea is to have equip your milestone with a really solid background and then some sort of "thing that you do". You'll need to add in some narrative to describe why you did the "thing that you did", which you'd probably want to do anyway. You can make it easy for your advisors to give you a high grade by ensuring that your project milestone work reflects careful, considerate, and comprehensive thought and effort in terms of your background review, and insightful, cumulative, and methodical approaches toward the creative components of your project milestone deliverables.

Section 1: Background



Artistic Component


Despite the widespread social anxiety caused by the fog, many artists found in it a source of inspiration from a wide broad of perspectives. For some fog represented a looming presence, alive and malignant.[1] The majestic London soon became a city where "no beautiful thing, on which art and trouble has been bestowed, can long keep its beauty"[2].


Artists From the Past


Being a city immersed in its own history, London has seen a lot happening through its streets, and digging in the past, it is easy to find a more gloomy, mysterious and heavy perspective of the fog, enraptured in all kinds of art. The following representatives were chosen because of their imminent and irrefutable success in their disciplines.


???


Art


Monet


Art


Charles Dickens


Literature


Sir Arthur Conan Doyle


Literature


Fred Morley


Photography


Artists from the present


In more contemporary times, leaving behind the dense, yellow and deadly fog as an everyday scene, London is a setting that enraptures less mystery and more and more magic. More color and a wider variety of emotions are displayed in all forms of art.


Pete Rumney


Art



Art


J.K. Rowling


Literature


=

Section 2: Deliverable


Additional Image


In this section, provide your contribution, creative element, assessment, or observation with regard to your background research. This could be a new derivative work based on previous research, or some parallel to other events. In this section, describe the relationship between your background review and your deliverable; make the connection between the two clear.

Subsection 1


...use as many subsections or main sections as you need to support the claims for why what you did related to your Background section...

Subsection 2


...and so on and so forth...

Gallery

  • Caption 1

  • Caption 2

  • Caption 3

  • Caption 4



Conclusion


In this section, provide a summary or recap of your work, as well as potential areas of further inquiry (for yourself, future students, or other researchers).

References

Add a references section; consult the Help page for details about inserting citations in this page.

Attribution of Work

For milestones completed collaboratively, add a section here detailing the division of labor and work completed as part of this milestone. All collaborators may link to this single milestone article instead of creating duplicate pages. This section is not necessary for milestones completed by a single individual.

External Links

If appropriate, add an external links section

Image Gallery

If appropriate, add an image gallery

[[Category:Art Projects]]
<br> [[Category:2017]]

See the Category Help page for assistance. Don't include irrelevant category tags in your Milestone page (like the Template category!)



  1. ↑ CORTON, C. L. (2015). LONDON FOG: the biography. S.l.: BELKNAP HARVARD. pp 1.
  2. ↑ Anon., "The Empire's Capital", Review if Reviews, June 1900, p. 594.
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