Pointillism-Powerpoint.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

What is Pointillism? PointillismModern day is a techniquetelevision in screenspainting whereand tinycinema dots screens of pure colouruse the are same applied technique. to a Manycanvas. tiny The pixels patterns form thatto formcreate with an overallthe tiny dotsimage, build but up close to create up it is anhard image. to see a clear image. The Art of Science Instead of the paint being blended and mixed on a palette, the paint is directly applied to the canvas. The fact that the dots are so close together cause the colours to appear blended. Look carefully Thisat theis paintingthe science ‘The Circus’ by Georges Seurat.of Theoptics. dots are so close together, they seem to blur into different tones. The Creation of Pointillism The French artist Georges Seurat studied the application of colour and he created pointillism in the 1880s. He worked with other artists, and together they became known for this new artistic style. A Sunday Afternoon on the Island of La Grande Jatte Georges Seurat Look carefully to see the tiny dots that make up the whole image. Click the image for a closer look. In the Time of Harmony; the Golden Age is Not in the Past it is in the Future Paul Signac Signac loved the coast and often painted beach scenes. Can you see any similarities with Seurat’s painting? Click the image for a closer look. Côte de la Citadelle Maximillian Luce Luce painted a wide range of different subjects, but mostly he painted landscapes. Discuss how Luce creates a sense of perspective with a limited choice Click the image for a closer look. of colours. The Harvest Charles Angrand Angrand was a great friend of Seurat and imitated his pointillist style. Click the image for a closer look. .

Copy Link

Recommended publications

Heather Buckner Vitaglione Mlitt Thesis
P. SIGNAC'S “D'EUGÈNE DELACROIX AU NÉO-IMPRESSIONISME” : A TRANSLATION AND COMMENTARY Heather Buckner Vitaglione A Thesis Submitted for the Degree of MLitt at the University of St Andrews 1985 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/13241 This item is protected by original copyright P.Signac's "D'Bugtne Delacroix au n6o-impressionnisme ": a translation and commentary. M.Litt Dissertation University or St Andrews Department or Art History 1985 Heather Buckner Vitaglione I, Heather Buckner Vitaglione, hereby declare that this dissertation has been composed solely by myself and that it has not been accepted in any previous application for a higher degree. I was admitted as a candidate for the degree of M.Litt. as of October 1983. Access to this dissertation in the University Library shall be governed by a~y regulations approved by that body. It t certify that the conditions of the Resolution and Regulations have been fulfilled. TABLE---.---- OF CONTENTS._-- PREFACE. • • i GLOSSARY • • 1 COLOUR CHART. • • 3 INTRODUCTION • • • • 5 Footnotes to Introduction • • 57 TRANSLATION of Paul Signac's D'Eug~ne Delac roix au n~o-impressionnisme • T1 Chapter 1 DOCUMENTS • • • • • T4 Chapter 2 THE INFLUBNCB OF----- DELACROIX • • • • • T26 Chapter 3 CONTRIBUTION OF THE IMPRESSIONISTS • T45 Chapter 4 CONTRIBUTION OF THB NEO-IMPRBSSIONISTS • T55 Chapter 5 THB DIVIDED TOUCH • • T68 Chapter 6 SUMMARY OF THE THRBE CONTRIBUTIONS • T80 Chapter 7 EVIDENCE • . • • • • • T82 Chapter 8 THE EDUCATION OF THB BYE • • • • • 'I94 FOOTNOTES TO TRANSLATION • • • • T108 BIBLIOGRAPHY • • • • • T151 LIST OF ILLUSTRATIONS Plate 1.
[Show full text]
André Derain Stoppenbach & Delestre
ANDR É DERAIN ANDRÉ DERAIN STOPPENBACH & DELESTRE 17 Ryder Street St James’s London SW1Y 6PY www.artfrancais.com t. 020 7930 9304 email. [email protected] ANDRÉ DERAIN 1880 – 1954 FROM FAUVISM TO CLASSICISM January 24 – February 21, 2020 WHEN THE FAUVES... SOME MEMORIES BY ANDRÉ DERAIN At the end of July 1895, carrying a drawing prize and the first prize for natural science, I left Chaptal College with no regrets, leaving behind the reputation of a bad student, lazy and disorderly. Having been a brilliant pupil of the Fathers of the Holy Cross, I had never got used to lay education. The teachers, the caretakers, the students all left me with memories which remained more bitter than the worst moments of my military service. The son of Villiers de l’Isle-Adam was in my class. His mother, a very modest and retiring lady in black, waited for him at the end of the day. I had another friend in that sinister place, Linaret. We were the favourites of M. Milhaud, the drawing master, who considered each of us as good as the other. We used to mark our classmates’s drawings and stayed behind a few minutes in the drawing class to put away the casts and the easels. This brought us together in a stronger friendship than students normally enjoy at that sort of school. I left Chaptal and went into an establishment which, by hasty and rarely effective methods, prepared students for the great technical colleges. It was an odd class there, a lot of colonials and architects.
[Show full text]
Vincent Van Gogh the Starry Night
Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880.
[Show full text]
Daxer & Marschall 2015 XXII
Daxer & Marschall 2015 & Daxer Barer Strasse 44 - D-80799 Munich - Germany Tel. +49 89 28 06 40 - Fax +49 89 28 17 57 - Mobile +49 172 890 86 40 [email protected] - www.daxermarschall.com XXII _Daxer_2015_softcover.indd 1-5 11/02/15 09:08 Paintings and Oil Sketches _Daxer_2015_bw.indd 1 10/02/15 14:04 2 _Daxer_2015_bw.indd 2 10/02/15 14:04 Paintings and Oil Sketches, 1600 - 1920 Recent Acquisitions Catalogue XXII, 2015 Barer Strasse 44 I 80799 Munich I Germany Tel. +49 89 28 06 40 I Fax +49 89 28 17 57 I Mob. +49 172 890 86 40 [email protected] I www.daxermarschall.com _Daxer_2015_bw.indd 3 10/02/15 14:04 _Daxer_2015_bw.indd 4 10/02/15 14:04 This catalogue, Paintings and Oil Sketches, Unser diesjähriger Katalog Paintings and Oil Sketches erreicht Sie appears in good time for TEFAF, ‘The pünktlich zur TEFAF, The European Fine Art Fair in Maastricht, European Fine Art Fair’ in Maastricht. TEFAF 12. - 22. März 2015, dem Kunstmarktereignis des Jahres. is the international art-market high point of the year. It runs from 12-22 March 2015. Das diesjährige Angebot ist breit gefächert, mit Werken aus dem 17. bis in das frühe 20. Jahrhundert. Der Katalog führt Ihnen The selection of artworks described in this einen Teil unserer Aktivitäten, quasi in einem repräsentativen catalogue is wide-ranging. It showcases many Querschnitt, vor Augen. Wir freuen uns deshalb auf alle Kunst- different schools and periods, and spans a freunde, die neugierig auf mehr sind, und uns im Internet oder lengthy period from the seventeenth century noch besser in der Galerie besuchen – bequem gelegen zwischen to the early years of the twentieth century.
[Show full text]
Fauvism (Henri Matisse)  Non-Realistic Colours Are Used but the Paintings Are Seemingly Realistic
Non-Photorealistic Rendering of Images Work Division This project has been dealt with in three phases- Phase 1 Identifying explicit features Phase 2 Verification using viewers Phase 3 Technology(Coding) Phase 1 In this phase we tried to identify the explicit features in a group of paintings belonging to the same period and/or to the same artist. Following are the styles we implemented using image processing tools Fauvism Pointillism Cubism Divisionism Post Impressionism(Van Gogh) Phase 1 Fauvism The subject matter is simple. The paintings are made up of non-realistic and strident colours and are characterized by wild brush work. Phase 1 Pointillism We noticed that the paintings had a lot of noise in them and it looked like they were made by grouping many dots together in a proper way. There’s no focus on the separation of colours. Phase 1 Cubism It looked as if the painting was looked through a shattered glass which makes it look distorted. Phase 1 Divisionism The paintings are made up of small rectangles with curved edges each with a single colour which interact visually. Phase 1 Post Impressionism (Van Gogh) These paintings have small, thin yet visible brush strokes. They have a bright, bold palette. Unnatural and arbitrary colours are used. Phase 2 In this phase we verified the features we identified in phase 1 with other people We showed them a group of paintings belonging to a certain era and/or an artist and asked them to write down the most striking features common to all those paintings. Phase 2 Here are the inferences we made from the statistics collected Fauvism (Henri Matisse) Non-realistic colours are used but the paintings are seemingly realistic.
[Show full text]
Art Planning Based on Pointillism
Maintaining and supporting your child’s learning during school closure Dear Parents / Carers, Thank you for the work done so far and encouraging the children to keep up with it in such difficult circumstances. We know you will all be doing your very best. Below is an outline of some Art planning based on Pointillism. Keep safe and stay in touch. Kind Regards, The Year 3 Team Art Mon Georges Seurat 08.06.21 Read through the PowerPoint about Georges Seurat. If you cannot access the PowerPoint, use a computer/iPad to research Georges Seurat. Tues Pointillism 09.06.21 Read through the PowerPoint about Pointillism. If you cannot access the PowerPoint, use a computer/iPad to research Pointillism. Choose one artist from the following: Georges Seurat, Paul Signac, Maximillian Luce or Charles Angrand and complete the sheet: Pointillism Painter Fact File. You will need access to a computer/iPad so you can research them on the internet. Make sure you choose an artist because you love their artwork. You will be using this artist as inspiration over the next couple of weeks. Wed Pointillism techniques 10.06.21 Watch the video https://www.youtube.com/watch?v=1dyapH_yAPQ, which teaches Pointillism techniques of shading and blending, using felt tip pens and paint. Once you have watched the video, have a go at experimenting with both techniques. If you do not have cotton buds, you could use the end of a paintbrush or pencil. It would be great to see your experimentations so ask your parent or carer to send us a picture of your work via the Year 3 email.
[Show full text]
Modern Art Music Terms
Modern Art Music Terms Aria: A lyrical type of singing with a steady beat, accompanied by orchestra; a songful monologue or duet in an opera or other dramatic vocal work. Atonality: In modern music, the absence (intentional avoidance) of a tonal center. Avant Garde: (French for "at the forefront") Modern music that is on the cutting edge of innovation.. Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Form: The musical design or shape of a movement or complete work. Expressionism: A style in modern painting and music that projects the inner fear or turmoil of the artist, using abrasive colors/sounds and distortions (begun in music by Schoenberg, Webern and Berg). Impressionism: A term borrowed from 19th-century French art (Claude Monet) to loosely describe early 20th- century French music that focuses on blurred atmosphere and suggestion. Debussy "Nuages" from Trois Nocturnes (1899) Indeterminacy: (also called "Chance Music") A generic term applied to any situation where the performer is given freedom from a composer's notational prescription (when some aspect of the piece is left to chance or the choices of the performer). Metric Modulation: A technique used by Elliott Carter and others to precisely change tempo by using a note value in the original tempo as a metrical time-pivot into the new tempo. Carter String Quartet No. 5 (1995) Minimalism: An avant garde compositional approach that reiterates and slowly transforms small musical motives to create expansive and mesmerizing works. Glass Glassworks (1982); other minimalist composers are Steve Reich and John Adams. Neo-Classicism: Modern music that uses Classic gestures or forms (such as Theme and Variation Form, Rondo Form, Sonata Form, etc.) but still has modern harmonies and instrumentation.
[Show full text]
Gli Uomini E Le Cose I
GLI UOMINI E LE COSE I. Figure di restauratori e casi di restauro in Italia tra XVIII e XX secolo Saggi, 7 a cura di Paola D’Alconzo Paola D’Alconzo – docente di Museologia e Restauro presso la Facoltà di Lettere GLI UOMINI E LE COSE C e Filosofia dell’Università degli Studi di Napoli Federico II – dopo aver lavora- to per alcuni anni come restauratrice di dipinti, si è orientata verso il settore della ricerca storica applicata ai temi della tutela normativa, della conservazione e del restauro del patrimonio storico-artistico dell’Italia meridionale. Oltre a diversi studi dedicati a questioni particolari, ha pubblicato L’anello del re. Tutela del patrimonio storico-artistico nel Regno di Napoli (1734-1824) (Edifir, 1999), e Picturæ excisæ. Conservazione e restauro dei dipinti ercolanesi e pompeiani tra XVIII e XIX secolo («L’Erma» di Bretschneider, 2002). Gli interventi raccolti in questo volume hanno come oggetto le attività di tutela e conservazione del patrimonio storico-artistico e archeologico promosse in Italia tra la seconda metà del XVIII secolo e la prima metà del XX, riferite ad opere differenti per cronologia e materiali (dipinti murali e quadri da galleria, sculture medievali e rinascimentali, mosaici, vasi di scavo, interi contesti archeo- logici), con il naturale corollario dei dibattiti teorici e delle affermazioni di meto- do che le accompagnarono. D’Alconzo a cura di Paola Nel titolo, il richiamo a Fernand Braudel riassume il desiderio di tracciare un percorso non astratto, ma ancorato alla realtà degli oggetti e di coloro che nel tempo se ne sono occupati.
[Show full text]
Pablo Picasso (1881-1973) Picasso and Cubism
Module: Art Theory and History for Senior Students Course Code: AVI 4M Artists like Henri Matisse and a group known as the Fauves pushed the use of brilliant colour and impasto texture further than van Gogh had dared and Pablo Picasso took Cezanne's experiments with perspective to the next level. The early twentieth century was a turbulent time of industrialization and violent political upheaval and PICASSO AND CUBISM the art of this era was suitably adventurous. We will Post Impressionists like van Gogh and Cezanne begin our look at this time with the development of set the stage for a new generation of artists to push cubism through the work of Pablo Picasso. the boundaries of art even further. Young artists were inspired by the bold approach of these artists but wanted to go even further in the use of expressive colour, and in the flattening of the pictorial space of painting. Man Ray (1890-1976) © ARS, NY Pablo Picasso. 1933. Gelatin silver print. 35.2 x 27.9 cm (13 7/8 x 11 in.). The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.18). Copy Photograph © The Metropolitan Museum of Art Location :The Metropolitan Three Musicians. 1921. 6’7””x7”33/4”. oil on canvas. Museum of Art, New York, NY, U.S.A. Photo Credit : The Museum of Modern Art, New York. Image copyright © The Metropolitan Museum of Art / Art Resource, NY PABLO PICASSO (1881-1973) Picasso was the child prodigy son of Jose Picasso first visited Paris in 1900, and alter- Ruiz Blasco, a drawing master of Malaga Spain, nated between Paris and Barcelona from 1900-1904.
[Show full text]
Expressionism
Expressionism Expressionism Painting 2017-18 Critique for Project and Research Monday March 5th Learning Objectives: 1. Explore experimental methods with paint and develop authentic gestural brushwork or mark making 2. Make a connection to an Expressionism artist(s) between 1850-1945 a. Collect contextual information b. Perform a formal analysis 3. Develop your theme by adding a source (inspired by the TOK diagram) 4. Make a work of art which showcases authentic mark making and original content Point Distribution out of 100 A. Art Journal 50pts Artwork 50pts Rubrics used: IB Rubric and this document Note: cite your sources, number pages in lower right, date pages upper left, turn journal horizontal __________________________________________________________________________ *Schedule we are going to use Scheduling Note: if you fall behind, then you have homework* Day1-2 Presentation to students on Impressionism to Neo Expressionism. Define new vocabulary. Day 3, 4 Explore and record experimental methods with paint and find your authentic mark. Make a tile to donate to the class. Day 5-8 Decide on an artist to perform contextual and formal analysis. Explain how this artist informs your practice. Mimic a portion of the artist’s work. Day 9-11 Make a page proposing the ‘form’ and ‘content’ of your project in words and pictures Annotate and make connections to a source, which further develops your theme. Day 12-20 Paint Your Final Work – Demonstrate New Skills and new understanding about your theme Document your progress through 3 or more pictures while reflecting on the work’s development Day 21 Reflect on final outcomes and include a picture of the final work.
[Show full text]
GEORGES SEURAT (1859-1891) in the Eighteen Eighties, Georges Seurat Stuns the Seurat Offers the Perfect Solution
ENGLISH Master of pointillism GEORGES SEURAT (1859-1891) In the eighteen eighties, Georges Seurat stuns the Seurat offers the perfect solution. He replaces art world with his paintings composed of countless the quick brushstroke of the impressionists dotted – pointillist – brushstrokes. During his with the deliberate dot and the hasty practice of short career, he dies at the early age of thirty-one, working en plein air with the concentrated, time- Seurat paints some fifty works in this new style, consuming studio work. dubbed neo-impressionism by writer and critic Félix Fénéon, which quickly spreads among a group Seurat shares his love of light with the impressionists of young artists. and his subjects are also in keeping with his Seurat develops his revolutionary pointillist predecessors. Like them, he selects themes from technique based on the latest scientific theories modern life in Paris and its surroundings. His in the field of colour and light. His paintings are seascapes, the majority of his painted oeuvre, composed of a combination of miniscule dots and have long been a favourite theme in painting. stripes in complementary colour contrasts. The But unlike the impressionists, Seurat strives unmixed touches of paint blend together in the to depict the world around him reduced to its eye of the observer and create a vibrating effect essence with his new painting method. In that of shimmering light. respect, he finds his young contemporaries from symbolist circles on his side. They also seek a new Seurat is the right person at the right time. Many style with which to capture the timeless essence of his contemporaries are tired of impressionism, of reality.
[Show full text]
Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection
UNIVERSITY OF WYOMING ART MUSEUM 2009 Art Movements Referenced : Artists from France: Paintings and Prints from the Art Museum Collection OVERVIEW Sarah Bernhardt. It was an overnight sensation, and Source: www.wikipedia.org/ announced the new artistic style and its creator to The following movements are referenced: the citizens of Paris. Initially called the Style Mucha, (Mucha Style), this soon became known as Art Art Nouveau Les Nabis Nouveau. The Barbizon School Modernism Art Nouveau’s fifteen-year peak was most strongly Cubism Modern Art felt throughout Europe—from Glasgow to Moscow Dadaism Pointillism to Madrid — but its influence was global. Hence, it Les Fauves Surrealism is known in various guises with frequent localized Impressionism Symbolism tendencies. In France, Hector Guimard’s metro ART NOUVEau entrances shaped the landscape of Paris and Emile Gallé was at the center of the school of thought Art Nouveau is an international movement and in Nancy. Victor Horta had a decisive impact on style of art, architecture and applied art—especially architecture in Belgium. Magazines like Jugend helped the decorative arts—that peaked in popularity at the spread the style in Germany, especially as a graphic turn of the 20th century (1890–1905). The name ‘Art artform, while the Vienna Secessionists influenced art nouveau’ is French for ‘new art’. It is also known as and architecture throughout Austria-Hungary. Art Jugendstil, German for ‘youth style’, named after the Nouveau was also a movement of distinct individuals magazine Jugend, which promoted it, and in Italy, such as Gustav Klimt, Charles Rennie Mackintosh, Stile Liberty from the department store in London, Alphonse Mucha, René Lalique, Antoni Gaudí and Liberty & Co., which popularized the style.
[Show full text]