Monet and American Impressionism
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THE ARTIST's EYES a Resource for Students and Educators ACKNOWLEDGEMENTS
THE ARTIST'S EYES A Resource for Students and Educators ACKNOWLEDGEMENTS It is with great pleasure that the Bowers Museum presents this Resource Guide for Students and Educators with our goal to provide worldwide virtual access to the themes and artifacts that are found in the museum’s eight permanent exhibitions. There are a number of people deserving of special thanks who contributed to this extraordinary project. First, and most importantly, I would like to thank Victoria Gerard, Bowers’ Vice President of Programs and Collections, for her amazing leadership; and, the entire education and collections team, particularly Laura Belani, Mark Bustamante, Sasha Deming, Carmen Hernandez and Diane Navarro, for their important collaboration. Thank you to Pamela M. Pease, Ph.D., the Content Editor and Designer, for her vision in creating this guide. I am also grateful to the Bowers Museum Board of Governors and Staff for their continued hard work and support of our mission to enrich lives through the world’s finest arts and cultures. Please enjoy this interesting and enriching compendium with our compliments. Peter C. Keller, Ph.D. President Bowers Museum Cover Art Confirmation Class (San Juan Capistrano Mission), c. 1897 Fannie Eliza Duvall (1861-1934) Oil on canvas; 20 x 30 in. Bowers Museum 8214 Gift of Miss Vesta A. Olmstead and Miss Frances Campbell CALIFORNIA MODULE ONE: INTRO / FOCUS QUESTIONS 5 MODULE FOUR: GENRE PAINTING 29 Impressionism: Rebels and Realists 5 Cityscapes 30 Focus Questions 7 Featured Artist: Fannie Eliza Duvall 33 Timeline: -
Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, Merely
Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, merely latent in Turner and Delacroix (the Chapel of the Holy Angels at Saint- Sulpice), tried to turn itself into a system under Edouard Manet, MM. Camille Pissarro, Renoir, Claude Monet, Sisley, Cezanne and Ludovic Piette. These painters are distinguished by their extraordinary sensitivity to their own reactions to color, by a tendency to decompose tones, and by their attempts to imbue their canvases with intense light: In their choice of subjects, they proscribe history, anecdote and dream, and, as their working method, they promote rapid and direct execution from nature: If we want the word “Impressionism” to have any reasonably precise meaning, we have to reserve this term for the “luminists” alone: This immediately eliminates Miss Mary Cassatt, MM. Degas, Forain and Raffaelli, whom a mistaken public included under the same heading as MM. Camille Pissarro and Claude Monet: although it is true that all of them sought the sincere expression of modern life, scorned the traditions of the schools, and exhibited together. Let us recall the first Impressionist exhibitions: Given the innate stupidity of the public, the idea of choosing between well-finished paintings and wild daubings left them dumbfounded: They found it crazy that a color should produce its complementary, ultramarine giving yellow, red giving blue-green, since all the most learned Physicists would have affirmed in scholarly tones that the definitive effect of darkening all the colors of the spectrum is virtually -
Grade 2, Lesson 4, Monet
1 Second Grade Print Les Arceaux Fleuris, Giverny, 1913 (The Flowering Arches) By Claude Monet (1840-1926) Technique: oil on canvas Size: 36 ¾” x 36 ¼” Collection: The Phoenix Art Museum Art Style and Genre: French Impressionist-landscape OBJECTIVES: ✦The students will be introduced to the work of Claude Monet. ✦The students will be introduced to Monetʼs vital role in the development of Impressionist art style. ✦The students will describe how Impressionist artist visualize the effects of light and atmosphere on natural forms. ✦The students will describe how Monetʼs garden at Giverny inspired his work. ✦The students will analyze Monetʼs use of complementary colors to add visual interest in the landscape. ✦The students will create an outdoor garden scene that demonstrates Impressionistic technique. ABOUT THE ARTIST: Claude Monet was born in Paris, France, in 1840. He moved with his family to the port city of Le Havre in 1845. By age fifteen, he had established himself as a local caricaturist. It was during this time that he attracted the attention of French landscape artist Eugene Boudin. From Boudin, Monet was introduced to plein-air (open air) painting and the pure beauty found in nature. His aspiration to pursue a life as an artist confirmed, Monet left for Paris against his familyʼs wishes. At age twenty, Monet served in the French army and requested duty in an African regiment. Exposed to intense light and color while in North Africa, the artist once remarked that they “...contained the germ of my future researches.” In 1862, Monet convinced his father of his commitment to painting and obtained his permission to study art in Paris at the atelier (studio) of painter/teacher Charles Gleyre. -
Masterpiece: Monet Painting in His Garden, 1913 by Pierre Auguste Renoir
Masterpiece: Monet Painting in His Garden, 1913 by Pierre Auguste Renoir Pronounced: REN WAUR Keywords: Impressionism, Open Air Painting Grade: 3rd Grade Month: November Activity: “Plein Air” Pastel Painting TIME: 1 - 1.25 hours Overview of the Impressionism Art Movement: Impressionism was a style of painting that became popular over 100 years ago mainly in France. Up to this point in the art world, artists painted people and scenery in a realistic manner. A famous 1872 painting by Claude Monet named “Impression: Sunrise ” was the inspiration for the name given to this new form of painting: “Impressionism” (See painting below) by an art critic. Originally the term was meant as an insult, but Monet embraced the name. The art institutes of the day thought that the paintings looked unfinished, or childlike. Characteristics of Impressionist paintings include: visible brush strokes, open composition, light depicting the effects of the passage of time, ordinary subject matter, movement, and unusual visual angles. As a technique, impressionists used dabs of paint (often straight out of a paint tube) to recreate the impression they saw of the light and the effects the light had on color. Due to this, most Impressionistic artists painted in the “plein-air”, French for open air. The important concept for 3 rd grade lessons is the Impressionism movement was short lived but inspired other artists from all over, including America, to begin using this new technique. Each of the artists throughout the lessons brought something new and a little different to advance the Impressionistic years. (i.e. Seurat with Neo-Impressionism and Toulouse-Lautrec with Post-Impressionism). -
Impressionist Adventures
impressionist adventures THE NORMANDY & PARIS REGION GUIDE 2020 IMPRESSIONIST ADVENTURES, INSPIRING MOMENTS! elcome to Normandy and Paris Region! It is in these regions and nowhere else that you can admire marvellous Impressionist paintings W while also enjoying the instantaneous emotions that inspired their artists. It was here that the art movement that revolutionised the history of art came into being and blossomed. Enamoured of nature and the advances in modern life, the Impressionists set up their easels in forests and gardens along the rivers Seine and Oise, on the Norman coasts, and in the heart of Paris’s districts where modernity was at its height. These settings and landscapes, which for the most part remain unspoilt, still bear the stamp of the greatest Impressionist artists, their precursors and their heirs: Daubigny, Boudin, Monet, Renoir, Degas, Morisot, Pissarro, Caillebotte, Sisley, Van Gogh, Luce and many others. Today these regions invite you on a series of Impressionist journeys on which to experience many joyous moments. Admire the changing sky and light as you gaze out to sea and recharge your batteries in the cool of a garden. Relive the artistic excitement of Paris and Montmartre and the authenticity of the period’s bohemian culture. Enjoy a certain Impressionist joie de vivre in company: a “déjeuner sur l’herbe” with family, or a glass of wine with friends on the banks of the Oise or at an open-air café on the Seine. Be moved by the beauty of the paintings that fill the museums and enter the private lives of the artists, exploring their gardens and homes-cum-studios. -
Claude Monet Sofie Maxová 7.C Biography
Claude Monet Sofie Maxová 7.C Biography ◦ Claude Monet was a famous French painter ◦ His work gave a name to the art movement Impressionism, which was concerned with capturing light and natural forms ◦ He was born on November 14, 1840, in Paris, France ◦ His full name was Oscar Claude Monet ◦ He is one of the most famous painters in the history of art and his works can be seen in museums around the world ◦ Monet struggled with depression, poverty and illness throughout his life, he died in 1926. PHOTOS OF THE ARTIST Monet‘s influences in art ◦ At the beginning Monet became well-known for his caricatures and for drawing many of the town's residents. ◦ After meeting Eugene Boudin, a local landscape artist, Monet started to explore the natural world in his work. ◦ Boudin introduced him to painting outdoors, or plein air painting, which would later become the cornerstone of Monet's work. ◦ In 1859, Monet decided to move to Paris to pursue his art. There, he was strongly influenced by the paintings of the Barbizon school and enrolled as a student at the Academie Suisse. ◦ The society's April 1874 exhibition proved to be revolutionary. One of Monet's most noted works in the show was "Impression, Sunrise" (1873). Critics used the title to name the distinct group of artists "Impressionists,“. Interesting facts about Monet ◦ His parents called him Oscar to distinguish him from his father who was also named Claude ◦ His father did not support his artistic endeavors and was unwilling to financially support him, leading to Monet’s suicide attempt ◦ He created series of paintings where he explored the effects of rain, mist, smoke, and steam on landscapes and objects ◦ Monet’s favourite model was his first wife, Camille Doncieux, she is the subject of around 32 paintings ◦ At an early age, Monet developed a love of drawing. -
Current Issues in the Conservation of Contemporary Art and Its Non-Traditional Materials
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials Sandra Hong Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Art and Materials Conservation Commons, Contemporary Art Commons, Interactive Arts Commons, and the Interdisciplinary Arts and Media Commons Recommended Citation Hong, Sandra, "Current Issues in the Conservation of Contemporary Art and its Non-traditional Materials" (2018). MA Theses. 15. https://digitalcommons.sia.edu/stu_theses/15 This Thesis - Open Access is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko Monica Peacock A thesis submitted in conformity with the requirements for the Master’s Degree in Art Business Sotheby’s Institute of Art 2018 12,043 Words High or Low? The Value of Transitional Paintings by Jackson Pollock, Willem de Kooning, and Mark Rothko By: Monica Peacock Abstract: Transitional works of art are an anomaly in the field of fine art appraisals. While they represent mature works stylistically and/or contextually, they lack certain technical or compositional elements unique to that artist, complicating the process for identifying comparables. Since minimal research currently exists on the value of these works, this study sought to standardize the process for identifying transitional works across multiple artists’ markets and assess their financial value on a broad scale through an analysis of three artists: Jackson Pollock, Willem de Kooning, and Mark Rothko. -
Postmoderní Interiérový Design V 70. a 80. Letech 20. Století: Rozdíly a Paralely Mezi Československem a Itálií
UNIVERZITA KARLOVA KATOLICKÁ TEOLOGICKÁ FAKULTA Ústav dějin křesťanského umění Sofya Komarova Postmoderní interiérový design v 70. A 80. letech 20. století: rozdíly a paralely mezi Československem a Itálií Bakalářská práce Vedoucí práce: PhDr. Milan Pech, Ph.D. Praha 2020 Prohlášení 1. Prohlašuji, že jsem předkládanou práci zpracovala samostatně a použila jen uvedené prameny a literaturu. 2. Prohlašuji, že práce nebyla využita k získání jiného titulu. 3. Souhlasím s tím, aby práce byla zpřístupněna pro studijní a výzkumné účely. V Praze dne 12.07.2020 Sofya Komarova Anotace Tato bakalářská práce se zabývá postmoderním designovým nábytkem a interiéry 80. - 90. let 20. století v Itálii a Československé republice. Prozkoumá, jak italské řemeslo změnilo svět designu nábytku, zejména jak se odráželo v Československém nábytkovém designu v letech 1970 až 1980 na příkladech výstav z obou zemí. Klíčová slova Design, postmodernismus, nábytek, interiér, 70. - 80. léta 20. století, Itálie, Československo, výstava. Abstract Postmodern interior design between the 1970s - 1980s: Differences and parallels between Czechoslovakia and Italy. This bachelor thesis deals with postmodern design furniture and interiors of the 1970s - 1990s in Italy and the Czechoslovak Republic. It explores how Italian craft has changed the world of furniture design, especially how it was reflected in Czechoslovak furniture design in the 1970s to 1980s on examples of exhibitions from both countries. Key words Design, postmodernism, furniture, interior, ‘70s – ‘80s of the 20th -
American Impressionism Treasures from the Daywood Collection
American Impressionism Treasures from the Daywood Collection American Impressionism: Treasures from the Daywood Collection | 1 Traveling Exhibition Service The Art of Patronage American Paintings from the Daywood Collection merican Impressionism: Treasures from the Daywood dealers of the time, such as Macbeth Gallery in New York. Collection presents forty-one American paintings In 1951, three years after Arthur’s death, Ruth Dayton opened A from the Huntington Museum of Art in West Virginia. the Daywood Art Gallery in Lewisburg, West Virginia, as a The Daywood Collection is named for its original owners, memorial to her late husband and his lifelong pursuit of great Arthur Dayton and Ruth Woods Dayton (whose family works of art. In doing so, she spoke of her desire to “give surnames combine to form the moniker “Daywood”), joy” to visitors by sharing the collection she and Arthur had prominent West Virginia art collectors who in the early built with such diligence and passion over thirty years. In twentieth century amassed over 200 works of art, 80 of them 1966, to ensure that the collection would remain intact and oil paintings. Born into wealthy, socially prominent families on public display even after her own death, Mrs. Dayton and raised with a strong appreciation for the arts, Arthur and deeded the majority of the works in the Daywood Art Gallery Ruth were aficionados of fine paintings who shared a special to the Huntington Museum of Art, West Virginia’s largest admiration for American artists. Their pleasure in collecting art museum. A substantial gift of funds from the Doherty only increased after they married in 1916. -
American Art New York | November 19, 2019
American Art New York | November 19, 2019 AMERICAN ART | 39 2 | BONHAMS AMERICAN ART | 3 American Art at Bonhams New York Jennifer Jacobsen Director Aaron Anderson Los Angeles Scot Levitt Vice President Kathy Wong Specialist San Francisco Aaron Bastian Director American Art New York | Tuesday November 19, 2019 at 4pm BONHAMS BIDS INQUIRIES ILLUSTRATIONS 580 Madison Avenue +1 (212) 644 9001 Jennifer Jacobsen Front Cover: Lot 15 New York, New York 10022 +1 (212) 644 9009 fax Director Inside Front Cover: Lots 47 and 48 bonhams.com [email protected] +1 (917) 206 1699 Inside Back Cover: Lot 91 [email protected] Back Cover: Lot 14 PREVIEW To bid via the internet please visit Friday, November 15, 10am - 5pm www.bonhams.com/25246 Aaron Anderson Saturday, November 16, 10am - 5pm +1 (917) 206 1616 Sunday, November 17, 12pm - 5pm Please note that bids should be [email protected] Monday, November 18, 10am - 5pm summited no later than 24hrs prior to the sale. New Bidders must REGISTRATION also provide proof of identity when IMPORTANT NOTICE SALE NUMBER: 25246 submitting bids. Failure to do this Please note that all customers, Lots 1 - 101 may result in your bid not being irrespective of any previous processed. activity with Bonhams, are CATALOG: $35 required to complete the Bidder LIVE ONLINE BIDDING IS Registration Form in advance of AUCTIONEER AVAILABLE FOR THIS SALE the sale. The form can be found Rupert Banner - 1325532-DCA Please email bids.us@bonhams. at the back of every catalogue com with “Live bidding” in the and on our website at www. -
Paintings, Photographs, Prints, and Drawings from the Col/Ection of the Art Institute of Chicago, December 9, T989· March T 1990 in Gallery 14
his critical response to the annual» The hie 01 our city is rich In poetiC and marvelous subjects We are enveloped and Sleeped as though If! an Ion exhibition of 1846, french poet Charles atmosphere oj the marvelous, but we do not notice it ,. CH~Rl15 S.~VO[L)IRf ·S,IJ.O~ D( 1&\6' Baudelaire lamented the number of nudes and mythotcgical and historical scenes, which out· numbered paintings that celebrated "the pageant of fashionable life and the thousands of floating existences" of modern Paris. In his view, the quick pace of the city, the bustling of crinolined skirts, and the stop and go of horse-<lrawn om· nibuses were the truths of contemporary life and the onty worthwhile subjects for the modern artist. Whereas in the decade aOer Baudelaire's n oma~ the conet",,, of the pronouncement, the painter's brush may have bicentennial of the french Revolution. been abte to give the impression of urban life, The Art Institute of Chicago has se· the photographer's camera required long expo lected .....orks from its collections of sures, making it difficult to capture the move· Twentieth.(entury Painting. European ment and rich detail of the boulevard parade. It Painting. Photography, Prints and would be two more decades before photography Drawings, and Architecture that cele· could stop the motion of the man on the street. brate france, her land and landmarks. The rising popularity of photographic imagery and her people. The pictures in this was the focus of Baudelaire's famous diatribe of e ~ hib i tion are by artists who .....ere. -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.