DOCSLIB.ORG

Revisedimp&Postcurrheathcote07

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Revisedimp&Postcurrheathcote07 SIXTH CLASS: STILL LIFE I. INTRODUCTION In today’s class we are going to examine two examples of still life painting. Does anyone remember what type objects are often found in still life paintings? Fruit, vegetables, meat, flowers, books, clocks, chinaware, silverware, glassware, bottles, pipes, fabrics, etc. (If time permits, show students different examples of still life painting from an art history text or an art magazine.) What do these objects have in common? They are all small enough to fit on a table, and they are all motionless. Can anyone make up a definition of a still life painting? An arrangement of non-moving objects. These are typically shown close up. Who knows what the term "composition" means in art? The arrangement of shapes, lines and colors in a painting. Still life painting, because it focuses on a few objects at close range, is an easy type of art in which to study how an artist puts a picture together, i.e., how he or she arranges its composition. Impressionist and Post-Impressionist artists were attracted to still life painting, each for his own reasons and each with a somewhat different result. Before revealing today's artworks, let's get our eyes ready for looking. II. EYE EXERCISES VI. STILL LIFE PAINTING A. Vase of Roses Artist - Vincent van Gogh – Dutch (l853-l890) Year Painted - l890 Medium - oil on canvas Props - poster of painting; white paper and colored pencils, crayons or Craypas for each child; green vase; a pink or white rose (either fabric or real) for each student in the class; a green cloth or large piece of construction paper for the background. Activities - Arranging a still life; sketching a still life BACKGROUND INFORMATION (for the teacher) Van Gogh painted Vase of Roses in early May, l890 a few months before he took his own life. Our painting is part of a group of still lifes that the artist completed at the mental asylum in Saint-Rémy right before leaving for Auvers in the north of France. After van Gogh’s long mental breakdown between mid-February and late April, 1890, he painted 11 canvases in 16 days, an extraordinary burst of energy and creativity. He painted two canvases of irises--we study the one in the Metropolitan Museum of Art in the first level Learning to Look course--and two of roses. Each pair contains one painting in a horizontal format and the other in a vertical format. They represent van Gogh at the height of his artistic powers. As the artist himself remarked, "And those last days at St. Rémy I still worked as in a frenzy. Great bunches of flowers, violet irises, big bouquets of roses...." In a letter to his brother Theo on May l3, l890, he described how at that moment he felt able to paint untroubled by psychic illness. "I tell you, I feel my head is absolutely calm for my work, and the brush strokes come to me and follow each other logically." Sadly, this period of mental tranquility did not last. DIALOGUE SUGGESTIONS (for classroom presentation) Show students van Gogh's Vase of Roses without revealing its creator. Tell students that we saw another painting by this same artist in the last class. Who remembers his name? Vincent van Gogh (Students find it easier to identify van Gogh's pictures by his distinctive style of painting more than almost any other artist.) Last year we also looked at a still life by Van Gogh. Does anyone remember the flowers he used in that painting? Irises What does van Gogh show in the still life we are looking at today? A vase of flowers. Can you identify these flowers? They are roses. What does the rose symbolize? Love Can anyone find any rosebuds? Point them out. What might they stand for? A new beginning, new life. The name of this painting is Vase of Roses. It was done in l890 and is one of eleven large paintings that van Gogh did in the mental asylum at St. Rémy between the end of April and May l6. This is an amazing creative effort. Of these eleven paintings, four were still lifes of flowers, two of irises and two of roses. Here is the horizontal version of Van Gogh’s Vase of Roses. How many roses does van Gogh depict in the Metropolitan Museum of Art’s version of this still life? Too many to count. Over 40 flowers! What covers the most space in this picture? The roses They extend almost to the top of the canvas and to each side. They are presented on a splendid, large scale. What feeling does this great mass of flowers create? One of energy, abundance, movement, vibration What two colors interest van Gogh most here and where do you find them? Green and pink. There are several shades of green: the light yellow-green of the background, the forest green of the faience vase, and the deeper green of the leaves. There are also several shades of pinkish-white: the roses and the tabletop. Do you know what happens to colors when exposed to sunlight for a long time? They fade. In this case, the roses were once pinker but the pigment faded. They were never very pink, however, because the artist referred to them as white once in a letter. They were probably closer to the color of the rose at the far left. The tabletop also appears pinker at the edges where the canvas has been protected from the light by the frame. What other colors has van Gogh used? Red, blue, yellow and purple, as well as black and white. Do you think the colors in this painting clash or harmonize? They harmonize. Because only two colors predominate, they create a soft, subdued, peaceful effect. Into what two shapes has van Gogh divided the background? Two unequal rectangles of the green backdrop and the pinkish table. Is the space in this painting shallow or deep? Very shallow There is little sense of depth and little shading. What prevents the roses from appearing to topple over? Hint: what balances the roses in the vase? Van Gogh has painted fallen leaves and bloom on the table as a counterweight to the flowers in the vase. They also don't appear top-heavy because the blooms cover almost the entire center space of the picture. What shape do the roses in the vase form? Almost a perfect circle. Where else do you find circular shapes and curved lines repeated? In the individual flowers and in the outline of the vase. All these curved lines create a rhythmic quality that make the roses seem as if they are still growing in nature. What other type lines add to the feeling of energy? Many of the leaves form sharp jagged or zigzag lines. How has van Gogh painted the leaves to make them appear even sharper? He has outlined them. What colors has the artist used for these outlines? Blue and green Where else do you see outlines? Around the edge of the vase and in some of the roses to describe their petals. Do you think this painting was done quickly or slowly? Very quickly yet with assurance. It is wrong to imagine van Gogh painting like a madman. He painted with great energy and intensity, but he was not able to paint at all when he suffered one of his attacks of mental illness. Here van Gogh seems relatively calm and sure of himself. How many brush strokes did he use to paint the flowers and leaves on the table? Count them. Eight strokes make up the leaves on the left and nineteen constitute the blossom and leaves on the right. Do you think the bouquet of real roses that van Gogh arranged in order to paint it looked like the finished picture? Why or why not? (Let your students discuss the role of the artist's imagination and vision for a while. Make sure to point out to them some of the ways that the painted version was different from the real bouquet by asking supplemental questions.) What is missing from the stems of the roses? Thorns! (If you are doing the still life recreation with fabric flowers, it would be helpful to bring in at least one live rose in order to point out how the rose petals are arranged and what the leaves and thorns look like.) In a bouquet this size, would all the stems be able to reach the vase in order to get water? Which probably wouldn't? The flowers in the top left corner seem too far away from the vase for their stems to reach the water. If this were true, they would die in a day or two. What emotion does this painting make you feel? Energy, joy, happiness, beauty Earlier in his career Van Gogh wrote to explain why he painted: “…I have walked this earth for thirty years, and, out of gratitude, want to leave some souvenir in the shape of drawings or pictures—not made to please a certain taste in art, but to express a sincere human feeling. So this work is my aim…” ACTIVITY: RE-CREATING A STILL LIFE Re-creating a still life helps reinforce the point that van Gogh's painting is not a totally realistic description of a bouquet of flowers, but rather emphasizes artistic concerns such as the balance of colors and shapes and lines. Hand each student a flower. Have them come up one at a time and place it in a green vase.
Load more

Recommended publications
  • Recording of Marcel Duchamp’S Armory Show
    Recording of Marcel Duchamp’s Armory Show Lecture, 1963 [The following is the transcript of the talk Marcel Duchamp (Fig. 1A, 1B)gave on February 17th, 1963, on the occasion of the opening ceremonies of the 50th anniversary retrospective of the 1913 Armory Show (Munson-Williams-Procter Institute, Utica, NY, February 17th – March 31st; Armory of the 69th Regiment, NY, April 6th – 28th) Mr. Richard N. Miller was in attendance that day taping the Utica lecture. Its total length is 48:08. The following transcription by Taylor M. Stapleton of this previously unknown recording is published inTout-Fait for the first time.] click to enlarge Figure 1A Marcel Duchamp in Utica at the opening of “The Armory Show-50th Anniversary Exhibition, 2/17/1963″ Figure 1B Marcel Duchamp at the entrance of the th50 anniversary exhibition of the Armory Show, NY, April 1963, Photo: Michel Sanouillet Announcer: I present to you Marcel Duchamp. (Applause) Marcel Duchamp: (aside) It’s OK now, is it? Is it done? Can you hear me? Can you hear me now? Yes, I think so. I’ll have to put my glasses on. As you all know (feedback noise). My God. (laughter.)As you all know, the Armory Show was opened on February 17th, 1913, fifty years ago, to the day (Fig. 2A, 2B). As a result of this event, it is rewarding to realize that, in these last fifty years, the United States has collected, in its private collections and its museums, probably the greatest examples of modern art in the world today. It would be interesting, like in all revivals, to compare the reactions of the two different audiences, fifty years apart.
    [Show full text]
  • The Chester Dale Collection January 31, 2010 - January 2, 2012
    Updated Monday, May 2, 2011 | 1:38:44 PM Last updated Monday, May 2, 2011 Updated Monday, May 2, 2011 | 1:38:44 PM National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 National Gallery of Art, Press Office 202.842.6353 fax: 202.789.3044 From Impressionism to Modernism: The Chester Dale Collection January 31, 2010 - January 2, 2012 Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation and all other information as required(*) utilizing the order form at the end of this page. Digital images will be sent via e-mail. Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted. File Name: 3063-001.jpg Title Title Section Raw File Name: 3063-001.jpg Henri Matisse Henri Matisse The Plumed Hat, 1919 Display Order The Plumed Hat, 1919 oil on canvas oil on canvas Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) Title Assembly The Plumed Hat Overall: 47.7 x 38.1 cm (18 3/4 x 15 in.) framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Title Prefix framed: 65.9 x 58.1 x 5.7 cm (25 15/16 x 22 7/8 x 2 1/4 in.) Chester Dale Collection Chester Dale
    [Show full text]
  • Edgar Degas French, 1834–1917 Woman Arranging Her Hair Ca
    Edgar Degas French, 1834–1917 Woman Arranging her Hair ca. 1892, cast 1924 Bronze McNay Art Museum, Mary and Sylvan Lang Collection, 1975.61 In this bronze sculpture, Edgar Degas presents a nude woman, her body leaned forward and face obscured as she styles her hair. The composition of the figure is similar to those found in his paintings of women bathing. The artist displays a greater interest in the curves of the body and actions of the model than in capturing her personality or identity. More so than his posed representations of dancers, the nude served throughout Degas’ life as a subject for exploring new ideas and styles. French Moderns McNay labels_separate format.indd 1 2/27/2017 11:18:51 AM Fernand Léger French, 1881–1955 The Orange Vase 1946 Oil on canvas McNay Art Museum, Gift of Mary and Sylvan Lang, 1972.43 Using bold colors and strong black outlines, Fernand Léger includes in this still life an orange vase and an abstracted bowl of fruit. A leaf floats between the two, but all other elements, including the background, are abstracted beyond recognition. Léger created the painting later in his life when his interests shifted toward more figurative and simplified forms. He abandoned Cubism as well as Tubism, his iconic style that explored cylindrical forms and mechanization, though strong shapes and a similar color palette remained. French Moderns McNay labels_separate format.indd 2 2/27/2017 11:18:51 AM Pablo Picasso Spanish, 1881–1973 Reclining Woman 1932 Oil on canvas McNay Art Museum, Jeanne and Irving Mathews Collection, 2011.181 The languid and curvaceous form of a nude woman painted in soft purples and greens dominates this canvas.
    [Show full text]
  • 1874 – 2019 • Impressionism • Post-Impressionism • Symbolism
    1874 – 2019 “Question: Why can’t art be beautiful instead of fascinating? Answer: Because the concept of beautiful is arguably more subjective for each viewer.” https://owlcation.com/humanities/20th-Century-Art-Movements-with-Timeline • Impressionism • Dada • Post-Impressionism • Surrealism • Symbolism • Abstract Expressionism • Fauvism • Pop Art • Expressionism • Superrealism • Cubism • Post-Modernism • Futurism • Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter • Post-Impressionism is an art movement that developed in the 1890s. It is characterized by a subjective approach to painting, as artists opted to evoke emotion rather than realism in their work • Symbolism, a loosely organized literary and artistic movement that originated with a group of French poets in the late 19th century, spread to painting and the theatre, and influenced the European and American literatures of the 20th century to varying degrees. • Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth- century modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. • Expressionism is a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. ... Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. • Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture.
    [Show full text]
  • An Art Miscellany for the Weary & Perplex'd. Corsham
    An art miscellany for the weary & perplex’d Conceived and compiled for the benefit of [inter alios] novice teachers by Richard Hickman Founder of ZArt ii For Anastasia, Alexi.... and Max Cover: Poker Game Oil on canvas 61cm X 86cm Cassius Marcellus Coolidge (1894) Retrieved from Wikimedia Commons [http://creativecommons.org/licenses/by-sa/3.0/] Frontispiece: (My Shirt is Alive With) Several Clambering Doggies of Inappropriate Hue. Acrylic on board 60cm X 90cm Richard Hickman (1994) [From the collection of Susan Hickman Pinder] iii An art miscellany for the weary & perplex’d First published by NSEAD [www.nsead.org] ISBN: 978-0-904684-34-6 This edition published by Barking Publications, Midsummer Common, Cambridge. © Richard Hickman 2018 iv Contents Acknowledgements vi Preface vii Part I: Hickman's Art Miscellany Introductory notes on the nature of art 1 DAMP HEMs 3 Notes on some styles of western art 8 Glossary of art-related terms 22 Money issues 45 Miscellaneous art facts 48 Looking at art objects 53 Studio techniques, materials and media 55 Hints for the traveller 65 Colours, countries, cultures and contexts 67 Colours used by artists 75 Art movements and periods 91 Recent art movements 94 World cultures having distinctive art forms 96 List of metaphorical and descriptive words 106 Part II: Art, creativity, & education: a canine perspective Introductory remarks 114 The nature of art 112 Creativity (1) 117 Art and the arts 134 Education Issues pertaining to classification 140 Creativity (2) 144 Culture 149 Selected aphorisms from Max 'the visionary' dog 156 Part III: Concluding observations The tail end 157 Bibliography 159 Appendix I 164 v Illustrations Cover: Poker Game, Cassius Coolidge (1894) Frontispiece: (My Shirt is Alive With) Several Clambering Doggies of Inappropriate Hue, Richard Hickman (1994) ii The Haywain, John Constable (1821) 3 Vagveg, Tabitha Millett (2013) 5 Series 1, No.
    [Show full text]
  • Ktjarncbj2uc8e6t.Pdf
    ODILON REDON (French: 1840-1916) Profile Against a Blue Ground Pastel on paper: 17 3/8 x 12 1/8 inches 44.2 x 30.8 cm. Signed lower right: ODILON REDON Executed 1899 The present work, which belonged to the artist’s son Arï Redon, is an important new addition to the corpus of pastels by Redon depicting single figures in profile. Acquired years before Arï’s death by the art historian and dealer Mira Jacob, it thus did not form part of the very large donation of Odilon Redon paintings, pastels, prints and drawings bequeathed by Arï and his wife to the French State. (On the latter subject, see R. Bacou, Musée du Louvre: La donation Arï et Suzanne Redon , Paris, 1984.) The model for this image of wide-eyed innocence is in all likelihood Arï himself, whose birth in 1889 (especially after the heart-rending loss, some two and a half years earlier, of Redon’s other son Jean) inspired in the artist a newfound optimism and sense of wonder. Such physiognomic features as the small, upturned nose and retracted chin—emphasized here by the profile format—are certainly apparent in other pastels and drawings from roughly the same time that are known to depict Arï. Comparable likenesses in pastel are Portrait d’Arï en rouge (Wildenstein 34; private collection), which is signed and dated 1894; Arï au col marin of c. 1895 (Wildenstein 37; Musée d’Orsay, Paris); and the slightly later Arï (Wildenstein 39; private collection). On our pastel’s original backing is an inscription in red chalk, OR 1899 , which may have been written by Arï Redon.
    [Show full text]
  • Ggcataloguefall2014.Pdf
    Guarisco Gallery Claude-Emile Schuffenecker French, 1851-1934 Le Square (au Luxembourg), 1885 43’’ x 49 ½’’ fr., o/c 1 Guarisco Gallery has recently opened a 2nd Location at Ritz Carlton, DC NEW at Four Seasons, Georgetown 1120 22nd St., NW | Washington, DC 20037 2828 Pennsylvania Ave., NW | Washington, DC 20037 202-333-8533 202-847-3098 Monday - Sunday Monday - Sunday www.guariscogallery.com 2 ARMAND GUILLAUMIN, one of the founding members of the Impressionists, was the most loyal to the tenets of the movement–a bright palette, vigorous brushwork, contemporary subject, and en plein air painting. Guillaumin has recently been “rediscovered” and acknowledged for his importance within the Impressionist movement and as a major influence on Post-Impressionists including van Gogh, Paul Signac, and Henri Matisse. Here, Guillaumin creates an intimate portrait of his wife in pastel. The use of pastel was popular in the 17th century, but was re- introduced by the Impressionists in the 19th century, most notably by Edgar Degas, Mary Cassatt, and Henri Toulouse Lautrec. Armand Guillaumin La Femme de l’artiste French, 1841-1927 23’’ x 20’’ fr. Signed L.R., Pastel 3 44 Pointillism The Post-Impressionist period was a hothouse of varied artistic philosophies, including Pointillism, Symbolism, and Fauvism. Branching from Impressionism, Seurat and Signac developed this technique in 1886. Pointillism, also known as divisionism, is a mode of painting in which small, distinct dots of pure color are applied in patterns to form an image. Unlike the academic artists who blended colors on the palette before applying paint to canvas, this new modern movement relied on the ability of the eye and mind of the viewer to blend color spots into clearer and more defined forms.
    [Show full text]
  • Drawings from the Kröller-Müller National Museum, Otterlo Edited by William S
    Drawings from the Kröller-Müller National Museum, Otterlo Edited by William S. Lieberman Author Lieberman, William S. (William Slattery), 1924-2005 Date 1973 Publisher The Museum of Modern Art ISBN 0870702971 Exhibition URL www.moma.org/calendar/exhibitions/2541 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO van Gogh: Man with a Pipe. 1882. Lithographic crayon and pencil, heightened with gouache, ij}4 x 10% inches DRAWINGS FROM THE KROLLER-MULLER NATIONAL MUSEUM, OTTERLO Edited by William S. Lieberman The Museum of Modern Art, New York Copyright © 1973 by The Museum of Modern Art All rights reserved The Museum of Modern Art 11 West 53 Street New York, New York 10019 Library of Congress Catalog Card Number: 72-95074 isbn: 0-87070-297-1 Designed by James Wageman Printed in the United States of America COVER van Gogh: Cypresses with Two Women. 1889. Reed pen and ink, chalk, and touches of oil, 12^x9^ inches SCHEDULE This catalogue is published in conjunction with an exhibition sponsored by OF THE the Netherlands Ministry of Cultural Affairs, Recreation, and Social Welfare EXHIBITION and shown in the United States and Canada under the auspices of The Inter national Council of The Museum of Modern Art. The Museum of Modern Art, New York May 24-August 19, 1973 The Art Institute of Chicago September 8-October 21, 1973 The National Gallery of Canada, Ottawa November 9, 1973-January 1, 1974 Marion Koogler McNay Art Institute, January 13-March 3, 1974 San Antonio CONTENTS 6 ACKNOWLEDGMENTS 7 FOREWORD by Rudolf W.
    [Show full text]
  • The Graphic Works of Odilon Redon Pdf, Epub, Ebook
    THE GRAPHIC WORKS OF ODILON REDON PDF, EPUB, EBOOK Odilon Redon,Alfred Werner | 240 pages | 28 Oct 2005 | Dover Publications Inc. | 9780486446592 | English | New York, United States The Graphic Works of Odilon Redon PDF Book Edmund Dulac. James Carroll rated it it was amazing Jan 28, Other editions. In the lower left, the fronds of a palm-like plant can be seen, and the sky is full of thick clouds. University of Toronto Press , J rated it really liked it Feb 05, Add to Wishlist. Odilon Redon was born in Bordeaux , Aquitaine , to a prosperous family. Influences on Artist. Edmund Sullivan. Tara rated it it was amazing Feb 18, During his early years as an artist, Redon's works were described as "a synthesis of nightmares and dreams", as they contained dark, fantastical figures from the artist's own imagination. Carlos rated it it was ok Mar 25, Sign up now. Withdrawn in manner, conventional in dress, and virtually unknown for the first half of his career, the French painter and graphic artist drew upon his own startlingly complex and fantastic inner world to create haunting works that reveal an existence beyond that of everyday vision. He transformed common subjects and models into strange, eerie images and exhibited a predilection for spiders and serpents, skeletons and skulls, gnomes and monsters--all rendered in a distinctive style of controlled, delicate realism. Friedrich Perzynski. The next day I let the other source run, that of imagination, through the recollection of the forms and I was then reassured and appeased. His childhood was solitary, and he described days spent "watching the clouds pass, following with infinite pleasure the magical brightness of their fleeting variations.
    [Show full text]
  • 國立臺灣師範大學藝術史研究所 碩 士 論 文 National Taiwan Normal
    國立臺灣師範大學藝術史研究所 碩 士 論 文 National Taiwan Normal University Graduate Institute of Art History Master’s Degree Thesis A Fellowship of Pictorial Dialogue: Maurice Denis’ Hommage à Cézanne 指導教授 ：諾斯邦博士 Advisor: Dr. Valentin Nussbaum 研究生：林雅雯 Graduate student: Lydia Ya-Wen Lin 中華民國 102 年 1 月 January 2013 TABLE OF CONTENTS Abstract………………………………………………………………………………..ii Chinese abstract………………………………………………………………………..v Acknowledgements………………………………………………………………….viii List of Figures…………………………………………………………………………x Introduction…………………………………………………………………………....1 CHAPTER ONE: Maurice Denis’ group portrait, the group portraiture and homage painting as subject matter in nineteenth-century France Introduction………………………………………………………………………6 Background……………………………………………………………………....7 Group portraiture in the nineteenth-century France…………………………….16 Conclusion……………………………………………………………………....29 CHAPTER TWO: Cézanne’s still life Compotier, verre et pommes Introduction……………………………………………………………………..33 A theoretical circumstance in a dealer’s gallery………………………………..33 Cézanne’s still life………………………………………………………….......35 Gauguin’s appropriation of Cézanne……………………………………………40 Conclusion………………………………………………………………….......49 CHAPTER THREE: The relationship of the chosen figures in Denis’ group Introduction……………………………………………………………………..52 Paul Gaugion, Syntheticism and the foundation of the Nabis..............................53 Odilon Redon…………………………………………………………………...57 The dealer-critic system — Durand-Reul, Vollard and Mellerio……………….65 Conclusion………………………………………………………………….......69 Conclusion……………………………………………………………………………75
    [Show full text]
  • Dreams in Art History Daisy Yangyang Xu1
    Advances in Social Science, Education and Humanities Research, volume 559 Proceedings of the 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021) Dreams in Art History Daisy Yangyang Xu1 1 Yue Kong Pao Senior Secondary School, Shanghai, China Email:[email protected] ABSTRACT This paper analyses and investigates oneiric art throughout the history by studying five iconic artists—Hieronymus Bosch (c.1450-1516), William Blake (1757-1827), Francisco de Goya (1746-1828), Odilon Redon (1840-1916) and Salvador Dalí (1904-1989) —and their works in depth, discovering the evolution of the theme Dream. The theme is put in different contexts—both Eastern and Western—and focuses on Western art from the Renaissance to the Avant-gardes in the 20th century. The techniques applied, art styles, artistic intentions and the lives of the artists are also explored. Keywords: oneiric art, Art History, paintings, Romanticism, Symbolism, Surrealism, dreams 1. INTRODUCTION he had where he was a butterfly, which felt so real that it made him wonder whether he was a man dreaming of Dreams have been a source of inspiration and being a butterfly or a butterfly dreaming of being a man. stimulus of creativity throughout human history. Visions Despite being a popular motif in literature, dreams in emanate from artists’ minds spurring diverse motives and visual art were less common and appeared later in interpretations, as well as the use of different techniques, Chinese Art History. For instance, in the Ming Dynasty, producing a fascination effect on the viewers. This paper the poet and artist Tang Yin (1470-1523) touched upon focuses on the evolution of oneiric art through the the subject, painting Sleeping in Shade (Tong Yin Qing analysis of six artworks from different periods made by Meng Tu), The Thatched Hut of Dreaming of an Immortal iconic artists with a remarkable influence on Art History.
    [Show full text]
  • Press Release
    Press release The Guggenheim Museum Bilbao presents on May 12, 2017 Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec and Their Contemporaries Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec, and Their Contemporaries • Dates: May 12–September 17, 2017 • Curator: Vivien Greene, Solomon R. Guggenheim Foundation - This is an exceptional opportunity to view rarely seen, late 19th-century French avant- garde works from private European collections. The exhibition focuses on the radical innovations of the Neo-Impressionists, Symbolists, and the Nabis, and the revival of printmaking in the 1890s. It includes artists such as Paul Signac, Odilon Redon, Pierre Bonnard, and Henri de Toulouse- Lautrec, who carefully crafted compositions that are anti-naturalistic in form and execution. - The artworks featured in this exhibition, mirroring a time of political and social upheaval, embrace utopian conceptions of shimmering seascapes and landscapes; introspective, fantastical visions; and stark, incisive portrayals of contemporary life. The Guggenheim Museum Bilbao is pleased to present Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec, and Their Contemporaries, an exhibition that analyzes the Parisian art scene, underscoring the most important French avant-gardes of the late 19th century, particularly the Neo- Impressionists, Symbolists, and Nabis. The leading exponents of these movements are represented in the show by approximately 125 paintings, pastels, drawings, and prints. Fin-de-siècle Paris was a time and place of political upheaval and cultural transformation, during which sustained economic crisis and social problems spurred the rise of radical left-wing groups and an attendant backlash of conservatism that plagued France throughout the late 1890s. In 1894, President Sadi Carnot fell victim to an anarchist assassination, while the nationally divisive Dreyfus Affair began with the unlawful conviction for treason of Alfred Dreyfus, an officer of Alsatian and Jewish descent.
    [Show full text]