DOCSLIB.ORG

Art Planning Based on Pointillism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read 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. Thurs Pointillism techniques continued 11.06.21 Using the techniques learned yesterday (Wednesday) complete the sheet: Pointillism Techniques. You could use felt tips or paint, or both. You can choose one technique such as shading or blending, or both! Think carefully about the colours you choose. Click on the link https://www.tigercolor.com/color- lab/color-theory/color-harmonies.htm which will help you on choosing colours. It would be great to see your finished piece of work so ask your parent or carer to send us a picture via the Year 3 email. Fri On Tuesday, you chose a pointillism artist to research about. Using the internet, research famous paintings by that artist and pick a favourite piece of work 12.06.21 by them. You are going to see this artwork to complete your own piece of art in the style of pointillism. You are going to copy a section not all of the painting. For example. If this was your painting, you are going to choose just a small section of it. I have drawn a black rectangle on the section I want to copy. You can then sketch that part of the painting using pencil. Make sure you press down lightly. Next, choose whether you are going to use paint or felt tip pens to colour in your sketch. Look carefully at the painting to see whether the artist used shading, blending or both techniques. Take your time and have fun! It would be great to see your finished piece of work so ask your parent or carer to send us a picture via the Year 3 email. .
Load more

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]
  • 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]
  • 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]
  • New Directions in Neo-Impressionism (London, 20 Nov 10)
    New Directions in Neo-Impressionism (London, 20 Nov 10) Dr Tania Woloshyn et al Call for Papers CONFERENCE: Saturday 20 November 2010 VENUE: Richmond, the American International University in London, UK Proposals of approx.250 words due by 1 July to: [email protected] 2010 marks the centenary of the death of Neo-Impressionist Henri-Edmond Cross (1856-1910) as well as the release of a new book of collected essays which re-evaluate the work of Georges Seurat (1859-1891), 'Seurat Re-Viewed' (edited by Paul Smith; published by Penn State Press, 2010). It is therefore a fitting time to reconsider the artistic production and contextual themes around Neo-Impressionism, a much maligned movement that has often been described as a series of artistic, political and scientific failures. Its new direction after the death of Seurat in 1891, under the self-declared leadership of Paul Signac (1863-1935), has been posited less as a renewal towards alternative but equally radical luminous experiments than a progressive degeneration from its original conception. Specifically, the works of Cross, Signac and Théo van Rysselberghe (1862-1926) produced along the Côte d'Azur during the 1890s and early 1900s deserve new academic attention as more than merely utopic or escapist visions set in 'holiday' landscapes. This conference proposes to bring together emerging and established scholars of Neo-Impressionism for an exciting reappraisal of its history within the heart of London at an international, bilingual conference at Richmond, the American International
    [Show full text]
  • Today, We Will Be Looking at Difference Between the 4 Seasons and Creating Some Artwork to Show These Differences. Monday 15Th J
    Monday 15th June 2020 Today, we will be looking at difference between the 4 seasons and creating some artwork to show these differences. Can you name all of the months of the year, in order? Spring This is the season that we have just finished. Spring is the season where a lot of new life begins (remember, we learnt about new life and Easter in RE?) New life can mean animals being born, flowers beginning to grow again and leaves returning to trees after the cold winter. Summer After Spring, we have Summer. Summer is the warmest season and this is the season that we are in now. There are more daylight hours in Summer than in any other season. The trees are full of leaves by the Summer and flowers have bloomed. Summer is a very colourful season, with lots of wildlife. Autumn Next is Autumn. In the Autumn, the leaves turn from green to orange and brown and red. There are so many colours in Autumn as the leaves prepare to fall off the trees before Winter. In the USA, they call Autumn, Fall. Animals forage in Autumn which means that they collect food to store for the winter. Winter Finally we have Winter. This is the last season before we start again with the seasons cycle. Winter is the coldest season. Sometimes there is snow but not always unless you live in the very far north. Many animals hibernate during the winter and most trees have lost their leaves. It can be frosty and misty, especially in the mornings.
    [Show full text]
  • Decorative Painting and Politics in France, 1890-1914
    Decorative Painting and Politics in France, 1890-1914 by Katherine D. Brion A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2014 Doctoral Committee: Professor Howard Lay, Chair Professor Joshua Cole Professor Michèle Hannoosh Professor Susan Siegfried © Katherine D. Brion 2014 ACKNOWLEDGEMENTS I will begin by thanking Howard Lay, who was instrumental in shaping the direction and final form of this dissertation. His unbroken calm and good-humor, even in the face of my tendency to take up new ideas and projects before finishing with the old, was of huge benefit to me, especially in the final stages—as were his careful and generous (re)readings of the text. Susan Siegfried and Michèle Hannoosh were also early mentors, first offering inspiring coursework and then, as committee members, advice and comments at key stages. Their feedback was such that I always wished I had solicited more, along with Michèle’s tea. Josh Cole’s seminar gave me a window not only into nineteenth-century France but also into the practice of history, and his kind yet rigorous comments on the dissertation are a model I hope to emulate. Betsy Sears has also been an important source of advice and encouragement. The research and writing of this dissertation was funded by fellowships and grants from the Georges Lurcy Foundation, the Rackham Graduate School at the University of Michigan, the Mellon Foundation, and the Getty Research Institute, as well as a Susan Lipschutz Award. My research was also made possible by the staffs at the Bibliothèque nationale de France, the Institut nationale d’Histoire de l’Art, the Getty Research Library, the Musée des arts décoratifs/Musée de la Publicité, and the Musée Maurice Denis, ii among other institutions.
    [Show full text]
  • Art Between Beauty and Health: Eo-Impressionism, Color Therapy
    Fȱውɨ ዄĞ༳ʧૡዅȱۀÏŹƂʧ͗ Art between Beauty and Health: eo-Impressionism, Color Therapy, and Homeopathy Yukiko KATOb Paul Signac’s Forgotten Letter This essay will consider an understudied dimension of the Neo-Impressionist movement, namely the group’s interest in homeopathy and color therapy, the relation of such views to their founding of a short-lived Neo-Impressionist boutique at 20 rue Lafitte, Paris. The founders of the boutique included almost all the members of Neo-Impressionism, such as Paul Signac, Maximilien Luce, Henri-Edmond Cross, Hippolyt Petitjean, Théo Van Rysselberghe, Charles Angrand, and Camille Pissarro and his three sons Lucien, Georges, 1 and Félix. The boutique founded by the artists as a collective enterprise was based on the anarcho-communist ideal of mutual aid and through it they sought to give every participant equal rights. It was a left-wing boutique that promoted direct marketing, equal opportunity, and mutual aid, in direct opposition to the 2 renowned commercialism of the Durand-Ruel gallery. Although this project was short-lived, and having 3 opened in 1893 and closed in 1894 due to its commercial failure, the boutique held four important collective 4 exhibitions of Luce, Signac, Cross, Petitjean, and Van Rysselberghe. It unequivocally played a central role in the dissemination of Neo-Impressionist aesthetics and politics. Significantly, the facade of this gallery was painted with bright blue and red letters. The group’s choice of glittering red and blue for their boutique was not merely to create attractive decoration, it had deep implications for their artistic philosophy. Some time in the winter of 1893-1894, Signac wrote about the boutique in a letter to his colleague Van Rysselberghe (Figure 1).
    [Show full text]
  • The Harvest Charles Angrand
    What is Pointillism? Pointillism is a technique in painting where tiny dots of pure colour are applied to a canvas. The patterns that form with the tiny dots build up to create an image. Modern day television screens and cinema screens use the same technique. Many tiny pixels form to create an overall image, but close up it is hard 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. This is the science of optics. Look carefully at the painting ‘The Circus’ by Georges Seurat. The 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. 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? 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 of colours.
    [Show full text]
  • Vincent Van Gogh, from a May 1889 Letter to Theo Van Gogh
    RAIN “Through the iron-barred window I can make out a square of wheat in an enclosure . .” —Vincent van Gogh, from a May 1889 letter to Theo van Gogh In this dramatic landscape van Gogh depicts a gray, rainy autumn 1889 day in France. He uses quick, diagonal slashes of white paint in the Oil on canvas foreground to depict the rain falling outside his window. Through 28 7/8 x 36 3/8 inches (73.3 x 92.4 cm) VINCENT WILLEM VAN GOGH streaks of rain, a plowed field composed of many green, gray, blue, Dutch white, brown, and golden yellow colors stretches into the distance The Henry P. McIlhenny Collection in memory of Frances P. McIlhenny, 1986, 1986-26-36 toward an extremely high horizon line. A wall surrounding the field climbs up and across on a steep diagonal, giving the field the feeling LET’S LOOK of stretching both outward and upward toward the misty mountains What kind of weather is van Gogh in the distance. depicting? Van Gogh’s unusual composition combines a sense of deep space What adjectives would you use to describe this day? Why? with the flat streaks of rain in the foreground. The unusual vantage How many different kinds of point and the practice of representing rainfall by diagonal lines can brushstrokes can you find? Look for thin, thick, horizontal, vertical, be linked to his interest in and study of prints by Japanese artists, diagonal, and others. What do who employed similar compositional techniques in their woodcuts. In they represent? fact, van Gogh had copied Utagawa Hiroshige’s The Great Bridge: A Where do you think the artist was in relation to the scene when he Sudden Shower at Atake two years earlier when he saw it in Paris.
    [Show full text]
  • Vincent Van Gogh's Self-Portraits
    University of Mary Washington Eagle Scholar Student Research Submissions Spring 4-28-2019 Vincent van Gogh's Self-Portraits Mary Novitsky Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Novitsky, Mary, "Vincent van Gogh's Self-Portraits" (2019). Student Research Submissions. 284. https://scholar.umw.edu/student_research/284 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. Vincent van Gogh’s Self-Portraits Mary Novitsky Individual Study Paper ARTH 492 Instructor: Dr. Suzie Kim Novitsky 1 Abstract This paper analysis the correlation of Vincent van Gogh’s mental and physical state with his application and choice of color in his self-portraits. His life before art held a heavy influence over his self-perception throughout his artistic career. Van Gogh could not escape his sense of guilt from failing his family, and constantly felt like a burden on his brother, Theo, who sponsored his artistic endeavors. Through Theo’s encouragement and work as an art dealer, van Gogh developed his own artistic style and met other popular artists from his time. His friendships along with his developing mental issues lead to an influx of development in the later half of his career, when van Gogh delved more into the realm of color. He expressed his current emotional state through his works, through the combination of colors and the application of the paint.
    [Show full text]
  • Divisionism - Heritage
    Divisionism - Heritage Van Gogh (1853 – 1890) went to live with his brother in Paris in 1886, where he fell under the influence of the Impressionists and Neo Impressionists. His palette lightened and became more colourful, and he adopted the technique of painting in small dabs of contrasting colours. van Gogh, Self Portrait 1887 Maximilien Luce (1858 – 1941) was a prolific French Neo- impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he then concentrated on painting, first as an Impressionist, then as a Pointillist, and Luce, Morning, Interior 1890 finally returning to Impressionism. Luce aligned with the Neo-impressionists not only in their artistic techniques, but also in their political philosophy of anarchism. Many of his illustrations were featured in socialist periodicals. Charles Angrand (1854 – 1926) was a French artist who gained renown for his Neo-Impressionist paintings and drawings. He was an important member of the Parisian avant-garde art scene in the late 1880s and early 1890s. He moved to Paris in 1882, becoming friends with Seurat, van Gogh, Signac, Luce, and Cross. In 1884 he co-founded Société des Artistes Indépendants, along with Seurat, Signac, Odilon Redon, and others. Angrand, The Western Railway at its Exit from Paris 1886 In 1887, L'Accident, his first Divisionist painting, was exhibited at the Salon des Indépendants. Angrand joined Seurat in plein air painting on La Grande Jatte island. It has been said that he had the "ability to distil poetry from the most banal suburban scene" Angrand's implementation of Pointillist techniques differed from that of some of its leading proponents.
    [Show full text]
  • View of Le Lavandou Watercolour Over a Pencil Underdrawing
    Henri Edmond CROSS (Douai 1856 - Saint-Clair 1910) View of Le Lavandou Watercolour over a pencil underdrawing. Stamped with the studio stamp H.E.C. (Lugt 1305a) at the lower left. Inscribed 26 Nov – 4h on the verso. Inscribed Le Lavandou (cyprés) and numbered 720 on the verso. 173 x 248 mm. (6 3/4 x 9 3/4 in.) Watercolours occupied Cross throughout his life, and, in the words of one scholar, ‘hold a special place’ in his oeuvre. This is particularly true of the later stages of his career, after he had settled in the South of France. In March 1900 he wrote to his fellow painter Charles Angrand that he was concentrating his activities on watercolours, adding that ‘It’s fun. The absolute necessity to be quick, bold, even insolent, has brought a kind of beneficial feverishness into my work after the months spent languishing on my paintings...’ Cross would make these drawings from nature, having already begun with an idea of what colour combinations and forms he would need, and having developed these basic ideas in the studio. As the artist wrote to one critic, ‘I compose in the studio, coming as close as possible to my interior vision; then, the harmony being established, partly on paper and canvas, and partly in my head, I set about making my sensations objective – sensations corresponding to the initial vision – in front of nature. These documentary sketches, during the definitive execution of the painting, more often than not are behind me or in a filing box.’ As the Cross scholar Patrick Offenstadt has written, ‘Cross produced drawings and watercolours throughout his life, but it seems that it was not until around 1888, advised by Pissarro and guided by Signac, that it became a daily practice.
    [Show full text]