Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slid

Total Page:16

File Type:pdf, Size:1020Kb

Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slide Sample Slid The Harvest Landscape MD 2008 Van Gogh and Monet Teachers’ notes This a self portrait by Vincent Van Gogh. He was born in the Brabant area of Holland in 1853. Look carefully at his painting. Can you see all his brush strokes? They look like he has painted with lines. 1853 - 1890Sample Slide wheat fieldSample Slide Van Gogh painted a lot of pictures of the countryside around him. This was one of the the last paintings that Vincent Sample Slide Van Gogh painted before he died. It is called wheat field with crows. Sample Slide Many of his pictures were painted at Sample Slide harvest time. wheat field with stacks In each of his paintings, the colour of the haystacks is Sheaves of wheat – July 1890 Vincent Van Gogh was very interested in the different because harvest. He often painted farmers at work. His the light shining paintings show us what it was like in those days. on the haystacks Sample Slide is different. Sheaves of wheat – August 1885 Monet tried to Sample Slide paint his impression of what he saw as SampClaudele Monet S wasl ai de the light changed. French painter who was Sample Slide born in France in 1840. In a field next to Monet’s Haystacks in house there were some Provence 1888 haystacks. The haystacks In October 1890 Monet wrote a letter about his were kept until the cut haystacks paintings. He said…. 1840 - 1926 crop could be threshed to separate the grains from the stalks. I’m hard at it, working Sample Slide stubbornly on a series of different effects, but at this time of year the sun sets so Sample Slide Monet painted pictures fast that it’s impossible to of the same haystacks Sample Slide Monet would get up before it The Siesta I want to paint what I can see to show them at keep up with it! was properly light and paint his at the very moment I see it. different times of the first picture for half an hour. 1889 day. By then the light would have changed so he would put the first picture aside and start to paint a new picture. 1890 Every time the light changed These paintings Monet painted the he would paint another show the haystacks same haystacks in picture of the haystacks. in winter snow and different seasons By the end of the day he summer sunshine. and different types had lots of differentSa pictures.mple Slide Sample Sof weather.lide Before combine harvesters were invented threshing machines would travel from village to village Often the haystacks would be left standing from July until March waiting for the threshing machine to visit the farm. This is Monet’s painting of the haystack on a foggy morning.Sample Slide TEACHERS’ NOTES: They both painted TEACHERS’ NOTES: haystacks but they Monet continued: Van Gogh used bright bold strokes and sharp colours using a series of lines painted in different and marks to paint rather than painting outlines and filling in blocks of colour. Monet tried to create both light and atmosphere in his paintings in an His strokes were done with a palette knife and the end of the brush. In some effective way. This later became an important aspect of the style of ways. They had e cases he squeezed the tube of paint directly onto the canvas. Line ande texture e impressionism. In order to create the effect of light and shade Monet d are predominant art elements apparent in many of his paintings.d His style of developed the technique of using dabs of colour. This techniqued then different styles of art is called “impressionism” – what you see is the artist’s impression of what li li created a feeling of atmosphere in the scene being portrayed.li This he is looking at. painting. S S means that if you look closely at a painting by SMonet you can see the Link to Van Gogh Landscapes ngfl-cymru (technique) brush strokes of colour. le Monet studied his subjects intently, plannedle his paintings and worked hard to le p achieve his results. He often paintedp a series of the same subject p www.ks1resources.co.uk (eg haystacks) to capture the changing affects of light, swapping canvases as m Which painting is the day progressed. He usedm a limited palette of colours, eventually banishing m browns and earth colours and, by 1886, black had disappeared. The colours he a by Monet and liked to use were white,a yellow, certain greens and blues and crimson. He often a S used colours straightS from the tube or mixed on the canvas. He built up S which is by Van texture using brush strokes which varied from thick to thin with tiny dabs of Gogh? colour from light to dark..
Recommended publications
  • Historical Painting Techniques, Materials, and Studio Practice
    Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A.
    [Show full text]
  • Paul Gauguin
    Paul Gauguin Painter, Sculptor 1848 – 1903 • Born on June 7, 1848 in Paris, france • Mother was peruvian, family lived Peru for 4 years • Family returns to France when he is 7 • Serves in the Merchant Marine, then the French Navy • Returns to Paris and becomes a Stockbroker • Marries a danish woman and they have 5 children • They live in Copenhagen where he is a stockbroker • Paints in his free time – buys art in galleries and makes friends with artists Portrait of Madame Gauguin • Decides he wants to (1880) paint full time – leaves his family in Copenhagen and goes back to Paris • His early work is in the impressionist style which is very popular at that time • He is not very successful at his art, he is poor • Leaves France to find a simpler life on a tropical island Aline Gauguin Brothers (1883) Visits his friend Vincent vanGogh in Arles, France where they both paint They quarrel, with van Gogh famously cutting off part of his ! own ear Gauguin leaves france and never sees van Gogh again Night Café at Arles (1888) Decides he doesn’t like impressionism, prefers native art of africa and asia because it has more meaning (symbolism) He paints flat areas of color and bold outlines He lives in Tahiti and The Siesta (1892) paints images of Polynesian life Tahitian women on the beach (1891) • His art is in the Primitivist style- exaggerated body proportions, animal symbolism, geometric designs and bold contrasting colors • Gauguin is the first artist of his time to become successful with this style (so different from the popular impressionism) • His work influences other painters, especially Pablo Picasso When do you get married? (1892) Gauguin spent the remainder of his life painting and living ! in the Marquesas Islands, a very remote, jungle-like ! place in French Polynesia (close to Tahiti) Gauguin’s house, Atuona, ! Marquesas Islands Gauguin lived ! alone in the ! jungle, where ! one day his houseboy arrived to find him dead, with a smile on his face.
    [Show full text]
  • Finding Form Art at Saint Mary's
    Summer 2007 . Finding Form Art at Saint Mary’s Your gift to the Annual Fund creates. Your gift could help a young woman... who has always dreamed in color... attend Saint Mary’s... where she will learn theories and techniques… and study the ideas and events… that have inspired expression through the ages… ideas that will change her perspective… and give her the power… to change the perspective of others. The Annual Fund A Larger Canvas Gifts to the Annual Fund help provide fifinancial nancial aidaid andand scholarshipsscholarships toto SaintSaint Mary’sMary's students.students. NineNine out out of ten Saint Mary’sMary's studentsstudents receivereceive somesome kindkind ofof fifinancial nancial assistance.assistance. YourYour contribution,contribution, largelarge oror small, small, makes a difference! Please support the Annual Fund by making a gift onlineonline atat www.saintmarys.eduwww.saintmarys.edu oror byby callingcalling (800)(800) SMC-8871.SMC-8871. tableof contents Volume 82, Number 2 Summer 2007 FEATURES Courier (USPS 135-340) is published four times a year by Saint Mary’s College, Notre Dame, IN 46556-5001. 4 From Inspiration Periodicals postage paid at the Post Offi ce at Notre Dame, IN 46556 to Installation and at additional mailing offi ces. POSTMASTER: Send address changes by Scot Erin Briggs to Alumnae Relations, Saint Mary’s College, 110 Le Mans Hall, Notre The fourth in a six-part series on the Dame, IN 46556-5001. College’s nationally accredited programs. Copyright 2007 Saint Mary’s College, Page 4 Notre Dame, IN 46556. Reproduction in whole or part is 10 The Artist’s Way prohibited without written permission.
    [Show full text]
  • The Anchor Newspapers
    Rhode Island College Digital Commons @ RIC The Anchor Newspapers 9-11-1939 The Anchor (1939, Volume 11 Issue 01) Rhode Island College of Education Follow this and additional works at: https://digitalcommons.ric.edu/the_anchor Recommended Citation Rhode Island College of Education, "The Anchor (1939, Volume 11 Issue 01)" (1939). The Anchor. 47. https://digitalcommons.ric.edu/the_anchor/47 This Book is brought to you for free and open access by the Newspapers at Digital Commons @ RIC. It has been accepted for inclusion in The Anchor by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. Greetings , lanket Tax Payable Class of 1942 ! THE ANCHO Today RHODE ISLAND COLLEGE OF EDUCATION Vol. XI, ::--Jo.1 PROVIDENCE, RHODE ISLAND, MONDAY, SEPTEMBER 11, 1939 Price 10c Repainted College Interior Barnard Practice Trustees Expected to Name Greets R i c_e_a_n_s__ T _o_d_a----=--y Assignments Made College Head in October Guide Editor Dean Lists New Students in Shower Repairs to Commence Preparatory Course Board Pays Honor ,Professor Brown President in October Until Appointment The list of students who will prac­ to Attainments Much discussed plans for altera­ tice at Henry Barnard School from The new President of R. I. C. E. tions in the physical aspect of Rhode September, 1939 to February , 1940 of Dr. Alger to take the place of Doctor John Island College of Education ha'Ve in preparation rfor spring state train­ Lincoln 1A1ger, ,who resigned in Aug­ finally been partially carried into ef­ irug assignments was made •known by Declaring that '"Doctor John Al­ ust, will not 1be named until Octo­ fect.
    [Show full text]
  • 8. Siestas and Snoozes
    87 8. Siestas and Snoozes When one yawns until the hinges of the jaws can’t open any wider and stretches to the point of tumbling over, drowsiness seeks satisfaction in sleep: The body is demanding attention. Twenty or thirty minutes of rest are called for, ideally during the fall in vigilance between three and five in the afternoon. Studies show that halfway through the day at least twenty minutes of sleep boosts one’s intellectual and physical performance. In East Asia, many companies make time available for workers and staff to take a nap after lunch. Elsewhere, however, this break that promotes wellbeing is rarely respected. Like other practices that once seemed so difficult to establish, however, leadership and example, together with appropriate facilities, could make for an enduring change. If people are really a company’s most precious resource, why can’t a break that makes them more productive become established practice? When one is sleepy, it shows: Edgar Degas’ (1834-1917) The Ironers (fig. 134) is a justly famous work that captures this theme perhaps better than any other. Figure 134.- . Edgar Degas (France, 1834-1917). The Ironers, circa 1878/79. – Oil on canvas, 76 x 81.5 cm. Musée d'Orsay, Paris France Two women in a laundry stand before an ironing bench. Degas places them along a diagonal. The one on the left, already in a state of lethargy, yawns as drowsiness overcomes her; beside her, her exhausted workmate leans heavily on her iron, pressing down with both hands. Confined in the close frame of the painting, the women evoke an emotion that the restricted space intensifies.
    [Show full text]
  • Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker
    Eindhoven Footnotes 2 Not Knowing the City of Knowledge Eindhoven Footnotes 2 Not Knowing the City of Knowledge 2 Introduction Jacqueline Schoemaker SOMETIMES SOMEONE ASKS me to pass on to others a method of approaching public space that was passed on to me several years ago. It’s a simple method, one you can apply yourself, anywhere you are, if you feel that the territory you custom- arily move about in, or even some territory you don’t know at all, needs closer examination. Here’s what you do: you draw a random straight line on a topographical map of the territory you’re about to explore, and you walk, as closely as possible, on that line. You don’t choose where you walk but you let yourself be dictated by a predetermined route that doesn’t follow but cuts right through the logic of the planned environ- ment, the logic, that is, of the social, political and economic fabrics that make up the territory. You become a stranger to those structures, you 3 EINDHOVEN FOOTNOTES don’t walk from home to work or from a concert to the train station, but you walk westward, or you walk until the steady rain makes you seek shelter. How do you walk a straight line? You can’t. In reality, you make an irregular zigzag move- ment while you walk. The straight line that you drew on the map cuts through houses, office buildings, railway lines, enclosed industrial areas, roads under construction, woods without footpaths. In order to stay as closely as possible on the straight line, you have to diverge from it, continually.
    [Show full text]
  • An Illustrated Catalogue of Painter-Etchings for Sale by Frederick Keppel & Co
    CORNELL UNIVERSITY COLLEGE OF ARCHITECTURE LIBRARY Cornell University Library NE 1960.K38 The print-collector's bulletln:an illust 3 1924 020 561 738 THE PRINT-COLLECTOR'S BULLETIN AN ILLUSTRATED CATALOGUE OF PAINTER-ETCHINGS FOR SALE BY FREDERICK KEPPEL & CO. 4 EAST 39th STREET, NEW YORK NOTE ALTHOUGH on the day of issuing The Print-Collectok's . Bulletin Ave were able to supply each print mentioned at the price quoted, the steady advance in the value of certain rare prints sometimes renders it impossible for us to supply a duplicate im- pression at the original price. After the Bulletin has been examined, we should be glad to send a selection of the Etchings themselves, for inspection, by ex- press or mail, to any address. AVe pay all charges of transmission ; and our correspondents need feel under no obligation to purchase, if the Etchings themselves do not satisfy them in every respect. Correspondents whom we do not already know, and who may desire to have Etchings sent on selection, will recognize the pro- priety of introducing themselves with a proper reference. Frederick Keppel & Co. Septemlier L!S, 1908 \^ ADOLPHE APPIAN ADOLPHE APPIAN MY admiration foi' Appiaii's wofk as an etcher (lie is a chai'iii- . iiig painter also) was ab'eady great several years ago, but the more I see how rare liis (pialities are in contemporary art, or in any art, the more I feel disposed to value them. His work is always quite easy and graceful in manner, never strained, never betraying an effort, and it hardly ever fails to charm by a most delicate feeling for the poeti-y of natural landscape.
    [Show full text]
  • EOC Narcolepsy And
    NARCOLEPSY Cover: “Sleeping Movement”, Siepie van der Meer. Y S P E The art of dreaming: L giving shape to dreams. O Narcolepsy and art. C R Collected by: Claudio Bassetti and Monika Raimondi Neurocenter (EOC) of Southern Switzerland A on behalf of the European Narcolepsy Network (EU-NN) under the patronage of the N European Sleep Research Society (ESRS) “The object of art is to give life a shape.” (William Shakespeare) INTRODUCTION Narcolepsy is a chronic sleep disorder in which a Y person is overcome by sudden, uncontrollable sleep attacks. It is believed to affect approximately 1 in every 2,000 people regardless of sex and/or race (about 200,000 people in Europe). S Narcolepsy is frequently unrecognised, and often mistaken for epilepsy or depression. The typical wait between onset and diagnosis is 10 years. P Many people with narcolepsy find that it affects their psychological well-being. Narcolepsy negatively E affects their self-esteem, job stability, and relationships. The most common symptom of narcolepsy is excessive and overwhelming daytime sleepiness regardless of the amount of night time L sleep a person gets. It usually starts affecting people when they are teenagers or young adults. Other classic symptoms O of narcolepsy, which don't necessarily occur in all patients, include cataplexy, disrupted or fragmented night time sleep, hypnagogic and hypnopompic hallucinations, and sleep paralysis. C Since it causes poor memory, reduced concentration or attention, and irritability, daytime sleepiness can impair people's ability to perform everyday tasks. R The life of a narcoleptic is one full of added complications.
    [Show full text]
  • TUSHITA FINE ARTS Postkarten TFA 7016–17903
    NEWSLETTER No. 12 November 2010 TUSHITA FINE ARTS Postkarten TFA 7016–17903 TFA 7758 TFA 7756 TFA 7757 EAN 4025872022499 EAN 4025872022457 EAN 4025872022482 Ando Hiroshige Katsushika Hokusai Ando Hiroshige Horikiri Iris Garden Thistle and Crossing Bikuni Bridge in Snow TFA 7757 TFA 7759 TFA 7760 EAN 4025872022482 EAN 4025872022505 EAN 4025872022512 Keisai Eisen Kesai Eisen Suzuki Harunobu Bijin (Beautiful Woman) Ukiyo-E The Stay of Oiso, 1830 The Night Bell From the Series Toto Geiko, CA. 1848 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7754 EAN 4025872022451 TFA 7723 Katsushika Hokusai EAN 4025872022062 Cresting wave off the coast of Kanagawa Salvador Dali 1937 [The great wave] (Kanagawa oki uranami), Cygnes Refletant des Eléphants from the series Thirty-six Views of Mr. Fuji (Fugaku sanjurokkei), ca. 1831 - 1834 TFA 7722 TFA 7452 EAN 4025872022055 EAN 4025872021980 Salvador Dali Salvador Dali The Disintegration of the Persistence The Persistence of Memory, 1931 of Memory, 1952 - 1954 TFA 7739 TFA 7738 EAN 4025872022307 EAN 4025872022291 Edward Hopper Edward Hopper Gas Station, 1940 Nighthawks, 1942 TUSHITA Verlag GmbH · Meidericher Strasse 6–8 · 47058 Duisburg Tel.: Inland: 0203-80097-0 · Export 0203-800-16 · Fax 0203-80097-15 [email protected] · www.tushita.com · Shop www.tushita.de TFA 7458 EAN 4025872022017 TFA 7475 EAN 4025872022024 Salvador Dali Le Bateau, 1942 - 43 Salvador Dali Girafe en feu TFA 7141 TFA 7074 TFA 7458 EAN 4025872021973 EAN 4025872021959 EAN 4025872021997 Salvador Dali Salvador Dali Salvador Dali Ph.
    [Show full text]
  • 7603551.Pdf (4.18
    INFORMATION TO USERS This material wat produced from a microfilmcopy of the original document. While tha moat advanced technological meant totograph pho and reproduce this document have been wed, the quality it heavily deparot upon the quality of the original submitted. The following explanation of techniquesprovided is to help you understand markings or patterns which may appear onreproduction. this I.The sign or "target" for pages perentiyapi lacking from the document photographed is "Misting Page(s)". it was possible to obtain the missing paga(s) or section, they are splicedto in the film along with adjacent pages, This may have necessitated cuttingru thi an image end duplicating adjacent pages to insure you complete continuty. 2. Whan an image on the film is oblitsratad with a large round black mark, it is an indication that tha photographcr suspected that tho copy may have moved during exposure and cauithusise a blurred image. You will find a good image of the pega in the edjacert frame. 3. Whan a map,drawing or chart, jtc.,e was part of the matarial being photographedthe photographerfollowed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand comer of a large sheet arid to continue photoing from left to right in equal sections with a smat overlap. If necessary, sectioning is continued again — beginning below pie first row and continuing on until complete. 4. The majority of users indicate that textual content is of greatest value, however, a sommvhat higher qualireproduction could be made from "photographs" if essential to the uirstanding of tha dissartation.
    [Show full text]
  • THE PANAMA CANAL REVIEW 2, from Lockages at Pedro Miguel
    5 cents Vol. 8, No. 1 BALBOA HEIGHTS, CANAL ZONE, AUGUST 2, 1957 Gift Ofthe Panama CanalMuseum pany over a four-year construction per- il id, requiring neither special appropria- tions nor borrowing. WTiile the short-range plan embodies no new features that have not been given consideration in prior studies of the Canal capacity problem, it attacks the problem at the most immediately critical points. Of importance in the long-range planning, virtually all of the proposed improve- ments would be beneficial in almost any permanent improvements or changes con- sidered probable for the Panama Canal. The study of the Canal capacity prob- lem is being conducted by an Ad Hoc Committee appointed last January by Assistant Secretary of the .Army George H. Roderick. Members aie Governor Potter, Chan-man, Maj. Gen. Julian L. Schley, and Ralph A. Tudor. The Ad Hoc Committee's first report was based on statistical and other data developed by a Working Committee, composed of a group of Canal officials intimately acquainted with operating problems. This v>-as headed by former Lt. Gov. H. W. Schull, Jr., until his departure last month. He has been succeeded as Chairman by Lt. Gov. Hugh ^L Arnold. Efforts of the Working Committee were warmly praised by Board members, especially plans for illumination of the Locks and Gaillard Cut which were de- veloped largely through Colonel Schull's initiative. In effect the short-range plan will provide for 24-hour operation of the waterway under safe conditions; par- Mooring facilities For two big ships north of Pedro Miguel Locks would reduce tial elimination of a serious bottleneck congestion and increase Canal capacity during Pacific Locks overhaul periods.
    [Show full text]
  • The Projects and Wanderings of Alfanhui] with a Critical Introduction by Ruth M
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1964 English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald Ruth M. Danald The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Danald, Ruth M., "English translation of the Spanish novel Industrias y andanzas de Alfanhui [The projects and wanderings of Alfanhui] with a critical introduction by Ruth M. Danald" (1964). Graduate Student Theses, Dissertations, & Professional Papers. 2229. https://scholarworks.umt.edu/etd/2229 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. An English Translation of the Spanish Novel INDUSTRIAS I ANDANZAS DE ALFANHUI h f Bafael sSnchez Ferlosio with a Critical Introduction by Ruth M. Danald B.A. Douglass College, Rutgers University, 1942 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1964 Approved by: .airman. Board of Examiners Graduate School AUG 21 1964 Date UMI Number: EP35648 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted.
    [Show full text]