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Impressionist Art, 2006.
Examines paintings by Claude Monet and James Abbott McNeill Whistler to show examples of Impressionist art.
1,236 words (approx. 4.9 pages), 2 sources, APA, AU$ 68.95
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Abstract
The Impressionist style of art began in the early 1870s. Impressionist artists were often considered radicals because of their huge departures from the conventional art form, content, subject matter and brush stroke technique of previous generations. This paper examines three Impressionist paintings in particular that serve as different examples of impressionistic art: Two works by Claude Monet - "Impression: Sunrise, 1872" and "Bridge Over A Pool of Water Lilies, 1899" and James Abbott McNeill Whistler's "Nocturne in Black and Gold, the Falling Rocket, 1875".
From the Paper
"Whereas Impressionists were known to paint outdoors, in Monet's later painting Bridge Over A Pool of Water Lilies, 1899, the artist would move back and forth into his studio constantly reworking the canvas of this piece. In this part of his Garden Series, Monet created a different example of impressionistic work. In Bridge, there are more layers and the work more complex. Whereas in previous works like Sunrise, where most of the subject matter is blurred out, Monet spent more time emphasizing the different aspects of the lilies in the pond, the bridge and the surrounding foliage in this work. There appears to be the beginning of a departure from the strong early characteristics of Impressionist movement, however the piece still remains under the classification of an Impressionist piece."
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Feminism in Impressionistic Art, 2002.
A look at feminist part from the late 1800s/early 1900s.
650 words (approx. 2.6 pages), 5 sources, AU$ 42.95
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Abstract
This paper explores several paintings from the late 1800s/early 1900s by Edouard Manet, Berthe Morisot, and Edgar Degas.
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"Hard Times" and Impressionistic Paintings, 1995.
Compares this novel's and Impressionism's portrayals of urban landscape and middle-class city life.
1,350 words (approx. 5.4 pages), 3 sources, AU$ 76.95
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From the Paper
"This study will analyze Charles Dickens' novel Hard Times in terms of its relationship to Impressionistic paintings. Specifically, the study will compare and contrast the novel and Impressionism with respect to their realistic portrayals of the urban landscape and middle-class city life. The study will argue that while both the book and the paintings do indeed portray these aspects of modern life realistically, Dickens' novel presents a far more critical and negative view than do many Impressionist paintings. Nevertheless, the study will include consideration of Impressionist works which do negatively portray the effects of modern city life.
Dickens is specifically aiming his barbs at the negative impact of education on the developing child, and on the negative social effects which this oppressive educational system has on ..."
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Impressionism in Art, 2005.
An examination of the connection between the Belle Epoche in nineteenth century French history and the growth of impressionism.
1,626 words (approx. 6.5 pages), 4 sources, APA, AU$ 86.95
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Abstract
Impressionist art developed out of France in the works of many painters as well as writers and other artists. It had roots in a changing society at the time which was reflecting new ideals and a break with past traditions. In impressionist art, these traditions were those of naturalist canvas painting, and during this time there were new and innovative influences, including a more casual hurried painting style and a greater
sense of style and opposition in works of art. This paper shows that the Belle Epoche at the end of the nineteenth century was a setting in which many changes were taking place; therefore, the changes brought about by the rise of impressionism can be linked concretely to this time
period. The impressionist movement in art sought to break with traditions of the past and seek a new way of portraying subjects, just as many other sectors of society were changing at the time.
From the Paper
"Impressionism in art represented a reversion to simplicity for some and a break with tradition that was threatening to the status quo to others. Although the Paris Salon featured many impressionist painters over time, during some of its more conservative years it would not show them, or would take paintings from them only if they were done in a different style. The impressionists generally on canvas wanted to do away with the notions of grandiose depth and solid realism established by the naturalist school before them, and replace it with a kind of line and use of lights, middles, and darks in a way that reflected more of a heritage in Meiji Japanese art than conventional European standards of realism."
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Art History, 2005.
A discussion on the Baroque and Impressionist periods in Western art history.
675 words (approx. 2.7 pages), 3 sources, AU$ 42.95
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Abstract
This paper compares and contrasts two of the most famous periods in the history of Western art, namely, the Baroque and the Impressionist era. Separated literally by about two hundred years, it explains that the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. The author also discusses the overall of the two periods.
From the Paper
"The history of Western art is replete with various styles, techniques, and periods. The examination and study of any one of those periods in art history could take a lifetime. And yet, we can also learn much from a more cursory comparison of multiple periods. For that reason, I have decided to compare and contrast two of the most famous periods in the history of Western art: the Baroque and the Impressionist era. Separated literally by some odd two hundred years, the stylistic differences and thematic choices of these two periods speak to a fundamental ideological divide between the artists who worked in the Baroque style and those who considered themselves Impressionists. To begin with, it would help to have a basic sense of what the overall trends of the Baroque were compared to the Impressionist era. The Baroque period was much earlier and spread outward from Italy from the ..."
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19th Century Art History, 2005.
A comparison of two 19th century paintings: Degas' "The Little Fourteen-Year-Old Dancer" and Rodin's "The Martyr."
1,698 words (approx. 6.8 pages), 7 sources, MLA, AU$ 89.95
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Abstract
An examination of two impressionist artists: Edgar Degas and Auguste Rodin. The paintings are examined for their similarities and differences. The painters' styles are explored and the writer discusses how their techniques were part of the development of impressionist art of the period.
From the Paper
"Rodin, on the other hand, creates not an impression of a feeling, but rather an expression of a concept. Unlike Degas, he pays intense attention to the modeling of musculature, to the exact twisting of the torso, to the squint of an eye or the precise extension and elevation of a tortured leg. While Rodin expresses tough and demanding concepts-it doesn't get much tougher than martyrdom-Degas creates an impression of expectancy, a willingness and readiness to move forward from the slightly uncomfortable position of now to one of greater fulfillment later. This is evident in the posture of the young dancer, and, according to at least some of his biographers, it is also an apt metaphor for Degas' own approach to and feelings about his own work."
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The Influence of Japanese Art, 2004.
This paper discusses the influence on many aspects of Western art by Japanese art, called Japonisme, commencing from mid-19th century to today.
3,280 words (approx. 13.1 pages), 12 sources, MLA, AU$ 151.95
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Abstract
This paper explains that American Impressionist Mary Cassatt began using a Japanese motif in works such as ?The Fitting?, one of a series of ten color prints, which are considered among the landmarks of Japonisme. The author points out that, while most American architects in the early 1900s looked to European architects for ideas, Frank Lloyd Wright found Japanese design and art more inspiring. The paper concludes that now, in the 21st century, Japanese creativity has taken a new approach based on electronic and computerized technology advances combined with art, called animation, or anime in the Japanese language, which is an art form eagerly consumed by the market.
From the Paper
"Van Gogh wrote his sister how Buddhism was also impacting his life. He even shaved his head to look more like Japanese. He deeply studied the works ?not to simply comprehend Japan art by copying it, but to dig down to the very roots of Japanese culture to be able to generate original creative impulses of his own from the encounter.? American artist Frank Benson painted Impressionist images of table settings that mingled Japanese, Chinese, and American objects. Benson also applied Japanese technical considerations to his paintings. This interest is especially evident in a group of black-watercolor washes that suggest the swiftness and economy of Japanese ink painting."
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What is Art?, 2002.
This paper examines the definition of art.
1,560 words (approx. 6.2 pages), 7 sources, AU$ 82.95
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Abstract
This essay takes a look at the definition of art. It discusses the purpose of art throughout the ages. The works of Monet and other Impressionists are examined and contrasted with the later work of Alfred Gockel. The impact of society on art as well as art on society is highlighted.
From the Paper
"What is Art? Every person has a philosophy of art, or at least a definition. There is no correct answer, just an opinion, and for every person there is an individual opinion. Thus there are over 6,234,250,387 opinions on what art is. Throughout the ages, Art has been a form of recording history, expression oneself, immortalizing people, gods, landscapes, and depicting beauty in countless ways. Art is perceived differently to all, as the old adage states ?Beauty is in the eyes of the beholder?. Certain Art Forms are appreciated by some, and rejected by others. ?Art is the creation of works that are in form, content, and execution, aesthetically pleasing, and meaningful, as in music, painting, sculpture, literature, architecture, dance etc? states the Webster?s Dictionary. What many definitions forget to leave out is emotion. As with almost any piece of art, the artist?s raw emotion goes into it, the creation of the work is often a result of dealing with a life crisis. For some a diary lets out their build up of emotion, for artists, it?s their hands."
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The Impressionist Artists, 2005.
A discussion on the French impressionist artists of the late nineteenth century.
1,090 words (approx. 4.4 pages), 4 sources, MLA, AU$ 62.95
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Abstract
This paper examines how the main theme of the impressionist artists was the reflection of personal impression on canvas. The author reviews the work of impressionists Claudet Monet, Edgar Degas, Auguste Renoir, Alfred Sisley, Camille Pissaro and Berthe Morrisot. It concludes that the contribution of Impressionists is invaluable because they set new standards of fine art, which gave birth to other categories of art such as post-impressionism, symbolism, primitivism and modern.
From the Paper
"The father of the Impressionist movement is considered to be Claudet Monet (1840-1926), French painter of the late nineteenth century, who developed new technique when painting French landscapes on open-air. Monet came to the conclusion that a painting "made on the open air, has a unique freshness and liveliness, which is unable to be achieved when working in the workshop", where the theme is preplanned. According to Monet, painter had to change the way he perceives reality by fragmenting it into naive and primitive images, which formed the core of the aesthetic impression. Monet set a new task to the art, to reflect a momentary impression, to picture every moment and every element of objects motion in order to make painting alive."
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Is Henry Fantin-Latour an Impressionist?, 2007.
An examination of the Impressionism era to see if Fantin-Latour should be considered an Impressionist.
2,012 words (approx. 8.0 pages), 10 sources, APA, AU$ 102.95
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Abstract
This paper analyzes the characteristics of the most influential painters during the Impressionism era to see whether Henry Fantin-Latour should be considered an Impressionist painter. The writer describes a brief history of previous art movements and analyzes the Impressionists' characteristic by examining some examples of the three great artists at that time: Claude Monet, Edgar Degas and Edouard Manet. The writer advocates that Fantin-Latour's paintings are really different from the Impressionists. The writer further discusses Fantin-Latour's three different kinds of paintings, the portraits, still life, and imaginative paintings, and explains that only the imaginative painting has a characteristic of the Impressionists' painting. The writer believes that Henry Fantin-Latour is not an Impressionist as his artwork is more realistic.
Outline:
Introduction
A Brief History
Great Representatives of the Impressionism
Fantin-Latour
Fantin-Latour's Artwork
Conclusion
Included in the paper are graphics (paintings) by Fantin-Latour.
From the Paper
"Art is a product of human creativity and is a creation of beautiful things. Everyone has different interpretation in defining beautiful, as it is a form of expression of a person's feelings. There are many different forms of art, such as painting, music or photography. People have their own way in interpreting art. There is no universal rule of understanding a work of art. Over the centuries art has been used for different purposes. In the 19th century, during the modernism time, so many artists reacts to structures and definitions of the new academies new subject matter and new painterly values, they refer more to the philosophy of the modern art. Most artists wanted to show their own style and expressed it in their own way, even though they based on what they have learned at that time. "
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Art Exhibition in Europe During the Period 1700-1880, 2002.
This paper looks at the history and trends of art exhibition in Europe from 1700-1880.
967 words (approx. 3.9 pages), 5 sources, MLA, AU$ 55.95
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Abstract
The writer discusses the purposes of art exhibition in Europe from about 1700 through 1880. Such exhibitions made it possible for artists to find a new public, a more democratic public than had been possible in an earlier era when art was subsidized by wealthy patrons. The history of the exhibitions shows two rends by the end of the era. On the one hand, there was the trend of academic art. Then, there were the non-academic exhibitions, the most famous of which was that of the Impressionists, and here artists who do not fit the academic mold were able to break through and find an audience by using the techniques of the academic exhibition and so appealing to a public that was accustomed to this sort of show.
From the Paper
"The art exhibition developed out of efforts started in 1648 to establish a school in Paris devoted to the instruction of fine arts. This would be the Royal Academy of Painting and Sculpture, which actually consisted of societies of learned men who guided students in the disciplines of literature, music, dance, architecture, painting, and sculpture. This was at first a part of the University of France, but the societies eventually developed into separate institutes for the individual artistic disciplines. The government favored these institutes "as an instrument for imposing official standards of taste on art" ("Educator Packet: Rules & Rebels in 19th Century French Art"). The Academy also introduced several important and lasting innovations in teaching art. Prior to this, those interested in becoming artists would apprentice themselves in the workshop of an established master. The Academy offered the student the chance to train before taking a job with an artist."
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19th Century Art, 2005.
This paper discusses the revolutionary changes in society and in art during the 19th century in Europe and some of its artists, which altered forever the face of art.
2,085 words (approx. 8.3 pages), 4 sources, MLA, AU$ 105.95
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Abstract
This paper explains that painting in the 19th century, still highly influenced by the spirit of Romanticism, progressing through the "schools' of Realism, Impressionism and Post-Impressionism, proved an even more sensitive medium for personal expression. The author points out that the Impressionists sought to create the illusion of forms bathed in light and atmosphere, which required an extensive study of natural light as the source of all color, leading to the revelation that the actual color of an object is always modified by the quality of the light in which it is seen, by reflections from other objects and by the effects produced by colors lying against each other. The paper reviews in detail the work of Francisco Goya, Jacques Louis David, Eugene Delacroix, Jean-Auguste-Dominique Ingres, J.M.W. Turner, John Constable, Edouard Manet, Edgar Degas, Georges Seurat, Paul Cezanne, Paul Gauguin, Vincent Van Gogh and Auguste Rodin.
From the Paper
"The history of 19th century painting in its first sixty years has often been interpreted as a contest between Eugene Delacroix and Jean-Auguste-Dominique Ingres (1781-1867) who broke away from David on matters of artistic style, for he believed that David's art was too realistic and based far too much on Greek influences. For Ingres, painting encompassed flat and linear figures, a manner that was severely criticized as being "primitive" and Gothic. However, Ingres soon became the leader of the academic forces in their battle against Delacroix and his contemporaries."
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Artists of the Impressionist Period, 2006.
This paper presents thumbnail sketches of six Impressionist artists: Claude Monet, Eduardo Manet, Pierre-Augusta Renoir, Edgar Degas, Mary Cassatt and Camille Pissarro.
835 words (approx. 3.3 pages), 8 sources, APA, AU$ 47.95
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Abstract
This paper explains that Claude Monet was the leader of Impressionism; his "Impression: Sunrise" painted in 1872 gave the term Impressionist to this group of painters who followed the style of Eduardo Manet. The author points out that Mary Cassatt, the only American and woman of the movement, painted scenes of people engaged in ordinary daily activities. The paper relates that the last true Impressionist Camille Pissarro inspired Post-Impressionist painters such as Matisse and Cezanne.
Table of Contents
Introduction to the Impressionist Period
Claude Monet: The Movement's Pioneer
Eduardo Manet: The Movement's Inspiration
Pierre-Augusta Renoir: Using the Movement to Move to His Own Style
Edgar Degas: Representing Movement and the Working Class
Mary Cassatt: The American and the Woman of the Movement
Conclusion: Camille Pissarro: The Last Official Impressionist
From the Paper
"Photography was invented in the 19th century. The Impressionist artists wished to bring a new element to art. They wished to show the artist's inner life. They believed that simply showing what existed 'in life' was not enough to justify the further existence of art. The Impressionist movement began in France, the heart of the art world of a late 19th and early 20th century Europe. "Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. Characteristics of Impressionism were an attempt to accurately and objectively record visual reality in terms of transient effects of light and color." "
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Art in History, 2008.
This paper examines paintings from the Renaissance, Rococo and Impressionist periods.
1,939 words (approx. 7.8 pages), 2 sources, APA, AU$ 98.95
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Abstract
The paper analyzes the composition and technique of a painting from each of the most notable artistic periods in history; the Renaissance, Rococo and Impressionist periods. The paper develops an understanding of the technical and aesthetic value of these paintings as well as of the respective art movements as a whole. The paper concludes with a personal opinion that impressionism evokes the greatest visual and emotional appeal. There are color images of the three paintings that are examined in the paper.
Outline:
Introduction
Renaissance
Rococo
Impressionism
Conclusion
From the Paper
"Renaissance was a reaction to the Middle Ages and serve as the foundation for the subsequent Baroque period in Europe. Its etymological meaning is "rebirth" of classical antiquity, pertaining to the revival of arts and sciences after it was diminished because of the emphasis on religion. However, it should be noted the majority of the art work where commissioned either for the Church or by supporters of it (Gombrich, 1995). The period also marked the significance developments in artistic technique which included the development of linear perspective, spatial composition and definition of the proportions for human form. The most notable artist of the period includes Leonardo Da Vinci, Michelangelo, Raphael as well as Boticelli who while was briefly eclipsed by the first three artists rose to contemporary regard. However, the Da Vinci, Michelangelo and Raphael have been more specifically associated as High Renaissance artists or for the latter Renaissance arts (Stokstad, 2004)."
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Women, Art and Society, 2008.
A description of the Impressionist painting "The Pink Dress" by Berthe Morisot.
2,986 words (approx. 11.9 pages), 12 sources, MLA, AU$ 142.95
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Abstract
The writer conveys his/her personal response to the viewing of "The Pink Dress" by Berthe Morisot. The writer describes in detail this beautiful painting that is typical of all Impressionist characteristics. The writer discusses its placement and display, Morisot's life, the Impressionist movement in general, and the history and composition of the piece.
From the Paper
"In the Metropolitan Museum of Art The Pink Dress is located in the Nineteenth-Century European Painting and Sculpture Collection, on the second floor. The main part of this collection contains European paintings, mostly French, spanning from the Romantic to the Post-Impressionist era. The Pink Dress is one of many paintings displayed among these walls, separated into several gallery rooms. In the particular room where the painting is located, all the walls are wood paneled and painted sage green, the wood planks and wood-grain are visible through the paint. Additionally, wide wood molding along the floor and entryways, and a waist-high chair rail, painted sage green, characterize the room, which has high ceilings."
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Art Comparison, 2002.
Comparison of "The House With Cracked Walls" & "Boulevard Montmartre on a Winter Morning".
650 words (approx. 2.6 pages), 7 sources, AU$ 42.95
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Abstract
This three-page undergraduate paper is a visual analysis of Paul Cezanne's "The House With Cracked Walls" and Picasso's "Boulevard Montmartre on a winter morning" (1897). While Paul Cezenne changed from expressionism to impressionism to classicism to cubism, and experimented with various other art forms like romanticism of which "The House With Cracked Walls" is an example, Pissarro remained Impressionistic and only experimented with Neo-Impressionism for a while. The difference was due to one's unstable personality as compared to the other's balanced nature. This difference is shown in their paintings. 3 pgs. Bibliography lists 7 sources.
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