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INSIDE: Romanticism Realism Impressionism

MONTREAL MUSEUM 1 OF FINE ARTS


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Course Title: Major Movements in Arts Course number: 502-CH3-AS Group: 6602 Semester: Fall 2012 Teacher: Kathryn Kelly ASIGNMENT: Art History Project 2 Worth: 40% Due: November 29, 2012

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Contents Romanticism...............................8-11  Realism....................................12-15  Impressionism..........................16-19  MMFA Impressionism 1............22-23  MMFA Impressionism 2............26-27  Montreal Museum of Fine Arts.......29  Bibliography...................................30 

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ROMAN

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TICISM

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Title: The Wreckers Year: 1775 Material: oil painting on canvas Artist: George Morland

Size: 36x26 inches Location: Boston Museum of Fine Arts

http://www.bc.edu/bc_org/avp/cas/fnart/art/turner.html http://www.oceansbridge.com/oil-paintings/product/62770/thewreckers1791 10


“The Wreckers” (1775) is an artistic portrait painted with oil on canvas by George Morland (1763-1804). It is located at the Boston Museum of Fine Arts and is measuring at 36 by 26 inches in height and width. The shipwreck and its aftermath was a favorite subject of Morland. This painting took place on the morning after the storm, with the battered ship still visible in the distance. Morland began his painting career producing domestic pictures that were later popularized in mezzotint prints. However, he eventually shifted to landscape painting in the near future.

The arrangement of “The Wrecker” is In an ending result, uniformed and well symmetrical. All the objects in the The Wreckers exudes plenty of thirds compliment the painting as a whole in relation emotion, intuition and imagination to unity and balance. The picture has a lot of movement as the dark clouds stir in a circular motion. thus being a part of the Romanticism era. The idea of this It depicts a stormy mood that influences the raging waters effect of the capsized ship in the depths along era was to live intensively rather with the other ship crashing against the triangular hill than wisely and a great deal of it is known for its gothic horror. It of rocks. At the focal point, you see a ship seems that Morland found a great senselessly steered into the triangular hill of rocks, deal or disturbance at this moment crashing. As you look on the right angle of the triangle, it makes me wonder why the people look as and decided to capture it in his work of art. Even though this though they have anticipated the wreck and seem particular incident actually took well prepared for any casualties that may occur. place, Morland was able to mesh Then on the base of the triangle you see the people rescuing the wrecked crew from the waters. The use his twisted thoughts into this painting of colors of dark and light gives the feeling of urgency to define the horror in it. without a moment to lose. This picture tells a unique story of ship wrecking strategies of the early http://www.gallery.ca/en/see/collections/artwork.php?mkey=14366 centuries. 11


REAL

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ISM

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Title: The Epic and the Exotic Year: 1888 Material: oil on canvas

Artist: Gustav Bauernfeind Size: 58x110 inches Location: Dahesh Museum of Art

http://conceptdesignacad.blogspot.ca/2012/02/epic-and-exotic-at-pepperdine.html http://magazine.pepperdine.edu/index.php/2012/04/the-epic-and-the-exotic-exhibit-at-the-frederick-r-weisman-museum-ofart/ 14


“The Epic and the Exotic” (1888) is an artistic portrait painted with oil on canvas materials by Gustav Bauernfeind (18481904). In the 19th century, the great academies of Europe continued the grand tradition of European classical art. These official art schools stressed demanding ongoing training. After mastering the craft of painting, these artists chose subjects that were often epic and exotic, with a glimpse of distant lands such as Africa and the Middle East. This painting is located in the Dahesh Museum of Art which is the only institution in the United States that is dedicated to the 19thcentury European academic art. The Composition of “The Epic and the Exotic” shows a queen or a princess being prepared for her appearance to the public. There are two handmaids dressed in the same color brown; one is helping the Queen with her cape while the other is preparing the seat for the Queen. In the background, the faded images of the boat give a reality of depth. Looking at the picture, you are made aware of the distance and the height between the Queen’s seating and the boats in the background. The picture seems unified in the comparison of the preparation for the Queen whenever she has an audience. It shows that if she wants to have an audience at the water level, the boat is prepared in the same fashion as the upper level. The landscape of the picture is uniquely set to dictate that whatever the preference of the Queen’s place to be, is all at hand. The use of color distinguishes between the Queen and her hand maids. The overall picture depicts royalty and the fact that they are waited upon, which sets the mood of socialism. To conclude, “The Epic and the Exotic” fall under the category of Realism due to the fact that it is dealing with precise imitation of visual perception and hard edge. It deals with facts and reality and not imagination. Also, Gods and Goddesses were replaced with peasants and the working class such as shown above. Gustav depicted the reality and truth of this moment and captured it into his master piece along with his direct observations.

http://arts.pepperdine.edu/museum/dahesh-collection.htm 15


IMPRES

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SIONISM

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Title: A Venetian Backwater with Gondola Year: 1870-1956 Material: oil on canvas Artist: Antoine Bouvard Size: 24x32 inches Location: London, South Kensington

http://www.artnet.com/artwork/425669371/515/antoine-bouvard-a-venetian-backwater-with-gondola.html http://www.christies.com/lotfinder/paintings/antoine-bouvard-a-gondolier-on-a-venetian-5118628-details.aspx 18


“A Venetian Backwater with Gondola” is a painting from the French Impressionism era in the century. It was painted by Antoine Bouvard (1870-1956), with oil on canvas materials. Bouvard was born at St. Jean-de-Bourney in L’Isere. Growing up, he became one of the most superb painters of Venetian genre and painted Venetian scenes that he exhibited throughout Paris, Venice and other parts of Europe. 19th

The arrangement of this picture gives an impression on fantasy more than reality, although the idea is not too farfetched. However, the fact that the water level reaches the doorway makes you wonder how it is blocked from pouring into the houses. A canoe parked in front of each doorway shows that it is the only form of transportation to getting around. The blue skies with a bit of clouds indicate a nice sunny day; sometimes just a simple canoe ride can be relaxing enough as the sun is about to set, portrayed by the light and dark comparison of the building. The reflection of the water exudes a clean calm sailing to pleasantly enjoy on a daily basis. It does not look as though the waters would ever be too rough to enjoy because of the way the objects are arranged in the picture, it all works together in unity and is balanced with buildings opposite each other. The colors set a tranquil mood and some of the buildings have balconies where one can sit and enjoy the view watching others canoe about. The focal point is off the middle which gives a view of the picture as a whole, in this way you can see all the peripheral points in a glance. As a result, “A Venetian Backwater with Gondola” is of the Impressionism era due to the fact that it deals with a lot of open composition such as; landscapes, open areas or environments and the outside. There is a depiction of light and a true to life meaning. Bouvard’s work is covered with light and intensity of colour, which is typical of Venice. His works are internationally collected in today’s generation and have achieved great popularity and recognition in the last twenty years.

http://www.19thcenturypaintings.com/artist_biography.asp?artistID=71 http://www.tennants.co.uk/Catalogue/Lots/48455.aspx 19


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Title: Bridge at Chatou Year: 1875 Material: oil on canvas Artist: Pierre-Auguste Renoir Location: Chatou, Paris

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The “Bridge at Chatou� (1875) is painted with oil on canvas materials by Pierre-Auguste Renoir (1841-1919). Renoir begain painting at the restaurant Fournaise, situated on an Island 15 kilometers west of Paris, alongside the village of Chatou in 1875. He depicted that the bridge was often described as a boundary between Paris and the countryside, between the realms of work and recreation, and between the factories on the left bank of the Seine and the villas of Chatou on the opposite shore. Unexpectedly, Renoir has succeeded in conveying the effects of light.

To summarize, the effects of light is what conveys a painting in the Impressionism era to be so unique and attracting. This painting is to be found at the Montreal Museum of Fine Arts located on Sherbrooke street West, exit Guy Concordia metro. It is 12 dollars if you are of the ages between 13 to 30; otherwise, it is 20 dollars if you are 31 and over. Renoir seemed to have enjoyed this painting in my opinion, due to the fact that it was of interest for him. I was once told that if you show the world something that you have a great deal of passion for, chances are the world would love it too.

In this picture you see the use of fine brush strokes that give a realistic appearance of a little town. The arrangement of the apartments in the background fits well as the overpass protrudes from what seems like the main street. Below the waters are flowing calmly, although it looks as though it is moving in two different directions. One is in the direction under the overpass and the other is moving toward the viewer alongside the small bush below the focal point. The focal point is to the left of the middle thirds, a barn of some sort sits at the edge of the shoreline, and one might think it is a vessel to move animals from one town to another along the waters. The use of blue being so dominant exudes an impression of a sunny day where people are enjoying a walk. The mood of the picture portrays a quiet and peaceful simple life. The two white pillars supporting the overpass give balance to the picture with the white apartment building on the opposite side.

Montreal Museum of Fine Arts, Impressionism 23


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Title: Fellah Women Drawing Water Year: 1870-1875 Material: oil on canvas Artist: Jean-Leon Gerome Location: Cairo, Egypt

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“Fellah Women Drawing Water” (1870-75) is a painting used with oil on canvas material by JeanLeon Gerome (1834-1904). Gerome travelled many times to the Middle East. In 1868, he journeyed south of Cairo, where he observed fellah women walking from a nearby town to draw water from a river. Fellahin are the peasant farmers of Egypt. Gerome made drawings in the desert during his travels; however, this painting was done some years later in Paris. This picture looks like an era of the Middle East and this is a way of life. The chores of drawing water and washing clothes in the little stream seem like a daily chore and are also a place for the animals to drink water. The fact that there are reflections in the water gives the impression that the water is clean and can sustain their daily life. The bright light on the right of the picture along with the shadows on the wall let us know that it is very sunny and warm, although you would not think so by the way the people are dressed. However, by the fact that there are palm trees which seem a little odd in collaboration with the culture. The separation of the two lands by a body of water in the background makes me believe that these people are in seclusion of a religion or a cultural way of life. The use of all the objects works well together in a good arrangement. The colors blend well together and the mood seem religious and at peace. Everyone understands each other and everyone knows what they have to do, and when and how to do it.

To conclude, this painting falls upon the Impressionism era due to the fact that it depicts with light and open compositions. It is accurate and real, and there is a great deal of sunlight. Due to this paintings focus on landscape and on daily activities common to peasants in Egypt and France, this scene stands apart from Gerome’s work of this period. This painting is also found in the Impressionism exhibit in the Montreal Museum of Fine Arts. Check it out.

Montreal Museum of Fine Arts, Impressionism 27


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BIBLIOGRAPHY                   

Romanticism http://www.bc.edu/bc_org/avp/cas/fnart/art/turner.html http://www.oceansbridge.com/oilpaintings/product/62770/thewreckers1791 http://projects.vanartgallery.bc.ca/publications/75years/exhibitions/1/1/arti st/2/31.2/biography/2 http://www.gallery.ca/en/see/collections/artwork.php?mkey=14366 Realism http://conceptdesignacad.blogspot.ca/2012/02/epic-and-exotic-atpepperdine.html http://magazine.pepperdine.edu/index.php/2012/04/the-epic-and-theexotic-exhibit-at-the-frederick-r-weisman-museum-of-art/ http://gustav-bauernfeind.blogspot.ca/2008/01/biography-of-gustavbauernfeind.html http://arts.pepperdine.edu/museum/dahesh-collection.htm Impressionism http://www.artnet.com/artwork/425669371/515/antoine-bouvard-avenetian-backwater-with-gondola.html http://www.christies.com/lotfinder/paintings/antoine-bouvard-a-gondolieron-a-venetian-5118628-details.aspx http://www.19thcenturypaintings.com/artist_biography.asp?artistID=71 http://www.tennants.co.uk/Catalogue/Lots/48455.aspx MMFA Impressionism 1 and 2 Montreal Museum of Fine Arts http://www.pierre-auguste-renoir.org/biography.html http://www.mezzomondo.com/arts/mm/orientalist/european/gerome/gerome.html 30


LaSalle College Student’s Name: Course Title: Course number: Group: Semester: Teacher:

Jenna Beharry Major Movements in Arts 502-CH3-AS 6602 Fall 2012 Kathryn Kelly

ASIGNMENT: Worth: Due:

Art History Project 2 40% November 29, 2012

Instructions: Each student is to present one (1) work of art derived from the following historic periods: Romanticism Realism Impressionism Impressionism (Two (2) works from the MMFA, History of Impressionism exhibit) The project/research must include the following: Online Art History magazine to be created using www.issuu.com Formal Analysis Grid Eight (8) Terms (Composition, Movement, Unity and balance, Color and light, Mood + Three (3) elements of design) Historical aspect (Period, Time, Society, Culture) Written portion Introduction: Historical aspect (150-250 words) Body: Eight terms (250-450 words) Conclusion: Summary, final statements, personal opinion (75-100 words)

Quality of written portion of project Project includes cover page, table of contents, bibliography, footer The content is well written, clear and professional Correct use of the research and presentation norms at LaSalle College (Cahier des norms). Essay structure is applied Section 3.13 Student Agenda, Written Language, “Teachers are responsible for identifying spelling and grammatical errors in students’ work…the teacher has the right to apply a penalty of up to 20% of the grade.” Evaluation:

This project is worth 40% of the final mark. The project will be graded on 100 marks.

Breakdown: 5 pieces to present. Each piece is worth 10 marks each Formal analysis grid (content and presentation) 25 marks Written portion (content, spelling, grammar, punctuation) Overall presentation (clean, organized, creative) marks

= 50 marks = = 20 marks =5

Total = 100 marks

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TEACHER’S COMMENTS Comments to be shared between the following two (2) parties: Kathryn Kelly and STUDENT

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History of Art