CONTND FROM YESTERDAY Claude Monet Claude Monet,Atelier sur Seine, (1876) Degas and Monets style was very similar in one way: both of them based their artistic interpretation on a direct retinal impression [ 1 ]to create the feeling of variation and movement in their art. The subjects or images that were the foundation of their paintings came from an objective view of the world. As with Degas, many art historians consider that to be the subconscious effect photography had in that period of time. His 1860s works reflected many of the signs of movement that are visible in Degas and Manets work. By 1875, Monets touch becomes very swift in his new series, beginning withLe Bateau-Atelier su Seine. The landscape almost engulfs the whole canvas and has enough motion emanating from its inexact brushstrokes that the figures are a part of the motion. This painting along withGare Saint-Lazare(1877-1878), proves to many art historians that Monet was redefining the style of the Impressionist era. Impressionism initially was defined by isolating color, light, and movement. [ 6 ]In the late 1870s, Monet had pioneered a style that combined all three, while maintaining a focus on the popular subjects of the Impressionist era. Artists were often so struck by Monets wispy brushstrokes that it was more than movement in his paintings, but astriking vibration. [ 8 ] Auguste Rodin[ edit] Auguste Rodin at first was very impressed by Monets vibrating works and Degas unique understanding of spatial relationships. As an artist and an author of art reviews, Rodin published multiple works supporting this style. He claimed that Monet and Degas work created the illusion that art captures life through good modeling and movement. [ 8 ]In 1881, when Rodin first sculpted and produced his own works of art, he rejected his earlier notions. Sculpting put Rodin into a predicament that he felt no philosopher nor anyone could ever solve; how can artists impart movement and dramatic motions from works so solid as sculptures? After this conundrum occurred to him, he published new articles that didnt attack men such as Manet, Monet, and Degas intentionally, but propagated his own theories that Impressionism is not about communicating movement but presenting it in static form.TO BE CNTND
Posted on: Sat, 03 Jan 2015 21:42:39 +0000
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