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IMPRESSIONISM

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Nova-Joy Johnston

on 26 September 2013

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Transcript of IMPRESSIONISM

IMPRESSIONISM
NOVA-JOY JOHNSTON
Impressionist art is known as a theory or style of painting originating and developed in France during the 1870s. It is a style in which the artist captures the image of an object as someone would see it if they just caught a glimpse of it. Artists using this style are seen portraying visual effects instead of detailing. It is characterized by concentration on the immediate visual impression produced by a scene by the use of unmixed primary colors and small strokes to simulate actual reflected light. Various artists are known for their tendency to capture their images without detail but with bold colors of bright and vibrant tones, usually of outdoor scenery or everyday life as the subject matter.
The Impression, Sunrise
Since its creation, the Impression, Sunrise by Claude Monet has been renounced as a quintessential symbol of the Impressionist Movement. This work of art illustrates a view of the Le Havre, A Port in north-western France and is seen as a Monet’s most known form of poetic expression.

This renowned work of art expresses a calm feeling of a misty maritime scene. Towards the lower left side is a small rowboat with two indistinct figures floating across the sea. The sun is shown as the early morning rays are seen emerging over a foggy harbor. Numerous figures and shadows can be seen across the water’s surface, incorporated with the use of a palette of mostly cool, dull colors (blues and greys) but also using splashes of warm colors (red and oranges) emphasizing the sunlight, as a result drawing attention to the main focal point of the painting, the sun.
I personally am fond of the Impressionist style, and particularly the paintings of nature. I appreciate the vibrant colors and loose brush strokes characteristic of the Impressionist style and their almost-optical-illusion effect. I’m impressed with the selected painters whom can portray water/ocean and glass effectively. I also enjoy the pleasant subject matter of Impressionism. Its focus on moments and enjoyable activities makes it easier to understand and relaxing to view.
Claude Monet
Paul Cezanne
Edgar Degas
Still Life With Apples
It is a beautiful painting and fantastic use of light and the color blue. Degas was known for his numerous impressionist paintings of dancers. This being one of his most popular. The whole composition is focused onto the dancers and suggests a relaxed, no pressure and no formal layout. . The impersonal image resulting solely from registration of light, informality in composition, above all, the ability to seize a moment in time; each of these qualities seem to be aimed at in the Impressionist technique. Direct observation of light, rejection of composition, and a swift execution which aims to capture the sensation of the moment as spontaneously as any manual technique can.
Through the different shading and use of cool colors Degas has portrayed this piece like a snapshot, where objects or humans are seized in motion at a particular time. Randomly moving with the feel that they are almost floating off the canvas.

Blue Dancers
The name is mainly what is in the painting. A plate half full with apples, a wine bottle standing beside it, apples scattered on the cloth and in the background a plate with what look likes bread rolls or small baguettes, all of which are sitting on what looks like the kitchen table. The apples look like they have just been placed randomly on the table and in the basket and the bottle and bread look as though they have just been placed there to take up space in the painting. When I first looked at this painting the object that caught my eye first was the basket of apples. It is the largest object in the painting and is clustered with apples inside and around the basket.
The pervasive symmetry of the tonal patterning is most evident in the image that takes up the largest areas of topographic point , such as the draped cloth . These areas are made to appear opposite in their overall color arrangement as conterminous patterns come into contact with each other colors, sick as the apples. The limited repertory of colored patterns (essentially restricted to cool or warm adjacent blends results in the creation of a discerning rhythm of chromatic repetitions and counter-repetitions throughout the painting .
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