HUMN 100 Analysis of Dali Painting Using the definitions I screenshot for you, need an essay describing the Dalí painting I provided for you! ? MUU SISUSTA

HUMN 100 Analysis of Dali Painting Using the definitions I screenshot for you, need an essay describing the Dalí painting I provided for you! ?
MUU SISUSTA
egy
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Tou paragraph
Just four years into the 20th century Paul
Cezanne returns to one of his favorite
scenes for landscape paintings – Mont
Sainte-Victoire. Viewed in the
Iphia Museum of Art this 70 x 92
represents the
mature style of Cezanne. Though
probably more known for his still life
paintings, it is in the landscapes that we
see an evolution in style across his
lifetime. Unlike the Impressionists whose
works were still freshly new in the world of art, Cezanne did not paint his
landscapes in the “open air.” Nor did he use the emerging technology of a
camera to capture his subject before working it out on canvas. Cezanne rather
preferred to work by freely arranging the objects from his sketchbook into a
landscape that captured the essence of the scene more than an exact
representation. The result is a thoroughly unique expression of his mature style.
Context – Background
2nd paragraph
The most striking aspect of the landscape is its color. The extreme saturation,
particularly the cooler colors, makes for a vivacious and engaging scene. It is not
that is absent from the canvas, but rather it seems to be used in a
more untraditional manner. Like the impressionists it might be observed that
gradations in are sometimes substituted for tradition gradations in
Cezanne seems more concerned with the
itself conveying a dynamic
landscape and tradition
receive a diminished role. The
result is a scene that has been broke apart into a theme and variation of
geometric shapes. Recognizable objects of nature – trees, mountains, building –
are present, though at times merely suggested with an
brushstroke. The texture itself is not thick or with built up impasto, but
more liquefied almost having a “waterco application. Cezanne gives a nod to
traditional perspect by arranging the objects vertical and with diminution
on the picture plane. A vanishing point is located just below center canvas with
roof lines foreshortened appropriately in that regard. One might even observe
use of atmospheric perspective with a noticeable shift of the hue cooler as seen
in the blue mountain placed in the “distance.” The result however is not so much
a tradition romantic landscape presenting a picturesque representation of a
large scale landscape but rather a flat screen of color.
Cezanne – Mont Sainte Victoire (1880)
310 & 4th paragraph
Contrasting this landscape with one Cezanne painted early in his career shows
noticeable differences. In a painting of the same mountain range done in 1880
Cezanne shows a stronger Impressionists influence. During these years Cezanne
referred to himself as “Pissarro’s Pupil.” Acknowledging this connection, his
landscape in this case is lorful as his “teacher’s” style would typify. The 1880
landscape however
I contig found in the one
done over two decades later. There is a
to the painterly styl
between the two changing only by degrees as one might image a signature
changing over years of practice. The
in the
earlier landscape as opposed to the
Another key
of the scene which in the earlier work
have a vague amorphous quality due to how he softened lines whereas the 1904
landscape is characterized with sharper, bolder forms.
Though both landscapes express a distinct aesthetic and warrants recognition, it
is the later example that speaks most powerfully to me. The 1904 landscape is a
bolder statement of style more distinctly unique than the earlier one still done
under the grasps of a past style. It is in the later landscape Cezanne is defining
his own style rather than imitating an earlier one. Many might cite the eventual
influence paintings such as this might have had on the Cubists and particularly
Picasso himself (see his 1909 painting Femme Assise), however I prefer to see it
as its own foray into artistic experimentation
5th Paragraph
When thinking of landscape paintings, works such as these by Cezanne are
probably not what readily come to mind. That is unfortunate because these,
unlike the more traditional photographic landscapes, present a unique and fresh
view of the world around us. But more importantly, they attempt to present not
what the world looks like, but rather how an artist creatively perceives the
world. This alone is the most powerful reason this painting appeals to me, and
through his eyes I am awakened to new possibilities of expression
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Choosing a Museum
Museum of Fine Arts (Downtown St. Petersburg): (727) 896-2667
• Museum of Fine Arts
255 Beach Dr NE
St Petersburg, FL 33701
o Leepa-Rattner Museum of Art (on the Tarpon Campus): (727) 712-5762
• Leepa-Rattner Museum of Art
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o Ringling Museum of Art (Sarasota): (941) 359-5700
• Ringling Museum of Art
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Sarasota, FL 34243
• Choose one work of art that appeals to you
o Painting
o Sculpture
o Drawing
o Print
• Analyze based on terminology learned in Foundations in Painting
• The Paper
. Five paragraph essay of 600-1000 words
. Paragraph 1 – The Basics (Title, medium, size, general
background)
• Paragraph 2 – Analysis (Hue, value, paint application, perspective,
structure and design)
• Paragraph 3 & 4 – Comparison (Similarities and differences, reason
for choosing the work for comparison)
• Paragraph 5 – Conclusion (Your personal response and opinion)
Example – The Project in Action
Cezanne – Mont Sainte Victoire (1904)
no paragraph
Just four years into the 20th century Paul
Cezanne returns to one of his favorite
scenes for landscape paintings – Mont
Sainte-Victoire. Viewed in the
hiladelphia Museum of this 20 x 92
represents the
mature style of Cezanne. Though
probably more known for his still life
paintings, it is in the landscapes that we
see an evolution in style across his
lifetime. Unlike the Impressionists whose
works were still freshly new in the world of art, Cezanne did not paint his
landscapes in the “open air.” Nor did he use the emerging technology of a
camera to capture his subject before working it out on canvas. Cezanne rather
preferred to work by freely arranging the objects from his sketchbook into a
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