Although from the same artist group, these Impressionists originated from backgrounds that seemed worlds apart. Claude Monet, known as the “Master Impressionist” varied the themes in his artwork more than any other artist did. Monet’s work “Impression Sunrise”, of which the term “Impressionist” originates also gives rise to the title “Master Impressionist.” Edgar Degas started his career as an artist with nothing in common with Monet but the era in which they lived. From themes to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist artists on opposite ends of the earth.
However, towards the climax of their lives as artists, Monet aided Degas in adopting Impressionist Aesthetic qualities. Monet chose to depict exquisite landscapes from his own gardens and elsewhere, particularly in France. He uses small, elegant brush strokes and vibrant colour to match the scenes he paints. In the mid-1870’s, Monet’s influence over Degas lead Degas to lean his colour choices nearer to those of other Impressionists. In addition to this, Degas began employing pastels, which gave his works a more granular affect that more closely resembled those of other Impressionists. For numerous years in his life, after attempting to paint his the first of his famous “Haystacks”, and, being unable to seize the right shading or colours due to the rising sun, Monet was intrigued by the affect of weather and light on his outdoor projects.
The Essay on Post Impressionism Artists Colour Works
Post Impressionism Art critics first used the term post-impressionistic in 1911 to loosely describe the work of a few artists whose paintings reflect Impressionistic principles, but were created after the movement had lost favour in the late seventeenth century (around 1885). Significant artists whose works have been defined in this category include Paul C zanne (1839-1906), Paul Gauguin (1848- ...
On the other hand, Degas, although also concentrated mainly in France, based his works on people, nudes and ballerinas in particular. Monet never painted a nude. Monet and Degas’ earlier works have notably different brush stroke styles. While Monet has tended to lean towards the short, choppy and yet delicate, Degas’s troyes blended virtuously unnoticeable. However, these seem to correspond with their earlier themes and objectives.
Monet mastered the art of illustrating waves with his brush stroke style, Degas, the curve of a woman’s body or the sheer coat of a young colt. The colours chosen by either artist’s match the scenes they tend to choose to paint. Degas normally chose colours that would show deep contrast between the background and foreground. Monet chose colours the gently blended and showed vibrancy but that created a kind of stable balance in the greater part of his paintings. Degas’ brushstrokes are smoother and more flowing in his earlier works, before his encounter with Monet. Towards the end of his life, Degas concentrated most of his painting, and eventually pastel works, on his obsession with capturing motion.
Born in 1840, Claude Monet began to show promise in the arts as a young boy. Although discouraged by his father, Monet made enough money to support himself through art school by selling caricatures. At the age of 15, Monet’s name, amongst the people, became well known for his talent. Although he never finished school, he established himself and initially chose to concentrate his paintings on still life. His first large work, “Dejeuner sur l’herbe”, however, would not depict the scenes for which he would later be known; for example, his landscapes and sights from his garden at Givenchy. He started painting scenery as a result of the influence of a co-worker named Boutin.
While at Givenchy, Monet is captivated by his garden. He spends the remainder of his life there and paints his Japanese footbridge a great many number of times. Degas, however, born in 1834 to an upper class family of Franco-Italian background was always encouraged to develop his talent. He tended to lean towards painting familiar gatherings in his shy and insecure “keyhole” manner; used mainly when painting people in action, for example, “The Tub” or “The Bath.” For both these works, Degas can be noted for saying, “I want to look through the keyhole.” Degas did not paint as an insider, but as an outsider peering in.
The Essay on Studying the Works of Painter and Poet Francesco Clemente
Francesco Clemente is a self-taught painter and published poet who was born in Naples, Italy in 1952; he also went to school for Architecture in 1970 in Italy (“Biography”1)(“Clemente”1). “In 1973 Clemente made his first trip to India, where he now spends part of each year studying the Buddhist religion and the Sanskrit language, the classical language of India.”(“Clemente”,1). He moved to America ...
The majority of the poses he chooses for his the models in his paintings are ones in which it seems as though the subject is hardly aware of his presence. This could not only be a need for Degas to have his “keyhole” look on life, but also in part caused by his extreme shyness. In the midst of his most well know choices for the subjects of his works were: the horse races, ballerina performances and concertos, bathing, and hair combing. Degas was always inclined to show the “behind the scenes” view in his art. For example, he would illustrate the horses warming up for the race more often than the races themselves. As for the ballerinas, unless he intended to include the orchestra in his painting, he would paint recitals more often than performances.
The end of his life was almost solely consecrated to his need to capture motion. This led his to experiment extensively with pastels and combinations of different media. Degas was more of a “social butterfly” than Monet, whose whereabouts are did not extended to the artists’ circles in Paris from c. 1870-85 and who utterly isolated himself during his later years; he painted almost no people in his work as he physically ripened.
Both these artists’ lifestyles largely affected the aesthetic principals in their works. Degas depicts incredible detail on his subjects foreground and faces in particular while leaving the backgrounds of his works slightly hazing; therefore rendering them almost unimportant to his works. An example of this would be one of Degas earlier works: “Achille De Gas in the Uniform of A Cadet” c. 1855. However, Monet varied his work much more than Degas did. The evolution of Monet’s artistic style was extreme.
Although both artists are of the Impressionist Movement, Degas and Monet started on very contrary bases in their approach to their production of painting and such. However, Monet influenced Degas into adapting his art to fit it into the Impressionist stereotype. Degas’ influence over Monet was minimal to non-existent putting aside his decision to add other colours to his palette. Since Monet was the leader of the Impressionists, this can be expected. If extensively examined, Degas’ later works and Monet’s works can be comparable; if not approach or style then in paint and pastel application..
The Essay on Impressionist Painting
As I was going down to the Los Angeles County Museum of Art I wasnt too thrilled of going. I tend to think art museums are boring. Whats the big deal about seeing in artist that died before I even born? Then to have to stand to in line waiting, at this point I was really trying to understand why I was here, the only thing I could think of was that I forced to come here and I need a good grade in ...
