history of art

INSIDE: Romanticism

Realism

Impressionism

MONTREAL MUSEUM

OF FINE ARTS 1

2

http://openclipart.org/people/cybergedeon/Art_history.svg

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

3

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

4

ROMAN

8

TICISM

9

Title: The Wreckers

Year: 1775

Material: oil painting on canvas

Artist: George Morland

Size: 36x26 inches

Location: Boston Museum of Fine

Arts

10

http://www.bc.edu/bc_org/avp/cas/fnart/art/turner.html

http://www.oceansbridge.com/oil-paintings/product/62770/thewreckers1791





11

http://www.gallery.ca/en/see/collections/artwork.php?mkey=14366

“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

uniformed and well symmetrical. All the objects in the

thirds compliment the painting as a whole in relation

to unity and balance. The picture has a lot of

movement as the dark clouds stir in a circular motion.

It depicts a stormy mood that influences the raging

waters effect of the capsized ship in the depths along

with the other ship crashing against the triangular hill

of rocks. At the focal point, you see a ship

senselessly steered into the triangular hill of rocks,

crashing. As you look on the right angle of the

triangle, it makes me wonder why the people look as

though they have anticipated the wreck and seem

well prepared for any casualties that may occur.

Then on the base of the triangle you see the people

rescuing the wrecked crew from the waters. The use

of colors of dark and light gives the feeling of urgency

without a moment to lose. This picture tells a unique

story of ship wrecking strategies of the early

centuries.

In an ending result,

The Wreckers exudes plenty of

emotion, intuition and imagination

thus being a part of the

Romanticism era. The idea of this

era was to live intensively rather

than wisely and a great deal of it is

known for its gothic horror. It

seems that Morland found a great

deal or disturbance at this moment

and decided to capture it in his

work of art. Even though this

particular incident actually took

place, Morland was able to mesh

his twisted thoughts into this painting

to define the horror in it.





REAL

12

ISM

13

Title: The Epic and the Exotic

Year: 1888

Material: oil on canvas

Artist: Gustav Bauernfeind

Size: 58x110 inches

Location: Dahesh Museum of Art

14

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-of-

art/










http://magazine.pepperdine.edu/index.php/2012/04/the-epic-and-the-exotic-exhibit-at-the-frederick-r-weisman-museum-of-art/



























15

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

“The Epic and

the Exotic” (1888) is an

artistic portrait painted with

oil on canvas materials by

Gustav Bauernfeind (1848-

1904). 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 19th-

century 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.




IMPRES

16

SIONISM

17

Title: A Venetian Backwater with

Gondola

Year: 1870-1956


Artist: Antoine Bouvard

Size: 24x32 inches

Location: London, South Kensington

18

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































19

http://www.19thcenturypaintings.com/artist_biography.asp?artistID=71

http://www.tennants.co.uk/Catalogue/Lots/48455.aspx

“A Venetian Backwater with Gondola” is a painting from the French Impressionism

era in the 19th 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.

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.

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.



22

Title: Bridge at Chatou

Year: 1875


Artist: Pierre-Auguste Renoir

Location: Chatou, Paris

23

Montreal Museum of Fine Arts, Impressionism

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.

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.

Title: Fellah Women Drawing Water

Year: 1870-1875


Artist: Jean-Leon Gerome

Location: Cairo, Egypt

26

27

Montreal Museum of Fine Arts, Impressionism

“Fellah Women

Drawing Water” (1870-75) is

a painting used with oil on

canvas material by Jean-

Leon 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.

BIBLIOGRAPHY Romanticism



http://projects.vanartgallery.bc.ca/publications/75years/exhibitions/1/1/artist/2/31.2/biography/2


Realism



http://gustav-bauernfeind.blogspot.ca/2008/01/biography-of-gustav-bauernfeind.html


Impressionism





MMFA Impressionism 1 and 2

Montreal Museum of Fine Arts

http://www.pierre-auguste-renoir.org/biography.html

http://www.mezzo-mondo.com/arts/mm/orientalist/european/gerome/gerome.html

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LaSalle College

Student’s Name: Jenna Beharry

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

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 = 50 marks

Formal analysis grid (content and presentation) = 25 marks

Written portion (content, spelling, grammar, punctuation) = 20 marks

Overall presentation (clean, organized, creative) = 5 marks

Total = 100 marks

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TEACHER’S COMMENTS

Comments to be shared between the

following two (2) parties: Kathryn Kelly and

STUDENT

32

history of art

Documents

oil painting

boston museum of fine

painting career

landscape painting

george morland size

capsized ship

battered ship

mmfa impressionism