![]() ![]() This is an absolutely wonderful piece of visual art. A great example of this is Woman with a Parasol also by Monet.Ĭlaude Monet, Woman with a Parasol, 1875, creation location unknown Finally, Baroque paintings often were constructed in geometric shapes such as the pyramid, or in this case a circle, whereas Monet’s Impression, Sunrise was asymmetrical.Īnother key element of Impressionism is its emphasis on light and its changing qualities with the passage of time, as well as the effects of weather. This is quite a bit different than the ordinary and pleasant subject matter depicted by Monet and the other Impressionists. In this case it is of course the story of Narcissus who fell in love with his own reflection and drowned. In stark contrast, Baroque painting portrayed mythological or biblical subjects, oftentimes including a moral that people would understand. They focused on ordinary subject matter instead. Impressionistic paintings did not focus on traditional subject matter like history, classical antiquities or religion. ![]() The painting is distinct and reflective of the subject painted, as opposed to the blurriness of Monet’s work which sought only to capture a subject’s essence. Unlike Impression, Sunrise, Caravaggio’s painting depicts a realistic figure with dramatic contrasts of light and shade. Narcissus at the Source reflects the typical Baroque style. Michelangelo Caravaggio, Narcissus at the Source, oil on canvas, 1597-99, creation location unknown There is also a distinct asymmetry with what looks like tall factory chimneys on the left and the shorter machinery of some kind on the right.Ĭontrast Impression, Sunrise with the Baroque painting of Narcissus at the Source by Caravaggio. I can hear the sloshing of the water, mixed with the slight creaking of the rowboat in the foreground and the larger, masted vessel farther back. I can feel the cool morning breeze upon my face. I like this painting for the feeling of calm it portrays. Instead of mixing the colors and then applying them to the canvas, Monet allows the mixing to occur in the eye of the beholder. Notice how vibrant the sun and its reflection appear on the water. Colors were not mixed on a palette, they were applied side by side on the canvas, itself. Another new technique had to do with color. Most salient are the very visible brushstrokes and the short, think manner in which the brushstrokes are applied, the purpose being to capture the essence of the subjects being painted as opposed to their particular details. To accomplish this, Impressionists such as Monet developed new techniques. He instead chooses a subjective approach that captures the emotions and feelings - his impression - of this scene at a particular moment in time. Monet does not paint a clear, objective representation of this seascape. This is an amazing painting that I like very much. This sentiment is perfectly illustrated by Monet’s painting Impression, Sunrise.Ĭlaude Monet, Impression, Sunrise, 1872, oil on canvas, creation location unknown but likely Le Havre port in northwestern France Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it emerges as your own naive impression of the scene before you. When you go out to paint try to forget what object you have before you – a tree, a house, a field or whatever. The style, itself, was summed up nicely by Claude Monet, one of the most renowned Impressionists: As it turned out, it was a game changer, a paradigm shifter, and it laid the foundation for the modern styles of art that were to come. It was criticized for being different, for not conforming, and for being superficial and incomplete. Like the new kid in class, at first it was not well received. I found it to be bold, beautiful and vibrant. It illuminated my appreciation for art, literally through its emphasis on the nuances of light, and figuratively through the sheer power of its innovation. The Impressionistic style truly captured my imagination. ![]()
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