Realism and Impressionism, Essay Example

Beyond any doubts, one should emphasize the existence of numerous art directions, which basically enable its representatives to cope with uncovering the essence in a preferred way. Analyzing the tendencies within the area of art, one cannot but encounter the prevalence of such movements as realism and impressionism. Considering each of these terms, one should be aware that the artworks of each art movement are characteristic of particular traits. In order to understand the way the artworks represent each term and visa versa, it is necessary to conduct a survey of the selected artists and figure out how they view their artworks.

The first artist to make mention of is Clarence Holbrook Carter and his painting “Jane Reed and Dora Hunt”. Analyzing the abovementioned painting, one can witness that it offers definite colour accuracy; it usually provides the color transitions. Considering the panting, it becomes apparent that the artist managed to create a paper of high quality. The pattern is full of sensitivity; it demonstrates the huge talent of well-known artist. In the discussion painting, one can emphasize Carter’s palette of pure and contrasting tones. It is a radical departure from the classic practicing of creating an overall tonality with the help of delicate gradations of color. The artist endeavored to capture the lights and color, and it was fundamental to his work. What is more, the early warm autumn colors prove him to be a decent master of playing with light tones. This painting is considered to be a real masterpiece of realism.

Inevitably, the painting Jane Reed and Dora Hunt speaks volumes through the message that it conveys. The given artwork indisputably looks for a feedback from the viewers. The artwork spurs a viewer to ponder over the question that is raised in the painting. Carter’s Jane Reed and Dora Hunt is an example of socio-political art; the artist does not state his idea straightforwardly. There are only subtle hints which assist in the process of individual interpretation. Notwithstanding this fact, the viewers can still get to the point, since both the composition as well the techniques of colors help the viewers become aware of what the artist’s message is. The thing is that the characters appear to be tightly connected with the background of the painting, seen in the grey electric poles, awesome railway trucks and the poor look of the remote little house; moreover, the landscape’s tonality leads up to the poverty of the depicted women.

Obviously, the artist paid attention to describing the trustworthy reality of our life. To be precise, realism emerges to be aimed at describing the objects in a very precise and accurate manner. The appearance of the chosen objects appears as the key element of this art movement. It is clear that the representatives of realism consider their artworks as the tools to reflect a solely usual perspective. Moreover, in accordance with Greenberg, a peculiar thing about realism is that it aims to dissemble “…the medium, using art to conceal art.” (1993, p.86)

The second artist to take a view of is Oscar Claude Monet. Indisputably, it is worth mentioning that this artist occurs as the representative of the impressionistic style of painting. The impressionistic style of painting appeared in the 19^th century in France; considering this very art movement, one should know that its emergence was much caused by “…changing character of the contemporary world.” (Boime, 1976, p. 181) It is clear that until this time, the entity of color was considered as the trait of the subject itself; all in all, the epoch of impressionism managed to make a shift of focus from this construct to absolutely new technical approach. Analyzing the creative activity of Claude Monet, as well as the other artists working within the frames of the impressionistic style, one should take into account that he started taking his tubes of paint outside in order do his work.  Consequently, the notion of out-of-doors painting emerged; it was mainly characterized by staying outside the house while creating the artworks. Conducting a survey of the impressionistic style, it is worth saying that a peculiar thing lies in its focus on the light and the way it was absorbed by the objects they placed on canvas. The thing is that the artists were targeted on observing the painting for a long time so as to finally modify the light with the help of brushes and some new combinations of paints.

Speaking about Claude Monet and the discussion painting “The Seine at Bougival”, it becomes apparent that the French impressionist managed to study both light and color. The point is that Claude Monet was the first to initiate the practice of painting outside. Looking into his paintings, it is necessary to take into account the fact that Claude Monet appears to exactly what he eyewitnesses; obviously, the sophisticated technique of brushstrokes enables him to convey the idea of completely modified light. When watching Monet’s masterpieces from a little distance, one can easily emphasize all the objects that the artist painted. Claude Monet is indisputably one of the best-known impressionists associated with Bougival; it is worth making mention that Bougival is the commune where he created a number of his paintings.

To conclude, contemplating upon the creative activity of both Clarence Holbrook Carter and Claude Monet, it becomes apparent that these artists dedicated their life to inventing a complex technique of organizing and filling the paintings; the artworks “Jane Reed and Dora Hunt” and “The Seine at Bougival” give the evidence to how deeply andtenderly the artist can be while portraying the countryside. Moreover, it is possible to vividly eyewitness the influence of certain art movements on the creativity of the discussion artists. The thing is that both realism and impressionism impacted the works of art in a way that the viewers can easily come to understanding the mechanism of filling the painting with meaning content. It is important to admit that there are concise distinctions from the perspective of the prevailing themes as well as technologies utilized by the representatives of particular art movements.

References

Boime, A. (1976). Entrepreneurial Patronage in Nineteenth-Century France. Baltimore: Johns Hopkins University Press.

Greenberg, C. (1993). “Modernist Painting”, repr. in The Collected Essays and Criticism 4, J. O’Brian (Chicago, Ill.: Univ. of Chicago Press), p. 86.