C’est un endroit virtuel où le propriétaire publie de courts messages parfois accompagnés d’images et même de vidéos et où chacun peut laisser ses commentaires à son gré.C’es...C’est un endroit virtuel où le propriétaire publie de courts messages parfois accompagnés d’images et même de vidéos et où chacun peut laisser ses commentaires à son gré.C’est une plate-forme sur laquelle nous partageons notre vie et où toute l’actualité passe.展开更多
In Early 20th century,Canadian landscape painting had its roots in European art,especially in impressionism and subsequent developments.When Claude Monet took to working in a series to capture changing light,he sought...In Early 20th century,Canadian landscape painting had its roots in European art,especially in impressionism and subsequent developments.When Claude Monet took to working in a series to capture changing light,he sought to simplify his subject;the painter would focus on a motif:a passage of river,a tree,or a building facade.This editing out of landscape information led to a more abstract work where one might focus on the color or brushwork in the painting.This method led to a release from the task of measuring for accuracy for the viewer.Painting became sensory and not imitative where one was free to enjoy pure painting that spoke directly to a sensation or a delight in an unsuspected arrangement.At the end of the 19th century,Art Nouveau designs were printed in international journals,like The Studio and were studied in commercial design shops,like Grip Ltd.,Toronto.The nucleus of Canada’s leading painting group―the Group of Seven,was formed out of commercial art and,to some extent,designs one could see reproduced in magazines.Tom Thomson took these motifs;these abstracted forms and envisioned them in the landscape of Ontario through his plein air sketches.Lawren Harris stylized trees and mountain forms into abstractions of pure delight and A.Y.Jackson set his hills in the landscapes of rural Quebec where repeating rhythms trumped topography accuracy.This paper will highlight these Canadian painters as they introduced the motif that moved landscape painting to decoration of the most satisfying kind.展开更多
A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claud...A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.展开更多
文摘C’est un endroit virtuel où le propriétaire publie de courts messages parfois accompagnés d’images et même de vidéos et où chacun peut laisser ses commentaires à son gré.C’est une plate-forme sur laquelle nous partageons notre vie et où toute l’actualité passe.
文摘In Early 20th century,Canadian landscape painting had its roots in European art,especially in impressionism and subsequent developments.When Claude Monet took to working in a series to capture changing light,he sought to simplify his subject;the painter would focus on a motif:a passage of river,a tree,or a building facade.This editing out of landscape information led to a more abstract work where one might focus on the color or brushwork in the painting.This method led to a release from the task of measuring for accuracy for the viewer.Painting became sensory and not imitative where one was free to enjoy pure painting that spoke directly to a sensation or a delight in an unsuspected arrangement.At the end of the 19th century,Art Nouveau designs were printed in international journals,like The Studio and were studied in commercial design shops,like Grip Ltd.,Toronto.The nucleus of Canada’s leading painting group―the Group of Seven,was formed out of commercial art and,to some extent,designs one could see reproduced in magazines.Tom Thomson took these motifs;these abstracted forms and envisioned them in the landscape of Ontario through his plein air sketches.Lawren Harris stylized trees and mountain forms into abstractions of pure delight and A.Y.Jackson set his hills in the landscapes of rural Quebec where repeating rhythms trumped topography accuracy.This paper will highlight these Canadian painters as they introduced the motif that moved landscape painting to decoration of the most satisfying kind.
文摘A method for placing oil paint in metal tubes occurred in the early 1840s, which facilitated artists taking their materials out of doors to paint nature directly. In France in the 1860s, we know of painters like Claude Monet were working on beaches and port cities to capture the effect of scenes under natural light. By 1874 the Anonymous Society of Painters, Sculptors, Engravers, etc. （Impressionists） offered their first public exhibition to much criticism. A common complaint of the new work was that it lacked finish to be considered as a completed work for sale. It is the view of this paper that outdoor, or plein air painting, developed because of the circumstances this type of work developed in the artist naturally. I focus on two areas that outdoor painting forced the artist to consider： incidents and accidents. The incidents refer to the varied weather the painter had to deal with and the accidents identify the intuitive methods the plein air painters fell practice to when confronted by difficult passages or situations in nature. These experiences would shift the focus of the Impressionists from recording nature in a naturalistic way to self-expression, which would become a key idea in early modem painting. The finish the detractors of Impressionism called for would be replaced by an appreciation for the personal in painting as exacting images of landscape became predictable and lacked the vitality of the intuitive picture that could offer something new to art.
