impressionism Essay -- essays research papers

For the Love of Impressionism Impressionism is arguably the most beloved and famous of all the artistic styles to date, which is celebrated for its bright colour and new, imaginative view of the world and society. However, originally in Paris in the 1870s, this kind of art was viewed as controversial and undisciplined, it was considered to threaten the values that fine art was meant to uphold. Then in 1874, a group of artists got together to make their own exhibition, mostly of quite small, informal pieces of art that would not have attracted any notice in the Salon (the big annual art exhibition in Paris). They did eight shows altogether, the last one being in 1886. In the first show, the critics picked up on the title of one of Claude Monet's Paintings, Impression Sunrise, and decided to call the whole group 'Impressionists'. The name stuck, and what was supposed to be just a nickname, ended up being the accepted name of the group.   Ã‚  Ã‚  Ã‚  Ã‚  Impressionist artists tried to convey the look and feeling they perceived by the immediate world that surrounded them. Particularly for Monet, this meant painting out of doors, trying to capture the effects of weather, nature and light on the spot, which would be very difficult for a â€Å"normal† artist. A very rapid sketch, like Impression De Santis 2 Sunrise, looks as if it was entirely painted on the spot, but often he must have needed to finish his more elaborated pictures away from the scene, after the lighting effects had changed.   Ã‚  Ã‚  Ã‚  Ã‚  To contrast Monet, Edgar Degas although having this look that gave the feeling the figures were just glanced at. painted his works entirely within his studio, but he arranged his objects and figures to portray this just glanced at look. He often showed figures in such informal poses as stretching or scratching themselves, and frequently used the borders of the pictures to cut off parts of figures, in order to give a sense of immediacy to them.   Ã‚  Ã‚  Ã‚  Ã‚  The Impressionists' technique complemented the anxiousness and speed of their subjects. In their landscapes, they treated their subjects very informally, using a flurry of rapid and varied brush strokes to capture the overall effect of the scenario, without detailed descriptions of the objects within it. More often, too, they expressed lighting effects with bold contras... ...y to shuttle between the two landscapes for which the Impressionists would gain notoriety in Paris and its suburban enviroments. The emerging fields of optics and photography informed the styles of Camille Pissarro, Georges Seurat, and Edgar Degas.   Ã‚  Ã‚  Ã‚  Ã‚  We tend to think of the history in terms of a few individual geniuses, acting as teachers for a number of small subsequent groups of artists, but the Impressionists were entirely different. They chose to develop their craft as equals, painting and learning from one another in small groups. One of the legacies of Impressionism is to leave the viewer with a profound sense of life captured on the canvas, through motion, light and colour. De Santis 6 And also life lived by these remarkable artists, always seeking to experience and to learn, to better capture on the canvas the reality before their eyes.   Ã‚  Ã‚  Ã‚  Ã‚  When you look at the history of Impressionism, it makes you realize how tastes change, and an art that we, today, can easily enjoy and appreciate, could seem crude and controversial and undisciplined to its first viewers. We should remember this in our responses to the art of today.

Made In Chelsea Analysis of an episode Essay

From the episode of Made In Chelsea I watched, I can say that the representations we have of upwardly mobile young city dwellers are that they are social-oriented, whose lives seem to be some care-free that they can cavort around various places in London—and the world—without any problems. We also only see characters of a certain age range—none are, we assume, above the age of thirty—of which the majority have no jobs or business, leading us to believe that they come from families of ‘old money’, and so having a job themselves would seem rather pointless. Saying that, there are a few characters who do possess their own business or thereabouts. However, our perceptions of the characters are very one sided, as we are constricted to seeing only one side of that character—the one that fits their current storyline the best. This prevents us from seeing, per se, the kind heartedness of a character that has just cheated on their partner. The words ‘characters’ and ‘storylines’ fit well with my next point; the conversations and the events that take place throughout the episode seem far too rehearsed and coincidental for them to be actual ‘reality’. Location shots are used of London sights and attractions to establish the setting of the scene. They also are only of Central London attractions, and the shops and restaurants et al all seem to highlight the wealth of the individuals who shop there, eat there etc. Reactions, for the majority of the show, are shown using over-the-shoulder shots to portray the reaction of the person who is being told something. There is also usage of eye line matching shots that show you what the character may have been looking at from their angle. The episode seems to comprise of short segments that have then been edited in post production so that they can seek out the most entertaining of segments. This is obvious as the episode transitions from one group of people at a restaurant to a boxing arena and then back to the restaurant again. Tzvetan Torodov’s narrative theory that conventional narratives are structured into five stages; Equilibrium—disruption—recognition—repair—reinstatement, could be present within the episode, as you can apply it to the situation between Louis, Spencer and Jamie (the love triangle storyline). The fact that it fits so well with Torodov’s theory does support the question â€Å"How much of Made In Chelsea is actually reality?†

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