Camille Pissarro: Le Boulevard Montmartre, Temps de Pluie, Apres-Midi

Camille Pissarro has been described as the father of Impressionism.  His artwork depicted rural and urban lifestyles seen in France during the time.  His oil painting Le Boulevard Montmartre, Temps de Pluie, Apres-Midi exemplifies Pissarro’s skill and ability.  This depiction of a rain-soaked street conjoins his avant-garde techniques with the traditional and structured landscape subject.  Painted in 1897, this piece displays atmospheric perspective, implied texture, actual texture, pattern, emphasis, balance, and visual interest.

            The atmospheric perspective in this piece is very straightforward.  It is apparent at first glance that the buildings, trees, and people all become less distinct as they recede backwards into space.  This lack of definition through the use of perspective creates a realistic sense of depth within the painting.  Along with perspective, texture is also very obviously at work in this Le Boulevard Montmartre, Temps de Pluie, Apres-Midi.  Both implied and actual textures are on display.  The implied texture is found in the way in which Pissarro depicts his subject.  For example, the way in which he paints the trees describes their natural texture that we, as human beings, know them to have.  The actual, tactile texture exists on the surface of the piece.  It is the artist’s brushstrokes that fashion this real texture for the viewer. 

            Pattern can also be seen in this work of art.  Pissarro demonstrates the element of pattern in the way that he paints the buildings.  Each building’s windows create a recognizable arrangement and aid in the unification of the overall painting.  Finally, emphasis, balance, and visual interest are formed through his use of value within the painting.  This is successfully accomplished because of the way in which Pissarro evenly distributes his dark and light values.  Overall, Le Boulevard Montmartre, Temps de Pluie, Apres-Midi is a brilliant artwork that displays multiple elements and principles of art working together harmoniously.

Camille Pissarro.Le Boulevard Montmartre, Temps de Pluie, Apres-Midi, 1897. Oil on canvas.52.5 x 66 cm.Private Collection.

Vocabulary

Chapter 9:

1.     Three ways to describe a pattern in art or theory:

a.     As a repetitious design motif

b.     In terms of a template (such as a dress pattern)

c.      When referring to the thought process of human beings

2.     The grid can help to define a pattern by…

Creating a systematic order and balance of the composition.  It creates a harmony and unification within the piece by way of the individual units of the grid structure.

3.     Pattern vs. Texture:

It is challenging to draw the distinction between texture and pattern.  Each possesses qualities similar to that of the other, yet they do differ greatly, especially in the world of art and design.  Pattern is most usually seen as a repeated motif.  Texture is repetitious as well, however it is not as precise and allows for more variation.  The basic difference between the two is that very texture has the ability to be made into a pattern, while every pattern cannot be classified as a texture.

4.     Texture can be used to create visual interest…

By appealing to the human sense of touch.  Although something may not be physically tactile, the implication of texture provides our brains with said sensation of touch.  Different textures are frequently implied through an assortment light and dark values.

5.     Actual texture: texture that is tactile, meaning that it is real surface texture and can be felt.

Implied texture: texture that is not truly present. It cannot be felt on the surface and is imitated through the use of various design elements and principles.

6.     Collage: the act of gluing hard-edged, ripped, or textured papers, or other materials, to a surface with the intention of creating art or design

Nick Gentry.
The Reproduction Number 3: (2009).
Mixed paint, used computer disks and VHS tape on wood.

7.     Tromp L’oile (“fool the eye”): The ultimate point in portraying visual texture.  This style is considered deceptive to the eye.  Often in this type of work, the objects are in sharp focus and meticulously drawn.  It is most successful when the artist copies the precise visual value and color pattern of each separate surface.

Chapter 10:

1.     Value: in art, the term used to refer that that which is light or dark.

Value scale: a visual scale that describes the variations between white, black, and all of the values in between them

2.     Achromatic gray: mixtures of only black and white (no color)

3.     Value contrast: the visual relationship between areas of light and dark

4.     You create balance in a composition with value by…

Dispersing the range of values throughout a piece in a way that will allow the composition to remain harmonious.

5.     You create emphasis with value by…

Developing high contrast in one area and a muted or subdued contrast in the remainder of the work.  This ensures that the viewer’s eye will be directed to the intended focal point and that it will successfully move around the page.

6.     Chiaroscuro: a term used during the Renaissance, it describes the use of dark and light to imply volume and depth in a work of art

7.     Aerial / atmospheric perspective: occurs when visually distant objects become less distinct and defined as they are absorbed into the atmosphere due to said distance 

Edward Burtynsky.
Shipbreaking #10, Chittagong, Bangladesh. 2000. 
Photograph. Charles Cowles Gallery, New York. 

Graphite Rubbings

Visual Images : Bridget Riley

As apart of out new assignment, we are to collect imagery for the three concept boards that we will be creating.  I am very excited to begin my artist based concept board.  I have chosen to focus it on British artist Bridget Riley.  In the process of compiling visual research, I have become very interested in her work.  

Drawing and painting have been the center of Riley's life since an early age.  She worked as a teacher, a commercial illustrator, and then as a painter.  She gained recognition at her first solo show in spring of 1962 for her optical artwork.

Pause - Bridget Riley 1964 - Emulsion on board 115.5x116

During the time that this piece was created, "Op Art" was just beginning to capture the public's eye.  "The fashion, design and advertising industries fell in love with its graphic, sign-like patterns and decorative value. Op Art was cool, and Bridget Riley became Great Britain’s number one art celebrity."

Royal Liverpool Hospital Installation - Bridget Riley 1983

The above piece was a departure for Riley, due to the fact that it differed greatly from her typical studio work.  It is a photo of one of the murals that she painted for the Royal Liverpool Hospital.  The soft colors act in a balanced and harmonious way, with the intention of creating a relaxing environment.

Cataract 3 - Bridget Riley 1967 PVA on canvas 223.5x222

In the year that this work was created, Riley began to use color more frequently.  She sought to create the illusion of movement through the positioning of the color. After 1967, color became a staple element in much of her optical artwork.

Paper in Motion - Matthew Shlian

While I was searching for images to use for my concept board, I came across Matthew Shlian's work.  It's interesting to hear him speak about art and to watch him work. Definitely work checking out!

To see more of Shlian's work click here.

Slowly making progress with my paper collages..

Fire & Water Panels: Finally Complete

I'm so excited to be done with my fire and water panel, but even more excited to see that the Admissions at Moore has posted photos of our class' design work on their Facebook page! 

 

Here are a few of the photos:

My Finished Panel
12' x 24'

 

 

A view of the fire & water panels on display in the cafeteria

 

 

 

Fire & water panels in combination with some optical prints

Click here to go to Admissions at Moore College of Art & Design's Facebook page

David Hockney: Portrait of Nick Wilder

In class we are discussing items such as asymmetrical balance, shape, curvilinear elements, rectilinear elements, positive and negative shapes, and illusion of depth.  All of these terms can be observed clearly in Portrait of Nick Wilder by artist David Hockney.  An acclaimed British artist of his time, Hockney painted this acrylic piece in 1966.  The scene portrayed is idealized and represents a carefree sensibility.

One can observe asymmetrical balance in that the painting is not the same on either side of a vertical axis.  Objects are distributed carefully within the image and are given equal visual weight.  What helps to achieve said balance are the colors, shapes, textures, and values of the piece.  Also, there is a clear combination of curvilinear and rectilinear lines at work.  Most notable, is the round outer line of the pool, located in the foreground of the painting.  It is a striking and bold curve that, in combination with the colors and strokes of the water, makes for an eye-catching point.  Curvilinear lines can also be seen within the focal point, the figure in the pool, as well as in the assorted foliage.  Aside from that, the vast majority of the lines in Portrait of Nick Wilder are rectilinear.  Meaning that that they are straight edged. One can observe this type of line within the building in the background.  Along with line, one can observe shape, both geometric and irregular, at work.  Also, the negative and positive shapes seen in this painting by Hockney establishes a clear representation of foreground, middle ground, and background.  With this, comes a distinct illusion of depth by way of overlapping, vertical location, and size.  The lines and shapes aid in creating a dynamic and balanced composition, which moves the eye carefully around the painting.

Portrait of Nick Wilder, 1966.
David Hockney.
Acrylic on canvas, 182.9 x 182.9 cm.
Private collection.