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Claude Monet's Impression Sunrise Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Claude Monet's Impression Sunrise Introduction 15th & 16th cent 19th cent 20th & 21st cent Monet's sunrise Impressionism Monet's poppies Seurat's Bathers Grande Jatte & Circus Signac font size: a a a Claude Monet's Impression Sunrise In the late 1860s, Claude Monet (1840-1926), Pierre-Auguste Renoir (1841-1919) and others painted in a new style, called Impressionism by contemporaries. The name was first used by critics, viewing a new exhibition held in 1874, and was directed precisely — and derisively — at a painting by Monet of a harbor at dawn, which he titled Impression: Sunrise. This painting is a striking example of the new style. How did Monet achieve the effect in this particular painting? Impression Sunrise, Claude Monet, 1873. The sun is set against the dawn, the orange color against the gray and the vibrant force of the sun against its ... http://www.webexhibits.org/colorart/monet.html · 8.3k |
Impressionism: The Innovations and Influence Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Impressionism: The Innovations and Influence Introduction 15th & 16th cent 19th cent 20th & 21st cent Monet's sunrise Impressionism Monet's poppies Seurat's Bathers Grande Jatte & Circus Signac font size: a a a Impressionism: The Innovations and Influence Contemporaries of the first Impressionists used the term “Impressionist” derisively. Why were Impressionists seen as artists who changed accepted concepts on color and light, and why did they challenge later artists to provide even bolder solutions through their work? How, within this framework, did Impressionists develop their own personal manner of depicting their modern world? Impression: Sunrise, Claude Monet, 1874. Impressionism takes its name from this painting, one of the initial works exhibited by artists in Paris who were dubbed by critics, “painters of mere impressions.” Impressionism got ... http://www.webexhibits.org/colorart/page18.html · 17.1k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC C: LUMINANCE AND EQUILUMINANCE Key understanding In the brain, the brightness (black and white) and the colors of a scene are processed separately. This can create some curious effects, for example, in equiliminant scenes, we lose a sense of position. Another phenomenon is that if the brightness is accurate, the colors can be dramatically altered, affecting the mood of a scene. Possible tasks and questions How do artists influence our vision by using the technique of “equiluminance”? Discuss the question in reference to three works of art. How did Leonardo da Vinci’s chiaroscuro ... http://www.webexhibits.org/colorart/teaching4.html · 8.4k |
Claude Monet's Poppies, Near Argenteuil Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Claude Monet's Poppies, Near Argenteuil Introduction 15th & 16th cent 19th cent 20th & 21st cent Monet's sunrise Impressionism Monet's poppies Seurat's Bathers Grande Jatte & Circus Signac font size: a a a Claude Monet's Poppies, Near Argenteuil In the countryside, a vivid splash of poppies seems to move in a gentle breeze. Monet has made the red poppies and the green field effectively equiluminant. The position of the poppies seems uncertain. To many viewers, they appear to quiver. Poppies, Near Argenteuil, Claude Monet, 1873. If you remove the color, most of the poppies cannot be seen in the field. The poppies and field are equiluminant. As has been noted, the Impressionists painted not a landscape but the impression of a landscape. Nothing here is painted exactly; rather, everything is suggested. Monet unforgettably evokes a mood by choosing these ... http://www.webexhibits.org/colorart/monet2.html · 6.8k |
The Spontaneous Sketchy Impressionists Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » The Spontaneous Sketchy Impressionists Introduction 19th cent & before 20th & 21st cent Impressionists Vuillard Futurism Abstract Expressionism Keita & Shonibare font size: a a a The Spontaneous Sketchy Impressionists Rue Montorgueil in Paris, Festival of June 30, 1878, Claude Monet, 1878. The spatial imprecision in Claude Monet’s Rue Montorgueil in Paris, Festival of June 30, 1878 is more than simple blurring — Monet’s approach reflects the way our peripheral vision works. The spatial imprecision generates a vitality because it is consistent with a single glance at a moment in time. The flags along Rue Montorgueil look fine when you first glance at the painting, but not if you look directly at them, or after you study the details carefully. This effect is called illusory conjunction. The painting’s spatial imprecision is not so noticeable at first ... http://www.webexhibits.org/colorart/dg.html · 9.0k |
Monet's Colors Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Monet's Colors Introduction Color theory Paints African Art 19th cent 20th & 21st cent font size: a a a Monet's Colors From the Haystack series, c. 1890-91. Meule, Effet de Neige, le Matin (Morning Snow Effect), 1891. From the Haystacks series, c. 1890-91. Until the 19th century, color was thought to be an intrinsic property of an object, like density or melting point. Oranges were intrinsically orange and lemons were intrinsically yellow. The French Impressionists and post-Impressionists change this conception. Claude Monet’s (1840-1926) work around 1890 demonstrates this development. Monet and his contemporaries begin to paint outdoors, as opposed to the traditional settings of a neutral studio environment. Thus, Monet’s series of haystacks are painted under different light conditions at different times of the day. He would rise before dawn, paint the ... http://www.webexhibits.org/colorart/dh.html · 8.0k |
Vincent van Gogh to Emile Bernard : 23 June 1888 » Home < Previous Next > Letter from Vincent van Gogh to Emile Bernard Arles, 23 June 1888 Relevant paintings: "Christ on the Sea of Galilee," Delacroix [Enlarge] "Zouave sitting, whole figure," Vincent van Gogh [Enlarge] "Seated Zouave," Vincent van Gogh [Enlarge] "Zouave (Half Length)," Vincent van Gogh [Enlarge] My dear Bernard, You do very well to be reading the Bible. I begin with that, because I have always refrained from advising you to do so. As I read the many sayings of Moses, Luke, etc., I couldn't help thinking, you know, that's all he needs - and now it has come to pass…the artistic neurosis. For that is what the study of Christ inevitably leads to, especially in my case, where it is aggravated by the smoking of innumerable pipes. The Bible is Christ, for the Old Testament leads to that culmination. Paul and the evangelists stand on the other slope of the holy mountain. How small-minded the old story really is! My God! Does the world consist solely of Jews, who declare from the very start that all those who are different from them are impure? Why didn ... http://www.webexhibits.org/vangogh/letter/18/B08.htm · 23.7k |
Earth shadow | Causes of Color font size: a a a Related pages: Blue or black sky? Blue & red Earth shadow Mars Blue eyes Do it yourself A page from the "Causes of Color" exhibit... What causes layers in the sunrise and sunset? While it is stunning - and a bit eerie - to watch the earth’s shadow slowly blot out the moon during a lunar eclipse, we can actually see the earth’s shadow twice a day: in the eastern sky as the sun sets and in the western sky as the sun rises. Earth shadow is cast by the earth, with the atmosphere as the backdrop. In this schematic view, the photographer is facing away from the sun, towards to sunset or sunrise. The earth’s shadow can be seen at twilight and sunrise most days, but it is not always blue. Earth shadow during sunrise, a half hour before sunrise in Kitt’s Peak, Arizona. At sunrise (7:15 am), the white arrow on the bottom is the shadow cast by Kitt’s Peak. Earth shadow viewed from over the wing of an airplane in the Caribbean. The sun is setting to the left side of the photo. The dark wedge along the horizon, which thickens to the right, is the earth shadow. ... http://www.webexhibits.org/causesofcolor/14E.html · 19.1k |
Pigments through the Ages - Intro to the oranges Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Intro to the oranges Intro to the oranges Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a Colors Purple Blue Green Yellow Orange Red White Brown Black Choose: Chrome orange Realgar In this Impressionist painting, the sun is set against the dawn, a vibrant orange color rising against the gray setting of its motionless surroundings. The movement’s name was engendered by this Monet paining, “Impression: Sunrise” (1873, Musee Marmottan, Paris), when ... http://www.webexhibits.org/pigments/intro/oranges.html · 17.1k |
Vincent van Gogh to Theo van Gogh : 2 July 1889 » Home < Previous Next > Letter from Vincent van Gogh to Theo van Gogh Saint-Rémy, 2 July 1889 Relevant paintings: "Pilgrims at Emmaus," Rembrandt van Rijn 1648 [Enlarge] "The Jewish Bride," Rembrandt van Rijn 1665 [Enlarge] "Marcalle Roulin," Van Gogh 1888 [Enlarge] "Wheat Fields with Reaper at Sunrise," Vincent van Gogh [Enlarge] "Wheat Fields with Reaper at Sunrise," Vincent van Gogh [Enlarge] "Marcalle Roulin," Van Gogh 1888 [Enlarge] "Sower," Vincent van Gogh [Enlarge] My dear Theo, Enclosed is one of Mother's letters, of course you know all the news in it. I think that Cor is very smart to go there. [Their youngest brother was going to the Transvaal.] It's different from staying in Europe, down there you don't have to put up with the influence of our big cities, which are so old that everything in them seems to be tottering and in its dotage. Instead of seeing his vital strength and native and natural energy evaporate in circumlocution, it's possible that he might be far happier distancing himself from our society. He should do this without delay and ... http://www.webexhibits.org/vangogh/letter/20/597.htm · 23.3k |
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