The nineteenth century produced a great number of art works from such artists as Pierre August Cot and Pierre-Auguste Renoir. Two major themes in these works include images fabricated from the real world and mirror images of everyday situations in life. Cot produced a pair of star struck lovers sharing a moment together in a hidden dugout enclosed by trees and shrubs while Renior recreated a midsummers day with a family enjoying an outing downtown. Each of these painting possesses an iconography in which the artist has contrived within his mind as the main theme to his work.
This image is not intended to influence the viewers individual observation, but to embellish the works particular symbolism. Cot was a wonderfully gifted painter who applied remarkable use of proportional status when creating a two-dimensional painting. The only disadvantage about Cot is that his name is not well known. When this occurs, an artist and his work lack the media voice it needs to posses in order to advance among the inflections of those who do the observing. Therefore personal information is difficult to come across. His work can be classified under representational art.
This form of art uses natural images that look very much like images in the natural world. His portfolio of artwork has not received the noteworthy recognition it so deserves. The Storm, created in 1880, is his only painting to have received praise from the world of art. To showcase another masterpiece completed by Cot, I chose to compare and contrast the composition of Le Printemps . This was also created in the same era and was influenced by images fabricated from the real world. The composition of this painting is quite complete; it includes actual lines, organic shapes, and the illusion of light.
Le Printemps grants the subconscious mind to drift into a fantasy-like state and the illusion of mortality merges with the illusion of realism. Cot portrays the young couple on a swing as his major element. The entire picture is based upon this element and with actual lines, the ropes of the swing and the immediate surrounding environment are defined as background major elements. Two large ropes are attached to a small wooden plank, containing the man and woman. Indentations can be seen where the man is holding on and the illusion of movement is understood.
For the environmental elements, the large tree symbolizes the relationship it has with the swing as well as the direction in which the couple is swaying. When observing this picture, the thought of organic shapes will just not pop into your head. Organic shapes are based on forms found in nature, which are usually rounded, curvy, and irregular. For example, look below the area where the couples feet lay. Underneath is a small area, about a foot in length, which forms a cliff. At the bottom of this proclaimed cliff is a delicate pond, surrounded by water lilies, various foliage, and a dragonfly.
Behind the couple is a trail leading to their secret hide-away, covered by overgrown trees and shrubs. At each glance, mostly all elements within this painting own actual light. This light creates shadows and reflections to give solidity and depth and sometimes animation from within. Towards the upper left of the picture, the suns rays can be seen shining through the trees and reflection takes place on part of the trees leaves, the back of the mans head, on the womans face, and partially on their legs. Basically, everything that is included within the eye of the path shows light and its reflects.
Overall, this painting possess many features that are worthy of a good liberal arts discussion. With the understanding of the elements characterized above, an intelligent judgement can be formed to conclude whether or not Pierre August Cots name should be added to those artists of high standing such as Monet, Piccaso, Rembrandt, Seurat, or van Gogh. On the other hand, Renoir was more concerned with human form without including nature or landscape. Renoir is known around the world as an impressionist. Impressionism concentrates on what the eye actually sees rather than the brains interpretation.
You can see many individual brush strokes of varying hues placed side by side, never blending together. One of Renoirs most distinguished pieces if entitled Le Moulin de la Galette. When observing this artwork, our textbook states that a person will encounter a quick perception of the most delightful of all ways to experience a warm summer day at a local caf or outdoor extravaganza. As spectators, we mentally experience the scene and engross its essential quality rather than its subconscious detail such as warm breezes, music lingering in the background, or sense of personality.
This impression painting illustrates good use of implied lines. These lines are shown within the portraits internal personality. Visibility is present when determining whos looking where, whos talking/listening, whos leading the dance, and what direction the people are following. Such lines imply movement as well as assertive quality, which is indicated by vertical lines. There is little evidence of shading, shadows, or reflection. Renoir used blotches of medium blue to show a slight shadowing on the ground surrounding the dancers. He also portrayed the faces of each person with a hint of gray to indicate the light outside is diminishing.
When looking toward the rear of the picture, black is used to show depth in the crowds population. Other than these examples, Renoir did not put emphasis on shading, shadowing, or reflection. Dark hues of blue and black were used to illustrate the mens clothing and hues of pastels depicted womens apparel. This piece of Renoirs work also possesses two-dimensional space. Two-dimensional space deals with height and width; there is no actual depth. While being fixated with the picture, take notice to the horizontal and vertical lines represented within the shapes of each minor and major element.
Not only can you see the various arrangements, but great spatial organization. There is not a main element strategically placed in this picture. Two women are placed towards the center front; one is sitting on a bench with the other close behind. To the left of them is a group socializing around a table drinking wine and taking part in conversing. To the upper right of the two women is a dancing couple stopped in mid-motion. This view is as if someone has taken a picture and the couple has just looked at the camera in the middle of a dance step.
The further the viewer looks back, more people can be looked upon and it can be determined what their role is with the works symbolism. Unfortunately Renior did not have the best hand dealt in the game of life. He grew up poor and under his fathers strict authority. At first, his work was unnoticed and as his continued his career, his work became more popular. His paintings portrayed the life he wanted to be accustomed to and for some reason, people found that attractive, as if they felt sorry for him. Towards the end of his career, the nude female figure became his most familiar subject.
