We visited Musée d'Orsay in Paris. The
museums provides an important integrator to preserve Arts which can
actually reflects how human culture has evolved and speaks about
humanity. we met a museum volunteer originally from
Cameron in Africa , a student to be our guide to elaborate and open us
on some artworks.
I am not a fan of paintry, but I like Musée d'Orsay more as it doesn't have the boring Renaissance art in the Louvre, it focuses on French art in the 19th and early 20th century which is more lively.
Let's appreciate naturalism and Realism.
Olympia, the painting by Édouard Manet
Manet, Olympia | Realism | Khan Academy
Musée d'Orsay: Painting
Regards
Bill
The Musée d'Orsay is a must- see Museum,
Lots of famous masterpieces talking lively to the audiences.In 1986, the Musée d'Orsay, a museum formed of a former railway station, was opened
and now the museum holds mainly French art dating from 1848 to 1915. It speaks about the Salon of the eighteenth century, and talks about Contemporary Cultures of Display.we met a museum student (
Fred -study Marketing- 5. Yr. in France, living in one bedroom studio with girl friend paying $1200 rent per month , from Cameroon - 23M people , south of Nigeria)volunteer originally from Cameroon in Africa (
France set up Cameroon as an autonomous state in 1957, and the next year its legislative assembly voted for independence by 1960) who was great to be our guide to elaborate and open us on some artworks.I like it more as it doesn't have the boring Renaissance art in the Louvre, the d'Orsay focuses on French art in the 19th and early 20th century which is more lively.
The Landscape of Humanity: Art, Culture, and Society
beauty
should be one of the main aims of art; the attempt to understand
ourselves and our place in the world from our subjective point of view
is at the heart of culture (this in stark contrast with the aims of
science); and artworks are essentially the products of human spirit and
imagination, and could never be mechanically produced.
to
operate in an open and human way, there needs to be a sizable middle
class committed to the traditions of liberty and humanity, that more
than Popperian openness is needed to hold a society together.
O'Hear
considered art and aesthetic experience point to something that
transcends the material and evolutionary theory cannot give us a full
account of human life and experience, however agreed that Art cannot function as a serious political gesture.
The Landscape of Humanity.
Difference
between Nude ( nature and not so real - classic ) and naked (
Realist-more real , not perfect as naturalism by Manet Edouard - later
more concentrate on showing light on subject than the subject itself )
Clark's
insights and suggestions into the philosophy of the nude: to
"explain" the Greeks, Michelangelo, Botticelli, Renoir on the limited
aspect of art history. He commented on the changes in standards of
beauty chronically ; the mathematical and detached nude of classical
Greece decays with change in attitude toward the flesh, into the bulbous
and ascetic shapes of medieval art. "The very degradation the body has
suffered as a result of Christian morality served to sharpen its erotic
impact. The formula of the classical ideal had been more protective
than any drapery; whereas the shape of the Gothic body, which suggested
that it was normally clothed, gave it the impropriety of a secret."
Ergo, a rebirth of interest in the human form as a subject of art in the
Renaissance, although with a different view of man implicit in every
muscle, for the Renaissance--especially the Michelangelo--nude was
burdened with a soul."
These
problems which he delinates seem to be most central to any study of
aesthetics or culture, and his often quite modest conclusions, offer
food for thought, though not to be taken without careful examination.
The work seems sure to become something of a classic. It is richly
rewarding and provocative reading which illuminates and makes explicit a
part of the world too seldom looked at with the full light of
intelligence and that is critical to an understanding of what we are in
physical terms, an appreciation which seems very distant from us, and
yet Clark's words ring true.
Discussing
the distinction between "naked" and "nude," Clark insists that the nude
must be an idealization, and that this ideal beauty is a tangible vision
that the nude is "a means of affirming the belief in ultimate
perfection."
The
nude, then, need not only hymn what a marvelous work is man, but also
how pathetic. The nude has the strength of both immediacy and severe
truth--man as he really is.
This
"truth" of the nude is reenforced by the knowledge that human beauty is
transitory. The Greeks felt that the human figure in its prime is the
highest subject of art, but not, one suspects, from the unbalanced
optimism about the powers of man for which they are often given credit,
but from a sense of tragedy of the mortal before the immortal and of the
fleetingness of youth and happiness.
Clark added "No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling."
Clark's Analysis of Nude Balances Real and Ideal | News | The Harvard Crimson
Impressionism- 1874- 20th century. --how to present a thing , not drawing and detailing the material subject.
Impressionism is the newspaper of the soul. The impressionists regarded Manet as their inspiration and leader in their spirit of revolution,
For
most of the nineteenth century then, the Salon was the only way to
exhibit your work (and therefore the only way to establish your
reptutation and make a living as an artist). The works exhibited at the
Salon were chosen by a jury—which could often be quite arbitrary. The
artists we know today as Impressionists—Claude Monet, August
Renoir, Edgar Degas, Berthe Morisot, Alfred Sisley (and several
others)—could not afford to wait for France to accept their work. They
all had experienced rejection by the Salon jury in recent years and felt
that waiting an entire year between exhibitions wastoo long. They
needed to show their work and they wanted to sell it.
The Impressionists pooled their money, rented a studio and held eight exhibitions from 1874 through 1886.
Courbet,
Manet and the Impressionists also challenged the Academy’s category
that only “history painting” was great painting. These young Realists
and Impressionists questioned the long establiished hierarchy of subject
matter and believed that landscapes and genres scenes (scenes of
contemporary life) were worthy and important. Their technique tried to
capture what they saw. They painted small commas of pure color one next
to another. When viewer stood at a reasonable distance their eyes would
see a mix of individual marks; colors that had blended optically
which ain. Their technique tried to capture what they saw. They painted
small commas of pure color one next to another. When viewer stood at a
reasonable distance their eyes would see a mix of individual
marks; colors that had blended optically which created more vibrant
colors than colors mixed as physical paint on a palette. The
Impressionists wanted to create an art that was modern by capturing the
rapid pace of contemporary life and the fleeting conditions of
light. They painted outdoors (en plein air) to capture the appearance of the light as it flickered and faded while they worked.
Best Regards
Bill
No comments:
Post a Comment