A Study of Fauvism

A Study of Fauvism Fauvism For artists, the twentieth century began five years late. Late it might have been, but when it got going, it was decades ahead of its time. In 1905 nothing was as modern as modern art. It was to remain that way throughout the century. There are many people who still fail to understand the art introduced in 1905, over seventy years ago. That first modern art appeared in an exhibition in Paris in 1905. Among the participating artists was one of the centurys most famous, Hentri Matisse. Along with Matisses art were works by Maurice de Vlaminck, Andre Derain, and Georges Rouault. Today the works of these artists hang in museums, but in 1905 they werent yet famous. To the public they were infamous. Their paintings were so shocking that one newspaper critic called them the work of Fauves a French word meaning wild beasts. The name stuck so that all the artists who exhibited in that 1905 show were ever after called Fauves and their paintings were dubbed Fauve art. The name Fauve was given to the art of Matisse, Vlaminck, and their colleagues, even though they didnt work with a common principle. And, as years passed, their personal art changed. Paintings done by some at the end of their careers little resembled those done at the beginning. Still, the name. Fauve continued to be used. These were the pioneering artists of the twentieth century and their art, Fauve painting, was the pioneering movement of our century. Theory The fauve artists had no single or unifying principle of art. Perhaps that was necessary for the centurys pioneering movement. Their one basic theory was experimentation. Thats what shocked the 1905 French Public. Their art was so experimental that it resembled nothing gallery visitors had ever seen before. Fauve art doesnt seem so radical today. Thats because their interest in experimentation became the guiding principle of almost all twentieth century art movements. Experimentation in art has meant discovering new types of visual expression. It can be the general theory guiding all the art projects you try in this book. It was originally a fauve principle. However, if most twentieth-century art movements have been guided by experimentation, those experiments have been controlled by further theories. The leading Fauve theoretician was Henri Matisse. His colleagues followed many of his ideas, and his thoughts about art inspired many twentieth-century art developments. To gain an understanding of Fauve art, you can do no better then examine the art and ideas of Matisse. Nor can you find any better guide for developing your own art. Here is what Matisse once said about his art. Expression is what Im seeking most of all however, expression doesnt mean the passion which a human face reflects. The total composition of my painting is expressive. My arrangement of figures or objects, the empty spaces surrounding them, their proportions, everything has its roll to play. Except for Georges Roualt, most Fauve painters followed Matisse and sought expression with the total painting, the total subject. This isnt a simple goal. Its one achieved only after much time and thought. Studying the work of Matisse can help you understand Fauve expression in art. Matisse expressed himself with line. He did this by simplifying the line in his work. This meant eliminating unnecessary lines and using only the most important. These were, of course, the lines that created the shape of his subjects, not the lines that defined details. He wasnt interested in linear details. In short, he simplified his drawing. But simplified drawing doesnt mean you will automatically produce expressive lines in your art. Simplification can mean producing nothing more than a simple but disjointed sketch. More is required. Matisse and his Fauve friends did it by creating rhythmic lines. His lines swing easily, curve and twist like a melody. Matisse created such expressive lines in painting like The Dance. The joy of dance requires lines with lovely rhythm. He eliminated details. In the essential lines that remained, he created graceful bends and flowing curves, lines swinging with the delight of dancing. The Fauves also expressed themselves in color. They understood that color was essential to painting. They didnt feel color should be dominated by subject matter. This means their use of color wasnt dictated by realism. Instead, color could stand on its own. Fauve artists intensified their colors, using bright flesh colors, pinks oranges, and reds for faces. They created shadows of bright colors. In one famous painting, Matisse painted a green stripe down the face of his wifes portrait. He used green because it was the strongest color contrast to the reddish tone of the painting. In such painting, you notice the color before you notice the subject. Such a bold use of color doesnt mean you can color without thinking. In fact, you must be even more careful with color in such a case. A realistic artist who uses color poorly can claim his inadequate colors only copy the poor coloring of his subject. However, Fauve artists couldnt do this. Their bold coloring was of their own choice so they had to be especially sensitive to the use of color they used in their art. Thats why color is such an important ingredient in Fauve art. When you create art in the spirit of Fauve painters, you too will be very conscious of your use of color. You will also be conscious of your use of line. When thinking like a Fauve artist, youll experiment. Like Matisse, youll seek expression in your art in the way you use line and color. Youre line will be simplified and your color diverse from realism. Yet your lines will have beauty and expression because youll give them rhythm and grace. Your colors will be beautiful, because youll treat them intelligently and with sensitivity. Thats how the Fauve artist worked when producing some of the greatest paintings of 20th century art.

Assignment Essay Example | Topics and Well Written Essays - 750 words - 18

Assignment - Essay Example We need to take action to stop them and come up with a much more reasonable and considered response to the problem. This is what informed and responsible citizens do: they work together, discuss ideas and come up with solutions that make sense to everyone. The Occupy movement has been a parade of fools so far. This is very unfortunate because there are social problems out there which require solving. Sadly, the Occupy movement has manipulated the homeless and used them as a rallying point. We need to take back our own public spaces from these people and we need to treat the homeless who truly need our help with real dignity and respect, and not use them as some sort of political pawn, as the Occupy organizers have been doing. Homeless people deserve to have a home and receive treatment. We need to ensure that this happens and they are not abused by those who would use them solely for political purposes. It is important for citizens like us to take a stand for those who are most vulnerable and whom no one else can help. Denver is a beautiful city with great potential. It is sad to see so much political energy being expended about homelessness which is only one of several issues facing the city. The people of Denver need to speak to their local representatives about these issues. We need to be very concerned about what happens in our public spaces. Downtown is a place for everyone. It is a place for families to enjoy themselves and for tourists to bustle about. It is not a place for constant political noisemaking and abuse. The citizens of Denver need to speak with one voice on this matter. Occupy and its shenanigans are not acceptable and we will stand up these criminals and clear the streets of their garbage if necessary. We all share this wonderful city. No one group or idea owns the city and can take control of our public spaces. Sadly, according to one

Literature review Dissertation Example | Topics and Well Written Essays - 3500 words

Literature review - Dissertation Example Table of figures Figure 1 Evolution of materials used in structure construction (Balageas, et al., 2006) Figure 2 A schematic representation of coordinates and plate in lamb wave formation (Ryden, et al., 2004) Figure 3 propagation of Asymetric and Symetric lamb wave modes (NDT, 2012) Figure 4 Cross-section of a typical Contact transducer (Arnau & Vives, 2008) Figure 5 compact 3D laser vibrometer (Oliver, 2000) Structural Health Monitoring (SHM) Structural health monitoring can be defined as the process of implementing strategies aimed at identifying damages in engineering infrastructure. Damages, within the monitoring process, refer to changes occurring in the components and materials that could affect structural functioning adversely. The evaluation tools utilised ought to present non-destructive effects to the structures. In establishing the damage, past, present and future status of structures should be considered carefully (Farrar & Worden 2007). Changes with adverse effects to the functioning of the systems form the greatest concern referred as damages. The relevant changes should be quantifiable for classification as damages and their effects on the functioning of structures adverse. Motivations of SHM Structural health monitoring remains an essential process aimed at ensuring safety of engineering structures. Monitoring could be essential in identifying defects within structures, prompting appropriate corrective measure with the aim of rectifying the detected defects. This process might be carried out as part of routine maintenance procedures undertaken during the lifetime of engineering structures. Monitoring could therefore, precede planned maintenance procedures as it can assist in detecting changes within the structure that need rectification (Balageas et al. 2006). Necessary repairs to structures can be identified through monitoring before engaging the repairing teams. These processes can assist maintenance teams in identifying the required mainten ance procedures for different projects. The adverse effects of damages could escalate to a point where structures become classified as unusable. Slow accumulation of damage could drive structures to this stage referred as failure. The process of implementing monitoring strategies involves making structural observations, over period, using standardised measurements and analysis. The monitoring process should provide analytical information regarding the future functioning of the structure in relation to the anticipated ageing associated with time (Farrar & Worden, 2007). Since ageing of structures remain inevitable, monitoring the ageing process become crucial in minimising the possibility of structures collapsing unexpectedly. Monitoring the ageing process provides engineers with information that can be utilised when performing routine maintenance on structures. This information can also be utilised when constructing new structures through identification of problems that might occur as observed in existing structures (Fassois & Sakellariou, 2007). The ageing process could impose significant changes into materials; changing their characteristics. Modifications to materials can, however, be undertaken artificially through addition of relevant components. The general trend of modifying the materials shows changes from simple, natural materials to complex, auto-adaptive materials as indicated in the figure below. These adaptations remain essential in increasing adaptability of materials