Impressionism In Modern Art
Impressionism was developed in Paris during the 1860s by artists who rejected the official salons and were consequently shunned by the most powerful art institutions. By turning away from dated ideals, the Impressionists aimed to capture the sensory effects of the scene – the impression objects made in an instant. In the similar way the Impressionists did, my self-portrait demonstrates short, broken strokes that convey forms. In addition, there are few, pure colors used while emphasizing the effects of light. The loose pencil strokes give an effect of spontaneity that contradicts any carefully constructed composition, much like the Impressionists. Furthermore, the two-dimensionality of my form is reminiscent of the flat figures in Impressionist
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Moreover, Cubism turned toward a system of representing bodies that utilizes small planes set in shallow space. In the way that cubist painters rejected the inherited concept that art should mirror nature, my self-portrait negates any traditional ideas of realistic interpretation of form. Also, I did not adopt traditional techniques of perspective, but rather emphasized two-dimensionality of the paper. My image was fractured and reduced to geometric forms while using multiple vantage points – just as the Cubist painters did. Given these points, my neutral palette recalls Braque’s experiments of composition rather than vivid color. Thus, allowing the viewer to focus on the different views of the subject. In conclusion, my Impressionist self-portrait emulates the fleeting changes on the natural world and preserving it on a picture plane. It is a moment captured in its replication of its visual experience, effectively recalling the Impressionist movement. Subsequently, my Cubist portrait accurately represents my image from multiple viewpoints on a two-dimensional plane. The reduction of my face into geometric forms effectively represents Cubist ideals. Both self-portraits reflect the changing experience of space, movement, and time in their respective
Moreover, Cubism turned toward a system of representing bodies that utilizes small planes set in shallow space. In the way that cubist painters rejected the inherited concept that art should mirror nature, my self-portrait negates any traditional ideas of realistic interpretation of form. Also, I did not adopt traditional techniques of perspective, but rather emphasized two-dimensionality of the paper. My image was fractured and reduced to geometric forms while using multiple vantage points – just as the Cubist painters did. Given these points, my neutral palette recalls Braque’s experiments of composition rather than vivid color. Thus, allowing the viewer to focus on the different views of the subject. In conclusion, my Impressionist self-portrait emulates the fleeting changes on the natural world and preserving it on a picture plane. It is a moment captured in its replication of its visual experience, effectively recalling the Impressionist movement. Subsequently, my Cubist portrait accurately represents my image from multiple viewpoints on a two-dimensional plane. The reduction of my face into geometric forms effectively represents Cubist ideals. Both self-portraits reflect the changing experience of space, movement, and time in their respective