The first modern painting is considered to be” Impression Sunrise” by Claude Monet. This painting says more about how someone perceives something rather than what is actually seen. It expands the transitory effects of light and the changing atmosphere of water and air into a hankie of small dots and streaks of color – the fundamentals of pure sensitivity. Maintaining that there were no “lines” in nature, he avoided unchanging outlines and stimulated form with colors. Monet’s canvases incarcerate the external covering: the immediate imagery sensation of light itself. His water-garden paintings are visionary concentrations of light and space.
Post-Impressionism period that is from the 19th – 20th Century was more in the form of refusal of purposeful representation in favor of prejudiced expression. Point of view is subjective, and the objective was to transfer to the canvas the world as they perceived it, foretelling their own unique depth discernment The well-known world is distorted by emotion with the subjective experiences of light, bold colors, and form This was the time period that spans the breach between Impressionism and Abstractionism. Literally the most prominent artist during that period, Vincent van Gogh re-defined art according to his likes and dislikes and displays the luxurious impact of life’s forms that are greatly influenced by vibrant colors.
The early years of the century are marked socially and culturally, by efforts to bring together convention and modernism. Science convoluted the relationship between matter and energy; on the other hand, psychoanalysis investigated the complexities of humans. Different aspects from jagged flat planes to a viewer’s perception are constantly moving and refuse predetermined shapes and systems that had been clearly distinct in traditional art are dependent and obscured and are solid and empty from all sides. Formal experiments were extended in pictures made of pieces stuck on the surface and in constructions during the unreal stage of Cubism.
Matisse and the Fauves composed surface designs consisting of combinations of pure, powerfully vivacious colors. Building on the robust foundations and abstract spaces invented by Cezanne, Cubists academically took apart, and then reconstructed forms and volumes. Within a single frame, the revolutionary visual language of Analytic Cubism holds out numerous advantageous positions and manifold meanings of reality. Cubism confirmed what Manet had indirectly suggested that art is found on a surface, not beyond a plane as if it were a window. Together, Fauvism and Cubism continued the work of the Post-Impressionists: color and line were definitively freed from their obligation to describe observed reality.
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