The Starry Night. Vincent van Gogh 1889 Oil on canvas 29 in x in By: Maya, Victoria, Emily, Josh
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1 The Starry Night Vincent van Gogh 1889 Oil on canvas 29 in x in By: Maya, Victoria, Emily, Josh
2 Content -curving, swirling lines of hills, mountains, and sky -large, flame-like cypress trees -rare night landscape - composite landscape -mentioned in Van Gogh s letters as a study of night or night effect -inspired by rural areas in Southern France, where he could spend hours watching the night without interference from street lights
3 Context -Van Gogh had the subject of a blue sky filled with yellow stars planned months before he painted Starry Night -His brother, Theo, was a manager of a Parisian art gallery and thought that Starry Night pushed style too far at the expense of true emotive substance -Painted a similar landscape, Starry Night Over the Rhone, a year before
4 Form -faced difficulties with contrasting colors and painting outdoors at night -eventually created the landscape in Starry Night using a composite of previously completed works and aspects from his imagination and memory -style inspired in part by medieval woodcuts (thick outlines and simplified forms) -Created Starry Night in less than an hour -brilliant contrasting and dynamic blues and yellows -thickly layered brush strokes -wave-like movements to the brush strokes flow left to right -pattern broken by vertically by cypress and church steeple
5 Context (Continued) -Van Gogh had multiple mental illnesses, such as depression and bipolar disorder -Attempted to poison himself by eating paint and drinking turpentine -End of a collaboration with Paul Gauguin led Van Gogh to cut his own ear off -Was eventually hospitalized at Saint-Paul-de-Mausole, an asylum and clinic -Painted Starry Night while in the asylum (St. Remy s) -Scene is the landscape view of artist s view at St. Remy s
6 Context (Continued) -Born in Holland but moved to Paris and later to rural France -Spent most of his adult life wanting to be with his brother, Theo -The brothers are buried next to each other in the French countryside -Had many failed jobs and relationships -Shot himself at 37 years old Man in Sorrow, Van Gogh
7 Purpose -Seen as Van Gogh s expression of his turbulent state-of-mind -An individualized expression in modern landscape painting -Has become a foundational image for Expressionism Symbols -Cypress tree = Traditional symbol of death and eternal life
8 Goldfish Henri Matisse 1912 C.E. Oil on canvas 146 x 97 cm By: Samantha McMorrow, Matthew Ko, Jasmin Yoon and Daniel Ahn
9 Content Still-life painting Four goldfish inside a bowl surrounded by plants Polka-dotted wallpaper and corner of a chair Focus - orangey-red goldfish that stand out Idyllic place - Happy, peaceful
10 Form Bright orange contrasts with pinks and greens surrounding the fish bowl and background Fish are seen from two different viewpoints (Front: easily recognizable Top: suggested by brushstrokes) Plants are distorted through the transparent glass Pictorial space- the table top is tilted upwards making it hard to imagine how the goldfish and flowerpots manage to stay on the table
11 Context Dominant figure in Fauvism an art movement that debuted in 1905 in Paris Fauvism stressed a painterly surface areas of violently contrasting color Maximize expressive effects by suppressing figure models and color harmonies
12 Context Cont One of the biggest figures in the development of modern art Known for his decorative style, expressive forms, bold use of color Loved to explore the expressive potential of color and its relation to form; seeing them as emotions, not reality Choose goldfish as his subject because on his visit to Tangier, Morocco he noted how the locals would day-dream for hours, gazing into goldfish bowls
13 Function To simply bring the viewer to revel in the pleasure of watching the graceful movement and bright colors of the fish Matisse wants his viewers to have a relaxing vibe He also uses vibrant colors to bring an emotional response from the audience
14 Symbolism Goldfish symbolizes the beauty of divine creation, all of which are imageries of paradise.
15 The Scream By: Jamie Hwang, Olamide Idowu, Ariann Landaverde, and Kaitlin Greiner
16 The Scream Edvard Munch 1893 CE Tempera and pastels on cardboard
17 The figure in the foreground may be a symbolic figure of Munch himself Figure is androgynous Skull-shaped head Elongated hands Wide eyes Flaring nostrils Oval mouth The face lacks realistic detail Swirling blue landscape and fiery orange, yellow sky Two thin faceless figures wearing hats in the background on the same bridge
18 The foreground and the background blend into each other Lines around the figures face, hands, and body curve around and continue with the rest of the painting Stark contrast between the linear bridge and the swirling sky and water Primary colors (red, yellow, and blue) 3 main areas: the bridge, the sky, the lake and the hills The top part of the piece is bright and colorful while the bottom part, especially the figures, are dark which creates a juxtaposition in the mood of the piece
19 A passage from Munch s diary was probably the inspiration for the scene: I was walking along the road with two friends - the sun went down - I felt a gust of melancholy - suddenly the sky turned a bloody red. I stopped, leaned against the railing, tired to death - as the flaming skies hung like blood and sword over the blue-black fjord and the city - My friends went on - I stood there trembling with anxiety - and I felt a vast infinite scream [tear] through nature.
20 The figure feels the cries of nature and the sound is heard internally rather than heard with his ears The artwork expresses the experience of synesthesia which is when senses are combined For example, the belief that one can hear a color or see a sound The Scream is a visual depiction of sound and emotion
21 The Scream is an important piece of work for the Symbolist movement as well as the Expressionist movement Symbolist artists questioned the nature of subjectivity and its visual depiction Munch wrote in his notebook, It is not the chair which is to be painted but what the human being has felt in relation to it. From an entry in Munch s journal, it shows that The Scream is a remembered sensation rather than perceived reality
22 Munch wanted to express his internal emotions Provided a visual image for universal human experience Remembered sensation An expressionistic construction of how Munch actually felt while he was on a walk and heard a piercing scream His mind was probably in an abnormal state
23 Part of Munch s semi-autobiographical cycle The Frieze of Life The Scream exists in four forms: one done in oil, tempera, and pastel on cardboard, two done in pastel, and a final tempera painting Munch also created a lithographic version These renditions show Munch s interest in experimenting with media while the subject matter shows his interest in the themes of relationships, life, death and dread
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