Kamis, 19 Juni 2014

Paintings Of Mary Cassatt And Andrew Wyeth

By Darren Hartley


Mary Cassatt paintings were products of the Impressionist movement in the later part of the 1800s. They were the outcome of a study of the works of the old masters of Europe. Mary left for Paris in 1866 and began her private art lessons in the Louvre.

The early modern Mary Cassatt paintings were masterpiece copies. In 1868, one of these portraits was selected at the prestigious Paris Salon. Paris Salon was an annual art exhibition ran by the French government. The well-received painting was submitted under the name of Mary Stevenson.

Mary Cassatt paintings shows Mary's dislike for narrative and her devotion to surface arrangement and color as well as to the most advanced artistic principles of her day. Mary is one of a few women, and the only American, to join a group of independent artists, later to be known as the Impressionists. Her invitation to the group came from Edgar Degas.

Andrew Wyeth paintings go against the grain, except for the early watercolors in Maine, which Andrew dismissed as being part of his blue sky period. They are an epoch of art history devoted to the abstract and the visually obtuse.

Andrew has always painted for himself and this is clearly evident in his Andrew Wyeth paintings. His brilliant Garret Room, showing the sleeping old black man Tom Clark, was produced in an impulse from the memory of a four year old Andrew, feeling anticipation and trepidation, in the middle of a Christmas night, with a stocking on his bed, containing a skinny doll stuck on its neck.

Occasional endeavors to share with the world, the underlying emotional and spiritual impulses felt by its artist are the Andrew Wyeth paintings. Their realism is tinted with a romantic nature. According to Andrew, the creative process has found a vital part in free, dreamlike and romantic associations. This quality in his work is a sure-fire guarantee that they will be remembered indelibly, if not fondly.




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