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What style did Georgia O'Keeffe use and why did she stick to it?
Her style was a unique combination of abstract and representational. She used bold colors, and often painted prairie scenes of bones, or very large canvases of just one flower. The medium she used was oils on canvas.
Was cubism a major movement in art?
expressing the space in the flat surface (in the former Czechoslovakia uniquelly used in architecture)
What style of art did Georgia O'Keeffe paint?
She did paintings of flowers and animal skulls. This is a fact.She also drew many lanscapes. Cubist Realism, also called Precisionism. It is a combination of Picasso Cubism but replaces the strong linearism with a realist approach to appear more natural.Answer 2: Cubism??? Ah, come on! Out of all of Georgia O'Keeffe's master-pieces we know that she enjoys making paintings of extreme close-ups of flowers. It was a kind of realism. You might call it fantastic poetic realism.
What style did Georgia O'Keeffe use and why did she stick to it?
Her style was a unique combination of abstract and representational. She used bold colors, and often painted prairie scenes of bones, or very large canvases of just one flower. The medium she used was oils on canvas.
Was cubism a major movement in art?
expressing the space in the flat surface (in the former Czechoslovakia uniquelly used in architecture)
What art movement was Georgia O'Keefe a part of?
Georgia O'Keefe belonged to the American Modernism art movement. She was very instrumental, along with her husband, in supporting the movement for American artists.
What style of art did Georgia O'Keeffe paint?
She did paintings of flowers and animal skulls. This is a fact.She also drew many lanscapes. Cubist Realism, also called Precisionism. It is a combination of Picasso Cubism but replaces the strong linearism with a realist approach to appear more natural.Answer 2: Cubism??? Ah, come on! Out of all of Georgia O'Keeffe's master-pieces we know that she enjoys making paintings of extreme close-ups of flowers. It was a kind of realism. You might call it fantastic poetic realism.
What style did Jeffrey Smart paint?
Influences and artistic styleSmart is one of Australia’s best known artists with his almost iconic and unique imagery, heavily influenced from various artists and art forms alike. His stark portrayals of contemporary life, both realistic and absurd, have been the basis of many artistic discussions.[5]Critics and admirers of Smart's paintings often debate his subject matter, and whenever questioned in interview, Smart side-tracks the topic of subject matter to his style; "Leaving the interpretation as the prerogative of the individual viewer."[6]Smart states that he "paints a picture because he likes the shape", and when asked why his skies are always so gloomy and smog-laden or why his faces never wear a smile, he claims "I need a dark sky for the composition, because pale blue at the top of a frame looks nothing… [and] because a smiling face is too hard to paint".[6]Smart is the least romantic of artists and his paintings are notorious for encompassing lonely urban vistas that seem both disturbing and threatening.[citation needed]Isolated individuals seem lost in industrial wastelands, full of high rise construction, concrete street-scapes and an eerie feeling of harmony and equilibrium – where silence and stillness create a deathly ambience. 'The express rape of the landscape' is one title hanging over Smart's paintings, referring to the freeways, street signs, trucks, oil drums, containers, buildings, concrete dividers… that are so ever present in his works. Yet his paintings – full of bold colours and perfect symmetry are beautiful; and the repetition of road signs in his works, inconclusive of where they are pointing to, seem tantalising. Figures are also present in many of Smart’s paintings, which are said to be "impassive observers, reconciled to the contemporary state of things, prepared to accommodate themselves to an increasingly impersonal environment" or as "statements on the dehumanising conformity of modern architecture and social painting", but Smart contradicts: "The truth is I put figures in mainly for scale … " It is Smart's precise and unequalled attention to clean lines, composition and geometrics that make his eye-catching paintings stand-out 'in the story of modern Australian art'. "The subject matter is only the hinge that opens the door, the hook on which hangs a coat. My only concern is putting the right shapes in the right colours in the right places. It is always the geometry".[6]It was under tutorship lessons with the modernist artist, Dorrit Black, that Smart acquainted himself with the ‘Golden Mean’. Also referred to as 'the golden ratio', 'the divine proportion', 'the mean of Phidias' and a number of other names, it has been used since ancient Greek times in many works of art and architecture. The golden mean is a geometric proportion, the ratio of which is approximately 1:1.618. This complex network of interlocking rectangles, triangles and diagonal lines, is used to calculate the structure of Smart’s paintings, which form the basis of all his artworks. For Jeffrey Smart, geometry and precision of the composition is the key to successful art, much like how comedic timing is the key to the effectiveness of a punch line. "Todays most prevalent myth is that Smart’s work has no content: that everything is a compositional exercise devoted to capturing a formal ideal of beauty".[6]
What is High Realism?
Realism and its close relatives, Naturalism and Illusionism, have all been important aspects in the development of painting in North America. During the formative periods of U.S. and Canadian history, many skilled painters were either immigrants or indigenous artists who expanded their skills from extended travel in Europe or study in European academies. The natural wonders of North America, as well as the rugged heritage of the frontier, helped to inspire a detailed, sharp focused and down to earth style. In these times paintings were often narrative in nature, providing an informal record of the frontier culture. Additionally, a thorough review of North American paintings in the pre-Civil War period will yield many examples of inspired art and cultural commentaries. Notable artists included Karl Bodmer, Charles Bird King, Charles Deas, John Mix Stanley, Eastman Johnson, George Caleb Bingham in the U.S., and Paul Kane in Canada. They were later followed by Charles M. Russell, Fredric Remington and many others.Historical Canadian Realism GalleryEarlier during the Colonial era, Benjamin West and John Singleton Copley were perhaps the first North Americans to establish reputations in Europe as skilled artists. In the middle decades of the 19th century, the landscapes of the Hudson River School held center stage and drew attention to the natural wonders on the American continents. Some of these artists grew to great stature, most notably Thomas Cole, Frederic Edwin Church, and Albert Bierstadt. In later decades they were followed by Thomas Moran and by Homer Watson in Canada. In the final decades of the 19th Century, Winslow Homer, Thomas Eakins and others refocused the limelight on figurative and narrative subjects. Paul Peel, a Canadian student of Eakins and Gerome, established a reputation, particularly for his work with the academic nude.Canada's first significant school of art was called the Group of Seven. Founded in 1913, these landscape artists developed techniques en plein air. Generally influenced by French Impressionism, The Group choose subject material from the rugged areas around of Algoma District and near Georgian Bay. LeMoine Fitzgerald joined the Group of Seven in 1932, and became a founding member of the Canadian Group of Painters, which succeeded the original Group in the following year. His art was influenced by Charles Sheeler and Precisionism, and represents a kind of prelude to High Realism .The concept of High Realism was introduced by art critic Paul Duval in his book High Realism in Canada, published in 1974. Mr. Duval defined its essential qualities as follows: "objectivity of vision, sharpness of definition, precision of technique, accuracy of detail, and excellence of craftsmanship". He went on to say that "though high realists use nature as their take-off point, they bring to it a highly personal vision, style and technique". Duval intended for High Realism art to be considered distinct from Photorealism, which appeared in the U.S. beginning in the late 1960's.Beginning in the period following World War II, Abstract Expressionism dominated the press and art criticism in North America. But with the work of Andrew Wyeth and others in the U.S. and of Alex Colville in Canada, representational art retained a foothold, on which High Realism blossomed in the 1960s. Although perhaps never a discrete movement, still the artists of Canada share an independent worldview, based on their country's traditions, and a wholesome Canadian outlook. The ascendancy of High Realism coincided with the national celebration of Canadian Centennial in 1967.Some of the art considered as High Realism is painted with the Egg Tempera technique, a tedious process that dates back to the Middle Ages. Egg Tempera is fast drying and does not blend at the edges, thus ideal for rendering precise and sharp details. Other artists have used acrylic polymer emulsion, which is also fast drying. There are abundant commercial products available for acrylics to make glazes, varnish or to modify texture. Oil techniques. particularly those using tempera and glazes, have also been used successfully.Artists who have been most closely associated with High Realism include Alex Colville, Christopher Pratt, and Dan Price Brown . Related works have come from Hugh Mackenzie, Fred Ross, Tom Forrestall, and Jeremy Smith. Duval also sited E.J. Hughes, but Hughes' work generally had a distinctive naive-like style, more closely related to Magic Realism. Many of Ken Danby's early paintings were done in Egg Tempera, and are consistent with the concept of High Realism . His later works seemed to have drifted away from Fine Art toward a type of nature based photorealism . Other Canadian artists who have identified their work with High Realism include Richard T. Davis and Brian LaSaga.While High Realism has generally been associated with Canadian art, comparable art can be found around the world in the work of a number of artists, including Robert Vickery in the U.S., Grahame Sydney in New Zealand, Brian Dunlop in Australia, Boris Koller in Austria, Heiner Altmeppen and Manfred Juergens in Germany.
