Impressionism and Earth Art

Impressionism and Earth Art When bingle hears the term Impressionism or Earth Art, one can already presume and expect what sort of depiction each movement would present without having any prior knowledge of them. Impressionism, which began in the sasss, often render scenes and the artists impression of nature and, modest yet vivacious quarters of Paris. Now most exactly one hundred years later, a completely impertinently form of art takes the place of the prior ikons of those subject matters, actually inside -called Earth Art. In France, 1875, a new genre of painting began to emerge.These paintings demonstrated a fleeting outcome of colors. Impressionists aimed to capture that immediate moment of their subjects which provided a sensation of spontaneity. These sudden bursts of color and light had taken the public by surprise -who had adapted to observing kind of conservative, academic paintings with somber shades of colors. It was the first most dramatic change in style, expre ssion and revolutionized painting throughout Europe and at last the world. For Earth artists, they all had similar objectives as well.It was now taking their imaginations to the outdoors as well as raise awareness towards the environment. This form of art is almost like three- emotional version of Impressionism landscape pieces, but with a more defined arrangement and form. Earth artists made of use of the materials the landscapes offered such as dirty word and rocks. The leaders of their respective movements, Claude Monet and Robert Smithson both began completely new eras of art. Claude Monet started off as a realist and Robert Smithson started as a conceptual artist.Monet wanted to create an impression of what he saw and defied the norms of realistic, bibliographic paintings. The thickness and low consistency of his oil paints allowed him to dramatically express his impression of his subject matter. His paintings mainly consist of landscapes, water lilies in particular. Smithson besides took the initiative to start something completely new. Smithson pieces were meant to gradually perish through time and nature. It was a root word throughout all his works, whether it was his art or his writing -the theme of time.Smithson aimed and successfully displayed the delicateness of nature in such a commercial environment. In 1873, Motets pieces entitled Impression Sunrise initiated the spark which would soon become Impressionism. Louis Leroy, the critic, declared this painting incomplete, that it was solely a sketch of Motets impression and this resulted in the hole movement being coined by this piece. Monet conveys vague forms through his short, natural brushstrokes of his oil paints. The constant fix of light and color are effectively represented through the shadows and contrasting of the pure colors.This piece, Spiral seawall (1970), is already exceptional in a sense that there is no exact set way to observe it. From afar, from above, up close, each different view gives off a different sensation. Smithson implements the use of pitch blackness basalt, limestone rocks, dirt and the earth itself to create this seemingly effortless spiral. It is a staggering Engel of 1,600 feet, smoothly extending into Salt Lake City, Utah. Both pieces use a body of water as the foreground, but different focal points. Motets piece has a dark boat figure and bright sun which contrasts the more composed shades of green, blues and yellows.Spiral Jetty doesnt necessarily contrast greatly color-wise but in form. The elongated, linear movement of the spiral with a Jagged texture is distinct from the uniformity of the ocean. Initially flavor at the two pieces, Haystacks, Morning Snow Effect and Spiral Hill, there is already a similarity in form of the central objects. The haystack and the hillock ACH have a trilateral shape and upward motion. Smithson evidently creates circular motion up the hill. Often through the use of circular motion and shapes, he demonstr ates his theme of time, the chronological cycle.Through Motets piece, he also embraces the notion of time but more so of a moment in time. Although the brushstrokes of the oil paints are rather rough, the softness of the colors and contrasts emit the serenity of a winter dawning. The appropriate choices of colors, the soft yellows, blues and grey, capture the essence of the bitter cold winter morning but also the partial(p)th of a morning sun. The murky cast shadow of the haystack illustrates the progression and movement of the sunrise. This atmosphere in Motets painting intelligibly depicted and established whereas Smithson piece is transposable.Depending on the time and day at Men, Holland, the weather can alter the impression it imprints. Wet, gloomy weather versus a warm summer day, each produce a different foreground. Rain or snow, along with the black soil and white sand that Smithson utilized for this piece, can impinge on the color and shade of the materials as well as t he texture. Though Claude Monet and Robert Smithson ideas are a century apart, they both had significant effect on society and the annals of art. Their contributions and efforts lead art history to keep moving to what it is today.