Ideal reflection of those aesthetic concerns generally associated with the movement. Movements, Impressionism and Post-Impressionism, respectively.Ĭamille Monet on a Garden Bench, 1873, by Claude Monetįor many, Monet's name is synonymous with Impressionism his paintings, like Impression: Sunrise or Camille Monet on a Garden Bench, are an Subject matter, the selection and treatment of color, and the handling of shape, depth and contour, Camille Monet on a Garden Bench and The Siesta reveal themselves as part of two distinct, separate, yet interrelated As such, through the articulation and comparison of their primary characteristics, particularly the stated aims/ends of their respective aesthetics, the nature of their 'Post-Impressionist,' a general term for those artists, like Gauguin, Van Gogh, Paul Cezanne and Seurat, who reinterpreted, both expressively andĪnalytically, established impressionist considerations. Critics have come to define Gauguin's style as Landscape at Viroflay, The Siesta signifies a radical rejection of Monet's systematic Impressionism in the handling of subject, line, depth and, most explicitly, color. While Gauguin originally emulated the impressionist style of Camille Pissarro in works such as While Monet's Camille Monet on a Garden Bench is a pristine example of Impressionism, a movement conceived during the 19th century which visually interpreted the interplay of light and color, it would be disingenuous toĭescribe the aesthetic of The Siesta similarly. Visual arts by the non-spiritual, Realist tradition championed by Courbet and Daumier and, on the other, the reemerging influence of the European Romantic tradition. Gauguin's secular subjects and 'natural' settings, a far cry from the religious idealizations of the Renaissance, reflect, on one hand, the increasing secularization of socio-economic Europe, principally made manifest in the Influence of the Old Masters, is emphasized within both Camille Monet on a Garden Bench and The Siesta, particularly through the refutation of sculptural shading and formalized composition. The stressing of the canvas' flatness, a self-critical tendency identified by 20th century critic Clement Greenberg which, for him, detached painting's modern era from the Such radical techniques signaled a shift in the treatment of the artistic work, transforming the nature of the canvas from a metaphorical window onto another reality, intoĪn object that the viewer looks at rather than through. Monet and Gauguin's loose application of paint, deemphasis on local coloring and rejection of strictĬhiaroscuro, modeling and tonal gradations distance these artists from the refined Renaissance and Baroque aesthetics of Da Vinci, El Greco,Īnd Caravaggio. When compared, Claude Monet's Camille Monet on a Garden Bench and Paul Gauguin's The Siesta,Įxhibit innovative aesthetic characteristics which position both works firmly within the discourse of 'modern' Western painting. Monet & Gauguin: Impressionist & Post-Impressionist
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