Modern Art Essay
Outline:
A) Introduction: power of expression with the help of color tonality.
B) Paul Klee’s New Harmony.
C) Gustav Klimt’s Portrait of Adele Bloch-Bauer I.
D) Conclusion.
Foreword:
This essay discusses the peculiarities of two paintings of the different artists, New Harmony by Paul Klee and Portrait of Adele Bloch-Bauer I by Gustav Klimt, in terms of color tonality.
Thesis:
Color tonality serves as one of the means of artist’s expression of feelings in the work of art presented via two exemplary paintings by P. Klee and G. Klimt.
First of all, before I begin my analysis of the two paintings, Paul Klee’s New Harmony and Gustav Klimt’s Portrait of Adele Bloch-Bauer I, I would like to quote W. Kandinsky for my introductory statement:
Every work of art is the child of its time, often it is the mother of our emotions (Wassily Kandinsky 87).
According to Henri Matisse a literary man and an artist are two different people who totally differently see a piece of work such as painting. It is expression which is the most significant thing to the artist, as it comprises composition, harmony, and charm of the work. Expression in painting is the instantaneous feeling which can never be repeated at the same place and under the same circumstances, as it is unique and only one in its nature and can be reached with the help of color tonality.
Paul Klee’s painting New Harmony represents the harmony of a landscape. It consists of 42 units which, even though are not symmetrical, have the harmony of free composition of set of colors. The painting was maid by Klee upon his return from the trip to Egypt. The exotic culture and climate might have influenced Klee’s perceptions which resulted in a painting of New Harmony. The river of Nile and Egyptian landscape founds their reflection and expression in Klee’s geometrical units put in a special order in terms of colors and shades. It is worth mentioning that the left half of the painting is the upside-down
A) Introduction: power of expression with the help of color tonality.
B) Paul Klee’s New Harmony.
C) Gustav Klimt’s Portrait of Adele Bloch-Bauer I.
D) Conclusion.
Foreword:
This essay discusses the peculiarities of two paintings of the different artists, New Harmony by Paul Klee and Portrait of Adele Bloch-Bauer I by Gustav Klimt, in terms of color tonality.
Thesis:
Color tonality serves as one of the means of artist’s expression of feelings in the work of art presented via two exemplary paintings by P. Klee and G. Klimt.
First of all, before I begin my analysis of the two paintings, Paul Klee’s New Harmony and Gustav Klimt’s Portrait of Adele Bloch-Bauer I, I would like to quote W. Kandinsky for my introductory statement:
Every work of art is the child of its time, often it is the mother of our emotions (Wassily Kandinsky 87).
According to Henri Matisse a literary man and an artist are two different people who totally differently see a piece of work such as painting. It is expression which is the most significant thing to the artist, as it comprises composition, harmony, and charm of the work. Expression in painting is the instantaneous feeling which can never be repeated at the same place and under the same circumstances, as it is unique and only one in its nature and can be reached with the help of color tonality.
Paul Klee’s painting New Harmony represents the harmony of a landscape. It consists of 42 units which, even though are not symmetrical, have the harmony of free composition of set of colors. The painting was maid by Klee upon his return from the trip to Egypt. The exotic culture and climate might have influenced Klee’s perceptions which resulted in a painting of New Harmony. The river of Nile and Egyptian landscape founds their reflection and expression in Klee’s geometrical units put in a special order in terms of colors and shades. It is worth mentioning that the left half of the painting is the upside-down
Cited: Matisse, Henry. “Exactitude is Not Truth”. Theories of Modern Art. Chipp, Herschel B. Berkeley, Los Angeles: University of California Press, 1970. 130-137. “Wassily Kandinsky (1866-1944) from Concerning the Spiritual in Art”. Art in Theory 1900-1990: An Anthology of Changing Ideas. Ed. C. Harrison & P. Wood. Cambridge, Massachusetts: Blackwell Publishers, 1992. 86-94.