Explanation:
Vincent van Gogh (Dutch, 1853-1890), The Poplars at Saint-Rémy, 1889. Oil on fabric, 24¼ x 17 15/16 in. The Cleveland Museum of Art; Bequest of Leonard C. Hanna, Jr., 1958.32
A recent trip to south Florida occasioned what has become a routine sojourn for me, a stopover at the Norton Museum of Art.
At the Norton, van Gogh’s The Poplars at Saint-Rémy is overwhelmed twice, first by its ornate antique frame, then by its installation on the third floor. Softly lit, it inhabits its own grey-painted gallery, a pearl in an oversized jewel box. It doesn’t help that the landscape’s colors are relatively sedate for a late van Gogh, relying on white to suggest terrain bleached by sunlight. The central two poplars are enclosed within a diamond-shaped design circumscribed by skyline above and crossing diagonals of rock-strewn land below. It is an inherently unstable composition, harmonized by color, the blue sky repeated in ground plane shadows and the blanched earth tones picked up in clouds. There is perhaps no way to write about van Gogh’s brushwork, idiosyncratic and instantly recognizable, without resorting to banalities; suffice to say that his sense of urgency demanded an entirely novel handling of paint. The Poplars at Saint-Rémy was made in a single session, a feat of compressed intensity.
Sharing a gallery with two other works by the artist, Degas’s Portrait of Mlle. Hortense Valpinçon resides more comfortably in its ground floor setting. The story of its production is no less remarkable than that of the van Gogh; leaving Paris during the barricades of 1871, Degas arrived at the Valpinçon country home without a canvas, and apprehended some mattress ticking upon which to paint his friend’s nine-year-old daughter. She leans into a sideboard and surveys us with unusual self-possession for one so young, holding in her right hand what has been variously described as a slice of fruit or a coin.
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Answer:
This could be more detailed, just saying.
Answer: Examples may include: Line: Horizontal line of the tie/scarf; the vertical lines in the basket and with the flowers; the diagonal lines of the shawl; the curvilinear lines of the flowers and that of the woman; etc. Color: the darkness in the background to draw the eyes to the flowers and woman; the contrast in light between the woman and the flowers; etc. Texture: the shadowing on the basket, shawl, and flowers make them appear real if we could touch them; etc. Space: the grandness of the flowers; the small portions of the woman; the man standing behind the basket, the way the flowers appear overtop the woman's head and body; etc. Shape: the shape of the basket, the flowers, the flower centers, the body of the women, etc. Form: the depth created by the man behind the woman and the flowers; the height and presence of the flowers; the meekness and serenity of the woman; the way the eyes seems to start at the woman and then go up and cascade along the flower; etc.
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Answer:
ANSWER ACCORDINGLY: exercise, muscles, age
Explanation:
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Answer:
Environmental artists seek to investigate our human relationship with the environment through embedding their artistic practice within it.
