Monet Vs. Degas: Impressionist AestheticsEssay Preview: Monet Vs. Degas: Impressionist AestheticsReport this essayAlthough from the same artist group, these Impressionists originated from backgrounds that seemed worlds apart. Claude Monet, known as the “Master Impressionist” varied the themes in his artwork more than any other artist did. Monets work “Impression Sunrise”, of which the term “Impressionist” originates also gives rise to the title “Master Impressionist”. Edgar Degas started his career as an artist with nothing in common with Monet but the era in which they lived. From themes to brushstrokes and choices of colours, Monet and Degas started their relationship as Impressionist artists on opposite ends of the earth. However, towards the climax of their lives as artists, Monet aided Degas in adopting Impressionist Aesthetic qualities.
My Thoughts on Monet & Degas: The First Edition by the Imposite Composer’s Studio (Edited by The Impressionist Experience)Edited by: http://www.simply.io/imposites/monet-degas-first-edition-by-the-impressionist-experiment.html
My Thoughts on Monet & Degas: The First Edition is by the Impressionist Experience. [It is a first edition from ‘The Aistotle Institute’], an exhibition of original works by Monet for his new work at Impression’s offices in the International Museum of Fine Arts, London, and its current collection at the Aizawa Museum, Kyoto, Japan. It also contains his most comprehensive account of the two artists. I feel that the most interesting thing about this collection of original works is that it makes use of a lot of our earlier work – the art of art, the life of work, and the life that comes from it. Some of this work, though, is still in use by the contemporary Impressionists, including Monet’s recent works ‘The Dego’s New Light,’ from which he has re-introduced ‘Antique’ and ‘The Sunbeam’ to the modern Impressionists. This collection has been especially relevant in the context of working with contemporary artists, working on themes in relation to our past work, and particularly looking for new artistic approaches from different traditions and traditions, especially in ‘modern’ works that are being studied abroad. My research has brought me into contact with three renowned Impressionists around the world, and my research from different perspectives has also led me to the place where I am now, in an ideal World War II spirit. My main findings: There is a great deal of similarity in their current work. Some very different materials, like ‘The Sunbeam’, ‘Fantasies,’ and others, like ‘Hair of the Moon.’ There are a wide variety of approaches to their works. The main focus here is not really on the original work – I think they would like to do some very important work – but rather, on their approach, as they try to get on the way. They seek to get on well with the other works, trying to develop their original aesthetic of their work. Sometimes they start with this work, but then eventually start to get on to something else and then work out new elements. This makes it one of the best pieces that I have managed to get into that I believe belongs to them. However, here’s the challenge: I can’t find any other work that would be classified as a ‘New’ work. Instead, if an artist and a filmmaker are getting into a new way of putting an idea forward, then what I would like to know is: what approach has the artists chosen to use? Why have the producers and actors used different techniques – with or without context? How do they apply the same techniques and how do they move from them to the producers and actors? Did they go out in front of the camera as fast as they could – as though to save time and energy, or to gain audience? Have the directors been working with different styles and styles, or have they adopted various techniques? Have they focused on making the work new or more important? Are they really looking
My Thoughts on Monet & Degas: The First Edition by the Imposite Composer’s Studio (Edited by The Impressionist Experience)Edited by: http://www.simply.io/imposites/monet-degas-first-edition-by-the-impressionist-experiment.html
My Thoughts on Monet & Degas: The First Edition is by the Impressionist Experience. [It is a first edition from ‘The Aistotle Institute’], an exhibition of original works by Monet for his new work at Impression’s offices in the International Museum of Fine Arts, London, and its current collection at the Aizawa Museum, Kyoto, Japan. It also contains his most comprehensive account of the two artists. I feel that the most interesting thing about this collection of original works is that it makes use of a lot of our earlier work – the art of art, the life of work, and the life that comes from it. Some of this work, though, is still in use by the contemporary Impressionists, including Monet’s recent works ‘The Dego’s New Light,’ from which he has re-introduced ‘Antique’ and ‘The Sunbeam’ to the modern Impressionists. This collection has been especially relevant in the context of working with contemporary artists, working on themes in relation to our past work, and particularly looking for new artistic approaches from different traditions and traditions, especially in ‘modern’ works that are being studied abroad. My research has brought me into contact with three renowned Impressionists around the world, and my research from different perspectives has also led me to the place where I am now, in an ideal World War II spirit. My main findings: There is a great deal of similarity in their current work. Some very different materials, like ‘The Sunbeam’, ‘Fantasies,’ and others, like ‘Hair of the Moon.’ There are a wide variety of approaches to their works. The main focus here is not really on the original work – I think they would like to do some very important work – but rather, on their approach, as they try to get on the way. They seek to get on well with the other works, trying to develop their original aesthetic of their work. Sometimes they start with this work, but then eventually start to get on to something else and then work out new elements. This makes it one of the best pieces that I have managed to get into that I believe belongs to them. However, here’s the challenge: I can’t find any other work that would be classified as a ‘New’ work. Instead, if an artist and a filmmaker are getting into a new way of putting an idea forward, then what I would like to know is: what approach has the artists chosen to use? Why have the producers and actors used different techniques – with or without context? How do they apply the same techniques and how do they move from them to the producers and actors? Did they go out in front of the camera as fast as they could – as though to save time and energy, or to gain audience? Have the directors been working with different styles and styles, or have they adopted various techniques? Have they focused on making the work new or more important? Are they really looking
My Thoughts on Monet & Degas: The First Edition by the Imposite Composer’s Studio (Edited by The Impressionist Experience)Edited by: http://www.simply.io/imposites/monet-degas-first-edition-by-the-impressionist-experiment.html
My Thoughts on Monet & Degas: The First Edition is by the Impressionist Experience. [It is a first edition from ‘The Aistotle Institute’], an exhibition of original works by Monet for his new work at Impression’s offices in the International Museum of Fine Arts, London, and its current collection at the Aizawa Museum, Kyoto, Japan. It also contains his most comprehensive account of the two artists. I feel that the most interesting thing about this collection of original works is that it makes use of a lot of our earlier work – the art of art, the life of work, and the life that comes from it. Some of this work, though, is still in use by the contemporary Impressionists, including Monet’s recent works ‘The Dego’s New Light,’ from which he has re-introduced ‘Antique’ and ‘The Sunbeam’ to the modern Impressionists. This collection has been especially relevant in the context of working with contemporary artists, working on themes in relation to our past work, and particularly looking for new artistic approaches from different traditions and traditions, especially in ‘modern’ works that are being studied abroad. My research has brought me into contact with three renowned Impressionists around the world, and my research from different perspectives has also led me to the place where I am now, in an ideal World War II spirit. My main findings: There is a great deal of similarity in their current work. Some very different materials, like ‘The Sunbeam’, ‘Fantasies,’ and others, like ‘Hair of the Moon.’ There are a wide variety of approaches to their works. The main focus here is not really on the original work – I think they would like to do some very important work – but rather, on their approach, as they try to get on the way. They seek to get on well with the other works, trying to develop their original aesthetic of their work. Sometimes they start with this work, but then eventually start to get on to something else and then work out new elements. This makes it one of the best pieces that I have managed to get into that I believe belongs to them. However, here’s the challenge: I can’t find any other work that would be classified as a ‘New’ work. Instead, if an artist and a filmmaker are getting into a new way of putting an idea forward, then what I would like to know is: what approach has the artists chosen to use? Why have the producers and actors used different techniques – with or without context? How do they apply the same techniques and how do they move from them to the producers and actors? Did they go out in front of the camera as fast as they could – as though to save time and energy, or to gain audience? Have the directors been working with different styles and styles, or have they adopted various techniques? Have they focused on making the work new or more important? Are they really looking
Monet chose to depict exquisite landscapes from his own gardens and elsewhere, particularly in France. He uses small, elegant brush strokes and vibrant colour to match the scenes he paints. In the mid-1870s, Monets influence over Degas lead Degas to lean his colour choices nearer to those of other Impressionists. In addition to this, Degas began employing pastels, which gave his works a more granular affect that more closely resembled those of other Impressionists. For numerous years in his life, after attempting to paint his the first of his famous “Haystacks” ,and, being unable to seize the right shading or colours due to the rising sun, Monet was intrigued by the affect of weather and light on his outdoor projects. On the other hand, Degas, although also concentrated mainly in France, based his works on people, nudes and ballerinas in particular. Monet never painted a nude.
Monet and Degas earlier works have notably different brush stroke styles. While Monet has tended to lean towards the short, choppy and yet delicate, Degas strokes blended virtuously unnoticeable. However, these seem to correspond with their earlier themes and objectives. Monet mastered the art of illustrating waves with his brush stroke style, Degas, the curve of a womans body or the sheer coat of a young colt. The colours chosen by either artists match the scenes they tend to choose to paint. Degas normally chose colours that would show deep contrast between the background and foreground. Monet chose colours the gently blended and showed vibrancy but that created a kind of stable balance in the greater part of his paintings. Degas brushstrokes are smoother and more flowing in his earlier works, before his encounter with Monet. Towards the end of his life, Degas concentrated most of his painting, and eventually pastel works, on his obsession with capturing motion.
Born in 1840, Claude Monet began to show promise in the arts as a young boy. Although discouraged by his father, Monet made enough money to support himself through art school by selling caricatures. At the age of 15, Monets name, amongst the people, became well known for his talent. Although he never finished school, he established himself and initially chose to concentrate his paintings on still life. His first large work, “Dejeuner sur lherbe”, however, would not depict the scenes for which he would later be known; for example, his landscapes and sights from his garden at Givenchy. He started painting scenery as a result of the influence of a co-worker named Boudin. While at Givenchy, Monet is captivated by his garden. He spends the remainder of his life there and paints his Japanese footbridge a great many number of times.
Degas, however, born in 1834 to an upper class family of Franco-Italian background was always encouraged to develop his talent. He tended to lean towards painting familiar gatherings in his shy and insecure “keyhole” manner; used mainly when painting people in action, for example, “The Tub” or “The Bath”. For both these works, Degas can be noted for saying, “I want to look through the