Fp-> Name: Breakfast in the grass, the first car / Author: Manet / Date: second half XIX / Style: French Impressionism / Ub.original: Hall of Rejected, was not accepted into the official Salon. / Ub.actual: Musee d'Orsay, Paris / / D-> Medium: Oil Size: large dimensions / Support: cloth / Figurative / Short Desc: a park in Paris, a group of people conversing with each other. The men are dressed, but the woman is naked, behind another woman seems disconnected group. In the foreground, the woman's clothes and breakfast. / / AF> Drawing / color: color / colors: colors, without mixing (predominant green) / Light: no chiaroscuro, use colors to lighting effects / brushwork: lleugerai fast / Axes composition: slight asymmetry, disorder in the situation in the positions of the characters balance between vertical (trees) and horizontal (human) / Line compositions: pyramid in the human / center painting: naked woman or Man the right / Vista: vista breaks laws, women seem to float from the bottom and larger than the boat that has the edge. The distance is not blurred forms / plans: three levels: food remains (repoussoir effect), the main group, and gives background landscape / anatomy and proportions: provided, according to aesthetic canons female anatomy season / Clothing: according to time, like Bourgeois / Expression: indifferent to each other, the woman holding the naked eye at the viewer / Movement: Balanced and low / Time: medium / Realism except naked woman causing sensationalism / detail, child elements: not much detail or child elements except eat leftovers. / /
IMCI: Rel.amb other works by this author: The Olympic was also a scandal at the time, a naked woman, a prostitute ordinary looking defiantly at the viewer / Rel.amb other works of Epo or style: Le Moulin de la Galette by Renoir, Printing, sunrise Monet and the Impressionists in general / Features of the style (realism xuleta) / Innovations: rupture usual pictorial technique. Colors, chiaroscuro rejection figures unrelated / Influences: Japanese painting (flat colors), Velazquez. / / CII-> Gender: customs, daily life / Sign iconographic: representation of a usual custom at the time, a Breakfast at a park in Paris. Inspired by two paintings of mythological theme: Concerto Campestre Titian and Giorgione Judgement of Paris. In their representation of women naked men dressed in the middle of it comes naturally to explain the history / Sign iconològica: Manet no longer represents a history of mythology. They are men and women of Paris, so the picture shocked the society of the time. He also shocked the pictorial technique that broke with all tradition. Manet used as models by his brother, his future brother and his favorite model. / / FIF-> Purpose: aesthetics, finding new paths in painting techniques / Value of work time with the movement, leaving Paris, city and time of great change. Appear boulevards and parks where you can walk, see and be seen. The art world revolves around the rooms. Importance of marching to reach customers. Theory of Color Chevreul. Influence of Japanese art and is now in Paris / Contributions: start the Impressionist movement, this box much influence on Picasso, who made several versions.
Fp-> name: The first cold / Author: Miquel Blay / Clients: exhibited in Madrid and was bought by the Provincial ny / Date: 1891 / Type of work: sculpture exempt / Style: Realism, Modernism / Ub.original : National Exhibition in Madrid / Ub.actual: National Museum of Catalan Art / Rel.amb a whole: there opens another small bronze month by the same author (but dressed) / / D-Material & Blogs: a block of white marble / Size: Natural / tones: Monochrome / Technique: Size / Position: seated / Figurative / B.description: An old man and a very young woman are sitting on a bench with an obvious suffering, the old console the girl / / AF> Volume: open as qs'integra empty space as part of the figure and expand on any outside / Proportions: given the reality, despite its large size / Anatomy and near.: old man and weak (however their shoulders, as the amplitude of the chest and the muscles of the legs a signal strength above), the girl has a very strong and very tender anatomy / Light: inner and diffuse (light and shadow effects he created his own figure) / Movimnt: very relaxed and measured / Time: long, medium / axles composition: symmetry, order, and vertical lines predominate (because q is the girl in diagonal form of S and the old, vertical hieràtiques) / Expression: producing feelings of sorrow and compassion. The girl has a furtive glance toward the old and seeks the protection of old) / Clothing: he was naked to show their anatomy and the universal value / Point recolzamnt: are supported on a rough basis, in contrast with figures very polished /
Viewer: view all iq multifacial the front is the predominant / /-AIEE> Mon author Rel.amb other works: a sculpture made of bronze and the same but with a smaller Ames Palau de la Musica Catalan. / Rel. dl'època or other works like: Desconsol of Lemon (position similar distress) and the Oedipus at Colonna of Hughes / Char. like: (xuleta) / Innovations: at the time was seen as a sculpture broke with the academic and q evolves to symbolism and modernism / influences: his teacher Henri Chapuis also Rodin (in the form of none of the old and the anatomical detail) / / CII-> Theme: human figure / Sign.iconogràfica: is a sculpture showing a girl and an old man sitting on a bench and two are anonymous. The old man with the beard and faces the viewer displays, both for its expression as his post, the desire to overcome his own suffering he protect the girl / Sign.iconologica: contrast between the realistic (old down- ground) and the girl in exchange for much dreamer tiptoe. / / FIF-> Purpose: Cosmetic and wants to introduce modern art Catalan / Rel.dl work with the times: Modernism was a fully bourgeois movement. This current trying to find a style Catalan, coinciding with a time q, the national sentiment was strong, give continuity to the Renaissance q `OQ to incorporate new trends and European avant / Contributions: breakthrough to modernism.