Michelangelo’s foreshortening of the arms is uncompromising, and consequently the illusion of space is overwhelming in its realism. He uses both architecture and human form to forge a three dimensional presence: the stony perspectives provide the rigor, while the soft, fluent motions fill up, and enliven the angular contours. The artist creates a complex interplay [...]
Tracy Helgeson’s artwork comprises relatively few elements: pure and saturated colors, often astonishingly intense; trees, barns and roads; well-marked lines, diagonal or straight; and a great deal of imagination that helps to organize all of these features into clean and straightforward compositions. In a way, her pieces can be compared to the first machines, which [...]
In contrast to his Water Lily, Haystacks and Poplars landscapes, Claude Monet did not organize the poppy field paintings into series. These are his earlier works, and they do not yet possess that particular intensity and focus that makes the later “harmonies” so captivating. While the artist reveals a good eye for finding original compositions, [...]
Since Claude Monet’s celebrated “Sunrise, Impression” aquatic reflections became a common motif in impressionist painting. It seems that the mutability of water is inherently impressionistic: the ripples and the mirrored colors — all in continuous motion — suggest themselves naturally as subject matter for a style that strives to capture the passing and the momentary. [...]
Poplars were a bold choice of subject matter on Monet’s part: he portrays some of the trees as nearly naked, wire-like, unable to compress their blooming canopies into the composition. In fact, when combined with their aquatic reflections (a recurring motif in Monet’s work, from the seminal Impression, Sunrise to the later Water Lily Series) [...]
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