ELLE Decoration by CROWN 2.5L Flat MATT Emulsion Paint - Movement No 242

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However, while other Impressionists were concentrating on the natural world, Paul Signac’s interests lay more in the realm of urban scenes and cityscapes. In his series of paintings titled “The Port of Saint-Tropez”, for example, we see a view of the French Riviera town that is composed entirely of thousands of tiny dots of colour. In the late 19th and early 20th century, Gleizes was one of the most prominent art philosophers. With a basis in Cubism, his treatises and theories propelled him to the center of artistic discussion. In the 1910s and 1920s, Gleizes began to support a more rhythmic art movement, instead of the more plastic traditional style. Gleizes’ notoriety helped to bolster these opinions. Around this time, Gleizes published a theory on motion in art, building on his theories on the artistic use and psychological effects of moving art. According to Gleizes, the complete renunciation of external sensation is implied by human creativity. For Gleizes, it was this fact that made art mobile, while others believed it to be rigid and static. When these lines of action are straight, and you’re trying to depict a human being in motion, your drawing will look stiff and unnatural.

It is also important to remember that, while Impressionism was a movement of the visual arts, it responded to, and helped to influence, a range of other media and genres. These included music - as in the dreamy, romantic work of Claude Debussy and Maurice Ravel - and, most importantly, literary prose. The French writer Émile Zola was not only an impassioned defender of the Impressionist painters but brought a representative impulse very similar to Impressionism to his writing, trying to recreate the complexity of human perception and sensation through his prose. Indeed, his novels were produced across a period of time that coincides almost exactly with the lifespan of the Impressionist movement. Since the movement was deeply embedded within Parisian society, Impressionism was greatly influenced by Baron Georges-Eugène Haussmann's renovation of the city in the 1860s. The urban project, also referred to as "Haussmannization," sought to modernize the city and largely centered in the construction of wide boulevards which became hubs of public social activity. This reconstruction of the city also led to the rise of the idea of the flâneur: the idler or lounger who roams the public spaces of the city, observing life while remaining detached from the crowd. In many Impressionist paintings, the detachment of the flâneur is closely associated with modernity and the estrangement of the individual within the metropolis.On the other hand, if you use them to show motion in a figure or an object, they become lines of action. If you’re feeling confused, don’t worry, this isn’t the most straightforward concept to understand, but that just means you’ll have to work a little harder to wrap your head around how all of this works.

As you can see, the person is riding a bike. Scale was created by the placement of the trees. The rider’s legs are compressed so we know the person isn’t standing or straddling the frame. One leg is up, the other one is down, indicating a pedalling motion. What we see in the painting is a solitary rider. What we don’t know, however, is if this is a person riding alone, or someone who is simply out ahead of a group of other riders. This is where the viewer gets to have fun with the story. Scale All of these body parts move for something as simple as reaching over their head. When drawing the human figure, you must always keep anatomy and movement in mind.The Impressionists used looser brushwork and lighter colors than previous artists. They abandoned traditional three-dimensional perspective and rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality. When you look at a figure in motion, one line of action starts at the head and ends at the midsection. Other lines of action start at the should and end at hand, start at the hip, and end at the foot. Each of these lines of action indicates motion. While some Kinetic artists focused on the conflation of science and mechanization, others created works that explore mechanized movement, and others still used Kinetic art as a representation of utopian possibilities whereby modern life relies on the integration of machine and man. Some artists took the integration of man and machine even further, using their art to explore correlations between biological human bodies and the gears and pistons of metal machines.