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Alvin Martin's American Realism - Twentieth-Century Drawings and PDF

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By Alvin Martin

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1983. 2) 22% x 30" 24. Isle, North West Harbor. 1967. on paper, 13V2X 16 5/W' (sight) Wolf Kahn. 4) with a unifying and dramatic scheme of space, light, and movement. In his religious works Caravaggio attempted to create populist images that life for the common would bring biblical episodes to viewer, using a cast of characters with whom the public could easily and immediately identify. ically, seemly. of was intended for rejected it. work too mundane and un- the very audience his art The general public thought He Iron- his was, however, deeply admired by a small group knowledgeable collectors and artists.

John Stuart Ingle. Three Flowers. 1983. 3) tion, for dividing the canvas. He studied the color theories of Chevreul, Rood, and Helmholtz and attended lectures by the experimental psychologist Charles Henry, who attempted to human guantify the effects of color and field organization on perception. Seurat developed a meticulous technigue of dis- posing his colors in subtle transitions of tiny dots. He and his followers created a style variously called Chromoluminarism, Pointillism, or Divisionism, but usually known as Neo- Impressionism.

Symbolism became international by the late 1880s, and by the 1890s it was influencing the arts throughout Europe and the United States. This style was characterized by sinuous shapes and moody colors and textures, used to evoke dreamlike images of erotic fantasy or profound despair. Gauguin and Van Gogh combined Impressionist brushwork, vivid color, and bold, flat pattern with the earlier Symbolist vocabulary, which had a profound impact on the movement's later generations. Symbolism represented an upwelling of the Romantic spirit, which remained a powerful undercurrent in both nineteenth- and twentiethIn the late 1880s — century avant-garde 51.

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American Realism - Twentieth-Century Drawings and Watercolors by Alvin Martin


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