| Courre Merlan (Whiting Chase) | |
|---|---|
 | |
| Artist | Jean Dubuffet |
| Year | 1964 |
| Medium | Oil on canvas |
| Dimensions | 97.2 cm× 140 cm(38.25 in× 54 in) |
| Location | Indianapolis Museum of Art, Indianapolis |
Courre Merlan (Whiting Chase) is an oil painting by French artist Jean Dubuffet. It has been part of the permanent collection of the Indianapolis Museum of Art since 1992.
Courre Merlan (Whiting Chase) appears abstract. It consists of a large free-form shape that nearly fills the canvas and is placed on a dark, textured background. This large shape contains smaller, neatly outlined, puzzle-like shapes, most of which are white and filled with parallel lines. The main colors in the work are limited to red, white, blue, and black. These features are all characteristic of Dubuffet's style at the time. Although the shapes are abstracted, a boat or ship and fishermen can be seen, and the title suggests they are fishing for whiting. [1] In contrast with the foreground image, the background is dark and heavily textured with brushwork.
Throughout his career, Dubuffet created his works as parts of distinct, self-contained series or cycles. Courre Merlan was a part of his Hourloupe cycle, which was the longest-running series, from July 1962 to 1974. Paintings in the Hourloupe are marked by flattened shapes, delineated with dark or black outlines, and a mostly limited color palette--red, white, blue and black. Dubuffet was initially inspired by ballpoint pen doodles he created while talking on the telephone. [2] He believed this style reflected the way objects are seen in the mind. In the Hourloupe series, Dubuffet also veered into three-dimensional sculptures and installations. The Hourloupe cycle, and this work, also reflect Dubuffet's affinity for “art brut”—art produced by children, psychiatric patients, and other untrained artists. In addition, although Dubuffet did not consider himself a Surrealist, he was influenced by the surrealist interest in the unconscious. [1]
Dubuffet believed that art addressed itself to the mind and not the physical world. With works such as Courre Merlan that portray objects with little or no reference to their actual colors or dimensions, he intended to prove that the world within the painting might be just as real as the physical world. Dubuffet argued that individuals could create their own versions of reality. [2]
Op art, short for optical art, is a style of visual art that uses optical illusions.
Stencilling produces an image or pattern on a surface by applying pigment to a surface through an intermediate object, with designed holes in the intermediate object. The holes allow the pigment to reach only some parts of the surface creating the design. The stencil is both the resulting image or pattern and the intermediate object; the context in which stencil is used makes clear which meaning is intended. In practice, the (object) stencil is usually a thin sheet of material, such as paper, plastic, wood or metal, with letters or a design cut from it, used to produce the letters or design on an underlying surface by applying pigment through the cut-out holes in the material.
Jean Philippe Arthur Dubuffet was a French painter and sculptor of the Ecole de Paris. His idealistic approach to aesthetics embraced so-called "low art" and eschewed traditional standards of beauty in favor of what he believed to be a more authentic and humanistic approach to image-making. He is perhaps best known for founding the art movement art brut, and for the collection of works—Collection de l'art brut—that this movement spawned. Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime.
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Visual design elements and principles describe fundamental ideas about the practice of visual design.
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The following outline is provided as an overview of and topical guide to the visual arts:
The philosophy of color is a subset of the philosophy of perception that is concerned with the nature of the perceptual experience of color. Any explicit account of color perception requires a commitment to one of a variety of ontological or metaphysical views, distinguishing namely between externalism/internalism, which relate respectively to color realism, the view that colors are physical properties that objects possess, and color fictionalism, the view that colors possess no such physical properties.
20th-century Western painting begins with the heritage of late-19th-century painters Vincent van Gogh, Paul Cézanne, Paul Gauguin, Georges Seurat, Henri de Toulouse-Lautrec, and others who were essential for the development of modern art. At the beginning of the 20th century, Henri Matisse and several other young artists including the pre-cubist Georges Braque, André Derain, Raoul Dufy and Maurice de Vlaminck, revolutionized the Paris art world with "wild", multi-colored, expressive landscapes and figure paintings that the critics called Fauvism. Matisse's second version of The Dance signified a key point in his career and in the development of modern painting. It reflected Matisse's incipient fascination with primitive art: the intense warm color of the figures against the cool blue-green background and the rhythmical succession of the dancing nudes convey the feelings of emotional liberation and hedonism.
The following outline is provided as an overview of and typical guide to drawing and drawings:
Na Hye-sŏk (Korean: 나혜석, April 28, 1896 – December 10, 1948) was a Korean feminist, poet, writer, painter, educator, and journalist. Her art name was Jeongwol. She was a pioneering Korean feminist writer and painter. She was the first female professional painter and the first feminist writer in Korea. She created some of the earliest Western-style paintings in Korea, and published feminist novels and short stories. She became well known as a feminist because of her criticism of the marital institution in the early 20th century.
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Ma Jolie is an oil on canvas painting by Spanish artist Pablo Picasso, which is located in the Indianapolis Museum of Art, in Indianapolis, Indiana, US. Completed in 1914, its fractured depiction of everyday objects is an example of Cubism. It is not to be confused with the 1912 Picasso of the same name, which is now in the Museum of Modern Art in New York.
The Cotton Pickers is an 1876 oil painting by the American artist Winslow Homer. It depicts two young African-American women in a cotton field.
Stately, silent and with barely a flicker of sadness on their faces, the two black women in the painting are unmistakable in their disillusionment: they picked cotton before the war and they are still picking cotton afterward.
Freehand brush work is a genre of Chinese traditional painting which includes poem, calligraphy, painting and seal. In Chinese called Hsieh yi, which literally means "writing ideas". It was formed in a long period of artistic activities and promoted by the literati. Through the inheritance and development in the past dynasties, freehand brush work has gradually become the most influential and popular genre.
Light in painting fulfills several objectives, both plastic and aesthetic: on the one hand, it is a fundamental factor in the technical representation of the work, since its presence determines the vision of the projected image, as it affects certain values such as color, texture and volume; on the other hand, light has a great aesthetic value, since its combination with shadow and with certain lighting and color effects can determine the composition of the work and the image that the artist wants to project. Also, light can have a symbolic component, especially in religion, where this element has often been associated with divinity.
Group of Four Trees is an abstract outdoor sculpture completed in 1972 by the French 20th-century artist Jean Dubuffet. Originally commissioned by the American banker and philanthropist David Rockefeller, the work measures 43 feet and is installed in the public plaza of 28 Liberty Street between Nassau Street and Pine Street in Financial District, Manhattan.