En Plein Air By Annabel Gladman
En Plein Air I intend to explore this theme ‘En Plein Air’, firstly by looking at what it actually means/is. I will then discuss Romanticism and Impressionism and many paintings that fit into these eras. I then intend to create a poster, exhibition and leaflet for my exam piece, whilst keeping a detail account of this process and how I decided on the final pieces.
What is ‘En Plein Air’? En Plein Air is a style of painting that was developed in France in the mid-19th century, it is characterised by the representation of the luminous effects of natural light and atmosphere as contrasted with the artificial light and absence of the sense of air or atmosphere associated with paintings produced in the studio. This style of painting takes place outdoors, representing a direct response to the scene or subject in front of the artist.
What allowed artists to paint outside? Traditionally artists were confined to painting in a studio. Before the 19th century industrial revolution, artists had to grind down pigment (rocks) and bind that with a medium such as linseed oil to create their paint. This was not practical and did not allow artist to work outside.
The artist would have to produce his own stretcher or frame to place his canvas onto. The artist were able to sketch with pencils and water colour outside but not a lot else.
In the 19th century due to the industrial revolution and the rise of consumerism artists were able to but small scale ready made canvases from a shop. They were also able to purchase synthetic paint brushes. However, the major change was that artists were now able to purchase paint in ready mixed metal collapsible tubes.
Another factor which allowed the 19th century artist to paint outside was the improved transport links and the rise of the train allowed them to get to places that were not as accessible as before.
Thomas Gainsborough Artist with a Claude Glass (Self-Portrait?) Pencil
Landscape painting Landscape painting was always considered a low genre throughout the history of art and was also considered somewhat low in the hierarchy of genres. After the 16th century there were two types of ‘landscape’, the Italianate or topographical and classically inspired/idealised.
During the 18th century, landscape was below the likes of history painting and portraiture, even though it was still widely popular amongst the wealthy as they wanted to show of their land. Before the 19th century, landscape was used for stories (narratives). At the beginning of the 19th century artists used the landscape to convey new ideas of the world around them.
Romanticism Romanticism was an artistic, literary, and intellectual movement that originated in Europe towards the end of the 18th century and in most areas was at its peak in the approximate period from 1800 to 1850. It was multi-layered movement that took many forms and affected most branches of arts. Romanticism was used by artists to create an emotional response to their surroundings. Romanticism also emphasised new emotions such as horror and terror, whilst incorporating this into nature itself. It meant that nature was violent And could change within a blink of an eye, and you never know how it will affect you. The seeds of Romanticism were sown in the 1780s, when the French Revolution epitomised the spirit of Rebellion. When the movement reached its peak Gericault and Constable produced their finest works. Perhaps more than any other movement, Romanticism developed along very different lines from country to country. British Romantics In Britain, too, landscapes provided some of the most potent examples of Romantic art. In their different ways, Turner and John Martin portrayed the terrible beauty of nature, when the full force of its powers were unleashed. The Romantic aspects of John Constable’s work are more subtle, in his canvases nature becomes an extension of his feelings.
About him John Constable was born in Suffolk, his father was a wealthy corn merchant and owned a mill. He painted this area as he grew up as he stated that these scenes, in his own words, “made me a painter, and I am grateful”.
John Constable Constable went outside to depict the actual weather, as this is a very ‘Romantic’ thing to do. He painted/ sketched a vast amount of clouds, on the back of his art works he stated what type of cloud they were so that people know for future references. Constable’s oil studies of skies/ clouds show a remarkable understanding of the structure and movement of clouds. Most also give a good impression of their three-dimensional volume. The studies vary in size.
This cloud study by John Constable was painted in 1821, and is 24.8cm x 30.2cm of size. This painting feels exquisitely composed and even controlled, which gives me the impression that he created this study to impress. In this study you are able to see a vast amount of sky and clouds, whilst birds are soaring within, as well as the land along the ground side of the study.
Cloud study by John Constable, 1821 Constable is at his best, and most passionately committed to his work when he is doing something almost for its own sake. This enables him to use his talents to be able to create realistic work as well as expressing the subject at its finest and in its most glorious state, which helps to create graceful and empowering pieces of work.
Constable’s techniques also capture the movement of the clouds, and in this study he has also managed to capture the movement of the birds, swooping through the sky and clouds.
This small, oil on paper cloud study of 1821, painted in the same year as The Hay Wain, is an extraordinary painting. This study has a brilliant, carefully careless zestfulness about it, it gives me the impression that Constable was rushing.
His work seems uncalculated which helps with the natural look of the studies and capturing the surroundings.
The clouds are in a state of constant movement, both receding from us and surging forwards towards us. The painting is both light but with a lack of colour, this allows the greys, yellows and the pinks to thicken out the image, giving it body and substance.
Throughout his work Constable seems to forget himself even as he is painting them, so thoroughly absorbed into his work.
All birds seem to be moving differently; one appears to be hanging in the air, wind-buoyed; another is making a sudden diving, turning curve; whilst another seems to float, almost effortlessly. The presence of these birds helps to give the painting some sense of a foreground and background.
Constable himself described this painting as the following; “Sep.r 28. 1821/Noon – looking. North. West./Windy from the S.W./large bright clouds flying rather fast/very stormy night followed”. The impasto effect that Constable applies helps to layer up the image and giving it a sense of depth. The clouds appear as if they are getting bigger as they are coming closer to you, this creates the perspective of natural weathers. The four birds in the mid-ground also help to emphasise the impact of depth on the viewer and what effect this creates visually.
The way that Constable has captured the birds gives me the impression that they are free to go where they like and a sense of their movement. They have been painted with great attention to character and details, which gives the idea of their realism.
The simple pallet of colours creates a calm and tranquil image that is pleasant to viewers. The thickness of the white clouds deepens as the density of the clouds thicken, showing the thickness of the clouds. This again helps to create the visual effect of depth within the painting to give viewers more to look at and so that there are more details within the piece itself.
The narrow strip of landscape along the bottom of the painting helps to root the rest of the painting to the ground, as well as helping to determine a located for the clouds. It doesn't give you much of a sense of location, but helps the sky/ clouds to link to the landscape rather than being completely separate.
This painting by Constable has a sense of realism, due to the use of capturing natural light, as well as the vast amount of detail that he has incorporated into this piece. He has also managed to paint natural clouds and sky, this also makes the eye see the realism within it.
Dedham Vale by John Constable, 1802
The sense of overpowering is also displayed in this piece, the distant town is very small in relation to the surrounding landscape. This implies the effects of nature on shaping the landscape over time. You can see the spires on the church in the distance, which symbolises God’s creation of nature.
This art piece by John Constable is called ‘Dedham Vale’, and was painted in 1802 using oil on canvas. It is a art piece of a medium scale.
The way that the clouds have been painted by Constable gives a sense of movement as well as a presence of wind.
Within this painting by Constable you are also able to see that he has used both reds and greens on the trees, whilst applying thicker white onto the canvas. This technique suits Constable well as it is commonly seen in the Romantic era, and this is when the painting was painted by John Constable.
Constable based his study of Dedham Vale on the work of another artist, Claude. Constable esteemed Claude as 'the most perfect landscape painter the world ever saw'. The painting below is called ‘Hagar and the angel’, and was painted by Claude Lorraine in 1646 using the oil on canvas method and is of a large scale.
Constable has used impasto paint to create this effect of the art piece. In the foreground you can see that he has used thick brushstrokes, whereas in the background he has used thinner strokes. He also uses the other end of his brush to give the painting more texture. The way that he has applied the paint to the canvas gives a sketchy and unfinished appearance. He used non academic methods such as direct white, impasto paint, and complementary colours. The trees and shrubbery either side of the painting gives the landscape in the background a frame, so that it surrounds the area where human life is present. The darker trees and shrubbery also contrast against the brightness and the lightness of the clouds and sky above. The tones and lighting within this piece fluctuate as you look closer at particular areas. You can see that there is a dark foreground that is made up of the trees and landscape, then there is a lighter middle where sky is being reflected in the river and also the different shades of landscape. Then the sky and clouds are brighter and even lighter, which gives me the impression of their elegance and gentleness.
The panoramic view gives a sense of depth and a sense of the scale of the landscape. The size of the town adds to the illusion of great distance, as well as overlapping forms. The large amount of sky also gives a sense of grandeur and deep space.
This painting by Claude inspired Constable, you can see a large amount of resemblance between both their works. The composition is the same, which then appears similar to the eye, the trees on the right are also extremely similar in both paintings. The use of perspective and the illusion of distance has been incorporated into Constables work, which is visible in Claude's.
On the left you are able to see Willy Lott’s cottage, this then helps the painting to show a working and a productive landscape. This also links humans to the landscape itself.
The Hay Wain by John Constable, 1821 This painting is called ‘They Hay Wain’ and was painted by John Constable in 1821. It has been painted using the technique of oil on canvas and is 130cm x 185cm of size, it is large scale. It is exhibited at the Royal Academy in 1821 under the title ‘Landscape: Noon’.
Here you are able to see how Constable's studies of clouds then enables him to create these cloud effects within larger painting, due to the skills and techniques he learnt from the cloud art work.
On the trees Constable has applied a mixture of both reds and greens, which is present in many Romanticists work. They are complementary colours, and represent the world around him, especially in this location.
On the right hand side of the field you are able to see a group of haymakers at work, this shows how people work and use the landscape to help benefit themselves.
The vast amount of details are also shown within the brickwork of the cottage, as well as the figure within the painting and its animals. The dog is visible sitting on the rivers edge, whilst the horse is hard at work within the river itself. This shows how animals and humans can work together to complete jobs or to carry out tasks. Impasto has been used in this piece, which is visible by the layering of the colours, as well as the layers of objects/subjects to create a sense of depth, giving a foreground & background.
The reflections that have been created by applying the white paint, help to add more details to the painting as well as making it look more realistic. These reflections also help to give the water a sense of movement, which is also present in the clouds.
Constable applied white paint here directly onto the canvas, which was not academically correct at the time and he was criticised for this.
In the foreground you can see the hay wain, this is a type of horsedrawn cart which is standing in the River Stour. The vast details that he has painted into the cart makes it extremely realistic and life-like.
Impressionism Impressionism was an art movement which was around in the late 19th century, the term was first used in 1874. This movement consisted of primarily French painters, it was antiacademic whilst establishing venues other than the Salon for showing and selling art. The typical subjects within this movement include; landscapes, modern life and also non-narrative with particular attention to the effects of light. Paintings were often small because they were painted outside, but they still included intense, new colours and freely applied brushstrokes. These artists managed to create compositions that owed their forms to new technology. Paintings within this movement completely ignored traditional High Art themes, whilst attempting to represent the brightness of natural light and forms. The paintings portrayed things truthfully in their correct and original states, these mainly consisted of the contemporary world. Sometimes attempts to represent the life and leisure of the new Paris and Parisians and the suburbs around this new city. The impressionists used the properties of complementary colours, in particular; when two complementary colours are placed together they intensify each other. When two complementary colours are mixed they neutralise each other and produce a grey or brown. The First Impressionist Exhibition They were originally called The Anonymous Society of Artist-painters, Sculptors, Engravers etc. They were founded in December 1873 and were led by a core group, these included; Monet, Pissarro, Renoir, Sisley, Degas and Morisot. The following is what they claimed to be their aims;
“A co-operative public company, with variable personnel and capital has been formed by artist-painters, sculptors, engravers and lithographers, for a period of 10 years, beginning on the said 27th of December, and its looser aims are; 1 – The organisation of free exhibitions without jury or honorary awards, where each one of the associates can show their works. 2 – The sale of said works 3 – The publication, as soon as possible, of a magazine exclusively related to the arts.” Intentions behind the First Impressionist Exhibition To find a place to exhibit work, with no jury entry. To find a place to sell work To celebrate art about the modern world, rather than the historic subject matter preferred by the Salon jury.
Impressionism The First Impressionist Exhibition opened 15th April, 2 weeks before the Salon to get lots of press. This was a modern movement so the role of the press was crucial. A wide group of artists (165 pieces of work by 30 artists) some radical, and some not. Degas keen to make sure no one group was seen to dominate. The core group was Monet, Pissarro, Renoir, Sisley, Degas, Morisot. Cezanne showed at tow of the exhibitions, Manet never exhibited with the impressionists.
The Salon The Salon is an annual, government-sponsored, juried exhibition of new paintings and sculptures, held in large commercial halls. For this even ticket-bearing public were invited. The opening night was a grand social occasion, and a crush that gave subject matter to newspaper critics. The increasingly conservative and academic juries were not receptive to the new painters, whose works were usually rejected, or poorly placed if accepted. Showing your art at The Salon was the only way for a painter to make a name for himself and sell his work.
Daumier: ‘Free Admission Day— Twenty-Five Degrees of Heat’
The impressionists drew many of their ideas from Gustave Courbet and his fellow Realist painters. In the 1850s, these artists had campaigned against the influence of academic art, with its emphasis on historical, religious, and mythological themes. Visually, the impressionist group, was inspired by two important factors. One of which is that they were impressed by the boldness and simplicity of Japanese Woodblock prints, another factor is their influence by developments in the world of photography. In their revolt against academic art, the Impressionists developed their own subject matter, celebrating modern Parisian life. Impressionists also painted everyday scenes of urban pastimes, chores, and landscapes. The subject matter was less important than the way it was painted. For most impressionists it was maybe even a way of showing how light sparkled and changed, affecting colour with highlights and shadows. At some stage, all of the Impressionist painters experimented with the practice of Plein-air painting, creating small studies/ pictures on the spot. This enabled them to capture the most fleeting sensations of the light and the weather conditions. To achieve this, the Impressionists had to work quickly. Instead of painting with high details, they conveyed their forms with short, broken brushstrokes and vivid flecks of colour. Every item was condensed to its simplest visual form.
Impressionism The First Impressionist Exhibition Results The First Impressionist Exhibition, although it made a small loss, was reasonably well attended, press was not as hostile as we think, There were 52 reviews; 9 neutral, 18 mixed and 5 openly hostile. The emergence of Impressionism coincided with the arrival of a mass popular press. It was the first art movement to be given a wide press coverage, coupled with an expansion of the art market as the capitalist economy developed.
• First Impressionist Exhibition:
1874
• Second Impressionist Exhibition:
1876
• Third Impressionist Exhibition:
1877
• Fourth Impressionist Exhibition:
1879
• Fifth Impressionist Exhibition:
1880
• Sixth Impressionist Exhibition:
1881
• Seventh Impressionist Exhibition:
1882
• Eighth Impressionist Exhibition:
1886
This painting suggests to me that it is about light and air, the atmosphere. Incorporating the changing effects of light, suggests Monet’s subject throughout life.
Impression Sunrise by Claude Monet, 1872
In the painting you are able to see boats and cranes in a modern harbour, which is not the usual picturesque scene. The boats in the foreground give a sense of depth when in comparison to the cranes in the far distance. This painting is located in Le Havre harbour at sunrise, this enables Monet to emphasise the bright colour that you would find at this time of day, produced by his brushwork.
This painting by Monet is called ‘Impression Sunrise’ and was painted in 1872. It is 48cm x 63cm of size and is on the Impressionism movement.
An impression is the direct mark made by one thing upon another; a ‘first impression’. ‘Impression’ was already a familiar term. But not one used to describe ‘finished’ work.
Movement and colours have also been enhanced and encourages in this painting. The colours within this painting also enhance the idea of a sunrise, as these are the key colours of a sunrise. These colours that range from red/orange to blue/green all blend together and work well together to help to create the appearance of this location during this particular time of day. The brushstrokes used by Monet help to create outlines/ silhouettes of objects in the background, which shows civilisation behind the sea and boats. It also gives a sense of depth to the image as it separates the foreground of the water and the boats from the middle-ground of the objects and then the background of the sunrise.
The reflection of the sunrise on the water emphasises the intense natural colours that you find within a sunrise. It links the sky to the water which each make up around half of the overall image, and create the overall visual effect for viewers of this painting.
It was exhibited in The First Impressionist Exhibition in 1874.
It looks like it was painted in one sitting ‘en plein air’, this rapid painting emphasises the freshness and the instant nature of the ‘sensation’. The fast but controlled brushwork helps to create a layered image, it also helps to build up subjects within the painting itself. The use of layering also enabled Monet to apply various colours to the image, this then helped to create a sense of depth and also made the painting attractive.
During the Franco-Prussian War (1870-1871), Monet took refuge in England to avoid the conflict. Whilst he was there he studied the works of Constable and Turner, both of whose landscapes would serve to inspire Monet’s innovations in the study of colour. In 1872/1873 he returned to France and began to paint ‘Impression, Sunrise’, depicting a Le Havre landscape. This painting hung in The First Impressionist Exhibition in 1874.
This painting was painted quickly, which is often found in Impressionism, as well as it being painted en plain air.
Autumn Effect at Argenteuil by Claude Monet, 1873
Traditionally, the illusion of depth in a painting is created by chiaroscuro; light against dark. This is visible from the place in the background to the water and the trees. Monet uses the properties of colour to create depth, you are able to see this through his warm/cold colours, the trees and the water. Below is a diagram stating the different colours that Monet has used to create this image:
In the background you can see suburban leisure and the activities for Parisians. The intense new colours enhance the effect and quality of the colours and the contrast of the colours that are built up by brushstrokes that are freely applied.
Autumn Effect has been influenced by Japanese prints, Japanese imagery became increasingly fashionable from the 1860s onwards.
The piece of Japanese art on the left is called ‘Red Maples at Tsuten bridge’ and was painted by Hiroshige in 1834, the piece of Japanese art on the right is called ‘The waterfall where Yoshitsune washed his horse, Yoshino, Yamato Province’ and was painted by Hokusai. Both of these pieces of Japanese art show the vast similarities between impressionism art and Japanese art, especially the use of colours.
He uses these colours to recreate the brightness of nature; ‘en plain air’. It also lightens the image and creates a positive atmosphere. “Colour owes it’s brightness to force of contrast”, Monet. This painting is set on a side river to the main flow of the River Seine. You are able to see a tall structure, this gives me the impression that it could be either a factory or a church.
You are also able to see that the use of the colour theory rather than using traditional academic techniques.
This painting by Monet is an oil on canvas and is 55cm x 75cm of size. Therefore it is a painting of a small scale. Monet has used the other end of the brush to add detail to this painting, which also helps it to look more realistic. In these close-ups you can see that the size of the brush strokes diminishes as Monet has layered the painting, using different types of brushstrokes.
The colour is from a metal tube ready mixed, this allowed Monet to apply the paint at a fast pace and therefore creating quick brushstrokes. The use of complementary colours also enhances the overall effect of the painting as well as relating back to Impressionism and its key factors/ characteristics.
Kitchen Gardens at the Hermitage, Pontoise by Camille Pissarro, 1874 This painting captures an everyday ordinary rural scene, it is therefore a matter of fact record, it captures a moment in time. The buildings/fences/vegetation are “cut off” at the left and right, these represents Japonism. If you look closer at the buildings you can see the irregular lines of roofs/cluster of the buildings. The main subject of this painting is the vegetable patch which you find in an ordinary garden, this is visible to the right of the foreground. This also emphasises the job/ tasks that people are set or have to do within their gardens to up hold them.
This painting by Camille Pissarro is called “Kitchen Gardens at the Hermitage” and was painted in 1874. It is an oil on canvas and is of a small scale.
The deadness of the trees branches helps to suggest what particular season that this painting was painted/created within.
The simple/ restricted colour pallet allows Pissarro to work with various colours to help build up the image, using layering as well as mixing of the paints.
You can see that the figures are not posed, instead they are at work and are engaged in activity, this makes them unaware of the viewer. The figures are also in contemporary rural/peasant dress, whilst being situate in the middle-ground. The figures are also small in relation to the rest of the scene, which then integrates them into the scene and blends them in. The colours within this painting predominantly consists of a light palette to represent outdoor daylight/ sunlight. Natural colours such as; greens/blues/turquoise and pinky/yellowy/ochres, have been used to portray the natural world. On the chimneys of the building you are able to see accents of red, whilst other colours are in shadows. Complementary colours of red and green can also be seen throughout this particular painting.
The visible brushstrokes aren’t detailed and the figures are created by two or three brushstrokes only, and only a single rectangular brushstroke was used to paint the chimneys. Pissarro has used various brushstrokes to stimulate different textures of nature. Continuous linear strokes have been used for tree branches, solid square strokes have been applied diagonally for cabbages, and longer rectangular strokes have been applied for the leaks. Behind the cabbages you are able to see broader horizontal strokes, that emphasise the subject.
Pissarro wanted to capture everyday life, as a matter of fact it is not idealised. He captures people in their everyday life, and activities; it is a landscape painting but is also a genre painting. The colour of the dark and gloomy sky helps to reiterate the idea of Pissarro’s everyday life, it also shows the darkness of some activities that people had to carry out to make a living. The shadows that Pissarro has captured among the cabbages helps us to know roughly what time of day that this painting was painted at.
This painting gives the impression of a photograph, as it is an image that captures a moment in time. The composition technique ‘filling the frame’ also reiterates this idea of having similarities to a photograph. This makes it more realistic, and viewers can relate to it and the meanings behind it.
After 1871 without the desire to sell via the Salon, his paintings became simpler and less formal. The change in palette and technique was more obvious, as he developed the Impressionist brushstroke. Although he still continued to use tonal harmony, this is visible in the grass as it appears to be more finished that Monet’s impressionism.
Factory near Pontoise by Camille Pissarro, 1873 This painting by Camille Pissarro is called ‘Factory near Pontoise’ and was painted in 1873. It is oil and canvas and is of a small scale.
This painting does not contain a historical landscape, instead is a sugar beet factory. Pissarro is the only impressionist to directly deal with industrial subjects.
You can see that Pissarro has used the impasto effect, this gives the image depth as well as texture and makes it look more visually realistic/life-like. It also gives the water and clouds a sense of movement, which helps to show realistically what these natural features would be doing/ how they act.
Pissarro has used a dull and limited colour pallet, this then makes you focus more on the movements within the image rather than the individual subject. The building blends into the rest of the image due to the little detail that Pissarro has used on this building, which then enhances its surroundings. This sketch to the right is a powerful sketch by Cezanne , showing Pissarro on his way to paint. It shows the kind out gear that Pissarro would have been equipped with when he was going off to paint outdoors, en plein air. You can see that the building within this painting has been made up of various shapes and forms, this then helps to build up the overall building. To the left of the painting you can also see other forms of buildings, but due to the lack of detail its hard to identify the true reason behind these buildings.
You can see that Pissarro has layered paints within the same colour range to create this smoky effect from the chimneys. The layering of the different shades of colour also helps to add depth to the smoke, whilst giving it a realistic and life-like effect. The layers of this painting creates depth, in the foreground you can see the water and the grass. Then in the middle layers you can see the industrial side of the painting and the building within. The background consists of clouds and the sky and you are also able to see some shrubbery/buildings on the horizon. This effect gives me the idea that natural landscape surrounds the industrial aspect, the industrial side of humanity is found within the landscape. Therefore you need the surrounding landscape to be able to carry out the industrial tasks/ jobs.
It shows the movement of the water as well as the clouds in the smoky sky.
This tree above the building has been built up of small individual brush strokes, this helps to create the shape of the tree. The shape that Pissarro has painted this tree also reiterates the idea of movement within the natural landscape and greenery.
Camille Pissarro was a Danish-French Impressionist and Neo-impressionist painter. In 1873 he helped establish a collective society of fifteen aspiring artists, becoming the "pivotal" figure in holding the group together and encouraging the other members. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He "acted as a father figure not only to the Impressionists" but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin.
Entrance to the Village of Voisins by Pissarro, 1870
Worked outside for the rest of his life
House of the Hanged man by Cezanne, 1873
After influence from Pissarro, Cezanne:
Combining them with his own interest in form and pictorial structure
Used Pissarro’s small brushstrokes
Used Pissarro’s lighter palette
House of the Hanged man by Cezanne, 1873 This painting is by Cezanne and is called ‘House of the Hanged man’ and was completed in 1873. It is oil on canvas and is 55cm x 66cm of size. It is currently located in Musee d’Orsay, Paris, France.
The name of this painting, ‘house of the hanged man’, makes you wonder what story lies behind the death of the man, and also makes you wonder which building this took place in. The story behind the painting makes you look further into the painting and beneath the surface to find out the real meanings of what Cezanne is portraying. It gives the painting a sense of mystery and darkness, which makes you think twice. Paul Cezanne was a French artist and Postimpressionist painter whose work laid the foundations of the transition from the 19th century conception of artist endeavour to a new radically different world of art in the 20th century. He used planes of colour and small brushstrokes to build up more complex images, he also created intense studies of subjects.
The diagram above with the lines over the painting shows the effects of light, the Pictorial structure. It shows the lines, forms and shapes that are created by the effects of the light and the visual effect that this can have on a painting. Cezanne regularly painted in the open air with Pissarro, this light-filled, tightly constructed landscape reveals the profound effect this had on his art.
Cezanne met Camille Pissarro and their friendship initially formed in the mid 1860s. They then used both of their artistic strengths to help improve each others work.
Cezanne didn’t paint the light, the ‘envelope’ as Monet called it, his work doesn’t feature sunlight itself but its effect on solid objects. The layering of the paints has meant that Cezanne has created depth within the painting, and has helped to produce a realistic, life-life image. In the foreground you can see the buildings and pathways, and then in the background you are able to see hills and fields. This helps to show landscape and greenery as well as manmade areas, and then links both of these factors together creating one whole image. This shows the link between man-made and natural areas.
Cezanne has used a variety of small and larger brushstrokes to create this image.
On this painting you an see that he applied his paint with a heavy hand and worked the surface with a palette knife, this resulted in impasto.
The small and limited colour palette that Cezanne has used helps to create atmosphere, as it brings the whole image together and makes it one, as well as blending. He has used lighter colours in the background, and then he has used darker, textured colours in the foreground, this enhances the contrast between man-made areas and naturally landscaped areas.
House of the hanged man is one of Cezanne’s most heavily worked canvases, and the rare appearance of his signature is visible. This adds to the mysterious atmosphere that he creates in his art work. The shapes used help to emphasise the buildings and the paths, and helps to create one image that is brought together, and is as one complete image.
This painting ‘A Summers Day’ by Berthe Morisot was painted in 1879 using an oil on canvas technique, it is also a small scale painting. This painting portrays modern life/ urban spaces of leisure. It is set in the Bois de Boulogne a Paris park that’s popular with fashionable middle and upper class Parisians.
A Summers Day by Berthe Morisot, 1879 Female impressionist painters painted with softer colour pallets, as well as painting mainly there family. This was because women were not allowed any where on their own, which restricted there subjects for painting. A second reason is that painting was not looked at as a women's practice, therefore only few women decided to venture out and to attempt painting within their restricted limits.
Berthe Morisot, whose family enjoyed relative safety in the suburban area of Passy, painted Summer’s Day which shows two women boating in the nearby Bois de Boulogne. During the events of 1870-1, thousands of trees had been levelled to make way for troops and prison camps, and to provide firewood. By 1879 the parks calm setting had been restored. Morisot was associated with the Impressionist movement from the start, she showed at all but the 1879 exhibition. Berthe did not marry until later in life, when her artistic reputation was already well-established, and her husband Manet’s younger brother was obviously supportive of her profession. Her works showed many of her family, only very occasionally used models.
Outdoor light has been captured within this painting by a female painter, one way in which she did this was by using the reflective qualities of water and the waters movement. This then suggested that sunlight was present as well as a significant amount of light, this visible brushstrokes also enhanced this effect.
There are not many painting by Morisot of parks, children in gardens etc. One reason might be that this was the only access to plain air landscape that she could find.
The zigzag brush strokes helped to create a realistic image of the ripples and the light in the water, this again suggests movement. Morisot has used the same brush stroke throughout the whole of the picture, this creates a sense of unity and brings the painting together. It also creates a more realistic and life-like image that blends the foreground to the background, therefore the image is level and brings all of the layers together.
This painting is partly on plein air as it is thought to have possible been worked on up in the studio from plain air watercolour studies.
The colours within this painting are very gentle and calm, as if they are representing the calmness of the water and the gentleness of women. Even though zigzag brushstrokes have been used throughout the whole of the painting, the size of these strokes varies throughout the painting, enabling Morisot to apply more detail to some areas rather than others. The biggest use of brushwork is found on the water as this shows its vast volume and the large area that it covers, as well as the movement.
This painting gives me the impression that Morisot is also sat on the boat due to the angle/ perspective that she has painted this image from. You are able to see that one woman is looking towards the viewer, whilst the other women is looking over the back of the boat towards the water and towards the ducks/ geese that are elegantly on the water.
A Northern Silver Mine was painted in 1930 by Franklin Carmichael and was painted using a landscape style.
A Northern Silver Mine by Franklin Carmichael
The detail on the water is effective as you are able to see the ripples and the movement of the water. The isolation of the buildings is portrayed by the icy coloured rocks, which gives you the feeling that it is a lonely and cold place to be. Carmichael has used a simple colour pallet, but has used these colours in an effective way.
In the foreground you can see white rocks as well as a wooden feature, these colours are very sharp and powerful. Compared to the background where there are hills and buildings, and these are very calm and placid colours. Carmichael has also applied these colours in such a way that creates depth.
The size of the buildings help to show the distance between the viewer and the buildings/ humanisation. His outdoor painting helps to depict natural beauty whilst managing to get across the moods and atmospheres that you would find. This outdoor technique also helps to produce realistic paintings that people can refer to and can think back to, this helps his paintings to stay more visually in viewers minds. The colours that he uses also helps with this, as well as the way in which he applies the paint. Creating a smooth, flowing image. Franklin Carmichael was a Canadian artist who worked primarily using watercolours. Carmichael’s important paintings date from the late 1920s and 1930s. They tend to depict natural landscapes, set in areas of wilderness. I believe that his work is very pleasant and effective to the eye. His techniques help his work to stand out and become more unique. He incorporates the idea of a foreground and a background within an image. He also manages to capture a range of moods and atmospheres within an atmosphere for the viewer.
Carmichael has applied the watercolour paints to create water in such a way that manages to show the waters movement and free flowing beauty. This also shows the natural side to water.
This is a very natural and calming painting that has managed to portray the true atmosphere/ moods of this location.
The details within the clouds and sky are very effective as the clouds are spread out like sun-rays. This gives me the impression that Carmichael has done this so that it shows the bitter and loneliness of this location, which is changing.
Franklin Carmichael’s other paintings to the right show his consistent use of brush stroke work, this is what helps to gives his paintings a sense of calmness and restfulness. You can also see that throughout all of his paintings he uses roughly the same colour pallets, and for each painting he develops these colours to best suite the image. This then gets across the particular mood/ atmosphere that is present at the time in which he is painting. All of his brushstrokes and layers appear to blend together, this creates an even and smooth finish which is easy to the viewers eye. This then encourages viewers to look at his artwork in more detail, to get a better idea of the meanings and emotions behind his paintings.
In the foreground you are able to see the white horse and the hills, then in the background you are able to see the landscape and also the steam train in the distance. The clouds and fields in the background are light and pale, contrasting with the darker green of the hill in the foreground. This helps certain features to stand out to the eye.
The Westbury Horse by Eric Ravilious This painting is called ‘The Westbury Horse’ and was painted by Eric Ravilious in 1939 using watercolour on paper. You can see that the main focus of the painting is the white horse which has been painted in the foreground. It is also central of the whole piece which suggests that it has some form of importance.
His use of colours is effective as he uses natural, realistic colours when creating his art pieces. Ravilious’ use of colours also helps to enhance the calm and collected atmosphere within this location. His brush stroke work helps to give depth to the clouds and gives viewers the idea of the clouds realistic features. On the fields you are able to see line brushstrokes, these helps to develop the perspective of the hills, and also then enhances the visual effect of the horse. The brightness of the horse lightens up the overall image itself. The steam train is the main feature of the background, and is what viewers focus on within the background itself. I believe that the steam train symbolises links to the steam industry within this particular area. You can see the vast amount of detail within the trains carts and the steam itself. You can see a lot of detail that Ravilious has included in the fields that are in the distance. The perspective of this painting gives you the impression that the fields are very small and out of proportion. Whereas realistically if you were closer to the fields they would be a lot larger, and the steam train would also be a lot bigger the closer you got to it. The mole hill in the foreground appears to be very large, but realistically mole hills are actually a lot smaller and are also deeper.
If you look carefully on the hill above the horse you are able to see a footpath that looks into the distance, as well as leading off into the distance. This then makes you wonder where it leads to and why is it there. Eric Ravilious has also painted some mole hills, this adds more detail to attract the viewers attention. This also helps to add more colours, and to apply more layers to the image. Within the mole hills below you can also see stones and other rubble that you would realistically find within a mole hill.
Eric Ravilious was an English painter whose early works depicted the countryside around him in the south east of England, as well as urban scenes of London. Many of his works are seen as capturing a sense of Englishness that existed between the wars. Ravilious creates a range of detailed and effective pieces that helps to capture the landscapes.
I like the subtle and calm colours that he uses whilst painting. Ravilious manages to capture the aspect of perspectives as this gives you a sense of depth and distance within the painting. His artworks then look more realistic and life-like. His artworks also gives viewers a false sense of size, and the subjects within his paintings appear in various proportions.
David Hockney created this image in 1997, it is a digital image as he used electronic devices to paint/create it.
The Road Across The Wolds by David Hockney, 1997
In the late 1990s David Hockney returned to Yorkshire, this resulted in a series of high-key landscapes, one of these includes this image. He was able to capture a range of mood and atmospheres within these landscapes, this helps to enhance the image. The bright colours that Hockney has used gives viewers the impression that this location is very bright and sunny and has a positive atmosphere. It shows the natural beauty of the landscape whilst brightening it to make it more attractive to the eye.
You can see that Hockney has digitally used a range of brushstrokes within this digital image. He has created dots, small brush strokes, as well as larger brush strokes. The way that he has created this image digitally gives it a smoother and more flowing effect, and enables him to add more detail to the smaller areas.
He is an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century.
The colours within this digital image do not seem to reflect the muted tones of English landscape or the weather that is often associated with this particular location. Within many of Hockney's works, including this one, you can see that he has included some elements of cubism, whilst including a vast amount of detail and creativity. The way that Hockney has layered the colours helps to create depth within the image, it also gives the landscape a perspective. This is created by the subjects in the foreground being larger as it is closer to the eye, where as the subjects in the background are smaller as they are further away, which gives a sense of distance.
This painting is very complex considering that it was created digitally, he has still managed to incorporate the appearance of the English landscape, whilst capturing some of the details within. He has used a small colour pallet which enhances the effect of this image, as these colours are the colours that you would find in the landscape that he was in when he painted this. But he has brightened the colours to make it look more attractive and eye catching. The contrast of the colours also makes this image interesting to the eye as it makes you look closer at the details within. David Hockney is an English painter both with materials and digitally. He paints using acrylics, oil paints, and other paints, but he also uses apps on iPhone and iPad to draw and create digital art pieces/images.
He has used bright and vibrant colours to help make this an effective art piece that stands out.
Hockney had created shadows for each hay bail, this then helps to show viewers the direction of light and also the time of day in which he is digitally painting this image.
Hockney has added less detail to the buildings, as this then contrasts with the highly detailed landscape surrounding them. This then makes you look closer at the fields, the trees and other shrubbery, and the details within them, this also shows the contrast between natural landscapes and man made buildings.
This painting is by Claude Monet and was painted in 1868, it is 81.5cm x 100.7cm in size.
On the Seine at Bennecourt by Claude Monet, 1868
This is one of the earliest “impressionist” landscapes that was painted in the open air. It would have taken at least a few sittings to paint this image, but he keeps the same light and brightness of the image.
Painted in 1868, this image of Camille on a riverbank at Bennecourt was created during a time of radical experimentation for Monet, as he rejected the highly finished surfaces and the traditional themes of academic art. In this painting he creates a new application of colour to capture en plein air effects.
On the Seine at Bennecourt by Monet was painted using the oil on canvas technique.
In the close-up below you can see how Monet has captured the reflections from the shore. You are able to see the range of brushstrokes that Monet used to create his effects of the light, he aimed to capture effects of light and the natural movement of this.
The woman sitting by the river is Monet’s future wife, Camille, but this painting is not a portrait of her. He wasn’t interested in capturing details, but was interested in capturing the effect of the whole scene as it would be perceived in a short glance. This painting was displayed in the second Impressionist exhibition of 1876, eight years after he had painted it.
You are can clearly see that Monet altered this part of the image as he worked, he changed the area above the woman's lap. The existing figure replaced a frontal view of a woman, the original pinkish skin tones of her face show through the cream and brown overpainting.
Monet payed attention to both the visual structure of the painting as well as capturing the natural effects. He added a patch of blue between the trees, creating a deliberate link to the area of sky in the top right corner. Monet has enhanced the formality of the scene within this painted by painting the woman’s hat. He has captured how the yellow hat with a blue ribbon has been discarded on the flower-dotted grass. Monet has used broad brushstrokes when he painted the hat, where as the flowers are individual dots of paint, that have been generously applied to create an even carpet of flowers.
Monet’s colour palette probably includes; chrome yellow, lead white, cobalt blue, emerald green and viridian green. These colours are all visible within the painting, and for some of the colours you can see in the painting are most likely to be mixed from the colours above. This gave him flexibility when it came to the colours that he applied onto his canvas, creating layers.
Within this painting you can see that Monet has used a range of brushstrokes. On the tree trunks you can see that he has used long, rectangular brushstrokes to add texture. Where as you can see that the leaves on these trees are created from smaller dots of paint, as this helps to create a realistic leaf effect. The trees to the left of the painting help to separate the woman on the grass and the boat in the foreground from the water and the buildings and civilisation in the background. It suggests that she is out the way for silence, peace, and to relax within the calm atmosphere.
Landscape at Chailly was painted by Frederic Bazille in 1865, and is 81cm x 100.3cm in size. It was painted using oil on canvas.
Landscape at Chailly by Frederic Bazille, 1865
In the summer of 1865, Bazille and his friend Monet were based at Chailly-en-Brere in the forest of Fontainebleau. They dedicated time to the idea of the truth of nature, this meant that they created a new type of landscape. This new landscape was un-idealised and missing carefully arranged classical ruins, or historical incidents.
Frederic Bazille was a French Impressionist painter, many of his paintings are within a landscape painted en plein air. Bazille was an unenthusiastic medical student before his wealthy parents permitted him to study painting. While a student in Paris, he met Monet and Renoir, with whom he worked, travelled, and shared his studio when they could not afford their own.
Bazille has created this image using layering, you are able to see that there are three clear layers within this painting. The first layer in the background consists of the sky and clouds, the second layer (the middle layer) is the trees and shrubbery. The third layer is the foreground which consists of rocks and the foliage. You can see that the foliage has been made up of a lot of small brush strokes, this created the idea of realism and how the foliage actually looks to Bazille who can see it how it actually appears.
This lead led Bazille to painting this image, he used a range of brushstrokes to capture the effects of light on the foliage. This leans towards Impressionism, but isn’t quite an impressionist landscape as it has a relatively dark palette and the absence of any sign of human beings.
The rocks in the foreground attract your attention as they create a sense of perspective whilst creating textured ground, as well as showing the uneven surface of the land surrounding Bazille.
In the close-up below you can see the vast contrast between the colours of the trees, this dark palette creates a mysterious effect within the middle layer. The light tree gives off a totally different atmosphere compared to the atmosphere and mood portrayed by the darker trees on the right.
This painting by Bazille highly inspired Monet, when looking towards painting landscapes. His styles encouraged others to expand their ideas of painting and to develop a wider range of artistic techniques, whilst portraying the effect of light and the reality of outdoors.
Frederic Bazille painted this en plein air painted whilst trying to capture the realistic aspect of landscapes and rural areas.
The limited colour palette encourages the use of shadows and the use of lighter and darker areas to develop the image and to create a sense of depth, whilst capturing the true appearance of the landscape.
Bazille has also managed to capture the movement of the clouds, and how they are shifting across the sky. This gives an idea of wind direction, the weather and also the time of year. The bright blue sky contrasts with the dark and gloomy trees that are situated just below the skyline. This enhances the painting and the colours within in it, which then makes you look at the painting closer.
The Forest of Fontainebleau, is just one hour from Paris by the newly built railway. This offers a large number of attractions for tourists and artists. By the 1960s, open air painting had become something of a craze. Therefore this forest offered many opportunities to carry out this Form/ style of painting.
Intentions
After exploring a number of key paintings that have been painted en plein air my intentions now for my exam piece is to create a practical response to the following question; “Painting ‘en plein air’ was important in the work of artists such as John Constable, Mary Cassatt, Henri Biva, Claude Monet, Camille Pissarro and Mary Agnes Yerkes.” After looking at this question I have decided to design an exhibition based on selected works on the theme of en plein air. I aim to create a 3D exhibition model with an illustrated pamphlet and a poster. I am also going to record the process of making/ creating all of the above to show my progress and where the ideas came through.
Font styles
Final font style The previous slide shows the name of my exhibition, ’Exposed’, in a wide range of font styles to show how the appearance of the exhibition title can change. Out of all of these styles my favourite four are below;
This style of font is effective as it gives depth to the title, as well as standing out to the viewer. This style is quite simple but the lines used have created an eyecatching style, it helps to show a sophisticated but creative style. The exhibition could then be represented by this idea and through the style, creates an image.
This style of font links really well to the idea of my exhibition as the style looks as if it has been created through brushwork. This then represents the painting that goes on outside and within the landscape, the style looks like it has been painted itself. The different sized font also enhances the overall appearance.
This style of font also gives me the impression of paint splatters and brushstrokes of paint. The contrast between the thick black lines in this style and the splattered effect enhances the overall appearance of the font as it makes it stand out more to the eye and you can see it from a distance.
This style of font portrays a paint splattered effect which makes you think of the canvas that artists use. This block lettering is also very effective as it makes the name of my exhibition stand out to viewers due to the bold and thick lines. I like this font style because it is eye-catching and also memorable. Chosen font style
After looking at all these four font styles in more detail I have chosen the top-right font style to be my final style. I find this style most effective for my exhibition and most suited to the purpose and the contents of my exhibition. The variance in the letter style helps this style to stand out to viewers and would help to attract peoples attention to my exhibition poster.
Poster ďƒ Research There are many other artists and organisations that create posters for their events/ exhibitions, these could be of all colours and designs specific for their particular event/organisation. Below are many existing posters that I could use for inspiration to create my own;
An image of his work himself is used as the background, which relates viewers to what will actually be going on within the exhibition. This has inspired me to use my own photo of painting en plein air as the background, to represent the exhibition itself. The use of bright colours attracts viewers attention to the poster itself, and then encourages them to look closer at the poster and what it is about/ what it is for. The same font has been used throughout the whole of the poster, this constant theme helps to strengthen the poster visually. Information is visible at the bottom of this poster, it helps to separate the information from the image in the background. The information has been placed on top of the floor of where David Hockney is stood. The main title of the exhibition has been placed on top of the painting itself, this links the painting and Hockney's work to the other information. The colour of the text itself has been deeply thought about, as it manages to stand out from the colours in the background/ the painting. This is essential to be able to get the information across to viewers and people that are interested in attending this exhibition. The size of the text is also essential as people need to be able to read it from a distance rather than just up close.
Analysis of an existing poster
In the top right corner you can see the emblem of the gallery itself/ the location in which the exhibition is being held. This gives viewers an idea of where the exhibition is being held, as well as associating it with this particular gallery. The way that it looks as if Hockney is painting this already painted art piece helps to bring the art piece to life and draws viewers into the poster. It helps to give the impression to the viewers that they are involved in the painting and they are watching the painting being created itself. Contact details have been included in the poster along with details to book tickets, this allows viewers to have a way of booking tickets if they have an interest in this poster. It gives them the opportunity to be able to get booking information directly from the poster. The layering of Hockney, the text and the painting helps to create a sense of depth, this is effective visually. A wide range of information has been included in this poster, this allows viewers to get a full idea of what the exhibition is about and other information that they would need to know. It is important to add this information to the poster because otherwise people wont know about the exhibition and its details.
Poster 1 ďƒ Background ideas In order to create the poster design for my exhibition I have taken my own photographs of landscapes that depict changes in light within natural landscapes. This will allow me to create an original design which explores the theme of being a painter outside.
I took this photograph myself, I tried to capture the effect of light at this time of day as well as the beauty of the surrounding natural landscape. The sunrays enhance the greenery in the background and help to add a glowing effect to the image, this helps to show the beauty of the landscapes. The contrast between the darker greenery in the foreground and the lighter greenery in the background and the sky helps to enhance the appearance of my photograph, it also helps to separate different sections of my photograph so that smaller qualities within stand out to the viewer.
I took this photograph myself, I tried to capture the colours within the natural landscape whilst focusing on the movement of the features within this setting. On the left hand side you can see that people are present within this setting, this then links humans to the natural world and shows life. The use of imagery in the foreground and background helps to enhance the visual impact of this photograph, whist giving the photo a sense of depth. The colour pallet appears limited due to the main use of browns and greens, but the different shades and tones of these colours helps to portray the idea of en plein air and natural beauty. The light of the sky at the top of the photo helps to brighten the image and contrasts with the other colours, this helps to alter the visual appearance to viewers. The darker colours in the stream and the base of the trees gives viewers a main subject to look at in the centre of the image.
I took this photograph myself, I focused on capturing the bright colours of the natural landscape as well as bugs/insects that are found within the natural world. The depth of field was also essential within this photograph as the heads of the flowers and the fly are fully in-focus within the foreground, and then the stalks and grass in the background have been blurred. This helps to attract your attention to the subjects in the foreground, whilst enhancing the photograph and giving it more character. The bright yellow in the foreground contrasts with the green in the background, this helps to give viewers something to look at whilst focusing on the fly which has been located in the centre of the photograph. This fly adds a sense of life to the image, if the fly wasn’t there then the image would be less interesting and eye-catching, it wont have as much character to it which could then have a negative effect on the viewer and what they think of this photo/ how they view it.
Poster 1 creating the poster background The screenshots below show the process in which I went through to create the background of my poster using my photograph and an existing image. I have described how I created each step as I went on; The screenshot on the left shows how I got a picture of a canvas on a stand and then developed it into Photoshop. I then used the brushwork tool to quickly paint something on the canvas to show the idea of painting ‘en plein air’.
The photo on the left is my photograph that I chose to use as my final image, I then cropped it to fit a vertical canvas. This is so that it looks more like a poster rather than a photograph.
The screenshot on the left shows my final poster background. I created this by layering the canvas layer on top of the photograph layer. I then had to use the magic wand tool to get rid of the white background from the canvas layer. This then gives the effect that the canvas is actually located within the landscape setting as if someone is painting ‘en plein air’. This then helps to express and portray the idea behind my exhibition.
Poster ďƒ Adding the font I then placed my chosen font onto the background I created and I altered the colour of my font style to see which one looked the best out of them. I tried the font in black, green, orange and red, I chose these colours because they best suite my photograph;
After looking at all of these font colours I have decided that the black font looks best for this poster, as it makes the title stand out but doesn’t detract attention from the rest of the poster.
Poster 1 ďƒ Background and font This poster is effective as it represents the idea of en plein air, as this photo is of the landscape and then I photoshopped in an easel to show the idea of painting the landscape. The colour pallet within this poster is mainly green and other natural colours. I managed to capture this photo with the sun rays appearing through the tree, this helps to enhance the idea of natural beauty. The black text suits this poster as it links to other areas within this poster that are also black, keeping a constant colour theme. The use of a foreground and a background helps to enhance the visual effect of this poster. In the foreground you can see the easel, in the mid-ground you are able to see the text and then the photograph that I took is in the background. This helps to divide up the image and creates a more complex image for viewers to look at.
Poster 2 ďƒ Background ideas I decided to create a few poster designs for my exhibition so that I can then choose my favourite idea for my final poster. I have gathered the images below of close-up impasto paintwork to use as a background idea, this is because it relates back to the idea of painting impasto en plein air. The thickness of the paint helps to create depth on the surface of the canvas/paper, a variety of coloured paints can be used to enhance the appearance. Bright colours/ a mix of colours helps to enhance the visual appearance/ visual effect of this background idea, whilst supporting the idea of thick paint behind my project.
Poster 2 ďƒ Background and font This poster is visually pleasing due to the simplistic us of clear text, as well as the limited colour pallet. The perspective of this image on the poster is effective as makes you look closer at the brushstrokes and the depth of the paint. The depth of field also enhances this image as it makes the image catch your eye rather than having a boring image. This poster idea is very simple as it is only an image with the text photoshopped on, but it still catches your eye and makes you look at it. The colours used also attracts viewers attention as they are bright and but at the same time is appears dark. This is due to the contrast between the darker paint and the white canvas. The background of this posters also helps to portray the idea behind the exhibition itself, en plein air, and the use of impasto. Impasto is shown in this background due to the use of thick paint on canvas.
Poster ďƒ Information I would include on the poster
Date and time
Name of event
What it is
Contact details Cost
Location
What will be there
Poster Information I would include on the poster
Date 2nd-12th June 2016 Time 10am – 4pm Place Exposed Gallery Location 5 Avenue Close Betws-y-Coed
2nd-12th June 2016 10am – 4pm Exposed Gallery, 5 Avenue Close, Betws-y-Coed
Leaflet ďƒ Research
Descriptions of each piece within the exhibition have been included, this is to help viewers/ visitors to understand what is going on within the exhibition, and so that they have some information for the art pieces.
Range of colours have been used to increase the effect of the visual appearance of the leaflet, and to make it more interesting and creative for viewers. These colours also help the leaflet to appear interesting for a wider age range of people, which may then encourage more people to visit the exhibition.
A map of the exhibition itself would have been included in this leaflet, as this is what allows visitors to know where to go and which art pieces are where. It gives them an idea of where to look in the gallery location, and enables them to identify where particular art pieces are where, so that they can view the ones that they may be most interested in.
Analysis of an existing leaflet
The layout of the leaflet has been created creatively to encourage people to read it, rather than just a sheet of paper that people may find boring and have no interest in. The concertina effect enables the gallery to maximise the amount of information that they include in their leaflet, as they are able to write on each side of it.
The location has been included so that visitors/ people that want to attend the exhibition know where it is and how to access it. This leaflet also includes contact details so that people are able to contact someone if they have any enquiries or questions before their visit.
An introduction/ overview of the exhibition would have also been included in this leaflet. This is key as it gives viewers an idea of what they have actually came to see, and the idea behind the exhibition itself. It helps to portray the meanings/ thoughts behind the exhibition and the art pieces that have been included in it.
Leaflet ďƒ Information I would include on the leaflet
Date and time
Exhibition maps
Identify the location of each art piece
Prices Exhibition poster Description of each art piece
Introduction to exhibition
Leaflet ďƒ Screenshots of my final leaflet