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3 Main entrance
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Foyer
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Painting
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Landscape at Chailly by Frederic Bazille, 1865, Oil on Canvas, 81cm x 100.3cm
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A Summers Day by Berthe Morisot, 1879, Oil on Canvas, 45.7cm x 75.2cm
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Kitchen Gardens at the Hermitage, Pontoise by Camille Pissarro, 1874, Oil on Canvas, 54cm x 65.1cm
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Autumn Effect at Argenteuil by Claude Monet, 1873, Oil on Canvas, 55cm x 75cm
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On the Seine at Bennecourt by Claude Monet, 1868, Oil on Canvas, 81.5cm x 100.7cm
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A Northern Silver Mine by Franklin Carmichael, 1930, Watercolour, 55cm x 67cm
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The Road Across the Wolds by David Hockney, 1997, Digital Image, 121.9cm x 152.4cm
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The Westbury Horse by Eric Ravilious, 1939, Watercolour on Paper, 61cm x 68cm
Introduction This exhibition takes you through time whilst discovering the use of en plein air painting and the artists that used this. There are many pieces of work that are being held at this exhibition, one of these includes Landscape at Chailly by Frederic Bazille. This is the earliest painting within the exhibition dating back to 1865. Bazille’s use of Oil on Canvas contrasts with David Hockney’s use of digital imagery, Bazille’s work consists of more natural colours whereas Hockney’s work consists of more vibrant and exhilarating. Exposed exhibition holds a variety of works that are spread out across the area of the exhibition so that viewers get a full impact of their magnificence.
Audio guides are available in English, Chinese and French £2 per person
Paper guides are available at the information/ ticket desk £1 per person
Exposed exhibition is curated by Annabel Gladman for the Exposed Gallery. Exhibition Graphics by Annabel Gladman Exhibition Curator Annabel Gladman Leaflet design by Annabel Gladman Sponsored by BIC
Leaflet text, diagrams, photos and design by Annabel Gladman
Room 1
1
Landscape at Chailly by Frederic Bazille, 1865, Oil on Canvas, 81cm x 100.3cm
Frederic Bazille’s Landscape at Chailly (1865) is 81cm x 100.3cm in size and was painted using oil on canvas. 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. The colour’s contrast with one another, helping to enhance the visual appearance of the painting. He has layered up his brushstrokes to create a sense of depth within the painting whilst portraying the effect of light and the reality of the outdoors. The limited colour palette encourages the use of shadows and the use of lighter and darker areas
2
A Summers Day by Berthe Morisot, 1879, Oil on Canvas, 45.7cm x 75.2cm
Berthe Morisot’s A Summers Day (1879) is a small scale painting using oil on canvas. 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. 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 The zigzag brush strokes helped to create a realistic image of the ripples and the light in the water, this again suggests movement. 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. 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 brushstroke work helps to blend colours together which creates a subtle and soft image, Morisot used this technique to differentiate her work from the work of male artists.
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Kitchen Gardens at the Hermitage, Pontoise by Camille Pissarro, 1874, Oil on Canvas, 54cm x 65.1cm
Camille Pissarro’s Kitchen Gardens at the Hermitage, Pontoise is 54cm x 65.1cm using oil on canvas. This painting captures an everyday ordinary rural scene, it is therefore a matter of fact record, and it captures a moment in time. You can see that the figures are not posed, instead they are at work and are engaged in activity. 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. 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.
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Autumn Effect at Argenteuil by Claude Monet, 1873, Oil on Canvas, 55cm x 75cm
Claude Monet’s Autumn Effect at Argenteuil is 55cm x 75cm using oil on canvas. This painting was painted quickly, which is often found in Impressionism, as well as it being painted en plain air. He uses these colours to recreate the brightness of nature; ‘en plain air’. It also lightens the image and creates a positive atmosphere. Monet has used the other end of the brush to add detail to this painting, which also helps it to look more realistic. 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. You are also able to see that the use of the colour theory rather than using traditional academic techniques. 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.
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On the Seine at Bennecourt by Claude Monet, 1868, Oil on Canvas, 81.5cm x 100.7cm
Claude Monet’s On the Seine at Bennecourt is 81.5cm x 100.7cm using oil on canvas. 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. 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. Within this painting you can see that Monet has used a range of brushstrokes. 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.
Room 2
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A Northern Silver Mine by Franklin Carmichael, 1930, Watercolour, 55cm x 67cm
Franklin Carmichael’s A Northern Silver Mine is 55cm x 67cm using watercolour. His outdoor painting helps to depict natural beauty whilst managing to get across the moods and atmospheres that you would find. 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. The detail on the water is effective as you are able to see the ripples and the movement of the water. This is a very natural and calming painting that has managed to portray the true atmosphere/ moods of this location. The brushwork and use of lines helps to separate the different parts of the painting, which then helps to create a sense of depth within the image.
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The Road Across the Wolds by David Hockney, 1997, Digital Image, 121.9cm x 152.4cm
David Hockney’s The Road Across the Wolds is 121.9cm x 152.4cm and is a digital image. It is a digital image as he used electronic devices to paint/create it. 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. 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. The contrast of the colours also makes this image interesting to the eye as it makes you look closer at the details within.
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The Westbury Horse by Eric Ravilious, 1939, Watercolour on Paper, 61cm x 68cm
Eric Ravilious’s The Westbury Horse is 61cm x 68cm using watercolour on paper. The clouds and fields in the background are light and pale, contrasting with the darker green of the hill in the foreground. His use of colours is effective as he uses natural, realistic colours when creating his art pieces. 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. 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.