This is a complete presentation about Floral Art as painted by Major Artists. THERE ARE MANY ACTUAL SLIDES IN THE PREVIEW FOR YOUR REVIEW. THIS IS YOUR BEST GUIDE TO PRODUCT QUALITY.
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Floral Art, Free Poster
Flowers were prized by the nobility and the wealthy centuries ago. It was a sign of your great status to have a garden, a library stocked with books and art works about the garden and so forth.
Impressionists, Post Impressionists, and Fauvists amply covered flower painting. If one wants beautiful representations of flowers in art, all three of these movements contain outstanding art works.
Among the Impressionists, Claude Monet, Edouard Manet, Berthe Morisot, Mary Cassatt, Camille Pissarro and others, painted flowers the world fell in love with generation after generation. Likewise the Post Impressionists had the prolific floral output of Vincent van Gogh, along with the flower paintings of Paul Gauguin, Henri Rousseau and others. Henri Matisse and Raoul Dufy applied their vivid true colors to flowers as Fauvists.
In the early 20th century, the Cubists fragmented the flower into geometric shapes. The flowers were made into cylinders or spheres or orbs. These looked nothing like what one would receive in the real world as a flower. Kandinsky deconstructed the floral arrangement so that one had to study the whole of the canvas for some time to see the splotches of each flower and the base of the vase. Paul Klee used mixed media to depict abstractions of flowers.
Emil Nolde took the suggestive shape of his flowers further than the Impressionist style and used watercolor to increase the fuzziness of the images. Print media by masters like M.C. Escher also used flowers as subject matter. But if one thinks “20th century” and “flower painting”, there is one artist who particularly comes to mind. This is Georgia O’Keeffe.
What she did was incredibly close up depictions of flowers. No one had ever painted them in such an extreme close up fashion before. Because she was a woman, this got some critics thinking in terms of her painting women’s sexuality with her flower forms. O’Keeffe denied this association.
So what was really different about O’Keeffe’s flowers was the vantage point from which they were painted. The reason that the critics thought of sexual organs was because, brought in so close like that, it was evident that is what flowers were: the sexual organs of plants. The critics hadn’t noticed that until it was so enlarged.