Jules Cheret
Jules
Cheret was fundamental in the development of the Art Nouveau style from the Victorian
graphics. During the late 19th century the French legislated in favour of freedom of the
press and as a consequence citizens were allowed to hang posters almost everywhere
except in certain designated places specified by the law such as churches.The streets bristled with posters. The poster La biche au bois is quite Victorian in nature. The said poster portrays Sarah Bernhardt. The said Bernhardt and Cheret were both very successful artists.
He
simplified his designs and painted his gave prominence to the principal figures
by enlarging their scale. He even enlarged his typefaces. Cheret’s art was
highly influenced Watteau and Fragonard. Cheret then began to make strong use
of black line and primary colour (red, yellow, and blue).
The above image is one of Cheret's early green and black poster used the multiple image format that was popular in the 1860's. the lettering is a harbinger of the swirling forms making his mature style.Philip B. meggs. and Alston W. Purvis.eds., 2012. Meggs’ History of Graphic Design. Fifth Edition. Hoboken Canada: John Wiley & Sons,Inc.pg202
Cheret’s
art was characterised by its vitality. He achieved this with his mastery of
vivid colours and subtle overlapping that resulted in a wide range of colour
effects. In Charet’s work one can see a vitality of colours and effects such as
stipple and crosshatch, soft watercolour like washes and bold calligraphic
chunks of colour, scratching, and splattering.
Philip B. meggs. and Alston W. Purvis.eds., 2012. Meggs’ History of
Graphic Design. Fifth Edition. Hoboken Canada: John Wiley & Sons,Inc.pg202
Cheret managed to change the way that women were depicted and portrayed. He did not portray them as sinful, but on the contrary he threw away their corsets and put them into long flowing robes.
Cheret managed to change the way that women were depicted and portrayed. He did not portray them as sinful, but on the contrary he threw away their corsets and put them into long flowing robes.
Women
started to be emancipated. What was previously thought as unacceptable for
women started to become acceptable. In other words women started to leap into
modernity.
Roy
Liechtenstein fathered stereotype. Moreover he was one of the most influential Pop
artists. Roy
Lichtenstein was the master of the stereotype, and the most sophisticated of
the major Pop artists “in terms of his
analysis of visual convention and his ironic exploitation of past styles. The
work for which he is now known was the product of a long apprenticeship”
Roy Lichtenstein. 2014. Roy Lichtenstein. [ONLINE] Available
at: http://www.artchive.com/artchive/L/lichtenstein.html. [Accessed 08 March
2014].
Just
like Jules Cheret Lichtenstein made ample use Primary colors (red, yellow and blue),
with heavy outlines of black which he loved to use. Lichtenstein often used the
colour green. Instead of shades of color, he used the benday dot, a method by
which an image is created, and its density of tone modulated in printing.
Sometimes he selected a comic-strip scene, recomposed it, projected it onto his
canvas and stenciled in the dots. Lichtenstein wanted his paintings to look as
if it had been programmed. Roy Lichtenstein - Biography. 2014. Roy Lichtenstein - Biography.
[ONLINE] Available at: http://rogallery.com/Lichtenstein_Roy/lichtenstein-biography.htm.
[Accessed 08 March 2014].
Roy Lichtenstein - Wikipedia, the free encyclopedia. 2014. Roy Lichtenstein - Wikipedia, the free encyclopedia. [ONLINE] Available at:http://en.wikipedia.org/wiki/Roy_Lichtenstein. [Accessed 02 February 2014].
Roy Liechtenstein
Just
like Jules Cheret Lichtenstein made ample use Primary colors (red, yellow and blue),
with heavy outlines of black which he loved to use. Lichtenstein often used the
colour green. Instead of shades of color, he used the benday dot, a method by
which an image is created, and its density of tone modulated in printing.
Sometimes he selected a comic-strip scene, recomposed it, projected it onto his
canvas and stenciled in the dots. Lichtenstein wanted his paintings to look as
if it had been programmed. Roy Lichtenstein - Biography. 2014. Roy Lichtenstein - Biography.
[ONLINE] Available at: http://rogallery.com/Lichtenstein_Roy/lichtenstein-biography.htm.
[Accessed 08 March 2014].
Very
ironically though Lichtenstein’s paintings are quite small in size the message
that they convey is quite the contrary since they give a very massive
impression of the subject.
References
Philip B. meggs. and Alston W. Purvis.eds., 2012. Meggs’ History of Graphic Design. Fifth Edition. Hoboken Canada: John Wiley & Sons,Inc.
Roy Lichtenstein - Wikipedia, the free encyclopedia. 2014. Roy Lichtenstein - Wikipedia, the free encyclopedia. [ONLINE] Available at:http://en.wikipedia.org/wiki/Roy_Lichtenstein. [Accessed 02 February 2014].
ules Chéret - Wikipedia, the free encyclopedia. 2014. Jules Chéret - Wikipedia, the free encyclopedia. [ONLINE] Available at:http://en.wikipedia.org/wiki/Jules_Ch%C3%A9ret.
[Accessed 02 February 2014].
Roy Lichtenstein. 2014. Roy Lichtenstein. [ONLINE] Available at:http://www.artchive.com/artchive/L/lichtenstein.html. [Accessed 15 February 2014].
