A paper "A Dossier on Jean Renoir: His Art and Aesthetics" claims that he evolved and adapted the impressionism that Pierre-Auguste Renoir had explored in his painting to the silver screen. Jean’s father, was an acclaimed impressionist painter, a leader of the said form of painting…
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A comparison between Carne and Renoir helps us to capture fully a sense of his aesthetics. While Michael Carne developed his hand at the cinema at the safe bustle of the studio, Renoir began to refine, readapt and shape his skills of cinematography at the various locations of shooting. Renoir’s esthetic expertise extends over all genres of contemporary cinema. The third decade of the 20th century saw him reach the zenith of his artistic excellence. He produced works on varied generic strains of the film noir as well as realistic cinema. Among acerbic, biting satiric comedies, we have Le Chienne (The Bitch, 1931); Madame Bovary (1933), A Day in the Country (Une Partie de Campagne, 1936, released 1946) and his famous work The Human Beast (1938) is Renoir’s successful ventures into literary adaptation are interpretation. Boudu Saved from Drowning (1932), on the other hand, is a lighthearted and entertaining cinematic improvisation of sorts. Among his other notable works, Toni (1935) is a meaningful social contract along with the war satire Le Grande Illusion (Grand Illusion, 1937), the political manifestos La Marseillais (1937) and The Crime of Monsieur Lange and satiric social commentary in the 1939 movie The Rules of the Game. (Lanzoni 2005) Renoir had always distinguished between the inner and outer realism, as evident from his interviews. (Durgnat 1974) Inner realism, according to him expressed the deep-felt instincts and fantasies of one’s own self while the outer realism depended mostly on the physical locations and activities within the film sets. The photography of the surrounding geographical setting and the trope of amateur acting2 also exerted an important influence on Renoir’s cinematic arts. With his intellectual background and wide knowledge of art and literature, Renoir used inter-textual references about Chaplin, Zola, and Marivaux in the application as well as explication of his aesthetics. Toni (1935): Aestheticism and Social Commentary The 1930s were turbulent years. One of the most fateful decades in the history of the world, it saw economic and political upheavals that changed the course of humanity. Many of Renoir’s films encapsulated this prevailing sense of doubt in the poverty-stricken, war-torn world of the 30s, through an eclectic approach that spanned both silent and sound cinema, ranging from social critique to pure satire. (Lanzoni 2005) Given the turbulent political conditions of the mid-years of the 1930s, Toni (1935) holds a special position in the coterie of Renoir’s films. Adapting to the tricky technical and artistic transitional dynamics of the cinema, as the world shifted from the silent era to the talkies, Renoir found a liberating sense of openness and communicative harmony in his sound films. (Lanzoni 2005) Toni illustrates with particular sensitivity and brilliance the diverse nature of this proficient filmmaker. As pointed out in the previous articles, Renoir’s overemphasis on aesthetics of the cinematic art was legendary. In Toni, as well, the textural sensuality and vision of the artist prevail over the grim subject matter at the heart of the film. Toni envisions Renoir’s early artistic assays.
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To this effect, art has been instrumental in informing the intended audience about diverse issues as well as perceptions of the artist about emergent concerns. Thus its importance in the education, information and communication spheres cannot be underestimated.
In trying to elaborate on these feelings, which an artist cannot possibly put in words, a new channel of expressing oneself emerges in the form of art, where the artist can then express all his/her emotions well without any hindrances, like the one existing when the expression has to be done through a word of mouth (Collingwood, 110).
To agree in the judgment that the music is sad is not to agree in a belief, but in something more like a response or an experience" (Eldridge 145: 2003).It has long been recognized that human beings find a variety of visual and auditory appearances to be extremely fascinating.
In the eighteenth century there was significant development pertaining to judgments of aesthetic value. At one stage aesthetics was relegated entirely to the realm of subjectivism, but soon adherents to objectivism were up in arms against their detractors.
Without question, the mere meaning of the word art is subject to interpretation, especially considering the mystifying world of twentieth-century art. Nonetheless, the purpose of this paper is an effort to demonstrate that art is definable.
Author indicated that 18th century witnessed development of wild romanticism in art and literature that enabled appreciation of a significant aesthetic notion, ‘Sublimity.’ In addition, Burke showed closer connection of
The globalization of aesthetic experience is propagated by the popular culture, such as in music and movies. A good example is how young people idolize their celebrities, mainly American celebrities. This can be observed in the way they dance to
Usual atmosphere of films connected to poetic realism consists mainly of the elements such as tragedy, doomed heroic quest, the contrast between society and individual, doomed love and most of all elements of naturalism, impressionism, and expressionism that gets along with quotidian and common aspects of daily life.
This paper analyzes the art of the famous impressionist, Pierre-Auguste Renoir. he accompanying and exhibiting catalogue will provide unsullied insights to the complex ambitions of Renoir as a youthful artist. Renoir submitted his artistic works to the authorized salon and the avant-garde impressionist displays.
The above definition is enhanced and modified by George Dickie who defines art work as artificact which has had conferred on it the status of candidate for appreciation by some person or persons acting in behalf of a certain social institution otherwise referred as the artworld (Dickie, 1995)
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