Pieces of Painting Art For The New Corporate Offices

Impressionist Painting

The paintings fulfilled the three-strand of identity revealing the impressionist criteria, namely color, light and landscape as the representative of what they saw.

The Dance Class

The Dance Class an Edgar Degas in 1874 illustrates a group of dancers comprising young girls in a long day practicing session. The oil on canvas painting depicts the true professionalism where the young dancers are under strict guidance of the master placed at the middle of the room. Besides, the location of the dance master in the middle outline a typical workplace where organizational leaders and supervisors represent the height of authority serving the management functions of planning, organizing, coordinating, controlling and staffing.

Figure 1

Les Raboteurs (The floor scrapers)

The oil painting by Gustave Caillebotte in 1875 reveals the utilization of artistic work as a perspective of everyday life. The painting from an observer’s perspective standing to watch three workers scrapping the floor depicts a typical workplace setting. The painting reveals unusual perspectives from the everyday life. In particular, it reveals the light reflected on portions of the floor alongside the emphasis on workers’ back to convey the intensity of stripping the class blindness(Davis & Leshk, 2000).

Firstly,the tilted heads, revealing workers engaged in a conversation illustrates the importance of horizontal communication at the workplace. Similarly, the presence of a single bottle and glass reveals the importance of embracing a shared culture amongst the working individuals. In particular, the sharing highlights the importance of maximizing the use of limited resources in to deliver complete assigned tasks.

Figure 2

Working the Land

This presents Gauguin’s painting of 1873 using the impressionism style. The piece was accomplished through the oil technique on a canvas resembles earlier works. The painting represents a naturalism emphasized in the impressionist paintings, while using color to depict the atmospheric effect. This highlights the break to allow viewing in multiple perspectives.Finally, by leaving a section of the sky unfilled with clouds, it construes to the impressionism convection of allowing a sparkle of sunlight to reveal the perspectives(Davis & Leshk, 2000).

Figure 3

Post-Impressionist Paintings

Ideally, this classification arises from the independence sought by young painters to break free from the typical naturalism emphasized in impression. They revealed departure from the past through a modernist journey.

Kitchen Table (Still-life with Basket)

The painting by Paul Cezanne reveals several objects, including pots, fruit, cloth and a basket placed on a table sitting in a kitchen simply furnished. This piece reveals every object competing to retain a portion of the little space. The painting referred as the solidified impressionist as Cezanne chooses the neglected symbolic forms of still life to invent a new meaning. The image defies its critique by depicting the bottom cookies as viewed across, while slightly down view of the top cookies suggest shifting one’s weight to the forward leg. However, the painting uses plain color to create depth of perspective as revealed by the table break to illustrate many perspectives (National Gallery of Australia, 2010).

Interpreting the painting from the objects demanding a portion of the limited space, alongside the furniture holding varied perspective, matches the nature of competitiveness represented in the corporate image seeking a pole position in the contemporary business environment (Davis & Leshk, 2000). This implies that organizations are operating in a business environment where the macro-elements in a continuous state of stage. Besides, the objects that seem to occupy the central position represent the successful elements comprising leading organizations in the competitive environment. Equally, it symbolizes the central figures emerging within the organization to command attention as shown by simpler geometries representing painted truth.

Figure 4

Turning Road at Montgeroult

The painting is another piece by Cezanne reveals a tricky image to understand. The painting comprises a straightforward structure of space, a foreground hosting a green foliage, and a middle ground where the road and housing structures sit. In addition, the sky sits in the deep recession. The artistic impression represents a traditional master landscape with movements showing consistent clarity(Davis & Leshk, 2000). This replicates a corporate atmosphere, blending the perspective of near and far inclusion.

Figure 5

The Market Gardens of Vaugirard

The 1879 painting by Paul Gaugin reveals a bold experimentation of color that leads to a direct synthetic style. The painting inherits a meaning of the subjects hosted in the image farm. The painting reveals a broad section of color and patch sections of applying paint. This shares an emphasis of structure rather than atmospheric effect similar to other post-impressionists paintings by Camille Pissarro (Mancoff, 2014).

The brushstrokes in the painting resemble previous work of Cezanne, just as the horizontal planes deriving similar village scenery to Cezanne work. The image revealsthe artist as if to position himself on the upper story of the house while painting the scene. At this point, Gauguin conforms to define the energy in the city motifs at position to reveal the slightly angled passages. This forms a parallel perspective between the long wall and the garden, blend with a strip of houses to animate the horizon. While this suggests the convection preferred by the impressionists, inclusion of the chimney to the left foreground, a house to the middle section unifies the development of a post-impressionist painting. In particular, the repoussoir tree establishing the foreground-background axis underscores the post-impression. Equally, the shift from his impressionist mentors arises in filling the skyline with clouds to eliminate the sparkle of sunlight. For this reason, diffusion is eliminated to allow the brushstrokes emerge clear as revealed by the region between the wall and the garden section (Davis & Leshk, 2000).

Figure 6

References

  • Davis, J., & Leshk, J. (2000). The Smith College Museum of Art: European and American Painting and painting and sculpture, 1760-1960 (1 ed.). New York: Hudson Hills Press.
  • Mancoff, D. N. (2014). Paintings by Gauguin. Retrieved August 22, 2014, from http://entertainment.howstuffworks.com/arts/artwork/paintings-by-paul-gauguin1.htm
  • National Gallery of Australia. (2010, April 04). Masterpieces from Paris. Retrieved August 22, 2014, from http://nga.gov.au/exhibition/masterpiecesfromparis/Default.cfm?IRN=191187&BioArtistIRN=21796&MnuID=3&GalID=3&ViewID=2
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