#what are degas and seurat?

[liminalmemories21]

8, 16 and 19 (word: love) for the WIP ask 👀💛

So far this morning I have cancelled a meeting, put it back on the calendar, and cancelled it again. I've been at work for less than two hours. Which is to say, clearly this is a better use of my time. Thank you!

#8 - What is the last scene you’ve written?

For knave-verse it was what I posted on Sunday, because this week so far has been full of the kind of days where you're busy from the minute you wake up but somehow feel like you've accomplished nothing.

#16 - Write the next 5 sentences and share.

Cheating slightly because this was already written, but this is the end of the scene from above and is more or less verbatim a conversation I had with a college boyfriend who did not eat pork except for bacon because it was delicious, and made an exemption for crabs because his father's family was from Baltimore.

Carlos smothers a laugh and steals an onion ring when Amy leaves.  TK gapes for another minute and then squirts a pool of ketchup onto the plate and dips an onion ring in it contemplatively.  "The salad has bacon in it." His lips twitch.  "She probably leaves it out for the vegetarians."  He pauses, "She'd probably leave it out for you too if you asked." TK looks baffled for a moment, and then.  "Oh, no.  I'm a shitty Jew, and bacon is delicious." He blinks and wonders how he'd never noticed this about TK before.  "Wait, does that mean my mother doesn't have to figure out how to make frijoles refritos without lard?  She keeps trying and saying it doesn't taste quite right, and she wants to make them perfect for you." TK freezes with an onion ring halfway to his mouth.  "Shit, seriously?  That's really nice of her." "She really likes you," he says helplessly and gives into the absurdity and laughs. TK chews and swallows.  "Well, tell her I appreciate the effort, and I'm probably not quite shitty enough a Jew to eat pork chops, but a little bit of bacon or lard in the frijoles refritos isn't going to bother me."  He eats another onion ring thoughtfully.  "There's a carve out on the pork prohibition for times of duress.  I'm not sure where making your boyfriend's mother like you falls on that scale though."

#19 Where does (the word love) appear in your fic?

I really need to dump all my snippets into an actual document and see if it makes any sense. But.

"He likes Degas and Seurat and Renoir," Carlos says absently, still thinking about Cassel, "He thinks the water lilies are mind numbing." Tulson snorts.  "That tracks.  He also thinks all the endless Constable style landscapes of the British countryside are tedious." It startles Carlos out of his reverie and he gives Tulson a considering look, he's not wrong, it's just always strange to realize that other people know these things about TK too, but because he's a subject in a case file that they've studied, and they've tracked and cataloged his moods and opinions as obsessively as Carlos has but without the overwhelming love that Carlos feels.

[starrypawz]

(Wow this set of questions is REAL good) ❝ sometimes, i just need the world to be beautiful. i know how dark and ugly it can be but i just want to see something good and focus only on it for a few minutes. ❞

It's all about the yearning prompts // AO3

Mild cw for discussions of childhood neglect/emotional abuse and the concept of running away from home as a child

To no one’s surprise, London’s skies are grey and there’s a chill in the air that makes neither of them feel like lingering more than necessary. So instead they’ve lingered  amongst Monet, Seurat, Reubens, Van Gogh, Turner, Degas and Rembrant amongst others in the much more pleasant environment of The National Gallery. 

Nemo’s been mostly lulled into comfortable silence (Which they’ve noticed happens a lot around him) as they’ve wandered the galleries with Gerry as he’s given his input (And Nemo’s found he has a lot)

The gallery’s been quiet, not that surprising for a grey weekday afternoon outside of peak tourist season. There’s been a secondary school trip of adolescents of various degrees of enthusiasm that they lost track of several galleries back, a handful of other patrons likely out of season tourists and a few art students studying the masters. (Nemo had noticed Gerry watching the students with a wistful look before they’d moved on)

They’ve been bathed in comfortable silence for a long while now only broken by the occasional echo of footsteps from the nearby corridor as they’ve sat on one of the wooden benches, another grand oil painting from another Old Master before them. 

Gerry breaks the silence with a snort that sounds like he’s bitten off a chuckle. 

“What?” 

“Just… remembered something.”

“What?” 

“I…” Gerry pauses, “First time I tried to run away.” 

Nemo turns to him, “I… How old were you?”

Gerry sighs, “I was… eight? I think,” He pauses, “Mum had left me alone to deal with… something and I decided it was a great idea to finally run away and I came here,./ 

“Why?”

“I… Don’t really know why… or don’t really remember,” Gerry shrugs, “Just had some idea I could live here, hadn’t really planned all the details out,” He snorts, “Not much has changed on that front.” 

Nemo offers a weak chuckle in response, “Then what happened?”

Gerry shrugs, “I… stayed here for a few hours seemingly unnoticed and then realised maybe running away wouldn’t really work and I went back home.”

Nemo turns to him, their expression a combination of concern and confusion. 

“No one noticed you?” 

He shrugs again, “Yeah no idea how that worked, guess people just assumed I was with whatever adult was nearest to me, I think there was a school trip here on that day so I guess people thought I was a straggler. I managed to slip through the barriers at the tube station easily enough, and somehow I just knew what trains I needed.” “Gerry Keay, faredodger, I never expected.”

Gerry snorts, “I do mostly pay for my tickets these days.”

There’s a long pause before Nemo speaks up,

“Did…” Nemo pauses, “Did she-” 

“She was still out,” Gerry tenses his hand grips the edge of the bench, “Nearly made myself sick thinking she’d find out either that I made some mistake to expose myself or that she’d just know what I did but she never mentioned it-”

“Gerry-” “I’m ok,” Gerry sighs and relaxes his grip, “She came home late, I pretended I was asleep and woke up the next morning and it was… normal,” He gives a bitter snort, “I mean as normal as it ever is with her.” 

“And?”

“Made me realise eventually I could maybe pull one over once in a while, guess it was one of my first acts of petty rebellion,” He pauses, “Or maybe she wants me to think that, let me occasionally get away with something so I lower my guard and-” Gerry claps his hands together to pantomime something getting crushed and the sound echoes around the gallery.

“Cheery thought.” “Comes with the territory, right?” Gerry laughs, seems a little brighter, “Have that moody freak reputation to hold up…”

“You’re not that moody.” 

“Didn’t say anything about me not being a freak though.” 

“Well that’s undeniable,” Nemo grins, “And I’d like you a lot less if you weren’t one and anyway us freaks need to stick together right?”

Gerry’s actually smiling by this point, whatever looming darkness seems to have been shoved back into its box for now.

“Yeah.” 

Nemo shuffles closer to him, “So… art?”

“Art.” 

“You know a lot about it?”

“I guess I kinda do?” Gerry sighs and gives Nemo a brief smile, “I think you’re the only person I’ve ever really been able to talk about it with,” 

Nemo smiles

“Does… she… mind?” Nemo pauses, “That you’re into art?” 

“Weirdly she doesn’t,” Gerry pauses, “I don’t think she’s as fond of my interest in the… academics of it? Probably feels i’t a distraction from her bigger picture but she does seem to like the fact I’m apparently not totally terrible at actually making it” 

Nemo gives him a nudge, “I’d say you’re a bit better than ‘not totally terrible’” 

Gerry grins and nudges Nemo back, “Maybe I’m just fishing for compliments,” 

Nemo nudges him harder (Not that it makes much impact on him) and Gerry chuckles.

Gerry shrugs, “Yeah I don’t know maybe she just appreciates the fact it was a way to keep me out of trouble as a kid when she wasn’t… teaching me,” 

With a sigh Gerry leans back, his attention on the ceiling long enough he starts counting the panes in the skylight and Nemo leans into his shoulder. And although this has become a feature in the time they’ve known each other this time Gerry feels a warmth blossom to his cheeks that almost derails his thoughts instead after a pause he wonders if it bordered on awkwardly long he says

“There’s a lot of fucked up shit out there,”

Part of Nemo wants to respond with ‘You’re telling me’ or ‘No shit’ but instead keeps quiet. 

“And art,” Gerry pauses as he tries to get the words together, “Art… there can be fucked up shit in there too but it’s contained and it can’t hurt you… not really. It can make you uncomfortable, it can scare you, it can make you have to face things you don’t want to but at the end of the day it has no claws,” His gaze drops from the ceiling, “And often there’s still something beautiful there,” Gerry sighs, “And even the most realistic art is just… an approximation of reality, it’s all an escape really.”

“An escape?”

“Yeah…” Gerry pauses, “And I mean,” He gestures to the painting they’ve been seated across from, “Look at it,”

“It’s beautiful,” Nemo offers up. 

“Exactly,” Gerry pauses again, “It’s… See there it’s art, it’s beautiful, it’s all contained within that gilded frame, nothing more nothing less, it’s an escape into an approximation of reality where-”

“Nothing bad happens?” 

“Yeah,” Gerry sighs, he shifts his gaze away from the painting towards Nemo, “Everything is kind of fucked up and ugly out there when you look at it for too long,” And finds he’s again taking in every little detail in Nemo’s face, the exact shape of their hairline on the shaved side of their face, the distance between the piercings in their ear,  the exact constellations of freckles against their cheeks, the rounded tip of their nose, the shape of their lips, how it all adds up to make their specific profile. “And maybe sometimes I need things to be beautiful and look at something… good for a while.” 

Gerry swallows and then shifts his focus back to the painting, he only just realises that Nemo hooked their little finger around his at some point whilst he was talking. Nemo settles against him again and that warmth comes to his cheeks once more and with a soft sigh he relaxes against Nemo.

[dankusner]

Beautiful acts of rebellion

As beloved as impressionism is now, we forget how unpopular and reviled it was when it debuted — and what it represented

By NICOLE R. MYERS

Impressionism is probably the most recognized artwork around the world. It’s hard to think of another type of art that is so collectively popular, so beloved, so familiar.

If I say the word impressionism, many people automatically envision works like Monet’s water lilies or Degas’ dancers. Indeed, impressionism holds the rare achievement of having made the huge leap from the high-art world of collectors and museums to the so-called low-art world of pop culture and consumerism. Impressionist artwork makes appearances in iconic movies and TV shows, from Ferris Bueller’s Day Off to The Simpsons , and it can be found gracing any number of items in our daily environments, from soapboxes to mouse pads.

Americans love impressionism so much that it forms the backbone of most top-tier museum collections in this country, and the Dallas Museum of Art is no exception. “The Impressionist Revolution from Monet to Matisse,” on view now, tells the story of the movement through about 90 works drawn almost entirely from the DMA’s holdings.

Monet, Degas, Pissarro, Sisley, Renoir, Morisot, Cézanne, Caillebotte, Cassatt, Gauguin, Signac and Seurat are well represented, not to mention the groundbreaking artists they inspired, from Van Gogh to Matisse. That our city’s museum can do this is truly astounding, and it sets our exhibition apart from the others taking place around the world to celebrate the 150th anniversary of the first impressionist show.

This global phenomenon can give the impression that impressionist artwork has always been desirable, appreciated and collected. Yet that couldn’t be further from the truth.

Today we use the term impressionist to generally describe the aesthetic of short, rapidly applied paint strokes in bright pastel hues. Impressionism as it emerged in the 1870s, however, wasn’t a style. It was a collective of cutting-edge contemporary artists who banded together under a common cause: to establish careers as professional artists outside the state-run fine arts system, because there was almost no support or appetite for their radical vision of what modern art should be.

In fact, it was their frequent rejection from France’s official Salon exhibition — the only public venue in Paris for the display of artwork and thus the only way for an aspiring artist to garner critical and financial success — that drove them to organize and fund their own group show in 1874. This had never been done before, a shot across the bow that sparked a revolution.

To say that the impressionists shocked and scandalized the Parisian art world over the course of their eight group shows, which they mounted between 1874 and 1886, is an understatement. From their depiction of “lowly” subjects drawn from everyday life to their energetic application of bright paint to conjure optical sensations, the impressionists subverted almost every value central to the French state’s definition of artistic achievement.

Some of the most common criticisms hurled at the group were that their paintings were garish, ugly and poorly composed. Some critics felt the art on view was a joke on the public, while others felt it was an attack on the esteemed genre of painting, an act with political connotations.

But overall, the most frequent critique lanced at the impressionists was that they didn’t have the fortitude or artistic ability to make a finished picture. That’s to say, the kind of picture championed at the Salon that featured invisible brushwork, illusionistic attention to form and space, and a naturalistic palette topped with a thick layer of glossy varnish. Instead, the impressionists were seen as having the audacity to present preparatory sketches as finished pictures to an unsuspecting public.

The term impressionism, which the group eventually adopted, was in fact an insult derived from Monet’s now famous, incredibly sketchlike painting Impression, Sunrise.

While many critics acknowledged the raw talent and appeal of the impressionists’ fresh and spontaneous painting, the consensus was that their talents were misdirected. Their shows were considered critical and commercial failures.

It can be hard for us to experience impressionist artwork as outrageous, absurd, comical, offensive, political. We are too removed in time and place to resist the seductive pull of these picturesque windows onto a world gone by. But I dare you to visit our show and reconsider impressionism not as the stuff of dorm room posters, but as the kind of art that prompted the age-old question so often uttered in contemporary art spaces today: “Why is this art?”

Admission to special exhibitions at the DMA is free on the first Sunday of each month, so what’s stopping you from asking yourself that question today?

Nicole R. Myers is chief curatorial and research officer and the Barbara Thomas Lemmon Senior Curator of European Art at the Dallas Museum of Art.

ART Impressionism’s big umbrella ‘From Monet to Matisse,’ DMA’s exhibition blurs lines with paintings beyond the usual definition

The visions are reproduced on place mats, coffee mugs, women’s scarves, men’s ties and socks: urban haze, flowering gardens and placid country roads.

So popular is artistic impressionism that exhibitions of Monet, Renoir, Degas and company are art museums’ equivalent of Nutcracker , A Christmas Carol and the Beethoven Ninth Symphony: what you program to get as many people as possible in the doors.

The Dallas Museum of Art is tapping into the enduring appeal with “The Impressionist Revolution From Monet to Matisse,” a show of some 90 paintings and pastels mostly from the museum’s own holdings.

The Wendy and Emery Reves Collection is generously represented, as are gifts from the late Margaret McDermott.

You won’t see classics featured in art history books, but offerings organized by Nicole Myers, the DMA’s chief curatorial and research officer, cover a considerable variety of painters and styles.

There are some real “lookers.” I kept coming back to the bristling zigs and zags of contrasting colors — those explosions of red and white! — animating Berthe Morisot’s Winter . There’s nothing quite like the geometric counterpoint and surprising reflections of Monet’s Poplars: Pink Effect .

But even some rougher studies are interesting as explorations of artists’ perceptions and thought processes.

Actually, the show might better be called “Impressionism and its Aftereffects,” since at least half the art is beyond usual definitions of impressionism.

Cézanne and Seurat have obvious connections, but you’ll also see how the impressionists’ freeing of color and brushstrokes opened Gauguin and Van Gogh to very different visual languages.

You may be surprised to see Mondrian, who became so identified with abstract grids and slabs of color, early on playing with pointillist dots.

The big Matisse Ivy in Flower stretches the influence more than would have one of Roy Lichtenstein’s paintings with Ben-Day dots, based on a color printing technique, or a pixelated Chuck Close image. Where do you stop?

If anything, the exhibition may veer off on too many tangents, at some cost to coherence.

On the other hand, to make a point of impressionism’s revolutionary impact — it inspired fierce controversy in the 1870s and ’80s — the show could use some context from the stuffy academic art against which Monet and company rebelled.

Where’s a sturdy Jacques-Louis David or a seemingly backlit William-Adolphe Bouguereau?

Impressionism was not without tributaries.

Jean-Baptiste-Camille Corot had dematerialized trees and clouds in visual cotton candy.

When the horrors of the 1870 Prussian invasion and subsequent Commune left Parisians literally starving, several of the proto-impressionists fled to London, where they were captivated by J.M.W. Turner’s increasingly abstract and expressionist use of color.

In many ways, 1870 was a turning point in French culture.

Reviled and ridiculed more than loved in their days, the eight exhibitions mounted by the impressionists (and friends) between 1874 and 1886 opened art — and us — to myriad novelties of seeing and interpreting.

What is impressionism?

Definitions loosely include painting outdoors more than in the studio, with dots, dabs and strokes of unblended color. (Outdoor painting was facilitated by squeezable metal paint tubes introduced in the 1840s.)

Although French scientist Michel Eugène Chevreul’s 1839 treatise on color perception wasn’t systematically applied until the work of the pointillists Seurat and Signac, artists even earlier learned that unblended dots of contrasting colors could intensify visual sensations.

They were especially effective in suggesting rippling water and rustling leaves.

Landscapes, considered second-class stuff by the academics, became a major focus for the impressionists.

In addition to country scenes newly accessible by trains, the impressionists and their followers explored new suburbs and the hustle and bustle of modernized Paris.

A row of trees alongside a river might be counterpointed by a factory smokestack and its emissions.

Uncertainty of definition is evident the minute you enter the DMA show.

Quintessential impressionism is represented by small paintings by Pissarro and Sisley, but two Monets from the early 1870s are studies in composition and color without the dots and dabs that would define the artist’s work.

Thick oils delicately touched onto the canvas give nearly sculptural presence to Caillebotte’s Yellow Roses in a Vase .

Moving on, Renoir’s penchant for pastel prettiness is displayed, as are more boldly colored paintings.

Parallel strokes and dots of contrasting pastels lend almost tactile sensation to the tulle skirts of Degas’ Ballet Dancers on the Stage .

Monet seems half to be channeling Turner in a sketchy Sunrise: Seine at Lavacourt, Winter Effect . The Water Lily Pond (Clouds) , from 1903, anticipates Monet’s increasingly blurred late work affected by cataracts.

Clouds reflected in the water made some early viewers think the painting was shown upside down.

Bonnard and Vuillard are obvious descendants of impressionism.

Pointillism’s precise grids of colored dots are represented not by Seurat (from whom we see only a study dabbed in parallel brushstrokes), but by Signac — and, surprisingly, one of Pissarro’s experiments in the style.

Cézanne and Van Gogh renounce dots and dashes for bolder strokes of oils and watercolors.

Although Gauguin and Emile Bernard would increasingly favor flat patches of color, a pre-Tahiti Gauguin is energized by parallel strokes of contrasting colors.

Side-by-side strokes of only subtly contrasted paints define the trees and mountain ridge of Bernard’s Breton Women Attending a Pardon .

A cluster of Odilon Redons may be a surprise, but the coloristic texturing is a legacy of impressionism.

“The Impressionist Revolution” may overindulge in free association, but it’s a provocative overview of 20th-century art movements — and a good outing for some fine works in the DMA collection.

[herelaymythoughts]

I like old things

Clothing that’s hung in closets other than mine

Tarnished jewellery

Lovers who know what I’d order off a menu

Friends with whom to remember the past. 

I like leather

I like oud 

I like top notes that read of an oriental spice rack.

I like high thread count cotton

and silk

and linen and wool

I like ordering San Pellegrino

with a splash of lime and leaves of spearmint

In restaurants on the San Pellegrino

house plants 

lofts 

and high ceilings

I like Vietnamese noodle soups

bun rieu and bun bo hue

tea flavoured desserts 

hojicha and jasmine and rose

I like hydrangea 

always carrying the most weight 

like that one person

in a first year group project

too, ranunculus, lavender

I like flying many hours to hold a lover

I like being held. 

I like the colour green. 

Mint green, forest green, pistachio. 

My grandmother also likes the colour green.

I like wild salmon and halibut and purple rice and a simple salad of olive oil and lemon juice.

I like the plant and veggie balls from IKEA. 

I like fall, 

walking through its chilliness by myself in new cities of residence. 

I like buying unique objects.

hand made ceramics.

Painting nude self portraits

singing in contralto.

dancing to sultry R&B  

shaking my booty

a booty I’ve had to learn to shake,

Learn to love

I like powder days and blue bird days

I really really like Lululemon.

I like perfume, sophisticatedly blended

I like the one named after me, Lucedar Wood.

I like he who blended it. 

I love him too. 

I think I’ll like New York. 

I think I’ll like Paris.

Even though I liked neither all the times I’ve been.

I really like Norway. 

I really miss D.C.

Something draws me back to Hong Kong.

a gorgeous Norwegian lover,

A Rusty bit of heartache.

I like nude beaches

and jumping off masts 

skinny dipping in the ocean

and making grown men tap.

I like men who pick up the phone when I call.

I don’t like men who do not respond to my texts.

I like men who give thoughtful gifts.

I like men with long hair and glasses.

I like men whose minds eclipse mine

though I’ve only found one so far. 

I like women with short hair 

who don’t wear any make up

though a little mascara doesn’t hurt,

you know who you are. 

I like volumes and volumes of filled out journals and sketch books 

medium nib Kaweco fountain pens

Ink wells

and wax seals. 

Hand written letters, 

love or otherwise. 

Books, especially the ones with pencil marked prices on the top right corner

of the first page

Books that were a little slutty in their lifetimes, 

rummaged by many

opened by more. 

Philosophy.

Of Seneca and Aurelius and others I’m embarrassed to say I don’t know enough of.

Ruby Woo 

Caberanet francs and spicy mezcal margaritas.

Especially the one made by Crybaby on Dundas,

A Pina Colada by Mother on Queen.

I like Toronto a lot

Somewhat begrudgingly.

I like being superstitious

Believing that every time I see a Harvard sweater or someone with locs it in fact means that you’ve been thinking of me.

I like celibacy

And sobriety

And being fiercely independent

Assembling IKEA furniture by myself even when the instructions have that X over the cute little figure assembling furniture by itself. 

Being soft 

when the occasion calls for it.

I like spider guard into lasso

It reminds me of pulling in a lover close with my leg

and jumping guillotines.

Too similar to excited embraces after a long period of apartedness.

I like spending hours in a museum

pondering scenes in paintings

I’m certain I’ve seen in a dream of mine. 

Yves Tanguy 

and Matisse

and Seurat

and Degas

and Kandinsky

and Monet. 

I like mid century modern

And chairs from the Qing dynasty. 

The lines of T.S. Elliot and Lu Xun and Ezra Pound

Vivaldi’s four seasons.

I like Peter Cat Recording Co.

and Khruangbin

and Polo and Pan,

the way I discovered them with my good friend Johanne at a Steve Jobs themed party

her dancing to their hypnotic beats in burgundy velvet

in a remodelled row home 

in Columbia Heights,

pre-pandemic. 

I still like all the friends I’ve lost

Love, even

Lovers still.

I like the way French sounds

And the way I sound in it.

I like frequenting restaurants owned by friends

And knowing that I’ve got at least 6 more loves left in me.

I like Chinatown produce

Sometimes it goes bad right after I buy it

But there’s something real about buying produce slightly past the peak of ripeness

And something wholly unnatural about buying green bananas already in body bags. 

[samwebsteruniblog]

FMP

Art of the 18th Century 

- Further Research

Research into industrialism and potential sources when creating my own work inspired by the subject matter. Artists around the time of the industrial revolution; Edgar Degas, Claude Monet, Mary Stevenson Cassatt, Paul Cézanne, Georges Seurat, Vincent Van Gogh, Paul Gauguin. These artists and their work will be helpful reference in understanding how the world looked during the 18th century, I don't want to work in their style however this amongst other references will really help inspire me to imagine the sounds of this technological shift. 

- Interesting references

‘Many paths were opened to art and architecture, but all of them can be summarized in one: the freedom of creation. The influence of the industrial revolution in art had its continuity in artistic expression. Since then, and even today, art continues in the same direction.’

‘While the Industrial Revolution turned blue skies grey and pumped sewage into once picturesque rivers.’ ‘The advent of modernity ushered in international turmoil, concerns over labor conditions, and rampant pollution.’

“As our cities and technologies rapidly change, [the industrial age is] a journey that continues to resonate today,”

‘The Industrial Revolution in Britain was a period deemed to be between 1780 and 1830.  It was an episode in British history which saw the transition from being agricultural to being industrial.’

Despite the proliferation of new, prodigious machines rotating, melting, pressing and tilting, one could object that the representation of very technical, lifeless objects could dull the senses in the long run, even if shown within a landscape.

‘The Industrial Revolution brought profound changes into the world, re-designing its shape in the most hardhearted of ways, never experienced before by humanity.’

‘Art of the Industrial Revolution tends to be pastoral, plein-aire, more often a reaction against the speed and metal of the industrial age.’

- Sources

https://st-artamsterdam.com/industrial-revolution-the-influence-on-art/

https://www.artsy.net/article/artsy-editorial-harsh-realities-lurk-picturesque-impressionist-masterpieces

https://nuvomagazine.com/art/impressionism-in-the-age-of-industry-at-the-ago

https://mydailyartdisplay.uk/tag/william-bell-scott/

https://www.dailyartmagazine.com/industrial-landscapes/

https://www.arthistoryproject.com/timeline/industrial-revolution/

https://www.re-thinkingthefuture.com/designing-for-typologies/a3740-what-is-the-impact-of-industrial-revolution-on-architecture/

https://www.re-thinkingthefuture.com/designing-for-typologies/a3740-what-is-the-impact-of-industrial-revolution-on-architecture/

- Artists Work

Vincent van Gogh, Factories at Clichy, 1887.

Maximilien Luce, Factory in the Moonlight, 1898.

Edgar Degas, Henri Rouart in front of his Factory, 1875.

Iron and Coal by William Bell Scott 1855.

William Williams, Ironbridge, 1780.

Industrial Revolution on Architecture

Another huge change that came with industrialisation was that architects and engineers could now experiment and rearranged the concept of function, size, and form due to the impact of industrial revolution.

- Interesting references

‘The application of iron, and particularly steel, to architecture greatly expanded the structural capabilities of existing materials, and created new ones.’

- Sources

https://johngaber.wordpress.com/2017/11/10/history-of-architecture-industrial-revolution-18th-century-revival-t1880-1940/

https://www.re-thinkingthefuture.com/designing-for-typologies/a3740-what-is-the-impact-of-industrial-revolution-on-architecture/

https://wikieducator.org/Art_and_architecture/Architecture_and_the_Industrial_Revolution

The Eiffel tower

Sir John Soane Museum

The Crystal Palace

Girard College

The Prudential Building

[clowndemon]

Tagged by @yeeiguess

honey or lemon  or milk  or  sugar  //  musicals  or  plays  //  lemonade  or iced  tea  //  strawberries  or raspberries  //  winter  or  summer  //  beaches  or forests //  diners or cafés //  unicorns  or dragons  //  gemstones  or crystals  //  humming  birds or owls // fireworks  or  sparklers  //  brunch  or  happy  hour //  sweet or sour  //  rome or  amsterdam  // classic or modern art  //  sushi  or ramen //  sun  or moon // polka  dots  or  stripes  // macaroons or croissants  //  glitter  or  matte //  degas  or  seurat //  aquariums  or planetariums  // road  trip or  camping  trip  // coloring  books  or  watercolor  //  fairy  lights  or  candles

Tagging: @tiredtranstouya @rabidmultishipper @amezure @elmaxlys idk anyone else who wants to?

[bi-bliotaph]

Thank you @wearileigh for tagging mee!!

This or that

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // Rome or Amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macarons or croissants // glitter or matte // Degas or Seurat  // aquariums or planetariums // road trip or camping trip // coloring books or watercolor // fairy lights or candles

I tag whomever would like to do this!!!

[hyuckssunchip]

tagged by: @jaefmin

thank you for tagging me! ^u^

honey and lemon or milk and sugar // musicals or plays // lemonade or unsweetened iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafes // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or Happy Hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macarons or croissants // glitter or matte // degas or seurat // aquariums or planetariums // road trip or camping trip // colouring books or watercolor // fairy lights or candles

Tagging: @jungcherie @bluejaem @rvse-hvvck

[ladyk23]

Tagged by @arms-and-arrows

honey  or  lemon  or  milk  and sugar  //  musicals  (in the theatre only not on film) and plays  //  lemonade  or  iced  tea  //  strawberries  or  raspberries  //  winter  or summer  //  beaches  or  forests //  diners  and cafés //  unicorns  or dragons  //  gemstones  or  crystals  //  humming  birds  or  owls //  fireworks  or  sparklers //  brunch  or  happy  hour  //  sweet  or  sour  //  rome  or  amsterdam  //  classic  or  modern  art  //  sushi  or  ramen  //  sun  or  moon  // polka  dots or stripes  //  macaroons  or  croissants  //  glitter  or  matte  //  degas  or  seurat //  aquariums  or  planetariums  // road  trip or  camping  trip  //  coloring  books  or  watercolor  //  fairy  lights  and candles

[inkhandart]

tagged by @elfsidian, time to make more decisions i hadn’t ever thought i would

honey and lemon or milk and sugar // musicals or plays // lemonade or unsweetened iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafes // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macarons or croissants // glitter or matte // degas or seurat // aquariums or planetariums // road trips or camping trips (neither)// colouring books or watercolour // fairy lights or candles

tagging @cryptidfaunie again because idk anyone else and i am Tired

[boykisserbuckley]

the way i took so long to do this that my url has changed since you tagged me...sorry oops thanks for tagging me anyway @grcywvren

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macaroons or croissants // glitter or matte // degas or seurat  // aquariums or planetariums // road trip or camping trip  // colouring books or water colour // fairy lights or candles

i’ll tag @nymika-arts even tho u probs did this already

[ad1thi]

this or that

tagged by: @angxlsgrxce

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macaroons or croissants // glitter or matte // degas or seurat  // aquariums or planetariums // road trip or camping trip  // colouring books or water colour // fairy lights or candles

tagging: @diazalex and anyone else who wants to do this!!

[bellaroles]

Thanks @counterwiddershins for tagging me!

honey and lemon or milk and sugar // musicals or plays // lemonade or unsweetened iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafes // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or Happy Hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macarons or croissants // glitter or matte // degas or seurat // aquariums or planetariums // road trip or camping trip // colouring books or watercolor // fairy lights or candles

[kitweewoos]

I was tagged by @highclasstrashposts @holdendadcliffe and @acetoshikosato

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macaroons or croissants // glitter or matte // Degas or Seurat  // aquariums or planetariums // road trip or camping trip  // colouring books or water colour // fairy lights or candles

Tagging @maxbegone @shae-bae @justanalto @nazezdha321

[clelevanter]

@theyoungflexer I can’t think of anything interesting to say it’s 3am

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers // brunch or happy hour // sweet or sour // Rome or Amsterdam // classic or modern art // sushi or ramen (litcherally my two favorite foods ;;) // sun or moon // polka dots or stripes // macarons or croissants // glitter or matte // Degas or Seurat // aquariums or planetariums // road trip or camping trip // colouring books or watercolour // fairy lights or candles

[marzza]

This is the last one I promise! And thank you @nicolodikaysani again for tagging me<3

honey and lemon or milk and sugar // musicals or plays // lemonade or iced tea // strawberries or raspberries // winter or summer // beaches or forests // diners or cafés // unicorns or dragons // gemstones or crystals // hummingbirds or owls // fireworks or sparklers// brunch or happy hour // sweet or sour // rome or amsterdam // classic or modern art // sushi or ramen // sun or moon // polka dots or stripes // macaroons or croissants // glitter or matte // degas or seurat  // aquariums or planetariums // road trip or camping trip  // colouring books or water colour // fairy lights or candles