Blog Post 4 Correction

My Feelings

This painting is called "Rosebushes Under the Trees" it has been made by Gustav Klimt in 1905.  It is classified as modern art. to my knowledge this is a work of impressionism. The artist painted a landscape by juxtaposing a multitude of colorful dots. from a close look-up all we can see are those dots but backing it up, a landscape appears and we can tell that these dots are actually leaves and roses. The artist used many variations of the color green  but also included touches of blue as well as the warm colors yellow and orange to create value. The different colors create volume and texture. Impresionnism is not an easy style to talk about as it is kind of minimalist. There aren't that many details about this painting. I can see many trees Overlapping each others and three rosebushes in the foreground. above the trees there is a little empty space where we can notice the sky, clouds and what looks like more, very far away, trees.

The Paint research

From the Google Art Project website I learned that the canvas is covered with dabs of color and very small brush strokes in the style of a decorative motif or mosaic.
Klimt's landscape became increasingly abstract, although he continued to work directly from the motif. His observations merely serve as a stimulus. The real subject of the painting is the pictural structure itself.

the foliage, above a narrow horizontal band of meadow forms the main part of the composition. Klimt developed across the painting a network of small dabs of paint ranging from light to dark green with contrasting tones of pink, mauve and yellow. This mass of flecks causes the landscape elements to dissolve into rudimentary features. These variations enable the scene to be identified as an orchard.

Unlike the Impressionists, Klimt was not interested in atmospheric variations. He preferred to take his inspiration from the plastic solutions of the Neo-Impressionists, using his knowledge of French painting to develop a very personal, formal language. Finally, his ornamental approach covers and supplants the landscape with a deliberate screen, as if he is driven by a deep-rooted horror of emptiness.