Realism versus Impressionism

Divided brush strokes argon procedured to maximum affect in the pilings of hay sitting in a wagon. Fourteen turkeys ar observed on the adorn, their dab of red on their heads representing the only condensed use of color except for the blue in the cast aside and the tiniest bits of reverse lightning speckling the sparsely grassed foreground.

Between the embellish surface in the introductory of the painting, Millet positions the colonisation and the tower of the village is viewable in the length on a lower plane than the foreground. This adds depth to the grace and creates a wide distance between the monumental enroll of the peasant and the distant background of blue and white sky. If we equal the work to the impressionists, we see that some of the turkeys, the sparsely grassed foreground and the stack of hay in the wagon appear blurred to a degree similar to the washed brush effect created by impressionists. However, the painting is much more in the style of pragmatism than it is impressionism. Millet has also used squiggled lines on his tree limbs, upturned edges and diametrically opposed piece of hay, and pieces of hay and/or bits of leaves suspended in the air in order to create movement in the painting, as if the wind were blowing over the scenic landscape.

Claude Monet's view of Vetheuil is emphatically painted in full impressionistic style. Painting outright from nature, th

e impressionists painted their landscape based on the immediacy of visual or animal(prenominal) impression. Monet's landscape uses value contrasts and the dabbing and blurring brushstroke in order to create the intrinsic presence of different value contrasts due to natural light.

The grasses in the front right foreground, the trees in the middle between the grasses and the village in the distance, and the village and sky all use this brushstroke order in order to create an impression of the landscape as the natural eye might see it out of doors with varying degrees of light reflecting across it. The landscape is similar to Millet's in that Monet uses luxuriously grasses in the foreground and then places the village, whose tower tops are visible over the grasses, as a means of implying that the vale is below the foreground of the landscape, much as in Millet's Autumn. In Autumn, however, we only are able to view the foreground, the valley village, and the sky behind the village. Monet's landscape adds more depth and layers than this. In Monet's landscape we can view the foreground plane, the trees and bushes descending into the valley, the village itself, a hill behind the village, what appears to be another receding plane, a hill behind this and then the sky as the backdrop to all these. This creates an undulating effect that is not as dramatic as the effect created by Millet.

In Vetheuil, we also see a greater use of color than apparent in Millet's landscape. realness stayed more with
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