An Adaptive Study of Claude Monet’s Impression and Arabesque, a Piece of Music by Claude Debussy Emphasizing Harmony

Dina Esbati, Mohammad reza Bagherilori

Abstract


Creating a work of art is an internal feeling, which only artists can share with their audience. Hence, it is possible to observe the same interpretations of various artworks and their influence on each other.

In the second half of the 19th century painting, became the main art and impressionism turned into an independent style and not only  painting prevails against other types of art, but also its products overtake the achievements of literature and music regarding quality. In this era, the clarity of lines in artists’ works fades and colors the shades. The nature also loses its essence in their minds and turns into a stream of sensitive effects and converting this visual experience into painting is the starting point of impressionism.

Color and light were the main objectives of impressionists, especially Claude Monet, and timber in music was used as a vital element to produce the form and harmonic techniques by Claude Debussy relying upon these two. Similar to his contemporaries, he also succeeded in taking an affective and far-reaching step to break the limited traditional mold.

This article contains a comparison between impressionism and arabesque regarding harmony in a descriptive and adaptive way to be able to observe the organized spread of color, freedom of expression and the existent confusion in both works of art, through which in the end, the audience will be led to static within the first irregularity.


Keywords


Impressionism, Color, Music, Painting, Harmony

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