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SKETCH MAGAZINE Page 1
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On Thursday, November 15, 2012, I
attended the Montreal Museum of Fine
Arts. The museum was located on 1380,
Jean-Noël Desmarais Pavilion
Sherbrooke Street West. The museum
was in a well known location, this
determining right away the high
expectancy. It was well presented and
was kept clean. It had been decorated
and fixed with expressive color on the
white walls. Our Major Movements
class had been scheduled to meet in
front of the museum building at
approximately 1 pm, in order for the
self tour to begin. I had arrived a few
minutes after the given time, with two
of my classmates and stood in a fairly
long line. After purchasing my museum
ticket, I then had to wait in another line
to check-in my belongings. Finally, we
began our self tour. We were directed to
go see the exhibition on the history of
Impressionism. There were three grand
halls filled with the Great French
paintings from the Clark, based on the
Impressionism art era. The
Impressionism exhibit held 75
paintings. The three halls were filled
with paintings hung up on every corner
and spacing on the walls. Every single
painting had captured my attention
according to its vivid color presented,
one more beautiful than the other. The
artists had incorporated not only a great
technique to their work but as well used
an expression through color. Each hall
had been more condensed with people
than the next. The individuals viewing
the exhibition were of all ages, from
young students to the elderly people.
I’ve never seen a museum so crammed.
Personally, I did not find my experience
to be as enjoyable as I hoped because
of the interruption brought by the
people. Some students were
thoughtless when it came to the
appreciation of the art, and overlooked
its beauty and significance with laughter
and unnecessary slurs. This had really
distracted me as a first time viewer of
this specific art because of all the
constant talking and distracting
movement occurring around me. It was
difficult for me to keep a focus. My
classmates and I had still managed to
value the beauty of the art, even with all
of the distractions. The art itself was
powerful, and self expressive. I
recommend this exhibition to anyone
who shares the same passion for art,
and who can relate and understand the
work by all the many talented artists.
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The Romantic era had begun between
the years; 1800-1850.This period had
been a rebellion against the
Neoclassicism era, seeing that the
Romantics of this era had pursed their
passions when illustrating their arts.
Whereas, the artists from the
Neoclassicism period had mainly
revolved their mood of art around self
sacrifice. While this canvas holds a
strong and meaningful history, which
really sets this serious tone for the
entire painting. Having taken place 1on
the night of October 16, 1834, the
Houses of Parliament in London were
consumed by fire. As the Londoners
crowded around the river, and filled
every available boat in order to gaze in
awe at the horrifying spectacle. The
artist had then sketched this horrific
scene occurring right before his eyes,
and then portrayed its entirety in
studio. The 2London-born artist, Joseph
Mallord William Turner was the most
versatile, successful, and controversial
landscape painter of nineteenth-century
England. Turner then goes into great
detail when illustrating the flames into
3a surging maelstrom of vigorously
1http://www.clevelandart.org/exhibcef/highlights/html
/4896108.html
2 © 2000–2012 The Metropolitan Museum of Art -
http://www.metmuseum.org/toah/hd/trnr/hd_trnr.ht
m
3http://www.clevelandart.org/exhibcef/highlights/html
/4896108.html
applied, radiant color, thus emphasizing
the helplessness of mankind in the face
of nature's mysterious and awesome
power.
The first thing that grabs the
attention of the audience is the
usefulness of all the various colors
which create depth in the composition,
by allowing the viewer to visualize freely
without any closed boundary. The visual
aspect that has great impact on the
canvas is the flame that appears to be
circling in a twister-like motion, moving
towards the high center of the painting.
This spiral wind carries numerous color
such as; the oranges, bright yellows,
and light pastels of browns and greens.
If the viewer keeps a close
concentration towards the painting,
then it will become evident of the two
hidden faces that are seen throughout
the canvas. One of the faces
represented are portrayed as a profile
on the right hand side. This side profile
is seen in the movement of the flames,
perhaps looking towards London’s
citizens when in a hurry to settle on the
boats to have a closer and more fixed
look on what had been occurring. There
is an olive shaped darkened spot in the
colored flame, this being the right eye
of the face. The mouth area becomes
evident as well, because of its
darkening shadow occurring in the
flame. The mouth and lips are opened,
SKETCH MAGAZINE Page 7
appearing to be astonished by this
horrific setting. The second face shown
in the painting is placed on the left
hand side. Again, Turner had used the
side profile of the face. Although, this
second face seems to be more apparent
with regards to having the features
more defined, and noticeable to the
viewer’s eye. The features are formed
with the assistance of the landscape
created on canvas. The right eye of the
profiled face is modeled after the piece
of land formed on the sky blue crystal
water. The little land presented in the
image is darkened once again to
acknowledge its purpose for the piece.
The face is featured with a straight long
and narrow nose, creating character to
this specific face comparing to the
other. The reason for this is comparing
both sets of features in the faces the
second face seems to be arranged in a
stronger visual. Other than the hidden
details presented in the painting, the
importance of color use plays a fairly
huge part when dealing with the subject
matter. Considering the heaviness of
the subject matter, Turner still basses
his art around vivid color. Which can
still maintain a great impact, but
stresses less towards the serious tone
of the painting, because of these lively
colors. The space on the canvas is not
evenly distributed with regarding to the
left side appearing to be far more busy
when dealing with movements, and
once again the color. Although the artist
does form one main attraction
happening in the center frame, referring
to the flame. The constant movement
on the canvas is phenomenal,
considering the plenty happening
throughout the image. The artist still
manages to obtain a balance in the
painting without distracting the viewer
from truly grasping the beauty as well
as the tragedy presented in the
illustration.
Turner explores and experiments
with new and unusual aspects to his
painting. During the Romantic era, it
was common to have an artist pursue
their passions when illustrating their
arts. This is why I personally believe
that Turner had illustrated something
different that had even captured the
historical aspect of this specific time. I
believe he incorporated what he had
seen and what he had interpreted into
this one painting. In hopes of forming a
lively illustration that can relate with
everyone’s memory of that horrific day.
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The Realism period of art was born
4between the years, 1850-1880.
Realism art refers to direct observation,
a bare representation of what is the
ordinary, to have the world observed in
its real form without any glory. This
specific art was not meant to be
touched or fixed; it was painted based
on what the artist had seen, and how
they interpreted the art without making
any alterations to please the public.
Realism 5sets as a goal not imitating
past artistic achievements but the
truthful and accurate depiction of the
models that nature and contemporary
life offer to the artist. The father of the
Realist movements was Gustave
Courbet (1819-77). The artists of this
era, had based their focus primarily
towards creating the real working class
people, and focussed less on gods and
goddesses. The artist did so to portray
the reality in the image, and less on the
imaginative aspect.
The genius to Courbet’s painting is
how he joins this large amount of color
and movement to illustrate this full
background without it appearing to be
distracting to for the observer to
analyze and understand. The space
4 Copyright © 1999-2007, HuntFor.com, All rights
reserved
http://www.huntfor.com/arthistory/c19th/realism.htm
5 Copyright © 1999-2007, HuntFor.com, All rights
reserved
http://www.huntfor.com/arthistory/c19th/realism.htm
provided on this specific canvas is very
much opened. The image allows the
viewer to interpret the imaginative
space provided, with regards to the
distinct flow of the painting. The
illustration directs the observer’s main
attention towards the high center of the
piece. The sky and clouds are extremely
detailed referring to its color, and
shape. The strong and effective color
draws the concentration towards this
depth and calmness that both
correspond to the painting. The clouds
are in a clumped space, filled with a
contrasting color that helps
differentiate perhaps the meaning
behind the what appears to be a dream-
like sequence. Creating a mystery or
rather forming an un-answered
question regarding the true meaning
behind the image. Gustave as the artist
plays with a various pallet of colors,
which helps to develop the observers
mood of the painting. The image seems
to be set on a beach, peaceful and
dream-like scenery. The painting is
fabricated to have three levels. These
levels are detected by the use of color,
provided in each section. The sand is
darkened with a black shadow
overtaking a fairly great area in space,
this implying a lack of light, in the
bottom sector. There is a noticeable
contrast between the bottom and
middle center of the painting. The top
half of the image appears to be
generally set on a more enlightened
feel; the texture and movement in the
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sky really do accentuate a lively
characteristic. Although, from the
bottom elevating to the top of the
painting, the color starts off as dark
shadings, and slowly dilute into the
whites, and baby blues seen in the sky.
At the very top of the painting we see
only then that the color of the sky drops
back to the solid black gloomy color,
resembling the sand. This can be
confusing to the observer considering
the undecided theme and subject
towards the painting.
I personally believe that Gustave’s
painting is phenomenal. The painter’s
imagination seems to have run away
with him. It really fascinates me to see
how the artist captures this fictional
aspect and is exploring it as if it were
real. It takes a true artist with vision to
allow the viewers to feel involved in this
dream.
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The Impressionism period had begun
6in the mid-1880s when a group of
young artists, led by Seurat and Signac,
challenged conventional Impressionism,
applying the theories of French chemist
Chevreul, they sought a “scientific” way
of seeing the world by breaking up each
colour into its various components, and
applying these separately to canvas.
The artist’s method became known as
“pointillism” or “Neo-Impressionism.”
The artist, 7Camille Pissarro was known
as the “Father of Impressionism.” His
active year’s as an effective French
artist had begun in 1830 and had ended
in the year 1903. The artist’s earlier
works of Naturalism had been inspired
by the Realism painter Courbet, by
means of the similar color palette, and
tools to create the image. Pissarro was,
for a brief time, a convert to the style.
Instead of dots, 8he used a range of
small strokes and separate touches of
color to be applied to the canvas in a
technique of dabs with the tip of the
artists brush, with a dense application
of paint (three or four layers) results in
a highly textures surface that enhances
the tone vibrations in the picture.
The beauty that captures the audience
of their attention, is the vivid greens,
6 Montreal Museum of fine arts – Painting Description
7 Copyright 1999-2007, HuntFor.com, All rights
reserved -
http://www.huntfor.com/absoluteig/Pissarro.htm
8 Montreal Museum of fine arts – Painting Description
and lemon yellows in the painting that
contrast vibrantly with darker colors of
blue and purple to create an illusion of
shimmering sunlight and deep warm
shadows. The handle of each color
contributes to the Pissarro painting, by
allowing the interpreter to uphold this
imaginative scene. Any use of pastel
color sets off this calmness to the eye
because of its natural and soft texture.
The pastel colors never seem to be
enforced on the eye. 9Pissarro as an
artist, spent much of the last twenty
years of his life painting the area
around his in Eragny a town about sixty
miles outside of Paris. He was had been
clearly attracted to all of the mural
beauty of the landscape that
surrounded him, also considering that it
-was almost untouched by
industrialization. Although Pissarro had
a lifelong 10sympathy for the French
peasant and his restful landscape
includes the lonely figure of a sheppard
tending his flock in the far distance.
The working man appears to be in
harmony with the nature, as much
being a part of the country side as the
trees and the opened fields. We can also
see the shack in the far center of the
9 The Clark- Camille Pissarro, "Saint-Charles, Eragny,"
1891 -
http://www.youtube.com/watch?v=TgOH6KOdHAc
10 The Clark- Camille Pissarro, "Saint-Charles, Eragny,"
1891 -
http://www.youtube.com/watch?v=TgOH6KOdHAc
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painting, placed behind the two thin
barked trees, but not covering its
entirety. The shack seems to be less
evident in the image with regards to its
similar color use as the background
trees. The artist had color blended both
the clumped trees and the shake in the
same pastel color pallet. Including the;
greens, purples, blues and pinks,
creating a camouflage effect. There is a
defined calmness and beauty illustrated
on the canvas. Having the paintings
location set to be in an opened large
space, really emphasizing this deserted
overall feel. The observer can interpret
the space as a getaway, with the
associations of the imaginative color,
and forestry. For many years the
painting had been called, 11Saint-
Charles, Éragny at sunset and was
bathed with an overall yellow glow that
was later discovered to be the result of
discolored varnish. As a result of the
removed vanish; we can now be able to
see clearly the sun being held quite
high in the sky. The thin bark of the
very tall trees shield our eyes form any
unnecessary glare and then cast long
shadows across the foreground of the
canvas. The sense of balance seems to
be rather adjusting, due to the division
of painting. The painting appears to be
divided down the center into two parts.
The left side contains more shadow,
11 The Clark- Camille Pissarro, "Saint-Charles, Eragny,"
1891 -
http://www.youtube.com/watch?v=TgOH6KOdHAc
causing the grass and bushes to emerge
a little darker than the opposed side.
The right side has very little shadow
use; it is essentially exposed by the
sun’s rays. Pissarro skilfully
incorporated vivid colours such as;
brilliant pinks next to blues and greens
in the lower left corner to help create
this optical illusion that cause parts of
the canvas to 12advance while others
withdraw from the center of the canvas.
I believe the overall effect that
Pissarro wanted to deliver on the
canvas, was to initialize this freedom of
space to allow the viewer to construe
the painting in their own way. The
pointillism technique used for this
painting has been flawlessly perfected,
and the vision of the painting has been
created very well with regards to the
light color used. Pissarro seems to be
very imaginative when illustrating his
paintings. I believe it is truly amazing to
have an artist take a first glimpse of
scenery, then having to recreate the
same idea on canvas, but having used a
new dabbed technique which I think
must take far more patience and time to
create the exact vision.
12 The Clark- Camille Pissarro, "Saint-Charles, Eragny,"
1891 -
http://www.youtube.com/watch?v=TgOH6KOdHAc
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The Impressionism period of art
began in the 19th Century, 1870-
1880’s in France. Impressionist art is
formed in an accurate and real
depiction of light such as, sunsets,
daylight, and sunlight. The common
French term used for describing this
depiction is, “en plain air”. The artistry
of the paintings would be ordinary, very
common and real, a term referred to as
“true to life”. The artists of this era had
a strong preference for creating an
image based on everyday life as their
subject matter as well as, basing their
concern towards ordinary people. Edgar
Degas who is the artist 13seems never to
have reconciled himself to the label of
"Impressionist," preferring to call
himself a "Realist" or "Independent.”
Degas had a tendency to capture
unplanned moments, then basing what
he has seen on his very first impression
of the occurrence. Throughout this era,
the artists had illustrated their works
with a great number of colors, to really
emphasise the mood of the painting.
Degas fascination with the ballet is
well known. The Degas artist had
14spent hours backstage at the Paris
Opera House drawing the dancers as
they put on their costumes, adjusted
13 © 2000–2012 The Metropolitan Museum of Art -
http://www.metmuseum.org/toah/hd/dgsp/hd_dgsp.h
tm
14 Edgar Degas, "Dancers in the Classroom," c. 1880 -
http://www.youtube.com/watch?v=TLIBDRVww80
their shoes, performed their routines
and slumped exhausted in the wings
when the performance was over.
Degas’s 15 drawings then became the
raw material upon which the artist was
faced his oil paintings and his wax
sculptures back in his studio, then
carefully structures composition reflects
not only Degas interest in drawing in
perspective but also his knowledge at
the flattened forms, elegant lines, and
opened spaces founded Japanese
woodblock prints that began to appear
in Europe in the middle of the 19th
century. In this long horizontal painting
the dancers are dispersed, filling the
entirety of the image. The dancers are
either, sitting and standing and or
stretching around the walls of this very
large rehearsal room. Their bodies
posed so that our eyes are led from the
seated figures in the foreground on the
right to the smaller figures on the left.
Balancing on one leg, and resting their
other foot on the bar. The artist still
maintains to catch the grace of the
ballerina dancers, while having included
the exhaustion presented on their faces,
because of the competitive nature of
dance and all the un-seen effort and
dedication that is put into it. He
incorporates the delicacy of each dancer
individually as well as incorporating this
15 Edgar Degas, "Dancers in the Classroom," c. 1880 -
http://www.youtube.com/watch?v=TLIBDRVww80
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sort of drain and fatigue in the dance
studio. Every single dancer appears to
be isolated from one another, perhaps
in the habit of competition or rather in
order for the dancers to remain
focussed and centered with themselves
in preparation for their routines. Degas
has colored the scene with costume.
Each dancer is clothed with a crystal
blue tutu, and around their waists a
cotton sash that varied in color. Some
presented in the blues, and pinks, as
well as the yellows, and oranges. This
really implying more life into the
painting, also identifying each dancer as
an individual but yet still collaborates
with one another in the studio. Each
color represented in the sashes, are
also shown on the dance floor in the
studio. We can see the color from the
sashes; appear to be tinted on the beige
floor. This creating a fuller composition
with regards to having the color
distributed around the canvas, and not
only clumped in one specific area in the
painting. Degas also illustrates a
colorful fan that really does capture the
audience’s main focus. This being, the
sum of all colors used in the sashes of
the dancers, all of the colors are
incorporated in this one fan being held
in the center of the painting. The young
girl placed in the center, is half in a
shadow and the other half in the light.
The light that which enters the room
from through the windows. This one
figure ties is the whole composition; 16it
connects the foreground with the
background and the opened space on
the left with the closed space on the
right.
I visited the Montreal museum of fine
arts on the 15th of November for the
first time. I had the privilege to view the
exhibition of, ‘A History of
Impressionism’, filled with various
beautiful paintings. Throughout the
entire art exhibition, the ‘Dancers in a
Classroom’ had greatly captured my
attention, based on its pastel color and
just the overall beauty of the art of
ballet itself. Also seeing the elegancy
along with illustration really moved me
as a viewer. Degas created this painting
according to his specifications, and this
is portrayed throughout the entire
canvas.
16 Edgar Deg Edgar Degas, "Dancers in the Classroom,"
c. 1880 -
http://www.youtube.com/watch?v=TLIBDRVww80
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Impressionism was an era that
allowed artists to break the rules of
traditional art technique, doing so by
incorporating lively color, and freely
brushing as well as overlapping line
formation. Artists of this era were
usually set out to be creating their art
outside, in a form of open composition.
The artists would surround themselves
with working in opened areas such as,
landscapes. James Jacques Joseph
Tissot who is the artist of this
Chrysanthemum painting, was a French
painter. Tissot painted with an
17academic tightness of execution and
great attention to detail. He had
18served in the Franco Prussian war as
part of the improvised defense of Paris,
soon after Tissot moved to London
where he hoped to find wealthy
collectors interested in buying his work.
Tissot then 19lived in the fashionable
suburb of Saint-John’s wood where he
added a large conservatory to his
house.
17http://www.passion4art.com/articles/jamestissot.ht
m - By Hall Graot II
18 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
19 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
Several different varieties of
chrysanthemums fill the top half of
Tissot’s canvas. Large white full flowers
are scattered in blooms of other colors;
burgundy red, sunshine yellow, a pale
gold and vibrant orange on the right of
the painting and of course a light touch
of delicate lilac on the left. Tissot’s
model for his painting is a young
woman appropriately dressed in
gardening clothes; she crouches in a
rather uncomfortable position. Her face
turning towards us spectators, as if we
have surprised her therefore is slightly
imprecise. She wears a dazed looked on
her face as if she had been caught off
guard, and was not expecting to be
interrupted. 20Tissot like his friend
Degas was very interested in
photography and in fascination of the
accidental visual effects the camera can
record. It’s possible that this blurred
sudden movement is a photographic
effect, translated by Tissot into oil paint
on canvas. The movement in the
illustration is created as though it was
an actual photograph, and is less based
on a still picture. The detail in the
image is so precise that questions the
viewer into perhaps believing that it was
not created in a paint technique. The
young lady’s features are presented to
be very realistic and lively. The artist
20 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
SKETCH MAGAZINE Page 25
uses a light shadowing for the
contouring on the bridge of the nose
and around it. Also, we see the same
shadowing technique used for the
around perimeter of the small red toned
lips. The shadowing technique used by
the artist was to enhance the existence
of the importance of the facial features,
creating this depth in the face. The
models eyes are portrayed beautifully;
the entire mood is based on her eye
connection with the audience. In this
painting the eyes play a huge role based
on the importance, and message sent
willingly to the viewer. A primary focus
is directed towards the yellow sun hat
resting on the lady’s head.
Complementing this accessory with a
thick black ribbon tied around the vivid
yellow hat. This being an evident
contrast, from having two solid colors
placed together, with the indifference of
tone and obvious meaning. The
woman’s attire, ties in all of the aspects
of the painting together, because of its
similar color pallet. The artist sums up
the whole painting by capturing the
variety of shape and color. If carefully
looking at the top left hand corner of
the composition, you might be able to
see the frame of the conservatory
windows. 21For Europeans in the 19th
century, chrysanthemums were exotic
21 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
flowers from where originated from the
far east. They were valued by artists
with a splendid variety and by
22horticulturalists for their late
blooming abundance. However
chrysanthemums were also associated
with sickness and death. 23Tissot
himself included them in a painting
called, “The widow” in 1868. The young
woman in this painting is removing
some of the withered stems from the
soil ground. Perhaps the artist was
proposing a reminder that even the
beauty of these splendid flowers will
not last forever.
22 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
23 Sterling and Francine Clark Art Institute - Copyright
© 2012, All Rights -
http://www.clarkart.edu/museum/video-
tours/index.cfm?vid=20
SKETCH MAGAZINE Page 26
The work of Tissot had been very
playful with regards to being colorful,
and illustrating a hopefulness to the
canvas. I love the colours and the clever
use of yellow in the figure creating a
more active effect. The beauty in the
painting becomes this reality, because it
seems so real. The image seems like it’s
going to pop out at you at any moment.
The illustration is favored by me as a
viewer, because of its evident beauty
seen in the countless Chrysanthemum
flowers, and the hidden beauty seen on
the young woman’s face. Inspired work
by Tissot.
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Bibliography
1. http://www.clevelandart.org/exhibcef/hi
ghlights/html/4896108.html
2. http://www.clevelandart.org/exhibcef/hi
ghlights/html/4896108.html
3. © 2000–2012 The Metropolitan Museum
of Art -
http://www.metmuseum.org/toah/hd/tr
nr/hd_trnr.htm
4. http://www.clevelandart.org/exhibcef/hi
ghlights/html/4896108.html
5. Copyright © 1999-2007, HuntFor.com,
All rights reserved -
http://www.huntfor.com/arthistory/c19t
h/realism.htm
6. World Book Encyclopedia, World Book,
Inc., Vol. 10, 1991.
The New Grolier Multimedia
Encyclopedia, The Software Toolworks,
1993
7. © 2000–2012 The Metropolitan Museum
of Art -
http://www.metmuseum.org/toah/hd/d
gsp/hd_dgsp.htm
8. Edgar Degas, "Dancers in the
Classroom," c. 1880 -
http://www.youtube.com/watch?v=TLIB
DRVww80
9. Montreal Museum of fine arts – Painting
Description
10. Copyright 1999-2007, HuntFor.com, All
rights reserved -
http://www.huntfor.com/absoluteig/Piss
arro.htm
11. The Clark- Camille Pissarro, "Saint-
Charles, Eragny," 1891 -
http://www.youtube.com/watch?v=TgO
H6KOdHAc
12. http://www.passion4art.com/articles/ja
mestissot.htm - By Hall Groat II
13. Sterling and Francine Clark Art Institute
- Copyright © 2012, All Rights -
http://www.clarkart.edu/museum/video
-tours/index.cfm?vid=20
14. Fun Facts William Turner
http://boonfellow.blogspot.ca/2011/01
/13-facts-about-jmw-turner.html
15. Fun Facts Gustave Courbet
http://www.famousbirthdays.com/peopl
e/gustave-courbet.html
16. Fun Facts Camille Pissarro
http://www.biography.com/people/cami
lle-pissarro-9441740
17. Fun Facts Edgar Degas ©2012 Ask.com -
http://www.ask.com/answers/4209298
1/what-is-an-interesting-fact-about-
edgar-degas
http://www.slideshare.net/Nevele/edgar
-degas-4330122#btnNext
18. Fun Facts James Jacques Joseph Tissot
http://en.wikipedia.org/wiki/James_Tiss
ot
SKETCH MAGAZINE Page 30