Gare St Lazare was Impressionist painter Claude Monet’s real impression for Gare St Lazare, which exhibited in the year 1877. For Monet, the theme has nothing special significance, but just an approach to achieve his goal. What he really cared about was a visual experience, and relationship of color between the steam and the train’s surrounding.
The entire picture was in a cold tone, but it also in unity and rich color variations. The smoke exhaled by locomotive rising into the pale blue sky, and diffusing over the whole sky that presented color blue, purple, light red and white. People and nature in this genre painting were harmonious blend, and they were completely integrated in the landscape, the sun and the air.
And all this fusion in brilliant, gorgeous harmonious colors that belongs to Monet’s unique style. In the railway station, the siren hooted, the steam rushed to the glazed roof, but the roof blocking the smoke, so that the whole station enveloped in the smoke. The sunshine shined through the glass on the water vapor, countless small drops were under the blue sky and white clouds that made the train and roof truss obscure to us.
The composition of this impressionism painting is also quite noteworthy, which adopted wave-shaped rich changes. Monet skillfully combined the objects with different shape together, the oblique lines towards different orientations and linked to the locomotive, all of these elements combined with white smoke increased the hustle and bustle of the image and depicted varied environment. It seemed that you can hear the steam engine roared when it went through the railway station, and see the dense smoke rolled under the huge garage. In this painting, we are fortunate enough to see a poetic station.
Maja meant the beautiful girls in Spanish. The model was said to be the Duchess of Alba. In this nude figures painting, Maja made her both palms crossed behind her head and her body reclined on the bed, seeming to be very plump. The artist meant to show the youth and beauty induced by Maja. As the female body with the modern description given practical meanings, it could be considered a pioneer. It was impelled to say that it was of great importance of anti-feudal in the dark rule of Spanish inquisition.
Francisco Goya painted the nude Maja in the open form, which made the body and spirit of Maja completely bare. Both of her hands were placed behind her head and her body slightly reclined. Her right leg slightly held the left leg, showing a little shyness. The whole body was lying in the green Turkey couch, which was full of flowing curve changes. The lifted breasts and prominent buttocks of Maja made the curve changes in body form rhythm, the soft pillow’s irregular morphology under the body and wrinkles formed the contrast with the pure physical changes. The painting Maja looked at this real world and implied the elusive inviting smile. This painting showed the beauty of human nature and human body. The feudal monarchy of Spain shadowed the feudal autocracy and darkness of the inquisition and all human art was destroyed, so Spanish paintings had very few body art as open as in the Italian works.
Goya described the nude Maja in the real life and boldly challenged to the asceticism. Nude Majaproduced a peculiar kind of aesthetic effect: it was not only attractive, but also made people want to avoid, Maja was so beautiful that so many people longed for her. She boldly opened her breasts, which also made people daunting. Humanity’s sincerity and secular fear of contradiction made this painting full of mystery.