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The painting entitled Race Horses by a French artist Edgar Degas was produced in 1855-88 (Stein, Bailey, & Miller, 2009). It is one among many works in his jockeys series. The picture is immediately distinguished from his earlier works by the very rare medium of Degas’s oeuvre: pastel and a tropical wood panel. It depicts the three jockeys sitting on the horses that stand very closely, thereby forming a close unit in the foreground (Stein et al., 2009).
The horse with a rider behind them, along with the looming church tower and a patchwork of buildings across the hills, form the background of the picture. The impressionist style of the work is clear from the open composition and the light brush strokes. The painting would fit nicely in the main office. It will always remind employees that a high-growth business is like a race—a focus should be on the future with the mind staying in the present moment. It will also underscore the progressive orientation of the company.
Dancer is another painting by Edgar Degas that will fit nicely into our company’s corporate image that is synonymous with the lightness and precision of dance. This picture was created in 1880, and it depicts a standing figure of the ballerina that adjusts her closing (Stein et al., 2009). It is closely related to his other drawings of the dance classes. The lightness of the pastel and the construction of space, which moves the main figure on the forefront and allows experiencing it from the unusual visual angle, are among the most conspicuous characteristics of the Impressionist style. The anticipation of movement that always feels like an inseparable part of the human perception suffuses the work with an almost visible shiver.
The picture might be showcased in one of the project management offices and would be in line with the corporate strategy, which regards the behavior of every single individual as the main prerequisite for the success of the whole enterprise.
Roses and Lilies
Roses and Lilies is a painting produced by French artist and lithographer Henri Fantin-Latour in 1888 (Stein et al., 2009). The work shows stems of lilies cut in full blossom and placed in a glass vase. Left to them is a bowl of blooming roses, white petals of which are slightly touched with delicate blue brushes. The artful economy of means, so inherent to Impressionist style, provides a warm undertone to work and will serve as a gentle reminder to everyone looking at this picture that it is possible to achieve great results with minimum capital. It will be placed in the main office and will underscore the corporate identity of the company, which places a great emphasis on the optimum utilization of resources.
Mont Saint Victoire
Mont Saint Victoire is a work of French Post-Impressionist painter Paul Cézanne.
The artist exercises in the expression of color and form in his masterful depiction of the mountain surrounded by white splashes of paint that define the structure of Aix en Provence. It is clear that Cézanne explores the way in which different brush strokes change his impression. The process of painting for him becomes the medium or even the end in itself (Sayre, 2015). The delicate graduations of gentle colors will become an object of artistic perfection for the reception area of one of the company’s offices. The negligence of traditional rules of composition and thick brushstrokes that indicate Post-Impressionist style would correspond with the creative spirit of the company and convey the image of the free-thinking enterprise to its customers.
The work of a French painter Henri de Toulouse-Lautrec La Goulue, created in 1891, would be a beautiful part of the company’s art collection (Hill, 1980). The picture that closely resembles a poster is produced with the stylistic similarity to the Japanese woodcuts. It perfectly captures the eccentricity and odd nature of the concert hall in a swift and airy sketch. The work depicts the artist La Goulue performing a can-can for the black silhouettes of the auditory (Hill, 1980). It would make a strong graphic statement if it were featured in the corporate headquarters. Communicating corporate identity in the bold, indirect way, so inherent to the Post-Impressionist style, the picture would be perfectly in line with the company’s image.
Van Gogh produced this miniature but extremely impressive canvas during the time Gauguin was living at his home in 1888 (Hill, 1980). The Sower follows the traditions of Japanese artists. Van Gogh used vast plain areas of the picture intersected with dark colors in order to intensify the isolation in the intersection object. It seems that he rejected the traditions of Impressionism, almost intentionally intensifying the use of geometric forms.
The thick application of paint suggests that the painting was produced in the Post-Impressionist style. The distortion of the silhouette for dramatic expressive effect and almost arbitrary dobs of color harmonically wrap around the symbolic content of the picture. The powerful image of the Sower against the glowing sun creates a long-lasting impression and sends an almost biblical message (Hill, 1980). It will represent the company’s intention to leave a long-lasting legacy for future generations.
Hill, I. (1980). Post-Impressionism. New York, NY: Galley Press.
Sayre, H. (2012). The Humanities: Culture, Continuity, and Change. Volume II: 1600 to the Present. (2nd ed.). Upper Saddle River, NJ: Prentice-Hall.
Stein, S., Bailey, C., & Miller, A. (2009). Masterpieces of Impressionism and post-impressionism. New York, NY: Metropolitan Museum of Art.