Art Review

The Renaissance The Baroque Neoclassicism Romanticism Realism Impressionism Post Impressionism Cubism

The Renaissance

ITALIAN RENAISSANCE
Return to the aesthetics and ideals of classical antiquity Rediscovery of the world and humanity Religious themes not abandoned Works of humans have value in themselves Versatility valued in an artist Could become individuals of high social stature, wealth and influence

Giotto: Lamentation

Giotto: St Francis of Assissi

Giotto: Adoration of the Magi

Raphael Donatello Michelangelo Leonardo

Raphael:
Madonna with the Christ Child and Saint John the Baptist

Raphael:
The Marriage of Mary

Raphael: The School of Athens

Donatello

Donatello

Donatello: David

Verenose: Jesus in the House of Levi

Caravaggio: The Calling of St. Matthew

Caravaggio: St. Thomas

Michelangelo: Creation of Adam

Michelangelo: St Peters Basilica (dome)

Michelangelo: Pieta

Michelangelo: David

Leonardo Da Vinci: La Giocconda

Leonardo Da Vinci: Lady With an Ermine

Leonardo Da Vinci: The Last Supper

Botticelli:
Portrait of a Young Woman

Botticelli: Primavera

Botticelli: Venus

Firenze

Brunelleschi

Palladio

ITALIAN RENAISSANCE
Return to the aesthetics and ideals of classical antiquity Rediscovery of the world and humanity Religious themes not abandoned Works of humans have value in themselves Versatility valued in an artist Could become individuals of high social stature, wealth and influence

NORTHERN RENAISSANCE
More intimate, more quotidian than Italian Rediscover nature and realistic ways to portray it Religious themes embraced More an evolution of medieval themes Van Eyck, Bruegel, Bosch, Holbein, Durer

Van Eyk

Van Eyk: The Arnolfini Marriage

Van Eyk: Man in a Red Turban

Pieter Brueghel

Pieter Brueghel

Pieter Brueghel: The Triumph of Death

Bosch: Garden of Earthly Delights

Hans Holbein: The French Ambassadors

Hans Holbein: Erasmus

Gemeentehuis Antwerp

Durer: Adam and Eve

Albrecht Durer: Self Portrait

Aachen Cathedral

Chteux of the Loire

The Baroque
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Birth of the Baroque

Caravaggio
Italian (surprised?) Naturalistic manner High contrast light and shadow

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The Calling of St Matthew63

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The Church
Counter Reformation
Reforms and clarifications include guidelines for artists! Combine realism with religious sensibilities POPES and JESUITS encouraged growth of intensely emotional & exuberant art

65

 Bernini

Flourishing of the Baroque

Italian Sculptor Worked in Rome (Vatican) Work is tangled, energetic, theatrical

66

The Ecstasy of St. Theresa

67

DAVID
69

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Collonade, St Peters Square

72

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 Rubens

Flourishing of the Baroque

Flemish Painter and Diplomat Hugely popular, studio very busy Rich, sensuous, colorful

74

The Assumption of the Virgin

75

Raising of the Cross

76

The Three Graces

77

 Vermeer

Flourishing of the Baroque

Dutch Not well known or popular in his day Not much known about him IS known for his intense realism

78

Young Woman With Water Pitcher

79

Milk Maid

Girl With A Pearl Earring

81

 Rembrandt

Flourishing of the Baroque

Dutch has been called prince of the Golden Age painters Supremely gifted artist, completely disreputable man

82

The Return of the Prodigal Son

83

Anatomy Lesson

84

The Jewish Bride

85

The Night Watch

86

Baroque tendencies in France

Style expresses itself most powerfully in architecture and sculpture Louis Le Vau:
architecture

Pierre Puget:
sculpture

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Chateau Vaux-le-Vicomte

88

Versailles

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Puget: Caryatides

Puget: Perseus and Andromeda

 Velazquez

Flourishing of the Baroque

Court painter Philip III Philips personal shopper in Italy: Titian, Veronese, Tintoretto (at the Prado) Synthesized many aspects of styles and artists: Baroque, Venetian Renaissance, Caravaggio, classical

96

The Surrender at Breda

Vieja friendo huevos

Juan de Pareja

Las Meninas

NEOCLASSICISM

Age of Reason & The Enlightenment

Spans the period from the late-1700s to the mid-1800s (i.e. French Revolution, Napoleonic Era, Revolutions of 1830 &1848) Arts affirmed and reflected an optimistic faith in reason and the possibility of human perfectability Arts reflect belief in a divinely regulated universe

NEOCLASSICISM

GREECE AND ROME Noble simplicity, quiet grandeur Balance Themes: heroism, self-sacrifice, rugged resolve Great enthusiasm for models of antiquity Manipulation of the forms and images of ancient glory had great appeal politically ALSO: furniture, architecture, clothing, ceramics, decoration

Neoclassicism
Tradition Society Urban Artificial Intellect Reason Public
Objective Clear Logical/scientific Aristocratic Conformist Constraint Formal

Antonio CANOVA
Italian sculptor Famous for his nude marble sculptures The epitome of the neoclassical style work marked a return to classical refinement after the theatrical excesses of Baroque sculpture

The Three Graces

Rubens

Canova

Psyche Revived by Loves Kiss

Venus Victrix

Jaques Louis DAVID

Symbol of neoclassicism ART had to have a message pointing to political and social action Hugely popular Cool, objective art Clear handling of light and shadow Stark but heroic canvas

Oath of the Horatii, 1785

Madame Recamier, 1800

Death of Marat 1793

Jean Auguste Dominique INGRES

Student of David at French Academy Artists function is to endow nature with orderliness through rearrangement and selection Works based on history and mythology Master portrait painter

Apotheosis of Homer 1827

Madame Moitessier
1856

Princesse de Broglie,
185153

La Grande Odalisque, 1814

ROMANTICISM

Arty KEY TERMS

ACADEMY ACADEMIC ART SALON

Neoclassicism v Romanticism
Tradition Society Urban Artificial Intellect Reason Public Objective Clear Logical/scientific Aristocratic Conformist Constraint Formal Experiment Individual Rural Nature loving Imagination Emotion Private Subjective Mysterious Supernatural Common/primitive Independent Spontaneity Natural

ROMANTICISM
Artistic & literary movement of the late 18th and early 19th century A reaction against Neoclassicism Key ideas
Elevate emotion and intuition to equal status with reason Some crucial human experiences are beyond the rational mind The individual and subjectivity are vital

Philosophical Roots
HEGEL
Individuals freedom is limitless Artist more powerful than natural world but still a part of it Romantic art is superior because it is more dramatic and complex

SCHOPENHAUER
Art is a means by which we separate from everyday desires and anxieties and is a means by which we express will Successful works of art are mysteriously set apart, they are an extension of normal perception

Philosophical Roots
KIERKEGAARD
Primacy of the will, the undetermined choice Individuals make themselves what they are The core of existence is choosing choosing freely

NIETZCHE
The only thing men and women want for its own sake is POWER Power is expressed in Self-control The creation of art Ubermensch (superman) organizes the chaos of his own passions

TRENDS
Historicism: any time but now, any place but here Individualism: Emphasis on expressed thoughts and feelings Nationalism: Artists use nations own traditions as a sort of geographic sounding board

TRENDS
Exoticism: Fascination with alien cultures, especially the Orient, scenes of exotic mysteries far off lands and peoples Back to Nature: Nature is grand, infinite, and enduring Alliance of Arts and Colors: Increasing emphasis on color in the various artistic media

LITERATURE
POETRY AND THE NOVEL More to life than reason alone Fascination with the marvelous, uncommon, mystical Love of nature Love of legendary past

LITERATURE
THE NOVEL
The Gothic novel: involved the supernatural and was set against foreboding backgrounds Frankenstein by Mary Shelley: explore the nature of evil and the possible consequences of mechanization The Historical novel: high adventure and romance set in the distant past Ivanhoe by Walter Scott: complex romance set in 13th century England

LITERATURE
POETRY Fascination with/emulation of Greek epics Full of human adventure and passion Display love of Splendor Extravagance Supernatural Shelley, Keats, Byron, Wordsworth, Scott

PAINTING
Landscape chief vehicle for expression or Romanticist spirit Picture is an invitation to reverie, an invitation to go beyond the picture space and escape Figure paintings often politicized

PAINTING
John CONSTABLE, English, landscape
Preferred to paint the familiar NO symbolism, NO history or legend, ever Subject is not just what is seen but also the emotion it arouses: painting is but another word for feeling Feeling can express itself fully only when it takes all available physical facts into account

The Hay Wain - 1821

Weymouth Bay - 1816

PAINTING
JMW TURNER, English, landscape
Determined to create new kind of landscape painting Sought to capture on canvas the elemental forces of nature Intensely atmospheric NO compulsion to bow to realism or even to impress viewers

Hannibal Crossing the Alps - 1812

Norham Castle, Sunrise - 1835

Rain, Steam, and Speed: the Great Western Railway - 1844

PAINTING
Caspar David FRIEDRICH, German, landscape
Every work of art must express feeling and move viewer to an emotion, should not unite all sensations Confident of human ability to accept the immensity of the world without flinching AND without diminishment as a human being

Monk by the Sea - 1809

Wanderer Above a Sea of Fog

1818

PAINTING
Theodore GERICAULT, French, figure Not literal representations Deliberately pushes emotions to extreme reflecting emotion found within the artist Studied: Rubens, Rembrandt, Titian, Caravaggio

The Raft of the Medusa - 1819

PAINTING
Eugene DELACROIX, French, figure
Disciple of Gericault A central figure in the Romantic movement Exoticism, emotional extremes Infused reality with emotional attitude

Massacre at Chios 1822

Death of Sardanapalus - 1826

Liberty Leading the People - 1830

PAINTING
Francisco GOYA, Spanish, figure
Court painter for Carlos IV Obsessed by the plight of poor and helpless Artist creates meaning and reassurance

The Duchess of Alba - 1797

La Maja Vestida

La Maja Desnuda

The Colossus 1808

3 of May, 1808 - 1814

PAINTING
William BLAKE, English, figure
Thought himself a better poet than painter Truest happiness = world of the spirit an unimprisoned imagination Despised the instruments of Newton, et al, who he felt had conspired to rob life of its poetry

The Ancient of Days 1824

The Body of Abel - 1825

Realism

Beginnings
Academie des Beaux Arts (est. 1661) regulated Art: upheld tradition and standards defined content and style 1850s it became fashionable to work en plein air 1870s Japanese woodblock prints
Strong lines, bright colors, simplified patterns Major source of inspiration for Europeans: Impressionists, Post-Impressionists, cubists

Beginnings

Hokusai: Fuji series

Philosophical Roots
Charles Darwin
Huge impact on patterns of thought Changed the way the universe is seen Discoveries reinforced materialistic theories of society

Philosophical Roots
Utilitarianism JS Mill, Jeremy Bentham No absolute moral values The greatest good is the gratification of desire French Utopian Socialism Henri de Saint Simon, Auguste Comte All knowledge comes from observation Materialism In philosophy, the theory of materialism holds that the only thing that exists is matter, contrast to idealism and to spiritualism

Photography
Perceptions of visual world altered by photography The art of painting forever changed Realistic/Naturalistic painters all had photography in mind as a thing to
Use Learn from React to

Photography
Provides authenticity: nature could speak for itself with a minimum of interference Artists were fascinated: offered a new way to examine the world in greater detail afraid: seemed likely to make their own efforts redundant As it turns out, photography did impact painting but did not destroy it

Photography

Galloping horse, Eadweard Muybridge

Photography

Thomas Eakins studies of motion

Photography
New candid photography and radical cropping of images suggested new compositional formats

Julia Margaret Cameron

Iago Whisper of the Muse

Realism and Naturalism

Artists most influenced by photography: academics and realists The things painting could still provide that photography could not: color and scale French 19th century obsession was the investigation of the nature of reality

Realism and Naturalism

Naturalistic Art convey a sense of what is real only way to do this = meticulous description of surface events and appearances complete avoidance of commentary or moral content

Realism and Naturalism

Naturalistic Art 2 groups 1. Artists who combined traditional academic practice with what could be learned from photography. Examples: Thomas Eakins, the Barbizon School 2. Artists who learned from photography and also applied the research into the physiology of sight and the laws of optics. Example: Impressionism

Realism and Naturalism

Thomas Eakins, American, 1844-1916 Eakins worked exactingly from life very interested in the new technologies of motion photography subject which most inspired him: the nude or lightly clad figure in motion

Realism and Naturalism

Thomas Eakins: The Swimming Hole

Realism and Naturalism

Thomas Eakins: The Biglin Brothers

Realism and Naturalism

The Barbizon School 1830s to 1870s Movement toward realism Inspired by the likes of John Constable No drama, no story, no comment Francois Millet, Theodore Rousseau, Camille Corot, Gustave Courbet

Realism and Naturalism

Camille Corot: A View in the Farnese Gardens

Realism and Naturalism

Theodore Rousseau:

Realism and Naturalism

Rousseau Constable

Realism and Naturalism

Francois Millet: The Gleaners

Realism and Naturalism

Gustave Courbet: The Stonebreakers

Realism and Naturalism

Edouard Manet
Traditionally trained (i.e., academy) Heroes: Velazquez and Goya Did not want to compete with the camera in a race for reality Wanted to make paintings that could be enjoyed for their own sake, for their color and arrangement, NOT as imitations of nature 1863: Salon des Refuses

Realism and Naturalism

Edouard Manet: La Musique aux Tuileries

Realism and Naturalism

Edouard Manet: Le Dejeuner sur lHerbe

Realism and Naturalism

Edouard Manet: Olympia

Impressionism

Impressionism
Owes much to Manet : the duty of the artist was to tackle whatever kind of reality happened to be available No parade of moral or social intentions Real Life not the property of peasants, urban and middle classes also real life The message of the artist is in the brushstrokes and patches of paint, not in the objects

Impressionism
Express an instantaneous impression of an object/scene, not a detailed analysis Give a momentary glimpse of nature Subject was color and light NOT objects Not a cohesive style, artists did their own thing Paintings resemble snapshots a part of a larger reality capture the moment quotidian life, landscapes Relaxed boundry between subject and background

Impressionism

Claude Monet: Terrace a Sainte Addresse

Impressionism

Claude Monet: Argenteuil

Impressionism

Claude Monet: Banks of the Seine, Ventheuil

Impressionism

Claude Monet: Gare Saint Lazare

Impressionism

JMW Turner: Rain, Steam, & Speed

Claude Monet: Gare Saint Lazare

Impressionism

Claude Monet: Haystacks

Impressionism

Claude Monet: Cathedral at Rouen

Impressionism

Claude Monet: Water Lilies

Impressionism

Camille Pissarro: The Climbing Path

Impressionism

Camille Pissarro: The Climbing Path

Hokusai: Fuji series

Impressionism

Camille Pissarro: Blvd Montmartre

Impressionism

Camille Pissarro: Haymakers

Impressionism

Camille Pissarro: Haymakers

Francois Millet: The Gleaners

Impressionism

Pierre Auguste Renoir: Le Moulin de la Galette

Impressionism

Pierre Auguste Renoir: Bar at the Folies Bergeres

Impressionism

Pierre Auguste Renoir: Mme Charpentier and Her Daughters

Impressionism

Berthe Morisot: Artists Sister at a Window

Impressionism

Berthe Morisot: Artists Mother and Sister

Impressionism

Berthe Morisot: The Harbor at LOrient

Impressionism

Edgar Degas: Carriages at the Races

Impressionism

Edgar Degas: The Rehearsal

Impressionism

Edgar Degas: more ballet

Impressionism

Edgar Degas: Ballerina

Impressionism

Edgar Degas: The Tub

Post-Impressionism

Post-Impressionism
Late 1880s Group of artists, diverse stylistic paths Independent styles for expressing emotion rather than optical impressions Simplified colors, definitive forms Abstract tendencies Search for authentic artistic achievements Toulouse-Lautrec, Seurat, Cezanne, Gaugin, Van Gogh

Post-Impressionism

Henri Toulouse-Lautrec: Moulin Rouge

Post-Impressionism

Henri Toulouse-Lautrec: La Galette

Post-Impressionism

Renoir Picasso

Toulouse-Lautrec

Post-Impressionism

Georges Seurat: Sunday Afternoon at Grande Jatte

Post-Impressionism

Georges Seurat: The Seine at Grande Jatte

Post-Impressionism

Seurat

Monet

Post-Impressionism

Paul Cezanne: Basket of Apples

Post-Impressionism

Paul Cezanne: Apples

Post-Impressionism

Paul Cezanne:

Post-Impressionism

Paul Cezanne: Mt Sainte Victoire

Post-Impressionism

Paul Gaugin: Still Life With Teapot and Fruit

Post-Impressionism

Paul Gaugin: Sur la Plage

Post-Impressionism
Paul Gaugin: Still Life With Teapot and Fruit

Paul Gaugin: Nevermore

Post-Impressionism

Vincent Van Gogh: The Potato Eaters

Post-Impressionism
Vincent Van Gogh: Caf Terrace at Night

Post-Impressionism
Vincent Van Gogh: Sunflowers

Post-Impressionism

Vincent Van Gogh: Starry Night

CUBISM

CUBISM
Concerned with surface design Entirely rejects any emotional content Relies completely on interlocking, geometric surface arrangements of shape and color Attempt to break apart and analyze subject from different perspectives Post WW1: interchange reality with simulation play tricks on viewers senses

Pablo Picasso
Creative innovator of ideas and techniques Master of many styles Constantly searching and changing 1907 Les Demoiselles DAvignon: is not cubism, but starts it all:
Fractured figures Discordant, angular Relationships of shape and color more important than the figures.

Les Demoiselles DAvignon

Three Musicians

Portrait of DanielHenry Khanweiler

Guernica

Georges Braque
Worked with Picasso in Paris developing Cubism Begins to add actual bits of real objects to canvases Still lifes Fractured plains carefull structured space Abstracting to create beautiful designs Aim for sophisticated design from simple objects

Still Life: The Table

Braque

Cezanne

Gillette

Houses at LEstaque

Cezanne Braque

Still Life With Violin and Pitcher

Juan Gris
With Braque and Picasso in Paris Developed collage technique with them Later: no longer destroying object but try to emphasize it again put it back together Unity achieved through balance, pattern, and movement

Breakfast

Pots of Geraniums