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Neoclassicism
+-1750 - 1850
Neoclassicism, a revival of classical forms and subjects, is best viewed
as one phase of Romanticism, the dominant mode of expression from about 1750
to 1850. Romanticism also encompassed several Neo-Gothic phases: one in the
middle of the eighteenth century and another midway through the nineteenth
century. Romantic painters explored the exotic cultures of the Middle East,
documented man's unabated propensity for cruelty, and celebrated the heroism
that was the byproduct of protest and revolution. Throughout Europe artists
also explored landscape's potential for provoking a spiritual or emotional
response. New approaches to the picturesque and the sublime emerged, lending
new authority to landscape as a category of painting.
Janson
David/Oath of the Horatii
p 642 (DK 70)
Image
and bio
arthistory.cc
Jacques-Louis David was an artist whose paintings show a great deal of
passion. He was the leader of the Neo-Classical style in France, a keen supporter
of the French Revolution and painter to Napoleon. He voted for the death of
Louis XVI, he designed propaganda posters, abolished the Academy, was imprisoned
and divorced and remarried the same woman.
Speaking strictly of his art, his portraits (he painted Napoleon as well
as many memorial portraits of the martyrs of the Revolution including Marat
and Lepelletier) were finely executed, dripped of realism and were full of
contrast. His skills as a teacher influenced the likes of Ingres, Girodet
and Gros and his knowledge of light, color and drawing placed him among the
most well respected artists of his time.
His simple, painful and highly topical painting "The Oath of the Horatii",
created in 1785, is said to be the most important French Neoclassical picture. Link
Copley/Watson and the Sharkdesc p 646 "This kind of moral allegory
is a typical of Neoclassicism as a whole..."
Image/desc/bio_1
Image/description/bio_2
arthistory.cc
Romanticism
(see previous)...Romantic painters explored the exotic cultures of the Middle
East, documented man's unabated propensity for cruelty, and celebrated the
heroism that was the byproduct of protest and revolution. Throughout Europe
artists also explored landscape's potential for provoking a spiritual or
emotional response. New approaches to the picturesque and the sublime emerged,
lending new authority to landscape as a category of painting. Janson
Goya/The 3rd of Mayp 660 (DK 74)
Image
and bio
arthistory.cc
Gericault/Raft of the Medusap 664 (DK 76)
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and bio
arthistory.cc
- Ingres/Costume study
- La Grand Odalisquep 666
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and bio
1814
Oil on canvas
Musee du Louvre, Paris
arthistory.cc
Delacroix/Women of Algiersp 668
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and bio
arthistory.cc
Daumier/The 3rd Class Carriage p 670
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and bio
arthistory.cc
see also Millet, Corot
Blake/Plate 7 from The Book of Urizenp 675
Image and bio
arthistory.cc
Turner/Rain, Steam, and Speedp 678
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and bio
arthistory.cc
"The other was the increasingly direct expression of the destructiveness
of nature, apparent particularly in some of his seapieces. The force of
wind and water was conveyed both by his open, vigorous brushwork and, in
many cases, by a revolving vortex-like composition." artarchive.com
Photography
1826
Niepce/View from His Window
p 702
1837
Daguerre/Still Life | example of early portraitureImage
http://www.daguerre.org/
http://masters-of-photography.com/
Nadar/Sarah bernhardt
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Muybridge/p 769
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Realism
Realist subject matter and intentions dominated avant garde art mid-century,
but by 1869 a concern with optical realism, rather than realist topics asserted
itself. Impressionism emerged as an alternative mode of painting after the
Franco-Prussian War of 1870-71. It challenged the academic rules regarding
elevated subjects, accurate anatomy, modeling with light and shade and the
use of linear perspective. Subjects reflecting urban life in newly renovated
Paris became popular.
Courbet/Studio of a Painter 1854p 707 (82 DK)
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and bio
arthistory.cc
Manet/Luncheon on the Grass 1863p 708
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and bio
arthistory.cc
compare luncheon with raphael (709)
also:
- A Bar at the Folies-Bergere (DK 90)
- Olympia
Impressionsim
1874
(from previous)...by 1869 a concern with optical realism, rather than realist
topics asserted itself. Impressionism emerged as an alternative mode of painting
after the Franco-Prussian War of 1870-71. It challenged the academic rules
regarding elevated subjects, accurate anatomy, modeling with light and shade
and the use of linear perspective.
Monet/Japanese Bridge 1918-24p 711
Image
and bio
arthistory.cc
see also:
Haystacks
Cathedral
Waterlillies
Renoir/The Luncheon of the Boating Partyp 712
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and bio
arthistory.cc
Degas/The Dance Classp 712 (87 DK)
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and bio
arthistory.cc
+- 1880 Post Impressionism Symbolism Art Nouveau
Rather than continue the Impressionist aesthetic, the Post-Impressionists
sought to address its limitations. Cezanne and Seurat worked to impose order
on form and composition, Van Gogh used color as a vehicle for self expression
and to provoke an emotional response, while Gauguin produced an art steeped
in mystery, subjective feelings and myth. Symbolism, a movement in art and
literature was nurtured in part by Gauguin's approach. His followers, the
Parisian Nabis emphasized the decorative aspects of color, line and form,
paving the way for Art Nouveau.
Cezanne/Still Life with Plaster Cast 1894p 737 (97 DK)
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and bio
arthistory.cc
see landscapes, portraits, bathers
Seurat/La Grande Jattep 740 (92 DK)
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and bio
arthistory.cc
Toulouse-Lautrec/La Goulue 1891 p 742
Van Gogh/The bedroom at Arlesp 744
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and bio
arthistory.cc
Gauguin/Where Do We Come From? What Are We? Where Are We Going?p 745
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and bio
arthistory.cc
+- 1880 SYMBOLISM
(from previous)...Symbolism, a movement in art and literature was nurtured
in part by Gauguin's approach. His followers, the Parisian Nabis emphasized
the decorative aspects of color, line and form, paving the way for Art Nouveau
Munch/The Scream 1893Image
and bio
arthistory.cc
+- 1880 ART_NOUVEAU
Art Nouveau is the French/Belgian name of an art movement in reaction to
the academical schools at the end of the XIXth century (1894-1914). This
movement was represented in Europe and also in the United States. It had
often several names in each country, some were given after major artists',
magazine or firm names (e.g. in France "Style Guimard", , in Germany "Jugendstil",
in Italy: "Stile Liberty" see etymolgies), some other names more
generally refered to something new ("Art Nouveau" in France, Modernism
in Spain, "Nieuwe Kunst" in the Netherlands or "Sezessionstil" in
Austria). In each country, "Art Nouveau" had its own identity and
sometimes artists at that time were opposed to eachother. In fact, beyond
these "oppositions" between countries or even artists, we can find
retrospecitvely numerous common points in each movement.
Link
Beardsley/The ClimaxImage
and bio
arthistory.cc