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| an eighteenth century style during the Baroque era that is characterized by lighter colors, greater wit, playfulness, occasional eroticism, and yet more ornate decoration. |
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| an eighteenth century revival of Classical Greek and Roman art, characterized by simplicity and straight lines. |
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| a nineteenth century movement that rebelled against academic Neoclassicism by seeking extremes of emotion as enhanced by virtuoso brushwork and a brilliant palette. |
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| referring to Neoclassical artists who took NIcolas Poussin as their model....contrast with Rubeniste |
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| Those Romantic artist who took Peter Paul Rubens as their model...contrast with Poussinistes. |
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| a neoclassical, non-experimental style promoted by the Royal French Academy during the eighteenth and nineteenth centuries. |
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| a style characterized by accurate and truthful portrayal of subject matter; a nineteenth century style that portrayed subject matter in this manner. |
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| an annual exhibition of the french Academy held in the spring during the eighteenth and nineteenth centuries. |
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| relating to idyllic rural life, especially of shepherds and dairymaids |
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| -the leaders in new, unconventional movements; the vanguard (from French, “advance guard”) |
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| a late nineteenth century style characterized by the attempts to capture the fleeting effects of light by painting in short strokes of pure color. |
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| a photograph made from a silver-coated copper plate; named after Louis Daguerre, the innovator of the method. |
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| a late nineteenth century style that relies on the gains made by Impressionists in terms of the use of color and spontaneous brushwork but that employs these elements as expressive devices however, rejected the essentially decorative aspects of Impressionists subject matter. |
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| a systematic method of applying minute dots of unmixed pigment to the canvas; the dots are intended to be “mixed” by the eye when viewed. Also called “divisionism.” |
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| Gauguin’s theory of art, which advocated the use of broad areas of unnatural color and primitive or symbolic subject matter. |
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| a modern school of art in which an emotional impact is achieved through agitated brushwork, intense coloration and violent, hallucinatory imagery. |
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| Manet submitted his work to the 1893 Salon, and it was categorically rejected. He and other artists whose works were rejected that year rebelled so vehemently that Napoleon III allowed them to exhibit their work in what was known as_________________. It was one of the most important gatherings of avant-garde painters in the century. |
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| in architecture to build beforehand at a factory rather than at the building site. |
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| nineteenth-century industrialization enabled __________ and steel to emerge as widely used building materials. _________ was the first material to allow the erection of tall buildings with relatively slender walls. |
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| a method of building that capitalizes on the strength of steel by piecing together slender steel beams to form the skeleton of a structure |
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| A term that refers to artistic works produced during the period extending roughly from the 1860s through the 1970s, and denotes the style and philosophy of the art produced during that era. |
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| a style of architecture that rejects classical models, de-emphasizes ornamentation, and frequently uses strong, recently developed materials. |
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| industrial revolution/modern architecture |
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| a style of architecture that rejects classical models, deemphasizes ornamentation, and frequently uses strong, recently developed materials. |
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Oath of the Horatii
Jaques-Louis David
1784 (18th century)
Neoclassicism figure 8-1 page 186
planar recession-stacking of planes (front plane and back plane in this painting)
considered the father of Neoclassicism |
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| Figure 8.11, p.194: FRANCISCO GOYA. The Third of May, 1808 (1814–1815). Oil on canvas. 8’9” x 13’4”. |
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| Figure 8.13, p.196: HONORÉ DAUMIER. The Third-Class Carriage (c. 1862). Oil on canvas. 25 3⁄4” x 35 1⁄2”. |
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Figure 18.15, p.198: ÉDOUARD MANET. Le Déjeuner sur L’Herbe (Luncheon on the Grass) (1863).
Oil on canvas. 7’ x 8’1”.
painted on a white background and built his shadows from there where as before the artist would start with a black background and build up light from there |
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Impression Sunrise
Monet
1872 (19th century)
Impressionism |
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| Figure 8.31, p.209: GEORGES SEURAT. A Sunday Afternoon on the Island of La Grande Jatte (1884–1886). Oil on canvas. 81” x 120 3⁄8”. |
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| Figure 8.32, p.210: PAUL CÉZANNE. Still Life with Basket of Apples (c. 1895). Oil on canvas. 65 cm x 80 cm. |
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| Figure 8.33, p.455: VINCENT VAN GOGH. Starry Night (1889). Oil on canvas. 29” x 36 1⁄4”. |
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Figure 8.35, p.457: PAUL GAUGUIN. Vision after the Sermon (Jacob Wrestling with the Angel) (1888).
Oil on canvas. 28 3⁄4” x 36 1⁄2”. |
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Young lady with an Umbrella by Louis Lumiere
Fig 8-30 page 208 |
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| An early twentieth-century style of art characterized by the juxtaposition of areas of bright colors that are often unrelated to the objects they represent, and by distorted linear perspective (from the French for "wild beast") |
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| A modern school of art in which an emotional impact is achieved through agitated brushwork, intense coloration, and violent, hallucinatory imagery. |
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| a twentieth-century style developed by Picasso and Braque that emphasizes the two-dimensionality of the canvas, characterized by multiple views of an object and the reduction of form to the cube-like essentials |
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| an early twentieth-century style that portrayed modern machines and the dynamic character of modern life an science |
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| A form of art characterized by simplified (abstracted) or distorted rendering of an object that has the essential form or nature of that object; a form of nonobjective art in which the forms make no reference to visible reality. |
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| An art form that represents fanciful images, sometimes joyful and whimsical, sometimes horrific and grotesque. |
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| A post WWI movement that sought to use art to destroy art, thereby underscoring the paradoxes and absurdities of modern life. |
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| A twentieth-century art style whose imagery is believed to stem form unconscious, irrational sources and that therefore takes on fantastic forms. Although the imagery is fantastic, it is often rendered with extraordinary realism. |
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| An independent exhibition of experimental art held in the autumn of 1905; name the "Salon of Autumn" to distinguish it from the Academic salons that were usually held in the spring. |
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| This was founded in Dresden, Germany, at the same time that fauvism was afoot in France. The artist who began the movement chose to name it___________ because, in theory, they saw their movement as bridging a number of styles. |
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| Emotionally charged subject matter, often radically distorted, was the essence of Die Brucke art. _________________ artists--who took their group name form a painting of that title by Wassily Kandinsky, a major proponent--depended less heavily on content to communicate feelings and evoke and emotional response form the viewer. Their work focused more on the contrasts and combinations of abstract forms and pure colors. Some works were completely without subject. |
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| Der Blaue Reiter (The Blue Rider) |
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| These artists reacted to the horrors and senselessness of wartime suffering with an art that commented bitterly on the bureaucracy and military with ghastly visions of human torture. |
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| The New Objectivity (Neue Sachlichkeit) |
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| Extreme faceting of form, the use of multiple views, and the collapsing of spaces are characteristics of this form of art. |
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| A form of art that is constructed completely out of found elements (ex. newspaper clippings, other pieces of paper, labels etc.) |
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| An assemblage of two-dimensional objects to create an image; works of art in which materials such as paper, cloth, and wood are pasted to a two-dimensional surface, such as a wooden panel or canvas (from coller, French for "to paste") |
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| The futurist view that forces or energy is the basic principle that underlies all events, including everything we see. Objects are depicted as if in constant motion appearing and disappearing before out eyes. |
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| Writing based on the psychoanalytic concept of free association, as practiced by Dadaist and Surrealists. |
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| A form of surrealism that renders the irrational content, absurd juxtapositions, and changing forms of dreams in a highly illusionistic manner that blurs the distinctions between the real and the imaginary. |
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| An outgrowth of automatic writing in which the artist attempts to derive the outlines of images from the unconscious mind through free association. |
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| London Bridge Andre Derain 1906 Fauvism |
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Composition v11 Kandinsky
blue riders-focused more on the contrasts and abstracts forms and colors
nature was a point of departure and they needed to free it |
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Departure by Max Beckman 1932-33
new objectivity
Artist-German, art professor, lived during the rise of nazism |
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| Figure 9.7, p.234: PABLO PICASSO. Les Demoiselles d’Avignon (1907). Oil on canvas. 8’ x 7’8”. |
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Composition with Red, Blue, and Yellow
Piet Mondrian
1930
Fig. 9.22 |
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The Persistence of Memory Salvador Dali 1931
surreal-real beyond real |
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c. 1520-1600
-happened simultaneously at the end of the Renaissance
Characteristics:
Emphasis on light and color
Disregard for simple balance
Preference for a more complicated composition
*rejected the calm balance of the High Renaissance in favor of emotion
and distortion.
*based on intellectual preconceptions rather than direct visual perceptions.
*much of Mannerism consists of deliberately flouting the ‘rules’ deduced
from Classical art and established during the Renaissance.
More characteristics:
motion and space were very important
concept of time
use of light
tenebrism
blend of illusionism
Baroque-means irregularly shaped pearl; grotesque
c.1600-1750
counter-reformation (Isaac Newton-laws of motion of gravity)
Galileo, Kepler
called the “age of expansion”
Renaissance called the “age of discovery” |
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succeeded the Renaissance and spread over the 17th and 18th centuries (text dates the period as 1600-1750) with the High Period in the years 1630-80. Term means absurd or grotesque and was coined by critics at a later period. (borroco). Began in Rome consistent with the counter-Reformation of the Catholic church.
(Additional)Characteristics:
Acts on the emotions of the spectator; i.e. inviting the viewer to participate in the agonies and ecstasies of the saints.
A blend of illusionism, light and color, and movement…calculated to overwhelm the spectator by a direct emotional appeal |
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_______was one of the wealthiest countries in Europe at this time
The influx of riches from the New World
The court was lavish in its support of foreign artists, but especially its native talent |
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*remained Catholic
*continued painting religious and mythological scenes |
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| Flanders (present day Belgium) |
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turned to secular artistic themes
The Protestant mandate that humans not create “false idols” in any form of art
Landscapes, still lifes, and genre paintings were desired by all |
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*During Baroque period, _______ began to replace Rome as
the center of the art world
*King Louis 14th preferred Classicism…formed academies that perpetuated this style |
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| *different flavor…not dominated by absolute monarchy (like in France…limited monarchy with Parliament)
*Home to a variety of religious groups |
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David by Bernini
1623
Baroque
Fig. 5.27 |
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Figure 6.8, p.139: CARAVAGGIO. The Conversion of St. Paul (1600–1601). Oil on canvas. 90” x 69”.
mid action
dramatic point in the scene
tenebrism-dark to light, highlighting shadow, very little modeling, dark background, light foreground
invited into the seen as the viewer |
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Figure 6.7, p.138: GIANLORENZO BERNINI. The Ecstasy of St. Theresa (1645–1652). Marble.
Height of group: approx. 11’6”. Cornaro Chapel, Santa Maria della Vittoria, Rome
*in original location
angel piercing the side of St. Theresa, painful but still gave here pleasure because she got to see more of the intimacy of God
emotion in her face
caught the angel in the act of piercing her |
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| Figure 6.11, p.141: BACICCIO. Triumph of the Sacred Name of Jesus (1676–1679). Ceiling fresco. Il Gesu, Rome-Italy |
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Las Meninas
Velazquez
1659 (17th century)
Baroque |
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The Rape of the Daughters
Of Leucippus Peter Paul Rubens
1617 fig. 6-17
painterliness-openness of form |
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| Figure 6.18, p.147: REMBRANDT VAN RIJN. Self-Portrait (1652). Oil on canvas. 45” x 32”. |
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Figure 6.19, p.148: REMBRANDT VAN RIJN. Syndics of the Drapers’ Guild (1661–1662). Oil on canvas.
72 7⁄8” x 107 1⁄8”. |
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| Figure 6.20, p.149: JAN VERMEER. Young Woman with a Water Jug (c. 1665). Oil on canvas. 18” x 16”. |
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The Rape of the Sabine Women. Nicolas Poussin. C. 1636-37
Fig. 6-21 |
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New St. Paul’s Cathedral
London, England
Sir Christopher Wren (1675-1710) |
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