Art Renaissance to modern
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Thirty Year War: 1618-1648 treaty Westphalia: 1648: The Dutch root; Catholic v. Protestants Republic separates from Spanish control, freedom of religious choice heightened mercantilism, economic competition triangular trade starts 1648, no more united Christian Europe
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NOrthern Europe 1600-1700 conditions
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southern provinces under Spanish control, included Brussels and Antwerp, Rubens is one of the artist that had Baroque art close ties to Catholic Europe Dutch Republic had Amsterdam (Rembrandt), Dutch school developed their own methods of painting
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Dutch Republic v. Flanders
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worked with Flanders (Spanish control after 1648) Baroque, Catholic Europe inspired, drew together Italian Renaissance and Baroque masters to formulate Pan-European style -Combined Carvacci, Carvaggio etc.
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Rubens
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• The Dutch succeeded in securing their independence from the Spanish in the Late 16th century, not until 1648 did the have official religious freedom from the Spanish and were they recognized as the Spanish Republic • Bank of Amsterdam is founded in 1609, becomes the center of economic prosperity • Political power consistently passed in the hands of urban class patrician of merchants and manufacturers good for the economy • Holland is where all these major cities were located, historian use the name Holland even though it was just a province
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Dutch Republic
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major founder of the Dutch school, different from Spanish Catholic Baroque which celebrated relgion etc. moved to Amsterdam, where there was a lot of wealthy people, Holland/Dutch Republic
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Rembrandt
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-Rembrandt's use of light is the hallmark of his style, he refined light and shade into finer and finer nuances until they all blended together -Earlier painter's use an abrupt chiaroscuro of lights and dark -this technique is closer to reality with the changing of light over the surface as the eyes perceive lgiht and dark not as static but as always subtly changing -Renaissance had more neutral modeling of light, they presented an idea of light, while Rembrandt shows how light always is changing to the ye, the real look of it -light allowed him to display small nuances in behavior or mood based on his study o flight o Artists such as Rembrandt discovered degrees of light and dark, degrees of differences in poses, in the movements of facial features, and in psychic states o Rembrandt found that by manipulating the direction, intensity, distance and surface texture of light and shadow, he could render the most subtle nuances in character and mood o Light and shade, subtly modulated, canr ender new spectrum of emotions
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Rembrandt's Light
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camera obsucre, when composition is viewed through the lens, it casts a subdued light over the subject -very interested in natural light, subtle modualtions of color to produce natural depiciton of light changing before the yes -painterly technique takes on pearly veneer
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Jan Vermeer tools
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• His virtuosity of painting young women is seen here • He is the treasure of the more realist Durch Baroque Style of Protestant reformation Art (less opulent than Rubens) • The compsiition is simple, the subject is only a simple head of a girl looking over her shoulder at the viewer • No hint of setting is provided, other than its atmospherical dark tone • The direct contact between subject and spectator, and the slightly parted position of her lips, present a sense of intimacy • Contrasts: simple brownish-yellow top next to bright white collar • The blue yellow turban, gives an exotic effect • Turbans were common accessory in 15th century (Man with Red turban Jan Van Eyck) • The enomrmous pearl earing, women should protect their ears from unclean words, that they should only hear chaste word- the "oriental pearls of the gospel" • Definitely used the camera obscure, direct transcripton of light and dark from the tool • Beautifully serene sense of balance and intimacy, typical of Jan Vermeer
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Dutch Baroque Landscapes
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vanitas paintings were popular in baroque art, showed the transient nature of earthly pursuits and the meaninglessness of life on earth, importance of spirtuality -associated with things that suggest brevity of life, watch, bringing in time, peach, lemon peel
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vanitas
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French Baroque: Poussin, majestic, glory of Louis XIV, supreme, classicism, large painting attitude changes after Louis XIV dies in 1715, they realize this elitist structutre does not work, the aristocrats move back into the city where they develop lighter softer style than the majestic glorified nature of French Baroque Rococo: JH Fragonard, Watteay, much more delicate and lighter in both color and form, the artists present their subejct matters like light gliding dancers -Louis XIV dominated the grand subject matters in French Baroque, but after his death in 1715, ROcoco reflected a wider content of aritocracy in whihc private patrons dictated taste
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Difference between French Baroque and and French Rococo
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A truly English style of painting developed from William Hogarthe (1697-1764), who satirized the lifestyle of the newly prosperous middle class with comic zest His own paintings owed much of its thanks to the French Rococo artistis (Watteau and JH Fragonard) William Hogarth Marriage a la Mode
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William Hogarth
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Enlightenment (18th century) new way of thinking critically about the world, independent of religion, myth, tradition Reliance on empirical evidence Scientific method is important Benjamin Franklin (1706-1790) Thomas Jefferson (1743-1826) Isaac Newton and John Locke were also important, Newton insited on empirical proof of theories, this extended to political theories, promoting rationally organized societies Locke's doctrine of empiricism, says knowledge comes to people through their sense of perception of the material world Locke described that government was meant to protect the laws of Nature, life, liberty and property When government abuses these rights, the citizens have the natural right to revolution Locke's ideas empower people to take control of their destinies
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Enlightenment art 18th century
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• Defining characteristic of the 18th century was a renewed admiration for classical antiquity, which the Grand Tour was instrumental in refueling (wealthy custom of traveling aristocrats) • Neoclassicism incorporated the subjects and styles of ancient art • The Enlightenment's emphasis on rationality explains the classical focus because in classicism there is a geometric harmony that embodies Enlightenment ideals • Classical cultures also represented the pinnacle of civilized society, • Greek and Roman cultures had traditions of liberty, civic virtue, morality, and sacrifice, ideal models during the political upheavel in 18th century • Neoclassicism therefore makes sense during the French and American Revolutions • The excavations of Herculaneum (which begain in 1738) and Pompeii (1748) also played a major role in this
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Neoclassicism
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• The Enlightenment idea of participatory and knowledgeable citizenry lay behind the revolt of the French Monarchy in 1789, but the immediate causes of the French Revolution were the country's economic crisis and the clash between the Third Estate and the First and Second Estate (the clergy, nobility) • JL David became the Neoclassical painter-Ideologist of the French Revolution • He first followed the ideas of Rococo but quickly shifted after a period of studying In Rome which won the young man over to the classical art tradition • He believed Rococo to have artificial taste while he exalted the perfect Greek forms
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J.L. David
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Neoclassical rationality, harmonized, idealized form, cultural superiority, morality all enforced Enlightenment though Rousseau on the other hand, emphasized romanticism "Man if born free, but everywhere he is in chains." summarized Romantic Premise -Romanticism: desire for freedom, freedom of thought the imagination -shift from reason to feeling -from careful calculation to intuition, from objective nature to subjective
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Romanticism
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Ingres, AJ Gros, Fuseli the imaginative and the irrational took over the Neoclassical focus on reason Romantic becomes dominant style for first half of 19th century Francisco Goya in Spain Gericault, Delacroix in FRance, explored the exotic, erotic and fantasies
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roots of Romanticism
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along with Delacroix, became most associated with the Romantic movement in France, -more drama, emotional force, movement, painterly aspects -less calculation -emotionally complex -exotic, ficitonal narratives -Delacroix, often references to Romantic allegories
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Theodore Gericault
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-Western history, momentous development with the industrial revolution in ENgland -terrible effect on the English countryside -detrimental economic impacts, agricultural families etc., displaced farmers -John Constable, Turner, Friedrich -romantic idea of unifying the human being with nature -focus on color ratehr than line, painterly movements -poetic allegories
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Romantic landscape painting in England
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John Constable The Haywain, 1821, Romantic Landscape • Momentous development in Western History- the Industrial Revolution- influenced the evolution of Romantic landscape patinign in England • Although industrial revolution invariably discusses technological advances, factory development etc. urban growth • Its effect on the countryside and the land was severe • The detrimental eoconomic impact industrialization had on the prices for agricultural products produced unrest in English countryside • Increasing numbers of displaced farmers could not longer afford to farm their small land plots • John Constable addressed the agrarian situation in his landscape paintings • Small cottage sits on the left of his placid, picturesque scene of the countryside and in the center foreground a man elads a horse and wagon along a stream • Muted greens and golds and the delicacy of Constable's brush strokes augment the scene's tranquility • Portrayed the oneness with nature that Romantic poets sought • Relaxed figures are not observers but participant's in the landscape's being • Significant for what it does not show: the civil unrest of the agrarian working class and the outbreaks of violence and arson that resulted due to the increased agricultural prices from the Industrial revolution • The people blend in are one with nature/landscape (Romatic poetry) • Nostalgic view of the ending rural pastoralism • "painting is but another word for feeling," very Romantic comment • **Romantic paitners and pets often used landscapes as allegories, artists used landscapes to comment on political, moral, spiritual , philosophical things • Romantic idea of sould reunifying with nature
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Romantic landscape artist also who would comment on the encroaching and detrimental aspects of the industrial revolution -desire to return to a oneness with nature
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JW Turner
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-Realism did not appeal to all artists in England, did not want to limit themselves to the objective contemporary scenes -realism, reaction against romanticism, celebrating technology, contemporary clothes etc .
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pre-raphaelite brotherhood
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-movement developed in FRance against the backdrop of advancement of science and technology -industrial technology enforced rationalism of ENlightenment, but not to go back to clacissism -empirical nature and society -realists focused their attention on contemporary every day subjects, they disapproved of subjective nature of romanticism, wanted to show sighs of contemporary life, frozen in moment -did not like theatrical nature of other movemnts
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Realism
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record modern people in modern context
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realist belief
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-reaction to urbanized Paris, brutal and chaotic changes occuring in the later half of the 19th century to the Parisian lifestyle -the rapidity and changing politicas made things unstable, no longer an represent a fixed moment like in realism -Impressionism works to present the "fleeting moment" not an absolutely fixed, precise sense of a Realist painting, where the presented a sense of impermanence, this is modern this is now -impressionism evoked movement
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Impressionism
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took Monet's interest in modenrized Paris and "fleeting time" but focused on the new leisure activites that industrialization allowed • Another facet of the new industrialized Paris that drew the Impressionists' attention was the leisure activities of its inhabitant • Scenes of dining, dancing, the café-concert, the opera the ballet and other forms of urban recreation • A reaction against the brutal chaotic transformation or urban paris, modernism: presenting time as it is now • With the advent of set working hours, people's schedules became more regimented, allowing them to plan their favorite pastimes • Le Moulin de la Galette depictsthrongs of people gathered in a popular Parisian dance hall • Some rowd around, others dance energetically • Renoir dapples the whole scene with sunlight and shade, artfully blurred into the figures to produce the effects of floating and fleeting light that the impressioniss cultivated • Unposed placement of the figures suggest a continuity of space, spreading in all directions, not limited by the frame, positioning the viewer as a participant not an outsider • Classical art tried to express universal and timeless qualities, impressionism tried to depict the opposite the incidental, momentary passing aspects of reality, in reacting to the chaotic transformation of urban Paris
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Renoir
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Manet, Bar at the Folies-Bergere, 1882
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• In the painting set in a Parisian café, Manet called attention to the canvas surface by creating spatial inconsistencies, such as the relationship between the barmaid and her apparent reflection in a mirror • Manet's career bridged Realism and Impressionism • The FOlies-Bergere was a popular café with music-hall performance, one of the fashionable fathering places for Parisian socialites the Impressionists often frequented • Barmaid, centrally placed, looks out from the canvas but seems lost in thought, divorced fro her patrons as well as from the viewer • Manet blurred and roughly applies brush strokes, particularly in the background • Visual discrepancies emegere, calls attention to the pictorial structure of the painting • Modernist interest in examining the basic premises of the medium
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By 1886, Impressionists were accepted as real artists -artists began a desire to be even mroe subjective while fousing on the medium in itself, expressive qualities of line, patter, form and color -not just objective repressentations amymore -art becomes more and more subejctive
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Post-Impressionism
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• marked contrast to Seurat, Van Gogh (1853-1890) explored the capabilities of colors and distorted forms to express his emotions as he confronted nature • he was the son of a Dutch Protestant pastor, he did missionary work in the coal-mining area of Belgium • repeated progessional and personal failures brought him close to despair
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Van Gogh
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-more analystical approach to painting, wanted to study geometric forms, color -he wanted to achieve perspective, not through lina=ear perspective like Poussin, but through variations of color and light, warmer colors advance while cooler colors recede -transient affects of shifting color
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Cezanne
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interest in primitive culture, purity, flatness, arbitrary uses of color, large areas of unmodulated color
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Gaugin
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art becomes more and more subjection, more of an emotional dimension, an interpretation of the imperical world
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1900-1920
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one of the first movmements to tap into the pervasive desire for expression -intense color juxtapositions and emotional resonsance -Building legacy vfrom Van Gogh and Gaugin, liberating color from decscriptive function, using for both expressive and artistic means -bold colors, large areas of unmodulated color
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Fauvism
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• The expressionist's departure from any strict adherence to illusionism an art was a path many other artists followed, challenging traditional artistic concntions and moved aggressively towards abstraction • Ever since the Renaissance, artists painted pictures from a single fixed point of view, the illusion of depth was created using atmospheric and linear perspective, Picasso, Braque, starting even with the expressionist no longer looked to convey this image • Looked at more from a multiplicity of viewpoints, not as much interest in color as the fauvist, they are studying form alone • Object is resembled in fragments, overlapping flat surface • More of subjective response • Often used flat, three-dimension surfaces • They sought to depict the intellectual idea of form of an object • African art and primitive art were large influences
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cubism
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• Early 20th century movement, pursued many of the dieas that the Cubists explored, equally important was the socio-political agenda • Also came from the angry response to the economic and poltical decline of Italy at this time, they had particular interest in the speed and dynamism of modern technology • Marinetti, for example, insisted that a racing "automobile adorned with great pipes like serpents with explosive breath.. is more beautiful than the Victory of Samothrace." • Futurist focused on the motion in time and space, incorporating the Cubist discovering derived from the analysis of form
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Futurism
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-reaction against Worl War II, did not want to celebrate technology like Futurist (boccioni, balla) -believed humanity needed a new art • Dada emerged in reaction to what artists thought was a collective homicide • Dada was more of a mindset than an identifiable style, reaction against humanity • Andre Breton, the founder of the surrealist movement said, "cubism was a school for painting, futurism a political movement: DADA is a state of mind." • Believed reason and rationality caused the war, so the only way to escape this mindset was through elements of the absurd, irrational etc.
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Dada
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"cubism was a school for painting, futurism a political movement: DADA is a state of mind."
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Andre Breton
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• Dada emerged as a reaction against World War I and the futurists (political movement) cubist (school of painting) and Dada irrationality mocking it all • By 1924, everyone joined the surrealists • Dadaist's improvisational techniques were taken along with the surrealists • The surrealists sought to explore internal psychology and the realm of fantasy/ unconscious • Inspred by Sigmund Freud and Carl Jung, had special interest in the nature of dreams • They believed dreams as occurring at the level connecting all hman consciousness and an area that people could move beyond the restrictions and cultural restraints of society • The Surrealists wanted to combine the aspects of outer and inner reality
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surrealism
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• In the 1940s the center of Western art shifts from Paris to New York because of the devastation of WWII that inflicted in Europe • Americans took on energy of Cubism and Dada and Surrealism, • Formalism: an emphasis on an artowrk's visual elements rather than its painting • Greenberg wanted to develop an art that avoided any external references, an art for itself, rejecting illusionism completely • Greenbergian formalism changed, purity in art • "Purity in art consists in the acceptance, willing acceptance, of the limitations of the medium of the specific ar" • painting should celebrate flatness because that's what painting is • The Abstract Expressionists turned inward for psychological introspection but no illusionism like in surrealism, instead they would convey through the spontaneity, and allowing chance to take part of the work as Ar did
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Abstract Expressionism
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• Abstract expressionism, Post-painterly Abstraction, and Minimalism all adopted an artistic vocabulary of abstraction • Other artists thought that the insular and introspective qualtities of the avant-garde alienated the public, they south to harness a more communicative power of art to talk to their audience and not alienate them • Their focus was not on modernist issues like that of Greenberg (pure art) and Rosenberg (bluring line between art and non art) • Pop artists reintroduced all of the tools traditionally used to convey meaning in art, such as signs symbols, metaphors, allysions, illusions and figural imagery • They embraced representation to the next level by producing an art grounded on consumer culture and the mass media making it more accessible to the average person • Popular mass culture and familiar imagery of th econtemporary urban environment
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PopARt
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Versailles; 1660-1685, Louis LeVau, Jules Hardouin_Mansart, Andre LeNotre (gardens), Charles Le Brun (decoration), Verailles, France, Baroque architecture
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****ing Versailees
