Transcript Slide 1

European
Art History
Review
Classical (500 BC – 500 AD)
Left: Roman copy of Myron’s Diskobolos, marble sculpture
Above: Pantheon, Rome, ca. 120 AD
Classical (500 BC – 500 AD)
• sculpture, pottery, murals, mosaics
• subjects: gods, goddesses, important leaders,
everyday ppl.
• idealized figures
• nudity, togas
• active bodies, emotionless faces
• no perspective
• architecture: columns, arches, domes
Medieval (500 – 1400 AD)
Left: Cimabue, Madonna and Child in Majesty, tempera
paint on wooden panel, c. 1280
Above: Narthex Tympanum, sculpture, 1120
Medieval (500 – 1400 AD)
• stained-glass windows, sculptures, illuminated
manuscripts, paintings, tapestries
• subject: Christianity
• fully clothed
• bright colors, gilding
• 2-dimensional, flat, stiff
• emotionless, no individualization
Medieval (500 – 1400 AD)
GOTHIC ARCHITECTURE
Above: Salisbury Cathedral,
England, 1220-1320
Above: Notre Dame Cathedral, Paris, 1163-1345
Renaissance (1400 – 1650)
Below: The High Renaissance: Leonardo da
Vinci’s Last Supper, fresco, 1498
Above: Breaking ground: Giotto’s Last
Supper, fresco, 1304-1306
Renaissance (1400 – 1650)
Raphael, School of Athens, fresco, 1510
Leonardo, Lady with an Ermine, oil
on wood, 1483-1490
Renaissance (1400 – 1650)
Left: Donatello’s David, bronze
sculpture, 5.2 feet tall, ca.
1444-1446
Right: Michelangelo’s David,
marble sculpture, 13.5 feet
tall, ca. 1504
Renaissance (1400 – 1650)
Bramante, Tempietto, San Pietro in
Montorio, Rome, 1508
Northern Renaissance
Jan Van Eyck, The Betrothal of the
Arnolfini, OIL on wood, 1434
Dürer, St. Anne with the Virgin and Child,
oil and tempura on canvas, 1519
Renaissance (1400 – 1650)
•
•
•
•
•
•
•
painting, sculpture
classical revival
Christian + secular themes
portraiture
perspective
scientific naturalism (ex. drawing studies)
natural light
Baroque (17th c.)
Above: Bernini, Ecstasy of St. Teresa, marble
sculpture, Rome, 1647-52
Right: Rubens, Virgin and Child Enthroned with
Saints, sketch for a large altar painting, ca. 1627-28
Baroque (17th c.)
•
•
•
•
religious
emotional
dynamic movement
Product of Catholic Reformation & CounterReformation … rekindle faith
• propaganda – for CC and secular patrons (ex.
Louis XIV)
French classicism (late 17th c.)
Poussin, The Rape of the Sabine Women, oil on canvas, 1633-1634
French classicism (late 17th c.)
• official style of Louis XIV’s courtw
• subject/style: Greco-Roman / Renaissance
• discipline, balance, restraint
Rococo (18th c.)
Above: Fragonard, The Swing, oil on canvas,
1766
Right: Fragonard, The Progress of Love: The
Pursuit, oil on canvas, 1773
Rococo (18th c.)
Left: Basilica at Ottobeuren, Bavaria
Above: Meissonnier, design for a table,
Paris, ca. 1730
Rococo (18th c.)
• French … reaction against the much heavier
French classicism
• subjects: ornate interiors, sentimental
portraits, starry-eyed lovers protected by
hovering cupids
• soft pastels
• decorative arts … used in urban townhouses,
Enlightenment salons
Neoclassicism (1750-1850)
David, The Death of Socrates, oil on canvas, 1787
Neoclassicism (1750-1850)
David, The Lictors Bring to Brutus the Bodies of His Sons, oil on canvas, 1789
Neoclassicism (1750-1850)
•
•
•
•
Enlightenment era: order, reason, discipline
“new” classical (Greco-Roman themes & style)
smooth brushstrokes
spotlight lighting
Romanticism (1800-1850s)
Below: Joseph M.W. Turner,
Shipwreck, oil on canvas, 1805
Above: Caspar David Friedrich,
Moonrise over the Sea, oil on
canvas, 1821
Romanticism (1800-1850s)
Delacroix, Liberty Leading the People, oil on canvas, 1830
Romanticism (1800-1850s)
• Reaction against Enlightenment: emotional
• nature
– nature as peaceful or powerful
– huge skies
– man dwarfed by nature
– romanticizes the rural life (anti-IR)
• soft, muted colors, natural light
• other subjects: the macabre, the Gothic,
nationalism, heroes, family life, religion
Realism (1830s-1900)
Above: Millet, The Gleaners, oil on
canvas, 1857
Right: Kollwitz, The March of the
Weavers, etching, 1897
Realism (1830s-1900)
• IR-era
• hardships of daily life
• natural lighting
Impressionism (1870s-1880s)
Monet, Bathing at La Grenouillere, oil on canvas, 1869
Impressionism (1870s-1880s)
Renoir, Le Moulin de la Galette, oil on canvas, 1876
Pissarro, Boulevard Montmarte – at various times
of day and in various types of weather, 1897
Impressionism (1870s-1880s)
• France
• study of light – capture impression of
light
• very obvious brushstrokes
• modern painting grew out of a revolt
against French impressionism
Post-Impressionism & Expressionism
(late 19th – early 20th c.)
Van Gogh in 1889
Above: Van Gogh's Room at Arles
Right: Wheat Fields and Cypress
Post-Impressionism & Expressionism
(late 19th – early 20th c.)
Gaugin
Above: Tahitian Women OR On the Beach, 1891
Right: Self-Portrait with Halo, 1889
Post-Impressionism & Expressionism
(late 19th – early 20th c.)
Cezanne, Mont Sainte-Victoire, paintings from late 1890s-early 1900s
Matisse, Portrait of Andre Derain, 1905
Matisse, The Jazz Series (cutouts), 1943-1944
Post-Impressionism & Expressionism
(late 19th – early 20th c.)
• followed the Impressionists and to some
extent rejected their ideas. They:
– considered Impressionism too naturalistic
– sought to explore emotion in painting
• Artists include: van Gogh, Gauguin, Cezanne,
Seurat, Signac, and Toulouse-Lautrec
Cubism: Works by Picasso
Self-Portrait with Palette, 1906
Guitar and Violin, ca. 1912
Cubism
• Compositions of shapes and forms
“abstracted” from the conventionally
perceived world
• Picasso
More Expressionism – Extreme Abstraction
Kandinsky:
Left: Improvisation 7, 1910
Above: Black and Violet, 1923
More Expressionism – Extreme Abstraction
Kandinsky, Composition X, 1939
More Expressionism – Extreme Abstraction
• elimination of representational elements
• Kandinsky saw abstractions as evolving
blueprints for a more enlightened and
liberated society emphasizing spirituality
• Kandinsky & German Expressionist group, Der
Blaue Reiter (The Blue Rider)
Dada (1916-1922)
Duchamp, L.H.O.O.Q.
(Mona Lisa with
Moustache), 1919
Dada (1916-1922)
• attacked all accepted standards of art and
behavior … really anti-art
• “Dada” = “hobbyhorse” (nonsensical)
• turned into Surrealism, which is an actual art
movement
Surrealism (1920s forward)
Joan Miró, Singing Fish
Surrealism (1920s forward)
Dali, The Persistence of Memory, 1931
Surrealism (1920s forward)
Dali, Lighted Giraffes, 1936-1937
Surrealism (1920s forward)
Magritte, L’art de vivre, 1967
Surrealism (1920s forward)
• By 1924, most Dada artists joined the Surrealist
movement
• expresses the world of dreams and the unconscious;
wanted to bring outer and inner “reality” into single
position
• inspired by psychologists Freud and Jung
• 2 groups:
– Biomorphic – abstract forms that suggest natural forms
– Naturalistic – recognizable scenes metamorphosed into
dream image