Transcript Rococo – 18 century

Rococo – 18th century
• Often considered the last stage of the Baroque.
• Derived from the French word, rocaille, or “rock-work.”
• The ‘softer side’ of the Baroque [or a reaction against it]. A
backlash to the darkness of the Baroque  less formal &
grandiose.
• The Rococo palette, softer and paler [pastels] than the rich
primary colors and dark tonalities of the Baroque style.
• Begun as a French style of interior decoration begun following
Louis XIV’s death.
• French power and fashion centered around the court of the
Regent, Philippe d’Orleáns at the Palais-Royal in Paris.
• Elegant and ornately decorative, mood lighthearted and witty.
• Gave way to Neo-classicism.
1. Fantasy & Wistful Nostalgia
An emphasis on ultra beauty
and nature.
Classical gods and goddesses.
“Winter” by
Etienne-Maurice
Falconet, 1771
“The Triumph
of Venus”
François Boucher,
1740
2. Love, Romance, & Eroticism
[about Boucher] His
canvases often
seem to consist of
little beyond
mounds of pink
flesh…
“The Toilet of Venus”
by François Boucher,
1751
“The Stolen Kiss”
Jean Honoré Fragonard, 1787-1788
Also, “The Swing”
3. Domestic & Family
Life
Portrays the carefree life
of the upper class.
The Galante style.
Informal, decorous
intimacy of peoples’
manners.
The Basilica at Ottobeueren, Bavaria
Neo-Classicism:
mid-late 18th and 19th century
• use of ancient Greek and Roman models and
motifs
• development was greatly influenced by the
excavations at Pompeii and Herculaneum
• closely linked to the Enlightenment's rejection
of the aristocratic frivolity of Rococo, the style of
the Ancien Régime.
• More than just an antique revival  a reaction
against the surviving Baroque & Rococo styles.
Overview of Neo-Classicism
Revolutions established republics in France and in America. [NeoClassicism was adapted as the official art style].
Association with the democracy of Greece and the republicanism
of Rome.
Napoleon  used the style for propaganda.
Return to the perceived “purity” of the arts of Rome.
Model the “ideal” of the ancient Greek arts and, to a lesser,
extent, 16c Renaissance classicism.
A conviction that there is a permanent, universal way things are
(and should be), which obviously entails fundamental
political and ethical commitments.
The “Federal Style” in America
Monticello, VA
U. S. Capitol
“The Death of Socrates”
Jacques-Louis David, 1787
The death of Socrates was a symbol of republican virtue.
“The Consecration of Napoleon & Josephine”
Jacques-Louis David, 1805-1807
A very different theme:
The celebration of worldly splendor and power.
“The Apotheosis of Homer”
Jean-Auguste-Dominique Ingres, 1827
This assembly of great artists and writers of all ages gathered to honor the
ancient Greek poet before a classical temple.
“Romulus—Victory over Acron”
Jean-Auguste-Dominique Ingres, 1812
Painted for Napoleon’s palace in Rome.
Neo-Classical Sculpture
Profoundly influenced by ancient art since the Renaissance.
Neo-Classical sculptors avoided the dramatic twisting poses
and colored marble surfaces characteristic of late
Baroque and Rococo sculpture.
They preferred crisp contours, a noble stillness idealized in
pure white marble forms.
Romanticism 19th century
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The Artistic expression of “Liberalism”
Early support of the French Revolution.
Rise of the individual  alienation.
Dehumanization of industrialization.
Harkening back to the simplicity of rural life.
Expressions of emerging force of nationalism
Began in the 1790s and peaked in the 1820s.
Mostly in Northern Europe, especially in Britain and
Germany.
• A reaction against classicism.
AP MC Question
Wandering
Above the Sea
of Fog
Caspar David
Friedrich,
1818
The Dreamer
Gaspar David Friedrich, 1835
The Slave Ship
Joseph Mallord William Turner, 1842
Flatford Mill – John Constable, 1817
Liberty Leading the People
Eugène Delacroix, 1830
Realism – Mid 19th century
• The accurate and apparently objective description of
the ordinary, observable world
• the truthful and accurate depiction of the models that
nature and contemporary life offer Subjects are
depicted in as straightforward a manner as possible
• Ordinary people and everyday activities are worthy
subjects for art
• A reaction to the idealized excesses of Romanticism
and Neoclassicism.
• A guiding influence on the philosophy of the
Impressionists
The Gleaners, Jean-François Millet, 1857
The Winnowers, Gustave Courbet,, 1853
The Stonebreakers, Gustave Courbet
Impressionism – mid-late 19th century
• Impressionist style probably the single most successful
and identifiable "movement“ in European Art history
• The movement's name was derived from Monet's early
work, Impression: Sunrise and critics who felt works
were unfinished sketches or impressions
• Challenge and response to the emerging art of
Photography
• The focus on subjectivity intensified
• Artists became more concerned with the individual
expression.
• Reality became what the individual saw.
• With Impressionism the subjectivity of modem art was
born.
As an extension of Realism
• Impressionists remained realists in the sense
that they remained true to their sensations of
the object
• Realism meant to an Impressionist that the
painter ought to record the most subtle
sensations of reflected light.
• Concern for realistically representing an object
faded, while concern for representing the
subjective grew.
As a reaction / rejection
• Critics and the public agreed the Impressionists
couldn’t draw and their colors were considered vulgar.
Their compositions were strange. Their short, slapdash
brushstrokes made their paintings practically illegible.
Why didn’t these artists take the time to finish their
canvases, viewers wondered?
• Rejected by the Salon, the annual French statesponsored exhibition that offered the only real
opportunity for artists to display and sell their work,
they created an independent exhibition, mounted in
what was formerly a photographer’s studio
Leading figures
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Claude Monet
August Renoir
Edgar Degas
Berthe Morisot
Mary Cassatt
Gustave Caillebotte
Edouard Manet
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Paul Cézanne
Camille Pissarro
Pierre-Auguste Renoir
Paul Gauguin
Childe Hassam
Georges Seurat
Haystacks at Chailly at Sunrise, Claude Monet 1865
Impression, Sunrise, Claude Monet, 1872
Races at Longchamp, Edouard Manet, 1867
The Railway, Edouard Manet, 1873
The Floor Scrapers, Gustave Caillebotte
The Dance Class, Edgar Degas, 1874
The Luncheon at the Boating Party, Renoir, 1881
A Sunday Afternoon on the Island of La Grande Jatte, Georges Seurat,
1884-86
Pointillism
Expressionism – late 19th – early and mid
20th century
• Art which distorts reality through exaggeration
for emotional effect / impact
• Later, the movement stood out against fascism
and this, together with its so called
'degenerate' qualities led to the persecution
of many Expressionist artists by Nazis
Roots and Tree Trunk, Van Gogh, 1890
The Starry Night, Van Gogh, 1889
The Scream, Edvard Munch,1893
Expressionism
 Using bright colors to
express a particular
emotion.
Cubism – Early 20th century
• Key concept underlying Cubism is that the
essence of an object can only be captured by
showing it from multiple points of view
simultaneously
• Subject matter portrayed by geometric forms
without realistic detail, stressing the abstract.
• The artist should treat nature in terms of the
cylinder, the sphere, and the cone.
• The subject matter is broken down, analyzed,
and reassembled in abstract form.
Nude
Descending a
Staircase,
Marcel
Duchamp, 1912
Studio with Plaster Head, Picasso, 1925
Violin &
Candlestick,
Georges Braque,
1910
Surrealism
• Late 1920s-1940s.
• Came from the nihilistic genre of DaDa.
• Influenced by Freud’s theories on
psychoanalysis and the subconscious.
• Confusing & startling images like those in
dreams.
Soft Construction with Boiled Beans (Premonition of Civil
War), Salvador Dali, 1936
The Persistence of Memory,
Dali, 1931
Salvador
Geopoliticus Child Watching the Birth of a
New Man, Salvador Dali, 1943
Abstract Impressionism
• First American art movement to gain worldwide influence
• Put NY as center of art world
• Characterized by spontaneity, emotion,
bold colors; often on large canvas
• Came out of surrealism
• Major Artists– Jackson Pollock
– ‘drip painting’  stand on canvas and paint around
– William De Kooning
Pollock,‘No. 5’
Pollock,‘Lavender Mist’
De Kooning, ‘Woman V’
Pop Art
• Subject matter based on visual clichés and the
impersonal style of mass-media imagery.
• Often aimed at broad audiences
• Sometimes uses ‘mechanical’ means of
reproduction
• Andy Warhol and Claus Oldenburg
• Last ‘modern’ art before post-modern art
Warhol, ‘Campbell’s Soup Cans
Warhol, ‘Turquoise Marilyn’
Oldenburg