Transcript Impressionism

Impressionism
Art History Timeline
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RENAISSANCE 1400 - 1800 AD (CE)
Renaissance: Italy 1400 - 1600 AD
Renaissance: Europe 1500 - 1600 AD
Baroque 1600 - 1700 AD
Rococo 1700 - 1750 AD
PRE-MODERN 1800 - 1880 AD (CE)
Neo-Classicism 1750 - 1880 AD
Romanticism 1800 - 1880 AD
Realism 1830's - 1850's AD
Impressionism 1870's - 1890's AD
MODERNISM 1880 - 1945 AD (CE)
Post Impressionism 1880 - 1900 AD
Expressionism 1900 - 1920 AD
Italian Renaissance (1400-1600)
• In the arts and sciences as well as society and
government, Italy was the major catalyst for progress
during the Renaissance: the rich period of development
that occurred in Europe at the end of the Middle Ages.
Because of the number of different fields in which it
applied, ``Renaissance'' is a word with many layers of
meaning. Accordingly, Renaissance painting cannot
signify any one common or clearly definable style. As
Gothic paintinghad been shaped by the feudal societies
of the Middle Ages, with its roots in the Romanesque and
Byzantine traditions, Renaissance art was born out of a
new, rapidly evolving civilization. It marked the point of
departure from the medieval to the modern world and, as
such, laid the foundations for modern Western values
and society.
Boticelli
Leonardo da Vinci – The Last Supper
Titian
Titian – Sacred and Profane Love, 1513
Renaissance art of the Low
Countries
• Renaissance artists painted a wide variety of
themes. Religious altarpieces, fresco cycles, and
small works for private devotion were very
popular. The rebirth of classical antiquity and
Renaissance humanism also resulted in many
Mythological and history paintings. Ovidian
stories, for example, were very popular.
Decorative ornament, often used in painted
architectural elements, was especially
influenced by classical Roman motifs.
Jan van Eyck –Ghent Altarpiece
(1432)
The Garden of Earthly Delights by
Hieronymus Bosch
French Renaissance
Portrait of Charles VII of France by Jean
Fouquet
Diane de Poitiers by François
Clouet (1571)
Baroque
• Baroque period, era in the history of the Western arts
roughly coinciding with the 17th century. Its earliest
manifestations, which occurred in Italy, date from the
latter decades of the 16th century, while in some regions,
notably Germany and colonial South America, certain of
its culminating achievements did not occur until the 18th
century. The work that distinguishes the Baroque period
is stylistically complex, even contradictory. In general,
however, the desire to evoke emotional states by
appealing to the senses, often in dramatic ways,
underlies its manifestations. Some of the qualities most
frequently associated with the Baroque are grandeur,
sensuous richness, drama, vitality, movement, tension,
emotional exuberance, and a tendency to blur
distinctions between the various arts.
The Adoration of the Magi, a 1624 oil-oncanvas painting by Peter Paul Reubens
Federico Barocci, Aeneas' Flight
from Troy, 1598
Rococo
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KEY DATES: 1700sThroughout the 18th century in France, a new wealthy and influential middleclass was beginning to rise, even though the royalty and nobility continued to be patrons of the
arts. Upon the death of Louis XIV and the abandonment of Versailles, the Paris high society
became the purveyors of style. This style, primarily used in interior decoration, came to be called
Rococo. The term Rococo was derived from the French word "rocaille", which means pebbles and
refers to the stones and shells use to decorate the interiors of caves. Therefore, shell forms
became the principal motif in Rococo. The society women competed for the best and most
elaborate decorations for their houses. Hence the Rococo style was highly dominated by the
feminine taste and influence. Francois Boucher was the 18th century painter and engraver whose
works are regarded as the perfect expression of French taste in the Rococo period. Trained by his
father who was a lace designer, Boucher won fame with his sensuous and light-hearted
mythological paintings and landscapes. He executed important works for both the Queen of
France and Mme. de Pompadour, Louis XV's mistress, who was considered the most powerful
woman in France at the time. Boucher was Mme. de Pompadour's favorite artist and was
commissioned by her for numerous paintings and decorations. Boucher also became the principal
designer for the royal porcelain factory and the director of the Gobelins tapestry factory. The
Vulcan Presenting Venus with Arms for Aeneas is a template for a tapestry made by this factory.
Characterized by elegant and refined yet playful subject matters, Boucher's style became the
epitome of the court of Louis XV. His style consisted of delicate colors and gentle forms painted
within a frivolous subject matter. His works typically utilized delightful and decorative designs to
illustrate graceful stories with Arcadian shepherds, goddesses and cupids playing against a pink
and blue sky. These works mirrored the frolicsome, artificial and ornamented decadence of the
French aristocracy of the time.The Rococo is sometimes considered a final phase of the Baroque
period.
The Swing (French: L'escarpolette), 1767, Jean
Honore Fragonard
Neo-classicism
• KEY DATES: 1750-1880A nineteenth
century French art style and movement
that originated as a reaction to the
Baroque. It sought to revive the ideals of
ancient Greek and Roman art. Neoclassic
artists used classical forms to express
their ideas about courage, sacrifice, and
love of country. David and Canova are
examples of neo-classicists.
Jacques Louis David Napoleon at the Saint-Bernard Pass (1801)
Death of Marat
Thomas Gainesborough
Romanticism
• KEY DATES: 1800-1880Romanticism was basically a reaction
against Neoclassicism, it is a deeply-felt style which is individualistic,
beautiful, exotic, and emotionally wrought. Although Romanticism
and Neoclassicism were philosophically opposed, they were the
dominant European styles for generations, and many artists were
affected to a greater or lesser degree by both. Artists might work in
both styles at different times or even mix the styles, creating an
intellectually Romantic work using a Neoclassical visual style, for
example.
• Great artists closely associated with Romanticism include J.M.W.
Turner, Caspar David Friedrich, John Constable, and William
Blake.In the United States, the leading Romantic movement was the
Hudson River School of dramatic landscape painting.Obvious
successors of Romanticism include the Pre-Raphaelite movement
and the Symbolists. But Impressionism, and through it almost all of
20th century art, is also firmly rooted in the Romantic tradition.
The Lady of Shallot 1888, Alfred
Lord Tennyson
Caspar David Friedrich, Wanderer above the
Sea of Fog, 1818
Realism
Realism, also known as the Realist school, was a midnineteenth century art movement and style in which
artists discarded the formulas of Neoclassicism and the
theatrical drama of Romanticism to paint familiar scenes
and events as they actually looked. Typically it involved
some sort of sociopolitical or moral message, in the
depiction of ugly or commonplace subjects. Daumier,
Millet and Courbet were realists.
Gustave Courbet -The
Stonebreakers, 1849
Jean-Francois Millet - The Gleaners 1857
• Impressionism was a 19th century art movement that
began as a loose association of Paris-based artists
whose independent exhibiyions brought them to
prominence in the 1870s and 1880s. The name of the
movement is derived from the title of a Claude Monet
work, (Impression, soleil levant), which provoked the
critic Louis Leroy to coin the term in a satiric review.
• Characteristics of Impressionist paintings include visible
brush strokes, open composition , emphasis on light in
its changing qualities (often accentuating the effects of
the passage of time), ordinary subject matter, the
inclusion of movement as a crucial element of human
perception and experience, and unusual visual angles
• Radicals in their time, early Impressionists broke
the rules of academic painting. They began by
giving colours, freely brushed, primacy over line,
drawing inspiration from the work of painters
such as Eugene Delacroix. They also took the
act of painting out of the studio and into the
modern world. Previously, still lifes and prtraits
as well as landscapes had usually been painted
indoors. The Impressionists found that they
could capture the momentary and transient
effects of sunlight by painting en plein air.
Painting realistic scenes of modern life, they
portrayed overall visual effects instead of details.
They used short "broken" brush strokes of mixed
and pure unmixed colour, not smoothly blended
or shaded, as was customary, in order to
achieve the effect of intense colour vibration.
• In an atmosphere of change as Emperor
Napoleon III rebuilt Paris and waged war, the
Académie des Beaux-Arts dominated the French
art scene in the middle of the 19th century. The
Académie was the upholder of traditional
standards for French painting, both in content
and style. Historical subjects, religious themes,
and portraits were valued (landscape and still
life were not), and the Académie preferred
carefully finished images which mirrored reality
when examined closely. Colour was somber and
conservative, and the traces of brush strokes
were suppressed, concealing the artist's
personality, emotions, and working techniques.
• The Académie held an annual, juried art show, the Salon
de Paris, and artists whose work displayed in the show
won prizes, garnered commissions, and enhanced their
prestige. The standards of the juries reflected the values
of the Académie, represented by the highly polished
works of such artists as Jean-Léon Gérôme and
Alexandre Cabanel. Some younger artists painted in a
lighter and brighter manner than painters of the
preceding generation, extending further the realism of
Gustave Courbet and the Barbizon school. They were
more interested in painting landscape and contemporary
life than in recreating scenes from history. Each year,
they submitted their art to the Salon, only to see the
juries reject their best efforts in favour of trivial works by
artists working in the approved style.
Jean-Leon Jerome
Alexandre Cabanel
A core group of young realists, Claude Monet, Pierre-Auguste
Renoir, Alfred Sisley, and Frédéric Bazille, who had studied under
Charles Gleyre, became friends and often painted together. They
soon were joined by Camille Pissarro, Paul Cézanne, and Armand
Guillaumin
In 1863, the jury rejected The Luncheon on the Grass (Le déjeuner
sur l'herbe) by Édouard Manet primarily because it depicted a nude
woman with two clothed men at a picnic. While nudes were routinely
accepted by the Salon when featured in historical and allegorical
paintings, the jury condemned Manet for placing a realistic nude in a
contemporary setting.The jury's sharply worded rejection of Manet's
painting, as well as the unusually large number of rejected works
that year, set off a firestorm among French artists. Manet was
admired by Monet and his friends, and led the discussions at Café
Guerbois where the group of artists frequently met.
Édouard Manet - Le Déjeuner sur l'herbe (1863)
• After seeing the rejected works in 1863,
Emperor Napoleon III decreed that the
public be allowed to judge the work
themselves, and the Salon des Refusés
(Salon of the Refused) was organized.
While many viewers came only to laugh,
the Salon des Refusés drew attention to
the existence of a new tendency in art and
attracted more visitors than the regular
Salon.
• Artists' petitions requesting a new Salon des Refusés in
1867, and again in 1872, were denied. In the latter part
of 1873, Monet, Renoir, Pissarro, and Sisley organized
the Société Anonyme Coopérative des Artistes Peintres,
Sculpteurs, Graveurs ("Cooperative and Anonymous
Association of Painters, Sculptors, and Engravers") for
the purpose of exhibiting their artworks independently.
Members of the association, which soon included
Cézanne, Berthe Morisot, and Edgar Degas, were
expected to forswear participation in the Salon. The
organizers invited a number of other progressive artists
to join them in their inaugural exhibition, including the
older Eugène Boudin, whose example had first
persuaded Monet to take up plein air painting years
before.[5] Another painter who greatly influenced Monet
and his friends, Johan Jongkind, declined to participate,
as did Manet. In total, thirty artists participated in their
first exhibition, held in April 1874 at the studio of the
photographer Nadar.
• The critical response was mixed, with Monet and
Cézanne bearing the harshest attacks. Critic and
humorist Louis Leroy wrote a scathing review in the Le
Charivari newspaper in which, making wordplay with the
title of Claude Monet's Impression, Sunrise (Impression,
soleil levant), he gave the artists the name by which they
would become known. Derisively titling his article The
Exhibition of the Impressionists, Leroy declared that
Monet's painting was at most, a sketch, and could hardly
be termed a finished work.
• He wrote, in the form of a dialog between viewers,
– Impression—I was certain of it. I was just telling myself that,
since I was impressed, there had to be some impression in it …
and what freedom, what ease of workmanship! Wallpaper in its
embryonic state is more finished than that seascape
• The term "Impressionists" quickly gained
favor with the public. It was also accepted
by the artists themselves, even though
they were a diverse group in style and
temperament, unified primarily by their
spirit of independence and rebellion. They
exhibited together—albeit with shifting
membership—eight times between 1874
and 1886.
• The individual artists saw few financial rewards
from the Impressionist exhibitions, but their art
gradually won a degree of public acceptance
and support. Their dealer, Durand-Ruel, played
a major role in this as he kept their work before
the public and arranged shows for them in
London and New York. Although Sisley would
die in poverty in 1899, Renoir had a great Salon
success in 1879. Financial security came to
Monet in the early 1880s and to Pissarro by the
early 1890s. By this time the methods of
Impressionist painting, in a diluted form, had
become commonplace in Salon art.