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Design Your Own Project Advanced Art You will get to design your own project with three basic factors to consider: style, subject and medium. Two of these three factors need to be something that is a stretch for you. In other words, you are not very familiar with two of the three factors for the project proposal. You get to choose which two these will be. The other one can be something you are comfortable or familiar with for the project. 1. STYLES Renaissance Michelangelo Leonardo Raphael Renaissance art is characterized by naturalism, the use of expressive gesture, linear perspective, atmospheric perspective, and chiaroscuro . In painting, figures are placed in a three-dimensional, believable space, and their posture and gesture is part of a complex formal arrangement. High Renaissance art, which flourished for about 35 years, from the early 1490s to 1527, when Rome was sacked by imperial troops, revolved around three

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Transcript of · Web viewArtists have extravagant settings and ornamentation with ... Baroque art has ... Le...

Design Your Own Project Advanced Art

You will get to design your own project with three basic factors to consider: style, subject and medium. Two of these three factors need to be something that is a stretch for you. In other words, you are not very familiar with two of the three factors for the project proposal. You get to choose which two these will be. The other one can be something you are comfortable or familiar with for the project.

1. STYLES

Renaissance

Michelangelo Leonardo Raphael

Renaissance art is characterized by naturalism, the use of expressive gesture, linear perspective, atmospheric perspective, and chiaroscuro. In painting, figures are placed in a three-dimensional, believable space, and their posture and gesture is part of a complex formal arrangement. High Renaissance art, which flourished for about 35 years, from the early 1490s to 1527, when Rome was sacked by imperial troops, revolved around three towering figures: Leonardo da Vinci(14521519),Michelangelo(14751564), andRaphael(14831520). Each of the three embodied an important aspect of the period: Leonardo was the ultimate Renaissance man, a solitary genius to whom no branch of study was foreign; Michelangelo emanated creative power, conceiving vast projects that drew for inspiration on the human body as the ultimate vehicle for emotional expression; Raphael created works that perfectly expressed the Classical spiritharmonious, beautiful, and serene.

Mannerism

Parmigianino El Greco Arcimboldo

Mannerist artists evolved a style that is characterized by artificiality and artiness, by a thoroughly self-conscious cultivation of elegance and technical facility, and by a sophisticated indulgence in the bizarre. The figures in Mannerist works frequently have graceful but queerly elongated limbs, small heads, and stylized facial features, while their poses seem difficult or contrived. The deep, linear perspectival space of High Renaissancepaintingis flattened and obscured so that the figures appear as a decorative arrangement of forms in front of a flat background of indeterminate dimensions. Mannerists sought a continuous refinement of form and concept, pushing exaggeration and contrast to great limits. The results included strange and constricting spatial relationships, jarring juxtapositions of intense and unnatural colours, an emphasis on abnormalities of scale, a sometimes totally irrational mix of classical motifs and other visual references to the antique, and inventive and grotesque pictorial fantasies.

Baroque

Rembrandt Caravaggio Vermeer

Baroque artists have images that are direct, obvious, and dramatic. Artist tries to draw the viewer in to participate in the scene. Art work has depictions that feel physically and psychologically real and are emotionally intense. Artists have extravagant settings and ornamentation with dramatic use of color. They also had dramatic contrasts between light and dark, light and shadow. As opposed to Renaissance art with its clearly defined planes, with each figure placed in isolation from each other, Baroque art has continuous overlapping of figures and elements. Common themes: grandiose visions, ecstasies and conversions, martyrdom and death, intense light, intense psychological moments.

Romanticism

Turner Goya Delacroix

The romantic art movement emphasized intense emotion as an authentic source ofaestheticexperience, placing new emphasis on such emotions as apprehension,horror and terror, andaweespecially that which is experienced in confronting the new aesthetic categories of the sublimityand beauty of nature. . In contrast to therationaland Classicistideal models, Romanticism assigned a high value to the achievements of 'heroic' individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art.

Realism

Bonheur Homer Eakins

Realism was a general trend, as well as a specific style of art. Realism heralded a general move away from the 'ideal' (as typified by the art of Classical mythology, so beloved by Renaissance artists and sculptors) towards the ordinary. Thus, in theirfigure drawingandfigure painting, Realists portrayedrealpeople not idealizedtypes. From now on, artists felt increasingly free to depict real-life situations stripped of aesthetics and universal truths. In this sense, Realism reflected a progressive and highly influential shift in the significance and function of art in general, including literature as well as fine art. It influenced Impressionismand several other modern art styles, such as Pop-Art. The style retains its influence on the visual arts to this day.

Impressionism

Monet Renoir Cassatt

Impressionism is a 19th century movement that swept much of the painting and sculpture styles. Focus of this movement was on color and light. It was not just a passing fad but has defined an entirely modern way of expressing ones artistry that eventually rubbed off on other art forms like literature and photography. It was not long before a new generation of artist using lighter brush strokes and brighter colors with lesser attention to details and more bias to landscapes and mundane, less noble aspects of life, started getting their works rejected by the established Salon. You had the works of Renoir, Sisley, Monet and Pissarro rejected year after year. These artists decided to have an independent show.

The first exhibit elicited highly critical reviews which could be expected from arts reviewers in the established traditions. Cezanne and Monet received the harshest critique by reviewer-humorist Louis Leroy whose criticism appeared in the Le Charivari newspaper and used the word Impressionist from Claude Monets painting entitled Impression Sunrise (Impression, Soleil Levant) to derisively describe the artists whose works he considered as being no more than unfinished sketches. He scathingly wrote: ImpressionI 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.

In a short time, the term "Impressionists" achieved wide public acceptance, including the artists themselves, despite the fact that the avant garde painting style had more stylistic and temperamental diversity than the word suggests.

Post-Impressionism

Van Gogh Cezanne Seurat

Post Impressionism encompasses a wide range of distinct artistic styles that all share the common motivation of responding to the opticality of the Impressionist movement. The stylistic variations assembled under the general banner of Post-Impressionism range from scientifically oriented Neo-Impressionism. Of Georges Seurat to the Symbolism of Paul Gauguin but all concentrated on the subjective vision of the artist. The movement ushered in an era during which the painting transcended its traditional role as a window onto the world and instead it became a window into the artists mind and soul. Despite the various individualized styles, most Post-Impressionist focused on abstract form and pattern in the application of paint to the surface of the canvas. Their early leanings toward abstraction paved the way for the radical modernist exploration of abstraction that took place in the early twentieth century.

Fauvism

Matisse Derain Vlaminck

Fauvismis the style of les Fauves (French for "the wild beasts"), a loose group of early twentieth-century Modern artists whose works emphasized painterly qualities and strong color over the representational or realistic values retained by Impressionism. Their spontaneous, often subjective response to nature was expressed in bold, undisguised brushstrokes and high-keyed, vibrant colors.

Expressionism

Marc Munter Macke

Expressionism emerged simultaneously in various cities across Germany as a response to a widespread anxiety about humanitys increasingly discordant relationship with the world and accompanying lost feelings of authenticity and spirituality. In part a reaction against Impressionism and academic art, Expressionism was inspired most heavily by the Symbolist currents in late nineteenth-century art. Vincent Van Gigh, Evard Munch and James Ensor proved particularly influential to the Expressionist, encouraging distortion of form and the deployment of strong colors to convey a variety of anxieties and yearnings. Art was now meant to come forth fromwithinthe artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the