European Art History Review. Classical (500 BC – 500 AD) Left: Roman copy of Myron’s Diskobolos,...
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Transcript of European Art History Review. Classical (500 BC – 500 AD) Left: Roman copy of Myron’s Diskobolos,...
Classical (500 BC – 500 AD)
Left: Roman copy of Myron’s Diskobolos, marble sculptureAbove: 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)
Above: Salisbury Cathedral, England, 1220-1320
GOTHIC ARCHITECTURE
Above: Notre Dame Cathedral, Paris, 1163-1345
Renaissance (1400 – 1650)
Above: Breaking ground: Giotto’s Last Supper, fresco, 1304-1306
Below: The High Renaissance: Leonardo da Vinci’s Last Supper, fresco, 1498
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
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, 1647-52Right: 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 & Counter-
Reformation … rekindle faith• propaganda – for CC and secular patrons (ex.
Louis XIV)
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, 1766Right: 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 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)
Above: Caspar David Friedrich, Moonrise over the Sea, oil on canvas, 1821
Below: Joseph M.W. Turner, Shipwreck, oil on canvas, 1805
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, 1857Right: Kollwitz, The March of the Weavers, etching, 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 1889Above: Van Gogh's Room at Arles
Right: Wheat Fields and Cypress
Post-Impressionism & Expressionism
(late 19th – early 20th c.)
GauginAbove: 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
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
• Compositions of shapes and forms “abstracted” from the conventionally perceived world
• Picasso
More Expressionism – Extreme Abstraction
Kandinsky:Left: Improvisation 7, 1910Above: Black and Violet, 1923
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)
• 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)
• 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