FLEMISH "Primitives" were the first to popularize the use of oil paint. Their art has its origins in the miniature painting of the late Gothic period. Chief among them are Jan van Eyck, Hans Memling, Hugo van der Goes, Robert Campin and Rogier van der Weyden. BAROQUE Art- it emerged in Europe around 1600, as a reaction against the Mannerist style that dominated the Late Renaissance. the Baroque Art is less complex and more realistic than Mannerism. encouraged by the Catholic Church as a return to tradition and spirituality. ROCOCO Art- In the 18th century, Baroque Art was replaced by the more elegant and elaborate Rococo style. it was sensuous and light-hearted paintings and landscapes. it was a feminine oriented style. Characterized by elegant, refined yet playful subject matters, Boucher's style became the epitome of the court of Louis XV. His works typically utilized decorative designs to illustrate stories with shepherds, goddesses and cupids playing against a pink and blue sky. These works mirrored the frolicsome and ornamented decadence of the French aristocracy of the time. Dutch Golden Age painting BY 'DUTCH MASTERS'- these painting followed many of the tendencies that dominated Baroque art in other parts of Europe, such as Caravaggesque and naturalism, but was the leader in developing the subjects of still life, landscape, and genre painting. Portraiture were also popular, but History painting — traditionally the most-elevated genre struggled to find buyers. This trend, along with the lack of Counter-Reformation church patronage that dominated the arts in Catholic Europe, resulted in the great number of "scenes of everyday life" or genre paintings, and other non-religious pictures. ROMANTICISM- exalted individualism, subjectivism, irrationalism, imagination, emotions and nature - emotion over reason and senses over intellect. Since they were in revolt against the orders. Romantic artists were fascinated by the nature, the genius, their passions and inner struggles, their moods, mental potentials, the heroes. They investigated human nature and personality, the folk culture, the national and ethnic origins, the medieval era, the exotic, the remote, the mysterious, the occult, the diseased, and even satanic. Romantic artist had a role of an ultimate egoistic creator, with the spirit above strict formal rules and traditional procedures. He had imagination as a gateway to transcendent experience and spiritual truth. For the Schlegel brothers, it was a product of Christianity. The culture of the Middle Ages created a Romantic sensibility which differed from the Classical. Christian culture dealt with a struggle between the heavenly perfection and the human experience of inadequacy and guilt. This sense of struggle and ever-present dark forces was allegedly present in Medieval culture. While this view partly explains Romantic fascination with the Middle Ages, the actual causes of the Romantic movement itself correspond to the sense of rapid, dynamic social change that culminated in the French Revolution and the Napoleonic era. NEO CLASSICISM- The movement revived ancient Greek and Roman stylization in European art. Neoclassical art emphasized courage, sacrifice, nationalism, and tradition. it was claimed that the most important elements of classical art were "noble simplicity and calm grandeur." they took extra care to depict the costumes, settings, and details of classical subject matter with as much accuracy as possible. Much of the subject matter was derived from classical history and mythology. The movement emphasized line quality over colour, light, and atmosphere. The discovery of ancient artefacts at the ruins of Herculaneum and Pompeii was a big inspiration to neoclassicism. It was also created to replace the ostentatious baroque and rococo art styles. The movement started as a rebellion against the rococo style, which symbolised French aristocracy. After the French Revolution, France became a democracy, putting an end to aristocratic rule. The new leaders of France wished to model the government on the high virtues and moral principles of classical Rome that became the favoured design trend during that time. The height of Neoclassicism was displayed in the paintings of Jacques-Louis David and Jean Auguste Dominique Ingres. The Wilton Diptych, tempera on wood, is a small portable diptych of two hinged panels, painted on both sides. The painting is an outstanding example of the International Gothic style, and the nationality of the unknown artist is probably French or English. It is an extremely rare survival of a late Medieval religious panel painting from England. The diptych was painted for King Richard II of England who is depicted kneeling before the Virgin and Child in what is known as a votive portrait. Masaccio (Tommaso di Ser Giovanni di Simone), was the first great painter of the Quattrocento period of the Italian Renaissance. He was one of the first to use Linear perspective in his painting, employing techniques such as vanishing point in art for the first time. He also moved away from the International Gothic style and elaborate ornamentation of artists like Gentile da Fabriano to a more naturalistic mode that employed perspective and chiaroscuro for greater realism. He was the best painter of his generation because of his skill at recreating life-like figures and movements as well as a convincing sense of three-dimensionality. Cacciata dei progenitori dall'Eden (The Expulsion from the Garden of Eden). This is a fresco by the Italian Early Renaissance artist Masaccio. The Expulsion from the Garden of Eden is one of Masaccio’s most famous master pieces. The oil painting showed the Masaccio’s art proposition in oil painting style. Viewing from the oil painting technique, Adam and Eve were two walking figures; their movements make the painting was difficult to paint. Three centuries after the fresco was painted, Cosimo III de' Medici, in line with contemporary ideas of decorum, ordered that fig leaves be added to conceal the genitals of the figures. These were eventually removed in the 1980s when the painting was fully restored and cleaned. The Annunciation by Fra Angelico (born Guido di Pietro), was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having "a rare and perfect talent". Fiesole is sometimes misinterpreted as being part of his formal name, but it was merely the name of the town where he took his vows as a Dominican friar, and was used by contemporaries to separate him from other Fra Giovannis. Through Fra Angelico's pupil Benozzo Gozzoli's careful portraiture and technical expertise in the art of fresco we see a link to Domenico Ghirlandaio, who in turn painted extensive schemes for the wealthy patrons of Florence, and through Ghirlandaio to his pupil Michelangelo and the High Renaissance.
0 Comments
Leave a Reply. |
AuthorI am interested in unfolding scene design, character design and image design; representing contemporary narrative strategy, narrative shot and narrative style. The flowing images, which combine aesthetics and ideology. NoticeThis site contains copyrighted material for purposes that constitutes 'fair use'; and has not always been specifically authorized by the copyright owner. No fee is charged, and no money is made off this site. If you wish to use this copyrighted material for purposes of your own that go beyond 'fair use,' you must obtain permission from the copyright owner.
Archives
February 2022
Categories |