Project 1: Textual Research: Pre-Modern Art
Aim
With the timeline in mind focus on themes or concepts that interest you enough to carry out a sustained painting and textual enquiry. Once you feel you have an overview of the epoch in question, focus on just two or three artists/
artworks from each period.
With the timeline in mind focus on themes or concepts that interest you enough to carry out a sustained painting and textual enquiry. Once you feel you have an overview of the epoch in question, focus on just two or three artists/
artworks from each period.
Research
Ancient Art 1500 BC
Ancient art developed along with the discovery of resources. The earliest forms of art, are those of rock paintings and can be referred to as the art of the hunters and farmers (Honour and Fleming, 2009). Images were either carved onto walls or painted on with natural minerals functioning as dyes. As hunters they mostly depicted scenes of animals like dear, bison or cattle. Wood, bones and stone (clay) were also used to create sculptural items. There are examples of cave paintings found all over the world, from Asia to Africa.
Woman from Willendorf (right) is a famous work dating back way past 1500 BC, but is worth including as it is a great representation of mans obsession with form. The exaggerated shapes in the body along with the play on proportions means that this piece is beguiling from all angles. It has a sense of whimsy and celebration and it is remarkable to consider how old this really is. The texture and earthiness of the materials used also gives a great nod to simpler times. There is something almost poetic about her being shaped from the earth. Around Africa, some of the oldest cave paintings were found in Namibia, painted by the Koisan (below left). They often depicted humans in procession, hunting or out gathering food (Cederberg, 2016). |
In the Americas, clay sculptures were found with many visual similarities to those from China, showing man engaged in cultivation, religious ritual or hunting. In Minoan Crete there are many great examples of wall drawings and sarcophagus paintings that show their celebratory practices and beliefs, like the one seen below right.
By 1500 BC artistic activity really kicked of with the discoveries of bronze, iron and other minerals, civilizations began expanding their boarders and extending their crafting abilities. Sculpting and painting became more prolific art forms, with scenes and shapes often depicting mans innovation. Mythology was another popular topic, with imagery of worship and notions of the after-life, like the examples shown below left. Sculptures were often quite angular, with hard lines and simple shapes. Pottery also took off, especially decorative pieces that were used during rituals, pictured below right. Once again we see the use of animals and in particular mans relationship to them. Form and shape here are depicted much more vividly and with celebration.
Mesopotamia in particular was an ancient city known for its flourishing civilization which earned it the name the 'cradle of civilization'. It was situated between two rivers and what would be known as Iraq today, with parts of Syria, Turkey and Iran. This meant it had a vast array of cultures represented and that it served as a springboard for the rise of multiple empires (Mark, 2018). It's influenced extended into the Middle East, Egypt and the Mediterranean. Limestone, wood, bronze and iron were popular materials used to make seals, pottery and decorative reliefs, often depicted images of the king, their innovations and religious motifs.
Though Mesopotamia was at the forefront of innovation, their artistic expressions were not as sophisticated as those of the Egyptians. Intricate statues and motifs were used to adorn tombs and meant to honor the deceased. Shapes were formal, blocky and often abstract. Wall paintings often combined imagery and text and appeared static.
The Banquet (above) is a painted stucco from the tomb of Thebes which shows a ritualistic banquet scene. The Egyptians considered death an invitation to enjoy the pleasures of life (Honour an d Fleming, 2009). A group of musicians performs and naked women dance. Despite the depiction of action, the image appears static, with sinuous and distorted body proportions and notably oversized eyes.
Classical Art 400 BC
Classical art refers to architecture and art from ancient Rome or Greece. Athens was especially considered the high point of Western culture. Art was created as public service and with a growing concern for style and elegance leading to idealistic representation of form. The Greeks incredible ability to use lines, rhythm and symmetry was to become the Classical Canon. Architecture and sculpture were of the most important art forms in this time and marble was predominantly used, making them appear smooth, elegant and glossy. Vases were another interesting trend during this time. They were often adorned with geometric patterns and meticulously crafted. Praxiteles, of Athens, the son of Cephisodotus the Elder, was a great sculptor of this time. His works, like Hermes and Dionysus (left) and Aphrodite of Cnidus became a model for painters and sculptors alike. “By transforming the detached and majestic style of his immediate predecessors into one of gentle grace and sensuous charm, he profoundly influenced the subsequent course of Greek sculpture.” (Britannica, 2017).
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In these sculptures we see a trademark S-shape in the way the body is positioned, which we call contrapposto. This work also shows the introduction of sensuality and emotion, breaking from other less expressive preceding works. Allegory was another strong theme in Greek art, with gods and mythical creatures taking center stage. Sleeping infants and the goddess Venus were popular topics.
Many may argue that the Romans did not really have their own art, as most of what was produced during the Roman empire were copies of Greek art and often created by Greek artists. Even so, due to the strength of the Roman Empire and their innovations in architecture, warfare and engineering, they had a great influence on Western history and art. After the Romans invaded Greece they fell in love with their naturalistic and idealistic approach to art. They soon took several Greek artists with them so help decorate their cities. While admiring and keeping with the elegant and harmonious styles of the Greeks, the Romans added their own new stylistic feature, realism. This meant the inclusion of real facial features and emotional expressions, even if unflattering. Many of the works like busts, and sculptural reliefs were used to show the Roman leaders as powerful military men and politicians, like the earliest versions of propaganda.
As mentioned before many of the Romans greatest contributions to art was the replication of Greek works, of which the originals were mostly destroyed. One of my favorites is the Dying Gaul. It commemorates the killing of an army of Gauls that attacked Pergamum in 230 BC. It is a great example of how expression and emotion were making its way in to art. Even though these Gauls were defeated, the sculptors have depicted them with dignity and nobility, sowing a new trend of introspective and spiritual art (Honour and Fleming, 2009). We see the Greek perfection of proportions and their ability to idealize the human form. But what I find most haunting is the emotional response one gets when looking at it. |
Byzanite AD 350
The Byzantine Empire was a powerful civilization lead by the Roman emperor Constantine who declared a “New Rome” on Byzantium (History.com, 2010). Byzantine art is related to the Eastern Orthodox Church and is characterized by large domes, rounded arches and mosaics. Constantine's mission was to create a great empire, a center for artistic patronage and innovation, by unifying them through Christianity. As such, much of the reform in the city involved removing temples and building churches. A notable trait was the use of Corinthian columns embellished with curved leaves and at times Christian symbols. Where the Greeks had previously built with sleek and uniformed lines, Byzanite architecture evolved to become more decorative and varied. Churches often had a large domed roof supported by piers and placed above the nave. The most significant features of the churches were the decorative mosaics that adorned the inside walls.
The Transfiguration (left) is a scene that depicts Christ's transformation to glory. Covering the apse of St. Catherine’s Monastery, it was originally built by Justinian on the slopes of Mount Sanai. 'The mosaic covers 46 square meters and features a rich chromatic range of glass paste, glass, stone, gold and silver tesserae' (Magdy 2017). Christ is shown revealing his new holy body to Moses and Elijah with apostles John, James and Peter cowering below him. The apse is framed by the medallion heads of 16 prophets. Christ is surrounded by a blue almond shaped aureola with rays of light shooting out of his body. The saints and apostles are depicted lower and in positions of homage, also showing the contrast between the divine and human. The use of gold and blue are significant in showing the divinity of the scene. The reflection of the gold tiles also create a greater sense of God's radiance beaming down. Images like this serve to call worshipers to thought and prayer. Carved ivories, decorative silver plates, illuminated manuscripts and miniature book illustrations are further examples of art during this time (Honour and Fleming, 2009). |
A significant aspect of these works was the use of icons. Icons were the use of significant images or likenesses, often depictions of Christ, the saints and the Virgin and Child. Icons were a great source of controversy, for some it was a tool to evoking emotions and a call to worship, for others it was a violation of the second commandment. In 730 emperor Leo III issued the destruction of all icon images, sparking a 113 year conflict between the iconoclasts (image breakers) and iconodules (venerators of images).
Gothic Art 1210
Gothic art developed from Romanesque art which refers to the fusion of Roman, Carolingian and Ottonian, Byzantine, and local Germanic traditions. It began around the mid 12th century and lasted up to around the 16th century. With the rise of the Christian Church they began to take control of matters like law, business, education and art. As such they had control of much of the land and set out to build many monasteries and churches to establish their rule and religious reform. Where previously the Empire spread propaganda through sculptures of rulers, they were now replaced with images and carvings of Christ with the Last Judgement being a particularly favored subject.
Painting and sculptural styles evolved into a more naturalistic, realistic and relaxed form. Compositions were often complex, with flowing lines, intricate details and refined decoration, as can be seen in the work of Hieronymus Bosch below, though this painting would not be considered 'typical' when looking at Gothic art.
Painting and sculptural styles evolved into a more naturalistic, realistic and relaxed form. Compositions were often complex, with flowing lines, intricate details and refined decoration, as can be seen in the work of Hieronymus Bosch below, though this painting would not be considered 'typical' when looking at Gothic art.
Hieronymus Bosch
This Netherlandish painter had a very individual and distinct manner of portraying religious scenes. The triptych Garden of Earthly Delights (above) is a great example of how he combined his knowledge of astronomy, religion, literature and travel into an awesome, perplexing and disturbing piece. This work was commissioned by Engelbrecht II of Nassau. I was fortunate to see this piece in the Museo Del Prado recently and you don't realize how large and intricate it is from photographs. The three panels are joined, measuring 205.6 x 386 cm and are displayed on a large table, almost set up like a room divider. The left panel shows the Garden of Eden, in the center The World Before the Flood and on the right, Hell. The most striking thing about the canvas is the sense of surrealism you get from the imagery, especially when looking exclusively at the right panel, which has a style and mannerism very reminiscent of Salvador Dali. At the time, many religious works were created as a means to evoke devotion, however, this piece is 'designed to inspire moral reflection' (Preciado, 2016).
Standing in front of the panels you almost feel like Dorothy stepping into the land of OZ. Accept, instead of finding cheerful munchkins, loyal friends and sin-a-longs, she is met by the pale, fragile and wicked form of mankind. Bosch shows our journey, from our humble and glorious begins close to God in the Garden of Eden, to our endless threat of temptation on Earth, to our likely eternity in Hell if we don not heed our actions.
As mentioned before a more natural and realistic approach had developed in the field of sculpture and painting, meaning the forms and figures were portrayed with greater expression and more natural poses. these are features that can certainly be seen in the expressions of the people and the soft shapes and positioning of the bodies. However, Bosch takes a unique approach in the composition of the surroundings, the placement of other figures and their interactions with those. Suddenly we move away from what is natural and dive into an almost other worldly and cosmic plain. The arrangement of figures and objects are messy and abundant, almost as if having several dreams at once. Perhaps this is an indication of how Bosch experienced the world. I imagine that being a devout Christian and trying to attain the road to righteousness when faced with temptation around every corner, would be a difficult and confusing process. As is the case with dreams, what we experience in them is often symbolic. A good example of this, are the red fruits which appear in various shapes and sizes on the central panel, showing man's relationship with temptation.
This Netherlandish painter had a very individual and distinct manner of portraying religious scenes. The triptych Garden of Earthly Delights (above) is a great example of how he combined his knowledge of astronomy, religion, literature and travel into an awesome, perplexing and disturbing piece. This work was commissioned by Engelbrecht II of Nassau. I was fortunate to see this piece in the Museo Del Prado recently and you don't realize how large and intricate it is from photographs. The three panels are joined, measuring 205.6 x 386 cm and are displayed on a large table, almost set up like a room divider. The left panel shows the Garden of Eden, in the center The World Before the Flood and on the right, Hell. The most striking thing about the canvas is the sense of surrealism you get from the imagery, especially when looking exclusively at the right panel, which has a style and mannerism very reminiscent of Salvador Dali. At the time, many religious works were created as a means to evoke devotion, however, this piece is 'designed to inspire moral reflection' (Preciado, 2016).
Standing in front of the panels you almost feel like Dorothy stepping into the land of OZ. Accept, instead of finding cheerful munchkins, loyal friends and sin-a-longs, she is met by the pale, fragile and wicked form of mankind. Bosch shows our journey, from our humble and glorious begins close to God in the Garden of Eden, to our endless threat of temptation on Earth, to our likely eternity in Hell if we don not heed our actions.
As mentioned before a more natural and realistic approach had developed in the field of sculpture and painting, meaning the forms and figures were portrayed with greater expression and more natural poses. these are features that can certainly be seen in the expressions of the people and the soft shapes and positioning of the bodies. However, Bosch takes a unique approach in the composition of the surroundings, the placement of other figures and their interactions with those. Suddenly we move away from what is natural and dive into an almost other worldly and cosmic plain. The arrangement of figures and objects are messy and abundant, almost as if having several dreams at once. Perhaps this is an indication of how Bosch experienced the world. I imagine that being a devout Christian and trying to attain the road to righteousness when faced with temptation around every corner, would be a difficult and confusing process. As is the case with dreams, what we experience in them is often symbolic. A good example of this, are the red fruits which appear in various shapes and sizes on the central panel, showing man's relationship with temptation.
The greatest contribution during the Gothic era was Gothic architecture. As mentioned before, the church was the reigning power of the time and set about building new churches in order to call the public to devotion. Gothic churches were a symbol of religious meaning to the church. They became ever taller and slender, as beacons pointing towards heaven. This slender design also allowed for taller slender windows and the opportunity to create decorative features. In later buildings the decorative display was almost dizzying. With windows, ribs and columns show casing decorative carvings, shapes and patterns. Stained glass served another symbolic purpose. Not only letting in illuminating light, but depicting biblical stories in vivid colours. They created a mystical atmosphere far removed from the word outside. Tracery was another Gothic invention, which was an architectural decoration in which a frame is filled with interlacing bands of material, mostly used on windows, but can also be seen on railings and arches.
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Renaissance 1400
The Renaissance is the time period in European history from the 14th to 17th century. Renaissance means rebirth and it is characterized by a rising interest in Classical scholarship and values. It is the cultural bridge between the Middle Ages and Modern History. It was a time of discovery innovation and exploration that began in Florence. It was a hub of humanist scholarship and artistic production, due largely to the funding of the powerful Medici family. Artistic contacts between cities in Italy, like Florence, Siena and Venice, and those of Germany were ongoing during much of the 15th century, and artists were encouraged to travel and study. In keeping with the growing trend of Humanism, paintings became more realistic and life-like. Figures were shown with greater details, emotions and proportions and perspective was used to create depth. This combined with chiaroscuro meant that figures were occupying the space, creating a more believable appearance. There was still a sense of idealism as many compositions subscribed to symbols of beauty.
Science, anatomy and mathematics became important tools for artist in their strive to create ideal and realistic images. Many turned to nature to study what makes perfect proportions and compositions. No artists showcases this combination better than Leonardo Da Vinci and Michelangelo, Works became categorized by naturalism and individualism and the reemergence of classical subjects and forms. In sculpture, this was evident in the increase of contemporary subjects, together with a more naturalistic handling of proportions, drapery, anatomy, and perspective, like the works of Donatello. The Renaissance also saw a revival of portraiture with new interests in establishing identity and representing the everyday life of individuals.
Science, anatomy and mathematics became important tools for artist in their strive to create ideal and realistic images. Many turned to nature to study what makes perfect proportions and compositions. No artists showcases this combination better than Leonardo Da Vinci and Michelangelo, Works became categorized by naturalism and individualism and the reemergence of classical subjects and forms. In sculpture, this was evident in the increase of contemporary subjects, together with a more naturalistic handling of proportions, drapery, anatomy, and perspective, like the works of Donatello. The Renaissance also saw a revival of portraiture with new interests in establishing identity and representing the everyday life of individuals.
Donatello
Like many of the sculptors during this time, Donatello was inspired by antiquity and looking back at the Classical art of Greece and Rome. He traveled to Rome in order to study the ruins for inspiration. What makes his sculptures so significant is his combination of mathematics, science and architecture in order to capture anatomy with accuracy and provide the viewer with a sense of depth and three-dimensionality (Scouter, 2018). Looking at Donatello's statue of David, we notice a very different approach to that of Michelangelo's David. There is a more intimate and sensual approach to this work. David stands calmly, with his sword down, resting his feet on the head of Goliath, whom he has just defeated. Despite this great victory, Donatello is showing him as humble and reflective. This is especially noticeable in his calm facial expression and relaxed body position. We see the inspiration from Classical art in the use of the contrapposto pose and in the life-sized representation of the figure. In the Gothic era it was more common for figures to be decorative elements for churches and part of the structural features. This free standing figure breaks away from that, placing the human at the center of attention, and following in the humanist trend. |
Raphael
Raffaello Sanzio was an Italian master painter and architect. His worked is admired for the easy in its composition, the clarity in his forms and his creation of human grandeur. His work is greatly influenced by Leonardo Da Vinci and can be seen in his use of organic, harmonious composition and subtle chiaroscuro. School of Athens (above) is a prime representation of Renaissance art containing many of the characteristics that made Renaissance artists famous, including perspective, foreshortening, contrapposto poses, illusionist devices, chiaroscuro and sfumato shading as well as the aspiration of representing beauty and harmony in the composition.
Along with showcasing Raphael's impeccable skill as an artist, School of Athens also highlights his love of history and Philosophy as is seen in his use of allegorical characters. Allegory is where characters, figures or events in a narrative are used to represent abstract ideas or principles. Raphael uses a group of Greek thinkers and scientists to represent Philosophy, for example. These figures all lived at different times, but here they are gathered together under one roof.
Raffaello Sanzio was an Italian master painter and architect. His worked is admired for the easy in its composition, the clarity in his forms and his creation of human grandeur. His work is greatly influenced by Leonardo Da Vinci and can be seen in his use of organic, harmonious composition and subtle chiaroscuro. School of Athens (above) is a prime representation of Renaissance art containing many of the characteristics that made Renaissance artists famous, including perspective, foreshortening, contrapposto poses, illusionist devices, chiaroscuro and sfumato shading as well as the aspiration of representing beauty and harmony in the composition.
Along with showcasing Raphael's impeccable skill as an artist, School of Athens also highlights his love of history and Philosophy as is seen in his use of allegorical characters. Allegory is where characters, figures or events in a narrative are used to represent abstract ideas or principles. Raphael uses a group of Greek thinkers and scientists to represent Philosophy, for example. These figures all lived at different times, but here they are gathered together under one roof.
Mannerist 1500
Mannerism is a style marked by spatial complexity, artificiality, and affectation. Mannerist artists combined the style of Renaissance art with a new psychological intensity to visual expression. Their paintings mirrored the self-conscious spirituality and the profound insecurities of an age of religious wars and political rivalry. Compositions were highly artificial and used as a means of showcasing the artist's skills and sophisticated techniques (Tate, 2018).
El Greco He is considered one of the last great European painter of the 16th century. He was creating art in during the height of Christendom and the Counter-Reformation. Religious art was under great scrutiny at the time, and the Council of Trent were looking for works to be virtuous and decent with no profane or heretical imagery. El Greco strove to create pieces that were transcendental, that a viewer would look at his radiant compositions of Christ and be guided towards the heavens (Honour and Fleming, 20119). During my visit at the Museo del Prado I viewed The Adoration of the Shepherds (left) and the sheer height (319cm) of the painting alone draws you up towards the heavens! There are a couple of features of El Greco's work that makes it so extraordinary. His beautiful use of chiaroscuro which makes figures appear radiant and full of life. His perfect balance of vibrant colour adding richness and fervor to the composition. And lastly his trademark manipulation of body proportions which make the figures appear almost terrestrial. The way he has handled the paint almost gives the painting a sense of vibration and one could spend hours looking at the placement of shadow and light on the figure's skin. There is a great sense of adoration and intimacy between the areas of exposed skin, juxtaposed with the voluminous draping. |
During the Renaissance there was a shift away from the symbolic and decoratively abstract trends during the Gothic period to a more realistic and natural approach, showcasing worldly themes and emotions in a lifelike manner. This change in style was spearheaded by the Van Eyk brothers, Robert Campin and Rogier. This coincided with the new developments in oil paints and tools, providing for more illusionist lighting and aesthetic quality. Artists like Peter Bruegel the Elder moved away from the Mannerist approach and opted for a more natural and realistic look (Preciado, 2016).
Peter Bruegel the Elder
A great Flemish painter known for his landscapes and witty peasant scenes. His landscapes are almost without parallel in European art for their rendering of the overpowering grandeur. He later enjoyed creating multi figured compositions where he celebrated the labors of the common man, like in Blind Leading the Blind (below).
A great Flemish painter known for his landscapes and witty peasant scenes. His landscapes are almost without parallel in European art for their rendering of the overpowering grandeur. He later enjoyed creating multi figured compositions where he celebrated the labors of the common man, like in Blind Leading the Blind (below).
Though Bruegel employs the Renaissance techniques of aerial perspective and illuminating light, he has clearly broken away from showing man in a idealized form or as the lords of creating. He showed them as yokels, with ungainly limbs and vacuous faces, rejecting the Italian modish style. The most intriguing and captivating part of this painting, are the faces of the men. Each has a unique expression which provides an insight into their unique character, as if watching a play.
Baroque 1600
The term Baroque has come to define a period in art and architecture when the style was emotional, dynamic and exuberantly decorative. There was however still the constant struggle between the Church and Humanism and Baroque "may be seen as an expression of the compromise of faith with intellectual freedom" (Copplestone, 1983:228). The most important element in Baroque art is the expression and manipulation of space. Artists were driven by their curiosity to create an emotional expression of space, something mystical and spiritual.
Caravaggio
This Italian painter breathed new life into painting by rejecting the academicism and sophistication of Mannerism by returning to observations of nature and what is real. Caravaggio is best known for a use of innovative light which adds drama as well as three-dimensionality to his paintings. 'This isolates the figures, creating neither space nor atmosphere' (Blanca, 2016:288). David with the Head of Goliath is wonderful example of his bold and directly painting style. He has removed symbolism while depicting unidealized and illuminated figures set against a dark and mysterious background, showing the true and almost gruesome nature of this victory. It is monumental composition (110 x 91 CM) with the figures taking up most of the foreground. Despite the brutal nature of the subject, Caravaggio's excellent display of light creates a contrasting sense of beauty and serenity. The facial features on Goliath are handled so delicately that as a viewer you almost feel sorry for him, despite knowing he was just a bully. |
Johannes Vermeer
Vermeer is a Dutch artist who's works are among the most revered. Although he began painting mythical and biblical scenes, he is best know for his depictions of subjects captured in every day life. Vermeer’s fascination with the reflection of light is one of the traits that makes his paintings so captivating and can be observed in The Milkmaid (left). Vermeer was incredibly meticulous in planning his compositions. Enticed by the way geometric shapes and lines create perspectives and vantage points, he favours surrounding his subject with specific items or furniture. In this instance, the the angled edge of the table and the receding windowsill create a sense of depth. He uses yellow and blue wonderfully to create a focal point that is the perfect compliment to the female subject, a palette also used in some of his other works like Girl with a Pearl Earring (1665). He was in fact so meticulous with his placement of objects that many argued it took the reality out of his realism approach. |
Rococo 1700
This highly decorative style formed in extension to Baroque. It arose form the French court and reflected the continued separation of the courts and the people. It is a highly criticized movement in the arts and often viewed as a frivolous attempt for the upper class to fulfill their whims, however it can also be viewed as a form of escape, as artists reacted against academic rules and restrictions. It can be described as spontaneous, playful and decorative, following two major themes, 'nature and the pursuit of happiness' (Copplestone, 1983:258). It started as an architectural movement where the wealthy French aristocrats started decorating their homes in a new Rococo style that was associated with King Louis XV.
The characteristics of this movement are:
- frilly ornamentation
- sweeping curves
- asymmetry
- pastel colors
- lighthearted subjects
The characteristics of this movement are:
- frilly ornamentation
- sweeping curves
- asymmetry
- pastel colors
- lighthearted subjects
Francois Boucher
His work is a great representation of the rococo characteristics. In Hercules and Omphale (left), we see curved an winding figures, intertwined by softly draped cloth and serpentine lines, all working together to draw the main subjects to each other. He worked with a voluptuous sensibility, trying to combine that which is carnal to that which is sensual, creating a sense of mischief. There is an abundance of flesh and cloth to capture and reflect light, which gives the composition movement, making the scene more energetic. The viewer can sense the passion from the canvas. The fluency in his handling of the brush along with his light colour palette, further add to the sensuality and romance created by this piece. His playful depictions and iconic style was popular in the courts of Louis XV. |
William Hogarth William Hogarth was an English painter whose work found admiration from abroad due to its moral and satirical style which was highly influenced by French rococo. We can see it in the architecture and details of his work Mariage a la Mode II (left) which depicts a Neo-Palladian home with Classical ornaments and columns. The subjects in the room are captured with a sense of caricature and the scene points out the flaws in the social customs of the time, in particular the marriage of convenience and social convention. He wanted to bring a sense of realism into his paintings while creating a strong moral point of view, while still embracing the aesthetic qualities of his craft. |
Neo-Classical 1770
During the mid 18th century there was a divide among artists; one the one hand those who wanted to revolt against restraint and pursue fantasy, beauty and the sublime, and those who sought antiquity, harmony and rational thinking. Artists who did not agree with the frivolous sensuality of Rococo art insisted on a return to order, promoting a more cerebral art. Pieces need to be moral, serious and rational, fitting better with the age of Enlightenment. During the Age of Enlightenment, thinkers 'questioned traditional authority and embraced the notion that humanity could be improved through rational change' (History.com, 2009). The drivers of Enlightenment in England and France were proclaimed thinkers about human affairs, tradition and the common good like Hume, Voltaire and Roussou.
Jean-Auguste-Dominique Ingres
This French painter was well known for his ability to combine traditional techniques and sensuality. He experimented with abstract figures and emotionally complex subjects. His portraits were also popular as he depicted sitters with a timeless quality and fashionable decor. His rendering of texture was particularly captivating as evidenced in his portraits of Princesse Albert de Broglie, Comtesse d'Haussonville and his Self Portrait in 1804. By the mid 19th century, he became the guardian of Classical tradition.
This French painter was well known for his ability to combine traditional techniques and sensuality. He experimented with abstract figures and emotionally complex subjects. His portraits were also popular as he depicted sitters with a timeless quality and fashionable decor. His rendering of texture was particularly captivating as evidenced in his portraits of Princesse Albert de Broglie, Comtesse d'Haussonville and his Self Portrait in 1804. By the mid 19th century, he became the guardian of Classical tradition.
Sir Joshua Reynolds was an English artist who had a great impact on 18th century art world through his paintings, but mostly through his philosophies as an aesthetician (a philosophy that explores the nature of art, beauty and taste). Many of his portraits he used props to employ a pseudo-classical setting like a column and drapery, with costumes, poses and gestures to match, like his portrait of Mrs Hale shows her as Euphrosyne, one of the three Graces, in a pose reminiscent of Raphael’s Saint Margaret in the Louvre.
He believes that art goes beyond merely copying nature and that all things have defects or deformities. An artist who can depict these with an abstract ideal has created something more perfect than the original.
He believes that art goes beyond merely copying nature and that all things have defects or deformities. An artist who can depict these with an abstract ideal has created something more perfect than the original.
Works Cited
Blanca, D (2016) The Prado Guide. Spain: Museo Nacional del Prado.
Britannica (2017) Praxiteles [online] At: https://www.britannica.com/biography/Praxiteles#ref119136 (Accessed on 25 August 2018)
Copplestone, T. (1983) The Macmillan art informer: a guide to the full enjoyment of the fine arts, London, Macmillan.
History.com (2009) Enlightenment [online] At:https://www.history.com/topics/enlightenment (Accessed on 29 September 2018)
History.com (2010) Byzantine Empire [online] At: https://www.history.com/topics/ancient-history/byzantine-empire (Accessed on 26 September 2018)
Honour, H and Fleming, J. (2009). A world history of art. London: Laurence King Publishing.
Magdy, S. (2017) Egypt reopens ancient Sinai library housing 4th-century New Testament [online] At: https://www.timesofisrael.com/egypt-reopens-ancient-sinai-library-housing-4th-century-new-testament/ (Accessed on 25 August 2018)
Mark, J. (2018) Mesopotamia [online] At: https://www.ancient.eu/Mesopotamia/ (Accessed on 25 August 2018)
Preciado, J.J.P. (2016) The Prado Guide. Spain: Museo Nacional del Prado.
Scouter, A. (2018) Donatello Artist Overview and Analysis [online] At: https://www.theartstory.org/artist-donatello-life-and-legacy.htm (Accessed on 27 August 2018)
Tate (2018) Mannerist [online] At: https://www.tate.org.uk/art/art-terms/m/mannerist (Accessed on 28 August 2018)
Britannica (2017) Praxiteles [online] At: https://www.britannica.com/biography/Praxiteles#ref119136 (Accessed on 25 August 2018)
Copplestone, T. (1983) The Macmillan art informer: a guide to the full enjoyment of the fine arts, London, Macmillan.
History.com (2009) Enlightenment [online] At:https://www.history.com/topics/enlightenment (Accessed on 29 September 2018)
History.com (2010) Byzantine Empire [online] At: https://www.history.com/topics/ancient-history/byzantine-empire (Accessed on 26 September 2018)
Honour, H and Fleming, J. (2009). A world history of art. London: Laurence King Publishing.
Magdy, S. (2017) Egypt reopens ancient Sinai library housing 4th-century New Testament [online] At: https://www.timesofisrael.com/egypt-reopens-ancient-sinai-library-housing-4th-century-new-testament/ (Accessed on 25 August 2018)
Mark, J. (2018) Mesopotamia [online] At: https://www.ancient.eu/Mesopotamia/ (Accessed on 25 August 2018)
Preciado, J.J.P. (2016) The Prado Guide. Spain: Museo Nacional del Prado.
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