the TIMELIN E of

of the INDUSTRIAL REVOLUTION

1700 1750 1800 1850 1900 BAROQUE ROCCOCO

Baroque art and architecture emerged in Italy at the end of Rococo originated in the early eighteenth century during Baroque 1580–1720 the Renaissance in the sixteenth century and spread the age of Enlightenment. Rococo was a reaction against throughout Europe in the seventeenth century. This the "grand manner" of art identified with the Baroque movement was encouraged by the Catholic church, the formality and rigidity of court life. It portrayed indulgent most important patron of the arts at that time, as a return to lifestyles of the aristocracy rather than self-discipline and Roccoco 1715–1775 tradition and spirituality. This gave rise to artistic forms that reason. The movement toward a lighter, more charming were intended to lift the spectator above daily existence to manner began in French architectural decoration at the end a lofty and esoteric experience. The works of the period, of Louis XIV's reign and quickly spread across Europe. particularly architecture, are marked by luxuriant, theatri- Roccoco is characterized by its ornate, lighthearted, and Neoclassicism 1730–1810 cal forms, filled with ornamentation and a striving for the graceful style. Subsequently, Rococo style was replaced by sublime. Baroque eventually gave rise to Roccoco style and the more serious Neoclassicism. Artists of this style include saw its end in the early 18th century. Artists and sculptors Jean-Antoine Watteau, Jean-Honoré Fragonard, Thomas of this period include Peter Paul Rubens, Bernini, Caravag- Johnson, Jean-Baptiste van Loo, Louise Le Brun, and Romanticism 1790–1850 gio, and Diego Velázquez. François Boucher.

Gothic Revival 1840–1880

Realism 1850–1880 NEOCLASSICISM ROMANTICISM

The period of Neoclassicism began in the mid-eighteenth Beginning in the late eighteenth century, the Romantic Impressionism 1860–1885 century and was widespread across Europe. Neoclassicism movement was complex artistic, literary and intellectual idealized “classic” Western art, literature, and philosophy movement in response to the rapid and dynamic social primarily those identified with ancient Greek and Roman change that culminated in the French Revolution. It civilizations. It arose partly as a reaction against the validated strong emotion as an authentic source of Arts & Crafts 1860–1910 sensuous decorative Rococo style that had dominated aesthetic experience, placing new emphasis on such European art from the early eighteenth century. Neoclassi- emotions as trepidation, horror, and terror and awe; cism was given great impetus by new archaeological especially when confronting the sublimity of untamed discoveries, particularly the exploration and excavation of nature. Romanticism legitimized the individual imagination Post Impressionism 1885–1910 the buried Roman cities of Herculaneum and Pompeii. Artist as a critical authority, which permitted freedom from of this period include Josiah Wedgewood, Jean Chalgrin, classical notions of form in art. Painters of this movement Jacques Louis David, and Nicolas Poussin. include Francisco Goya, Thomas Cole, Frederic Edwin Art Nouveau 1890–1910 Church, and Albert Bierstadt. American Revolution American Revolution French Exhibition Great

GOTHIC REVIVAL REALISM

The Gothic Revival was an architectural movement in During the mid-nineteenth century, after the French Revolu- England whose popularity grew rapidly in the tion, Realism rejected the artificiality and emotion of mid-nineteenth century with the avocation to revive Romanticism and replaced it with truthful and accurate medieval forms. It was intertwined with the deeply depictions of objective reality. This was a period of philosophical movements associated A.W.N. Pudgin who introduction to new technologies, physical settings, and was concerned by the decline of Christian values which material conditions. Realism sought to portray the lives, was attributed to the increase of industrialization. As appearances, and problems of the middle and lower industrialization progressed, a reaction against machine classes. The popularity of Realism continued to grow with production and the appearance of factories also grew. the advent of photography. Painters of this movement Advocates of this movement include A.W.N. Pudgin, John include Gustave Courbet, Rembrandt, Jean-François Millet, Ruskin, Calvert Vaux, and Lewis Nockalls Cottingham. and James A.M. Whistler.

IMPRESSIONISM ARTS & CRAFTS

Impressionism began in the late nineteenth century in Paris. The Arts and Crafts Movement was an international design 1709 1724 1769 It marked a momentous break from tradition in European movement that originated in England and flourished in the painting. Impressionist painters were able to render the late nineteenth century. Instigated by William Morris and image of an object as someone would see it if they just the writings of John Ruskin, it developed as a reaction caught a glimpse of it. This change in methodology by against the impoverished state of the decorative arts and applying paint in small touches of color rather than broader the conditions under which they were produced. The strokes, and painting outdoors to catch the movement of movement advocated truth to materials and traditional color and light resulted in the emphasis of the artist's craftsmanship using simple forms and often medieval, perception of the subject matter as much as the subject romantic, or folk styles of decoration throughout all artistic itself. Painters of this movement include Mary Cassat, disciplines. It also proposed economic and social reform Pierre-Auguste Renoir, Édouard Manet, Claude Monet, and and has been seen as essentially anti-industrial. Advocates Edgar Degas. and artists of this movement include William Morris, John Ruskin, Frank Lloyd Wright, and Charles Rennie Macintosh.

1826 1829 1830

POST IMPRESSIONISM ART NOUVEAU

Post-Impressionism evolved in the late nineteenth century Art Nouveau arrived at the turn of the twentieth century and represented both an extension of Impressionism and a and was an important bridge between the “classical” era rejection of that style's inherent limitations. Painters contin- and Modernism. The artists’ approach of incorporating art ued using vivid colors, thick application of paint, distinctive into everyday life has been represented in painting, brush strokes, and real-life subject matter, but they were architecture, furniture, graphic design, pottery, metalwork, more inclined to emphasize geometric forms, distort form textiles, and sculpture. Art Nouveau style includes flat, for expressive effects, and use unnatural or arbitrary color. decorative patterns, and intertwined organic forms of stems The work of these painters formed a basis for several or flowers. Typical for this style was artistic application of contemporary trends and for early twentieth century modern industrial techniques and modern materials. Artists, Modernism. Painters of this movement include Vincent van craftsmen, and architects of this style include Hector 1876 1878 1886 Gogh, Paul Cezanne, Paul Gauguin, Henri Rousseau, and Guimard, Louis Comfort Tiffany, Antoni Gaudí, Henry Van Henri de Toulouse-Lautrec. de Velde, and Charles Rennie Mackintosh.