French Classicism in Four Painters: Where It Went and Why
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Classicism, Modernism, Postmodernism, and Importance of Communication
Classicism, Modernism, Postmodernism, and Importance of Communication Taylor Stevenson Art History II Prof Jason Bernagozzi Midterm Exam March 09, 2016 Art and societies have long since been integrated, with both realms reflecting each other through understandings, values, and ideas. When either realm changes its ideologies, the other realm tends to reflect those changes in a similar form. This is prevalent in the understanding of art movements over the course of history, especially with three periods of art: Classicism, Modernism, and Post Modernism. Through these art movement periods, we can see how ideologies of the artist have evolved from working for other professions that use art as a means to an end, to using art as a way to communicate their own ideas, to creating art for the viewer to decide on the meaning. Many artworks that were taken from (or inspired by) Greek and Roman cultural art are considered to be classical. This may be because at this point in time, the societies behind these works of art have established an aesthetic standard that serves as a fundamental basis for other art movements. The Editors of Encyclopædia Britannica note “’classic’ is also sometimes used to refer to a stage of development that some historians have identified as a regular feature of what they have seen as the cyclical development of all styles.” When applied to art (especially art in the western/European world), these “classic” greek and roman roots placed emphasis on a realistic form, and line over color in two dimensional pieces1. Sculptures of these times, while considered important, did not necessarily translate into the aesthetic view of the next generation. -
Renaissance and Baroque Art
Brooks Education (901)544.6215 Explore. Engage. Experience. Renaissance and Baroque Art Memphis Brooks Museum of Art Permanent Collection Tours German, Saint Michael, ca. 1450-1480, limewood, polychromed and gilded , Memphis Brooks Museum of Art Purchase with funds provided by Mr. and Mrs. Ben B. Carrick, Dr. and Mrs. Marcus W. Orr, Fr. And Mrs. William F. Outlan, Mr. and Mrs. Downing Pryor, Mr. and Mrs. Richard O. Wilson, Brooks League in memory of Margaret A. Tate 84.3 1 Brooks Education (901)544.6215 Explore. Engage. Experience. Dear Teachers, On this tour we will examine and explore the world of Renaissance and Baroque art. The French word renaissance is translated as “rebirth” and is described by many as one of the most significant intellectual movements of our history. Whereas the Baroque period is described by many as a time of intense drama, tension, exuberance, and grandeur in art. By comparing and contrasting the works made in this period students gain a greater sense of the history of European art and the great minds behind it. Many notable artists, musicians, scientists, and writers emerged from this period that are still relished and discussed today. Artists and great thinkers such as Leonardo Da Vinci, Michaelangelo Meisi da Caravaggio, Gian Lorenzo Bernini, Michelangelo di Lodovico Buonarroti Simoni, Dante Alighieri, Johann Sebastian Bach, and Galileo Galilei were working in their respective fields creating beautiful and innovative works. Many of these permanent collection works were created in the traditional fashion of egg tempera and oil painting which the students will get an opportunity to try in our studio. -
9799 SM2 V2.Indd
Cambridge International Examinations Cambridge Pre-U Certifi cate ART HISTORY (PRINCIPAL) 9799/02 Paper 2 Historical Topics For Examination from 2016 SPECIMEN MARK SCHEME 2 hours 15 minutes MAXIMUM MARK: 60 The syllabus is approved for use in England, Wales and Northern Ireland as a Cambridge International Level 3 Pre-U Certifi cate. This document consists of 28 printed pages. © UCLES 2013 [Turn over 2 Relative weightings of the assessment objectives: Individual questions Total for Paper 2 Paper 2 mark % mark % AO1 315915 AO2 7352135 AO3 5251525 AO4 5251525 Total 20 100 60 100 Candidates are to answer three questions in total from at least two different topics. All questions carry 20 marks each. Marking should be done holistically, taking into consideration the weighting of marks for each assessment objective as they are refl ected in the descriptor. The question-specifi c notes describe the area covered by the question and defi ne its key elements. Candidates may answer the question from a wide variety of different angles using different emphases, and arguing different points of view. There is no one required answer and the notes are not exhaustive. However candidates must answer the question set and not their own question; the question-specifi c notes provide the parameters within which markers may expect the discussion to dwell. Use the generic marking scheme levels to fi nd the mark. First fi nd the level which best describes the qualities of the essay, then allocate a point within the level to establish a mark out of 20. Add the 3 marks out of 20 together to give a total mark out of 60 for the script as a whole. -
Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Cubism in America
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1985 Cubism in America Donald Bartlett Doe Sheldon Memorial Art Gallery Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Doe, Donald Bartlett, "Cubism in America" (1985). Sheldon Museum of Art Catalogues and Publications. 19. https://digitalcommons.unl.edu/sheldonpubs/19 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. RESOURCE SERIES CUBISM IN SHELDON MEMORIAL ART GALLERY AMERICA Resource/Reservoir is part of Sheldon's on-going Resource Exhibition Series. Resource/Reservoir explores various aspects of the Gallery's permanent collection. The Resource Series is supported in part by grants from the National Endowment for the Arts. A portion of the Gallery's general operating funds for this fiscal year has been provided through a grant from the Institute of Museum Services, a federal agency that offers general operating support to the nation's museums. Henry Fitch Taylor Cubis t Still Life, c. 19 14, oil on canvas Cubism in America .".. As a style, Cubism constitutes the single effort which began in 1907. Their develop most important revolution in the history of ment of what came to be called Cubism art since the second and third decades of by a hostile critic who took the word from a the 15th century and the beginnings of the skeptical Matisse-can, in very reduced Renaissance. -
The Petite Commande of 1664: Burlesque in the Gardens of Versailles Thomasf
The Petite Commande of 1664: Burlesque in the Gardens of Versailles ThomasF. Hedin It was Pierre Francastel who christened the most famous the west (Figs. 1, 2, both showing the expanded zone four program of sculpture in the history of Versailles: the Grande years later). We know the northern end of the axis as the Commande of 1674.1 The program consisted of twenty-four Allee d'Eau. The upper half of the zone, which is divided into statues and was planned for the Parterre d'Eau, a square two identical halves, is known to us today as the Parterre du puzzle of basins that lay on the terrace in front of the main Nord (Fig. 2). The axis terminates in a round pool, known in western facade for about ten years. The puzzle itself was the sources as "le rondeau" and sometimes "le grand ron- designed by Andre Le N6tre or Charles Le Brun, or by the deau."2 The wall in back of it takes a series of ninety-degree two artists working together, but the two dozen statues were turns as it travels along, leaving two niches in the middle and designed by Le Brun alone. They break down into six quar- another to either side (Fig. 1). The woods on the pool's tets: the Elements, the Seasons, the Parts of the Day, the Parts of southern side have four right-angled niches of their own, the World, the Temperamentsof Man, and the Poems. The balancing those in the wall. On July 17, 1664, during the Grande Commande of 1674 was not the first program of construction of the wall, Le Notre informed the king by statues in the gardens of Versailles, although it certainly was memo that he was erecting an iron gate, some seventy feet the largest and most elaborate from an iconographic point of long, in the middle of it.3 Along with his text he sent a view. -
The Crusade of Andrew II, King of Hungary, 1217-1218
IACOBVS REVIST A DE ESTUDIOS JACOBEOS Y MEDIEVALES C@/llOj. ~1)OI I 1 ' I'0 ' cerrcrzo I~n esrrrotos r~i corrnrro n I santiago I ' s a t'1 Cl fJ r1 n 13-14 SAHACiVN (LEON) - 2002 CENTRO DE ESTVDIOS DEL CAMINO DE SANTIACiO The Crusade of Andrew II, King of Hungary, 1217-1218 Laszlo VESZPREMY Instituto Historico Militar de Hungria Resumen: Las relaciones entre los cruzados y el Reino de Hungria en el siglo XIII son tratadas en la presente investigacion desde la perspectiva de los hungaros, Igualmente se analiza la politica del rey cruzado magiar Andres Il en et contexto de los Balcanes y del Imperio de Oriente. Este parece haber pretendido al propio trono bizantino, debido a su matrimonio con la hija del Emperador latino de Constantinopla. Ello fue uno de los moviles de la Quinta Cruzada que dirigio rey Andres con el beneplacito del Papado. El trabajo ofre- ce una vision de conjunto de esta Cruzada y del itinerario del rey Andres, quien volvio desengafiado a su Reino. Summary: The main subject matter of this research is an appro- ach to Hungary, during the reign of Andrew Il, and its participation in the Fifth Crusade. To achieve such a goal a well supported study of king Andrew's ambitions in the Balkan region as in the Bizantine Empire is depicted. His marriage with a daughter of the Latin Emperor of Constantinople seems to indicate the origin of his pre- tensions. It also explains the support of the Roman Catholic Church to this Crusade, as well as it offers a detailed description of king Andrew's itinerary in Holy Land. -
CHAMPS-ELYSEES ROLL OR STROLL from the Arc De Triomphe to the Tuileries Gardens
CHAMPS-ELYSEES ROLL OR STROLL From the Arc de Triomphe to the Tuileries Gardens Don’t leave Paris without experiencing the avenue des Champs-Elysées (shahnz ay-lee-zay). This is Paris at its most Parisian: monumental side- walks, stylish shops, grand cafés, and glimmering showrooms. This tour covers about three miles. If that seems like too much for you, break it down into several different outings (taxis roll down the Champs-Elysées frequently and Métro stops are located every 3 blocks). Take your time and enjoy. It’s a great roll or stroll day or night. The tour begins at the top of the Champs-Elysées, across a huge traffic circle from the famous Arc de Triomphe. Note that getting to the arch itself, and access within the arch, are extremely challenging for travelers with limited mobility. I suggest simply viewing the arch from across the street (described below). If you are able, and you wish to visit the arch, here’s the informa- tion: The arch is connected to the top of the Champs-Elysées via an underground walkway (twenty-five 6” steps down and thirty 6” steps back up). To reach this passageway, take the Métro to the not-acces- sible Charles de Gaulle Etoile station and follow sortie #1, Champs- Elysées/Arc de Triomphe signs. You can take an elevator only partway up the inside of the arch, to a museum with some city views. To reach the best views at the very top, you must climb the last 46 stairs. For more, see the listing on page *TK. -
Fw ^Ifjljtlintii \^Jfflti4rij the METROPOLITAN MUSEUM of ART
4 awfw ^ifjljtLintii \^Jfflti4rij THE METROPOLITAN MUSEUM OF ART Succeeding the majesty of the Sun King's reign, the courts oi Louis XV and XVI turned artistic canons from splendid pomp to the quintessence of grace. Charming refinements ruled manners and tastes throughout the eighteenth cen tury until, with the monarchy, they were overthrown and re placed by the austere classicism of Napoleon's Empire. Eighteenth-century art ists, many of whom de pended upon royal pa tronage, were masters at recording and popu larizing the balls and banquets, the theatrical per formances, the hunts and picnics that were the daily distractions of a pleasure-hungry court. Highly creative and receptive to a wide range of subject matter these artists found inspiration as readily on OF THE EIGHTEENTH CENTURY Mount Olympus as in the shepherd's bower or the rococo drawing room. A shift in interest from the lives of gods and heroes to the pleasures of contemporary life, particularly the delights of the privileged classes, is evident in the estampes galantes, elaborately engraved after designs by Moreau Le Jeune, Baudouin, and Lavreince. They are the most illuminating documents of aristocratic manners, of costume, and of the decoration of houses and palaces. These documents of not acquire original drawings. And reproduc worldly pleasures were complemented by a tions of paintings were produced by skilled pro vigorous academic tradition concerned with fessional engravers to meet the demands of an large-scale historical and mythological paint increasingly avid public. ing, splendidly exemplified in this exhibition Etching, a process more rapid and free by Carle Van Loo's large drawn model for a than engraving and in many ways akin to picture painted for Frederick the Great of drawing, provides some of the most interesting Prussia (no. -
A Quick Tour of Paris 1
A quick tour of Paris 1 A QUICK TOUR OF PARIS 12 – 17 April 2016 Text by John Biggs © 2016 Images by John Biggs and Catherine Tang © 2016 A quick tour of Paris 2 A QUICK TOUR OF PARIS 22 hours and four plane changes see us arrive at Charles De Gaulle Airport whacked out. We have booked on a river cruise down the Rhone but have taken a five day tour of Paris before joining the cruise. We are met by a girl from the Dominican Republic who came to Paris a year ago with no French and massive ambitions. Four jobs later she is fluent in French, has an excellent job in tourism and is seeking more worlds to conquer. She takes us to a large car with a taciturn driver who is to take us to our hotel but something funny is going on: we have been going for much longer than expected, we pass through the grimmest industrial parts of Paris in silence. At one major intersection, police cars and motor cycles, light flashing, sirens wailing, weave in and around us. We look uneasily at each other: this is the month of the bombings. But wailing police sirens is a sound that is as Parisian as the Eiffel Tower, we are to discover. After an hour and some we finally arrive at Hotel Duminy-Vendome in the centre of Paris and our driver turns out to have excellent English, which he now uses freely. I had been studying French on line with Duolingo to 52% fluency (try it if you want to learn a language, it’s fantastic) but that doesn’t seem much use here. -
Major Retrospective Brings Balthus Back to Rome
Film Review ‘Paranormal Activity The Ghost Dimension’ SUNDAY, OCTOBER 25, 2015 38 Ining Dalmacio coaxes “Klondike,” a Pomeranian and inspired by the movie “Zorro,” during the annual dogs and cats pre-Halloween fashion show yesterday by Philippine Animal Welfare Society (PAWS) at suburban Quezon city, northeast of Manila, Philippines. The annual event is to raise awareness for the need to adopt or foster stray animals rescued by PAWS from the streets which now runs to hundreds. — AP (See more on Page 38) Major retrospective brings Balthus back to Rome althus is the subject of a major retrospective 77 and was largely responsible for the restoration Question of pedophilia opening this weekend in Rome, two years and reorganization of its home, the Villa Medici. Still This collection is lighter on the kind of images of Bafter a similar exhibition in New York sparked one of the city’s landmark buildings, the Villa is play- girls on the cusp of womanhood that led one critic controversy over the French painter’s erotically- ing host to a parallel exhibition which showcases to brand Balthus “one of the creepiest figures in charged depictions of barely pubescent girls. Nearly some of the artists’ major works completed during modern art” after the New York exhibition. Debray his time in Rome, his impact on the building and its acknowledges that painting “very young girls with a gardens and his working environment. very strong erotic suggestion” was a defining theme The main collection is being shown at the of Balthus’s work, but robustly dismisses any sug- Scuderie del Quirinale, the former stables of the gestion the work could be regarded as indicative a papal palace that is now the official residence of predatory sexual interest in minors. -
The Baroque Era 1. Title 2. Anthony Van Dyke, Charles I Dismounted, Oil on Canvas, 1635 3. Diego Velázquez, King Philip IV Of
The Baroque Era 1. Title 2. Anthony van Dyke, Charles I Dismounted, oil on canvas, 1635 3. Diego Velázquez, King Philip IV of Spain (Fraga Philip), oil on canvas, 1644 4. Charles leBrun, Apotheosis of Louis XIV, oil on canvas, 1677 5. Hyacinthe Rigaud, Portrait of Louis XIV, oil on canvas, 1701; 6. Aerial view, Palace of Versailles, Louis Le Vau and Jules Hardouin-Mansart, architects; interior design Le Vau and Hardouin-Mansart with Charles LeBrun, masonry, stone, wood, iron and gold leaf; sculpture in bronze and marble; original gardens designed by André LeNôtre, Versailles, France, begun 1669 7. Plan of Versailles and gardens 8. “Le Vau envelop,” courtyard 9. alternate view of above 10. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 11. Louis Le Vau, Jules Hardouin-Mansart, and Charles LeBrun, Hall of Mirrors, Chateau de Versailles, ca. 1680 (after 2007 restoration) 12. Charles LeBrun, The King Governs by Himself, from the ceiling of the Hall of Mirrors 13. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Guerre, Chateau de Versailles, ca. 1680 14. Jules Hardouin-Mansart and Charles Le Brun, detail of bas relief of Louis XIV on Horseback, Salon de la Guerre, Chateau de Versailles, ca. 1680 15. Jules Hardouin-Mansart and Charles Le Brun, Salon de la Paix, Chateau de Versailles, ca. 1681-1686 16. Charles LeBrun, La Salle des Gardes de la Reine 17. Jules Hardouin-Mansart, Royal Chapel, upper level, Chateau de Versailles, 1698 18. Palace of Versailles, gardens originally designed by André LeNôtre 19.