Gustave Courbet
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.A Burial at Ornans 1849 149 Musée d'Orsay (Paris) Realism he painting, which drew both praise and fierce denunciations from critics and the public, is an enormous work, measuring 10 by 22 feet (3.1 by 6.6 metres), depicting a prosaic ritual on a scale which previously would have been reserved for a work of history painting. According to art historian Sarah Faunce, "In Paris the Burial was judged as a work that had thrust itself into the grand tradition of history painting, like an upstart in dirty boots crashing a genteel party, and in terms of that tradition it was of course found wanting."[4] Then too, the painting lacks the sentimental rhetoric that was expected in a genre work: Courbet's When Courbet painted this during the years 1849–50, the art mourners make no theatrical gestures of world still operates under traditional methods – the most famous grief, and their faces seem more caricatured of which is the Romanticism style. So, it was understandable that than ennobled. The critics accused Courbet critics decried Courbet’s painting by pointing out his technique of a deliberate pursuit of ugliness. and realism of the image as well as its uncanny 10 feet by 22 feet Eventually the public grew more interested size. Defying the conventional components present in all work of in the new Realist approach, and the lavish, art during his time, by using real people present at the burial, as decadent fantasy of Romanticism lost subjects instead of art models, Courbet essentially gave birth to popularity. The artist well understood the Modern Art. importance of this painting; Courbet said: "The Burial at Ornans was in reality the burial of Romanticism."[5] It might also be said to be the burial of the hierarchy of genres which had dominated French art since the 17th century. In 1873, when Courbet's political views had Gustave Courbet The painting portrays the burial of Courbet’s great uncle in the small French town of Ornans. Unlike most painting of that period, this French painting depicted the scene without any exaggerated visual 1819-1877 components. It stayed true to Courbet’s realist technique of only painting what he can see. It is obvious that the painting lacks the romanticism of grief and mourning that can easily be found in all customary Romantic paintings. https://www.youtube.com/watch?v=zRuLkyLx3No .A Sunday Afternoon on the Island of La Grande Jatte 1884 082 Art Institute of Chicago Pointillism Seurat was inspired by a desire to abandon Impressionism's preoccupation with the fleeting moment, and instead to render what he regarded as the essential and unchanging in life. Nevertheless, he borrowed many of his approaches from Impressionism, from his love of modern subject matter and scenes of urban leisure, to his desire to avoid depicting only the 'local', or apparent, color of depicted objects, and instead to try to capture all the colors that interacted to produce their appearance. Seurat was fascinated by a range of scientific ideas about color, form and expression. He believed that lines tending in Georges Seurat is chiefly remembered as the pioneer of the certain directions, and colors of a particular Neo-Impressionist technique commonly known as Divisionism, warmth or coolness, could have particular or Pointillism, an approach associated with a softly flickering expressive effects. He also pursued the surface of small dots or strokes of color. His innovations discovery that contrasting or derived from new quasi-scientific theories about color and complementary colors can optically mix to expression, yet the graceful beauty of his work is explained by yield far more vivid tones that can be the influence of very different sources. Initially, he believed achieved by mixing paint alone. He called that great modern art would show contemporary life in ways the technique he developed similar to classical art, except that it would use technologically 'chromo-luminism', though it is better informed techniques. Later he grew more interested in Gothic art known as Divisionism (after the method of and popular posters, and the influence of these on his work make separating local color into separate dots), or it some of the first modern art to make use of such Pointillism (after the tiny strokes of paint unconventional sources for expression. His success quickly that were crucial to achieve the flickering propelled him to the forefront of the Parisian avant-garde. His effects of his surfaces). triumph was short-lived, as after barely a decade of mature work Although radical in his techniques, Seurat's he died at the age of only 31. But his innovations would be highly initial instincts were conservative and Georges Seurat 53 Georges Seurat is one of the most important post-impressionist painters, and he is considered the creator of the "pointillism", a style French of painting in which small distinct points of primary colors create the 1859-1891 impression of a wide selection of secondary and intermediate colors. https://www.youtube.com/watch?v=jkVVrNfCfT8 .Adam and Eve 1533 067 Art Institute of Chicago Northern Renaissance Cranach’s work took on a new direction, however, with the onset of the Protestant Reformation. Serving in the court of Luther’s protector and coming to know the young reformer personally, Cranach became a purveyor of Protestant thought and reform through his paintings and woodcuts. The woodcuts in particular decorated many of the treatises published by the Wittenberg reformers and functioned as visual conduits for their theology. The first such woodcut, in a 1519 pamphlet, featured a contrast between the chariot to heaven and the chariot to hell. On 1521, Cranach published 13 woodcuts by the title, Passional Chrisi The scene is set in a forest clearing where Eve stands before the und Antichristi, which this time contrasted Tree of Knowledge, caught in the act of handing an apple to a the life of Christ with the luxurious lifestyle bewildered Adam. Entwined in the tree’s branches above, the of pope and curia. The most famous serpent looks on as Adam succumbs to temptation. A rich woodcuts were printed in Luther’s German menagerie of birds and animals – a stag, a hind, a sheep, a translation of the scriptures. Beginning in roe-buck with its mate, a lion, a wild boar and a horse, and 1522 with the German New Testament, with partridges, a stork and a heron – completes this seductive vision the Old Testament following in 1524, of Paradise. On the tree-trunk are the date 1526 and the Cranach’s images took on a crucial bat-winged serpent which formed part of Cranach’s coat of arms. catechetical function though their The painting is particularly admired for its treatment of the representation of biblical passages in the human figure and for the profusion of finely painted details, Luther Bible. including animals and vegetation. Cranach delights in capturing details such as the roe-buck catching its reflection in the The most enduring images Cranach foreground pool of water. produced remain the portraits he painted of Luther, many of which still adorn books of the Wittenberg theologian’s writings. He Lucas Cranach the Elder painter and printmaker in woodcut and engraving. He was court painter to the Electors of Saxony for most of his career, and is known German for his portraits, both of German princes and those of the leaders of 1472-1553 the Protestant Reformation, whose cause he embraced with enthusiasm. He was a close friend of Martin Luther. Cranach also painted religious subjects, first in the Catholic tradition, and later trying to find new ways of conveying Lutheran religious concerns in art. He continued throughout his career to paint nude subjects drawn Martin Luther and Katherina van Bora - 1526 from mythology and religion. Cranach had a large workshop and many works exist in different versions; his son Lucas Cranach the Younger, and others, continued to create versions of his father's works for decades after his death. He https://www.youtube.com/watch?v=g4XZGhnFOwM .Aladin (Flow P11) 2014 136 Private Collection Post-Modernism Be it a rural landscape, a colorful gestural abstraction, or a black-and-white painting based on a family snapshot or image from the newspaper, a certain set of tensions consistently drives Richter's work: belief versus skepticism, gesture versus erasure, planning versus chance, personal engagement versus objective neutrality. In Richter's paintings one can identify many of the marks, methods, and forms that have driven the development of modern and contemporary art since the 1950s. But the often discordant way in which the artist brings them together on the canvas cools their rhetorical intensity. The restless Biography quality of these works, in which different Gerhard Richter's lifelong experimentation with diverse subjects modes of painting collide, reflects Richter's and methods — and his sophisticated questioning of their simultaneous hope and uncertainty that meanings — derives in part from his personal experience of painting can faithfully assess contemporary modern Germany's tumultuous history. Richter's childhood reality. coincided almost precisely with the rise and fall of the Third Reich; born in Dresden in 1932, just one year before Adolf Hitler came to power, Richter began his artistic career twenty years later within the academic system of East Germany. Richter trained as a muralist, painting realistic imagery that espoused socialist themes. Gerhard Richter 82 One of the most important artists of recent decades, Richter is known either for his fierce and colorful abstractions or his serene German landscapes and scenes with candles. 1932- Betty (1988) https://www.youtube.com/watch?v=8boixn7AMgk .Allegory of Chastity 1475 105 Musee Jacquemart-Andre (Paris) Northern Renaissance Memling's portraits, in particular, were popular in Italy.