Analysis on the Characteristics of the Neoclassical Art
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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. -
Page 1 of 2 Neoclassicism: an Introduction the Victorian Web
Neoclassicism: An Introduction The Victorian Web (2000) The English Neoclassical movement, predicated upon and derived from both classical and contemporary French models, (see Boileau's L'Art Poetique (1674) and Pope's "Essay on Criticism" (1711) as critical statements of Neoclassical principles) embodied a group of attitudes toward art and human existence — ideals of order, logic, restraint, accuracy, "correctness," "restraint," decorum, and so on, which would enable the practitioners of various arts to imitate or reproduce the structures and themes of Greek or Roman originals. Though its origins were much earlier (the Elizabethan Ben Jonson, for example, was as indebted to the Roman poet Horace as Alexander Pope would later be), Neoclassicism dominated English literature from the Restoration in 1660 until the end of the eighteenth century, when the publication of Lyrical Ballads (1798) by Wordsworth and Coleridge marked the full emergence of Romanticism. For the sake of convenience the Neoclassic period can be divided into three relatively coherent parts: the Restoration Age (1660-1700), in which Milton, Bunyan, and Dryden were the dominant influences; the Augustan Age (1700- 1750), in which Pope was the central poetic figure, while Defoe, Richardson, Fielding, and Smollett were presiding over the sophistication of the novel; and the Age of Johnson(1750-1798), which, while it was dominated and characterized by the mind and personality of the inimitable Dr. Samuel Johnson, whose sympathies were with the fading Augustan past, saw the beginnings of a new understanding and appreciation of the work of Shakespeare, the development, by Sterne and others, of the novel of sensibility, and the emergence of the Gothic school — attitudes which, in the context of the development of a cult of Nature, the influence of German romantic thought, religious tendencies like the rise of Methodism, and political events like the American and French revolutions — established the intellectual and emotional foundations of English Romanticism. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
Janson. History of Art. Chapter 16: The
16_CH16_P556-589.qxp 12/10/09 09:16 Page 556 16_CH16_P556-589.qxp 12/10/09 09:16 Page 557 CHAPTER 16 CHAPTER The High Renaissance in Italy, 1495 1520 OOKINGBACKATTHEARTISTSOFTHEFIFTEENTHCENTURY , THE artist and art historian Giorgio Vasari wrote in 1550, Truly great was the advancement conferred on the arts of architecture, painting, and L sculpture by those excellent masters. From Vasari s perspective, the earlier generation had provided the groundwork that enabled sixteenth-century artists to surpass the age of the ancients. Later artists and critics agreed Leonardo, Bramante, Michelangelo, Raphael, Giorgione, and with Vasari s judgment that the artists who worked in the decades Titian were all sought after in early sixteenth-century Italy, and just before and after 1500 attained a perfection in their art worthy the two who lived beyond 1520, Michelangelo and Titian, were of admiration and emulation. internationally celebrated during their lifetimes. This fame was For Vasari, the artists of this generation were paragons of their part of a wholesale change in the status of artists that had been profession. Following Vasari, artists and art teachers of subse- occurring gradually during the course of the fifteenth century and quent centuries have used the works of this 25-year period which gained strength with these artists. Despite the qualities of between 1495 and 1520, known as the High Renaissance, as a their births, or the differences in their styles and personalities, benchmark against which to measure their own. Yet the idea of a these artists were given the respect due to intellectuals and High Renaissance presupposes that it follows something humanists. -
SPRING 2019 ART HISTORY COURSES with Images
SPRING 2019 ART HISTORY COURSES ARTH 105 001 History of Western Art I Swartwood House, TR 11:40-12:55, WMBB Nursing 125 This course explores major monuments in art history from the Paleolithic era to the Middle Ages, including everything from cave paintings—the first known images made by humans—to the sculpture of ancient Greece and Rome, to the soaring cathedrals of the Middle Ages. We will study the interplay of works of art and architecture with their various physical, historical, social, and cultural contexts. ARTH 105 002 History of Western Art I Petit, W 4:40-7:25, MM 239 From cave paintings to Gothic cathedrals, this course will explore the major periods in Western Art from Prehistoric through Medieval times. This course will cover roughly 25,000 years of history, culture and art, and will serve as an introduction to the study of art history. Cultures and periods to be covered in this course include: Prehistoric Europeans, Mesopotamians, Egyptians, Aegeans, Greeks, Etruscans, Romans, Byzantines, and Europeans from the Middle Ages. ARTH 106 History of Western Art II Chametzky, MW 3:55-5:10, MM214 This survey course studies art From the Renaissance to the present in Europe, the Americas, and Africa. Major worKs of art, artists, and art movements are examined in historical and cultural context, and Fundamental art historical techniques and concepts are taught as a basis For Future study and liFe experiences. ARTH 107 History of Asian Art Wangwright, MW 2:20-3:35, MM 239 This course introduces South Asian and East Asian paintings, sculptures, and architectural monuments and explores their cultural and historical contexts. -
During a Summer Almost Ten Years Ago, I Became Periodically Obsessed with a Set of Public Benches
During a summer almost ten years ago, I became periodically obsessed with a set of public benches. These benches have sat outside Shanghai Center and the Portman Ritz-Carlton Hotel on West Nanjing Road since the early 2000s. Two, three, or four in a group, they hug the trees by the pedestrian. They are hard not to notice. Their curved shape was probably intended to maximize utility at their time of making, but for the passers-by who feel tired and seduced to take a seat they also offer a promise of choice. You can either sit on the side facing the Shanghai Exhibition Center, or take the other side towards the hotel, which allows you to observe the tourists walking in and out of the luxury stores changing hosts at a speed parallel to seasons in fashion; it’s either neoclassicism or neo-futurism. Throughout that summer, I meticulously calculated my daily calorie intake, took long walks around the French Concession every morning and afternoon, and piously returned to the City Shop located on the B1 Floor of Shanghai Center for lunch salads, which I always consumed while sitting on one of those benches. With every bite of arugula and celery, my brain translated the crunch of those fibers and the smell of their juices into a euphoric signal of well-being, which was then digested, blended, and confused with the physical sensation of the back of my thighs against the bench, the color of its pale white surface, and the feeling of sweat oozing from every pore of my skin in the hot air. -
6. After Modernity: Rohmer's Classicism and Universalism
6. After Modernity: Rohmer’s Classicism and Universalism Grosoli, Marco, Eric Rohmer’s Film Theory (1948-1953). From ‘école Schérer’ to ‘Politique des auteurs’. Amsterdam: Amsterdam University Press, 2018 doi: 10.5117/978946298580/ch06 Abstract From the outset of his career, Eric Rohmer made no secret of his preference for classicism, as far as both aesthetics in general and cinematic aesthetics in particular are concerned. One must hasten to add, however, that he never really conceived of “classic” and “modern” as two opposite concepts. Rather, he maintained that what is truly classic is also truly modern, because in either case genuine art is primarily about achieving a certain harmony with nature. What he exactly meant by this forms the main subject matter of this chapter, which also clarifies the degree to which Rohmer’s aesthetics can be called “universalist” and “anti-evolutionist”, and why. In addition, Rohmer’s views on the key notions of authorship and mise en scene are also summarily sketched. Keywords: Rohmer, classic, modern, universalism, aesthetics 6.1. Beyond modern art Rohmer’s attachment to classical tragedy is a clear token of his overt classi- cism, which can hardly be accounted for as orthodox and one-dimensional. For him, ‘classicism’ and ‘modernity’ are not necessarily opposite. In order to clarify this issue, it is again useful to draw upon Kant, since the critic’s classicism and his peculiar, idiosyncratic Kantism ultimately shed a decisive light on each other. For one thing, Rohmer does not connect cinema and Kantian aesthetics in a straightforward way. Contrary to what the previous chapter(s) might have suggested, in spite of cinema’s capability to attain artistic and natural beauty and to tackle freedom, it would be too simplistic to maintain that Rohmer regarded cinema simply as the perfect match to Kant’s ideas on aesthetics. -
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Advances in Social Science, Education and Humanities Research, volume 284 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018) Peculiarities of Stylistic Evolution of Mid-19th — Early 20th Century St. Petersburg Industrial Architecture* Margarita Stieglitz Branch of the Central Institute for Research and Design of the Ministry of Construction and Housing and Communal Services of the Russian Federation Scientific Research Institute of the Theory and History of Architecture and Urban Planning St. Petersburg, Russia E-mail: [email protected] Abstract—The article analyses stylistic peculiarities of St. evolutionary development. Petersburg industrial architecture during the period of eclecticism. On the examples of the most important objects in III. EARLY STAGE (1850–1870): "BRICK STYLE" AS THE this area of construction we can see a stylistic phenomenon — the domination of the so-called “brick style” with features of RATIONAL BRANCH OF ECLECTICISM historicism. A stylistic transformation is traced in the periods Against the background of the complex and diverse of Art Nouveau and neoclassicism; the origins of architecture of eclecticism, industrial architecture looked constructivism anticipating the emergence of the avant-garde modest, giving preference to the most rational direction - the are discovered. "brick style", which had formed here much earlier than in other regions. Its prerequisites were already outlined in the Keywords—industrial buildings; rational tendencies; “brick architecture of utilitarian facilities: New Holland wood style”; historicism; Art Nouveau; neoclassicism; constructivism storages, New Admiralty covered berths, workshops in the Arsenal on the Vyborg side, and others. I. INTRODUCTION The outer walls of the first multi-story frame buildings of Industrial architecture is a colossal layer of architectural textile manufactories of the 1840s-1850s — Novaya, heritage of St. -
A Study of Bavarian Rocaille
Dissolving Ornament: A Study of Bavarian Rocaille Olaf Recktenwald School of Architecture McGill University, Montreal March 2016 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Olaf Recktenwald 2016 To my parents Table of Contents List of Illustrations vii Abstract viii Résumé ix Acknowledgments xi Introduction 1 1. Concerning Rocaille 1.1 Introduction 9 1.2 National Considerations 11 1.3 Augsburg and Johann Esaias Nilson 17 1.4 Rocaille Theory 24 1.5 Style, Form, and Space 31 1.6 Rocaille and Rococo 45 1.7 Bavaria’s Silence 50 1.8 Eighteenth-Century Critiques 54 1.9 Nineteenth- and Twentieth-Century Critiques 75 1.10 Conclusion 84 2. Ornament and Architecture 2.1 Introduction 87 2.2 Architectural Ornament and Ancient Rhetoric 89 2.2.1 Introduction 89 2.2.2 Aristotle 97 2.2.3 Rhetorica ad Herennium 100 2.2.4 Cicero 103 2.2.5 Vitruvius 116 2.2.6 Quintilian 123 2.2.7 Tacitus 131 2.2.8 Conclusion 133 2.3 Alberti’s Interpretation of Ornament 134 2.4 Alberti’s Perspectival Frame 144 2.5 Conclusion 156 3. Nature and Architecture 3.1 Introduction 161 3.2 Biblical Cities 162 3.3 Ruins 170 3.4 Grottoes 178 3.5 Symbols 191 3.6 Conclusion 197 4. Theatricality 4.1 Introduction 199 4.2 Departure from Andrea Pozzo 200 4.3 Relation to Ferdinando Galli-Bibiena 215 4.4 Conclusion 228 Conclusion 231 Illustrations 238 Bibliography 255 List of Illustrations 1. -
NGA | 2017 Annual Report
N A TIO NAL G ALL E R Y O F A R T 2017 ANNUAL REPORT ART & EDUCATION W. Russell G. Byers Jr. Board of Trustees COMMITTEE Buffy Cafritz (as of September 30, 2017) Frederick W. Beinecke Calvin Cafritz Chairman Leo A. Daly III Earl A. Powell III Louisa Duemling Mitchell P. Rales Aaron Fleischman Sharon P. Rockefeller Juliet C. Folger David M. Rubenstein Marina Kellen French Andrew M. Saul Whitney Ganz Sarah M. Gewirz FINANCE COMMITTEE Lenore Greenberg Mitchell P. Rales Rose Ellen Greene Chairman Andrew S. Gundlach Steven T. Mnuchin Secretary of the Treasury Jane M. Hamilton Richard C. Hedreen Frederick W. Beinecke Sharon P. Rockefeller Frederick W. Beinecke Sharon P. Rockefeller Helen Lee Henderson Chairman President David M. Rubenstein Kasper Andrew M. Saul Mark J. Kington Kyle J. Krause David W. Laughlin AUDIT COMMITTEE Reid V. MacDonald Andrew M. Saul Chairman Jacqueline B. Mars Frederick W. Beinecke Robert B. Menschel Mitchell P. Rales Constance J. Milstein Sharon P. Rockefeller John G. Pappajohn Sally Engelhard Pingree David M. Rubenstein Mitchell P. Rales David M. Rubenstein Tony Podesta William A. Prezant TRUSTEES EMERITI Diana C. Prince Julian Ganz, Jr. Robert M. Rosenthal Alexander M. Laughlin Hilary Geary Ross David O. Maxwell Roger W. Sant Victoria P. Sant B. Francis Saul II John Wilmerding Thomas A. Saunders III Fern M. Schad EXECUTIVE OFFICERS Leonard L. Silverstein Frederick W. Beinecke Albert H. Small President Andrew M. Saul John G. Roberts Jr. Michelle Smith Chief Justice of the Earl A. Powell III United States Director Benjamin F. Stapleton III Franklin Kelly Luther M. -
The Evolution of Renaissance Classicism
The Evolution of Renaissance Classicism From "World History Encyclopedia" Copyright 2011 by ABC-CLIO,LLC The term "Renaissance classicism" refers to a fundamental attribute of the period that scholars refer to as the European Renaissance, roughly 1400–1600. Renaissance classicism was an intellectual movement that sought to mimic the literature, rhetoric, art, and philosophy of the ancient world, specifically ancient Rome. Scholars, politicians, and philosophers looked to ancient literary and artistic models for inspiration, and in turn this love of the classical world is termed classicism. The interest in the classical world was not new in the fifteenth century. In fact, there were powerful classicist themes in medieval Europe’s scholarship, law, and art. However, when eighteenth- and nineteenth- century scholars sought to find the origins of their modern secular worldview, instead of pointing to the medieval classicists they pointed to the Italian (and other) classicists of the fifteenth and sixteenth centuries. Most notable among these modern scholars was the historian Jacob Burckhardt (1818–1897). Burckhardt claimed that the model of ancient Rome sparked a more secular individualistic society in Renaissance Italy. Burckhardt’s rosy view of the Renaissance generally ignored the importance of religion, the horrors of incessant warfare, and the agonies of daily life during the period. Nevertheless, his research did point to the importance of classicism in the intellectual life of the Renaissance, a point on which later scholars elaborated. > ELEGANCES OF THE LATIN LANGUAGE Lorenzo Valla’s (1407–1457) Elegances of the Latin Language (1444) is a paean to the ancient Roman orators. In this section, Valla castigates the medieval period for what he believes to be a lack of learning and an ignorance of the classical world. -
Carl Spitzweg and the Biedermeier
UNIVERSITY OF PUGET SOUND “A CHRONIC TUBERCULOSIS:” CARL SPITZWEG AND THE BIEDERMEIER BENJAMIN BLOCK ART494 PROF. LINDA WILLIAMS March 13, 2014 1 Image List Fig. 1: Carl Spitzweg, English Tourists in Campagna (English Tourists Looking at Ruins). Oil on paper. 19.7 x 15.7 inches, c. 1845. Nationalgalerie, Staatliche Museen Preussicher Kulturbesitz, Berlin. 2 The Biedermeier period, which is formally framed between 1815 and 1848,1 remains one of the murkiest and least studied periods of European art. Nowhere is this more evident than in the volumes that comprise the contemporary English-language scholarship on the period. Georg Himmelheber, in the exhibition catalogue for Kunst des Biedermeier, his 1987 exhibition at the Münchner Stadtmuseum, states that the Biedermeier style was “a new variety of neo- classicism.”2 William Vaughan, on the other hand, in his work German Romantic Painting, inconsistently places Biedermeier painters in a “fluctuating space” between Romanticism and Biedermeier that occasionally includes elements of Realism as well.3 It is unusual to find such large discrepancies on such a fundamental point for any period in modern art historical scholarship, and the wide range of conclusions that have been drawn about the period and the art produced within indicate a widespread misunderstanding of Biedermeier art by scholars. While there have been recent works that point to a fuller understanding of the Biedermeier period, namely the exhibition catalogue for the 2001 exhibit Biedermeier: Art and Culture in Central Europe, 1815-1848 and Albert Boime’s Art in the Age of Civil Struggle, most broadly aimed survey texts still perpetuate an inaccurate view of the period, and some omit it altogether.