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art and characteristics - Coggle Diagram
art and characteristics
impressionism
1865-1885 
Claude monet waterloo brige sunlight effect
Renoir, by the water 1880
Renoir the great boulevards 1875
Characteristics of impressionism
- effects of light
- a fleeting moment of time
- techniques -- technique of painting -- new type = thick application of paint = impasto, and not blending,
- Plein-Air Painting = refined impressionist art
interest in different types of subject matter
- focus on everyday, ordinary subject settings
- city liife
- opposition to the academia stylized, heroic & historical preferences
- an attempt to reproduce human vision
- how you perceive objects and how it changes through the day
Paint application
* small, thin, tangible brush strokes
bright or pastel individual colours
- de-emphasis of sharp borders, lines and contours
- avoid black
- quick brush strokes
- no blending of colours
Composition:
- open compositions, leading eye off the page
- unusual visual angles and at times locations
Capture of fleeting moments
- Sufrace/ diffused light as it appeared; unstructured and non-formulaic
- attempts to portray changing illumination; atmosphere and passage of time
- inclusion of representation of movement; blurring, obscuriation, transluecence
- Claude Monet
- Edouard Manet 1832-1883
- Pierre Auguste Renoir 1841-1919
- Berthe Morisot 1841-1895
- started traditional and is later influenced by impressionism
- Camille Pisarro 1830-1903
primivitsm
- Gauguin led to various forms of primitivism
- within the context of modernism primivitism is an act on the part of artists and writers seeking to celebrate features of the art and culture of peoples deemed 'primitive' and to appropriate their supposed simplicity and authenticity to the project of transforming Western art
cubism
- cubism did not set out to abolish representation, only to reform it
- there is one drawback in this method of building up the image of an object: of which
the orginiators of cubism were very well aware. it can be done but only with more or less familiar forms
hat is the reason why
- the Cubist painters usually chose familiar motifs guitars, bottles, fruit- bowls, or occasionally a human figure -
where we can easily pick our way through the paintings and understand the relationship of the various parts.
We know that artists of all periods have tried to put forward their solution of the essential paradox of painting, which is that it represents depth of a surface.
- Cubism was an attempt to not gloss over this paradox but rather exploit it for new effects
• Objects and figures are broken down into distinct planes and reassembled into abstracted forms
- Pablo Picasso 1881-1973
Pablo Picasso, Woman with a Violin, 1911.
Pablo Picasso, Les Demoiselles D’Avignon, 1907
- Georges Braque 1882-1963
georges braque la guitare 1909-10
-
medieval
- we primarly see religious paintings: devotion
- christian environment and its all devoted to the old and new testament
materials & techniques
- panel paintings (on wood)
- materials: pigments, egg tempera, precious metals
- mostly flat
- no real emotions
Iconography
- Simone Martini
annunciation with Saint Margaret and Saint Ansanus 1333
- The ghotic architecture style flourished during the late medieval period
- it evolved from romanesque architecture and was succeeded by renaissance architecture
Characteristics:
- slim pillars:
- Lots of sculpture
- Flying buttresses
- Pointed arches
- ornate, delicate
- tall, light-filled
- large, stained-glass windows
ex:
- Chartes Cathedral France - 1190
-
Expressionism
- 'Caricature had always been 'expressionist' for the caricatruist plays with the likeness of his victim and distorts it to express just what he feels about his fellow man.
Edvar Munch The scream Litograph 1895
- it aims at expressing how a sudden excitement transforms all our sense impressions
- it looks as if all thescenery shared in the anguish and excitement of that scream
- the face of the shouting person is indeed distorted like that of a caricature
- the word expressionism became a convenient label because of its easily remembered contrast to impressionism
- Vincent van Gogh 1853-1890
- Henri Matisse
Romanticism
- an emphasis on emotions, individualism and nature
- Caspar David Friedrich
Landscape of the Silesian mountains 1815
- John Constable
The Haywain 1821
- De Eugene Delacroix
Arabian Fantasy
- Orientalism
Barok
Baroque art
- emotional intensity
- a moment in time
- dynamism / instability
- diagonals
- energy / movement
- involving the viewer
- real, not idealised
- interrupted contours
- effects of light
- Peter Paul Rubens 1577-1640
- Jan steen
- Johannes Vermeer
the milkmaid 1660
Characteristics
* complexitiy in terms of style and composition
- marked by an appeal to the senses often in dramatic ways
- large scale grandeaur sensual richness, drama, vitality, movement, tension, emotional exuberance
post impressionism 1886-1906
Geroges Seurat, Paul Cezanne, Van Gogh, --- Paul Gauguin?
Paul Cézanne
- To move the art work is said to have formed the bridge between late 19th-century romanticism moved through impressionism and into the early 20th century's new line of artistic enquires, past post-impressionism and including cubism
- a man of independent means and regular habits
- aimed at an art which had something of Poussin's et in Arcadia Egos grandeur and serenity -- but he did not think it could be achieved any longer by the methods of Poussin
- **Cezanne longed for strong, intense
colours as much as he longed for lucid patterns.**
- He wanted to convey the rich
and unbroken tones that belong to nature under southern skies,
- when cezanne painted a still life, he wanted to explore the relationship of forms and colours, and took In only so much of 'correct perspective' as he happened to need for his particular experiment
Cezanne, Spring, 1860
Cezanne, lac d'annecy 1896
Mont Sainte-Victoire seen from less lauves 1902-1906
- geomatrical shapes
- lots of times is also represent is the same subject matter from different view points
This has an impact on art - Cubism
Vincent van Gogh 1853
- was not concerned with correct representation. He had colours and forms to convey what he felt about the things he painted and what he wished others to feel
- he did not care much for what he called 'stereoscopic reality'
- Van Gogh wanted his paintings to express what he felt and if distortion helped him to achieve this aim he would use distortion.
- *an Gogh had felt that by surrendering to visual impressions, and by exploring nothing but the optical qualities of light and colour art was in danger of losing intensity and passion through which alone the artist can express his feelings to fellow men
Vincent van Gogh, Starry night 1898
- instead of trying to reproduce exactly what I have before my eyes, I use colour more arbitrarily in order to express myself forcibly
Vincent van Gogh, Potato eaters 1885
- not idealised
- raw reality of poverty
both Cezanne and Van Gogh took the momentous step of deliberately abaondoning the aim of painting as an 'imitation of nature
Georges Seurat 1859-91
- set out to tackle this question almost like a mathmetical eqution
- question = a conciliation of the methods of Impressionism and the need for order
- Using the impressionist painting method as a starting point, he studied the scientific theory of colour vision and decided to build up his pictures by means of small regular dabs of unbroken colour like mosaic
Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86.
Pointillism
Pointilism
- Paul Signac
- Georges Seurat
Neoclaccisicm
- return to simplicity of shapes
- revival of style and classical antiquity
- reaction to rococo and return to simplicity
- rediscovery of Pompeii and Herculaneum
- The Grand tour to Europe
- Jacques Louis David
French revolution works;
The Death of Marat
- postrevolution
- Jacques Louis David THe intervention of the Sabine women 1799
- Jean Auguste Dominique ingress :
The grand Odalisque 1814
- orientalism
-
Abstract expressionism
- Jackson Pollock
- valuign freedom, spontaneity and personal expression
Jackson Pollock, one, number, 31, 1950
Mark Rothko 1903-1970
- interested in fields of colours and relations of colours
- in the texture Itself of these particular colours itsel
- explore colour as a way of expressing meaning and emotion in art
-
Renaissance art
- idealised nature
- proportion
- grace
- stability
- symmetry
- Serenity
- eternal
- strong outlines
- even lightning
- calmness, reserved
Northern renaissance art characteristics
- strong delineation of form
- intricate technique
- intense realism
- expressivity
- natural representation and illusionism
- complex iconography
- perspective and three dimensionality
- skill in rendering colour
- attention paid to natural phenomena like light, shadow, reflection
Northern renaissance artist
- Rogier van der Weyden the descent from the Cross. 1435
- Jan Van Eyck
The Arnolfini Portrait 1434
Italian Renaissance versus Northern Renaissance art
Northern
subject matter
- domestic
- religious scenes
figures
- naturalistic
- subjects are not ideally represented
- as accurately as possible
- most refind clothing
media
style
- intricate technique & details
- intense realism
- attend to detail
- symbolism
Italian Renaissance versus Northern Renaissance art
Italian
subject matter
- classical references
- religious matters
- mythological scenes
figures
- a lot of nude
- anatomu
- ideal body shape and representation of that
media
- sculpture
- fresco
- egg empera
- later on oil paint
style
- symmetry and balance
- linear perspective
- simplified forms
- atmospheric effects
High Renaissance
- Raphael
- Leonardo Davinci
- Michelangelo
- donato Bramante
- Titian
Italian Renaissance artists
- Filippo Brunelleschi
- Sandro Botticelli
- Michelangelo
- Leonardo da Vinci
- Raphael
- Andrea Mantega
- Pierro Della francesca
- Caravvagio
- Mantegna
- Titian
Mannerism
the period of mannerism
- Critics who saw that these young painters had gone wrong since they **merely
mitated the manner of Michelangelo becaue it was in fashion = called it the period of mannerism**
Mannerism art
- augemented nature
- elongation
- asymetry
- tension
- instability
- exaggerated elements of anatomy
- play with space
- unnatural colours
- complexitiy of forms
- play with space, perspective, foreshortening, body proportions
- Parmigianio madonna with a long neck
Pontormo, Lamentation of Christ, 1525-1528)
Rococo
Rococo Characteristics
- exceptionally omamental and dramatic style
- relies on scrolling curves, sculpted molding and illustionistic painting to create drama and the illusion of motion
- partial abandonment of symmetry unlike Barocque
- fluid asymmetrical forms
- elabrorate ornamentation
Painting Characteristics*
- lighter pastel colours and whimsical narratives
Painting Characteristics
Jean-Honoré Fragonard the swing 1767
- pastel hues and soft light sources
- focus on love and romance implicit and explicit seductiveness
- idealised pastoral settings
Surrealism
- Started in Paris by André Breton officially 1924
- influenced by Freud and his concepts of free association dream analysis and the unconsioucs
- influenced by dada and reacting to horros of world war 2
Characteristics:
- love of the absurd -- dream logic
- focus on the subconscious
- element of suprise
Salvador Dali 1904-1989
- tried to imitae this weird confusion of our dream-life
- in some of his pictures he mixed surprsing and incoherent fragments of the real world, painted with the same detaield accuracy with which grant wood painted his landscapes and gives us the haunting feeling that there must be some sense in this apparent madness
- work focusses on ambiguity and optical illusion
Salvador Dalí, Apparition of Face and Fruitdish on a Beach, 1938
- as in a dream some things like the rope and the cloth stand out with unexpected clarity while other shapes remain vague and elusive
Salvador Dali, persistence of memory 1931
Rene Margritte 1898-1967
- Belgian artist
- provoked questions about nature and boundareis of rea*
Treachery of images 1928-29 The pilgrim 1966
-
Pop Art**
- characteristics:
- bold colours
- repetition
- mass media references from comics and magazines, to holywood stars and pop ular foods and beverages
- emerged in the 1950s in US and UK
- challenges the concept of fine art by incorporating iamgery from popular/mass culturue: advertising, comic books, mass-produced objects
- fine art, high and low art etc. and trying to elevate these popular images to high art
Andy Warhol 1928-1987
- leading figure in this popart movement
- explored the interface between art, advertising and celebrity culture of the 1960s
- worked in a variety of media including painting, silkscreen, printing, photography film etc.
andy warhol campbells soup cans 1962-3
- mass produced imager
- and what is imagery from a more elevated register
silkscreen prints
*Andy Warhol Marilyn Diptych 1962
- religious imagery - dipytich was older
Roy Lichtenstein Whaam 1963
- creates large painting
- plays with the concept of the comic books and has these characters that are almost taken from comic strips
- tries to embody the astethics of a comic
- Balloon Dog by Jeff Koons 1994-2000*
- Example of how postmodernismembraces ktisch and pop culture
- koons challenges the boundaries between high and low art, raising questions about taste, consumerism and the nature of contemporary art
art nouveau 1890s to 1910s
in spain called modernism but more commonly called in france = art nouveau
- it modernised the path of art progression, seeking to escape traditional styles and instead creatin luxurious works by returning back to nature
casa batiló Barcelona