ART. RENAISSANCE 16 th c. Figures from the Bible, classical history, mythology, commissioned portraits, use of perspective, secular backgrounds and material.

ART

RENAISSANCE 16th c.

• Figures from the Bible , classical history, mythology, commissioned portraits, use of perspective, secular backgrounds and material splendor.

BOTTICELLI

PRIMIVERA

BrunelleschiFlorence

RAPHAEL

• SCHOOL OF ATHENS

MARRIAGE OF THE VIRGIN

MICHAELANGELO

DA VINCI

BAROQUE

• Response of Counter Reformation

• More colorful, richer in texture and decoration

• Scenes embody mystery and drama, violence and spectacle.

• Stir emotions and win back defectors.

• Art for the public consumption

baroque

Bernini

Durer

RembrandtNorthern Renaissance/ baroque

Northern Realism17th century

• Values: quiet opulence, comfortable, comfortable domesticity, realism

• Middle class Dutch patrons commission secular works: portraits, still life's, landscapes

VERMEER

MILLET

‘THE ANGELEUS’

ROCOCO

• ART OF FRENCH ARISTOCRACY PORTRAYING NOBILITY IN SYLVAN SETTINGS OR ORNATE INTERIORS

• CANDY BOX ART. FRIVOLOUS, DELICATE, ELEGANCE, SWEETNESS

BOUCHER

• ‘The Love Letter”

HOGARTH

• NOON

• GIN LANE

RIGAUD

NEO CLASSICISM18 TH C.

• A RETURN TO CLASSICAL ANTIQUITY FOR INSPIRATION, SCENES ARE HISTORICAL AND MYTHOLOGICAL

• APPEAL IS TO INTELLECT NOT THE HEART

• EMOTIONS ARE RESTRAINED

• VALUES: REASON, ORDER, BALANCE, REVERANCE FOR ANTIQUITY

Ingress

ROMANTICISM19TH C.

• REACTION AGAINST COLD AND UNFEELING REASON OF THE ENLIGHTENMENT AND AGAINST THE DESTRUCTION OF NATURE RESULTING FROM THE INDUSTRIAL

REVOLUTIONSTRESS IS ON LIGHT, COLOR, SELF

EXPRESSION IN OPPOSITION TO THE EMPHASIS ON LINE AND NEOCLASSICALISM

VALUES: EMOTION, FEELING, MORBIDITY, EXOTICISM, MYSTERY.

GERICAULT

SPEED OF STEAM

BURNING OF PARLIAMENT

Turner

• ‘Burial at Sea”

GOYA

DAUMIER

CARTOONIST

IMPRESSIONISM

• ATTEMPT TO PORTRAY THE FLEETING AND TRANSITORY WORLD OF SENSE IMPRESSIONS BASED ON SCIENTIFIC STUDIES OF LIGHT

• FORMS ARE BATHED IN LIGHT AND ATMOSPHERE

• COLORS FUSE FROM A DISTANCE• VALUES: THE IMMEDIATE,

ACCIDENTAL, AND TRANSITORY

MONET

• VENICE

SEURAT

Toulouse Lautrec

RODIN

• THINKER

EXPRESSIONISM19TH AND 20TH C.

• INDEBTED TO FREUD• ART TRIES TO PENETRATE THE FAÇADE OF

BOURG. SUPERFICIALITY AND PROBE THE PSYCHE, THAT WHICH LURKS BENEATH AN INDIVIDUAL’S CALM AND ARTIFICAL POSTURE.

• VALUES: SUBLIMNAL ANXIETY– PICTORAL VIOLENCE…MANIFEST AND LATENT

MUNCH

DESPERATION

Beckman‘the night’

Van Gogh“Starry Night”

SURREALISM20th c.

• Also indebted to Freud

• Explores the dream world and world without logic or reason or meaning

• The strange encounters between objects

• Subject often indecipherable in their strangeness

• Values: the dream sequence, illogic, fantasy

Ernst

• 3 children and a

• nightingale

De Chirico

Dali

Chagall‘self portrait w/ seven fingers’

‘self portrait’

POST IMPRESSIONISMGAUGUIN

CUBISM

• No single point of view

• No continuity

• or simultaneity of image contour

• All possible views of subject are compressed into one view of top, sides, front and back

• Values: a new way of seeing a view of the world as a mosaic of multiple relationships

PICASSO

STILL LIFE WITH A CHAIR CANNING

ABSTRACT EXPRESSIONISM

• NON REPRESENTATIONAL ART

• SHAPES, LINES AND COLORS

BRAQUE

• MOORE

• RECLINING FIGURE

ARCHITECTURE

• HOW DOES IT DEFINE A PERIOD?

• HOW DOES IT SHOW WHO IS IN POWER?

• HOW DO ART AND ARCHITECTURE REFLECT THE ECONOMIC INTEREST OF THE PEOPLE?

• MEDIEVAL GOTHIC GIVES WAY TO GRANDEUR OF BAROQUE(ecclesiastical and royal bldg)

• 18th c. gives way to classical and aristocratic style

• Replaced by romantic, neo-gothic and industrial architec. Of 19thc

• Blends into the rising bldgs. Of the industrial cities of 20 th c.