After wrapping up post-impressionism we moved towards other movements. The other movements such as symbolism and synthetism were a use of many styles and shifted from modern and post-impressionism. This movement created more art that depicted foreign settings and life stories. In the artwork, we looked at we noticed influences from Gauguin and Van Gogh who used colors as a form of expression. After we were able to notice the difference in styles we moved to Fauvism and Expressionism which were used in disparaging manners. The shift in art and use of expression allowed more past-related art that lacked depth but the use of many colors. After we discussed the use of expressionism in art we then looked at the different art impacted by this movement in Germany. The art became more abstract and due to other artist influences the art conveyed raw emotions. At the near end of class, we moved on to Cubism which was widely influenced by Paul Cezanne and his form. The use of cubism lacked emotion but was more fluent in shapes and composition.
Author: Tori (Page 1 of 2)
On Tuesday we started with post-impressionism and two different styles used. One form of impressionism was a form that Paul Cezanne and Georges-Pierre Seurat influenced. The other form was personal expression influenced by Vincent Van Gogh and Paul Gauguin. The use of form was the composition and configuration of people and landscapes. In many of Seurat and Cezannes’s art, they used horizontal lines and rigid themes. In the works that we dissected we noticed the cool colors being placed in the background and warm colors in the front of the paintings, we noticed that there was a major difference between the artists that used personal expression. Van Gogh and Gauguin used many different colors to express their emotions in the paintings. In their paintings, we can see more Japanese influence and impressionism in their artworks. We also elaborate on how color was used to convey emotions and was studied and explained by Michel Cheurel. In this class, we were able to see more arbitrary art and flat work by Gauguin and his disdain for humans.
We finished the movement of realism and the influence of camera obscura. In this online lecture, we shifted our attention to impressionism. In impressionism, we discuss the visibility of brushstrokes in art and the importance of light in artwork. The theme of impressionism is a continuation of realism that captures modern society and activities. The most influential artist that we discussed in class was Edouard Manet. We also discussed the term flaneur which refers to a new attitude. In this art form, we notice the use of observations for art. In this class, I noticed that along with realism impressionism, the observation of life was the focus of art and how it was depicted in art. The effect of flat art and lack of depth was not accepted but became a theme in impressionism. With impressionism, we also elaborated on how art should allude to art of the past but depict the modern world. As we have already noticed in more modern art the art we see is influenced by past art and enhanced with modern techniques. We then discussed the pattern of impressionist painting outside and capturing the scene in front of the artist in series. Painting in series became a factor of impressionism because it was common for artists to capture different moments in the scene they were observing. The theme in series art is to capture the time of day and seasons to express or demonstrate the change in color and light but not scenery. We also capture the shift in influence to Japanese influence. The style allowed the French artist to see art differently. We also see a shift from impressionism with James Abbott McNeil Whistler who was interested in harmony and capturing music in art. The shift from impressionism was noticed in the lack of painters who stopped selling their work in the 1800’s.
Today was our first in-person class since last week and we started with Francisco De Goya and how his painting portrayed a shift in art. The shift from romanticism to realism focused on realistic and not idealistic art. This style of art opened a door to more political messages being portrayed in art, which has been seen in other periods in history. We discussed other artists who thrived in the realism period like Jean Baptiste-Camille Corot who created a landscape painting of Rome. The Landscape focused on buildings, topography, and the facts of the sight being used. We established that we would see more artwork that was composed of real dealings in the world like Joseph Mallord William Turner and his 1840 painting of a slave ship. We also noticed how the shape was a choice in art like how Corot focused on the structure of the buildings and Turner used bright colors to portray the scene. We then focused our attention on a notable realist Jean Francois Milet and his politically focused portrait. Millet painted a faceless sower in the fields at dawn that we concluded was to shine a light on the exploitation of the working class. We also looked at another painting The Stone Breakers which was another political message for the public. A common message in realism was the working class and was portrayed like historical art. We then shifted to more realistic art like Rosa Bonheurl and Honore Daumier which would be used to reveal the truth. At the end of class, we shifted to American art from Winslow Homer and Thomas Eakins.
We went to the museum and were able to see the in-person art in Landay. In some of the art, I could notice the details we notice in class more efficiently. I could see the brushstrokes in some of the paintings and could also see the smaller details that add to the art. I took notes on some of the artworks that display the Baroque style. I also focused on how each painting portrayed something different but how they all fit under the same art style.
Today we didn’t have an in-person class but we continued our lecture online. We finished the movement of neoclassicism. After discussing the unclear transition from neoclassical art to romanticism we focused on jean-August-Domonique Ingres. The video elaborated on how romantic art was more colorful, less moral, and focused on emotions. This art theme imitates Rubens’s art style and what he was idolized for. We then moved to another significant artist Baron Antoine Jean Gros. He is another artist who still uses neoclassical style but also focuses the piece of art on emotions using bright and intense colors. The style of romantic art is more contemporary and irrational. This signified the change of art from rational and intelligent to colorful and less real. The art from this period signifies how old art styles are still significant but modernized to the period. After shifting to romanticism we then focused on other artists who focused on romanticism but also found their compositional influences from other centuries. We then elaborated on the difference between picturesque and sublime artworks like John Constable and Joseph Mallord William Turner.
Today we picked up on how the transition from the 18th and 19th centuries had no formal change in art styles, unlike other periods. In today’s class, we started on neoclassicism and how it is slightly different than other art styles. The Neoclassic style was dominated by Antone Raphael Mengs. Mengs being a critical figure of Neoclassical art opened opportunities for the artist to explore the art style. We dissected his Parnassus, which was a copy of Raphael’s art piece in the 16th century. This theme of ancient art is a significant part of Neoclassicism and Neoclassical art. We then moved to architecture and noticed many ancient forms being imitated from earlier centuries. The art of Neoclassicism was not only reviving old art styles but also values. The change in politics can be noticed in art and architecture as well. The next artists we focused on were Henry Flitcroft and Thomas Gainsborough. Filtcroft created a realistic landscape of a pastel painting and Gainsborough created portraits. Gainsborough imitated the portrait created by Boucher in 1766. We noticed the difference in how contemporary and historical artists chose to depict their artwork. Many artists in the 18th century focused on ancient art and antiquity which was an important detail in how 18th and 19th centuries art and architecture.
In class today we elaborate on the significance of King Louis the 14th death and his rule. We then moved on to the artist Nicolas Pineau and his architecture which would later become important in the 18th century. In the 18th century, we noticed the shift from how facades were placed in structures. In the Hotel de Vangeville, we noticed the facades were placed in decorations in the rooms that were for personal use. In noticing this change we elaborated more with the differences from the Hall of Mirrors. We then shifted our perspective to the derivative of Rococo and what elements were significant in the art style. We also broke down the Poussinistes versus Rubenistes. The debacle was for the later artists who chose which influence they preferred. After breaking down the sides and elements we dove into 18th-century artist Jean- Antoine Watteau and some of his pieces. We then discovered that many Rococo paintings had bright, pastel, and painterly effects. After discovering the elements of Rococo we looked at more 18th-century artwork that was influenced by other 17th-century artists and we also pointed out how some of the later pieces of art resemble other 17th-century works but with different values and styles. We wrapped up class with Willian Hogarth and one of his paintings from the series The Rakes Progress.
In today’s class, we finished talking about the baroque art style in Flanders. We talked about many artists such as Jan van Goyen, Pieter Saenredam, William Heda, and Jan Vermeer. After wrapping up the style in Flanders we moved to France. We started with Louis the Fourteenth and his absolutism ideology. We talked about French artists such as Pierre Patel who created a visual of the Palace of Versailles in 1668. We also discussed the ways we found the Baroque style in other art genres like history, landscape, still-life, and genre painting. After emphasizing the artists and their many artworks we then talked about the Caravaggio and the Baroque influence on the French architecture and artists style. After elaborating on how artists used natural lighting in many varieties like Nicolas Poussin and Claude Lorrain in their landscape portraits.
Today we focus on the Baroque Art in Flanders and Holland. We broke down the Netherlands into the south and north and elaborated on the popular use of Baroque in each place. In the North Netherlands, Peter Paul Rubens was influenced by Caravaggio when he traveled to Rome in the 17th century. We talked about his art pieces like the Elevation of the Cross and the Portrait of Marie de Medici. Both art pieces have diagonals that are being created by how the artists use the contrast of light and dark. We also noticed that he uses instantaneous movements to allude movement of the figures. We then elaborated on how Ruben and Nicolas Poussin became symbols in the 17th century and battled to see who was the most contemporary artist. We then shift our attention to one of Rubens’s students Anthony van Dyck. His work is very similar to Rubens’s because he had to learn to blend like his mentor when they worked together. The mentee then went on to paint for Charles I of England. We then move to the South of the Netherlands. We start with Frans Hals and his portrait of The Jolly Topper. We analyze how he creates the rushed effects and uses highlights and shadows in the painting. We then also look at his Banquet Portrait and conclude that in the South group portraits were popular. We also see Rembrandt van Rijn create almost 100 portraits of himself which demonstrates his exploration of himself. He also creates the Night Watch and The Hundred Guilder Print. One art piece is experimental with drypoint and the other is an influence of Caravaggio and Baroque art.