19th Century - Neo Classical

Architecture

Osterley Park House University of Virginia

in Middlesex, England

Painting Sculpture

Self-Portrait by Kauffmann Oath of the Horatii Venus

art produced in Europe and North America from about 1750 through the early 1800s, marked by
the emulation of Greco-Roman forms. More than just an antique revival, neoclassicism was
linked to contemporary political events. Neoclassical artists at first sought to replace the
sensuality and what they viewed as the triviality of the rococo style with a style that was logical,
solemn in tone, and moralizing in character. When revolutionary movements established
republics in France and America, the new governments adopted neoclassicism as the style for
their official art, by virtue of its association with the democracy of ancient Greece and republican
Rome. Later, as Napoleon rose to power in France, the style was modified to serve his
propagandistic needs. With the rise of the romantic movement (see Romanticism), a preference
for personal expression replaced an art based upon fixed, ideal values.

developed following the excavation of the ruins of the Italian cities of Herculaneum in 1738 and
Pompeii in 1748, the publication of such books as Antiquities of Athens (1762) by the English
archaeologists James Stuart and Nicholas Revett, and the 1806 arrival in London of the Elgin
Marbles. Extolling the “noble simplicity and calm grandeur” of Greco-Roman art, the German art
historian Johann Winckelmann urged artists to study and “imitate” its timeless, ideal forms. His
ideas found enthusiastic reception within the international circle of artists gathered about him in
the 1760s in Rome.

Romanticism

Eugene Delacroix, Liberty Leading The People Two Men on the Seashore

The Burning of the House of the Parliament (pre idea of impressionism)

The word romantic first became current in 18th-century English and originally meant
“romancelike,” that is, resembling the strange and fanciful character of medieval romances. The
word came to be associated with the emerging taste for wild scenery, “sublime” prospects, and
ruins, a tendency reflected in the increasing emphasis in aesthetic theory on the sublime as
opposed to the beautiful. The British writer and statesman Edmund Burke, for instance, identified
beauty with delicacy and harmony and the sublime with vastness, obscurity, and a capacity to
inspire terror. Also during the 18th century, feeling began to be considered more important than
reason both in literature and in ethics, an attitude epitomized by the work of the French novelist
and philosopher Jean Jacques Rousseau. English and German romantic poetry appeared in the
1790s, and by the end of the century the shift away from reason toward feeling and imagination
began to be reflected in the visual arts, for instance in the visionary illustrations of the English
poet and painter William Blake, in the brooding, sometimes nightmarish pictures of his friend,
the Swiss-English painter Henry Fuseli, and in the somber etchings of monsters and demons by
the Spanish artist Francisco de Goya.

Realism
Realism initially emerged in the 19th century in reaction to both romantic idealism and the
emphasis of traditional painting on mythological, scriptural, and historical subjects. Instead,
realism focuses on depicting real subjects as they are in the present.

In spite of its social inclinations, realism produces no new style in architecture and few valuable
sculptures. It was the time of introduction of new technologies in constructions.

The mid 19th century Realist movement chose to paint common, ordinary, sometimes ugly
images rather than the stiff, conventional pictures favored by upper-class society. It was an
opposition to the traditional approach to Neoclassicism and the drama of Romanticism Realism
sets as a goal not imitating past artistic achievements but the truthful and accurate depiction of
the models that nature and contemporary life offer to the artist.Often the artists depicted ugly
and common subjects that normally alluded to a social, political, or moral message.

Famous Artists:

 Gustav Courbet, realism dealt not

with the perfection of line and form, but entailed spontaneous and rough handling of paint,
suggesting direct observation by the artist while portraying the irregularities in nature.

Gustave Courbet shocked many viewers by depicting working-class people in everyday

activities on his enormous canvases. In the work pictured he took the creation of art as his
subject, depicting the intellectual and physical history of his studio, including people who
had helped or inspired him. The Artist’s Studio was painted in 1855 and is in the collection
of the Musée d’Orsay, Paris, France.

 Jean Francois Millet, He was a French painter

and one of the founders of the Barbizon school in rural France. He is noted for his scenes
 of peasant farmers. He can be categorized as part of the movement termed "naturalism",
but also as part of the movement of "realism".

One of the most well known of Millet's paintings is "The Gleaners" (1857), depicting
women stooping in the fields to glean the leftovers from the harvest.

 Edouard Manet , The most significant influence on

Manet was the founder of the Realist movement in painting.

He is clearly a bridge, however, between the Realists and the Impressionists.Manet chose
to depict less savory members of society; prostitutes, beggars and substance abusers. His
work reflected modern day life and was almost always controversial.

Manet liked to stress that he was no radical, his subject matter proved to be otherwise
Frustrated, Manet cut up his canvas and reworked the pieces into smaller individual
paintings. The result was his famous painting "The Dead Toreador"

 Honore Daumier, Born into a lower class French

family, Honoré Daumier retained contempt for aristocracy for his entire life.

His paintings were unknown during his lifetime, but dealt with the same subject matter
produced in a style similar to Realism. Although he was an acquaintance of Realist painter,
Courbet, his paintings were uniquely created and strongly influenced by his graphic work.

The Third-Class Carriage 1862 .This painting illustrates Daumier's sympathy with the
urban poor, who can only afford the cheapest tickets for this horse-drawn carriage.
IMPRESSIONISM
Claude Monet

Impression, Sunrise (Impression, soleil levant)

(1872/1873).

• a 19th century art movement that began as a loose association of Paris-based artists who
began publicly exhibiting their art in the 1860s. The name of the movement is derived
from Claude Monet's Impression, Sunrise (Impression, soleil levant). Critic Louis Leroy
inadvertently coined the term in a satiric review published in Le Charivari.

• include visible brushstrokes, light colors, open composition, emphasis on light in its
changing qualities (often accentuating the effects of the passage of time), ordinary
subject matter, and unusual visual angles.

• Radicals in their time, early Impressionists broke the picture-making rules of academic
painting. They began by giving colors, freely brushed, primacy over line, drawing
inspiration from the work of painters such as Eugene Delacroix. They also took the act of
painting out of the studio and into the world. Previously, not only still lifes and portraits
 but also landscapes had been painted indoors, but
the Impressionists found that they could capture the momentary and transient effects of
sunlight by painting en plein air. They used short, "broken" brush strokes of pure and
unmixed colour, not smoothly blended as was the custom at the time. Painting realistic
scenes of modern life, they emphazed vivid overall effects rather than details.

Renoir’s Luncheon of the Boating Party

To achieve the appearance of spontaneity, impressionist painters used broken brushstrokes of

bright, often unmixed colors. This practice produced loose or densely textured surfaces rather
than the carefully blended colors and smooth surfaces favored by most artists of the time. The
colors in impressionist paintings have an overall luminosity because the painters avoided blacks
and earth colors. The impressionists also simplified their compositions, omitting detail to achieve
a striking overall effect

• It was the novelty of their technique more than their subject matter that set the
impressionists apart from their contemporaries. In seeking to capture the
luminous effects of sunlight, the impressionists used light colors and applied
them onto a light or white ground (the canvas's initial coat) rather than the
darker ground that was then conventional. The impressionists worked quickly to
preserve a feeling of spontaneity and directness. They often painted one color
on top of another that was still wet, a practice that tends to blur contours and
soften forms.

• Impressionist composers also made extensive use of whole tone scales to create a
dreamy, "hazy" effect in their works, much like the blurred paintings of Renoir and Monet.

• Impressionistic literature can basically be defined as when an author centers his

story/attention on the character's mental life such as the character's impressions, feelings,
sensations and emotions, rather than trying to interpret them.

• focus on an impression of a desired object or view

 • using primary unmixed colors

• small strokes to simulate reflection of light

Art Nouveau
The name "Art Nouveau" is French for "new art". It is also known as Jugendstil, German for
"youth style", named after the magazine Jugend, which promoted it, and in Italy, Stile Liberty
from the department store in London, Liberty & Co., which popularised the style. A reaction to
academic art of the 19th century, it is characterized by organic, especially floral and other plant-
inspired motifs, as well as highly stylized, flowing curvilinear forms. Art Nouveau is an approach
to design according to which artists should work on everything from architecture to furniture,
making art part of everyday life

the characteristic curves employed by Art Nouveau artists. Such decorative "whiplash" motifs,
formed by dynamic, undulating, and flowing lines in a syncopated rhythm, are found throughout
the architecture, painting, sculpture, and other forms of Art Nouveau design.

Post Impressionism
• Is an art-historical term coined by British art critic Roger Fry
• He used it to describe the various styles of painting that flourished in France during the
period from about 1880 to about 1910
• Generally, the term is used as a convenient chronological umbrella covering the
generation of artists who sought new forms of expression in the wake of the pictorial
revolution wrought by impressionism
• Among the principal figures in this group were Odilon Redon, Georges Seurat, Henri de
Toulouse-Lautrec, Vincent van Gogh, Pierre Bonnard, Paul Cezanne, and Paul Gaugin
Sunday Afternoon on the Island of Grande Jatte
George Seurat, He is noted for his invention of a
method of applying paint in small dots of color. He called this method divisionism, but the
term pointillism is more commonly used today. Seurat developed this method in response to
his understanding of scientific theories about the perception of light and color. It had recently
been discovered that light can be measured in particles as well as wavelengths. It had further
been concluded that when we see the various colors of the light spectrum, our eyes perceive
the various particles, but the mind mixes them into distinctly different colors.

Chrysanthemums, 1896-98

Paul Cezanne, was much less scientific in his approach to painting

than was Seurat. His paint seems to be layed down in patches of color, dividing his canvases
into many various planes. His colors are bright, and there is frequently a confusing sense of
perspective. There is usually a very limited sense of depth and the contents of his still-lifes
seem to almost topple out of balance. All of this is more purposeful than one might normally
conclude, for it adds a sense of tension to the artwork, which prevents the "still" life from
being quite as static.

The Starry Night, 1889

Vincent Van Gogh, His paintings are disturbing and

beautiful at the same time. The Starry Night is Van Gogh's most famous painting, and
perhaps his greatest. He paints the night sky from a hilltop overlooking a quiet town with a
church and cottages. The most dramatic theme is the swirling stars, which dominate the
 scene. Competing for attention is a towering group of Cypress trees. It is probably significant
that the Cypress is the traditional tree of graveyards, as they are a symbol for eternity.

Vision After the Sermon, 1888

Paul Gauguin, He was a Parisian stockbroker, who enjoyed

painting as a weekend hobby. He soon became a leader of the Post Impressionist group in Paris.
In Vision After the Sermon, Gauguin makes a bold statement about the religious faith of the
Brittany community.
Characteristics:

• Emphasis on surface pattern

• Described as decorative by many contemporary critics

• Uses pointillism, a technique employing “points” of color to achieve

luminosity

• Uses flat shapes an pure colors

Fauvism
Henri Matisse

Une fin d'après-midi La desserte (Harmony in

Red)
A Glimpse of Notre Dame in the Late Afternoon
  The first of the major avant-garde movements in European 20th century art.
 The artists who painted in this style were known as 'Les Fauves'.

 The main artists involved in the fauve movement were Matisse, Derain,
Vlaminck, Braque and Dufy. They developed a style of painting, which consisted
of broad, short strokes of bright contrasting colour.

 First formally exhibited in Paris in 1905, Fauvist paintings shocked visitors to

the annual Salon d'Automne; one of these visitors was the critic Louis
Vauxcelles, who, because of the violence of their works, dubbed the painters
"Les Fauves" (Wild Beasts). The name was given, humourously and not as a
compliment.

 The fauve movement did not last for long. Its high spot was from 1905-1907,
but this short-lived style, is recognized as paving the way to both cubism and
modern expressionism in its disregard for natural forms and love of vibrant
colour.

20th Century

Expressionism is the tendency of an artist to distort reality for an emotional effect.

Expressionism is exhibited in many art forms, including painting, literature, film, architecture and
music. Additionally, the term often implies emotional angst – the number of cheerful
expressionist works is relatively small.

• The basic characteristics of expressionism are Dionysian: bold colors, distorted forms,
painted in a careless manner, two-dimensional, without perspective, and based on
feelings (the child) rather than rational thought (the adult).

• More generally it refers to art that is expressive of intense emotion. It is arguable that all
artists are expressive but there is a long line of art production in which heavy emphasis is
placed on communication through emotion.

• Such art often occurs during time of social upheaval, and through the tradition of graphic
art there is a powerful and moving record of chaos in Europe from the 15th century on:
the Protestant Reformation, Peasants' War, Spanish Occupation of Netherlands, the rape,
pillage and disaster associated with countless periods of chaos and oppression are
presented in the documents of the printmaker. Often the work is unimpressive
 aesthetically, but almost without exception has the capacity to move the viewer to strong
emotions with the drama and often horror of the scenes depicted.

• The term was also coined by Czech art historian Antonín Matìjèek in 1910 as the opposite
of impressionism: "An Expressionist wishes, above all, to express himself....[An
Expressionist rejects] immediate perception and builds on more complex
psychic structures....Impressions and mental images that pass through mental
peoples soul as through a filter which rids them of all substantial accretions to
produce their clear essence [...and] are assimilated and condense into more
general forms, into types, which he transcribes through simple short-hand
formulae and symbols." (Gordon, 1987)

• distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or
dynamic application of formal elements

• The Scream (Skrik, 1893) is a seminal

expressionist painting by Norwegian artist Edvard Munch. Regarded by many as his most
important work, it is said by some to symbolize modern man taken by an attack of
existential angst. The landscape in the background is Oslofjord, viewed from the hill of
Ekeberg. The Norwegian word skrik is usually translated as "scream", but is cognate with
the English shriek. Occasionally, the painting has been called The Cry.

• On the very original version of the Scream, Munch wrote through the blood red sky in
pencil "Only a madman could have painted this." Munch was a classic example of an artist
who used his own mental and emotional traumas to channel great art.
Willem de Kooning "Woman IV" Rehe im Walde by Franz Marc

• Abstract expressionist paintings share certain characteristics, including the use of large
canvases, an emphasis on the canvas's inherent flatness, and an "all-over" approach, in
which the whole canvas is treated with equal importance (as opposed to the center being
of more interest than the edges, for example). As the first truly original school of painting
in America, abstract expressionism demonstrated the vitality and creativity of the country
in the post-war years, as well as its ability (or need) to develop an aesthetic sense that
was not constrained by the European standards of beauty.

• L'Accordéoniste, a 1911 cubist painting by Picasso. Woman with a guitar by

Georges Braque, 1913

• In cubist artworks, objects are broken up, analyzed, and re-assembled in an abstracted
form — instead of depicting objects from one viewpoint, the artist depicts the subject from
a multitude of viewpoints to present the piece in a greater context. Often the surfaces
intersect at seemingly random angles presenting no reasonable sense of depth. The
background and object (or figure) planes interpenetrate one another creating the
ambiguous shallow space characteristic of cubism. It was a complete and clearly defined
aesthetic.

• expression of inner experience

• not solely realistic portrayal
• Subjective emotions
SURREALISM
Salvador Dali

Temptation of St. Anthony Metamorphis of Narcissus 1937

Rene Magritte

The Lovers 1928 Collective Invention 1934

Max Ernst

Robing of the Bride 1940 Temptation of St. Anthony 1945

• literary and art movement influenced by Freudianism and dedicated to the expression of
imagination as revealed in dreams, free of the conscious control of reason and free of
convention.
• the style focuses on psychological states which resemble dreams and fantasy.
• less interested in interpretation of their dream symbols than they were in the expressive
capacity of such states.
 • admired the artwork of the insane for its freedom of expression, as well as artworks
created by children.
• can have a realistic, though irrational style, precisely describing dreamlike antasies
• the images found in surrealist works are as confusing and startling as those of dreams.
• it could have a more abstract style
• eliminate conscious control in order to express the workings of the unconscious mind,
such as xquisite corpse.
DADAISM
Francis Picabia. (French, 1879-1953).

L'Oeil Cacodylate Take Me There (M'amenez-y)

 Francis Picabia, Conversation II

Marcel Duchamp, L.H.O.O.Q.

● An early twentieth century art movement which ridiculed contemporary culture

and traditional art forms.

● formed to prove the bankruptcy of existing style of artistic expression rather

than to promote a particular style itself.

● It was born as a consequence of the collapse during World War I of social and
moral values which had developed to that time.

● Dada artists produced works which were nihilistic or reflected a cynical attitude
toward social values, and, at the same time, irrational

● nihilistic or reflected a cynical attitude toward social values, and, at the same
time, irrational

● absurd and playful, emotive and intuitive, and often cryptic.

● Less a style than a zeitgeist

● typically produced art objects in unconventional forms produced by

unconventional methods.
Op Art, style of abstract painting that made use of optical illusions and other
striking visual effects. Emerging in the United States in the mid-1960s, op art
generally took the form of brightly colored, tightly patterned geometric abstractions
that greatly influenced fashion, commercial design, and other aspects of the popular
culture of the era.

Victor Vasarely

Bridett Riley

Pop Art, visual arts movement of the 1950s and 1960s, principally in the United
States and Britain. The images of pop art (shortened from “popular art”) were taken
from mass culture. Some artists duplicated beer bottles, soup cans, comic strips, road
signs, and similar objects in paintings, collages, and sculptures. Others incorporated
the objects themselves into their paintings or sculptures, sometimes in startlingly
modified form. Materials of modern technology, such as plastic, urethane foam, and
acrylic paint, often figured prominently.
  The pop art movement itself, however, began as a reaction against the abstract
expressionist style of the 1940s and 1950s, which the pop artists considered
overly intellectual, subjective, and divorced from reality.

Psychedelic art
is art inspired by the psychedelic experience induced by drugs such as LSD,
Mescaline, and Psilocybin. The word "psychedelic" (coined by British psychologist
Humphrey Osmond) means "mind manifesting". By that definition all artistic efforts to
depict the inner world of the psyche may be considered "psychedelic". However, in
common parlance "Psychedelic Art" refers above all to the art movement of the 1960s
counterculture. Psychedelic visual arts were a counterpart to psychedelic rock music.
Concert posters, album covers, lightshows, murals, comic books, underground
newspapers and more reflected not only the kaleidoscopically swirling patterns of
LSD hallucinations, but also revolutionary political, social and spiritual sentiments
inspired by insights derived from these psychedelic states of consciousness.
LAND OF PSYCHEDELIC ILLUMINATIONS Magic Valley Poster Electric
Rainbox Blacklight Poster

Trippy Psychedelic Visual PSYCHEDELIC ABSTRACT

• Fantastic, metaphysical and surrealistic subject matter

• Kaleidoscopic, fractal or paisley patterns

• Bright and/or highly contrasting colors

• Extreme depth of detail or stylization of detail.

• Morphing of objects and/or themes and sometimes collage

• Inclusion of phosphenes and other entoptic motifs

• Repetition of motifs

• Innovative typography and hand-lettering, including warping and transposition

of positive and negative spaces

• Psychedelic Art is informed by the notion that altered states of consciousness

produced by psychedelic drugs are a source of artistic inspiration. The
psychedelic art movement is similar to the surrealist movement in that it
prescribes a mechanism for obtaining inspiration. Whereas the mechanism for
surrealism is the observance of dreams, the psychedelic artist turns to his drug
induced hallucinations. Both movements have strong ties to important
developments in science. Whereas the surrealist was fascinated by Freud's
theory of the unconscious, the psychedelic artist has been literally "turned on"
by Albert Hofmann's discovery of LSD.

Constructivism
AIM: To construct abstract sculpture suitable for industrialize society
 ► used miscellaneous industrial materials such as:

 metal

 wire

 plastics

 wood

 paper / cardboard

 glass

 celluloid

► themes are often geometric, experimental & rarely emotional

► architectural-like sculptures

► three-dimensional constructions

► usually it has base

Famous Artists

► Vladimir Tatlin Material used: Metal / Glass

 ► Naum Gabo Material Used: Cardboard Antoine Pevsner

Material used: Bronze

► Use miscellaneous materials

► It has a base

► Often use geometric figures

► Experimental

► Three-dimensional

► No emotion

Minimalism
 developed in the late 1950’s & early 1960’s in the United States

 conceived in opposition to ABSTRACT EXPRESSIONISM

 a style of art in which the least possible amount of shades, colors & lines are
used to reduced the concept or idea to its simplest form

 other name proposed are SYSTEMATIC PAINTING, ABC ART, SERIAL ART & COOL
ART
 AIM: To allow the audience to view a composition more intensely

 limited number of colors

 consist of simple geometric figures, arranged in series

 precise

 cool colors

 sometimes just a single color

 sculptures hung on the wall or sat directly on the floor

Famous Artist:

 Donald Judd Consist of simple geometric figures

Arranged in series; Hung on the wall

 Frank Stella West Broadway

Limited number of colors; Consist of simple geometric figures
 Sol Lewitt Pyramid Red
Consist of simple geometric figures

 Use industrial materials

 Hung on the wall or sat directly on the floor

 Use simple geometric figures

 Arranged in series

 No emotion