Ch 29-30 2013 - Bvsd

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Ch. 29 -30: Birth of the “Isms” • Patchwork of several artistic trends, each reacting to the previous • Enormous variety from 1700 – 1800- rapid shifts in style and subject matter • No 1 single style dominated, such as in Renaissance and Baroque • Rococo = short-lived • Neoclassicism, Romanticism and Realism = overlap & blend & compete with each other.
ENGLISH NEOCLASSICAL Ch 29-30 Important ideas for NEOCLASSICAL / ROMANTIC ROCOCO: Primarily a form of decorative interior decoration: curvilinear, delicate ornamentation favored by the French aristocracy who lived a frivolous existence devoted to pleasure. Its short duration ended in 1760. Mood: playful, superficial, energetic. Colors: white, silver, gold. Shapes: sinuous, arabesques, S and C curves. THE ENLIGHTENMENT The majority of the art and architecture discussed in this chapter was influenced by Enlightenment philosophy, a major current in Western thought. Neoclassical art in particular showed the influence of the Enlightenment in its choice of subject matter—for example, David's OATH OF THE HORATII or DEATH OF SOCRATES. Later works, such as Goya's THIRD OF MAY, 1808 should be seen as a reaction to the Enlightenment. NEOCLASSICISM VERSUS ROMANTICISM One theme of these chapters is the contrast between Neoclassicism and Romanticism. By the end of the chapters, students should be able to analyze the differences between these two styles in terms of composition, choice of subject matter, proportion, color, and so on. Understanding the distinction between these two styles is especially important in French painting, where the inheritors of these artistic traditions will become the earliest modernists. INFLUENCE OF NAPOLEON Students should be aware of the influence of Napoleon on French art by being able to identify which artists worked for Napoleon, which were sympathetic to his regime, and which were opposed to it. They should consider David, Ingres, Delacroix, and Goya. A central question for students to discuss is how important a role Napoleon's patronage played in the art of this period. THE AMERICAN IDENTITY Artists in the new United States of America tried to capture the spirit of their fledgling republic in their art, but comparing the art of the young nation with that of its European antecedents reveals strong influences, as well as new unique forms such as naturalistic painting.
Page 1: Chapters 29 & 30: 1700-1870 Sequenc
Page 5 and 6: Hotel: French town houses of the el
Page 7 and 8: ROCOCO
Page 9 and 10: Portrait of Louis XIV, 1701 BAROQUE
Page 11 and 12: • The beauty of a material object
Page 13 and 14: ROCOCO
Page 15 and 16: ROCOCO Francois Boucher, Cupid a Ca
Page 17 and 18: Fragonard was a student of Boucher
Page 19 and 20: Art of the Enlightenment ROCOCO Inc
Page 21 and 22: ENGLISH NEOCLASSICAL An Experiment
Page 23 and 24: ENGLISH NEOCLASSICAL Crystal Palace
Page 25 and 26: FRENCH NEOCLASSICAL Natural Art Vig
Page 27 and 28: ENGLISH NEOCLASSICAL William Hogart
Page 29 and 30: ENGLISH NEOCLASSICAL
Page 31 and 32: Grand Manner portraiture: homage to
Page 33 and 34: ENGLISH NEOCLASSICAL Sir Joshua Rey
Page 35 and 36: ENGLISH NEOCLASSICAL Formal vs Info
Page 37 and 38: ENGLISH NEOCLASSICAL Thomas Gainsbo
Page 39 and 40: FRENCH NEOCLASSICAL Jacques-Louis D
Page 41 and 42: FRENCH NEOCLASSICAL Stylistc Qualit
Page 43 and 44: FRENCH NEOCLASSICAL Emphasized draw
Page 45 and 46: FRENCH NEOCLASSICAL Nicolas Poussin
Page 47 and 48: FRENCH NEOCLASSICAL Jacques-Louis D
Page 49 and 50: FRENCH NEOCLASSICAL Angelica Kauffm
Page 51 and 52: FRENCH NEOCLASSICAL Jean-Antoine Ho
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FRENCH NEOCLASSICAL Jean-Antoine Ho
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FRENCH NEOCLASSICAL Arc de Triomphe
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ENGLISH NEOCLASSICAL Palladio, Vill
Page 59 and 60:
American Neoclassical AMERICAN NEOC
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American Neoclassical AMERICAN NEOC
Page 63 and 64:
AMERICAN NEOCLASSICAL American Neoc
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AMERICAN NEOCLASSICAL Thomas Jeffer
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Ch 29-30 2013 - Bvsd

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