The Renaissance

 Linear Perspective  Realism  Use of light and shadow (chiaroscuro)  Pyramid configuration – scene builds to a climax at the focal point)  Introduction of oil on canvas  Inspiration from Classical Greece and Rome

Masaccio: Tribute Money Use of perspective

Donatello

Botticelli

Leonardo da Vinci

Michelangelo

Raphael

Titian Charles V

The Northern Renaissance

 Painted reality as they saw it  Les emphasis on classical forms  Use of oil paints – allows for more blending of colors  Atmospheric perspective  Portraits and religious themes

Jan Van Eyck

Hans Holbein

Durer

Mannerism and the Late Renaissance

 Reaction to the perfect symmetry of Renaissance art  Distortion, especially of human body  No strong focal point  Bold colors

El Greco

Baroque

 The art of the Catholic Reformation and of Divine Right monarchs  “married the advanced technique and grand scale of the Renaissance to the emotion, intensity and drama of Mannerism...”  Mastery of the use of light  Intensely emotional  To instill in viewers the awe and mystery of the Catholic church

Caravaggio St. Francis Receiving the Stigmata

Bernini St. Teresa in Ecstasy

Peter Paul Rubens Self Portrait with a Friend

Van Dyck Charles I on the Hunt

Velasquez Las Meninas

Rembrandt The Jewish Bride

Vermeer

Baroque Architecture St. Peter’s Basilica, Rome

Bernini’s altar

Versailles

Rococo

 Highly decorative and ornamental  Flowers, curlicues, few straight lines  Found mostly on architecture and interior decoration  Representative of the aristocracy and the their disposable wealth  Superficial?  Celebration of the beauty of nature…not the power like Romanticism

Fragonard The Reader

Watteau

Bustelli

Rococo Architecture

Metropolitan Museum of Art –Reproduction of Rococo Parlor

Neo-Classicism

 Reaction to exuberance of Baroque and Rococo  Classical influence  “Age of Reason”  Influenced by ancient Greek and Roman statues - muted colors, short & smooth brush strokes, ancient looking architectural elements  Classical values: placing the state first, duty, honor, Glory of Rome: seeds of nationalism…….

Jacques Louis David The Death of Socrates

Death of Marat

Neo-Classical Architecture Royal Academy, Edinburgh

Arch of Triumph, Paris

Monticello, Thomas Jefferson’s Estate

Romanticism

 Rebels against Neo-Classicism  Looks to Middle Ages for inspiration  Emotional  Emphasis on nature, its beauty, majesty and unpredictability  Religious or spiritual themes  Reaction against Industrialization

Delacroix

Friedrich

Goya

Turner

John Constable

Impressionism

 Rejects Renaissance perspective, balanced composition, idealized figures and chiaroscuro  Use of color and light  Use of short, choppy brushstrokes  Do not mix colors on the palette, but place them side by side on the canvas – results in more brilliance  Main goal was to “present an impression”  Reaction to photography

Manet A Bar at the Folies-Bergere

Boating

Monet

Camille Monet

The Houses of Parliament

Renoir

Girl with a Cat

Degas

Little Dancer of Fourteen Years

Post Impressionism

 Bold, formal design  Bold, rainbow colors  Express emotions through color and light  Artists were mostly French  Use of shapes and symmetry  Pointillism

Seurat

Toulouse-Lautrec

Cezanne Road before the Mountains

Gauguin

Van Gogh

Cubism

 Inspired by Native American, African and Micronesian art  Analyzed form of objects by shattering them into fragments (but not necessarily cubes)  Use of geometric shapes  Two types –  Analytic - analyzed natural forms and reduced them to basic geometric parts on the two- dimensional picture plane. Painting often mono- chromatic color schemes – mostly brown, green or gray.  Synthetic – use of collage.

Picasso The Guitarist

Guernica

Braque

Art Nouveau

 Reaction to “academic” art of the 19 th century  “sinuous lines and tendril like curves”  Flowering forms and plant inspired motifs  Flowing curvilinear forms  Described in a German magazine as “sudden violent curves generated by the crack of a whip.” Style is sometimes referred to as whiplash.  Ornamental  Some Romantic themes

Beardsley

Klimt The Kiss

Judith with the Head of Holofernes

Tiffany Glass

Early 20 th century Expressionism

 Reaction to positivism, impressionism  To express the meaning of “being alive”  Emphasizes emotional experience rather than physical reality  Art should express the artist’s feelings rather than images of the real world

Kandinsky

Chagall

Rouault

This movement also influenced literature (novels of Franz Kafka), film (The Cabinet of Dr. Caligari, Nosferatu, several films by Ingmar Bergman), theatre (mostly in Germany), and music

Post World War I Dada

 Protests world gone mad b/c of war  Denounce and shock  In poetry, verse was often nonsensical

Georg Grosz

Arp

Schwitters

Surrealism

 Began as a literary movement  Goes beyond realism  Often dreamlike, bizarre, hallucinatory

Miro

Dali

Post World War II Abstract Impressionism

 Also called “action painting” – it stressed action and freneticism  Gave free reign to impulse and chance  Mostly an American art form

Pollack

Late 1900’s Pop Art

 Return to “pictorial art”  Based on modern world – advertising, media, celebrities  Impersonal

Blake

Oldenburg

Warhol Birth of Venus (after Botticelli)