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essays on rousseau and art
rousseau arts and sciences criticism
rousseau arts and sciences criticism
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Everyone has been created unique and there is no other that is the like anyone else. People think different, dress different and like and dislike certain things. This is similar to the artists of the nineteenth century including Pierre Etienne Theodore Rousseau and Joseph Mallord William Turner. They are both artists during the nineteenth century and were painted at the same time; however, there is a difference between their styles, their point of view, and the scenery. However there are similarities between the two paintings. The paintings that will be compared and contrasted are “Under the Birches, Evening” and “The Campo Santo, Venice.”
The first painting, “Under the Birches, Evening”, is done by Pierre Etienne Theodore Rousseau. He was born on April 15, 1812 in Paris, France. His family saw that he had great potential in being an artist and since their business was profiting, they were trying to make sure their son would achieve at what he is good at ("Pierre Etienne Theodore Rousseau”). He was good at what he liked which was drawing landscapes. “However, he did not base his style on classically inspired landscapes as it was in Italy; instead he drew from his inspiration of a 17th century Dutch landscape” (Art of the Middle Ages and Renaissance). This means that he went against norms and standards of drawing a landscape and did his own style. As the title suggest it was an evening when he painted it. The surrounding that he chose was rocky and because it was during the evening it created a more dark imagery or perhaps that is how he saw it. Later on he switched his style and started drawing his pictures lighter and not as dark and scary ("Pierre Etienne Theodore Rousseau”). However, this was the best of his work that is bein...
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Joseph Mallord William Turner. “The Campo Santo, Venice.” The Toledo Museum of Art Masterwork. The Andrew W. Mellow Foundation: Toledo OH. 2009.
National Gallery of Australia http://itunes.apple.com/us/podcast/national-gallery-australia/id322677240
Oard, Brian A. "DEATH AND THE PAINTING." BEAUTY AND TERROR: ESSAYS ON THE POWER OF PAINTING. Web. 19 Dec. 2011.
Pierre Etienne Theodore Rousseau. “Under the Birches, Evening.” Art of the Middle Ages and Renaissance. Library of congress: Toledo OH. 1995.
"Pierre Etienne Theodore Rousseau, (1812-l867)." Lawrence J. Cantor and Company: Fine Old Art. Fine Old Art. Web. 19 Dec. 2011.
“The Campo Santo, Venice.” Painting by Joseph Mallord William Turner.
“Under the Birches, Evening.” Painting by Pierre Etienne Theodore Rousseau.
"The Campo Santo, Venice." Toledo Museum of Art. Toledo Museum of Art. Web. 19 Dec. 2011.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Joseph Mallord William Turner, 1775-1851, born the son of a London Barber and Wigmaker, is considered one of the greatest European artists of the 19th century. Turner, the English romantic landscape painter, watercolourists and printmaker, was regarded as a controversial and revolutionary figure by his contemporaries despite his training being similar to other artists of the time. His work ‘Walton Bridge’, Oil on Canvas 1806-10, reflects much of his training as a young artists as well as his well-known Romantic style. In this essay I will follow the beginnings of Turners artistic life, showing how his influences, training and opinions surrounding landscape painting have influenced his work ‘Walton Bridge.’ I will further explore how art critics, fellow artists and the wider public of the 19th Century received ‘Walton Bridge’ and his Landscape paintings in general.
Wees, P. (2003, October 1). Paul Revere Jr. (1734-1818). Retrieved from Metropolitain Museum of Art: http://www.metmuseum.org/toah/hd/rvre/hd_rvre.htm
Wright, H. David. The Vatican Vergil: a Masterpiece of Late Antique Art. Berkeley: University of California Press, 1993. Print.
South University Online. (2013). HUM 1002: History of Art from the Middle Ages to Modern Times: Week 4: Art of the Americas: 14th Century to the Present. Retrieved from myeclassonline.com
Paolucci, Antonio. The origins of Renaissance art: the Baptistery doors, Florence. New York: George Braziller, 1996.
Stokstad, Marilyn, and Michael Watt Cothren. Art History. 5th ed. Upper Saddle River: Pearson/Prentice Hall, 2014. Print. The textbook gave me background on the culture during the thirteenth century, and the meaning behind some of Duccio’s paintings.
Rousseau, Theodore. "The Merode Altarpiece." The Metropolitan Museum of Art Bulletin 16.4 (1957): 117-29. JSTOR. Web. 1 Apr. 2010.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
Baxandall, Michael. “Conditions of Trade.” Painting and Experience in Fifteenth-century Italy. Oxford: Oxford University Press, 1988.
Like many of Van Gogh’s paintings, Olive Trees commences as a landscape and expands into a complex work, disclosing influences from other times and places. Using the color theory and separated brushstrokes of the Impressionists, the movement and vivid colors of the Romantics, and lighting and composition inspired by Millet, Van Gogh achieves the potency and significance that characterizes his work. Van Gogh’s paintings can’t possibly be mistaken for those of another artist of his time because, despite the fact that all of his means have criterion, his end results do not.
Although both Fragonard’s and David’s work convey different ideals through their style of painting, they are still able to use light in a very similar form. The viewer’s attention is directed on a specific point in the painting through the use of light. Both artists cast a spotlight on the figure or action in the painting that they want the viewer to especially notice. It is what each artist decides to focus on that makes his work is different from the other. A young woman on a swing who enjoys the pleasures of life is clearly where Fragonard wants to direct the viewer’s attention. However, David focuses attention on a male figure, specifically Socrates. How does the use of light help the viewer understand the ideals of each form of art? While Fragonard chooses to focus on a female and David chooses to focus on a male, the viewer now understands how Rococo can be a feminine form of art and Neo-Classicism the opposite. In addition, other stylistic elements like color and form depict how each art form differs from the other. By using all this visual evidence, we will later see how the concept of deciding...
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.