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Technology and art philosophy
Technology and art
Technology and art philosophy
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19th Century Art
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.
Painting in the 19th century, still highly influenced by the spirit of Romanticism, proved to be a far more sensitive medium for the kind of personal expression one should expect from the romantic subjectivity of the time. At the very beginning of the “modern period” stands the imposing figure of Francisco Goya (1746-1828), the great independent painter from Spain. With much indebtedness to Velazquez, Rembrandt and the wonders of the natural world, Goya occupies the status of an artistic giant. His artistic range goes from the late Venetian Baroque through the brilliant impressionistic realism of his own to a late expressionism in which dark and powerful distor...
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... which contains a subtle but explicit expression of two lovers tightly embracing with a kiss.
In conclusion, the art of the 19th century was composed of a sequence of competing artistic movements that sought to establish its superiority, ideologies and style within the artistic community of Europe. These movements, being Romanticism, Realism, Impressionism and Post-Impressionism, ultimately spread far beyond the confines of Europe and made modern art an international entity which can still be felt in today’s artistic world.
Works Cited
Holt, Elizabeth G. From the Classicist to the Impressionists: Art and Architecture in the 19th Century. New Haven, CT: Yale University Press, 1966.
Needham, Gerald. 19th Century Realist Art. New York: Harper & Row, 1988.
Peillex, Georges. History of Art: 19th Century Painting. New York: Weidenfeld & Nicolson, 1964.
At the turn of the 20th and further into the 21st century, art began to drop the baggage carried from the masters of the Renaissance and began a trajectory of change. Artists began challenging the schools and galleries of art around the world in an effort to break away from the chains that were wrapped around them in an effort to control the basis of art. Strange patters, shapes, colors and spaces emerged as each one challenged every norm known to the artistic circle. Critics and viewers alike were suddenly required to think less about the topics of paintings and more about their formal aspects. As decades passed, the singularity of art began to intensify and different forms of art demanded the same recognition as others before. Liberation
Getlein, Mark. "Chapter 17-The 17th and 18th Centuries." Living with Art. 9th ed. Boston, MA: McGraw Hill, 2008. 384-406. Print.
The astonishingly brilliant artist Francisco José de Goya y Lucientes has always been revered and adored for his incredible paintings of the Spanish Royal family, but not many know that he was also a masterful engraver. In the exhibit titled Renaissance to Goya: Prints and Drawings from Spain, many of the pieces displayed were based on social commentary of the period within the country. This disdain is particularly palpable in the etching by Goya titled The Sleep of Reason Produces Monsters. The psychological and emotional state of Goya at the time is masterfully rendered and the presentation of the exhibit is absolutely remarkable due to its brilliant color scheme and expert presentation of the works.
Hitchcock, Henry Russell. Early Victorian Architecture in Britain Volumes I and II. New Haven: Yale University Press, 1954.
First 15 years of the 20th century show the changes in the theory, and practice art, among the modern artiest in western world. First 15 years were remarkable, they compare with great and advance science and technology of same time. It was time of growing instance in western culture, and continued rapid industrial of imperial aboard, and rivalry in the Europe. During the 20th century Paris was focus of modernism. In the 19th century scientist discover the theory, which were not just question of our way of seeing things, but show the very natural reality itself. Planet’s contam theory, Ayenstine‘s relativility theory, foid’s work on psycho analysis.
Crooked Beak of Heaven Mask is a big bird-figure mask from late nineteenth century made by Kwakwaka’wakw tribe. Black is a broad color over the entire mask. Red and white are used partially around its eyes, mouth, nose, and beak. Its beak and mouth are made to be opened, and this leads us to the important fact in both formal analysis and historical or cultural understanding: Transformation theme. Keeping that in mind, I would like to state formal analysis that I concluded from the artwork itself without connecting to cultural background. Then I would go further analysis relating artistic features to social, historical, and cultural background and figure out what this art meant to those people.
...s work The 3rd of May, 1808 is a very detailed and dramatic narrative within a collection of war themed works by the artist. I believe that by using the formal elements of color, texture, shape, lines, space, and the value I was able to sufficiently provide evidence that Goya offers a sequential order of direction for the audience to comprehend from their personal viewing. The twisted and grief stricken work creates a massive emotional connection and the artist plans for the viewers’ to grow and understand this message. The subject highlighted is obvious that Goya is passionate on his stance and outlook on war is suggested in the work. It’s obvious that Goya’s formal organization of his color palette, variation of brushes, repeating shapes, and play with lighting all correspond to depict man’s savage and at times monstrous actions are justified during war.
The Liberal Spanish Court Painter, Francisco De Goya can be considered one of the most influential figures in Spanish art of the mid 18th, and early 19th Century. Goya had a lot of success early on, He became the Court painter to the Spanish Aristocracy, and after displaying his mastery became painter to the king in 1786. Francisco De Goya became one of the keen observers of the tragedies of war, in 1792 he fell victim to a mysterious illness, which almost killed him, and left him completely deaf. A mixture of the violence occurring in Spain at this time, and the loss of his hearing disillusioned this once optimistic court painter, and lead him to create arguably his most famous paintings. These paintings, Known as Goya’s Black paintings were unlike any other art in Spain at this time. They showed the realities of war from an unfiltered perspective, and were effectively able to transmit Goya’s disgust and disillusionment with Napoleon’s invasion, and general bloodshed in Spain at this time. In this essay I will describe aspects of Goya’s personal life, the significance of his work, and Goya’s reaction to different problems occurring in Spain at this time.
Rowland, Kurt F. A History of the Modern Movement: Art Architecture Design. New York: Van Nostrand Reinhold, 1973. 142. Print.
In this essay, I shall try to examine how great a role colour played in the evolution of Impressionism. Impressionism in itself can be seen as a linkage in a long chain of procedures, which led the art to the point it is today. In order to do so, colour in Impressionism needs to be placed within an art-historical context for us to see more clearly the role it has played in the evolution of modern painting. In the late eighteenth century, for example, ancient Greek and Roman examples provided the classical sources in art. At the same time, there was a revolt against the formalism of Neo-Classicism. The accepted style was characterised by appeal to reason and intellect, with a demand for a well-disciplined order and restraint in the work. The decisive Romantic movement emphasized the individual’s right in self-expression, in which imagination and emotion were given free reign and stressed colour rather than line; colour can be seen as the expression for emotion, whereas line is the expression of rationality. Their style was painterly rather than linear; colour offered a freedom that line denied. Among the Romanticists who had a strong influence on Impressionism were Joseph Mallord William Turner and Eugéne Delacroix. In Turner’s works, colour took precedence over the realistic portrayal of form; Delacroix led the way for the Impressionists to use unmixed hues. The transition between Romanticism and Impressionism was provided by a small group of artists who lived and worked at the village of Barbizon. Their naturalistic style was based entirely on their observation and painting of nature in the open air. In their natural landscape subjects, they paid careful attention to the colourful expression of light and atmosphere. For them, colour was as important as composition, and this visual approach, with its appeal to emotion, gradually displaced the more studied and forma, with its appeal to reason.
The impressionist movement is often considered to mark the beginning of the modern period of art. It was developed in France during the late 19th century. The impressionist movement arose out of dissatisfaction with the classical, dull subjects and clean cut precise techniques of painting. They preferred to paint outdoors concentrating more on landscapes and street scenes, and began to paint ordinary everyday people and liked to show the effects in natural light.
Romanticism was a deepened appreciation of the beauties of nature. It was a general exaltation of emotion over reason order and instinct. It was full of high passion. Romanticism was “a turning in upon the self and a heightened examination of human personality and its moods and mental potentialities”, (Pioch). The art expressed passions and inner struggles. The artists of this time were supremely individual creators. To them the creative spirit was the most important thing of their art. They didn’t follow the strict adherence to formal rules and traditional procedures. They thought of the “imagination as the gateway to the transcendent experience and spiritual truth”, (Pioch). They had obsessive interests in folk culture, the medieval era, national and ethnic culture origins. Realism was and still is an accurately reproduction of reality or heroism of modern life. Realism came as a response to Romanticism. Realism struggled against the ‘over popularity’ of Romanticism. It consisted of many pieces of still life and domestic art. Courbet, Millet, and Zola were some more of the major artists doing Realism art. They aren’t as well known as many other artists because every one was doing this kind of art and it was hard to tell the differences between the artists that painted Realism paintings. Realism “became just one more style among others”, (Brown). They anticipated many of the concerns of the eighteen hundreds or of the century before. “Realism is a recurrent theme in art which becomes a coherent movement”, (Cruttenden 50) but only after 1850.
Janson, Harry W. History of Art. 5th Ed. New York: Harry N. Abrams, 1995. Print.
Oxford Art Online. “Neo-classicism & The French Revolution”. Oxford University Press. Web. 5th May 2013.
19th Century Art. New York, Abrams, 1984. Sculpture, 1760-1840. " Eighteenth-Century Studies Vol. 34 (2000): 135 Hutton, J. "Neoclassicism."