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Compare art during the industrial revolution and the contemporary world
Art criticism and art history
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The Rococo art style in the 18th was a decorative style of art that originated in the hotels and salons of Paris. S and C curves, shells, wings, scrolls, plant tendril forms, and cartouches meaning elaborate frame, all distinguished Rococo. However, the Neoclassicism art style in the late 18th century portrayed the middle class society and unlike the composition of Rococo painted ceilings, its composition is simpler with limited figures. The Rococo and Neoclassical styles of art were both influenced by European life, reflected Europe’s culture, and had different political and social themes.
The Industrial Revolution that took place in the 1800’s was a radical change that began in England and soon enough had spread through Europe and America. As a result, social, political, and economical transformations took place and art shifted in style and subject themes flourished. The Philosophes, which were philosophers who dominated the French Enlightment and visited salons, contributed to the development of art criticism. The Rococo artistic style reflects the merriness that the wealthy people decorated their homes with, while the Neoclassical art style focused more on the middle class people and was distinguished by Western art and culture of Ancient Greece or Rome. The culture helped shape the Neoclassicism art style that represented the growth of a civilized society. The Rococo art style in the 18th century depicted domestic life in the upper class, elegantly well dress aristocrats, and mythological themes. Neoclassicism on the other hand saw the rise of Greek and Roman classical themes as more of their culture was revealed. The Neoclassicism art style was also incorporated in paintings that had to do with the Revoluti...
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...ice. In many ways this picture fits in with ideas that were around the revolution that only men had the capability of sacrificing for the state of being true citizens. This depicts that the problems of life really struck artists to paint what was going on around them. David shows the figures posing with strong powerful gestures to enhance the emotionalism.
The central column that extends to the top of the painting is shown to separate Brutus from his family and emphasize the distance between them.
Both the Rococo and Neoclassical style of art portrayed how society lived. Neoclassicm was based on its trademarks, balance, and order, which may have associated in how art was viewed by the public. Some Neoclassical paintings depicted balance and order among society and political issues. The Rococo style on the other hand, deals with the pleasures of the upper class.
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...
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
It corresponded to the emulation, which emerged among the lower classes of the postindustrial era, to pretend to have a good taste of art like the upper class. After the Industrial Revolution, the underprivileged, who had previously produced things to fulfill their own daily needs, turned into the working class of the urbans, producing things whose value in daily usage they would never see . This shift from crafting to manufacturing, from formulating to fabricating, and from creative to repetitive triggered a new need among these people. Although they did not have the time or education to enjoy and appreciate fine arts when they were in the countryside, the lower classes felt a new inclination towards art in the factory towns where they had the opportunity to observe that taste in art provided social status. Their desire to own works of art was precluded by their incomes which were no match for the high prices of the art market. With the aid of the mass production technologies and the manufacturing-commercial culture that followed, it became possible to produce multiple copies of artistic works and reduce the prices. This situation not only expanded the scope of art market but also provided the lower class with what they desired –or at least what they thought they desired: affordable art
“Philosophers, writers, and artists expressed disillusionment with the rational-humanist tradition of the Enlightenment. They no longer shared the Enlightenment's confidence in either reason's capabilities or human goodness.” (Perry, pg. 457) It is interesting to follow art through history and see how the general mood of society changed with various aspects of history, and how events have a strong connection to the art of the corresponding time.
During the late sixteenth century a new style of art, known as Mannerist, emerged through out Italy as a result of the Protestant Reformation. Mannerist distorted art was justified because it served mid way between the ideal, natural, symmetrical and the real, artificial, and unbalanced. The religious and political upheaval lead to the distinct Mannerist style know for being stylish, cultured, and elegant. Mannerist art is thought provoking, asking the viewer to ponder and respond to the spatial challenges and meaning found in the painting, sculpture, and architectural work. Mannerist painting and sculpture are characterized by complicated compositions, distorted figure styles, and complex allegorical interpretations. Meanwhile Mannerist architecture often employs classical elements in a new and unusual way that defies traditional formulas.
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.
There were distinct characteristics and elements that had influenced the style of furniture in the neoclassic era. “Symmetry, geometric forms, and decorative motifs such as swags, urns, and lyres were combined in the architecture of the period” (Ledes, 420). Symmetry was seen a lot in furniture and the interiors of buildings and homes either in rectangular or in oval form. In the early French neoclassic furniture focused on straight lines and fluted legs. “Chair backs were oval, circular, or rectangular, sometimes with a slight arc at the top of the crest rail; seats and arms also featured smooth arcs, as geometric shapes prevailed” (Crochet, 146). Furniture had gilt tapered legs with square or oval backs.
...s such at flowers and plants. This form was mainly embraced during its decline as a movement as it became so popular that it was being watered down and lost its ingenuity and integrity as an art form. this was helped by the first world war as the war required an influx of new technology to fight with. things were further stimulated by the returned growth of the economy which meant that people had more money to spend thus were able to purchase better quality and luxury products. art deco began after as the period of glamour and extravagance which saw the creation and usage of new materials such as metals chrome and platinum, and the increase usage of vibrant paters such as stripes and zigzags used of furniture pieces both movements have greatly influenced their later years even after the second world war up to the 1960s which saw art deco revived for a short while.
From the "rustic hut" to Doric to Corinthian the art of the ancients was seen as a perfect blend of "order, symmetry, and simplicity of style."[1 ] This is what the artists and architects of France, England, and Italy sought to integrate into their art. One of the earliest causes for the rise of Neoclassicism is the reaction by many Enlightenment thinkers to Rococo and Baroque art. The Baroque was too busy and ornamental for many people and ... ... middle of paper ... ...
In the late 18th century, many countries were slowly being transformed into industrialized places; cities were getting bigger, industries were growing everywhere and many technologies like steam engines were appearing. This phenomenon called the Industrial Revolution first started in England and then spread to France and Germany. Industrialization helped in the development of society, the economy and at some point, art, but it also left behind a devastated society. In fact, the Industrial Revolution was a great inspiration for artists who lived in that time. For instance, the impressionist French artist Claude Monet painted La Gare de Saint-Lazare (1877) at the beginning of the revolution. Adolph Menzel, a German realist painter, also depicted the revolution with his painting The Iron Rolling Mill (1875) and William Blake, a British romantic artist, wrote a poem named “London” (1794) in which the main theme is the revolution. Although they are all from a different cultural movements, including Impressionism, Realism and Romanticism, they all depict the effects of the industrial revolution with a pessimistic view.
Additionally, the styles changed; from Rococo, which was meant to represent the aristocratic power and the “style that (…) and ignored the lower classes” (Cullen), to Neoclassicism, which had a special emphasis on the Roman civilization’s virtues, and also to Romanticism, which performs a celebration of the individual and of freedom. Obviously, also the subject matter that inspired the paintings has changed as wel...
This lack of respect and no real opportunity to interact intellectually with this Patriarchy gave the patrons and artists the fire to build their own way of having discussions and interactions with others through their salons in their home during the 18th century. The Salons were where Rococo art became well known and wanted throughout the elite. This woman dominated style helped create an opportunity, for many years after, for women to gain a sort of freedom that has been a struggle for them achieve.
Those visual art styles were created by Pablo Picasso and Georges Braque. Cubism has a great role about the understanding of modernism and that plays a role in the 20th century art till this day. In the article it says: “…Cubism was the cornerstone of twentieth-century art because it broke with past tradition definitively; established “modernist” flatness, opticality, and involvement with the medium of art; and thus sanctioned a new tradition that would lead to nonobjective art as well as to assemblage and to other “modernist” principles and practices.” By reading this it shows that Cubism had a huge impact in the 20th century and that it had something special about it that made it really important. Cubism is all about art and it’s also art, Picasso is really popular because of his work and that was all in the period of Cubism which is still to this day. Cubism is one of the first to be most developed in the modern era, especially in the visual
For this task, the two art periods that I have decided to compare are the Baroque and the Neoclassical periods. The discipline within in the humanities that I have choose to focus on for this essay is the aspect of architecture in the respective periods.
Unlike Baroque, which was more of a “bad taste” and bizarre, Rococo was also unnatural but developed, especially in Germany and Austria, into a very beautiful style.... ... middle of paper ... ... Vogue magazine, 1920 -. The Universe History of Art and Architecture Baroque and Rococo, Erich Hubala.