1400 - 1550

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

1600 - 1750

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

1723 - 1774

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

1780 - 1820

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

1800 - 1850

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

1860 - 1886

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

1880 - 1905

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

1908 - 1914

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

1890 - 1914

Art Nouveau

Reaction to “academic” art of the 19th 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 20th 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

1918 - 1940

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)