Art History Time Line The Renaissance to Realism.
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Art History Time Line The Renaissance to Realism
Transcript of Art History Time Line The Renaissance to Realism.
Art History Time LineThe Renaissance to Realism
During the Middle Ages the majority of the population was superstitious, illiterate and isolated. It was a period of little innovation, plagues, war and crusades.
The Renaissance (1400-1650) began in northern Italy and then spread through Europe. Italian cities such as Naples, Genoa, and Venice became centers of trade between Europe and the Middle East. Arab scholars preserved the writings of the ancient Greeks in their libraries. When the Italian cities traded with the Arabs, ideas were exchanged along with goods. These ideas, preserved from the ancient past, served as the basis of the Renaissance. It influenced painting, sculpture, and architecture. Paintings became more realistic and focused less often on religious topics. Rich families became patrons and commissioned great art. Artists advanced the Renaissance style of showing nature and depicting the feelings of people. In Britain, there was a flowering in literature and drama that included the plays of William Shakespeare.
http://www.youtube.com/watch?v=4mgSPiAiBjU&feature=related
(link to utube 3 min video intro to the Renaissance)
The Masters
Leonardo da Vinci (1442-1519)
Virgin of the Rocks, Louvre, possibly 1505–1508,
The Last Supper (1498)—
Raffaello Sanzio da Urbino 1483-1520
The School of Athens, portraying the secular sciences of philosophy. Aristotle and Plato are seen in conversation at the centre of the picture. The gesture which Plato is making with his upward-pointing finger is symbolic in meaning: he is pointing to the source of higher inspiration, the realm of ideas. Aristotle, on the other hand, is gesturing downwards, towards the starting-point of all the natural sciences.
Michelangelo di Lodovico Buonarroti Simoni 1475-1564
David (1504)
Commissioned to be placed at the top of the domo in Florence as a symbol of the city’s freedom, it was decided too beautiful to be placed so high up, and ended up in a piazza instead. Traditionally David was portrayed after he severs Goliaths head, but Michelangelo decides to show him right before it happens. It shows David's strength and courage as he sizes up his opponent, emphasizing that David's victory was one of cleverness not brute strength. The citizens of Florence would have seen themselves this way; a small city state surrounded by powerful enemies.
The Sistine Chapel 1508-1512
Mannerism 1520-1580
Artists-Tintoretto, El Greco, Pontormo, Bronzino, Cellini
Art that begins to break all the rules…
Notable for its intellectual sophistication as well as its artificial (as opposed to naturalistic) qualities. Look for elongated forms, precariously balanced poses, a collapsed perspective, irrational settings, and theatrical lighting. Instead of studying nature directly, younger artists began studying Hellenistic sculptures and paintings of masters past. Therefore, this style is often identified as "anti-classical”
Pieta, El Greco , 1541-1614
Parmigianino's Madonna with the Long Neck (1534-40)
Baroque (1600–1750)
Artists-Reubens, Rembrandt, Caravaggio, Palace of Versailles
Splendor and flourish for God; art as a weapon in the religious wars (This was at the time of theThirty Years' War between Catholics and Protestants ) The Catholic church and the aristocracy saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumphant power and control.
Ecstasy of St Theresa, 1652, by Gianlorenzo Bernini
Palace of Versailles
Neoclassical (1750–1850)
Artists- David, Ingres, Greuze, Canova.
Art that recaptures Greco-Roman grace and grandeur. This is the era when intellectual, scientific and cultural life, centered upon the 18th century, in which reason was advocated as the primary source for legitimacy and authority. It is also at the beginning of the Industrial Revolution.
The Oath of the Horatii
Jacques-Louis David 1748 –1825
In the 1780s his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward a classical austerity, severity, and a heightened feeling morality. He was an active supporter of the French Revolution and friend of Napoleon I.
The death of Marat 1793
A political martyr was instantly created as David portrayed his friend Marat with all the marks of the real murder, in a fashion which greatly resembles that of Christ or his disciples. Marat was a journalist who was murdered by the opposing political party. This painting helped fuel the French Revolution.
Romanticism
(1780–1850)
Artists-Caspar Friedrich, Gericault, Delacroix, Turner, Benjamin West
Romanticism is complex is hard to pin point, but the art and literature from this era validates strong emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as trepidation, horror and terror and awe. (Think Hellenistic Greek Sculpture). Both the French and American revolutions were taking place. People had romantic notions about going out and fighting for your beliefs, or dying for a greater cause. Art helped fuel these notions and keep the momentum up for these revolutions to take place.
Liberty Leading the People, Eugène Delacroix 1830
Raft of the Medusa , Theodore Gericault 1819
Realism (1848–1900)
Artists-Corot, Courbet, Daumier, Millet
Art work starts to depict working class, everyday life and peasants. It aims to depict subjects without embellishment or interpretation. The approach implies that reality is independent of our conceptual schemes, linguistic practices and beliefs, and thus can be known to the artist, who can in turn represent this 'reality' faithfully.
The Gleaners , Jean-François Millet, 1857
Gustave Courbet, A Burial at Ornans, 1849-1850, oil on canvas.
Exhibition at the 1850–1851 Paris Salon created an "explosive reaction" and brought Courbet instant fame. It records the funeral of his grand uncle which he attended in September 1848. People who attended the funeral were the models for the painting. Previously, models had been used as actors in historical narratives, but in Burial Courbet said he "painted the very people who had been there (imagine that). It’s also quite large (10 by 20 feet), traditionally this size and grandeur would have been preserved for important people or religious works. Courbet's mourners make no theatrical gestures of grief, and their faces seemed more caricatured than ennobled. The critics accused Courbet of a deliberate pursuit of ugliness.
The Potato Eaters, Van Gogh, 1885
