Milan Špak
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Renaissance ART
Early Renaissance
Start of the 14th Century in Italy
The time of rising middle-class whose growing wealth and ambition encouraged a culture with a humanist emphasis and gradually replaced medieval culture of feudal aristocracy
Re-discovery of Antique Classic art and literature
Developed an interest in man and realities of the world
Beauty of humanity was stressed, Nature was explored, Overall emphasis on harmony and balance
The Italian city-states (like Florence) with their middle-class aristocracies grew in wealth and power
Power was put into the hands of local rulers (like the Medici family in Florence) because of the lack of a strong central government
They wanted to strengthen their position with public monuments and sculptures
The Italian city-states (like Florence) with their middle-class aristocracies grew in wealth and powerPower was put into the hands of local rulers (like the Medici family in Florence) because of the lack of a strong central governmentThey wanted to strengthen their position with public monuments and sculpturesARTDrawn from Antique Roman ruins
Buildings (churches, chapels, palaces, hospitals, etc.)mirrored Antiquity
Mathematical clarity achieved through logical design and spatial organisation based on human proportions
Architects : Brunelleschi, Alberti,MIchelozzo
Painting
In Italy fresco and panel painting continued
oPopular religious scenes, portraiture and pagan mythology
oInterest in linear and aerial perspective,Anatomy, landscape backgrounds,Triangle-oriented compositions,Figures revealed volume and plasticity
Painters: Masaccio, Fra Angelico, Piero della Francesca, the Bellinis, Botticelli, Perugino etc.
Flemish painting
Inspiartion not from Classical art, but from illuminated manuscripts
Interest in accurate, almost microscopic realism
Developed the oil technique with use of transparent glazes placed over an underpainting of tempera
No fresco art existed in the North
Famous painters: Hubert and Jan van Eycks,Roger van der Weyden, Hieronymus Bosch
Sculpture
The most significant in Italy
Figures (often life-size)became popular
Nudes of both sexes
Portraiture, relegious and mythological themes
Materials: bronze, marble, terra-cotta, polychrome-gilded wood
Sculptors:Ghiberti,Donatello,The Robbia family,Verrochio
High Rennaisance Italian Art
(1500 – 1520Artists and architects became true individuals – free from medieval past
H. R. represented a shift from Florence to Rome. Under the inspiration of Pope Julius II, Rome reached new hights
Many historians mark the conclusion of the High Renaissance period as 1520 (the death of Raphael).
Architecture
Centres Rome and Venice. Religious themes (churches and chapels). Secular buildings (palaces, offices, libraries)
Less use of rustication (heavy stone work). Balustrades.The most noted architect was Bramante
Sculpture
The work of Michelangelo highlighted High Renaissance sculpture
His commissions were overwhelming, heroic, monumental, muscled. Well known works include:Pietas, David, Figures for the Tomb of Julius II, Medici Chapel
Painting
Three Artists captured the style and spirit of High Renaissance painting: Leonardo da Vinci, Michelangelo and Raphael
Leonardo: sensitive, mystic beauty, sfumato (smoky) effects and chiaroscuro(dark and light shading)
Michelangelo: espeacially Sistine Chapel showed muscled , heroic and monumental forms
Raphael: Madonna and Child themes,sublime beauty, idelity of human proportions, physical perfection
Art Styles in 19th century
(Realism, Impressionism and Post-Impressionism)
REALISM
“Realism is an approach to art in which subjects are depicted in as straightforward a manner as possible, without idealizing them and without following rules of formal artistic theory.“
(source: http://www.artcyclopedia.com/history/realism.html)
Realism was a historical movement that had a profound influence on the literature and figurative arts of Europe. The most systematic and coherent form evolved in France during the revolutions of 1830 and 1848. The year 1855 was significant in the establishment of Realism in Europe. It was the year in which Gustave Courbet (1819-77) exhibited his work in Paris in the Pavilion du Realisme, a building that he himself paid for. He exhibited about forty paintings, including The Painter's Studio, which had been refused by the jury of the Exposition Universelle, who instead hailed the work of more traditional masters such as Ingres.
THE BARBIZON SCHOOL
The Barbizon School was a group of landscape artists working in the area of the French town of Barbizon, south of Paris. They rejected the Academic tradition, abandoning theory in an attempt to achieve a truer representation of life in the countryside, and are part of the French Realist movement.
Theodore Rousseau (not to be confused with naive artist Henri Rousseau) is the best-known member of the group. Other prominent members included Constant Troyon and Charles-Francois Daubigny.
THE ENGLISH LANDSCAPE ARTISTS
John Constable (1776-1837 exhibited with great success at the so-called English Salon of 1824. Together with Joseph Mallord William Turner(1775-1851), they were largely responsible for introducing a new approach to landscape painting that was to have a major influence on European art. They brought to landscape painting a respect for location, a belief that the commonplace was worth painting and that changing atmospheric effects (light and weather) were an essential part of the landscape.
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J.M.W Turner
Rain, Steam, and Speed - The Great Western Railway (oil on canvas)Source: http://www.wga.hu/art/t/turner/2/205turne.jpg
IMPRESSIONISM
Centred in France, 1860's to 1880's
“Impressionism is a light, spontaneous manner of painting which began in France as a reaction against the restrictions and conventions of the dominant Academic art. Its naturalistic and down-to-earth treatment of its subject matter, most commonly landscapes, has its roots in the French Realism.”
(source http://www.artcyclopedia.com/history/impressionism.html)
A Short-lived Movement
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Claude Monet, Impression, Sunrise (Oil on canvas, 1873 (considered to be the first impressionistic painting)
Source: http://faculty.etsu.edu/kortumr/HUMT2320/earlymodern/htmdescriptionpages/01sunrisedesc.jpg
In the late 1860s, three artists - Claude Monet, Pierre-Auguste Renoir, and Camille Pissarro- formed the habit of going to sit on the banks of the Seine and Oise to paint the countryside. Of paramount interest to them was the reflection of light on the river; it seemed to be constantly moving and giving life to the water. The many colours revealed in the reflections gave them the idea of painting light by applying bands of opposing colours, without using dark tones for the shadows. With this in mind, they brightened up their palettes and divided up the different shades, unaware that they were applying the theory of complementary colours. In 1874 the Impressionists exhibited their work in public for the first time. By 1880, just six years after that first show, the group had already broken up.POST - IMPRESSIONISM
France, 1880's to 1900
“Post-Impressionism term that encompasses a variety of artists who were influenced by Impressionism but took their art in other directions. There is no single well-defined style of Post-Impressionism, but in general it is less idyllic and more emotionally charged than Impressionist work. The classic Post-Impressionists are Paul Gauguin, Paul Cezanne, Vincent van Gogh, Henri Rousseau and Henri de Toulouse-Lautrec. The Pointillists and Les Nabis are also generally included among the Post-Impressionists.” (source: http://www.artcyclopedia.com/history/post-impressionism.html)Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism.
New trends in 19th century Art
(Symbolism, Art Nouveau)
SYMBOLISM
“Symbolism is a 19th-century movement in which art became infused with exaggerated sensitivity and a spooky mysticism. It was a continuation of the Romantic tradition, which included such artists as John Henry Fuseli and Caspar David Friedrich.
Anticipating Freud and Jung, the Symbolists mined mythology and dream imagery for a visual language of the soul. More a philosophical approach than an actual style of art, they influenced their contemporaries in the Art Nouveau movement and Les Nabis. The leading Symbolists included Gustave Moreau, Puvis de Chavannes, and Odilon Redon.”(source: http://www.artcyclopedia.com/history/symbolism.html)
GUSTAVE MOREAU
(1826 - 1898)Img. SEQ Obrázok \* ARABIC 3
G. Moreau: Perseus and Andromeda
1870Source: http://upload.wikimedia.org/wikipedia/commons/e/ef/Gustave_Moreau_-_Perseus_and_Andromeda,_1870.jpg
French Symbolist painter known for his erotic paintings of mythological and religious subjects. Moreau's art has often been described as decadent. He made a number of technical experiments, including scraping his canvases; and his nonfigurative paintings, done in a loose manner with thick impasto, have led him to be called a herald of Abstract Expressionism. Moreau's students included Henri Matisse(Fauvism) and Georges Rouault (Fauvism/Expressionism). The way he depicts human figures in his paintings is very specific and confuses spectator. Sometimes it is difficult to distinguish male from female and vice versa. ODILON REDON
(1840- 1916)French Symbolist painter, lithographer, and etcher of considerable poetic sensitivity and imagination. His prints explore haunted, fantastic themes. His oils and pastels, mainly still lives with flowers, won him the admiration of Henri Matisse and other painters as an important colourist.
ART NOVEAU
“Characterized by decorative, curvilinear designs, an innovative new style
spread rapidly throughout Europe at the end of the 19th century. Following
exotic trends while remaining faithful to regional traditions, this modern style
could be seen in art, design, and architecture. It produced particularly fine
results in the decorative arts, graphic work, and illustration.”(source: http://all-art.org/history530.html)
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Aubrey Beardsley: The Climax
Source: http://nottsaesthetes.files.wordpress.com/2013/11/aubrey_beardsley_-_the_climax-1.jpg
Art Neouvau was a “new art” or “modern style” which spread across Europe and America in the 1890s. The "modern style" was known by different names in each country: Art Nouveau in France, the Liberty style in England, Jugendstil in Germany, Sezessionstil in Austria, Stile Liberty in Italy, and Modernista or Modernisme in Spain.
It was principally a style of architecture and interior decoration(pioneered by Horta and H. van de Velde) flourished especially in Belgium and Britain, using flat patterns of writhing vegetable forms. Cast-iron lilies and copper tendrils are still seen around us, as is furniture with heart-shaped holes in it.
Artists and designers
Aubrey Beardsley, William Morris (England), Otto Eckmann (Germany), Hermann Obrist (Switzerland), Henri van de Velde, Victor Horta (Belgium) , Gustav Klimt (Austria), Alphonse Mucha (Czech Rep., France)