Artist research insects
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This document provides information on several artists who work with insects in their art: - David Rogers carves giant wooden sculptures of insects and places them strategically in the Desert Botanical Gardens. - Geoffrey Haberman also models metallic silver insects alongside Rogers' sculptures, usually of similar design. - Johnny Van Haefton creates realistic still life art of dead or inactive insects by studying them closely. - Tamas Galambos portrays various historical and mythological scenes and still lifes from a philosophical perspective on beauty and change. - E.A. Saguy was a French artist in the early 20th century known for print series featuring detailed depictions of beetles.
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© 2010, The McGraw-Hill Companies, Inc. All Rights Rese.docx
*
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Twenty-One
The Modern World: 1800-1945
Movements:
Neoclassicism
Romanticism
Realism
Impressionism
Post-Impressionism
Fauvism and Expressionism, Cubism
Fantasy and Futurism
Dada and Surrealism
Building New Societies: Harlem Renaissance, De Stijl, and Bauhaus
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
*
For 19th-century artists and writers, walking through the teeming streets was the equivalent of today’s channel surfing—one sensation followed quickly by another, offering fleeting glimpses of thousands of lives. They found it overwhelming, thrilling, and sometimes disturbing—artists recognized it as new and termed it “modern.”
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*
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Neoclassicism and Romanticism
Figure 21.2 Eugène Delacroix, The Women of Algiers, 1834.
Figure 21.1 Jean-Auguste-Dominique Ingres, Jupiter and Thetis, 1811.
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
*
We ended Chapter 17 with the rejection of Baroque & Rococo in the Neoclassical work of David. These artists favored emotional reserve, classical compositions, and precise draftsmanship. Ingres was a pupil of David, the leading painter of Neoclassicism and the most influential teacher in France at the turn of the 19th century. Ingres inherited his master’s admiration of ancient Greek and Roman Art, and emphasis on clean contours, a smooth finish, and precise draftsmanship.
On the left, Jupiter and Thetis, figures from Homer’s Iliad, are portrayed. Here Thetis is shown pleading with Jupiter to intervene in the war on behalf of her son. With its clear contours, clean colors, and precise draftsmanship, the painting clearly shows Ingres’ debt to his teacher. He felt that the greatest subject matters of all were history, Classical mythology, and Biblical scenes.
Ingres’ lifelong rival was Delacroix, champion of the Romantic movement. The Romantic ideal stressed dramatic subject matter, turbulent emotions, and complex compositions. Romanticism was not a style so much as a set of attitudes and characteristic subjects. The 18th century is sometimes known as “the Age of Reason,” for its leading thinkers placed their faith .
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The document provides an overview of several modern art movements that emerged between World Wars I and II, including Dadaism, Surrealism, De Stijl, and works by African American modernists during the Harlem Renaissance. It discusses key artists such as Duchamp, Dali, Magritte, Mondrian, Rivera, Kahlo, and Aaron Douglas. It summarizes techniques like photomontage, collage, frottage, and decalcomania that were employed by these movements to challenge conventions and depict subconscious realities.
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Millais painted Ophelia outside over five months to accurately depict the natural setting, including wildflowers that bloom at different times of the year. The painting depicts a scene from Shakespeare's Hamlet where Ophelia drowns after losing her father and lover. The Pre-Raphaelite Brotherhood aimed for photorealistic detail by painting outdoors rather than working from sketches in the studio like most artists of the time. Nature and truth to nature were highly valued by Millais and other Pre-Raphaelites like John Ruskin emphasized in their artistic philosophy.
© 2010, The McGraw-Hill Companies, Inc. All Rights Rese.docx
*
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Twenty-One
The Modern World: 1800-1945
Movements:
Neoclassicism
Romanticism
Realism
Impressionism
Post-Impressionism
Fauvism and Expressionism, Cubism
Fantasy and Futurism
Dada and Surrealism
Building New Societies: Harlem Renaissance, De Stijl, and Bauhaus
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
*
For 19th-century artists and writers, walking through the teeming streets was the equivalent of today’s channel surfing—one sensation followed quickly by another, offering fleeting glimpses of thousands of lives. They found it overwhelming, thrilling, and sometimes disturbing—artists recognized it as new and termed it “modern.”
This was the world of mass production, mass advertising, and mass consumption; the world of leisure activities, shopping, entertainment, and visiting art museums and galleries.
We have already seen unique qualities from diverse traditions in art. We have also seen how diverse cultures have integrated new influences. As you look at these movements, you will realize that artists build upon or react against established traditions. In this age of communication, artists begin reacting more quickly, hence the number of rapidly accumulating movements. The changes of modernity occurred everywhere in Europe, but the debates they provoked played out most dramatically in France, especially in Paris, and this brief survey largely focuses there.
*
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Neoclassicism and Romanticism
Figure 21.2 Eugène Delacroix, The Women of Algiers, 1834.
Figure 21.1 Jean-Auguste-Dominique Ingres, Jupiter and Thetis, 1811.
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
*
We ended Chapter 17 with the rejection of Baroque & Rococo in the Neoclassical work of David. These artists favored emotional reserve, classical compositions, and precise draftsmanship. Ingres was a pupil of David, the leading painter of Neoclassicism and the most influential teacher in France at the turn of the 19th century. Ingres inherited his master’s admiration of ancient Greek and Roman Art, and emphasis on clean contours, a smooth finish, and precise draftsmanship.
On the left, Jupiter and Thetis, figures from Homer’s Iliad, are portrayed. Here Thetis is shown pleading with Jupiter to intervene in the war on behalf of her son. With its clear contours, clean colors, and precise draftsmanship, the painting clearly shows Ingres’ debt to his teacher. He felt that the greatest subject matters of all were history, Classical mythology, and Biblical scenes.
Ingres’ lifelong rival was Delacroix, champion of the Romantic movement. The Romantic ideal stressed dramatic subject matter, turbulent emotions, and complex compositions. Romanticism was not a style so much as a set of attitudes and characteristic subjects. The 18th century is sometimes known as “the Age of Reason,” for its leading thinkers placed their faith .
P.H.A.G QUIZ - GQF, 2015
This presentation consists of questions from the P.H.A.G (Politics, History, Arts, Geography) Quiz held in Guwahati, Assam in 2015. The questions were researched and set by Biswajit Sarma from Nalbari, Assam, and the quiz was conducted by Sudarshan Goswami in Guwahati. The questions cover topics related to films, paintings, history, and geography.
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© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Chapter Twenty-One
The Modern World: 1800-1945
Movements:
Neoclassicism
Romanticism
Realism
Impressionism
Post-Impressionism
Fauvism and Expressionism, Cubism
Fantasy and Futurism
Dada and Surrealism
Building New Societies: Harlem Renaissance, De Stijl, and Bauhaus
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
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For 19th-century artists and writers, walking through the teeming streets was the equivalent of today’s channel surfing—one sensation followed quickly by another, offering fleeting glimpses of thousands of lives. They found it overwhelming, thrilling, and sometimes disturbing—artists recognized it as new and termed it “modern.”
This was the world of mass production, mass advertising, and mass consumption; the world of leisure activities, shopping, entertainment, and visiting art museums and galleries.
We have already seen unique qualities from diverse traditions in art. We have also seen how diverse cultures have integrated new influences. As you look at these movements, you will realize that artists build upon or react against established traditions. In this age of communication, artists begin reacting more quickly, hence the number of rapidly accumulating movements. The changes of modernity occurred everywhere in Europe, but the debates they provoked played out most dramatically in France, especially in Paris, and this brief survey largely focuses there.
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© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
Neoclassicism and Romanticism
Figure 21.2 Eugène Delacroix, The Women of Algiers, 1834.
Figure 21.1 Jean-Auguste-Dominique Ingres, Jupiter and Thetis, 1811.
© 2010, The McGraw-Hill Companies, Inc. All Rights Reserved.
*
We ended Chapter 17 with the rejection of Baroque & Rococo in the Neoclassical work of David. These artists favored emotional reserve, classical compositions, and precise draftsmanship. Ingres was a pupil of David, the leading painter of Neoclassicism and the most influential teacher in France at the turn of the 19th century. Ingres inherited his master’s admiration of ancient Greek and Roman Art, and emphasis on clean contours, a smooth finish, and precise draftsmanship.
On the left, Jupiter and Thetis, figures from Homer’s Iliad, are portrayed. Here Thetis is shown pleading with Jupiter to intervene in the war on behalf of her son. With its clear contours, clean colors, and precise draftsmanship, the painting clearly shows Ingres’ debt to his teacher. He felt that the greatest subject matters of all were history, Classical mythology, and Biblical scenes.
Ingres’ lifelong rival was Delacroix, champion of the Romantic movement. The Romantic ideal stressed dramatic subject matter, turbulent emotions, and complex compositions. Romanticism was not a style so much as a set of attitudes and characteristic subjects. The 18th century is sometimes known as “the Age of Reason,” for its leading thinkers plac ...
Why art matters module 5
This document discusses how art influences society through facilitating understanding and driving social change. It provides examples of how artists throughout history have used their work to expose political issues and scandals, such as Theodore Gericault's painting "The Raft of the Medusa" which depicted a shipwreck caused by governmental incompetence. The document also examines art movements like Dadaism that formed in protest of World War I and used non-traditional techniques like collage and chance to critique war and society. Additionally, it discusses Pablo Picasso's famous painting "Guernica" which brought attention to the brutality of the Spanish Civil War bombing of Guernica through its stark imagery.
Realism.pdf
This document provides an overview of realism in art. It discusses the history and origins of realism as a reaction to romanticism in the mid-19th century. Realist artists aimed to depict ordinary people and everyday scenes in a naturalistic manner. The movement was led by Gustave Courbet who urged artists to make the commonplace the focus of their work. The document also defines realism, examines some of its components and techniques, explores subgenres like magical realism and social realism, and highlights notable realist artists including Courbet, Edward Hopper, and Rosa Bonheur.
humanities2.pdf
The document discusses various subjects and methods of art presentation. It describes 8 types of subjects: representational/objective art, non-representational/non-objective art, and 6 methods for presenting subjects: realism, abstraction, symbolism, fauvism, dadaism, futurism, surrealism, and impressionism. Each method is explained through examples of how it distorts, elongates, or transforms subjects in non-realistic ways to convey emotions or ideas. Assignments are included to apply the methods to school logos and a Christmas card design.
Similar to Artist research insects (20)
KCC Art 211 Ch 20 Late Eighteenth And Nineteenth Centuries
KCC Art 211 Ch 20 Late Eighteenth And Nineteenth Centuries
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- 1. Artist Research Insects David Rogers His sculptures are placed in the Desert Botanical Gardens. They are giant insects carved from fallen wood and staged strategically.
- 2. Geoffrey Haberman Geoffrey Haberman also models metallic silver insects alongside these, but usually they are of similar design.
- 3. Johnny Van Haefton Studies from still life using dead or less active insects to work from so his art is as realistic as possible.
- 4. Tamas Galambos A contempory Hungarian artist who portrays various times in biblical history, late history, mythology and still life. ‘Every face is a face and also a mask. It hides and reveals. It is identical with its bearer but refers to the figure the bearer would like to become through an exchange of faces. In the core of this art we find only one experience: the recognition of the close relation between beauty and transition, fascination and profane clumsiness.’
- 5. E. A. Saguy was an active designer and artist in France in the first three decades of the 20th century. The artist is best remembered for a couple of series of prints he produced in the 1920s. These were entitled Papillons and insects. This image is an amazing print of various types of beetle.
- 6. John Gould (14 September 1804 – 3 February 1881) was an Englishornithologist and bird artist. Mainly he worked from Hummingbirds and used water colors and light forms of materials.