The document provides an overview of various art movements from Neoclassicism to Dadaism. It summarizes key figures, works, styles, and philosophies associated with each movement. Neoclassicism revived classical Greek and Roman forms. Jacques-Louis David was a major Neoclassical painter who also played a role in the French Revolution. Impressionism focused on capturing instantaneous impressions of light and scenes painted outdoors. Cubism fragmented objects into geometric forms. Dadaism rejected logic and rationality in art and embraced spontaneity.
Wallace Collection, London Painting only 3.0Jerry Daperro
The Wallace Collection (is) the finest collection of art ever assembled by one family and now s national museum. Five generations of collections, four Marquises of Hereford and Sir Richard Wallace, each made their own special contribution. The Wallace Collection a national museums in the heart of London, own one of the finest collection of fine and decorative art in the world. The Collection was bequeathed to the British nation by the widow of Sir Richard Wallace in 1897. The Collection was assembled entirely in the 18C and 19C. It is an oasis of European art in the heart of London, with emphasizes on French arts.
British Baroque began after Parliament executed its kings. Parliament was in ascendency. It was a parliament of the land gentry and aristocracy. This slideshow covers a period of increasing confidence. It is the art the aristocracy and their aspirations. An interesting point was that this ‘revolution’ did not pushed ahead by the native English artists but mainly continental artists. Nearly all the artists covered by this slideshow were from continental Europe. Although some settled down and created something of an English paintings.
Dulwich Picture Gallery boosts one of the of the finest smaller collection of Old Master in the world, full of household names and hidden gems. Its collection reflects the taste and market opportunities of its time by concentrated on European paintings of the 17C and 18C, the period sometimes known as ‘The Age of Baroque’. The gallery is situation in the Southeast of London, only about 5 miles from the centre of London. It about half an hour by bus or 12 minutes by local trains, depart from Victoria station..
The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D.C., United States, located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was privately established in 1937 for the American people.
Wallace Collection, London Painting only 3.0Jerry Daperro
The Wallace Collection (is) the finest collection of art ever assembled by one family and now s national museum. Five generations of collections, four Marquises of Hereford and Sir Richard Wallace, each made their own special contribution. The Wallace Collection a national museums in the heart of London, own one of the finest collection of fine and decorative art in the world. The Collection was bequeathed to the British nation by the widow of Sir Richard Wallace in 1897. The Collection was assembled entirely in the 18C and 19C. It is an oasis of European art in the heart of London, with emphasizes on French arts.
British Baroque began after Parliament executed its kings. Parliament was in ascendency. It was a parliament of the land gentry and aristocracy. This slideshow covers a period of increasing confidence. It is the art the aristocracy and their aspirations. An interesting point was that this ‘revolution’ did not pushed ahead by the native English artists but mainly continental artists. Nearly all the artists covered by this slideshow were from continental Europe. Although some settled down and created something of an English paintings.
Dulwich Picture Gallery boosts one of the of the finest smaller collection of Old Master in the world, full of household names and hidden gems. Its collection reflects the taste and market opportunities of its time by concentrated on European paintings of the 17C and 18C, the period sometimes known as ‘The Age of Baroque’. The gallery is situation in the Southeast of London, only about 5 miles from the centre of London. It about half an hour by bus or 12 minutes by local trains, depart from Victoria station..
The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D.C., United States, located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was privately established in 1937 for the American people.
The Prado is unique among the world’s great museums. Its collection is astonishingly rich, with master paintings from the 13C to the 18C. It is one of the more complete wider representation of European schools of paintings. Assembled by the Spanish kings for their palaces, its treasures are now housed in the grandiose Neo-Classical palace designed in 1787. The Prado contains the most important collection of Spanish masters to be found anywhere in the world. It has the finest works included paintings by El Greco, Zurbaran, Velazquez, Murillo, Goya etc. The great strength of the museum is that it has also amassed extensive collections of other European artists. As the Low Countries were once part of the Spanish Empire, its collection included works by Rogier van der Weyden, the unsurpassed works of Hieronymus Bosch, Pieter Bruegel, etc. Rubens’ works are well-represented
This is the first of four Powerpoint on US gallery to be released on the next few day. In 1974 Norton Simon agreed to take over the Pasadena Art Museum, giving his collection a permanent home. In 1995, the museum began a major renovation and design. It also included a new theatre. Norton Simon started collecting seriously in 1964, when he purchased the entire European collection of the Duveen Brot. Today, his collection on European paintings is broadly based and methodological. The collection covers the whole span of European painting developments from the early Renaissance to modern days. All the mainstream movements are represented by works from the masters. However, one noticeable absence are paintings from America. In 1970s the collection started to include Asian Arts. Today, there are some 4,000 works in the collection. On European paintings the collection would complement to that of the more well-known Paul Getty Museum. Ion paintings, it must rank as one of the best on the west coast of America.
Los Angeles County Museum of Art, LACMAJerry Daperro
Although the museum is one of the youngest in the United States, it is fairly large and comprehensive museum, a significant representation of European art, ranging from antiquity to the present day. The museum was inaugurated only in 1965. However, a large part of the collection came from the Los Angeles Museum of History, Science and Art, which was established a century earlier. The museum is also known for its Modern art items as well.
Although the museum is one of the youngest in the United States, it is fairly large and comprehensive museum, a significant representation of European art, ranging from antiquity to the present day. The museum was inaugurated only in 1965. However, a large part of the collection came from the Los Angeles Museum of History, Science and Art, which was established a century earlier. The museum is also known for its Modern art items as well.
AP ART HISTORY: Symbolism, Arts and Crafts movement, Art Nouveau, Austrian Se...S Sandoval
AP ART HISTORY : Other Art Styles of the Late Nineteenth Century.
Art Nouveau, Arts and Crafts Movement, Austrian Secession, Symbolism.
Artists, architects: Redon, Moreau, Rousseau, Carpeaux, Horta, Gaudi, Tiffany, Klimt
Some of the most stunning pieces of art are also the most controversial. Do you ever wonder what on earth an artist was thinking when they came up with it? Whether controversy is created by the scandalous subject of the artwork, by the artist's interpretation or by a simple misunderstanding, it can be quite stirring.
Check out these conversation starters from a wide range of artists across history and present day. Bet we can shock you.
The Prado is unique among the world’s great museums. Its collection is astonishingly rich, with master paintings from the 13C to the 18C. It is one of the more complete wider representation of European schools of paintings. Assembled by the Spanish kings for their palaces, its treasures are now housed in the grandiose Neo-Classical palace designed in 1787. The Prado contains the most important collection of Spanish masters to be found anywhere in the world. It has the finest works included paintings by El Greco, Zurbaran, Velazquez, Murillo, Goya etc. The great strength of the museum is that it has also amassed extensive collections of other European artists. As the Low Countries were once part of the Spanish Empire, its collection included works by Rogier van der Weyden, the unsurpassed works of Hieronymus Bosch, Pieter Bruegel, etc. Rubens’ works are well-represented
This is the first of four Powerpoint on US gallery to be released on the next few day. In 1974 Norton Simon agreed to take over the Pasadena Art Museum, giving his collection a permanent home. In 1995, the museum began a major renovation and design. It also included a new theatre. Norton Simon started collecting seriously in 1964, when he purchased the entire European collection of the Duveen Brot. Today, his collection on European paintings is broadly based and methodological. The collection covers the whole span of European painting developments from the early Renaissance to modern days. All the mainstream movements are represented by works from the masters. However, one noticeable absence are paintings from America. In 1970s the collection started to include Asian Arts. Today, there are some 4,000 works in the collection. On European paintings the collection would complement to that of the more well-known Paul Getty Museum. Ion paintings, it must rank as one of the best on the west coast of America.
Los Angeles County Museum of Art, LACMAJerry Daperro
Although the museum is one of the youngest in the United States, it is fairly large and comprehensive museum, a significant representation of European art, ranging from antiquity to the present day. The museum was inaugurated only in 1965. However, a large part of the collection came from the Los Angeles Museum of History, Science and Art, which was established a century earlier. The museum is also known for its Modern art items as well.
Although the museum is one of the youngest in the United States, it is fairly large and comprehensive museum, a significant representation of European art, ranging from antiquity to the present day. The museum was inaugurated only in 1965. However, a large part of the collection came from the Los Angeles Museum of History, Science and Art, which was established a century earlier. The museum is also known for its Modern art items as well.
AP ART HISTORY: Symbolism, Arts and Crafts movement, Art Nouveau, Austrian Se...S Sandoval
AP ART HISTORY : Other Art Styles of the Late Nineteenth Century.
Art Nouveau, Arts and Crafts Movement, Austrian Secession, Symbolism.
Artists, architects: Redon, Moreau, Rousseau, Carpeaux, Horta, Gaudi, Tiffany, Klimt
Some of the most stunning pieces of art are also the most controversial. Do you ever wonder what on earth an artist was thinking when they came up with it? Whether controversy is created by the scandalous subject of the artwork, by the artist's interpretation or by a simple misunderstanding, it can be quite stirring.
Check out these conversation starters from a wide range of artists across history and present day. Bet we can shock you.
Jacques Louis David (1749—1825) was a very important painter during the late 18C and the early 19C painting. He was the master of Neo-classicism and later Romanticism. At time he was some what artistic Czar of the time. Neoclassicism was a ‘modernising’ artistic movement of the time after the decline of the aristocratic art of Rococo. In 1782 he became an Academician and in 1784 he returned to Rome to paint the Oath of the Horatii (1785), an important painting in the history of painting. It was more like the underground art of its days. During the French Revolution, he became a Deputy and involved with the politics of the day. Many well-known painters of the early 19C were his pupils, including Gerard & Ingres. As a painter, his portraits were supreme. Due to the changing politics of France, he imposed self-exile and cut off from the main stream of Romanticism in France.
Jacques Louis David (1749—1825) was a very important painter during the late 18C and the early 19C painting. He was the master of Neo-classicism and later Romanticism. At time he was somewhat artistic Czar of the time. Neoclassicism was a ‘modernising’ artistic movement of the time after the decline of the aristocratic art of Rococo. In 1782 he became an Academician and in 1784 he returned to Rome to paint the Oath of the Horati (1785), an important painting in the history of painting. It was more like the underground art of its days. During the French Revolution, he became a Deputy and involved with the politics of the day. Many well-known painters of the early 19C were his pupils, including Gerard & Ingres. As a painter, his portraits were supreme. Due to the changing politics of France, he imposed self-exile and cut off from the main stream of Romanticism in France.
Encouraged by the success of Romanticism in portraying the exceptional and the exotic subjects. Several French painters travelled to North Africa and Middle East painting scenes of ‘Oriental’ history and the contemporary life. Delacroix was one of the first and the most convincing. Many others followed, notably Gerome. Other preferred to used their imagination and let it run wild, depicting their version of the imaging ‘Orient’, like Ingres A particular popular theme was the harem. Since no European man had ever been into a harem their works were mostly frictional. British painters like John Frederic Lewis and William Holman Hunt also embarked on their journey of discovery. Both men also spent part of their life living in the Middle East. They have also bought back images of what they experienced in the ‘Orient’.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxgalerussel59292
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxjack60216
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
31052024_First India Newspaper Jaipur.pdfFIRST INDIA
Find Latest India News and Breaking News these days from India on Politics, Business, Entertainment, Technology, Sports, Lifestyle and Coronavirus News in India and the world over that you can't miss. For real time update Visit our social media handle. Read First India NewsPaper in your morning replace. Visit First India.
CLICK:- https://firstindia.co.in/
#First_India_NewsPaper
An astonishing, first-of-its-kind, report by the NYT assessing damage in Ukraine. Even if the war ends tomorrow, in many places there will be nothing to go back to.
‘वोटर्स विल मस्ट प्रीवेल’ (मतदाताओं को जीतना होगा) अभियान द्वारा जारी हेल्पलाइन नंबर, 4 जून को सुबह 7 बजे से दोपहर 12 बजे तक मतगणना प्रक्रिया में कहीं भी किसी भी तरह के उल्लंघन की रिपोर्ट करने के लिए खुला रहेगा।
01062024_First India Newspaper Jaipur.pdfFIRST INDIA
Find Latest India News and Breaking News these days from India on Politics, Business, Entertainment, Technology, Sports, Lifestyle and Coronavirus News in India and the world over that you can't miss. For real time update Visit our social media handle. Read First India NewsPaper in your morning replace. Visit First India.
CLICK:- https://firstindia.co.in/
#First_India_NewsPaper
In a May 9, 2024 paper, Juri Opitz from the University of Zurich, along with Shira Wein and Nathan Schneider form Georgetown University, discussed the importance of linguistic expertise in natural language processing (NLP) in an era dominated by large language models (LLMs).
The authors explained that while machine translation (MT) previously relied heavily on linguists, the landscape has shifted. “Linguistics is no longer front and center in the way we build NLP systems,” they said. With the emergence of LLMs, which can generate fluent text without the need for specialized modules to handle grammar or semantic coherence, the need for linguistic expertise in NLP is being questioned.
03062024_First India Newspaper Jaipur.pdfFIRST INDIA
Find Latest India News and Breaking News these days from India on Politics, Business, Entertainment, Technology, Sports, Lifestyle and Coronavirus News in India and the world over that you can't miss. For real time update Visit our social media handle. Read First India NewsPaper in your morning replace. Visit First India.
CLICK:- https://firstindia.co.in/
#First_India_NewsPaper
हम आग्रह करते हैं कि जो भी सत्ता में आए, वह संविधान का पालन करे, उसकी रक्षा करे और उसे बनाए रखे।" प्रस्ताव में कुल तीन प्रमुख हस्तक्षेप और उनके तंत्र भी प्रस्तुत किए गए। पहला हस्तक्षेप स्वतंत्र मीडिया को प्रोत्साहित करके, वास्तविकता पर आधारित काउंटर नैरेटिव का निर्माण करके और सत्तारूढ़ सरकार द्वारा नियोजित मनोवैज्ञानिक हेरफेर की रणनीति का मुकाबला करके लोगों द्वारा निर्धारित कथा को बनाए रखना और उस पर कार्यकरना था।
1. Neoclassicism: Neo (new) – classicism, a “new” classicism, or the revival of classical (Greek or Roman) forms. Rape of the Sabines by Nicolas Poussin (France; 17 th century)
2. LE BRUN AND THE FRENCH ACADEMY Charles Le Brun by Antoine Coysevox (1676) --French Academy of Painting and Sculpture founded in 1648; --Le Brun was named director in 1663. --Le Brun also also helped to found the Gobelins Works to manufacture tapestries and furniture for the royal palaces. Le Brun’s positions at the Academy and Gobelins gave him almost total control of the arts in France; Le Brun was officially named by Louis as “the greatest French artist of all time.”
3. Embarkation from Cythera by J.-A. Watteau (France; 18 th century) ROCOCO: --soft, pastel colors --soft, fluid brushwork --courtly subject matter for courtly clientele --often risque --develops in 18 th century France, spreads to courts throughout Europe
4. ROCOCO: The Swing by H. Fragonard (France; 18 th century)
5. NEOCLASSICISM: Jacques-Louis David --Born 1748 in Paris --Boucher was a distant uncle, and he trained with him initially; their temperaments clashed so drastically that Boucher sent him to Josephe-Marie Vien. --Attempts to win the Prix de Rome, but is rejected on three successive attempts; after one rejection, he attempts suicide by starvation. Self Portrait (1794)
6. Drawing of the Tiber River and Castel Sant’Angelo, Rome (1777) Jacques-Louis David: Prix de Rome --Arrives in Rome in 1776 --His study there leads to a determination to not just revive a true, archeological classical style, but also what he perceives as a more ideal classical morality --Returns to France in 1781 --Commissioned to paint a scene from Roman history, the story of Horace and his sons; he declares that “only in Rome can I paint Romans,” and returns to Italy. --Comes back with the painting at the height of France’s revolutionary fervor
8. Jacques-Louis David and the French Revolution Brutus (1789) --By the time the painting was completed, the French Revolution had begun --The government tried to prohibit it from being shown in the official salon, but that decision resulted in such a public outcry that they were forced to back down --The painting was exhibited behind a screen of students and admirers, standing as guard to protect it against any possible royalist attack
9. Jacques-Louis David and the French Revolution The Death of Marat (1793) “ Citizens, the people were again calling for their friend and spokesman; their desolate voice has been heard: David, take up your brushes, avenge Marat. I heard the voice of the people. I obeyed.” — David’s speech when presenting the Death of Marat to the National Convention
10. Jacques-Louis David and the French Revolution The Death of Joseph Bara (1794) --A 13-year-old boy who had joined the army of the Revolution --He had been captured and ordered to yell “ Long live the king,” or he would be killed; instead he chose death, yelling “Long live the Republic.” --He was considered a hero to the revolutionary cause, and David painted him as a form of propaganda, to extol his example.
11. Jacques-Louis David and the French Revolution David’s sketch of Marie Antoinette awaiting execution (1793) --David became a major force in the new Republic, organizing public demonstrations and festivities, especially for those who had died heroically --Served as a member of the new National Convention, and sat on the trial of Louis XVI and cast one of the votes which sent him to the guillotine, even though it caused his wife to leave him
12. Jacques-Louis David: Arrest and Trial Self Portrait (1794) --Various among the revolutionary clique began to exhibit paranoid and extremist tendencies; the result was known as the “Reign of Terror.” --The leader of the clique, Robespierre, was arrested, as was David. Robespierre was sent to the guillotine, David was tried and imprisoned. “ If you drink hemlock, I will drink it with you.”—David to Robespierre, at their arrest
13. Garden, painted from David’s cell Jacques-Louis David: Arrest and Trial --David’s wife returned to him after he was arrested --He was released in an amnesty
14. Intervention (Rape) of the Sabine Women (1799) Jacques-Louis David: Post Revolution --Allegory of the state of France, caught between warring factions; a plea for peace and unity --A tribute to his wife returning to him, love prevailing over conflict
15. Napoleon Crossing the Alps at the St. Bernard Pass (1801) Jacques-Louis David and Napoleon --Napoleon becomes First Consul in 1799 --He asks David to paint for him --When Napoleon is declared emperor in 1804, David becomes the court painter of the Empire
16. --After the final defeat of Napoleon, the Bourbon kings were restored to the throne of France. --David was given an amnesty by Louis XVIII, who wanted to lure him into his services as his court painter. --David refused the position and was exiled to Belgium; he died in Brussels in 1825 after being hit by a carriage. --David had wished to be buried in France, but the government refused to allow it, and he was buried in Belgium instead. However, his friends and supporters had his heart preserved; it was returned to France and buried in Paris. Jacques-Louis David: Exile
17. ROMANTICISM: Raft of the Medusa by T. Gericault (France; 19 th century)
18. ROMANTICISM: E. Delacroix (France; 19 th century) Academy Salon Morocco sketch, painting
19. --Founded 1648; instruction was given only in an approved royal style, with a rigid set of rules and a strong emphasis on classicism. Delacroix quipped that “the Academy attempts to teach beauty as one would teach mathematics” (i.e., by formula). --The “Salon” was the official, Academy- sponsored art exhibit, and an artist’s success and standing were tied to his recognition in the Salon. FRENCH ACADEMY AND SALON
20. ROMANTICISM: Eugene Delacroix: --1798-1863 --The greatest of the French Romantic painters --Despite early success in the Salon, would battle with the Academy --Traveled to Morocco in 1832 --An enormous output: after his death, over 9000 drawings paintings, and pastels were counted in his studio alone
21. REALISM Gustave Courbet: --1819-1877 --Had a tumultuous relationship with the French Academy, who opposed him not just on artistic but also social and political grounds --Considered the first communist or socialist artist, and he heroized common people --Also could be considered one of the pioneers in social realism in the visual arts “ Show me an angel and I will paint one.”
22. Edouard Manet (France; 19 th century) --Born in Paris in 1832 --Achieved his first notable success as a painter with the Spanish Guitar player (1862). The work was considered a promising genre painting, and Manet was awarded a medal in the Academy Salon.
23. --Despite his Salon success in 1862, the next year Manet encountered difficulties with the jury--he submitted a painting entitled Dejeuner sur l’herbe (Luncheon on the Grass) which was deemed too eccentric; the painting was rejected by the Salon committee.
24. Luncheon on the Grass (Dejeuner sur l’herbe) E. Manet (France; 19 th century)
25. --Thousands of other paintings were rejected that year and outraged artists complained bitterly about the jury. -- The Emperor Napoleon III intervened, decreeing that the refused works be shown in a separate exhibition, the SALON DES REFUSES, or the Salon of Refused Artists. --The Salon des Refuses was met with derision and mockery as most people came simply to laugh at what they considered bad paintings. Manet’s painting was considered the most scandalous of all. Luncheon on the Grass (Dejeuner sur l’herbe)
26. WHISTLER vs. RUSKIN (ENGLAND; 19 th century) James Abbot McNeill Whistler Self-Portrait (USA, England; 19 th century) John Ruskin by John Everett Millais (England; 19 th century)
27. James Abbot McNeill Whistler Self-Portrait (USA, England; 19 th century) --1834-1903 --From an American military family, but spends part of his childhood in Russia --Flunks out of Westpoint --Moves to Europe (France, and then England) and works as an expatriate artist --Becomes the most famous American among the early Modernists
28. Symphony in White #1 (The White Girl) by J.A.M. Whistler (19 th century; USA, England) SALON DES REFUSES (1863)
29. WHISTLER vs. RUSKIN Portrait of John Ruskin by John Everett Millais Noct NOCTURNE IN BLACK & GOLD (Falling Rockets) and NOCTURNE IN BLUE & GOLD (Old Battersea Bridge) by J.A.M. Whistler (USA, England; 19 th century)
30. WHISTLER vs. RUSKIN “ For Mr. Whistler’s own sake, no less than for the protection of the purchaser, Sir Coutts Lindsay ought not to have admitted works into the gallery in which the ill-educated conceit of the artist so nearly approached the aspect of willful imposture. I have seen and heard much of cockney impudence before now, but never expected to hear a coxcomb ask 200 guineas for flinging a pot of paint in the public’s face.”—Ruskin, on Whistler’s nocturnes Noct NOCTURNE IN BLACK & GOLD (Falling Rockets) and NOCTURNE IN BLUE & GOLD (Old Battersea Bridge) by J.A.M. Whistler (USA, England; 19 th century)
31. WHISTLER vs. RUSKIN --Whistler sues Ruskin for libel claiming that, coming from a critic of Ruskin’s reputation, the comments had done him professional injury; asks for 1000 pounds. --Jury asked to decide on not just libel, but issues involving the definition and parameters of art itself. Noct NOCTURNE IN BLACK & GOLD (Falling Rockets) and NOCTURNE IN BLUE & GOLD (Old Battersea Bridge) by J.A.M. Whistler (USA, England; 19 th century)
32. WHISTLER vs. RUSKIN Points used to support Ruskin’s defense: --mimesis --labor --“finish” Noct NOCTURNE IN BLACK & GOLD (Falling Rockets) and NOCTURNE IN BLUE & GOLD (Old Battersea Bridge) by J.A.M. Whistler (USA, England; 19 th century)
33. WHISTLER vs. RUSKIN Points used to support Ruskin’s defense: -- mimesis Ruskin’s defense attorney asks the jury if this is an “ accurate representation” of Battersea Bridge --labor --“finish” Noct
34. WHISTLER vs. RUSKIN Points used to support Ruskin’s defense: --mimesis -- labor --“ finish ” Ruskin’s defense asks Whistler how long it took him to “ knock it off.” Whistler: A couple of hours. Defense: And that is what you are asking 200 guineas for, a couple hours work? Whistler: No. The 200 guineas are for the lifetime’s worth of experience that allowed me to be able to “ knock it off.” Noct
35. WHISTLER vs. RUSKIN: Jury finds in favor or Whistler and Ruskin is guilty of libel, but the jury awards Whistler only farthing in damages
36. Impression: Sunrise by Claude Monet (1873) IMPRESSIONISM --desire to capture an instantaneous “impression” of a scene in nature --interest in the play and reflection of light on the surface of objects, rather than the physical character of the objects themselves --painting “en plein air”
37. Impression: Sunrise by Claude Monet (1873) Typical of Impressionism --Primacy of light and color --Attempt to capture the spontaneity of vision --softness of line --shapes and details implied by areas of color, rather than meticulous reproduced --outdoor and atmospheric scenes Antithetical to Impressionism: --narrative and history painting --classical subject matter --hard lines and contours
38. POINTILLISM: --calculate hues and proportions needed to produce the effect of a particular color --rather than mixing them on a palette, dots of pure color are set down on the canvas, and the viewer’s eye merges them to produce the impression of the desired colors --intended to provide a more luminous and intense perception of color Sunday Afternoon on the Grand Jatte by G. Seurat (France; 19th century)
39. EXPRESSIONISM: --emphasis is on subjective emotion rather than objective reality --intensity of the artist’s feelings over-rides fidelity in the portrayal of objects --objects are freely distorted for emotive or expressive effect The Scream by E. Munch (Norway; 19th-20th centuries)
40. FAUVISM: --emphasis of stark juxtapositions of fields of vibrant color; colors are often harsh or seemingly arbitrary --crude drawing, sketchy brushwork --“Fauve” from French term for “wild beast” “ I dream of . . . an art . . . devoid of troubling or depressing subject matter . . . like a mental comforter, something like a good armchair in which to rest.” — Matisse Madame Matisse by H. Matisse (France; 20th century)
41. Ambrose Vollard by P. Picasso (Spain, France; 20 th century) CUBISM: --reduction of all elements of the painting to a tight geometric scheme, usually involving small, cubic shapes which both merge and collide --spatial relations and three- dimensionality collapse within the geometric scheme --the discreet identities of objects and people are fragmented and integrated into the whole --Analytic Cubism: initial phase --Synthetic Cubism: second phase
42. The Persistence of Memory by S. Dali (Spain; 20 th century) SURREALISM: --founded by Andre Breton --interest in psychiatric theories of Sigmund Freud, which held that rational forces of the conscious mind struggle against irrational, instinctual unconscious urges, thus creating conflict --desire to liberate unconscious mind and repressed desires in order to discover a larger reality (“Surreality”) which lay beyond rational notions of what is real
44. DADA “ We are a furious wind, tearing the dirty linen of clouds and prayers, preparing the spectacle of disaster, fire, decomposition . . . there is a great negative work of destruction to be accomplished. We must sweep and clean. Affirm the cleanliness of the individual after the state of madness, aggressive complete madness of a world abandoned to the hands of bandits, who rend one another and destroy the centuries. Dada: abolition of logic . . . Dada: abolition of memory . . . Dada: abolition of the future . . . Dada: absolute and unquestionable faith in every god that is the immediate product of spontaneity . . . Dada: a roaring of tense colors, and interlacing of opposites and all contradictions, grotesques, inconsistencies. DADA: LIFE.”—Tristan Tzara
45. DADA “ Art is not the most precious manifestation of life. Art has not the celestial and universal value that people like to attribute to it. Life is far more interesting. Dada knows the correct measure that should be given to art: with subtle, perfidious methods, Dada introduces it into daily life. And vice versa.”—Tristan Tzara
46. DADA “ We spoke of Dada as of a crusade to win back the promised land of the Creative . . . the important thing about Dada is that we despised what is commonly regarded as art, but put the whole universe on the lofty throne of art. We declared that everything that comes into being or is made by man is art.”--Hans (Jean) Arp
48. DADA Marcel Duchamp “ Non-retinal art”: Art directed at the mind, not the eye. Even the revolutionary modern movements had still been involved with producing “retinal” art— something directed primarily at the eye, at pure visual pleasure, and Duchamp believed that even the leading modernists were still “ retinals” at heart.
49. “ Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under a new title and point of view—he created a new thought for that object .”—Marcel Duchamp, arguing on behalf of the inclusion of the “Fountain” in 1917 group show Fountain by “R. Mutt” (Marcel Duchamp; 1917)
50. DADA Marcel Duchamp “ Readymades”: objects promoted to the status of art by the choice of the artist.
Editor's Notes
BUT LE BRUN, HE IS THE KEY GUY IN LATER HALF OF CENT, AND INVOLVED IN TWO THINGS VERY CHARACTERISTICALLY FRENCH AND TIED TO FRENCH ARTISTIC OUTPUT, ONE IS ACAD, OTHER VERSAILLES
David on the other hand, did get it, he got poussin, and not only did he get it, he would push beyond where poussin left off
David on the other hand, did get it, he got poussin, and not only did he get it, he would push beyond where poussin left off
Leader of revo—marat assassinated, and this a kind of pieta for the revo—turns a guignolesque scene into something somber, pious
Becomes a real propagandist for the revo cause
Becomes a real propagandist for the revo cause
not completed for a telling reason—so many people in it had become suspect, and revo burned out into the reign of terror
hersilia, daughter of sabine king, married to romulus, roman leader—romans had taken the sabine women. sabines try to get them back, but they want to stay with their roman husbands and families, so the women throw themselves betw the combatants to try to enforce peace
nap comes to studio while working on it, david I salute you—david an admirer of him, in many ways embodied the best of the era, self made man, rose through merit—had already had him sit for him while only a general—he becomes first consul in 1799
nap comes to studio while working on it, david I salute you—david an admirer of him, in many ways embodied the best of the era, self made man, rose through merit—had already had him sit for him while only a general—he becomes first consul in 1799
important—recognition that acad and its formula may not be right—that alone leads to a downfaill, and also idea of letting the public decide, if these painters want to complain, show the works, let the public decide who is right.
whistler ruskin
RUSKIN GOES COMPLETELY INSANE, DOESN’T EVEN APPEAR IN COURT, MENTALLY INCAPACITATED
RUSKIN GOES COMPLETELY INSANE, DOESN’T EVEN APPEAR IN COURT, MENTALLY INCAPACITATED
RUSKIN GOES COMPLETELY INSANE, DOESN’T EVEN APPEAR IN COURT, MENTALLY INCAPACITATED
whistler goes on to write scathing and to this day very insightful attack on art critics and criticism, among other points asking how someone who is not a practicing artist is in fact qualified to pass a critique on contemporary art.
not an art about content—which is why it is not compelling or for me to be taken as seriously as expressionism, of great decorative power, but it is not thought provoking
the practical jokes, etc.—paris—Charlie Chaplin, gide, boxer
limits the number of readymades, never sold, only to be given away