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More Great Information on Realism Impressionist:
can anyone tell me the difference between these eras of european painting?
how would you identify each one? renaissance, baroque, rococo, realism, impressionist, and modern
Here you go, a brief summing up of each genre.
A revival or rebirth of cultural awareness and learning that took place during the fourteenth and fifteenth centuries, particularly in Italy, but also in Germany and other European countries. The period was characterized by a renewed interest in ancient Greek and Roman art and design and included an emphasis on human beings, their environment, science, and philosophy.
Examples of Renaissance works of art are listed on two pages:
Examples of earlier Renaissance works of art -- by artists born before 1475, including the works of
Donatello (Italian, 1386-1466)
Fra Angelico (Guido di Pietro da Mugello) (Italian, 1387-1455)
Antonio Pisanello (Italian, before 1395-1455?)
Andrea Mantegna (Italian, c. 1429-1506)
Giovanni Bellini (Italian, 1430?-1516)
Sandro Botticelli (Italian, c. 1445-1510)
Domenico Ghirlandaio (Italian, 1449-1494)
Sebastiano Mainardi (Italian, 1450-1513)
Leonardo da Vinci (Italian, 1452-1519)
Tilmann Riemenschneider (German, c. 1460-1531)
Examples of later Renaissance works of art by artists born after 1470, including
Albrecht Dürer (German, 1471-1528)
Michelangelo Buonarroti (Italian, 1475-1564)
Raphael (Raffaello Sanzio) (Italian, 1483-1520)
Titian (Tiziano Vecellio) (Italian [Venetian], c. 1485/90-1576)
Rosso Fiorentino (Giovanni Battista di Jacopo di Guasparre) (Italy, Florence, 1494-1540)
Tintoretto (Jacopo Robusti) (Italian [Venetian], 1518-1594)
Giambologna (Giovanni da Bologna) (Italian, 1529-1608)
Baroque - The art style or art movement of the Counter-Reformation in the seventeenth century. Although some features appear in Dutch art, the Baroque style was limited mainly to Catholic countries. It is a style in which painters, sculptors, and architects sought emotion, movement, and variety in their works. (pr. broke)
Rococo - An eighteenth century art style which placed emphasis on portraying the carefree life of the aristocracy rather than on grand heroes or pious martyrs. Love and romance were considered to be better subjects for art than historical or religious subjects. The style was characterized by a free, graceful movement; a playful use of line; and delicate colors.
Jean-Antoine Watteau (French, 1684-1721) is often referred to as the greatest of the Rococo painters, and his picture of the Embarkation for Cythera demonstrates the elegance of this style.
The Rococo is sometimes considered a final phase of the Baroque period.
Examples of works of this period are:
Jean Thierry (French, 1669-1739), Leda and the Swan, 1717, marble, height 0.81 m, Louvre.
Guillaume Coustou I (French, 1677-1746), Rearing Horse Restrained by a Groom, known as the "Horse of Marly", Paris, 1739-1745, marble, 130 x 112 x 45 1/5 inches (355 x 284 x 115 cm), commissioned by Louis XV for the horse-pond at Marly, Louvre. See equine statue.
Jean-Antoine Watteau (French, 1684-1721), Savoyard with a Marmot, 1716, oil on canvas, 16 x 13 inches (40.5 x 32.5 cm), Hermitage Museum, St. Petersburg, Russia.
Antoine Watteau, Six studies of the head of a young woman and two of a young boy, about 1716-1719, trois crayons: red, black, and white chalk with red chalk of several tones, traces of red chalk wash and white gouache on cream paper, 0.225 x 0.348 m, Louvre.
Jean-Antoine Watteau, Two Studies of a Flutist and a Study of the Head of a Boy, about 1716-1719, red, black, and white chalk on buff-colored paper, 8 7/16 x 13 3/16 inches (21.4 x 33.6 cm), J. Paul Getty Museum, Malibu, CA. See trois crayons.
Jean-Antoine Watteau, Mezzetin, probably 1718-20, oil on canvas, 21 3/4 x 17 inches (55.2 x 43.2 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Jean-Antoine Watteau, The Pilgrimage to Cythera, 1717, oil on canvas, 1.29 x 1.94 m, Louvre.
Jean-Antoine Watteau, Pierrot also known as Gilles, c. 1718-1719, oil on canvas, 1.84 x 1.49 m, Louvre.
Charles Cressent (French, 1685-1768), Wall-Clock: Love Conquering Time, Paris, around 1740, gilt bronze, brass and tortoiseshell marquetry, 1.40 x 0.50 m, Louvre. See horology.
Giovanni Battista Tiepolo (Italian, Venetian, 1696-1770), Maecenas Presenting the Liberal Arts to Emperor Augustus, c. 1745, oil on canvas, 27 x 35 inches (69.5 x 89 cm), Hermitage Museum, St. Petersburg, Russia.
Giovanni Battista Tiepolo, The Chariot of Aurora, oil on canvas, 35 1/2 x 28 5/8 inches (90.2 x 72.7 cm), Metropolitan Museum of Art, NY. This is a sketch made as a proposal for a painting on a ceiling in the Royal Palace in Madrid. The ceiling was eventually painted, but by a rival.
Giovanni Battista Tiepolo, Allegory of the Planets and Continents, sketch, 1752, oil on canvas, 73 x 54 7/8 inches (185.4 x 139.4 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Canaletto (Giovanni Antonio Canal) (Italian, 1697-1768).
Vincennes, Royal Porcelain Factory, 1756, Naiad, soft-paste porcelain, gilt bronze, height 0.26 m, Louvre.
Jean-Baptiste Siméon Chardin (French, 1699-1779), Basket of Peaches , 1771, oil on canvas, 32 x 39 cm, Louvre. See still life.
Realism or the Realist school and realism - The realistic and natural representation of people, places, and/or things in a work of art. The opposite of idealization. One of the common themes of postmodernism is that this popular notion of an unmediated presentation is not possible. This sense of realism is sometimes considered synonymous with naturalism.
And Realism (with an upper case "R"), also known as the Realist school, denotes a mid-nineteenth century art movement and style in which artists discarded the formulas of Neoclassicism and the theatrical drama of Romanticism to paint familiar scenes and events as they actually looked. Typically it involved some sort of sociopolitical or moral message, in the depiction of ugly or commonplace subjects.
Examples of Realism:
Honoré-Victorin Daumier (French, 1808-1879), A Criminal Case, about 1860, watercolor and bodycolor, with pen and brown ink and black chalk, 15 1/8 x 12 13/16 inches (38.5 x 32.8 cm), J. Paul Getty Museum, Malibu, CA.
Honoré-Victorin Daumier, The Fugitives, about 1868-1870, oil on canvas, 15 1/4 x 27 inches, Minneapolis Institute of Arts.
Jean-François Millet (French, 1814-1875), The Angelus, 1854-1859, oil on canvas, 55.5 x 66.0 cm, Louvre, Paris. Perhaps the world's most widely recognized French painting. Millet is most associated with the Barbizon school of painters, though he is an important precursor to Realism.
Jean-François Millet, Spring, 1868-1873, oil on canvas, 33 3/4 x 43 3/4 inches (86 x 111 cm), Musée d'Orsay, Paris.
Jean-Désiré-Gustave Courbet (French, 1819-1877), Portrait of Juliette Courbet as a Sleeping Child, 1841, graphite on paper, Musée d'Orsay.
Jean-Désiré-Gustave Courbet, The Wounded Man , 1844-1854, Musée d'Orsay.
Jean-Désiré-Gustave Courbet, A Burial at Ornans, 1849-1850, oil on canvas, 10 feet 3 1/2 inches x 21 feet 9 inches (314 x 663 cm), Musée d'Orsay, Paris.
Jean-Désiré-Gustave Courbet, The Painter's Studio, A Real Allegory, 1855, oil on canvas, 11 feet 10 1/4 inches x 19 feet 7 1/2 inches (361 x 598 cm), Musée d'Orsay, Paris.
Jean-Désiré-Gustave Courbet, Woman with a Parrot, 1866, oil on canvas, 51 x 77 inches (129.5 x 195.6 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Jean-Désiré-Gustave Courbet, The Stormy Sea (or The Wave), 1869, oil on canvas, 3 feet 10 inches x 5 feet 3 1/2 inches (117 x 160.5 cm), Musée d'Orsay, Paris.
Rosa Bonheur (French, 1822-1899), The Horse Fair, 1853-55, oil on canvas, 96 1/4 x 199 1/2 inches (244.5 x 506.7 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.) See feminism and feminist art.
EImpressionism - An art movement and style of painting that started in France during the 1860s. Impressionist artists tried to paint candid glimpses of their subjects showing the effects of sunlight on things at different times of day. The leaders of this movement were: Camille Pissarro (French, 1830-1903), Edgar Degas (French, 1834-1917), Claude Monet (French, 1840-1926), and Pierre Renoir (French, 1841-1919). Some of the early work of Paul Cézanne (French, 1839-1906) fits into this style, though his later work so transcends it that it belongs to another movement known as Post-Impressionism.
Examples of Impressionist artworks are displayed on four pages:
Camille Pissarro (French, 1830-1903), Edouard Manet (French, 1832-1883), Edgar Degas (French, 1834-1917), Paul Cézanne (French, 1839-1906), and Alfred Sisley (French, 1839-1899)
Claude Monet (French, 1840-1926)
Berthe Morisot (French, 1841-1895), Frédéric Bazille (French, 1841-1870), and Pierre Auguste Renoir (French, 1841-1919), Gustave Caillebotte (French, 1848-1894)
The American Impressionists: Mary Cassatt (American, 1845-1926), Julian Alden Weir (American, 1852-1919), John Henry Twachtman (American, 1853-1902), Childe Hassam (American, 1859-1935), Frederick Carl Frieseke (American, 1874-1939), and others
Modernism or modernism - An art movement characterized by the deliberate departure from tradition and the use of innovative forms of expression that distinguish many styles in the arts and literature of the late nineteenth and early twentieth centuries. Modernism refers to this period's interest in:
new types of paints and other materials
expressing feelings, ideas, fantasies, and dreams instead of the visual world we otherwise see
creating abstractions, rather than representing what is real
a rejection of naturalistic color
a use of choppy, clearly visible brushstrokes
the acceptance of line, form, color, and process as valid subject matter by themselves
a requirement that the audience take a more active role as interpreter. Each viewer must observe carefully, and get information about the artist's intentions and environment, before forming judgments about the work.
Paul Cézanne (French, 1839-1906) is often called the "Father of Modernism."
The modern period is generally thought to have been followed by the one we are in now — most often called postmodern. Although some prefer to call it "late modern."
Quote:
"I have lived enough among painters and around studios to have had all the theories — and how contradictory they are — rammed down my throat. A man has to have a gizzard like an ostrich to digest all the brass-tacks and wire nails of modern art theories."
D.H. Lawrence (1885-1930), British writer. Assorted Articles.
"The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public."
Henry Geldzahler (1935-1994), Belgian-born U.S. curator, art critic. reprinted In The New Art: A Critical Anthology, edited by Gregory Battcock (1966, revised 1973). See art critic, art history, and audience.
"Trying to understand modern art is like trying to follow the plot in a bowl of alphabet soup."
Anonymous
Examples:
Paolo Veronese (Caliari) (Italian, c. 1528-1588)
Sofonisba Anguissola (or Anguisciola) (Italian, 1535/40-1625). See feminist art.
Paul Bril (Flemish, 1554-1626)
Annibale Carracci (Italian, 1560-1609), The Virgin Appearing to St. Luke and St. Catherine, 1592, oil on canvas, 4.01 x 2.26 m, Louvre.
Caravaggio (Michelangelo Merisi) (Italian, Lombard, 1571/73-1610), The Musicians, c. 1595, oil on canvas, 36 1/4 x 46 5/8 inches (92.1 x 118.4 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.) See Caravaggisti.
Caravaggio (Michelangelo Merisi), The Crucifixion of St. Andrew, 1607, oil on canvas, 202.5 x 152.7 cm, Cleveland Museum of Art.
Caravaggio, Medusa, oil on a circular convex leather shield, diameter 55.5 cm, Uffizi Gallery, Florence. See mythology and snake.
Guido Reni (Italian, Bologna, 1575-1642), Portrait of Cardinal Roberto Ubaldino (1581-1635), Papal Legate to Bologna, before 1625, oil on canvas, 77 1/2 x 58 3/4 inches (196.9 x 149.2 cm), Los Angeles County Museum of Art.
Peter Paul Rubens (Flemish, 1577-1640), The Alliance of Earth and Water (The River Scheldt and Antwerp), c. 1618, oil on canvas, 87 1/2 x 71 inches (222.5 x 180.5 cm), Hermitage Museum, St. Petersburg, Russia. Also see Rubénisme.
Peter Paul Rubens, Isabella Brant, c. 1620, oil on wood, Cleveland Museum of Art.
Peter Paul Rubens, Bacchus, 1638/40, oil on canvas (transferred from panel), 75 x 63 1/2 inches (191 x 161.3 cm), Hermitage Museum, St. Petersburg, Russia.
Frans Hals (Dutch, c. 1581-1666), Young Man and Woman in an Inn ("Yonker Ramp and His Sweetheart"), 1623, oil on canvas, 41 1/2 x 31 1/4 inches (105.4 x 79.4 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Bernardo Strozzi (Italian, 1581-1644)
Gerrit van Honthorst (Dutch, 1590-1656), The Denial of St. Peter, about 1620-1625, oil on canvas, 43 1/2 x 57 inches, Minneapolis Institute of Arts. Also see Caravaggisti and Dutch art.
Simon Vouet (French, 1590-1649)
José (Jusepe) de Ribera (Spanish, 1591-1652), The Club-Footed Boy, 1642, oil on canvas, 1.64 x 0.93 m, Louvre.
José (Jusepe) de Ribera, The Holy Family with Saints Anne and Catherine of Alexandria, 1648, oil on canvas, 82 1/2 x 60 3/4 inches (209.6 x 154.3 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Georges De La Tour (French, 1593-1652), Magdalen with the Smoking Flame, c. 1640, oil on canvas, 46 x 36 1/8 inches (116.8 x 91.8 cm), Los Angeles County Museum of Art.
Artemisia Gentileschi (Italian, 1593-1652/53) See feminist art.
Jacob Jordaens (Flemish, 1593-1678), The Bean King, c. 1638, oil on canvas (transferred from old canvas), 62 x 83 inches (160 x 213 cm), Hermitage Museum, St. Petersburg, Russia.
Louis Le Nain (French, c. 1593-1648), The Dairymaid's Family, 1640s, oil on canvas, 20 x 2e3 inches (51 x 59 cm), Hermitage Museum, St. Petersburg, Russia.
Nicolas Poussin (French, 1593/94-1665), Parnassus, oil on canvas, 145 x 197 cm, Prado Museum, Madrid. Also see Neoclassicism and Poussinisme.
Nicolas Poussin, The Death of Germanicus, 1627, oil on canvas, 58 x 77 3/8 inches, Minneapolis Institute of Arts. See history painting.
Nicolas Poussin, The Abduction of the Sabine Women, probably 1633-34, oil on canvas, 60 7/8 x 82 5/8 inches (154.6 x 209.9 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.)
Nicolas Poussin, Landscape with Polyphemus, oil on canvas, 149 x 197.5 cm, Hermitage Museum, St. Petersburg, Russia.
Copy after Nicolas Poussin, Adoration of the Golden Calf, 16th - 17th century, oil on canvas, 38 x 52 inches (96.5 x 132 cm), Legion of Honor, San Francisco.
Artemisia Gentileschi (Italian, 1593-1651/53), Judith Beheading Holofernes, 1620, oil on canvas, 78 3/8 x 64 inches (199 x 162.5 cm)
Uffizi, Florence. See Caravaggisti and feminism and feminist art.
Artemisia Gentileschi (Italian, 1593-1651/53), Judith and Her Maidservant with the Head of Holofernes, c. 1625, oil on canvas, 1.8 x 1.4 m (72 1/2 x 55 3/4 inches, Detroit Institute of Art, MI. See frame.
Georges de La Tour (French, 1593-1652), The Fortune Teller, probably 1630s, oil on canvas, 40 1/8 x 48 5/8 inches (101.9 x 123.5 cm), Metropolitan Museum of Art, NY. (On the Met's page, you can enlarge any detail.) See narrative art.
Pietro da Cortona (Italian, 1596-1669), Christ on the Cross with the Virgin Mary, Mary Magdalene, and Saint John, about 1661, pen and brown ink, with gray-brown wash, heightened with white body color over black chalk, 15 7/8 x 10 7/16 inches (40.3 x 26.5 cm), J. Paul Getty Museum, Malibu, CA.
Gianlorenzo Bernini (Italian, 1598-1680), Boy with a Dragon, Rome, 1614-1620, marble, 22 x 20 x 16 inches (55.7 x 52 x 41.5 cm), J. Paul Getty Museum, Malibu, CA.