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Art Movement That Originated in Europe at the End of the 14th and 17th Century

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History of European works of fine art

The fine art of Europe, or Western art, encompasses the history of visual art in Europe. European prehistoric art started as mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the menstruum betwixt the Paleolithic and the Iron Age.[i] Written histories of European art often begin with the art of Aboriginal Israel and the Ancient Aegean civilizations, dating from the 3rd millennium BC. Parallel with these significant cultures, art of one form or another existed all over Europe, wherever there were people, leaving signs such every bit carvings, decorated artifacts and huge standing stones. Nevertheless a consequent pattern of artistic development within Europe becomes clear only with the art of Ancient Greece, adopted and transformed past Rome and carried; with the Roman Empire, across much of Europe, Due north Africa and Western Asia.[2]

The influence of the art of the Classical catamenia waxed and waned throughout the side by side ii thousand years, seeming to slip into a distant retention in parts of the Medieval flow, to re-emerge in the Renaissance, suffer a period of what some early fine art historians viewed as "disuse" during the Baroque period,[three] to reappear in a refined class in Neo-Classicism[4] and to be reborn in Postal service-Modernism.[5]

Before the 1800s, the Christian church was a major influence upon European art, the commissions of the Church, architectural, painterly and sculptural, providing the major source of piece of work for artists. The history of the Church building was very much reflected in the history of art, during this menstruum. In the same period of time there was renewed involvement in heroes and heroines, tales of mythological gods and goddesses, neat wars, and bizarre creatures which were not connected to religion.[six] Near art of the last 200 years has been produced without reference to organized religion and often with no detail ideology at all, but fine art has often been influenced by political issues, whether reflecting the concerns of patrons or the artist.

European art is arranged into a number of stylistic periods, which, historically, overlap each other as different styles flourished in different areas. Broadly the periods are, Classical, Byzantine, Medieval, Gothic, Renaissance, Bizarre, Rococo, Neoclassical, Modern, Postmodern and New European Painting.[6]

Prehistoric art [edit]

European prehistoric fine art is an of import office of the European cultural heritage.[7] Prehistoric fine art history is usually divided into iv principal periods: Stone Historic period, Neolithic, Bronze Age, and Iron Historic period. Most of the remaining artifacts of this menstruation are small sculptures and cave paintings.

Much surviving prehistoric art is minor portable sculptures, with a small grouping of female Venus figurines such as the Venus of Willendorf (24,000–22,000 BC) constitute across central Europe;[eight] the thirty cm tall Löwenmensch figurine of about 30,000 BCE has inappreciably any pieces that tin can be related to it. The Swimming Reindeer of about 11,000 BCE is ane of the finest of a number of Magdalenian carvings in bone or antler of animals in the fine art of the Upper Paleolithic, though they are outnumbered by engraved pieces, which are sometimes classified as sculpture.[ix] With the first of the Mesolithic in Europe figurative sculpture greatly reduced,[10] and remained a less common element in art than relief decoration of practical objects until the Roman period, despite some works such as the Gundestrup cauldron from the European Iron Age and the Bronze Age Trundholm sun chariot.[eleven]

The oldest European cave art dates dorsum forty,800, and tin can be constitute in the El Castillo Cave in Kingdom of spain.[12] Other cavern painting sites include Lascaux, Cave of Altamira, Grotte de Cussac, Pech Merle, Cave of Niaux, Chauvet Cave, Font-de-Gaume, Creswell Crags, Nottinghamshire, England, (Cave etchings and bas-reliefs discovered in 2003), Coliboaia cave from Romania (considered the oldest cave painting in cardinal Europe)[13] and Magura,[one] Belogradchik, Bulgaria.[14] Stone painting was also performed on cliff faces, but fewer of those have survived considering of erosion. One well-known instance is the rock paintings of Astuvansalmi in the Saimaa area of Finland. When Marcelino Sanz de Sautuola first encountered the Magdalenian paintings of the Altamira cave, Cantabria, Kingdom of spain in 1879, the academics of the time considered them hoaxes. Contempo reappraisals and numerous additional discoveries have since demonstrated their authenticity, while at the same time stimulating involvement in the artistry of Upper Palaeolithic peoples. Cave paintings, undertaken with simply the most rudimentary tools, can also furnish valuable insight into the culture and beliefs of that era.

The Stone art of the Iberian Mediterranean Basin represents a very unlike style, with the homo figure the main focus, often seen in large groups, with battles, dancing and hunting all represented, as well equally other activities and details such as article of clothing. The figures are generally rather sketchily depicted in sparse pigment, with the relationships between the groups of humans and animals more than carefully depicted than individual figures. Other less numerous groups of rock fine art, many engraved rather than painted, prove like characteristics. The Iberian examples are believed to date from a long period maybe covering the Upper Paleolithic, Mesolithic and early on Neolithic.

Prehistoric Celtic art comes from much of Fe Historic period Europe and survives mainly in the form of high-status metalwork skillfully decorated with complex, elegant and by and large abstract designs, often using curving and spiral forms. There are man heads and some fully represented animals, but full-length man figures at any size are and then rare that their absence may represent a religious taboo. Every bit the Romans conquered Celtic territories, it almost entirely vanishes, merely the style continued in limited use in the British Isles, and with the coming of Christianity revived there in the Insular style of the Early Middle Ages.

Ancient [edit]

Minoan [edit]

The Minoan civilization of Crete is regarded as the oldest civilization in Europe.[15] Minoan art is marked by imaginative images and exceptional workmanship. Sinclair Hood described an "essential quality of the finest Minoan art, the power to create an atmosphere of motion and life although post-obit a gear up of highly formal conventions".[16] It forms office of the wider grouping of Aegean art, and in later periods came for a time to have a dominant influence over Cycladic art. Wood and textiles have decomposed, so nigh surviving examples of Minoan fine art are pottery, intricately-carved Minoan seals, .palace frescos which include landscapes), small sculptures in diverse materials, jewellery, and metalwork.

The human relationship of Minoan art to that of other gimmicky cultures and afterwards Ancient Greek fine art has been much discussed. It clearly dominated Mycenaean fine art and Cycladic fine art of the aforementioned periods,[17] even subsequently Crete was occupied past the Mycenaeans, merely just some aspects of the tradition survived the Greek Night Ages after the collapse of Mycenaean Greece.[xviii]

Minoan art has a variety of subject-matter, much of information technology actualization across unlike media, although only some styles of pottery include figurative scenes. Bull-leaping appears in painting and several types of sculpture, and is thought to have had a religious significance; balderdash'due south heads are also a popular subject in terracotta and other sculptural materials. At that place are no figures that appear to be portraits of individuals, or are clearly regal, and the identities of religious figures is often tentative,[19] with scholars uncertain whether they are deities, clergy or devotees.[20] Equally, whether painted rooms were "shrines" or secular is far from clear; 1 room in Akrotiri has been argued to be a chamber, with remains of a bed, or a shrine.[21]

Animals, including an unusual variety of marine fauna, are often depicted; the "Marine Style" is a type of painted palace pottery from MM III and LM IA that paints sea creatures including octopus spreading all over the vessel, and probably originated from similar frescoed scenes;[22] sometimes these announced in other media. Scenes of hunting and warfare, and horses and riders, are mostly found in afterwards periods, in works peradventure made by Cretans for a Mycenaean market, or Mycenaean overlords of Crete.

While Minoan figures, whether human or brute, have a peachy sense of life and motility, they are ofttimes not very accurate, and the species is sometimes impossible to place; by comparing with Aboriginal Egyptian fine art they are often more vivid, but less naturalistic.[23] In comparison with the art of other ancient cultures there is a high proportion of female person figures, though the thought that Minoans had but goddesses and no gods is now discounted. About human being figures are in profile or in a version of the Egyptian convention with the head and legs in profile, and the trunk seen frontally; but the Minoan figures exaggerate features such as slim male person waists and big female breasts.[24]

  • The Malia Pendant; 1800-1700 BC; aureate; height: 4.six cm, width: four.9 cm; Heraklion Archaeological Museum

  • The fresco named the Bull-Leaping Fresco; 1675-1460 BC; lime plaster; height: 0.eight m, width: 1 m; from the palace at Knossos (Crete); Heraklion Archaeological Museum

  • "Ophidian Goddess" figurine; 1460-1410 BC (from the Minoan Neo-palatial Catamenia); faience; height: 29.5 cm; from the Temple Repository at Knossos; Heraklion Archaeological Museum

Classical Greek and Hellenistic [edit]

Ancient Greece had great painters, bully sculptors, and great architects. The Parthenon is an example of their architecture that has lasted to mod days. Greek marble sculpture is ofttimes described as the highest form of Classical fine art. Painting on the pottery of Aboriginal Greece and ceramics gives a especially informative glimpse into the way society in Ancient Greece functioned. Black-figure vase painting and Scarlet-effigy vase painting gives many surviving examples of what Greek painting was. Some famous Greek painters on wooden panels who are mentioned in texts are Apelles, Zeuxis and Parrhasius, however no examples of Ancient Greek panel painting survive, only written descriptions by their contemporaries or by later Romans. Zeuxis lived in 5–6 BC and was said to be the first to use sfumato. According to Pliny the Elder, the realism of his paintings was such that birds tried to eat the painted grapes. Apelles is described as the greatest painter of Antiquity for perfect technique in drawing, brilliant color and modeling.

  • The Parthenon on the Athenian Acropolis, the near iconic Doric Greek temple built of marble and limestone between circa 460-406 BC, defended to the goddess Athena[25]

  • Mirror with a back up in the class of a draped woman; mid-5th century BC; bronze; height: twoscore.41 cm; Metropolitan Museum of Art

  • Calyx-krater; 400-375 BC; ceramic; height: 27.nine cm, diameter: 28.6 cm; from Thebes (Hellenic republic); Louvre

  • Statuette of a draped woman; 2nd century BC; terracotta; tiptop: 29.ii cm; Metropolitan Museum of Art

  • Venus de Milo; 130–100 BC; marble; top: 203 cm (eighty in); Louvre

  • Illustrations of examples of ancient Greek ornaments and patterns, fatigued in 1874

Roman [edit]

Roman fine art was influenced past Greece and tin in part be taken as a descendant of aboriginal Greek painting and sculpture, but was also strongly influenced by the more than local Etruscan art of Italia. Roman sculpture, is primarily portraiture derived from the upper classes of lodge also as depictions of the gods. Still, Roman painting does have important unique characteristics. Amid surviving Roman paintings are wall paintings, many from villas in Campania, in Southern Italia, especially at Pompeii and Herculaneum. Such painting can be grouped into four main "styles" or periods[26] and may contain the first examples of trompe-50'œil, pseudo-perspective, and pure mural.[27]

Almost all of the surviving painted portraits from the Ancient earth are a large number of coffin-portraits of bosom grade found in the Late Antique cemetery of Al-Fayum. They give an idea of the quality that the finest ancient piece of work must have had. A very pocket-size number of miniatures from Tardily Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval period. Early Christian art grew out of Roman popular, and afterwards Imperial, art and adapted its iconography from these sources.

  • Bronze statuette of a philosopher on a lamp stand up; tardily 1st century BC; bronze; overall: 27.3 cm; weight: ii.9 kg; Metropolitan Museum of Art (New York City)

  • Restoration of a fresco from an Aboriginal villa bedroom; 50-40 BC; dimensions of the room: 265.4 x 334 x 583.nine cm; Metropolitan Museum of Fine art (New York Urban center)

  • Altar with festoons; circa fifty Advert; marble; top: 99.5 cm, width: 61.5 cm, depth: 47 cm; Louvre

  • Calyx-krater with reliefs of maidens and dancing maenads; 1st century AD; Pentelic marble; height: 80.vii cm; Metropolitan Museum of Art

  • Panoramic view of the Pantheon (Rome), built between 113 and 125

  • Caput of a goddess wearing a diadem; 1st–second century; marble; height: 23 cm; Metropolitan Museum of Art

  • Couch and footstool; 1st–2nd century Ad; woods, bone and drinking glass; couch: 105.iv × 76.2 × 214.half dozen cm; Metropolitan Museum of Art

  • Sarcophagus with festoons; 200–225; marble; 134.6 x 223.5 cm; Metropolitan Museum of Art

Medieval [edit]

Well-nigh surviving art from the Medieval menses was religious in focus, often funded by the Church, powerful ecclesiastical individuals such as bishops, communal groups such as abbeys, or wealthy secular patrons. Many had specific liturgical functions—processional crosses and altarpieces, for example.

One of the central questions well-nigh Medieval fine art concerns its lack of realism. A swell deal of knowledge of perspective in fine art and understanding of the human figure was lost with the autumn of Rome. Only realism was not the primary concern of Medieval artists. They were merely trying to ship a religious message, a task which demands clear iconic images instead of precisely rendered ones.

Fourth dimension Period: 6th century to 15th century

Early Medieval fine art [edit]

Migration period art is a general term for the art of the "barbarian" peoples who moved into formerly Roman territories. Celtic art in the 7th and eighth centuries saw a fusion with Germanic traditions through contact with the Anglo-Saxons creating what is chosen the Hiberno-Saxon style or Insular art, which was to be highly influential on the rest of the Middle Ages. Merovingian art describes the art of the Franks before about 800, when Carolingian art combined insular influences with a self-conscious classical revival, developing into Ottonian art. Anglo-Saxon art is the fine art of England after the Insular flow. Illuminated manuscripts contain nearly all the surviving painting of the menstruum, but compages, metalwork and pocket-sized carved work in woods or ivory were too important media.

  • Shoulder-clasps from Sutton Hoo; early on 7th century; gold, glass & garnet; length: 12.7 cm; British Museum

Byzantine [edit]

Byzantine art overlaps with or merges with what we call Early Christian art until the iconoclasm period of 730-843 when the vast majority of artwork with figures was destroyed; so piddling remains that today whatever discovery sheds new agreement. After 843 until 1453 in that location is a articulate Byzantine art tradition. It is frequently the finest art of the Middle Ages in terms of quality of material and workmanship, with production centered on Constantinople. Byzantine art'southward crowning accomplishment were the monumental frescos and mosaics inside domed churches, well-nigh of which take not survived due to natural disasters and the appropriation of churches to mosques.

  • Gospel lectionary; circa 1100; tempera, gold, and ink on parchment, and leather binding; overall: 36.8 ten 29.6 x 12.four cm, folio: 35 10 26.2 cm; Metropolitan Museum of Art (New York Metropolis)

Romanesque [edit]

Romanesque art refers to the catamenia from about chiliad to the ascension of Gothic art in the 12th century. This was a period of increasing prosperity, and the first to see a coherent style used across Europe, from Scandinavia to Sicily. Romanesque fine art is vigorous and straight, was originally brightly coloured, and is often very sophisticated. Stained glass and enamel on metalwork became important media, and larger sculptures in the round developed, although high relief was the master technique. Its architecture is dominated past thick walls, and round-headed windows and arches, with much carved decoration.

Gothic [edit]

Gothic art is a variable term depending on the craft, place and time. The term originated with Gothic architecture in 1140, but Gothic painting did not appear until around 1200 (this date has many qualifications), when it diverged from Romanesque fashion. Gothic sculpture was built-in in France in 1144 with the renovation of the Abbey Church of S. Denis and spread throughout Europe, past the 13th century it had get the international manner, replacing Romanesque. International Gothic describes Gothic art from about 1360 to 1430, after which Gothic art merges into Renaissance art at different times in different places. During this period forms such as painting, in fresco and on panel, become newly important, and the stop of the menstruum includes new media such as prints.

  • North transept windows; circa 1230–1235; stained glass; diameter (rose window): 10.ii m; Chartres Cathedral

  • Scenes from the Legend of Saint Vincent of Saragossa; 1245–1247; pot-metallic glass, vitreous paint, and lead; overall: 373.4 10 110.5 cm; Metropolitan Museum of Art (New York City)

  • French diptych with the coronation of the Virgin and the Terminal Judgment; 1260–1270; elephant ivory with metal mounts; overall: 12.7 x thirteen x 1.ix cm; Metropolitan Museum of Art

  • Enthroned Virgin and child; 1260–1280; elephant ivory with traces of paint and gilding; overall: eighteen.4 x seven.6 ten 7.iii cm; Metropolitan Museum of Fine art

  • Bifolium with the decretals of gratian; circa 1290; tempera and gilt on parchment, brown ink, and modern leather bounden; overall: 48.iii x 29.two x 1.3 cm, opened: 47.ii cm; Metropolitan Museum of Art

  • German diptych with religious scenes; 1300–1325; silverish gilded with translucent and opaque enamels; overall (opened): half dozen.one x 8.6 x 0.8 cm; Metropolitan Museum of Art

  • Austrian statue of Enthroned Virgin; 1490–1500; limestone with gesso, painted and gilt; 80.3 x 59.1 x 23.v cm; Metropolitan Museum of Fine art

Renaissance [edit]

The Renaissance is characterized by a focus on the arts of Aboriginal Greece and Rome, which led to many changes in both the technical aspects of painting and sculpture, besides as to their subject matter. Information technology began in Italia, a country rich in Roman heritage too as material prosperity to fund artists. During the Renaissance, painters began to enhance the realism of their work by using new techniques in perspective, thus representing 3 dimensions more authentically. Artists too began to use new techniques in the manipulation of light and darkness, such as the tone contrast axiomatic in many of Titian'south portraits and the evolution of sfumato and chiaroscuro by Leonardo da Vinci. Sculptors, likewise, began to rediscover many ancient techniques such as contrapposto. Following with the humanist spirit of the age, art became more secular in subject field matter, depicting ancient mythology in addition to Christian themes. This genre of art is often referred to as Renaissance Classicism. In the North, the most important Renaissance innovation was the widespread use of oil paints, which allowed for greater colour and intensity.

From Gothic to the Renaissance [edit]

During the belatedly 13th century and early 14th century, much of the painting in Italy was Byzantine in character, notably that of Duccio of Siena and Cimabue of Florence, while Pietro Cavallini in Rome was more than Gothic in style. During the 13th century, Italian sculptors began to draw inspiration not only from medieval prototypes, but also from ancient works.[30]

In 1290, Giotto began painting in a manner that was less traditional and more based upon observation of nature. His famous cycle at the Scrovegni Chapel, Padua, is seen as the beginnings of a Renaissance way.

Other painters of the 14th century were carried the Gothic style to slap-up elaboration and detail. Notable among these painters are Simone Martini and Gentile da Fabriano.

In the Netherlands, the technique of painting in oils rather than tempera, led itself to a form of elaboration that was not dependent upon the application of gilded foliage and embossing, merely upon the minute depiction of the natural globe. The art of painting textures with great realism evolved at this time. Dutch painters such as Jan van Eyck and Hugo van der Goes were to accept great influence on Late Gothic and Early Renaissance painting.

Early on Renaissance [edit]

The ideas of the Renaissance offset emerged in the city-state of Florence, Italy. The sculptor Donatello returned to classical techniques such as contrapposto and classical subjects like the unsupported nude—his 2d sculpture of David was the first free-standing statuary nude created in Europe since the Roman Empire. The sculptor and architect Brunelleschi studied the architectural ideas of aboriginal Roman buildings for inspiration. Masaccio perfected elements similar composition, individual expression, and human form to paint frescoes, especially those in the Brancacci Chapel, of surprising elegance, drama, and emotion.

A remarkable number of these major artists worked on different portions of the Florence Cathedral. Brunelleschi'southward dome for the cathedral was one of the first truly revolutionary architectural innovations since the Gothic flying buttress. Donatello created many of its sculptures. Giotto and Lorenzo Ghiberti also contributed to the cathedral.

High Renaissance [edit]

High Renaissance artists include such figures as Leonardo da Vinci, Michelangelo Buonarroti, and Raffaello Sanzio.

The 15th-century creative developments in Italy (for example, the interest in perspectival systems, in depicting anatomy, and in classical cultures) matured during the 16th century, accounting for the designations "Early on Renaissance" for the 15th century and "Loftier Renaissance" for the 16th century. Although no singular style characterizes the High Renaissance, the art of those most closely associated with this menstruum—Leonardo da Vinci, Raphael, Michelangelo, and Titian—exhibits an astounding mastery, both technical and artful. High Renaissance artists created works of such dominance that generations of afterwards artists relied on these artworks for education. These exemplary artistic creations further elevated the prestige of artists. Artists could claim divine inspiration, thereby raising visual art to a condition formerly given only to poetry. Thus, painters, sculptors, and architects came into their own, successfully claiming for their work a high position among the fine arts. In a sense, 16th- century masters created a new profession with its own rights of expression and its ain venerable character.

Northern fine art up to the Renaissance [edit]

Early Netherlandish painting developed (just did not strictly invent) the technique of oil painting to permit greater control in painting infinitesimal particular with realism—Jan van Eyck (1366–1441) was a figure in the movement from illuminated manuscripts to panel paintings.

Hieronymus Bosch (1450?–1516), a Dutch painter, is some other important figure in the Northern Renaissance. In his paintings, he used religious themes, only combined them with grotesque fantasies, colorful imagery, and peasant folk legends. His paintings often reflect the confusion and anguish associated with the end of the Middle Ages.

Albrecht Dürer introduced Italian Renaissance style to Deutschland at the end of the 15th century, and dominated German Renaissance art.

Time Menses:

  • Italian Renaissance: Late 14th century to Early 16th century
  • Northern Renaissance: 16th century

Mannerism, Bizarre, and Rococo [edit]

Baroque fine art was characterised by strongly religious and political themes; common characteristics included rich colours with a strong calorie-free and night contrast. Paintings were elaborate, emotional and dramatic in nature. In the epitome Caravaggio'southward Christ at the Column (Cristo alla colonna)

Rococo art was characterised by lighter, often jocular themes; common characteristics included pale, flossy colours, florid decorations and a penchant for bucolic landscapes. Paintings were more ornate than their Baroque counterpart, and usually graceful, playful and light-hearted in nature.

In European fine art, Renaissance Classicism spawned 2 dissimilar movements—Mannerism and the Baroque. Mannerism, a reaction against the idealist perfection of Classicism, employed distortion of light and spatial frameworks in order to emphasize the emotional content of a painting and the emotions of the painter. The work of El Greco is a particularly clear example of Mannerism in painting during the belatedly 16th, early 17th centuries. Northern Mannerism took longer to develop, and was largely a movement of the last half of the 16th century. Baroque art took the representationalism of the Renaissance to new heights, emphasizing detail, motility, lighting, and drama in their search for beauty. Possibly the best known Baroque painters are Caravaggio, Rembrandt, Peter Paul Rubens, and Diego Velázquez.

A rather different art adult out of northern realist traditions in 17th-century Dutch Golden Age painting, which had very little religious art, and piffling history painting, instead playing a crucial part in developing secular genres such every bit still life, genre paintings of everyday scenes, and mural painting. While the Baroque nature of Rembrandt'due south fine art is clear, the label is less use for Vermeer and many other Dutch artists. Flemish Bizarre painting shared a function in this trend, while also continuing to produce the traditional categories.

Baroque art is often seen as role of the Counter-Reformation—the creative element of the revival of spiritual life in the Roman Catholic Church. Additionally, the emphasis that Baroque art placed on grandeur is seen as Absolutist in nature. Religious and political themes were widely explored inside the Baroque creative context, and both paintings and sculptures were characterised by a stiff element of drama, emotion and theatricality. Famous Baroque artists include Caravaggio or Rubens.[34] Artemisia Gentileschi was another noteworthy artist, who was inspired by Caravaggio's manner. Baroque fine art was particularly ornate and elaborate in nature, often using rich, warm colours with dark undertones. Pomp and grandeur were important elements of the Bizarre artistic move in general, as tin can be seen when Louis Xiv said, "I am grandeur incarnate"; many Baroque artists served kings who tried to realize this goal. Baroque art in many means was similar to Renaissance art; every bit a matter of fact, the term was initially used in a derogative manner to draw mail service-Renaissance art and architecture which was over-elaborate.[34] Baroque art tin exist seen as a more elaborate and dramatic re-adaptation of late Renaissance art.

Past the 18th century, however, Bizarre art was falling out of manner every bit many deemed it likewise melodramatic and too gloomy, and it developed into the Rococo, which emerged in France. Rococo art was even more elaborate than the Baroque, just it was less serious and more playful.[35] Whilst the Baroque used rich, strong colours, Rococo used pale, creamier shades. The artistic movement no longer placed an accent on politics and organized religion, focusing instead on lighter themes such equally romance, commemoration, and appreciation of nature. Rococo art as well assorted the Baroque equally it often refused symmetry in favor of asymmetrical designs. Furthermore, it sought inspiration from the artistic forms and ornamentation of Far Eastern Asia, resulting in the rise in favour of porcelain figurines and chinoiserie in general.[36] The 18th-century mode flourished for a short while; nevertheless, the Rococo style soon fell out of favor, being seen past many as a gaudy and superficial motion emphasizing aesthetics over significant. Neoclassicism in many ways developed as a counter motility of the Rococo, the impetus being a sense of cloy directed towards the latter'southward florid qualities.

Mannerism (16th century) [edit]

Baroque (early 17th century to mid-early 18th century) [edit]

  • The Bust of Louis Xiv; by Gian Lorenzo Bernini; 1665; marble; 105 × 99 × 46 cm; Palace of Versailles

  • Carpet with fame and fortitude; 1668–1685; knotted and cutting wool pile, woven with nearly 90 knots per foursquare inch; 909.three x 459.7 cm; Metropolitan Museum of Fine art

Rococo (early to mid-18th century) [edit]

  • Boiserie from the Hôtel de Varengeville; circa 1736–1752; various materials, including carved, painted, and aureate oak; pinnacle: 5.58 thousand, width: seven.07 thousand, length: 12.36 thou; in the Metropolitan Museum of Art (New York City)

  • Title print; by Juste Meissonnier; 1738–1749; etching on paper; 51.6 ten 34.ix cm; Rijksmuseum

  • Pair of candelabrums; 18th century; soft-paste porcelain; heights (the left 1): 26.8 cm, (the right i): 26.4 cm; past the Chelsea porcelain factory; Metropolitan Museum of Art

Neoclassicism, Romanticism, Academism, and Realism [edit]

Throughout the 18th century, a counter movement opposing the Rococo sprang upwardly in different parts of Europe, commonly known as Neoclassicism. It despised the perceived superficiality and frivolity of Rococo fine art, and desired for a return to the simplicity, guild and 'purism' of classical artifact, especially ancient Greece and Rome. The motility was in part likewise influenced by the Renaissance, which itself was strongly influenced by classical fine art. Neoclassicism was the creative component of the intellectual motility known as the Enlightenment; the Enlightenment was idealistic, and put its emphasis on objectivity, reason and empirical truth. Neoclassicism had become widespread in Europe throughout the 18th century, especially in the United Kingdom, which saw swell works of Neoclassical compages spring up during this period; Neoclassicism's fascination with classical antiquity tin can be seen in the popularity of the Yard Bout during this decade, where wealthy aristocrats travelled to the ancient ruins of Italy and Greece. Nevertheless, a defining moment for Neoclassicism came during the French Revolution in the belatedly 18th century; in France, Rococo art was replaced with the preferred Neoclassical art, which was seen equally more than serious than the erstwhile move. In many ways, Neoclassicism tin be seen as a political movement besides as an creative and cultural one.[37] Neoclassical fine art places an emphasis on club, symmetry and classical simplicity; common themes in Neoclassical art include backbone and state of war, as were commonly explored in ancient Greek and Roman art. Ingres, Canova, and Jacques-Louis David are amongst the best-known neoclassicists.[38]

Just as Mannerism rejected Classicism, so did Romanticism reject the ideas of the Enlightenment and the aesthetic of the Neoclassicists. Romanticism rejected the highly objective and ordered nature of Neoclassicism, and opted for a more individual and emotional approach to the arts.[39] Romanticism placed an emphasis on nature, especially when aiming to portray the power and dazzler of the natural world, and emotions, and sought a highly personal approach to fine art. Romantic art was about individual feelings, not mutual themes, such as in Neoclassicism; in such a way, Romantic art often used colours in society to express feelings and emotion.[39] Similarly to Neoclassicism, Romantic art took much of its inspiration from aboriginal Greek and Roman art and mythology, nonetheless, unlike Neoclassical, this inspiration was primarily used as a way to create symbolism and imagery. Romantic art as well takes much of its aesthetic qualities from medievalism and Gothicism, likewise equally mythology and folklore. Among the greatest Romantic artists were Eugène Delacroix, Francisco Goya, J.M.W. Turner, John Constable, Caspar David Friedrich, Thomas Cole, and William Blake.[38]

Nigh artists attempted to take a centrist approach which adopted different features of Neoclassicist and Romanticist styles, in order to synthesize them. The different attempts took place within the French University, and collectively are called Bookish art. Adolphe William Bouguereau is considered a primary instance of this stream of art.

In the early on 19th century the face of Europe, however, became radically altered by industrialization. Poverty, squalor, and agony were to exist the fate of the new working class created past the "revolution". In response to these changes going on in society, the movement of Realism emerged. Realism sought to accurately portray the conditions and hardships of the poor in the hopes of changing order. In contrast with Romanticism, which was essentially optimistic well-nigh mankind, Realism offered a stark vision of poverty and despair. Similarly, while Romanticism glorified nature, Realism portrayed life in the depths of an urban wasteland. Like Romanticism, Realism was a literary as well every bit an creative movement. The smashing Realist painters include Jean-Baptiste-Siméon Chardin, Gustave Courbet, Jean-François Millet, Camille Corot, Honoré Daumier, Édouard Manet, Edgar Degas (both considered every bit Impressionists), and Thomas Eakins, amidst others.

The response of architecture to industrialisation, in stark contrast to the other arts, was to veer towards historicism. Although the railway stations built during this period are oft considered the truest reflections of its spirit – they are sometimes chosen "the cathedrals of the age" – the chief movements in architecture during the Industrial Age were revivals of styles from the distant past, such as the Gothic Revival. Related movements were the Pre-Raphaelite Brotherhood, who attempted to return art to its country of "purity" prior to Raphael, and the Arts and crafts Movement, which reacted against the impersonality of mass-produced goods and advocated a return to medieval adroitness.

Time Flow:

  • Neoclassicism: mid-early on 18th century to early 19th century
  • Romanticism: tardily 18th century to mid-19th century
  • Realism: 19th century

Modern art [edit]

Out of the naturalist ethic of Realism grew a major artistic movement, Impressionism. The Impressionists pioneered the use of light in painting as they attempted to capture light as seen from the homo eye. Edgar Degas, Édouard Manet, Claude Monet, Camille Pissarro, and Pierre-Auguste Renoir, were all involved in the Impressionist motion. As a straight outgrowth of Impressionism came the development of Mail service-Impressionism. Paul Cézanne, Vincent van Gogh, Paul Gauguin, Georges Seurat are the best known Postal service-Impressionists.

Following the Impressionists and the Post-Impressionists came Fauvism, often considered the first "modernistic" genre of art. Simply every bit the Impressionists revolutionized lite, so did the fauvists rethink color, painting their canvases in brilliant, wild hues. Later the Fauvists, modern art began to develop in all its forms, ranging from Expressionism, concerned with evoking emotion through objective works of fine art, to Cubism, the art of transposing a 4-dimensional reality onto a flat sail, to Abstruse art. These new art forms pushed the limits of traditional notions of "art" and corresponded to the like rapid changes that were taking place in human being guild, technology, and thought.

Surrealism is often classified as a course of Modern Fine art. Notwithstanding, the Surrealists themselves take objected to the study of surrealism as an era in art history, claiming that information technology oversimplifies the complexity of the movement (which they say is not an creative move), misrepresents the relationship of surrealism to aesthetics, and falsely characterizes ongoing surrealism equally a finished, historically encapsulated era. Other forms of Modernistic art (some of which edge on Contemporary art) include:

  • Abstract expressionism
  • Art Deco
  • Art Nouveau
  • Bauhaus
  • Color Field painting
  • Conceptual Art
  • Constructivism
  • Cubism
  • Dada
  • Der Blaue Reiter
  • De Stijl
  • Dice Brücke
  • Trunk Art
  • Expressionism
  • Fauvism
  • Fluxus
  • Futurism
  • Happening
  • Surrealism
  • Lettrisme
  • Lyrical Abstraction
  • Land Fine art
  • Minimalism
  • Naive art
  • Op fine art
  • Performance fine art
  • Photorealism
  • Popular fine art
  • Suprematism
  • Video art
  • Vorticism

Time Menstruum:

  • Impressionism: tardily 19th Century
  • Others: Start half of the 20th century

Contemporary art and Postmodern art [edit]

Modern art foreshadowed several characteristics of what would subsequently be defined equally postmodern art; as a thing of fact, several modern fine art movements can frequently be classified every bit both modern and postmodern, such as pop art. Postmodern fine art, for instance, places a strong emphasis on irony, parody and humor in general; modern art started to develop a more ironic approach to fine art which would afterwards advance in a postmodern context. Postmodern art sees the blurring between the loftier and fine arts with depression-end and commercial art; modernistic fine art started to experiment with this blurring.[39] Recent developments in art have been characterised by a significant expansion of what can at present deemed to be art, in terms of materials, media, activity and concept. Conceptual fine art in item has had a wide influence. This started literally every bit the replacement of concept for a made object, one of the intentions of which was to refute the commodification of art. However, it now unremarkably refers to an artwork where in that location is an object, but the principal claim for the work is made for the idea process that has informed it. The aspect of commercialism has returned to the work.

In that location has likewise been an increase in fine art referring to previous movements and artists, and gaining validity from that reference.

Postmodernism in art, which has grown since the 1960s, differs from Modernism in as much as Modern fine art movements were primarily focused on their own activities and values, while Postmodernism uses the whole range of previous movements every bit a reference indicate. This has by definition generated a relativistic outlook, accompanied by irony and a certain disbelief in values, as each can be seen to be replaced past another. Some other result of this has been the growth of commercialism and celebrity. Postmodern fine art has questioned common rules and guidelines of what is regarded as 'art', merging low art with the fine arts until none is fully distinguishable.[xl] [41] Before the advent of postmodernism, the fine arts were characterised by a grade of aesthetic quality, elegance, adroitness, finesse and intellectual stimulation which was intended to entreatment to the upper or educated classes; this distinguished high fine art from low art, which, in turn, was seen as tacky, kitsch, hands made and defective in much or any intellectual stimulation, art which was intended to appeal to the masses. Postmodern art blurred these distinctions, bringing a strong element of kitsch, capitalism and campness into gimmicky fine art;[39] what is present seen as fine art may accept been seen as depression art earlier postmodernism revolutionised the concept of what high or fine art truly is.[39] In addition, the postmodern nature of contemporary art leaves a lot of space for individualism within the art scene; for case, postmodern art often takes inspiration from by artistic movements, such as Gothic or Bizarre art, and both juxtaposes and recycles styles from these past periods in a dissimilar context.[39]

Some surrealists in particular Joan Miró, who called for the "murder of painting" (In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods and his desire to "kill", "murder", or "rape" them in favor of more contemporary ways of expression).[42] have denounced or attempted to "supplant" painting, and there have also been other anti-painting trends amongst creative movements, such as that of Dada and conceptual art. The trend abroad from painting in the late 20th century has been countered by various movements, for case the continuation of Minimal Art, Lyrical Abstraction, Pop Art, Op Fine art, New Realism, Photorealism, Neo Geo, Neo-expressionism, New European Painting, Stuckism, Excessivism and diverse other important and influential painterly directions.

See too [edit]

  • History of art
  • History of painting
  • Lives of the Most Excellent Painters, Sculptors, and Architects (16th century book)
  • Modernism
  • Painting in the Americas earlier European colonization
  • Western European paintings in Ukrainian museums
  • List of fourth dimension periods

References [edit]

  1. ^ a b Oosterbeek, Luíz. "European Prehistoric Art". Europeart . Retrieved iv Dec 2012.
  2. ^ Boardman, John ed., The Oxford History of Classical Art, pp. 349-369, Oxford Academy Press, 1993, ISBN 0198143869
  3. ^ Banister Fletcher excluded virtually all Baroque buildings from his mammoth tome A History of Compages on the Comparative Method. The publishers eventually rectified this.
  4. ^ Murray, P. and Murray, L. (1963) The Art of the Renaissance. London: Thames & Hudson (World of Art), p. 9. ISBN 978-0-500-20008-7. "...in 1855 we find, for the start time, the word 'Renaissance' used — by the French historian Michelet — every bit an adjective to draw a whole menses of history and not confined to the rebirth of Latin letters or a classically inspired style in the arts."
  5. ^ Hause, S. & Maltby, Due west. (2001). A History of European Society. Essentials of Western Culture (Vol. 2, pp. 245–246). Belmont, CA: Thomson Learning, Inc.
  6. ^ a b "Art of Europe". Saint Louis Art Museum. Slam. Retrieved four December 2012.
  7. ^ Oosterbeek, Luíz. "European Prehistoric Art". Europeart . Retrieved iv December 2012.
  8. ^ Sandars, eight-16, 29-31
  9. ^ Hahn, Joachim, "Prehistoric Europe, §II: Palaeolithic 3. Portable fine art" in Oxford Art Online, accessed 24 August 2012; Sandars, 37-40
  10. ^ Sandars, 75-lxxx
  11. ^ Sandars, 253-257, 183-185
  12. ^ Kwong, Matt. "Oldest cave-man art in Europe dates back 40,800 years". CBC News. Retrieved 4 December 2012.
  13. ^ "Romanian Cave May Boast Cardinal Europe's Oldest Cave Art | Scientific discipline/AAAS | News". News.sciencemag.org. 21 June 2010. Retrieved 25 August 2013.
  14. ^ Gunther, Michael. "Art of Prehistoric Europe". Retrieved iv December 2012.
  15. ^ Chaniotis, Angelos. "Ancient Crete". Oxford Bibliographies. Oxford University Printing. Retrieved 2 January 2013.
  16. ^ Hood, 56
  17. ^ Hood, 17-eighteen, 23-23
  18. ^ Hood, 240-241
  19. ^ Gates (2004), 33-34, 41
  20. ^ eg Hood, 53, 55, 58, 110
  21. ^ Chapin, 49-51
  22. ^ Hood, 37-38
  23. ^ Hood, 56, 233-235
  24. ^ Hood, 235-236
  25. ^ Mattinson, Lindsay (2019). Understanding Architecture A Guide To Architectural Styles. Amber Books. p. 21. ISBN978-one-78274-748-2.
  26. ^ "Roman Painting". Art-and-archæology.com. Retrieved 25 Baronial 2013.
  27. ^ "Roman Painting". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Retrieved nineteen October 2013.
  28. ^ "The Vitruvian Man". leonardodavinci.stanford.edu . Retrieved 25 March 2018.
  29. ^ a b "BBC - Science & Nature - Leonardo - Vitruvian man". www.bbc.co.united kingdom of great britain and northern ireland . Retrieved 25 March 2018.
  30. ^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 156. ISBN978 0 7148 7502 6.
  31. ^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 156. ISBN978 0 7148 7502 six.
  32. ^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 157. ISBN978 0 7148 7502 six.
  33. ^ Fortenberry, Diane (2017). THE Art MUSEUM. Phaidon. p. 157. ISBN978 0 7148 7502 6.
  34. ^ a b "Bizarre Art". Arthistory-famousartists-paintings.com. 24 July 2013. Retrieved 25 August 2013.
  35. ^ "Ancien Regime Rococo". Bc.edu. Archived from the original on xi April 2018. Retrieved 25 August 2013.
  36. ^ "chinoiserie facts, information, pictures - Encyclopedia.com manufactures about chinoiserie". www.encyclopedia.com . Retrieved 25 March 2018.
  37. ^ "Art in Neoclassicism". Artsz.org. 26 Feb 2008. Retrieved 25 August 2013.
  38. ^ a b James J. Sheehan, "Art and Its Publics, c. 1800," United and Diversity in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford University Press, 2006), 5-18.
  39. ^ a b c d e f "General Introduction to Postmodernism". Cla.purdue.edu. Retrieved 25 August 2013.
  40. ^ Ideas About Art, Desmond, Kathleen G. [one] John Wiley & Sons, 2011, p.148
  41. ^ International postmodernism: theory and literary practice, Bertens, Hans [2], Routledge, 1997, p.236
  42. ^ M. Rowell, Joan Mirό: Selected Writings and Interviews (London: Thames & Hudson, 1987) pp. 114–116.

Bibliography [edit]

  • Chapin, Anne P., "Ability, Privilege and Landscape in Minoan Art", in Charis: Essays in Honor of Sara A. Immerwahr, Hesperia (Princeton, N.J.) 33, 2004, ASCSA, ISBN 0876615337, 9780876615331, google books
  • Gates, Charles, "Pictorial Imagery in Minoan Wall Painting", in Charis: Essays in Honor of Sara A. Immerwahr, Hesperia (Princeton, N.J.) 33, 2004, ASCSA, ISBN 0876615337, 9780876615331, google books
  • Hood, Sinclair, The Arts in Prehistoric Greece, 1978, Penguin (Penguin/Yale History of Fine art), ISBN 0140561420
  • Sandars, Nancy 1000., Prehistoric Art in Europe, Penguin (Pelican, now Yale, History of Fine art), 1968 (nb 1st edn.; early datings at present superseded)

External links [edit]

  • Web Gallery of Art
  • Postmodernism
  • European artists community
  • Panopticon Virtual Art Gallery

conradagempiesent.blogspot.com

Source: https://en.wikipedia.org/wiki/Art_of_Europe

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