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PENITENT MAGDALENE
Early Renaissance
• Began in the 14th century, revitalized classical
art’s concern with symmetry and naturalism,
searching for perfect forms, revival of large-
scale nude works, applied linear perspective
on paintings
• Masaccio, Brunelleschi, Ghiberti, Piero della
Francesca, Donatello and Michelozzo
Expulsion from the Garden of Eden by
Masaccio
High Renaissance
• characterized by perspective and more
realistic sculptures and paintings
• marked by balance, perfect symmetry, and
ideal proportion (Vitruvian ideals)
• became the guiding principle
• heroic nudity
• (Leonardo Da Vinci, Michelangelo)
The Creation of Adam, a scene from
Michelangelo's Sistine Chapel ceiling.
GUSTAVE COURBET
Edouard Manet, though often categorized
as an Impressionist, described himself as a
Realist. His initial works include some of the
most important masterpieces of Realism
among which is Olympia. The painting
depicts a reclining nude woman attended by
a maid. When it was first exhibited at the
1865 Paris Salon, it caused a huge
controversy; not because of Olympia’s
nudity but because there are a number of
details in the painting which identify her as
a prostitute.
Nighthawks (1942) – Edward
The Horse Fair (1855) – Rosa Bonheur
This painting depicts the funeral of the great-
uncle of Gustave Courbet in the small town
ofOrnans in France. Courbet “painted the very
people who had been present at the interment,
all the townspeople”. A Burial At
Ornans caused a storm on first being displayed
at the 1850–51 Paris Salon.
Francois Millet is famous for his depictions of
peasants. The Angelus is the last of his iconic
trio of paintings after The Sower and The
Gleaners
Impressionism (1872-1880s)
• The most conspicuous characteristic of Impressionism in painting
was an attempt to accurately and objectively record visual reality in
terms of transient effects of light and color.
• captured the dappling effects of light against a given surface so that
the times of the day and seasons of the year control the
appearance of the objects
• Impressionists loosened their brushwork and lightened their
palettes to include pure, intense color
• abandoned traditional linear perspective and avoided the clarity of
form that had previously served to distinguish the more important
elements of a picture from the lesser ones. For this reason, many
critics faulted Impressionist paintings for their unfinished
appearance and seemingly amateurish quality.
Water Lilies by Claude Monet
CLAUDE MONET – "Impression, sunrise"
Dance at Le moulin de la Galette by Pierre-
Auguste Renoir
Symbolism (1890s)
• Symbolists believe in the unseen forces of life,
the things that are deeply felt rather than merely
seen.
• suggests ideas through symbols and emphasized
the meaning behind the forms, lines, shapes, and
colors
• The symbolists produced imaginary dream
worlds populated with mysterious figures from
biblical stories, Greek mythology and fantastical
creatures.
• The symbolist’s favorite subjects were: love,
fear, anguish, death, sexual awakening, and
unrequited desire…
Expressionism (1905-1925)
• developed in Germany and Austria as a response
to the dehumanizing effects of industrialization
• artistic style in which the artist seeks to depict
not objective reality but rather the subjective
emotions and responses that objects and events
arouse within a person through distortion,
exaggeration, primitivism, and fantasy and
through the vivid, jarring, violent, or dynamic
application of formal elements
• highly subjective, personal, spontaneous self-
expression
The Scream by Edvard
Munch seems to be the
most known Symbolist
work. It is the best
exemplification of
the fin-de-siècle feelings
of isolation,
disillusionment, and
psychological anguish
conveyed through
distorted forms,
expressive colors, and
fluid brushwork.
Munch’s style is based
on the real anxieties of
modern existence.
His paintings explore
themes of illness,
loneliness, despair, and
mental suffering
associated with love,
conditions that Munch
deemed emblematic of
“modern psychic life.”
Wassily Kandinsky, Der Blaue Reiter, 1903
El Greco View of Toledo, 1595/1610 is
a Mannerist precursor of 20th-century
expressionism
Fauvism – (1905)
• One of Fauvism's major contributions to modern
art was its radical goal of separating color from its
descriptive, representational purpose and
allowing it to exist on the canvas as an
independent element.
• simplified forms and saturated colors drew
attention to the inherent flatness of the canvas or
paper strong and unified
• heavily characterized by broad flat areas of
violently contrasting colors
Portrait of Mlle Yvonne Landsberg
Henri Matisse
Charing Cross Bridge, London (1906)
André Derain
Cubism – (1907-1930s)
• Led by Pablo Picasso and Georges Braque
• The Cubists broke from centuries of tradition in their
painting by rejecting the single viewpoint, instead they
used an analytical system in which three-dimensional
subjects were fragmented and redefined from several
different points of view simultaneously.
• The movement was conceived as ‘a new way of
representing the world’, and assimilated outside
influences, such as African art, as well as new theories
on the nature of reality, such as Einstein’s Theory of
Relativity
Dadaism
• a form of artistic anarchy born out of disgust for the
social, political and cultural values of the time.
• a reaction to World War I and the nationalism that
many thought had led to the
• marked by its mockery of materialistic and nationalistic
attitudes, proved a powerful influence
• on artists in many cities, including Berlin, Hanover,
Paris, New York, and Cologne, all of which generated
their own groups
• short-lived
Surrealism – (1920s-1930s)
• The exploration of the dream and unconsciousness as a valid form of reality
• Surrealism represented a reaction against what its members saw as the
destruction wrought by the “rationalism” that had guided European culture and
politics in the past and that had culminated in the horrors of World War I.
According to the major spokesman of the movement, the poet and critic André
Breton, who published The Surrealist Manifesto in 1924, Surrealism was a means
of reuniting conscious and unconscious realms of experience so completely that
the world of dream and fantasy would be joined to the everyday rational world in
“an absolute reality, a surreality.” Drawing heavily on theories adapted from
Sigmund Freud, Breton saw the unconscious as the wellspring of the imagination.
He defined genius in terms of accessibility to this normally untapped realm, which,
he believed, could be attained by poets and painters alike.
• pushed against the boundaries of socially acceptable behaviors and traditions in
order to discover pure thought and the artist's true nature
• Fundamentally, Surrealism gave artists permission to express their most basic
drives: hunger,
• sexuality, anger, fear, dread, ecstasy, and so forth
The Tilled Field - Joan Miro
References
• https://www.widewalls.ch/surrealist-
paintings/max-ernst/
• https://www.theartpostblog.com/en/neoclass
icism/
• https://www.ranker.com/list/
• http://www.visual-arts-cork.com/history-of-
art/
• https://en.wikipedia.org/wiki/