ART IN NOTHERN EUROPE DURING THE RENAISSANCE

Northern Renaissance, Late Gothic, Ars Nova 15th Century North out of Italy Late Renaissance Northern Gothic Modern Day Netherlands Early Renaissance in Italy in 1400s = NORTHERN GOTHIC Area = Modern Belgium, Holland UNIQUE OF LOWLANDS THAT EXPLOITS OIL PAINTING TECHNIQUE = HALLMARK OF THIS PERIOD allows artists to work in GREAT DETAIL AND CREATE ENAMLE LIKE SURFACES AND DEEP SUBTLE EFFECT TO COLOR = HIGHLY SATURATED COLORS

Period = Contemporary with early Renaissance in Italy 2 SEPEARATE BUT QUITE PARALLEL DEVELOPMENTS Italian artists aware of Northern aesthetic values and culture different than Medieval = term borrowed from music history = Latin = progressive LATE GOTHIC suggests to end but Ars Nova seems to look forward BURGUNDIAN EMPIRE - ALL BEGINS WITH JEAN LE BON, KING OF FRANCE, CA 1363 TRADE WITH ENGLISH for export of wool and mutton With trade, wealth, cities, artists and patronage BURGUNDY lowland textiles need wool HAPSBURG DYNASTY until end of WW1 CITIES = BURGE, GHENT, TORNAY ARTISTS ALWAYS FOLLOW MONEY TRAIL NEW developments in painting = OIL TECHNIQUE OIL CAN WORK WITH AND MODEL IT characteristics with matte and glazed and more opaque and richer CONTRAST OF OIL TO TEMPERA = MATTE VS. HIGHL SATURATED VIVID COLORS HIGHLY DETAILED COMPOSITION

*Jan van Eyck, Portraits of Giovanni de Nicolalo Arnolfini and Costanza Trenta - OIL PAINTING ON OAK - NETHERLANDISH 1434, London, N. .G.
JAN VAN EYCK = EMPERICSM conceivable environment NEW TECHNIQUE HIGHLY DETAILED COMPOSITION credited with exploitation of oil painting techniques THEORY OF DISGUISED SYMBOLISM SYMBOLISM = ICONOGRAPHIC TRADITION = RELIGIOUS ART SUBJECT IN NORTH = SYMBOLISM SYMBOLS = REAL OBJECTS THAT ARE EXPERIENCE THAT ATTRIBUTE RELIGIOUS MEANING BETROTHAL PORTRAIT due to disguised symbolism (prevailing theory) real figures standing in elements of everyday life and their relevance to religion = DISGUISED SYMBOLISM Bedpost with sculpture figure of St. Margaret dragon all saints have attributes patron saint of child birth Marital bed, Dog- symbol of fidelity marital fidelity Shoes off = holy ground, Fruit = original sin Chandelier = one candle = presence of God Religious significance = prayer beads and passion scenes on mirror Reflection = man with red turban = JVE and his name written JVE was here,1434 = testimony = bearing witness Raised hand = pledge commitment as marriage or betrothal = marriage was civil not religious = so families joined hands and made pledge not sacrament and not legally binding

ALL SYMBOLS EXPERIENCEABLE IN EVERYDAY LIFE = make everyday disguised elements of religion important TYPCHTYCH portable 3 paneled importance of religious importance and disguised symbolism 3 steps = trinity elevated chamber of place of Annunciation gives it sanctity shown by side panels at street level but middle is on sky level ANNUNCIATION = moment at which Mary conceives Christ = miracle Little naked figure = naked Christ on golden rays and going through glass to womb TILTED PERSPECTIVE INTUITIVE PERSPECTIVE LIKE ROMAN WALL PAINTING 1 pt not developed here yet LILY = Mary purity Water-towel = child birth = Mary as vessel OLD TESTAMENT BECOME PREFIGURATION OF NEW TESTAMENT JOSEPH = carpenter typical of Medieval craftsman and shows wares out to advertise. Hes working making a mousetrap. Reference TO SAINT AGUSTINE AS CHRIST BEING A BAIT FOR THE DEVIL when Christ died = Devils triumph but by his sacrifice function as a MOUSETRAP = METAPHOR FOR CROSS = SACRIFICE THAT TRICKS THE DEVIL = so specific so done for a specific patron Meant FOR PRIVATE DEVOTIONAL USE

*Robert Campin, Merode Altarpiece, ca. 1425-28, NY, Met [Cloisters]

*Rogier van der Weyden, Deposition, before 1443 for Crossbowmens Guild, Louvain
LATE GOTHIC intense spirituality and emotional drama Swooning Mary and tears running down face Single MOST INFLUENTIAL FLEMISH ARTIST OF 15TH C IN SPAIN, FRANCE AND PARTICULARY GERMANY

PRINT MAKING TECHNIQUES Relief [woodcut] Intaglio [engraving, drypoint, wood engraving, mezzotint, etching, aquatint] Planographic [lithography] Serigraphy [silkscreen, stencil]

*Anonymous German Artist, St. Christopher, 1423, hand-colored woodcut, from Buxheim Monastery
earliest dated wood cut or relief print only extant in one edition Negli - work on flat surface with grain running horizontal elements in relief will receive the ink negative space is cut artist never touch line that is printed originally printed in one color black and white painted white then given over to artist who outlined forms in black brush then given to artist cabinet maker, etc. and he cuts away, then to printer when finished given to painter who adds the color all colors added by hand to give illusion of painted manuscript but these can be done in multiples and cheaper All the lettering is also cut out of single block of wood Books cut out = block books LATE GOTHIC NORTHERN EUROPEAN = INNOVATION = PRINT MAKING

The High Renaissance in Italy, ca. 1500-1530 Florence, Rome, and Venice
Leonardo da Vinci, Raphael, Michelangelo Also known as CLASSIC RENAISSANCE ART emphasis on classical antiquity VITRUVIAN MAN architecture reflects human activites and human needs so must be symmetrical strict geometric relations The perfect forms of architecture based on perfect square and circle

To make Rome showcase capital of Catholic and Vatican Why High Renaissance? 1500s short lived period = THE FRUTION WITH ARTISTIC EXPERIEMENTS THAT BEGAN IN ITALY IN THE 1400S Due to archeological discoveries Old St. Peters torn down and in ruins underneath TWO IMPORTANT SCULPTURES = LAOCOOAN AND BELEVEDER TORSO = from Hellenistic Greek Art Micheangelo modeled his figures after these works from antiquity Series of grottos discovered = grotesque = bizarre decorative wall paintings influence Raphael Find emphasis on HUMAN FIGURE AS CHIEF VEHICLE OF ARTISTIC EXPRESSION Figures take up the whole picture plane Features that resemble classical Significant emphasis on LARGE 3D FIGURES, MONUMENTAL Sculptural effect to painting = colored sculptural relief Emphasis on GEOMETERY AND APPLICATION AND GEOMETRAICAL STRUCTURES TO PAINTINGS TRIANGLES, CIRCLES TO GIVE STRUCTURE TO PAINTINGS

*Leonado da Vinci, Last Supper, 1495-1498, Milan, S. M. della Grazie

refectory, fresco secco with oil it is this period that sets the bar for subsequent periods for art theory creates major direction for artists from this period HIGH RENASSIANCE Leonardo born in 1452-1492(?) Commissioned Last Supper for dinning hall in Church Church located by major railroad system area bombed in WW2 damage to this Setting within Church refectory see one point persepective due to tapestryies and coffers in painting and he extends the painting space with the real space so that Monks really eating with Christ and disciples ARRANGEMENT OF COMP AND ORGANIZATION OF SPACE parallel to picture plane Magdelan have the drawing and first draft with names

REASON FOR TABLE ESTABLISHED ACROSS PICTURE PLAN AND FIGURES ESTABLISHED ACROSS
Makes Christ center religiously and compositionally Space extends far back and then blocked by shilouetted windows which highlight triangle figure of Christ which brings eye back to front SETTING unrealistic done purposely so that table acts like a barrier and introduction to real monks having their meal. Leonardo CONSCIENCE OF EMOTIONS AND DRAMA Doctrine of AFFITTTI known from series of pages from notebook that would be treatise of painting he never finished anything AFFITTI direct relationship of emotional state of mind and facial features but MOST IMPORTANTLY ARE GESTURES so look at those around and notice their state of emotion see what their facial features and gesture Gestures look staged but these show communication of state of mind that starts with Leonardo exaggerated to get across the point of view LEO exaggerates the most dramatic point one of you will betray and he measures the reactions of the apostles Judas in earlier has always depicted on other side of table alone tradition but identify Judas by his arm on table and on bread Table seating unrealistic and way figures grouped together = artifical established Christ as the dominate triangle and the rest are grouped in 3s

Leonardo, Last Supper [organization of space parallel to the picture plane] Tintoretto, Last Supper [organization of space receding from the picture plane] TINTORETTO, LAST SUPPER NOT PARALLEL TO PICTURE PLANCE BUT RECEDING from picture plane Parallel = Leos Tintoretto = RECEDING = DIAGONAL = GIVES GREATER ILLUSION OF SPACE AND DEPTH MORE DRAMATIC IMPACT HIGH RENAISSANCE = REGULARITY PREDICTABILITY ARANGEING FIGURES IN GEOMETRICAL SHAPE, TRIANGLE FIGURES CREATING FIGURES AS HEAVY WEIGHTY MASSIVE AND 3D PLASTIC = TACTLE FLESHINESS, MODEL = FIGURES ARE CONSPICUOUS

*Leonard da Vinci, Portrait of Lisa Gherardini di Francesco di Zanobi del Gioconda, ITALIAN, HIGH RENAISSANCE 1503-1506, Paris, Louvre
Vasarri says that works on it for 4 years without completing Probably took painting with him to France where he died Mentioned by other writers in the 16th century Lots written due to psychoanalysis by Freud obsession with mother, flight and homosexuality smile sets speculations Portrait is his own interpretation of the IDEAL FORM OF BEAUTY WOMEN how she carries self and her expression follows contemporary etiquette The perfect Courtier the ideal set of manners that men and women follow with high breeding in 16th century Always have a smirk slight distantly smile coyish Better than you are putting on airs HIGH RENAISSANCE CLASSIC, FIGURE LOOKS GREEK ROMAN SCULPTURE, EMPHASIS ON FIGURE TO RELATIONSHIP OF PAINTING landscapes are backdrops look back but then drawn back NO MIDDLE GROUND IN HIGH RESNAISSANCE ONLY FOREGROUND AND BACKGROUND = PLATEAU SPACE as figures are all portrayed in close up view as if standing on mountain Pikes Peak RENAISSANCE ONLY CARES OF FIGURE BECAUSE IT IS THE CHIEF VEHICLE REFERENCE TO CLASSICAL FITS IN GEOMETRIC PROFILE she is equilateral triangle MODELING = SFUMATO = smoky like modeling HIGHLY GRADUATING BLURS EDGES OF FORM

*Michelangelo, David, ITALIAN HIGH RENAISSANCE 1501-1504, Florence, Accademia

Painter and sculptor, Born in Florence, Illegimate Put with stone mason gives him interest in sculpture worked with stone Apprenticed to Ghirandileo but then placed with Bartholdi sculpture who has history as chief with Donatello so he is being trained by EARLY RENAISSANCE SCULPTURE MASTER assumed that because he was pulled out and put with Sculpture done by Lorenzo de Medici who are the patrons of sculptures COLOSSAL DAVID 18 FEET at time of completion same time as Mona Lisa placed in Palazzo Signoria in Florence and documented that ladies of breeding had to have shades drawn in carriage HE COMMUNICATES ARTISTIC VIRTUOUSITY 14 foot slab of marble since 14th century was laying around left dormant from another artist working on St. John Baptist and changes to David = OLD TESTAMENT PRE-FIGURATION OF CHRIST kills Goliath triumph over evil and becomes King of the Jews Israelites Christ traced to David so King Difficult to create out of stone with out tools only chisel and file CONCEIVED DAVID SO DIFFERENTLY THAN DONATELLOS BRONZE BECOMES ONE UPMANSHIP OF 15TH CENTURY PREDESSOR Donatello conceives figure as almost feminine to emphasis adolescence and miracle of defeating MICHAELANGELO Classical God now seen in Old Testament Christian terms Head, hands, length of arms out of proportion REASON = POSITION OF ARTWORK IN RELATIONSHP TO VIEWPOINT OF THE SPECTATOR NEED TO LOOK UP needed to do because it would have been distorted = BOWING OF CAPITAL ENTASSIS OF GREEK TEMPLES Moved from outside

*Sistine Chapel interior, lower walls 1481-1483, ceiling 1508-1512; altar wall, 1536-1541 ITALIAN, HIGH RENAISSANCE, MANNERISM
meeting place of the cardinals to elect pope Rome to be reconstructed to be symbol of Catholic Church and bring Vatican up to speed, has idea of depiction of Old Testament - works on 4 years, COMPLEX DETAILED ICONOGRAPHY had help he couldnt read Latin wouldnt be able to read bible Advisors to come up portrayal of ancestors of Christ in Old Testament he is not depicted but TYPOLOGY of preparing way for NEW TESTAMENT DIFFERENT PARTS 1481-83 entire group of artists brought to make depictions of life of Christ and Old Testament to read linearly and transversally pairing so that Old Test scene deals with paring of New Test. Below painting tapestries from real on in court Raphael does cartoons life size used for tapestries He comes back to paint the Last Judgement, 4 different campaigns for this building CEILING WITH ICONOGRAPHICAL DISCRIPTION = 9 scenes beginning at altar east entrance with Jonah and the whale and then end with west prophet of lord, sacrificed, reserectued like Christ, Drunk Noah on Western end contrasts sins with Christ so work from profane and work to sacred HUGE MASSIVE FIGURES given weightlessness bouncy and minimize number of figures and background minimal Recently cleaned controversy funded by fugi film company with sole photographic rights He writes that while he paints that AFTER COMPLETE PARTS IN WET THEN DIDNT LIKE AND REDID IN SECCO so when cleaned those were lost

Depicts major divisions of learning philosophy (School of Athens), arts (Mount Parnassus), theology (Disputa) and law (The Virtues JurisPruedence) *SCHOOL OF ATHENS, PHILOSOPHY uses head of Leonardo as head of Plato, brooding Michaelangelo and Raphael The School of Athens, or Scuola di Atene in Italian, is one of the most famous frescoes by the Italian Renaissance artist Raphael. It was painted between 1510 and 1511 as a part of Raphael's commission to decorate with frescoes the rooms now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican. The "School of Athens" is one of a group of four main frescoes on the walls of the Stanza (those on either side centrally interrupted by windows) that depict distinct branches of knowledge. Each theme is identified above by a separate tondo containing a majestic female figure seated in the clouds, with putti bearing the phrases: Seek Knowledge of Causes,

*School of Athens, Philosophy Raphael, High Renaissance, Italian

*Albrecht Drer, Adam and Eve, 1504, engraving, GERMAN

earliest depiction of nude BASED ON VITURVIAN PORPOTION bible excuse to depict human nude influenced by Antonio Pallioua Battle of the Nudes greatest German painter begins training with father from Hungary Tour, as goldsmith naturalism Monogram that looks like a door Tour means door uses that for his symbol and follows in steps of artist with monogram Works with Michael Golgomath World Chronicle he may have worked on Hes admitted in circle of literate and see Italian prints and he obsesses with proportions, geometry and human anathomy and the Italians know secret of how to draw human body Works on 4 books on Human proportion but died before published to serve as model for Northern artists there art lacks reason proportion, study anatomy and geometry Applies Italian style to his works Through his engravings and woodcuts influences Northern artists CONCERNED WITH STATUS OF ARTS wants to elevate the arts Importance of the artist as seen in his self portrait Looks like Christ may have seen similar in Italy

demonic collection of Henry of Nassau painting described by Antonio de Beatis, 30 July 1517 may be commentary of 7 deadly sins (lust) sloth, pride, envy, lust, wrath avarice, gluttony TRYPTYCH 3 parts meant to fold over and protect interior when closed see view of the univers and see God who has created and latin translated creation Third day of Creation or after Noah Question to function LEFT INTERIOR PANEL = creation scene with Adam and Eve, Original Sin, Expulsion CENTER PANEL manification of sin in a sexual nature RIGHT PANEL consequences of sin after last judgement complexity of meaning or such vivid imagery.[5] The triptych is painted in oil on oak and is formed from a square middle panel flanked by two other oak rectangular wings that close over the center as shutters. The outer wings, when folded, show a grisaille painting of the earth during the biblical myth of Creation.

*Hieronymus Bosch, Garden of Earthly Delights, ca. 1505-15, EARLY NETHERLANDISH, Madrid, Prado Owned by Henry III of Nassau, Brussels

Mannerism
After Renaissance maniera, maniere = ELEGANT, STYLISH REFINEMENT INTERPRETATIONS OF STYLE Micheangelo lives on and changes style helps create MANNERISM DIFFERENT BETWEEN HIGH REN AND MANNERISM Non proportion This is what you get when you follow the manner of someone else Far removed from the prototype New series of artistic expression Elongated figures Crowded composition Back to Theodora piling in to crowd space AND CREATE TENSION AND FLATTENING different from serenness Heirartic persective to look far away make smaller, needs to be highter on page but this figure is down below = illogical discrepancy of scale STRANGE CONTRAST IN SCALE EXAGERATED LENGTH OF FIGURE AND CROWDED SPACE COLOR = clashing colors dont follow rules of color theory = EMOTIONAL = CONSIOUSLY DIFFERENT THAN PREDICTABLITY OF REN = EMOTION

Italy, ca. 15301590 manira manire [elegant, stylish refinement]

Interpretations of the style

after Reform now prescribed rules in ART Exodus of various protestant sects that move away from Catholic and make new religion COUNCIL OF TRENT IN NORTHERN ITALY = series of meetings to focus on various art and come up WITH GUIDELINES FOR ARTISTS most compeling rule = EVERY BIBLICAL SUBJECT HAD TO HAVE VALIDITY IN THE SCRIPTURES Veronese gets in trouble in Venice and gets into trouble for this due to this painting hes called into Inquistion they want to know where he biblical reference of other subjects in painting = he answered that artist free but not Wedding of Canan and instead = House of Levi GOOD EXAMPLE OF INFLUENCE OF THE COUNTER REFERMATION OF THE CATHOLIC CHURCH Series of movements by Catholic Church who sets out to regain lost followers and recuirt news lots of missionary work to convert in New World and in Far East, India and Asia = Triumph of Catholic Church in 17th c to transfer Rome into symbol of Christianity and dominance of world

*The Counter Reformation and the Council of Trent, 1540-1563 Veronese, Feast in the House of Levi (Luke, 5:27-32), 1573, Venice, Accademia

Baroque Art of the Seventeenth Century

Rejection of Mannerism Introduction of new subject matter (still life, landscape, group portraits, genre) Popularity of allegory Emotional involvement of the spectator with the artwork Tenebrism Interests in time and movement The Catholic Church Triumphant Artistic theory directs artists: Carraccismo and Caravaggisti

REVIVAL OF ROME = BAROQUE ART OF THE SEENTEENTH CENTURY = 1600s Rejection of Mannerism New kinds of subject in pictorial arts = still life, landscape, group portraits, genre, popularity of allegory Emotional involvement of spectator with artwork to engage viewer and make part of experience New TECHNICAL = TENEBRISM = HEAVY SHADOW CONTRAST WITH SPOTLIGHTING FIGURERS Interests in time and movememtn PERIOD OF CATHOLIC CHURCH TRIMPHANT TWO MAJOR DIRECTION OF ARTISTIC THEORY = ARTIST THEORY NOW SUGGEST DIRECTION OF ARTIST IN SUBJECT MATTER = CARRACCISMO AND CARAVAGGISTI affects realism, impressionism, post impression art of modern world Appropriateness of painting of subject Carracci style wins classical = DIVISION BETWEEN CLASSICAL AND NONCLASSICAL APPROACH TO FORM Splits art world into classical and non-classical

Interest in nature CREATES NEW EMPH ON STILL LIFE PAINTING also seen in antiquity but few in Ren Major components of artistic expression = STILL LIFE PAINTING Not possible bouquet because bloom differently so paintings going on at different times several paintings going on at time so no one painting completed at a certain time due to the species of painting of flowers painted from life Patron buys due to realistic and naturalistic drops of dews, bees, ants increase reality portrayed Dutch artist who specialized in still-life paintings of flowers, one of only three significant women artists in Dutch Golden Age painting Her father Frederik Ruysch, a famous anatomist, and botanist

*Rachel Ruysch, Flower Still Life, after 1700, Toledo, Mus. BAROUQUE

GROUP PORTRAITS IN Northern painting Named Night Watch because dark due to dirty HUGE Little girl is carrying a roster Dutch name claw pun on clover for the Kloveniers 1642 tradition of Musketeers changed from military mode of protection into a series of social drinking societies = minute men in US private citizans meet to drill be able to assemble in a minute citizen soldiers many intereptrations of painting may be historical reenactment of maria dmedici visit He painted this at height of his career comes to city where money is, He dies bankrupt spent He was well paid 100 gilders per head single portrait 500 gilder avid collector sheriff reposed inventoried so know what hes looking at STYLISTICALLY follows Italy style of EXTREME CONTRAST OF LIGHT AND DARK = TENERBRISM = CARVAGGIO style lends itself to interest of Baroque = interested in natural world = EXTREME SPOTLIGHTING CREATE DRAMA EMOTIONAL INTENSITY involves spectator and Baroque interest in natural world Heavy Chiaro Scurro

*Rembrandt van Rijn, Frans DUTCH/Netherlands - BAROQUE Banning Cocq Assembling the Kloveniers (klover) [The Night Watch], 1642, Amsterdam, Rijksm.

exploit physcological aspects of figures and expand space in background daughter of Philip 4 and they are depicted in mirro (infante Margarita) shows artist see how canvas 17th c. constructed with stretchers shows him painting a portrait of King and Queen they are standing where viewer stands so viewer is drawn in who are occuping the same space of King and Queen SPACE NOW EXTENDED OUTSIDE OF PAINTING like Last Supper to contain space of refrectory like sharing supper with Christ now we are in court dwarfs always popular in courts during Ren and Baroque like court jesters dog Velasquez looking out with his red cross on chest Like Van Eyck in the Royal Collection he sees psychological involvement of spectator and expanding space and blurring pictorial space and real space Figure walking through doorway Portrayed in free and fluid brush stroke fluid and built up in a loose and expressionist manner he becomes important to impressionists in France Genre piece every day scene NO HISTORICAL, RELIGIOUS OR METHOLOGICAL COMPONENTS

*Diego Velzquez, Las Meninas [Maids of Honor], 1656, Madrid, Prado - BAROQUE

GENRE - ALLEGORY SO IMIPORTANT ALLOWS FOCUS ON NATURAL WORLD AND DRIVE HOME COMPLEX PHYSOLOGICAL ASPECTS Less than life size, Holding balance bathed in sunlight Painting framing her is painting of Last Judgement where see Michael judging good and bad Reference of scale already beomce an allegaory, symbol relating to something more complex driving home by depiction of background look like done by old Dutch Master 100 years earlier to give a special authority to antiquity to the subject Shes involved in her own her own vanity Shes engrossed in worldly goods upper class who he caters to his patrons = avirice and pride, luxuries of this world -what we should not do not be involved in temporaral and loose salvation Light picking up dazzling qualities of jewelry he contributes to the luxury of worlds by presenting in texture = viewer involved also we indulge ourselves with him with eminent last judgement Allegory = symbol Depiction of subject or object that relates to something much more complex and profound by given the fact that we understand symbols that artist gives us like presence of scales and Last Judgement we know about Christian iconogolgy like Poussin and methology = IMPORTANCE OF ALLEGORY allows artist to portray something believable and perceiveable and allude to something abstract. Symbolism of abstract metaphor still portrayed in experiencable real way Arcadia land of perfect harmony Pagan garden of eden Where we all aspire to live, Even Death message in painting by Poussain Death we are all equal in the eyes of death everyone will experience According to Catholics souls judged

*Jan Vermeer, DUTCH/NETHERL AND Woman Holding a Balance, ca. 1664, Wash., N.G.

LIGHT reflects scupture and gilded surface and adds to spotlight of white marble of St. Teresa Western entrance of Church attention drawn to this golden spotlight in left back drawn to light that fills one spot St. Teresa = mystic that had different visions of relgious experiences relaying faith and experience of specially anointed faithful Uses different marble, natural light to reflect gilded rays, add to purity of white marble contrasted by other color of marble = drama Drawn into it by the light and the relgious experience of St. Teresa = CONCETTO THEORY = USE ANY COMBO OF MEDIA, MATERIALS IN ORDER TO GET ACROSS ARTISTIC MESSAGE = ALL SENSES INVOLVED, sight, feeling Members of the family are shown as spectators BAROQUE = TREMENDEOUS VIRTIOUSITY SPIRITUAL EXCRECISES = JESUIT = THINK ABOUT MARTYRS = DEVOTIAL MODERNA = MODERN DEVOTION = TAKE AWAY FROM ART RELGIOUS SUBJECT AN INTENSE EMOTION EXPERIENCE make religion accessible to common person through scene of saints in ecstacy and martyr like St. Teresa of Avila invited to share with her her vision pain not bodily but spiritual refers to something sexual BAROQUE LINE BLURRED BETWEEN PHYSICAL AND SPIRITUAL = EMOTION, INVOLVEMENT OF SPECTATOR In art lines blurred by ethereal, spiritual and physical so depiction important in 17th century The Devils of Ludune parallels in modern historical novel of the Baroque

*Gianlorenzo BerninI, St Teresa of Avila in Ecstasy, Cornaro Chapel, S. M della Vittoria, Rome, 1645-52

Christ selects Levi, tax collector to be apostle = St. Matthew Looks like an everyday event like a tavern common people can relate Dressed in contemporary costumes except Christ and in between St. Peter symbolically because St. Peter stands between us and Christ because he intercedes for us and father of the Church. He accepts by mimicking Christs gesture. Christ holds hand gracefully like pulling him He reacts with surprise Engages viewer real drama between Levi soon to be Matthew and Christ Looks like basement bar room and scene illuminated by shaft of light that comes from upper right = CELLAR LIGHT as if coming in from window in cellar = SPIRITUAL LIGHT THAT TRANSFROM EVERYDAY SCENE INTO RELGIOUS EVENT CARVAGGIO responsible for light and dark = TENERBISIM = EXAGGERATED LIGHT AND DARK = HALLMARK OF HIS NATURALISM repeated by his followers in Italy and outside Rembrandt influenced CARAVAGGIO naturalIstical non classical manner realistic style, heavy light dark Painting criticized Madonna of the Pilgrims to crude figures not idealized enough Madonna had dirty toenails but hes painting for the common people so paints common people Madonna could be any Italian woman and the Christ child looks normal, unidealized FIGURES NOT IDEALIZED FIGURES NOT PAINTED IN CLASSIC MANNER PAINTED IN TENERBRISM LIGHT DARK INAPPROPRIATE FOR RELIGIOUS SUBJECTS

*Caravaggio, Calling of St Matthew, ITALIAN BAROQUE- 1599-1600, Contarelli Chapel

weaking of Hapsburg studies in Italy Venetian Art 1610 establishes studio in Antwerp has VanDyke as studio huge altar piece shooting out of composition typtych wings fold together original for Church of St. Walpurga now in Cathedral painted under patronage of Isabel daughter of Spain treats it as one continuous space all spaces flow into each other towards central panel creates composition towards Jesus everything goes to Christ by diagonal invites into composition by diagonals that point to the crucifixion he traps you into looking at the center composition and then he shoots and directs you out of the composition

*Peter Paul Rubens, Raising of the Cross, -- FLEMISH, 161011, Antwerp, Onze Vrouw [orig. for Church of St. Walpurga, Antwerp]

for renovation of Rome under Pope Paul 5 and Urbin 8th as compared to the 2 other Davids = Michaelangelo figure only 7 tall both marble, both made by Italians his treatment makes it Baroque = intensely emotional = action = dramatic = more in motion, twisting, contorting, determined, worried deeply involved in action involved in. In action twisting = different planes of space figure steps backward while leaning forward different levels of depth can relate to himfor renovation of Rome under Pope Paul 5 and Urbin 8th as compared to the 2 other Davids = Michaelangelo figure only 7 tall both marble, both made by Italians his treatment makes it Baroque = intensely emotional = action = dramatic = more in motion, twisting, contorting, determined, worried deeply involved in action involved in. In action twisting = different planes of space figure steps backward while leaning forward different levels of depth can relate to him Does the same as Bernini in sculpture of David with planes of depth with curving faade that is offset with concave niches above and below = UNDULATING, CURVING SERPENTINE MOVEMENT = BAROQUE = IRREGULAR SHAPED PEARL = CONTRAST OF LIGHT AND DARK IN PLANES OF SPACES with twisting Interior lifts you up aesthetically

*Gianlorenzo Bernini, David, BAROQUE, ITALIAN 1623, Rome, Borghese Gall.

EIGHTEENTH and NINETEENTH CENTURY ART BEFORE IMPRESSIONISM

PART I: CLASSICISM AND NEO-CLASSICISM a. The Poussinistes and the establishment of the Royal Academy b. Emergence of Neo-Classicism in the 18th century c. Nineteenth Century French Academic Art d. Classicism in America PART II: NON-CLASSICAL DIRECTIONS a. Rubnistes and the Rococo b. Rococo architecture c. Romanticism d. Realism

Artists change style to get commissions artistic dictator for France by French students learn from him AND while in Rome sends paintings back to French patrons AND series of letters he writes writes musings on paintings and letters widely circulated BELIEVES: All artists ought to ASPIRE TO THE GRAND MANNER rules CARRACCI, AND STYLE BASED ON IDEALISTIC VIEW OF WORLD INTREPRETED IN STYLE FROM CLASSICISM, RAPHAEL AND CARRACCI must also be MORALLY PURE and INVOLVE SELF IN ACKNOWLEDGING SUBJECTS THAT LEND THEMSELVES TO GRAND MANNER no portraits, still life or landscapes UP AT THE TOP = HISTORICAL MYTHOLOGICAL RELIGIOUS paint in right style and right subject SHOULD FOLLOW THE MODES he makes this up modes = moods = emotional quality of the impact of art work on spectator goes back to greek arch and music and theories of Pathagoours IMPORTANCE OF DORIC, IONIC, LIDIAN AND HYPOLIDIAN MODES

*Nicolas Poussin, Landscape with St. John on Patmos, 1640, Chicago, A. I. Hierarchy of subjects, pictorial modes, The Grand Manner [S. 1434]

NEO-CLASSICISM A movement in late 18th century French Art closely associated with Jacques Louis David and the Revolution. It emphasized Romantic archaeological accuracy and an intense stylistic revival of classicism coupled with a continuation of Poussiniste traditions.

emphasized Romantic archaeological accuracy and an intense stylistic revival of classicism coupled with a continuation of Poussiniste traditions. NEW = ARCHAEOLOGICAL ACCURACY archaeology becomes a science in 18th c. attempt to go back and identify between Greek and Rome = excavations of Pompeii and Herculeum establish difference as Greek the highest and Roman lower = first art historian DIFFERENT CLASSICISM THAN REN REVIVAL AND DURING CAROLIGIAN NOW = EXACTITUDE SPECIFICITY AND ACCURACY large scale paintings = production of machine 18 19th anything that large with that many components = machine very simplified as composition HISTORIC, Symmetrical background by 3 arches as reference as classical roman antiquity and arches frame main components of subject Very calculated, Very studied, Not emotionally charged Sedate, Predictable, Rigidity 3 soldiers who are all sons of Horace and they pledge to him to take up against rome politically important when exhibited in 1785 in Rome painted in Rome since about Rome where he could study the exactitude of costumes, armour, furniture Exibited and created excited and he is referred as Athlete and messiah goes back to Greek Art and emphasis on mind and body Painting attracts interest of French because reflects sentitment of French revolution sentitment encouraging revolution, He is the painting of French Revolution CONTRAST IN ALLEGIANCE AND MORALITY urge private citizens to put their country and goal of political aspirations ahead of personal and family obligations

*Neo-Classicism: Jacques Louis David, Oath of the Horatii, 1781-1785, Paris, Louvre, after Pierre Corneilles drama Horace [S 17-15]

Rococo (Rocaille) Can often be considered as synonymous with the Rubnistes in French painting A highly decorative and sumptuous art of the 18th century associated mainly with the aristocracy Suggestive themes of the playful, eroticism, and the ribald Picturesque portrayals of pastoral themes of an idyllic mood of nature, sometimes strewn with classical ruins and peasant figurers An escapist art often involving simple, rustic themes as a reaction to the complexities of a strict courtly life The development of a highly ornate architecture, especially in France (Louis XVI) and Bavaria

ROCOCO - ROCAILLE often considered as synonymous with the Rubenistes in French painting A highly decorative and sumptuous art of the 18th century associated mainly wih the aristocracy frivolus Suggestive themes of the playful, eroticism and the ribald PICTURESQUE portrayals of pastoral themes of an idyllic mood of nature, sometimes strewn with classical ruins and peasant figures An escapist art often involving simple, rustic themes as a reaction to the complexities of a strict courtly life The development of a highly ornate architecture, especially in France (Louis XVI) and Bavaria shows frolically = mythological island of love erotic subject matter seen with members of court = what to call it? = FETE GALANTE = ELEGANT OUTDOOR SCENE OF ENTERATINMENT and now can have a whole series of these = NEWLY INVENTED TERM loosening of Poussin rules = different subject manner Hes working in a different painterly manner not in manner of LeBrun and Poussin but MORE IN RUEBENS AND PAINTERLY FORM

*Rococo Rubnistes: Jean-Antoine Watteau, the Pilgrimage to Cythera, 1717, Paris, Louvre [fte galante] [S 14-36]

ROMANTICISM A state of mind developing during the late 18th and early 19th centuries A preference for sentiment and emotion over the rational and mathematical Intense interests in nature The growing social conscience of artists Individualism of the artist and the experimental desire to explore new areas of artistic expression Obsession with past and exotic civilizations (revivals) Acceptance of new standards in art (Edmund Burke and the aesthetic of the Sublime, 1757) admits an attraction to fear, pain, ugliness, loss, hatred, and death, along with beauty, pleasure, joy, and love

ROMANTICISM - state of mind developing during the late 18th & early 19th C = Sentiment/emotion over rational/mathematical = SOCIAL CONSCIENCE INTENSE INTEREST IN NATURE GROWING SOCIAL CONSCIENCE OF ARTISTS art should make a difference in political world MAJOR CHARACTERISTIC push the envelope explore new areas of artistic expression Obsession with past and exotic civilizations = obsession with the Gothic, depraved frightful theme eroticism = Frankenstien, vampires THIS PAINTING MACHINE BECAUSE IT IS HUGE Captain & officers take lifeboats leaving others to die political issue - lack of care for the common person by those in control and wealthy MAKING COMMENT - true to nature = goes to morgue to get putrid flesh colors, interviews survivors finding out that they had to turn to cannibalism to survive INTERNATIONAL SCANDAL MOST DRAMATIC MOMENT DEPICTED black man signaling for help and rescue worked 2 years, makes money by taking painting on tour paid admission to see circulated in Ireland and England Financial disaster due to expenses involved

THE RAFT OF THE MEDUSA Thodore Gricault *ROMANTICISM - FRENCH 1800S OIL ON CANVAS 1818-19, Paris, Louvre [machine [S 1718]

REALISM = UNCOMFORTABLE SUBJECTS PAINTED IN BRILLIANT STYLE - Coming out of Romanticism of 19th century Late 19th century Artists diverge from strict demanding rules of Academy, expand real views BY LOOKING AT REAL LIFE REALISM = spring board to development of impressionism CHANGES FACE OF ART FOREVER ARTISTS THAT DEVELOP REALSIM are fascinated with nature Millet Realism GENRE non religious, non mythological, non historical PAINTERLY FREE STYLE not tight linear style as in academic painting. LIGHT COLOR AND NATURALISM = BARBIZON SCHOOL (region in France) Figures not idealized common peasant folk anonymous dont see face, menial task stand for something Millets message of plight of rural poor who have to subsist any way they can pick up leftovers

THE GLEANERS Jean-Franois Millet REALISM FRENCH OIL ON CANVAS,1857 Paris, Mus. DOrsay [S 17-31]

Impressionism, Neo-Impressionism, and Post-Impressionism

Influences on Impressionism (photography, Japanese prints, James M. Whistler, Edouard Manet) Stylistic elements of Impressionism, 1874-1886 The movement toward new goals from the Impressionist experience Neo Impressionism (Georges Seurat) Post Impressionism (Paul Czanne, Paul Gauguin, Vincent van Gogh)
Other Artistic Developments in the Late 19th Century Art Nouveau (Henri de Toulouse Lautrec) The Arts and Crafts Movement (William Morris and John Ruskin)

REALISM REALIST INTEREST IN NATURE rejected by salon anti-establishment Manet formed own Exhibition of those that had been refused scene takes place outdoors FLAT MANIPULATION OF LAYERS OF PAINT - Lay on paint on flat 2d way not a great deal of modeling EMPHASIS ON PICUTRE PLANE Effect of light on nature Juxtaposition Not relying on tradition of modeling and foreshortening Paint reinforce integrity of surface and picture plane MANET IMPORTANT FOR TRANSISTION FROM REALISM TO IMPRESSION FRIENDS WITH IMPRESSIONIST - MONET

LUNCHEON ON THE GRASS Edouard Manet REALISM FRENCH -1863 OIL ON CANVAS [Salon des Refuss] [S 18-16]

REALISM contemporary French harlot prostitute, naked as opposed to nude in mythology Moral negative overtones articles that add to the eroticism respectability of classicism of mythological BUT she is REAL REAL JOB, REAL SPACE AND LOOKING STRAIGHT OUT emphasis on flatness not modulation of flesh like Titan REALISTS STILL PAINT INDOORS

*OLYMPIA EDOUARD MANET REALISM- FRENCH OIL ON CANVAS 1863 [inspired by Alexandre Dumas, Jr], Salon of 1865 [S 18-17]

IMPRESSIONISM doesnt develop on own but influenced by REJECTION OF ART, MANET (realism), FLOATING WORLD prints from Japan, REINFORCED by STUDY OF LIGHT from photography FLATNESS AND EMPHASIS OF COLOR PAINT WHAT SEE not what know 1st Impressionism exhibit at Nadar Photography Studio FIRST MOVEMENT IN HISTORY OF ART TO EMPHASIS 2D OF PAINTING only height and width, not depth, NOT SUBJECT MATTER painting ABOUT SURFACE AND PICTURE PLANE DONT USE 1 POINT PERSPECTIVE, FORESHORTENING, MODELING EN PLEIN AIRE OUTDOORS = LIGHT ON NATURE IMPRESSIONISTS FIRST TO PAINT URBAN SCENCES paint city ATMOSPHERIC CONDITIONS APPROACH/TECHNICAL = DIVIDED COLOR COLOR THEORY Primary colors and Black and White = VALUES they change to effect when manipulated Create colors - get shimmering effect of light and sun on nature CONCEPTUAL INTERPREATION fuse dont know where water begins and ends just know its a sunrise NOW USE OF SYNTHETIC COLORS from 1820s CAPITALIZE ON THIS AND USE THESE NEW BRILLIANT SYNTHENIC COLORS FROM THIS PAINTING COMES TERM IMPRESSIONISM Shift from emphasis from rural pastoral to urban scenes

*IMPRESSION: SUN RISE Claude Monet IMPRESSIONISM FRENCH 1872 OIL ON CANVAS [Louis Leroy, Socit Anonyme exh. of 1874 [S 1818]

NEO- IMPRESSIONISM Splinter group that splits away from Impressionism POINTILLISM millions of dots make up whole most famous of Neo impressionists occurs a few years after last Impressionist Exhibit interested in taking the DIVIDED COLOR TECHNIQUE from Impressionism - put dots together to fuse together in your eyes Regulate number of dots in one area in relationship to another area - fragmented surface - extended to frame around perimeters of painting DIVISIONIST OR POINTILLIST = INTERESTED IN STRUCTURE see outlines of figures that have weight and depth BACK TO RECEEDING SPACE and LINEAR PERSPECTIVE HEIRARCHIC PERSPECTIVE SMALLER placed HIGHER INTERETED IN COLOR THEORY Collaborated with W Henry Cross and in theory of color A couple of followers = CIGNAC

*SUNDAY AFTERNOON ON THE GRANDE JATTE, Georges Seurat NEO-IMPRESSIONISM FRENCH - 1884-86 OIL ON CANVAS [S 18-1] [Pointillism]

POST IMPRESSIONISM splinter group of Impressionism NEO AND POST IMPRESSIONISTST begin to experiment conscience elements of art not used in Impressionism involve STRUCTURE and EMPHASIS on geometric composition = CONE, CUBE, SQUARE INVOLVES INDIVIDUATLITY and expression of artist in painting AND SUBJECT MATTER take elements of impressionism and develop in new ways returning to painting REDO POUSSIN FROM NATURE Learn from Poussin but emphasize structure study nature to understand forms of cylnidar, cone, cube and sphere 3D equiv of square - he looks beneath surface of forms to find geometric equivalent in relationship to picture plane blue important to orientate back to the surface = SPACE RECEEDES IN PLANES OF SPACE BASED ON GEOMETRIC PRINCIPLES Influences BRAQUES AND PICASSO they are fascinated with his art and his division of nature into geometric equivalent Clouds become active participants come forward PLAYS WITH INWARD AND OUTWARD MOVEMENT OF PLANES OF SPACE IN RELATIONSHIP TO PLANE OF SURFACE

*MOUNT SAINTE-VICTOIRE PAUL CEZANNE POST-IMPRESSIONISM FRENCH OIL PAINTING ON CANVAS - c. 1885-87 [S 18-24]

POST-IMPRESSIONISM splinter group of Impressionism concerned with subject matter parallels developments in late 19th century literature SYMBOLIST POETS elusive fathoms up images that begin to make us use our imagination and use our sub-conscience before Freud Explore different kinds of subject matter sometimes from different cultures He is interested in the natives may have been influenced by native god of Tahiti The Dissecting machine juxtaposition of science what is the relationship of these figures Play of shapes in the sea that creates abstract designs INTRODUCING THROUGH SYMBOLISM TO RETURN TO PAINTING IN SUBJECT MATTER BUT IN ELUSIVE WAY TO MAKE US USE OUR IMAGINATION

*DAY OF THE GOD PAUL GAUGUIN POST-IMPRESSIONISM FRENCH 1894 OIL ON CANVAS [S 18-26]

POST-IMPRESSIONISM born in Holland, starts out as missionary does series of peasants in broad brush strokes becomes friends with Gauguin and share house Alcoholic absinthe late example of his work him looking at nature using the platform, SHOULDERS OF IMPRESSIONISM bright colors, synthetic colors, nature, broad brush strokes NOT EMPHASIZING LIGHT OR STRUCTURE, OR SYMBOLISM BUT EMPHASIS OF PAINTING LEAVING A RECORD OF EMOTION PAINTING COMMUNICATES EMOTIONAL STATE OF MIND IN A MECHANICAL WAY Short brush Can see exactly how he did Materials and elements of paints communicate the gestural motion like attacking painting VERY IMPORTANT LATER FOR POLLACK - LOOK AT MATERIAL EXPRESSIONISM OF HIS PAINTING but use own mind and imagination

*THE STARRY NIGHT VINCENT VAN GOGH DUTCH THIS PAINTED IN FRANCE POST-IMPRESSIONISM 1889 OIL ON CANVAS [S 18-27]

ART NOUVEAU Poster Art advertising Printmaker, draughtsman, illustrator Capture emotive energy of modern life Chronicled life in Montmarter section in Paris devoted to entertainment fringes of society Jane Avril demonstrates artistry that he brought to commercial project Composition juxtaposes the dynamic figure of the dance on a boldly foreshortened stage with cropped arm of a bass viol player in the immediate foreground, suggesting influence of Degas but extended bass viols head into a curving frame that surrounds Avril and connects her visually with her musical accompaniment Radical simplification of form Suppression of modeling, flattening of space, and integration of blank paper into the composition suggest influence of Japanese woodblock prints Emphasis of curving lines and incorporation of lettering into the total design = POSTER = ART NOUVEAU Modern feeling of alienation

*JANE AVRIL HENRI DE TOULOUSELAUTREC ART NOUVEAU - FRENCH LITHOGRAPHY 1893 [S 18-31]

TWENTIETH CENTURY ART A. The legacy of Czanne 1. Cubism 2. De Stijl 3. Constructivism 4. The Bauhaus 5. Minimalism B. The legacy of Van Gogh 1. Les Fauves 2. German Expressionism (The Bridge and the Blue Rider) 3. Abstract Expressionism C. The legacy of Gauguin 1. Dada 2. Surrealism 3. Pop Art and Neo-Dada

CUBISM Joint invention of Picasso and Braque Proto-cubism large Worked on this painting for years, rolled up and take out and change different parts women with satyrs entering brothel but changed Simplified features and wide, almond-shaped eyes reflect Iberian influence, two figures on right inspired by African masks at this time he is looking a non-western art Iberia and influenced masks African tribal art = earlier 19th CULTURAL REBELLION Influenced by Japanese wood block prints of Floating World geometric, abstraction AND STRONG EMOTIONAL CONTENT Takes CEZANNE further by fragmenting and rearranging figures become geometric shapes that recede and come forward juxtaposition of colors interested in element of time see universe in terms of change and flux see reality in glimpses CUBIST RE-INTRODUCE ELEMENTS OF TIME BY SIMULTATIONAL POINTS OF VIEW SEE FIGURES FROM FRONT AND BACK = SUGGESTS ELEMENTS OF TIME

*LES DEMOISELLES DAVIGNON PABLO PICASSO CUBISM BORN IN SPAIN PRODUCED IN FRANCE 1906 OIL ON CANVAS [S. 19-7]

CUBISM drastic fragmentation of figure and nature into more complex nature of geometric shapes LIMIT PALET TO BLACK, WHITE, BURNT SIENA neutral colors Concentrate in warmness of color = can see how recede Begin to see artists with CUBISM distance selves from public viewer has to become active agent in finding out about artists INTREPRETATION OF REALITY NOT ALL REALITY IS WHAT WE SEE OR REMEMBER Another reality = RHYTHM SEQUENCE SUGGESTING AN INFINITE PROGRESSION Different kinds of reality Now in terms of art for its own sake Musical analogy viewer should approach painting way approach musical composition to just enjoy and not ask what it represents Breaking up of forms and flattening of pictorial space BUT NOW pick apart and rearrange elements Analytic Cubism replicates actual process of perception examine objects from various angles ARTISTIC COMPOSITION Not a representation but just a painting Subtle tension between order and disorder maintained throughout painting

*MA JOLIE PABLO PICASSO CUBISM PRODUCED IN FRANCE - 1911-12 OIL ON CANVAS [S. 19-9]

DE STIJL THE STYLE THE NETHERLANDS COUNTERPART TO CONSTRUCTIVISM OUT OF CUBISM DEVELOP EXTREME MOVEMENTS INVOLVING GEOMETRIC SHAPES TWO KINDS OF BEAUTY sensual/subjective and higher/rational/objcetive/universal Sought universal beauty without sensual curves Comes out of Holland LED BY PIET MONDRIAN Art should be leader Create EQUILIBRIAM BY REDUCING ART AND FOLLOWING STRICT GEOMETRY IN ART AND REDUCE IT TO RECT. TRI AND SQUARE AND PRIMARY COLORS AND BLACK AND WHITE Composition with complete equilibrium with prefect unity without any visual strife or agitation Linear directions meant to symbolize harmony of a series of opposites, including male versus female, individual versus society, and spiritual versus material DYNAMIC EQUILIBRIUM achieved by PRECISE ARARNGEMENT OF COLOR AREAS OF DIFFERENT SIZE, SHAPE, AND WEIGHT, ASYMMETRICALLY GROUPED AROUND THE EDES OF A CANVAS WHOSE CENTER IS DOMINATED BY A LARGE ARE OF WHILE Ultimate purpose is to demonstrate a universal style with applications beyond the realm of art Style also in architecture

*COMPOSITION WITH YELLOW, RED, AND BLUE PIET MONDRIAN THE NETHERLANDS PRODUCE IN FRANCE, ENGLAND, US DE STIJL 1927 [S. 19-22]

BAUHAUS = COUNTERPART TO DE STIJL House of Building Bauhaus School learning rooted in doing Geometrical pure and apply craftsmanship like in craft BUT EMBRACE MACHINE make it produce quality works like medieval building guilds = cooperative spirit Fluid space not division of space Graphic design SANS-SERIF TYPOGRAPHY No attempt to cover or decorate building acknowledges the reinforced concrete, steel, and glass Modern engineering methods = eliminate need for walls to be structural supports and replaced with glass panels to create light, airy interior spaces School closed by Nazis

*THE BAUHAUS DESSAU WALTER GROPIUS BAUHAUS GERMANY 1925/26 [S. 19-27]

FAUVISM express selves in bright colors done in abstract manner EXAGGERATED USE OF BRIGHT COLORS FOR EMOTIONAL EFFECTS = fauvism = wild beasts Paintings with sense of forceful color, impulsive brushwork, conveying a new intensity of visual experience THE JOY OF LIFE leading Fauvist, Matisse Transforms hedonistic pursuits in a pastoral landscape into a vibrant arrangement of luscious colors Dancing, revelery, commune with nature Colors freed from naturalistic constraints = joyous mood of uninhibited figures Long flowing curve = CONTINUOUS MOVEMENT RHYTHYM Devoid of troubling or depressing subject matter

*THE JOY OF LIFE HENRI MATISSE FAUVISM FRENCH - 19051906 OIL ON CANVAS [S. 192] Salon dAutomne, 1905, Louis Vauxcelles

EXPRESSIONISM - GERMAN EXPRESSIONISM THE BLUE RIDER GROUP Inspired by Monet Principles of expressionism EXAGERRATION OF FORM FOR EMOTIONAL DISCOMFORT ON SPECTATOR 1910 1st to create work free form with no direct relationship to nature FIRST COMPLETELY ABSTRACT WORK FANTASY inspired by music most abstract writes concerning the Spiritual in Art Translated principles why abstract art valid NON OBJECTIVE PAINTING Without reference to object only experiment with lines, forms and colors Colors create emotion COLOR BLUE SYMBOLIC of spirituality and the male principle ANALOGY BETWEEN ABSTRACT MUSIC AND ABSTRACT PAINTING

*IMPROVISATION 28 VASILY (WASSILY) KANDINSKY THE BLUE RIDER GROUP EXPRESSIONISM RUSSIAN BUT PRODUCED IN GERMANY 1912 OIL ON CANVAS [S. 19-6]

ABSTRACT EXPRESSIONISM POLLOCK BORN IN US AND PRODUCED IN US ACTION PAINTER OIL ON CANVAS COMPLETE ABSTRACTION Alcoholic, self destructive Took from Surrealists both a commitment to examining the unconscious and technques for doing so but COLLECTIVE UNCONSCIOUS private memories storehouse of feelings Works produced between 1940-1960 Nonrepresentational art ACTION PAINTERS or gesturalism characterized by active paint handling COLOR FIELD PAINTING distinguished by broad sweeping expanses of color (New York School) Lays canvas out on floor Auto paint Use brushes with long brushes to whip across Jack the dripper principles of Kadinsky and Van Gogh communicate state of mind of artists state of mind of artist during act of painting

*ABSTRACT EXPRESSIONISM: Jackson Pollock, Autumn Rhythm (No. 30), 1950 [S. 20-3)

SURREALSIM Intellectual successor to DADA explore sub conscience of mind comes out of literary movement surrealism = all are aware of reality of sub-conscience world of dream elusive suggestion of dream world paranoid-critical method sane artists cultivate the ability of the paranoid to misread ordinary appearances in order to free themselves from conventional thought. Soft watches UNEXPECTED JUXTAPOSITIONS OF DIPARATE REALITIES IRRATIONAL WORLD

*THE PERSISTENCE OF MEMORY SALVADOR DALI SURREALISM SPAIN - 1931 [S. 19-29] Andr Breton, Manifesto of Surrealism, 1924

POP ART : NEO-DADA takes influence form modern world everyday objects extension of symbolism of VAN GOGH STYLE AND SUBJECT MATTER FROM POPULAR CULTURE comic books, advertisements, movies and television. Originated in London Andy Warhol successful commercial illustrator in NYC during the 1950s becomes artist and focus on popular culture celebrate the middle-class social and material values he absorbed growing up during Great Depression MARILYN DIPTYCH celebrates industrial mode of production Affirmative view of ordinary culture Images that anyone could recognize all the great modern things that the Abstract Expressionists tried so hard not to notice at all.

*MARILYN DIPTYCH ANDY WARHOL POP ART [Neo-Dada], US. - oil, acrylic, silkscreen, 1962 [S. 20-14]

Comprehensive Final Section

Egyptian sculpture 4th Dynasty Greek sculpture Hellenistic Greek ceramics Classical, Hellenistic Roman Architecture public, Late Empire Byzantine early Christianity, Church Architecture Carolingian Church Architecture Romanesque Church Architecture decoration Gothic Cathedral

Comprehensive Final Section

Northern Renaissance oil painting Italian Renaissance Oil Painting Mannerism Sculpture Impressionism Post-Impressionism Surrealism Pop Art