French Art History Book About History of Humans Cave Paintings

History of European works of art

The art of Europe, or Western fine art, encompasses the history of visual art in Europe. European prehistoric fine art started equally mobile Upper Paleolithic rock and cave painting and petroglyph art and was characteristic of the menstruation between the Paleolithic and the Iron Historic period.^[1] Written histories of European fine art oft begin with the fine art of Aboriginal Israel and the Ancient Aegean civilizations, dating from the 3rd millennium BC. Parallel with these significant cultures, fine art of one course or another existed all over Europe, wherever there were people, leaving signs such as carvings, decorated artifacts and huge standing stones. Withal a consistent pattern of artistic development within Europe becomes clear only with the fine art of Ancient Greece, adopted and transformed by Rome and carried; with the Roman Empire, beyond much of Europe, Northward Africa and Western Asia.^[2]

The influence of the art of the Classical period waxed and waned throughout the next ii 1000 years, seeming to slip into a distant memory in parts of the Medieval period, to re-emerge in the Renaissance, suffer a period of what some early art historians viewed as "decay" during the Baroque period,^[3] to reappear in a refined grade in Neo-Classicism^[4] and to be reborn in Postal service-Modernism.^[v]

Earlier the 1800s, the Christian church was a major influence upon European art, the commissions of the Church building, architectural, painterly and sculptural, providing the major source of work for artists. The history of the Church was very much reflected in the history of art, during this catamenia. In the same period of time there was renewed interest in heroes and heroines, tales of mythological gods and goddesses, slap-up wars, and bizarre creatures which were not connected to organized religion.^[6] Most fine art of the terminal 200 years has been produced without reference to faith and often with no detail credo at all, simply fine art has oft been influenced by political problems, whether reflecting the concerns of patrons or the creative person.

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, Baroque, Rococo, Neoclassical, Modern, Postmodern and New European Painting.^[6]

Prehistoric art [edit]

European prehistoric art is an important part of the European cultural heritage.^[7] Prehistoric art history is usually divided into four main periods: Stone Historic period, Neolithic, Bronze Age, and Fe Historic period. Virtually of the remaining artifacts of this menses are small sculptures and cavern paintings.

Much surviving prehistoric fine art is small portable sculptures, with a small group of female Venus figurines such as the Venus of Willendorf (24,000–22,000 BC) found beyond central Europe;^[8] the 30 cm tall Löwenmensch figurine of about xxx,000 BCE has hardly any pieces that can be related to information technology. The Swimming Reindeer of almost 11,000 BCE is one of the finest of a number of Magdalenian carvings in bone or antler of animals in the art of the Upper Paleolithic, though they are outnumbered by engraved pieces, which are sometimes classified as sculpture.^[nine] With the beginning of the Mesolithic in Europe figurative sculpture greatly reduced,^[10] and remained a less mutual element in art than relief decoration of practical objects until the Roman menstruation, despite some works such as the Gundestrup cauldron from the European Fe Age and the Bronze Historic period Trundholm dominicus chariot.^[11]

The oldest European cave fine art dates back 40,800, and can be plant in the El Castillo Cave in Espana.^[12] Other cave painting sites include Lascaux, Cave of Altamira, Grotte de Cussac, Pech Merle, Cave of Niaux, Chauvet Cavern, 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 central Europe)^[xiii] and Magura,^[1] Belogradchik, Bulgaria.^[xiv] Rock painting was also performed on cliff faces, merely fewer of those have survived because of erosion. One well-known example 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, Spain in 1879, the academics of the time considered them hoaxes. Recent reappraisals and numerous additional discoveries accept since demonstrated their authenticity, while at the same time stimulating interest in the artistry of Upper Palaeolithic peoples. Cave paintings, undertaken with only the about rudimentary tools, can besides replenish valuable insight into the civilization and beliefs of that era.

The Rock art of the Iberian Mediterranean Basin represents a very unlike style, with the human figure the chief focus, often seen in large groups, with battles, dancing and hunting all represented, also as other activities and details such as clothing. The figures are mostly rather sketchily depicted in sparse paint, with the relationships between the groups of humans and animals more carefully depicted than individual figures. Other less numerous groups of stone art, many engraved rather than painted, show like characteristics. The Iberian examples are believed to date from a long period perhaps covering the Upper Paleolithic, Mesolithic and early Neolithic.

Prehistoric Celtic art comes from much of Atomic number 26 Historic period Europe and survives mainly in the course of high-condition metalwork skillfully decorated with circuitous, elegant and mostly abstract designs, often using curving and screw forms. There are human heads and some fully represented animals, but total-length human figures at any size are so rare that their absence may represent a religious taboo. As the Romans conquered Celtic territories, information technology almost entirely vanishes, just the style connected in limited utilise in the British Isles, and with the coming of Christianity revived in that location in the Insular style of the Early Center Ages.

Ancient [edit]

Minoan [edit]

The Minoan civilization of Crete is regarded as the oldest civilization in Europe.^[15] Minoan art is marked past imaginative images and infrequent workmanship. Sinclair Hood described an "essential quality of the finest Minoan art, the power to create an atmosphere of motion and life although following a fix of highly formal conventions".^[16] Information technology forms part of the wider grouping of Aegean art, and in afterwards periods came for a time to have a dominant influence over Cycladic fine art. Forest and textiles have decomposed, so most surviving examples of Minoan art are pottery, intricately-carved Minoan seals, .palace frescos which include landscapes), small sculptures in various materials, jewellery, and metalwork.

The human relationship of Minoan art to that of other gimmicky cultures and after Aboriginal Greek art has been much discussed. Information technology clearly dominated Mycenaean art and Cycladic art of the same periods,^[17] even later Crete was occupied by the Mycenaeans, simply merely some aspects of the tradition survived the Greek Dark Ages after the collapse of Mycenaean Greece.^[xviii]

Minoan art has a variety of bailiwick-matter, much of it appearing 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; bull's heads are too a popular subject field in terracotta and other sculptural materials. There are no figures that appear to be portraits of individuals, or are clearly royal, and the identities of religious figures is ofttimes tentative,^[19] with scholars uncertain whether they are deities, clergy or devotees.^[20] Every bit, whether painted rooms were "shrines" or secular is far from clear; 1 room in Akrotiri has been argued to be a bedroom, with remains of a bed, or a shrine.^[21]

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

While Minoan figures, whether human or animal, accept a swell sense of life and move, they are often not very accurate, and the species is sometimes incommunicable to identify; by comparison with Ancient Egyptian art they are frequently more brilliant, but less naturalistic.^[23] In comparison with the fine art of other ancient cultures at that place is a high proportion of female figures, though the idea that Minoans had but goddesses and no gods is now discounted. Most human figures are in profile or in a version of the Egyptian convention with the head and legs in contour, and the torso seen frontally; just the Minoan figures exaggerate features such as slim male person waists and large female breasts.^[24]

The Malia Pendant; 1800-1700 BC; golden; height: 4.vi cm, width: 4.9 cm; Heraklion Archaeological Museum
The fresco named the Bull-Leaping Fresco; 1675-1460 BC; lime plaster; height: 0.8 grand, width: one m; from the palace at Knossos (Crete); Heraklion Archaeological Museum
"Snake Goddess" figurine; 1460-1410 BC (from the Minoan Neo-palatial Period); faience; height: 29.5 cm; from the Temple Repository at Knossos; Heraklion Archaeological Museum

Classical Greek and Hellenistic [edit]

Aboriginal Greece had great painters, great sculptors, and great architects. The Parthenon is an example of their architecture that has lasted to modern days. Greek marble sculpture is often described as the highest form of Classical art. Painting on the pottery of Ancient Greece and ceramics gives a particularly informative glimpse into the way club in Ancient Greece functioned. Blackness-figure vase painting and Cherry-red-figure 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, all the same no examples of Ancient Greek console painting survive, only written descriptions by their contemporaries or by afterward Romans. Zeuxis lived in 5–half dozen BC and was said to exist the beginning 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 nigh iconic Doric Greek temple built of marble and limestone between circa 460-406 BC, dedicated to the goddess Athena^[25]
Mirror with a support in the grade of a draped woman; mid-fifth century BC; bronze; height: 40.41 cm; Metropolitan Museum of Art
Calyx-krater; 400-375 BC; ceramic; top: 27.9 cm, diameter: 28.6 cm; from Thebes (Greece); Louvre
Statuette of a draped woman; 2d century BC; terracotta; elevation: 29.ii cm; Metropolitan Museum of Art
Venus de Milo; 130–100 BC; marble; meridian: 203 cm (80 in); Louvre
Illustrations of examples of ancient Greek ornaments and patterns, drawn in 1874

Roman [edit]

Roman art was influenced by Greece and can in part be taken as a descendant of ancient Greek painting and sculpture, but was also strongly influenced past the more local Etruscan art of Italy. Roman sculpture, is primarily portraiture derived from the upper classes of society equally well every bit depictions of the gods. However, Roman painting does have important unique characteristics. Among surviving Roman paintings are wall paintings, many from villas in Campania, in Southern Italy, 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-l'œil, pseudo-perspective, and pure landscape.^[27]

Almost all of the surviving painted portraits from the Aboriginal globe are a large number of bury-portraits of bust form found in the Belatedly Antique cemetery of Al-Fayum. They give an idea of the quality that the finest ancient work must have had. A very pocket-sized number of miniatures from Late Antique illustrated books also survive, and a rather larger number of copies of them from the Early Medieval menstruation. Early Christian fine art grew out of Roman pop, and later Imperial, art and adapted its iconography from these sources.

Bronze statuette of a philosopher on a lamp stand; late 1st century BC; bronze; overall: 27.3 cm; weight: 2.ix kg; Metropolitan Museum of Fine art (New York Urban center)
Restoration of a fresco from an Aboriginal villa bedroom; 50-forty BC; dimensions of the room: 265.iv ten 334 x 583.9 cm; Metropolitan Museum of Art (New York Urban center)
Altar with festoons; circa l Advertisement; marble; meridian: 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; peak: fourscore.7 cm; Metropolitan Museum of Fine art
Panoramic view of the Pantheon (Rome), built between 113 and 125
Head of a goddess wearing a diadem; 1st–2nd century; marble; summit: 23 cm; Metropolitan Museum of Art
Couch and footstool; 1st–2d century AD; forest, bone and glass; couch: 105.4 × 76.two × 214.6 cm; Metropolitan Museum of Art
Sarcophagus with festoons; 200–225; marble; 134.6 x 223.5 cm; Metropolitan Museum of Art

Medieval [edit]

About surviving art from the Medieval flow was religious in focus, often funded past 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 instance.

I of the key questions about Medieval art concerns its lack of realism. A great deal of knowledge of perspective in art and understanding of the human effigy was lost with the fall of Rome. But realism was not the primary business concern of Medieval artists. They were simply trying to transport a religious message, a task which demands articulate iconic images instead of precisely rendered ones.

Time Menstruum: 6th century to 15th century

Early Medieval art [edit]

Migration period art is a full general term for the art of the "barbarian" peoples who moved into formerly Roman territories. Celtic fine art in the 7th and eighth centuries saw a fusion with Germanic traditions through contact with the Anglo-Saxons creating what is called the Hiberno-Saxon style or Insular fine art, which was to be highly influential on the residue of the Center Ages. Merovingian fine art describes the fine art of the Franks before about 800, when Carolingian fine art combined insular influences with a self-witting classical revival, developing into Ottonian art. Anglo-Saxon art is the art of England later on the Insular menses. Illuminated manuscripts contain almost all the surviving painting of the period, just compages, metalwork and small carved piece of work in wood or ivory were likewise important media.

Shoulder-clasps from Sutton Hoo; early on seventh century; aureate, glass & garnet; length: 12.seven cm; British Museum

Byzantine [edit]

Byzantine art overlaps with or merges with what nosotros telephone call Early Christian art until the iconoclasm period of 730-843 when the vast majority of artwork with figures was destroyed; then piddling remains that today any discovery sheds new understanding. After 843 until 1453 there is a clear Byzantine art tradition. It is often the finest art of the Center Ages in terms of quality of textile and workmanship, with product centered on Constantinople. Byzantine art'south crowning achievement were the monumental frescos and mosaics inside domed churches, nearly of which have 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 x 29.6 x 12.4 cm, folio: 35 ten 26.ii cm; Metropolitan Museum of Fine art (New York City)

Romanesque [edit]

Romanesque art refers to the period from near thou to the ascension of Gothic art in the 12th century. This was a period of increasing prosperity, and the first to encounter a coherent style used across Europe, from Scandinavia to Sicily. Romanesque fine art is vigorous and direct, was originally brightly coloured, and is often very sophisticated. Stained glass and enamel on metalwork became important media, and larger sculptures in the round adult, although high relief was the principal 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 fourth dimension. The term originated with Gothic architecture in 1140, only Gothic painting did non appear until effectually 1200 (this date has many qualifications), when it diverged from Romanesque fashion. Gothic sculpture was born in French republic in 1144 with the renovation of the Abbey Church of Due south. Denis and spread throughout Europe, past the 13th century it had go the international fashion, replacing Romanesque. International Gothic describes Gothic art from nigh 1360 to 1430, after which Gothic art merges into Renaissance art at dissimilar times in dissimilar places. During this period forms such as painting, in fresco and on panel, become newly important, and the end of the period 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 drinking glass, vitreous paint, and lead; overall: 373.four x 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 ten 13 x 1.9 cm; Metropolitan Museum of Art
Enthroned Virgin and child; 1260–1280; elephant ivory with traces of paint and gilding; overall: 18.4 x 7.6 ten 7.3 cm; Metropolitan Museum of Art
Bifolium with the decretals of gratian; circa 1290; tempera and gilded on parchment, brown ink, and mod leather bounden; overall: 48.3 x 29.2 x 1.3 cm, opened: 47.2 cm; Metropolitan Museum of Art
German diptych with religious scenes; 1300–1325; silver gilded with translucent and opaque enamels; overall (opened): vi.i ten eight.6 x 0.8 cm; Metropolitan Museum of Fine art
Austrian statue of Enthroned Virgin; 1490–1500; limestone with gesso, painted and gilded; eighty.3 x 59.1 x 23.5 cm; Metropolitan Museum of Art

Renaissance [edit]

The Renaissance is characterized by a focus on the arts of Ancient Greece and Rome, which led to many changes in both the technical aspects of painting and sculpture, as well as to their subject matter. It began in Italy, a state rich in Roman heritage equally well as cloth prosperity to fund artists. During the Renaissance, painters began to enhance the realism of their work by using new techniques in perspective, thus representing three dimensions more authentically. Artists also began to utilise new techniques in the manipulation of lite and darkness, such as the tone contrast evident in many of Titian's portraits and the development of sfumato and chiaroscuro by Leonardo da Vinci. Sculptors, too, began to rediscover many ancient techniques such as contrapposto. Following with the humanist spirit of the age, art became more secular in subject matter, depicting ancient mythology in addition to Christian themes. This genre of art is oftentimes referred to as Renaissance Classicism. In the Due north, the most important Renaissance innovation was the widespread employ of oil paints, which allowed for greater color and intensity.

From Gothic to the Renaissance [edit]

During the tardily 13th century and early 14th century, much of the painting in Italia was Byzantine in character, notably that of Duccio of Siena and Cimabue of Florence, while Pietro Cavallini in Rome was more Gothic in style. During the 13th century, Italian sculptors began to draw inspiration not only from medieval prototypes, but likewise 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 bicycle at the Scrovegni Chapel, Padua, is seen every bit the beginnings of a Renaissance style.

Other painters of the 14th century were carried the Gothic mode to dandy elaboration and detail. Notable amongst 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 grade of elaboration that was not dependent upon the awarding of gilded foliage and embossing, merely upon the minute delineation of the natural world. The art of painting textures with bully realism evolved at this time. Dutch painters such equally January van Eyck and Hugo van der Goes were to have great influence on Tardily Gothic and Early Renaissance painting.

Early Renaissance [edit]

The ideas of the Renaissance showtime emerged in the city-state of Florence, Italian republic. The sculptor Donatello returned to classical techniques such as contrapposto and classical subjects like the unsupported nude—his second sculpture of David was the beginning gratis-standing bronze nude created in Europe since the Roman Empire. The sculptor and builder Brunelleschi studied the architectural ideas of ancient Roman buildings for inspiration. Masaccio perfected elements like composition, individual expression, and human form to pigment 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's dome for the cathedral was ane of the offset truly revolutionary architectural innovations since the Gothic flight buttress. Donatello created many of its sculptures. Giotto and Lorenzo Ghiberti too contributed to the cathedral.

High Renaissance [edit]

Loftier Renaissance artists include such figures every bit Leonardo da Vinci, Michelangelo Buonarroti, and Raffaello Sanzio.

The 15th-century artistic developments in Italian republic (for example, the interest in perspectival systems, in depicting anatomy, and in classical cultures) matured during the 16th century, accounting for the designations "Early Renaissance" for the 15th century and "High Renaissance" for the 16th century. Although no singular manner characterizes the High Renaissance, the art of those most closely associated with this period—Leonardo da Vinci, Raphael, Michelangelo, and Titian—exhibits an astounding mastery, both technical and aesthetic. High Renaissance artists created works of such authority that generations of later artists relied on these artworks for instruction. These exemplary artistic creations further elevated the prestige of artists. Artists could claim divine inspiration, thereby raising visual art to a status formerly given but to verse. Thus, painters, sculptors, and architects came into their own, successfully claiming for their work a loftier position amid the fine arts. In a sense, 16th- century masters created a new profession with its own rights of expression and its own venerable character.

Northern art up to the Renaissance [edit]

Early on Netherlandish painting developed (simply did not strictly invent) the technique of oil painting to permit greater command in painting minute detail with realism—January van Eyck (1366–1441) was a figure in the movement from illuminated manuscripts to panel paintings.

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

Albrecht Dürer introduced Italian Renaissance style to Frg at the terminate of the 15th century, and dominated High german Renaissance art.

Fourth dimension Period:

Italian Renaissance: Tardily 14th century to Early 16th century
Northern Renaissance: 16th century

Mannerism, Baroque, and Rococo [edit]

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

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

In European fine art, Renaissance Classicism spawned 2 different movements—Mannerism and the Baroque. Mannerism, a reaction against the idealist perfection of Classicism, employed distortion of calorie-free 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 late 16th, early 17th centuries. Northern Mannerism took longer to develop, and was largely a movement of the concluding half of the 16th century. Baroque art took the representationalism of the Renaissance to new heights, emphasizing detail, movement, lighting, and drama in their search for beauty. Perchance the best known Baroque painters are Caravaggio, Rembrandt, Peter Paul Rubens, and Diego Velázquez.

A rather different fine art developed out of northern realist traditions in 17th-century Dutch Gold Historic period painting, which had very little religious art, and petty history painting, instead playing a crucial part in developing secular genres such as withal life, genre paintings of everyday scenes, and landscape painting. While the Bizarre nature of Rembrandt's art is clear, the label is less employ for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while also continuing to produce the traditional categories.

Baroque fine art is often seen every bit part of the Counter-Reformation—the artistic element of the revival of spiritual life in the Roman Cosmic 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 artistic context, and both paintings and sculptures were characterised by a strong element of drama, emotion and theatricality. Famous Bizarre artists include Caravaggio or Rubens.^[34] Artemisia Gentileschi was another noteworthy artist, who was inspired past Caravaggio's style. Baroque art was especially ornate and elaborate in nature, oft using rich, warm colours with dark undertones. Pomp and grandeur were of import elements of the Baroque creative motility in general, as can be seen when Louis 14 said, "I am grandeur incarnate"; many Baroque artists served kings who tried to realize this goal. Bizarre art in many means was similar to Renaissance fine art; as a matter of fact, the term was initially used in a derogative style to describe post-Renaissance art and architecture which was over-elaborate.^[34] Baroque art can be seen as a more elaborate and dramatic re-adaptation of tardily Renaissance art.

By the 18th century, however, Baroque art was falling out of fashion as many deemed it too melodramatic and as well gloomy, and information technology adult into the Rococo, which emerged in France. Rococo art was even more elaborate than the Baroque, simply it was less serious and more playful.^[35] Whilst the Bizarre used rich, strong colours, Rococo used pale, creamier shades. The artistic movement no longer placed an emphasis on politics and religion, focusing instead on lighter themes such as romance, celebration, and appreciation of nature. Rococo art as well contrasted the Baroque as information technology oft 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 full general.^[36] The 18th-century style flourished for a short while; however, the Rococo style presently fell out of favor, being seen by many as a gaudy and superficial movement emphasizing aesthetics over significant. Neoclassicism in many ways developed as a counter movement of the Rococo, the impetus being a sense of disgust 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 Fourteen; past Gian Lorenzo Bernini; 1665; marble; 105 × 99 × 46 cm; Palace of Versailles
Carpet with fame and fortitude; 1668–1685; knotted and cut wool pile, woven with about 90 knots per foursquare inch; 909.3 ten 459.7 cm; Metropolitan Museum of Art

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

Boiserie from the Hôtel de Varengeville; circa 1736–1752; diverse materials, including carved, painted, and gilded oak; acme: 5.58 m, width: 7.07 k, length: 12.36 grand; in the Metropolitan Museum of Art (New York City)
Championship print; past Juste Meissonnier; 1738–1749; etching on paper; 51.half dozen ten 34.nine cm; Rijksmuseum
Pair of candelabrums; 18th century; soft-paste porcelain; heights (the left 1): 26.eight cm, (the right ane): 26.4 cm; by the Chelsea porcelain mill; Metropolitan Museum of Art

Neoclassicism, Romanticism, Academism, and Realism [edit]

Throughout the 18th century, a counter movement opposing the Rococo sprang up in different parts of Europe, usually known equally Neoclassicism. Information technology despised the perceived superficiality and frivolity of Rococo art, and desired for a return to the simplicity, order and 'purism' of classical artifact, especially ancient Greece and Rome. The movement was in part likewise influenced by the Renaissance, which itself was strongly influenced by classical fine art. Neoclassicism was the artistic component of the intellectual move known equally 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 peachy works of Neoclassical architecture spring up during this period; Neoclassicism's fascination with classical antiquity tin can be seen in the popularity of the Grand Tour 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 late 18th century; in France, Rococo art was replaced with the preferred Neoclassical art, which was seen as more serious than the former movement. In many ways, Neoclassicism can be seen as a political movement as well every bit an artistic and cultural i.^[37] Neoclassical art places an accent on order, symmetry and classical simplicity; common themes in Neoclassical art include backbone and war, equally were commonly explored in aboriginal Greek and Roman art. Ingres, Canova, and Jacques-Louis David are amid the best-known neoclassicists.^[38]

Just as Mannerism rejected Classicism, and so did Romanticism reject the ideas of the Enlightenment and the artful of the Neoclassicists. Romanticism rejected the highly objective and ordered nature of Neoclassicism, and opted for a more private and emotional approach to the arts.^[39] Romanticism placed an emphasis on nature, especially when aiming to portray the power and beauty of the natural world, and emotions, and sought a highly personal approach to art. Romantic fine art was about individual feelings, non common themes, such as in Neoclassicism; in such a way, Romantic art often used colours in order to express feelings and emotion.^[39] Similarly to Neoclassicism, Romantic art took much of its inspiration from ancient Greek and Roman art and mythology, yet, unlike Neoclassical, this inspiration was primarily used as a mode to create symbolism and imagery. Romantic art also takes much of its aesthetic qualities from medievalism and Gothicism, as well as mythology and sociology. Amidst the greatest Romantic artists were Eugène Delacroix, Francisco Goya, J.M.West. Turner, John Constable, Caspar David Friedrich, Thomas Cole, and William Blake.^[38]

Most artists attempted to take a centrist arroyo which adopted dissimilar features of Neoclassicist and Romanticist styles, in order to synthesize them. The different attempts took identify within the French Academy, and collectively are called Academic fine art. Adolphe William Bouguereau is considered a main example of this stream of art.

In the early on 19th century the face of Europe, however, became radically altered by industrialization. Poverty, squalor, and desperation were to exist the fate of the new working grade created by the "revolution". In response to these changes going on in lodge, the motion of Realism emerged. Realism sought to accurately portray the conditions and hardships of the poor in the hopes of irresolute order. In dissimilarity with Romanticism, which was essentially optimistic well-nigh flesh, 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 besides equally an creative movement. The great Realist painters include Jean-Baptiste-Siméon Chardin, Gustave Courbet, Jean-François Millet, Camille Corot, Honoré Daumier, Édouard Manet, Edgar Degas (both considered as Impressionists), and Thomas Eakins, among others.

The response of compages to industrialisation, in stark contrast to the other arts, was to veer towards historicism. Although the railway stations built during this catamenia are often considered the truest reflections of its spirit – they are sometimes called "the cathedrals of the age" – the main movements in architecture during the Industrial Age were revivals of styles from the afar past, such as the Gothic Revival. Related movements were the Pre-Raphaelite Brotherhood, who attempted to return art to its state of "purity" prior to Raphael, and the Arts and Crafts Move, which reacted against the impersonality of mass-produced appurtenances and advocated a render to medieval adroitness.

Time Menstruation:

Neoclassicism: mid-early 18th century to early 19th century
Romanticism: late 18th century to mid-19th century
Realism: 19th century

Modern art [edit]

Out of the naturalist ethic of Realism grew a major creative motion, Impressionism. The Impressionists pioneered the use of low-cal 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 move. As a directly outgrowth of Impressionism came the development of Post-Impressionism. Paul Cézanne, Vincent van Gogh, Paul Gauguin, Georges Seurat are the best known Post-Impressionists.

Post-obit the Impressionists and the Post-Impressionists came Fauvism, often considered the commencement "modern" genre of art. Just as the Impressionists revolutionized lite, and then did the fauvists rethink color, painting their canvases in brilliant, wild hues. Subsequently the Fauvists, modern art began to develop in all its forms, ranging from Expressionism, concerned with evoking emotion through objective works of art, to Cubism, the fine art of transposing a four-dimensional reality onto a flat sail, to Abstruse art. These new art forms pushed the limits of traditional notions of "fine art" and corresponded to the similar rapid changes that were taking identify in human order, engineering science, and thought.

Surrealism is ofttimes classified as a form of Modern Art. Even so, the Surrealists themselves have objected to the written report of surrealism as an era in fine art history, challenge that it oversimplifies the complexity of the motility (which they say is not an artistic movement), misrepresents the human relationship of surrealism to aesthetics, and falsely characterizes ongoing surrealism as a finished, historically encapsulated era. Other forms of Modernistic art (some of which edge on Gimmicky art) include:

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

Time Period:

Impressionism: belatedly 19th Century
Others: First half of the 20th century

Contemporary art and Postmodern art [edit]

Modern art foreshadowed several characteristics of what would later exist defined every bit postmodern art; equally a matter of fact, several modern fine art movements tin oft exist classified equally both modern and postmodern, such as pop art. Postmodern art, for instance, places a strong emphasis on irony, parody and sense of humor in general; mod fine art started to develop a more than ironic approach to art which would subsequently advance in a postmodern context. Postmodern art sees the blurring between the loftier and fine arts with low-end and commercial art; mod art started to experiment with this blurring.^[39] Contempo developments in art have been characterised by a significant expansion of what can now deemed to be fine art, in terms of materials, media, activeness and concept. Conceptual art in particular has had a wide influence. This started literally as the replacement of concept for a made object, ane of the intentions of which was to refute the commodification of art. However, it now commonly refers to an artwork where in that location is an object, but the main claim for the work is made for the thought process that has informed it. The aspect of commercialism has returned to the work.

There has also been an increment in 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 every bit much equally Modern fine art movements were primarily focused on their own activities and values, while Postmodernism uses the whole range of previous movements as a reference point. 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 by another. Another event of this has been the growth of commercialism and glory. Postmodern fine art has questioned common rules and guidelines of what is regarded equally 'fine fine art', merging low art with the fine arts until none is fully distinguishable.^[40] ^[41] Before the advent of postmodernism, the fine arts were characterised by a form of aesthetic quality, elegance, craftsmanship, finesse and intellectual stimulation which was intended to appeal to the upper or educated classes; this distinguished loftier art from low art, which, in plow, was seen equally tacky, kitsch, hands fabricated and lacking in much or whatever intellectual stimulation, fine art which was intended to entreatment to the masses. Postmodern art blurred these distinctions, bringing a strong chemical element of kitsch, commercialism and campness into contemporary fine art;^[39] what is nowadays seen as fine art may have been seen as low art before postmodernism revolutionised the concept of what loftier or fine art truly is.^[39] In improver, the postmodern nature of contemporary art leaves a lot of space for individualism within the art scene; for instance, postmodern fine art often takes inspiration from past artistic movements, such as Gothic or Baroque art, and both juxtaposes and recycles styles from these past periods in a different 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 want to "kill", "murder", or "rape" them in favor of more contemporary means of expression).^[42] have denounced or attempted to "supersede" painting, and at that place have also been other anti-painting trends amongst creative movements, such as that of Dada and conceptual art. The trend away from painting in the late 20th century has been countered by various movements, for example the continuation of Minimal Art, Lyrical Brainchild, Popular Art, Op Art, New Realism, Photorealism, Neo Geo, Neo-expressionism, New European Painting, Stuckism, Excessivism and various other important and influential painterly directions.

References [edit]

^ ^a ^b Oosterbeek, Luíz. "European Prehistoric Art". Europeart . Retrieved four Dec 2012.
^ Boardman, John ed., The Oxford History of Classical Fine art, pp. 349-369, Oxford University Press, 1993, ISBN 0198143869
^ Banister Fletcher excluded near all Bizarre buildings from his mammoth tome A History of Architecture on the Comparative Method. The publishers eventually rectified this.
^ Murray, P. and Murray, L. (1963) The Fine art of the Renaissance. London: Thames & Hudson (World of Art), p. 9. ISBN 978-0-500-20008-7. "...in 1855 we find, for the first time, the word 'Renaissance' used — by the French historian Michelet — as an describing word to describe a whole period of history and not bars to the rebirth of Latin letters or a classically inspired style in the arts."
^ Hause, S. & Maltby, W. (2001). A History of European Society. Essentials of Western Culture (Vol. 2, pp. 245–246). Belmont, CA: Thomson Learning, Inc.
^ ^a ^b "Art of Europe". Saint Louis Art Museum. Slam. Retrieved four December 2012.
^ Oosterbeek, Luíz. "European Prehistoric Fine art". Europeart . Retrieved 4 Dec 2012.
^ Sandars, viii-16, 29-31
^ Hahn, Joachim, "Prehistoric Europe, §II: Palaeolithic three. Portable fine art" in Oxford Fine art Online, accessed 24 August 2012; Sandars, 37-forty
^ Sandars, 75-fourscore
^ Sandars, 253-257, 183-185
^ Kwong, Matt. "Oldest cavern-human being art in Europe dates dorsum twoscore,800 years". CBC News. Retrieved 4 Dec 2012.
^ "Romanian Cave May Boast Key Europe's Oldest Cave Art | Scientific discipline/AAAS | News". News.sciencemag.org. 21 June 2010. Retrieved 25 Baronial 2013.
^ Gunther, Michael. "Art of Prehistoric Europe". Retrieved 4 December 2012.
^ Chaniotis, Angelos. "Ancient Crete". Oxford Bibliographies. Oxford University Printing. Retrieved two Jan 2013.
^ Hood, 56
^ Hood, 17-eighteen, 23-23
^ Hood, 240-241
^ Gates (2004), 33-34, 41
^ eg Hood, 53, 55, 58, 110
^ Chapin, 49-51
^ Hood, 37-38
^ Hood, 56, 233-235
^ Hood, 235-236
^ Mattinson, Lindsay (2019). Agreement Compages A Guide To Architectural Styles. Amber Books. p. 21. ISBN978-one-78274-748-2.
^ "Roman Painting". Art-and-archaeology.com. Retrieved 25 August 2013.
^ "Roman Painting". Heilbrunn Timeline of Fine art History. The Metropolitan Museum of Art. Retrieved nineteen Oct 2013.
^ "The Vitruvian Homo". leonardodavinci.stanford.edu . Retrieved 25 March 2018.
^ ^a ^b "BBC - Science & Nature - Leonardo - Vitruvian man". world wide web.bbc.co.great britain . Retrieved 25 March 2018.
^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 156. ISBN978 0 7148 7502 6.
^ Fortenberry, Diane (2017). THE ART MUSEUM. Phaidon. p. 156. ISBN978 0 7148 7502 vi.
^ Fortenberry, Diane (2017). THE Fine art MUSEUM. Phaidon. p. 157. ISBN978 0 7148 7502 six.
^ Fortenberry, Diane (2017). THE Art MUSEUM. Phaidon. p. 157. ISBN978 0 7148 7502 6.
^ ^a ^b "Baroque Fine art". Arthistory-famousartists-paintings.com. 24 July 2013. Retrieved 25 August 2013.
^ "Ancien Authorities Rococo". Bc.edu. Archived from the original on xi April 2018. Retrieved 25 Baronial 2013.
^ "chinoiserie facts, information, pictures - Encyclopedia.com manufactures about chinoiserie". www.encyclopedia.com . Retrieved 25 March 2018.
^ "Art in Neoclassicism". Artsz.org. 26 Feb 2008. Retrieved 25 August 2013.
^ ^a ^b James J. Sheehan, "Art and Its Publics, c. 1800," United and Multifariousness in European Culture c. 1800, ed. Tim Blanning and Hagen Schulze (New York: Oxford Academy Press, 2006), 5-18.
^ ^a ^b ^c ^d ^{due east} ^f "General Introduction to Postmodernism". Cla.purdue.edu. Retrieved 25 Baronial 2013.
^ Ideas About Art, Desmond, Kathleen K. [1] John Wiley & Sons, 2011, p.148
^ International postmodernism: theory and literary do, Bertens, Hans [2], Routledge, 1997, p.236
^ M. Rowell, Joan Mirό: Selected Writings and Interviews (London: Thames & Hudson, 1987) pp. 114–116.

Bibliography [edit]

Chapin, Anne P., "Power, Privilege and Mural in Minoan Art", in Charis: Essays in Honor of Sara A. Immerwahr, Hesperia (Princeton, North.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, North.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 Chiliad., Prehistoric Art in Europe, Penguin (Pelican, now Yale, History of Art), 1968 (nb 1st edn.; early on datings now superseded)

External links [edit]

Web Gallery of Fine art
Postmodernism
European artists community
Panopticon Virtual Fine art Gallery

malonelievaight.blogspot.com

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