Name: Tutor: Course: Date: The works of Vincent van Gogh and sol LeWitt and Japanese influence on European art 1. In drawing a comparison and contrast between the works of Vincent van Gogh and sol LeWitt, Vincent van Gogh’s application of symbolic colors and paint to express subjective emotion have created the basis of defining abstract expressionism, which started with the Americans after the World War II movement of art creation and presentation. LeWitt’s work, on the other hand, has been used as a basis for the use of traditional art materials during the creation of artworks. However, his use of traditional art materials had been improved, to involve the use of digital technology and computers to create and edit these materials. Some
10). He greatly influenced the first (Charlingian) Renaissance which promoted art and education. The Christian Emperor “sponsored a revival of learning and literacy” (pg 10); he also (for the time) modernized the Roman script into what is known as minuscule. How did Viking invasions affect early medieval life in Western Europe? (think cause and effect) -The Normans brought Feudalism and Fealty into Western Europe, they contributed to the basis for tax collection.
These views were formed in retaliation the the Enlightenment Era and defined the characteristics of Romanticism. Romantic artists and writers sought to portray nature differently than the reason-thinkers of the Enlightenment. Romantics were drawn to the mysterious and rebelliousness of nature. In John Constable’s Salisbury Cathedral from the Meadows (Document B) he portrays the appeal of Romantic art. He depicts a medieval church and the power of nature and allows them to work together; to coincide.
The art works salient in the 19th-century America are integral part of the Romantic Movement. Why they are part of the so-called romanticism is because their particular imagery and general visual appearance are the very definition of American romanticism. Thomas Cole’s “The Oxbow” and Frederic E. Church’s “The Heart of Andes” are perfect examples of landscape paintings that belong to the Romantic Movement. Cole’s “The Oxbow” belongs to the American Romantic Movement. In the 19th-century New World, romanticism in the field of visual art was widely viewed in terms of two main subjects: nature and man (Strickland, 2007).
The French naturalist Geoffroy St. Hilaire would champion another version of evolutionary change in the 1820s, and the British writer Robert Chambers would author a best-selling argument for evolution in 1844: Vestiges of a Natural Creation. And in 1859, Charles Darwin would publish the Origin of Species. Lamarck, St. Hilaire, Chambers, and Darwin all had radically different ideas about how evolution operates, but only Darwin's still have scientific currency today.Darwin relied on much the same evidence for evolution that Lamarck did (such as vestigial structures and artificial selection through breeding), but made completely different arguments from Lamarck. Darwin did not accept an arrow of complexity driving through the history of life. He argued that complexity evolved simply as a result of life adapting to its local conditions from one generation to the next, much as modern biologists see this process.
Western immigrants into US, Canada, Australia, and New Zealand . Russia & Japan imitated the Western society without totally giving into it . All other territories (except above) were harshly colonized . Industrialization bettered wealth VI. Major Themes Transformed .
Romanticism in turn, was an early 19th century response to constraints of Neoclassicism (“Neoclassical Painting and Romantic Painting”). Current events highly influenced art movement during these time periods. The paintings often projected the events in their works. Neoclassicism in particular was influenced by the Enlightenment movement, a movement which glorified freedom of religion on separation of church and state and emphasized civil liberties. Over time the art changed to express what the people of the time desired, becoming more and more logical and realistic in representation of their art work.
Baroque Era: Art, Music & Architecture http://booksofart. com/western-art/baroque-art/ March 28, 2011 Term Paper: Western Civilization Baroque Architecture, Music and Art During the late 16th century until the 18th century in Europe the artistic style known as Baroque became popular. Steve Wakefield said it best in his book Carpetier’s Baroque fiction: returning Medusa’s gaze that the Baroque era is best described as “a style characterized by dynamic movement, overt emotion and self-confident rhetoric.” According to the book History and Appreciation of Art, "The term “Baroque” is from the Portuguese Barroco, which means a 'misshapen pearl' and the Baroque was the final phase of the Renaissance or an era distinct from both the Renaissance and the modern era"(History and Appreciation of Art). "Baroque, as a formal style, is characterized by open compositions in which elements are placed or seem to move diagonally in space" (Stokstad pg. 721).
Thematic Essay: Romanticism and Realism From the mid-18th to the late 19th century, dynamic transformations in European art mirrored turbulent political and social changes, including revolutions, imperial conquests, and the emergence of the modern industrial age. The expressive, emotional aesthetics of Romantic art echoed a form of artistic rebellion against the orderly Enlightenment era to assert individuality of the artist and reject the stoic subject matter seen in the style of Neoclassicism. Romantic artists were primarily focused on exotic and tumultuous themes, often executed with loose and colorfully bold brushwork. Later in the century, proponents of the Realist movement turned to sober depictions of working people as the Industrial Revolution swept through Europe. Some Realists turned to nature, using landscape to convey a sense of direct experience of a specific place and time.
1.1 The Revelation of Reality Synthetism refers to the artistic style pioneered by Post-Impressionist artists Paul Gauguin, Émile Bernard and Louis Anquetin during the late 1880s and early 1890s to distinguish their work from Impressionism, and is associated to Symbolism especially in the case of Paul Gauguin. The verb to synthesize originally means to combine so as to generate a new, complex product, and in terms of Synthetism, it denotes a combination of the outward appearance of natural forms, the artists’ feelings about their subject and the purity of the aesthetic considerations of line, color and form. It can be viewed as an expression of defiance against the increasingly prevalent insistence upon the scientific and objective recording of nature, and it strives to invert the relationship between the artist and reality by promulgating that the painter uses nature rather than obey it. Through an intentional simplification of lines, colors and forms, Synthetism aims to maximize the subjective expressive intensity by restraining everything that is capable of undermining the overall impact. In other words, expression supersedes representation, and nature is not to be used for confessional purposes, instead its quintessence is to be distilled through the power of the artist’s imagination.