Instead, they placed more emphasis on the “structure, content, and formal order” ("Impressionism & post-impressionism,"). They liked to use unnatural colors and use geometric shapes, unlike the Impressionist’s use of soft lines and natural colors. Also, instead of painting outdoors to capture the moment, Post-Impressionist painted in a studio, and their paintings were based on the emotion and concept of the artist (Emelda, 2011). Like the Impressionists, however, they believed the originality of the painting was important. Like many artists of the 1880’s, the Post-Impressionist wanted to portray “emotion and intellect as well as the visual imagery” ("Post impressionist,").
All of these various styles responded to the industrialization of Europe in their own unique fashions, and resulted in a strange conglomeration of art, ideals, and themes. The earliest and perhaps greatest response to industrialization was the era or Romanticism. Disgusted by the squalor and pollution produced by industry, many artists and writers turned to Romanticism, glorifying nature over civilized society and emotion over reason. Romanticism prized natural beauty and despised the materialistic ideals of the Enlightenment and Industrial Revolution. Romantic art tended to revolve around nature or some heroic deed, ignoring or tuning away from industry and logic, and when it did not, it reviled it.
Essay Topic #1 Identify define or describe, and finally compare and contrast two of the Expressionists groups of the early 20th century. Refer to specific artists and works to illustrate your points. “Expressionism is a tendency of an artist to distort reality for an emotional effect; its subjective art form.” (1) Expressionism was seen in many different kinds of forms which included literature, theater art, paintings, music and architecture. Expressionism developed in the late 19th centuries and in the early 20th centuries and they were academic standards which were overcome in Europe since the Renaissance which were between 1300 and 1600. (2) An artist tries to see the most compelling form in the piece of art.
Rebellion and independence defined these movements, creating artist that were bound together by their unique style of creating art. The Impressionism art movement began late in the 19th century when a group of radical artists were rejected by the Academy of Fine Arts. An annual art show called, “the Salon,” which was sponsored by the Academy, set the standards for what was accepted as art(Dillen, 2011). The very opinionated panel of judges, thought to be experts, usually judged art based off of tastes and styles that hadn't changed in decades. Anything that was unfamiliar or considered new was seldom chosen and usually “crucified by the critics”(Janaro & Altshuler, 2009 p. 143).
However, these artist’s works were far from flat as they challenged the traditionalist’s creation of three dimensions through representation by instead evoking both depth and mood through non-representation. These artists were continuously experimenting with the effects of non-representational paint application. By rejecting the traditional, which was created through observation, and rather finding inspiration by embracing the emotional, the primal, and the inherent subconscious of man, these important artists redefined what art and expression were and are, and opened massively influential doors enabling the evolution of art to proceed in new, bold, and boundless ways. Two of these revolutionary artists were Jackson Pollock (1912-1956) and Mark Rothko (1903-1970). These painters were considered by observers to be a part of the New York School of artists who, in the mid-twentieth century, were severely challenging the foundations of the art world.
Goya presents us with a dark vision of innocent Spaniards executed by a Napoleonic firing squad. In the 19th century, civil strife had arose in Spain, and Spanish citizens, like Goya, welcomed the French who were to bring political reform. However, Napoleon Bonaparte, the emperor of the French, was not interested in aiding but rather invading the country. On the second day of May, rumors spread through Madrid about the French coming to assassinate the royal family. When the French arrived they occupied the major capitals while the Spanish rose up and
Contrast & Compare: Impressionism and Post-Impressionism Troy Theisen Western Governor’s University Abstract The purpose of this research is to bring to light some of the differences and likenesses of Impressionism and Post Impressionism as it pertains to visual art in the 19th century. This has been accomplished through reading texts and by viewing and considering the art myself. Interestingly, these types of art were initially abhorred for various reasons by the most prominent of art critics, and then developed into some of the most reveled masterpieces ever created. Keywords: Impressionism, Post-Impressionism, masterpiece To begin the creation of a written assessment wrought with overused specifics where the history of art is concerned would be experientially farcical. Rather, we must first examine the roots of said specifics.
“As traditional art forms had become out-dated due to industrialization, modernism emerged in Western Europe out of a need to reject tradition and embrace the political, social and economic change of the industrial age” (Arteducation.com.au 2009). The paintings around this period were more focused on academic and social aspects rather than the traditional forms of religious and political institutions that were used earlier, as these were seen by the radical modernists to be restrictive of individual liberty. Artists sought to seek out the finer things in everyday life and to focus on these things. While most of the artists around this period were depicting truth through their work others were carrying out more abstract forms of art such as Pablo Picasso that would strip away the material things of the world (Arteducation.com.au 2009). One of the most well known images from this era is the work of Edvard Munch and his panting ‘The Scream’ (Fig.
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.
What were the political and social states in the country and what effect has this had upon the status of contemporary crafts? In what context can craft be placed historically and how has it changed over the 20th century? To investigate this I will first look at the key political ideologies over the last two centuries in order to contextualise Post Modernism and its resulting effects. I will also briefly outline the major art movements such as the Arts and Crafts movement, the Bauhaus and Modernism within the art world as they have been key in the resulting development of Post Modernism. The role and perception of contemporary craft over the last two centuries has changed dramatically both within the art world and society as a whole.