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
Through imperialism, India and Japan were forced to Westernize. Westernization allowed the countries to advance in the world and become more level with European powers. For example, without the absolute rule of the British, India would not have prospered socially or economically. The British established a modern secondary education in English that resulted in the development of irrigation projects for agriculture, the world’s third largest railroad network, and large tea and jute plantations. A unified, powerful state was created in India by the British vanquishing kingdoms of the India and placing the same general system of laws amongst the Hindu and the Muslim peoples.
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.
However, with the defeat of the Spanish Armada in 1588 the balance of power started to shift. The British established footholds on the east coast of America, using these increasingly growing settlements to provide the supplies for their more profitable West Indian colonies (such as Jamaica). From the 1650’s British trade was protected by the Navigation Acts and this, combined with the growing British navy, was key in protecting and encouraging trade and economic growth. As London developed as a port and trading centre many joint stock companies were founded, moving into new markets in the west and east. This stimulated what has been termed as an ‘economic revolution’ in Britain and the economy began to rely on the raw materials provided by these new areas of land.
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).
Along with the exhibition came a catalogue adorned with a schema, produced by the curator and director of the gallery Alfred Barr Jr. The schema attempted to organise important aspects of art in the late 19th and early 20th centuries into a coherent linear history. The history he outlined excluded social, political and economic factors in favour for a stylistic interpretation that focussed on formalist qualities. I argue that Barr made this decision as an attempt to remove the avant-garde from adverse political interpretation, therefore protecting it from threat of extermination. I also point towards the influence of Barr’s schema on art criticism from that time, suggesting that it was this model that set the terms for discussion in the formalist focus of Clement Greenberg.
In this essay I will compare and contrast two masterpiece paintings belonging to different artistic periods and containing unique characteristics of artists’ unique styles, namely, Jean-Auguste-Dominique Ingres’ Grand Odalisque and Edouard Monet’s Olympia. Ingres – a recognized nineteenth century artist – created Grand Odalisque in 1814. His painting contains some of the prominent features of the so-called Romantic art characterized by the presence of emotion, expressive palette and expressionistic painting techniques along with some approaches typical for the author. Thus, Romanticism is the cultural movement of 1750-1850, which has influenced literature, music and fine arts. The founders of Romanticism rejected some of the traditional academic approaches and sought complete freedom of expression in their artwork.
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.
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.