Month: September 2009

Nouveau is a word meaning “new” in French, which is precisely what this movement was. A fin-de-siècle (or end of the century) movement, art nouveau began around 1890 and ended in 1914. Samuel Bing introduced the term “art nouveau” when he opened his 1^st art nouveau gallery in December of 1895 in Paris. He believed it a “movement, not style” (American Art Nouveau, Johnson), and sought to create a world-wide phenomenon out of it. Centered in Europe and parts of North America (and later traveled through Japan, China, and Middle East), it was a return to Middle Age-craftsmanship with a mixture of Gothic, Celtic, Rococco, and Japanese art influences. Both futuristic and traditional, art nouveau was a unique take on the graphic arts.

Art nouveau transcended styles; artists, designers, and architects were all in on the movement. It was seen as a rebellion against the Industrial Revolution, a late 19th century movement where machinery reigned supreme. Though the aesthetics were innovative, the mass-produced machines were draining on progression and advancement. So the soft yet sharp style that art nouveau offered was refreshing and offered many avenues for development in various aspects of art. Geoffrey Warren compared it to the female figure (All Color Book of Art Nouveau, Warren), a flowing but controlled line that contradicts by converging. Not limited to the canvas, art nouveau can be seen in posters, sculptures, type faces, lettering, book design, windows, cutlery, furniture, ceramics, stained glass, jewelry, postcards, and interior/exterior design.

Work Cited:

Warren, Geoffrey. All Color Book of Art Nouveau. Octopus Books Ltd., 1972

Johnson, Diane Chalmers. American Art Nouveau. Harry N. Abrams, Inc., September 1979

“The Oath of the Horatii” – Jacques Louis David

Neoclassicism literally means “the new classicism.” It was a movement in the art world that began in 1760 and led up all the way till the 1850’s. This movement spanned across all kinds of art: painting, music, literature and sculpture. Focusing on history and going back to the classics, it began in opposition to the Rococo movement, where everything was portrayed simply based on aesthetics and no attempt at historical accuracy was made. Thus, Neoclassicism was the movement in which every detail in a painting or sculpture was meticulously constructed to be historically accurate. The artists in the Neoclassicism movement used archeological discoveries made in Pompeii and Herculaneum to guide themselves regarding what costumes, furniture etc were correct for each time period.

As Neoclassicism became more intense under the leadership of Jacques Louis David, the emphasis on austerity and simplicity became even more pronounced in paintings. Draperies and soft lines were all abandoned, as hard lines and simple backgrounds became the norm. As can be inferred, staying away from emotions was a very important part of the Neoclassicism movement, as opposed to both Rococo and the Baroque style. This art movement actually played a great role in the French Revolution, and was used to make simple and effective political statements. Jacques Louis David used Neoclassical paintings to show that the state was more important than the family. The more stoic nature of this style allowed him to do this with more ease.

It is also interesting to note that while Neoclassicism can be seen as the direct opposite of Romanticism as well, these two styles often mixed. In the paintings of Jean-Auguste-Dominique Ingres, the Romantic influence can be seen in the sensual nude paintings, which still retained a certain stiffness linked to Neoclassicism.

Works Used

http://www.bc.edu/bc_org/avp/cas/his/CoreArt/art/neocl_dav.html

http://lilt.ilstu.edu/jhreid/neoclassicism.htm

The Byzantine Art Movement was around from the 5th century to the middle of the 15th century, when the Byzantine Empire existed. The movement originated in the Orthodox Church and spread to other regions where the church was dominant, yet remained centered in Constantinople. These regions include Russia, Greece and some slavic nations. Since the movement originated in the church, the artists were restricted by regulations that the church imposed on them. This helps to explain why practically all of the art had a religious theme.

This movement’s style, which was mainly seen in religious paintings, mosaics, buildings and icons, was characterized by bright and rich colors, mosaic tiles, solid tone or gold backgrounds and flat human figures that were often unnatural and lifeless. Placing another figure higher than the first one showed distance. There were usually two ways in which the humans were portrayed. One way featured the humans in full length, facing the front. This was to express power and authority and the people were usually gesturing meaningfully or holding symbolic objects. The rigid folds in their clothes were meant to highlight these frontal figures. The second way of drawing humans was used in illustrating religious narratives. In these images the figures are turned and are gesturing to express emotion, like distress, sympathy and others. However, the emotions were always subtle and in control. The fluid, moving folds in the clothes were meant to show movement and emotion. In decorative architecture, mosaics were used very often, covering large areas in the buildings. These mosaics were colorful and illustrated, once again, religious characters and themes. The rich colors, expensive materials such as gold and ivory and intricate patterns in this art served to show off the wealth and power of the Byzantine Empire. Even though the movement became unpopular after the fall of the empire, its influence could still be felt in other countries the movement spread to.

Sources:

http://www.metmuseum.org/explore/Byzantium/art.html

http://www.arthistoryguide.com/Byzantine_Art.aspx

http://virtualology.com/hallofartmovements/byzantineart.org/

          While the heavy and dramatic Baroque movement faded across Europe in the early eighteenth century, the Rococo artistic style was developing in France under the reign of Louis XV. It lasted through the beginning of Louis XVI’s rule in France, waxing and waning slightly later throughout the rest of Europe as Neoclassicism took hold. Although Rococo shells, scrolls and arabesques appeared first in the palaces of French royalty,the decline of absolutism that held the royalty together inspired artistic developments in the Rococo period. The unsettling ideas of John Locke and his ilk had begun to challenge the certainty and order of absolutism; this fidgeting of the intellectual community helped engender new artistic ideas as well. Lightness distinct from the Baroque period, an emphasis on natural curves, patterns, asymmetric design, a playful attitude, the theme of the return to nature, and an abundance of abstract foliage all characterize the Rococo style. Contemporaries called it “modern style” to contrast with Baroque (Pignatti 10). For all these traits, however, it maintained the habit of excess in the upper classes of France and the many countries that sought to emulate its court.

          As art scholar Terisio Pignatti notes, although the term Rococo cannot encompass all the results of the “intense creativity both in spiritual and in practical matters” throughout Europe during the first half of the 18th century, it does include a vast development of “similar imaginations… in similar directions” in art in that period on the continent (Pignatti 7 – 8). In architecture, interior design, and paintings these elements appeared first in France, especially at Versailles and other royal chateaux that were built, renovated, decorated, and furnished at the time. French painters Antoine Watteau, known for his depictions of pastoral scenes, and François Boucher, a favorite of the king’s mistress, Madame de Pompadour, were especially known for their work in the Rococo style. Giovanni Pellegrini and Giovanni Tiepolo of Venice were renowned for their paintings and frescos, as well.

          Boucher’s Diana Resting exemplifies many aspects of Rococo art, with its lightness and asymmetry. For a more complete idea of Rococo art, however, a look at the architecture is extremely important. You can check http://www.pitt.edu/~tokerism/0040/rococo.html for a few examples. 

 

Work Cited:

Pignatti, Terisio. The Age of Rococo. London: Hamlyn, 1969. Print.

Work Consulted:

 Kimball, Fiske. The Creation of the Rococo. New York: W.W. Norton, 1964. Print.

The Brooklyn Bridge is fairly new to me. I have walked across many times in the past year, a fun but occasionally grueling task

This past summer I worked a paid internship at a media company based in Brooklyn so I became familiar with travel and the surroundings. Also, my mother works in Brooklyn now so I’ve driven over the bridge as well.

The Brooklyn Bridge is a very popular tourist spot. If I would have taken this photo midday or early afternoon there would have been a flock of tourists, but in the early morning it was desolate, sans some runners and biking commuters.

I think that in Hassam’s painting the people weren’t tourists as much as everyday pedestrians traveling, for free, across the bridge. Although winter time, 1892 was not the ost prosperous time. Hassam’s painting captures what is now a firm historical piece of New York (with no toll!) while incorporating the flurry poverty of the time.