European Art History Review

Classical (500 BC – 500 AD) Left: Roman copy of Myron’s Diskobolos, marble sculpture Above: Pantheon, Rome, ca. 120 AD

Classical (500 BC – 500 AD) sculpture, pottery, murals, mosaics subjects: gods, goddesses, important leaders, everyday ppl. idealized figures nudity, togas active bodies, emotionless faces no perspective architecture: columns, arches, domes

Medieval (500 – 1400 AD) Left: Cimabue, Madonna and Child in Majesty, tempera paint on wooden panel, c. 1280 Above: Narthex Tympanum, sculpture, 1120

Medieval (500 – 1400 AD) stained-glass windows, sculptures, illuminated manuscripts, paintings, tapestries subject: Christianity fully clothed bright colors, gilding 2-dimensional, flat, stiff emotionless, no individualization

Medieval (500 – 1400 AD) GOTHIC ARCHITECTURE Above: Salisbury Cathedral, England, 1220-1320 Above: Notre Dame Cathedral, Paris, 1163-1345

Renaissance (1400 – 1650) Below: The High Renaissance: Leonardo da Vinci’s Last Supper, fresco, 1498 Above: Breaking ground: Giotto’s Last Supper, fresco, 1304-1306

Renaissance (1400 – 1650) Raphael, School of Athens, fresco, 1510 Leonardo, Lady with an Ermine, oil on wood, 1483-1490

Renaissance (1400 – 1650) Left: Donatello’s David, bronze sculpture, 5.2 feet tall, ca. 1444-1446 Right: Michelangelo’s David, marble sculpture, 13.5 feet tall, ca. 1504

Renaissance (1400 – 1650) Bramante, Tempietto, San Pietro in Montorio, Rome, 1508

Jan Van Eyck, The Betrothal of the Arnolfini, OIL on wood, 1434 Northern Renaissance Jan Van Eyck, The Betrothal of the Arnolfini, OIL on wood, 1434 Dürer, St. Anne with the Virgin and Child, oil and tempura on canvas, 1519

Renaissance (1400 – 1650) painting, sculpture classical revival Christian + secular themes portraiture perspective scientific naturalism (ex. drawing studies) natural light

Baroque (17th c.) Above: Bernini, Ecstasy of St. Teresa, marble sculpture, Rome, 1647-52 Right: Rubens, Virgin and Child Enthroned with Saints, sketch for a large altar painting, ca. 1627-28

Baroque (17th c.) religious emotional dynamic movement Product of Catholic Reformation & Counter-Reformation … rekindle faith propaganda – for CC and secular patrons (ex. Louis XIV)

French classicism (late 17th c.) Poussin, The Rape of the Sabine Women, oil on canvas, 1633-1634

French classicism (late 17th c.) official style of Louis XIV’s courtw subject/style: Greco-Roman / Renaissance discipline, balance, restraint

Rococo (18th c.) Above: Fragonard, The Swing, oil on canvas, 1766 Right: Fragonard, The Progress of Love: The Pursuit, oil on canvas, 1773

Rococo (18th c.) Left: Basilica at Ottobeuren, Bavaria Above: Meissonnier, design for a table, Paris, ca. 1730

Rococo (18th c.) French … reaction against the much heavier French classicism subjects: ornate interiors, sentimental portraits, starry-eyed lovers protected by hovering cupids soft pastels decorative arts … used in urban townhouses, Enlightenment salons

David, The Death of Socrates, oil on canvas, 1787 Neoclassicism (1750-1850) David, The Death of Socrates, oil on canvas, 1787

Neoclassicism (1750-1850) David, The Lictors Bring to Brutus the Bodies of His Sons, oil on canvas, 1789

Neoclassicism (1750-1850) Enlightenment era: order, reason, discipline “new” classical (Greco-Roman themes & style) smooth brushstrokes spotlight lighting

Romanticism (1800-1850s) Below: Joseph M.W. Turner, Shipwreck, oil on canvas, 1805 Above: Caspar David Friedrich, Moonrise over the Sea, oil on canvas, 1821

Delacroix, Liberty Leading the People, oil on canvas, 1830 Romanticism (1800-1850s) Delacroix, Liberty Leading the People, oil on canvas, 1830

Romanticism (1800-1850s) Reaction against Enlightenment: emotional nature nature as peaceful or powerful huge skies man dwarfed by nature romanticizes the rural life (anti-IR) soft, muted colors, natural light other subjects: the macabre, the Gothic, nationalism, heroes, family life, religion

Realism (1830s-1900) Above: Millet, The Gleaners, oil on canvas, 1857 Right: Kollwitz, The March of the Weavers, etching, 1897

Realism (1830s-1900) IR-era hardships of daily life natural lighting

Monet, Bathing at La Grenouillere, oil on canvas, 1869 Impressionism (1870s-1880s) Monet, Bathing at La Grenouillere, oil on canvas, 1869

Renoir, Le Moulin de la Galette, oil on canvas, 1876 Impressionism (1870s-1880s) Renoir, Le Moulin de la Galette, oil on canvas, 1876

Pissarro, Boulevard Montmarte – at various times of day and in various types of weather, 1897

Impressionism (1870s-1880s) France study of light – capture impression of light very obvious brushstrokes modern painting grew out of a revolt against French impressionism

Post-Impressionism & Expressionism (late 19th – early 20th c.) Van Gogh in 1889 Above: Van Gogh's Room at Arles Right: Wheat Fields and Cypress

Post-Impressionism & Expressionism (late 19th – early 20th c.) Gaugin Above: Tahitian Women OR On the Beach, 1891 Right: Self-Portrait with Halo, 1889

Post-Impressionism & Expressionism (late 19th – early 20th c.) Cezanne, Mont Sainte-Victoire, paintings from late 1890s-early 1900s

Matisse, Portrait of Andre Derain, 1905

Matisse, The Jazz Series (cutouts), 1943-1944

Post-Impressionism & Expressionism (late 19th – early 20th c.) followed the Impressionists and to some extent rejected their ideas. They: considered Impressionism too naturalistic sought to explore emotion in painting Artists include: van Gogh, Gauguin, Cezanne, Seurat, Signac, and Toulouse-Lautrec

Cubism: Works by Picasso Self-Portrait with Palette, 1906 Guitar and Violin, ca. 1912

Cubism Compositions of shapes and forms “abstracted” from the conventionally perceived world Picasso

More Expressionism – Extreme Abstraction Kandinsky: Left: Improvisation 7, 1910 Above: Black and Violet, 1923

More Expressionism – Extreme Abstraction Kandinsky, Composition X, 1939

More Expressionism – Extreme Abstraction elimination of representational elements Kandinsky saw abstractions as evolving blueprints for a more enlightened and liberated society emphasizing spirituality Kandinsky & German Expressionist group, Der Blaue Reiter (The Blue Rider)

Dada (1916-1922) Duchamp, L.H.O.O.Q. (Mona Lisa with Moustache), 1919

Dada (1916-1922) attacked all accepted standards of art and behavior … really anti-art “Dada” = “hobbyhorse” (nonsensical) turned into Surrealism, which is an actual art movement

Surrealism (1920s forward) Joan Miró, Singing Fish

Surrealism (1920s forward) Dali, The Persistence of Memory, 1931

Surrealism (1920s forward) Dali, Lighted Giraffes, 1936-1937

Surrealism (1920s forward) Magritte, L’art de vivre, 1967

Surrealism (1920s forward) By 1924, most Dada artists joined the Surrealist movement expresses the world of dreams and the unconscious; wanted to bring outer and inner “reality” into single position inspired by psychologists Freud and Jung 2 groups: Biomorphic – abstract forms that suggest natural forms Naturalistic – recognizable scenes metamorphosed into dream image