text
stringlengths 505
4.3k
|
|---|
, ▁in ▁general , ▁a ▁few ▁centuries ▁earlier . ▁African ▁art , ▁Jewish ▁art , ▁Islam ic ▁art , ▁Indian ▁art , ▁Chinese ▁art , ▁and ▁Japanese ▁art ▁each ▁had ▁significant ▁influence ▁on ▁Western ▁art , ▁and ▁vice ▁vers a . ▁ ▁Initial ly ▁serving ▁util itar ian ▁purpose , ▁followed ▁by ▁imperial , ▁private , ▁civ ic , ▁and ▁religious ▁patron age , ▁Eastern ▁and ▁Western ▁painting ▁later ▁found ▁aud ien ces ▁in ▁the ▁arist ocracy ▁and ▁the ▁middle ▁class . ▁From ▁the ▁Modern ▁era , ▁the ▁Middle ▁A ges ▁through ▁the ▁Renaissance ▁pain ters ▁worked ▁for ▁the ▁church ▁and ▁a ▁wealth y ▁arist ocracy . ▁Begin ning ▁with ▁the ▁Bar o que ▁era ▁artists ▁received ▁private ▁comm issions ▁from ▁a ▁more ▁educated ▁and ▁prosper ous ▁middle ▁class . ▁Finally ▁in ▁the ▁West ▁the ▁idea ▁of ▁" art ▁for ▁art ' s ▁sake " ▁began ▁to ▁find ▁expression ▁in ▁the ▁work ▁of ▁the ▁Rom antic ▁pain ters ▁like ▁Francisco ▁de ▁Go ya , ▁John ▁Const able , ▁and ▁J . ▁M . ▁W . ▁Turner . ▁The ▁ 1 9 th century ▁saw ▁the ▁rise ▁of ▁the ▁commercial ▁art ▁gallery , ▁which ▁provided ▁patron age ▁in ▁the ▁ 2 0 th ▁century . ▁ ▁Pre - history ▁ ▁The ▁oldest ▁known ▁paint ings ▁are ▁approximately ▁ 4 0 , 0 0 0 ▁years ▁old . ▁José ▁Luis ▁San ch id ri án ▁at ▁the ▁University ▁of ▁Cord oba , ▁Spain , ▁bel ieves ▁the ▁paint ings ▁are ▁more ▁likely ▁to ▁have ▁been |
▁painted ▁by ▁Ne ander th als ▁than ▁early ▁modern ▁humans . ▁ ▁Im ages ▁at ▁the ▁Ch au vet ▁cave ▁in ▁France ▁are ▁thought ▁to ▁be ▁about ▁ 3 2 , 0 0 0 ▁years ▁old . ▁They ▁are ▁eng ra ved ▁and ▁painted ▁using ▁red ▁och re ▁and ▁black ▁p ig ment ▁and ▁show ▁horses , ▁r hin oc eros , ▁l ions , ▁buff alo , ▁m amm oth ▁or ▁humans ▁often ▁hunting . ▁There ▁are ▁examples ▁of ▁cave ▁paint ings ▁all ▁over ▁the ▁world — in ▁France , ▁India , ▁Spain , ▁Southern ▁Africa , ▁China , ▁Australia ▁etc . ▁ ▁Vari ous ▁conject ures ▁have ▁been ▁made ▁as ▁to ▁the ▁meaning ▁these ▁paint ings ▁had ▁to ▁the ▁people ▁that ▁made ▁them . ▁Pre histor ic ▁artists ▁may ▁have ▁painted ▁animals ▁to ▁" catch " ▁their ▁soul ▁or ▁spirit ▁in ▁order ▁to ▁h unt ▁them ▁more ▁easily ▁or ▁the ▁paint ings ▁may ▁represent ▁an ▁anim istic ▁vision ▁and ▁hom age ▁to ▁surrounding ▁nature . ▁They ▁may ▁be ▁the ▁result ▁of ▁a ▁basic ▁need ▁of ▁expression ▁that ▁is ▁inn ate ▁to ▁human ▁be ings , ▁or ▁they ▁could ▁have ▁been ▁for ▁the ▁transmission ▁of ▁practical ▁information . ▁ ▁In ▁Pale ol ith ic ▁times , ▁the ▁representation ▁of ▁humans ▁in ▁cave ▁paint ings ▁was ▁rare . ▁Most ly , ▁animals ▁were ▁painted , ▁not ▁only ▁animals ▁that ▁were ▁used ▁as ▁food ▁but ▁also ▁animals ▁that ▁represented ▁strength ▁like ▁the ▁r hin oc eros ▁or ▁large ▁Fel idae , ▁as ▁in ▁the |
▁Ch au vet ▁C ave . ▁Sign s ▁like ▁d ots ▁were ▁sometimes ▁drawn . ▁R are ▁human ▁representations ▁include ▁hand print s ▁and ▁st enc ils , ▁and ▁figures ▁dep ict ing ▁human ▁/ ▁animal ▁hy br ids . ▁The ▁Ch au vet ▁C ave ▁in ▁the ▁Ar d è che ▁Depart ments ▁of ▁France ▁contains ▁the ▁most ▁important ▁preserved ▁cave ▁paint ings ▁of ▁the ▁Pale ol ith ic ▁era , ▁painted ▁around ▁ 3 1 , 0 0 0 ▁BC . ▁The ▁Alt am ira ▁cave ▁paint ings ▁in ▁Spain ▁were ▁done ▁ 1 4 , 0 0 0 ▁to ▁ 1 2 , 0 0 0 ▁BC ▁and ▁show , ▁among ▁others , ▁bis ons . ▁The ▁hall ▁of ▁b ull s ▁in ▁L asc aux , ▁D ord ogne , ▁France , ▁is ▁one ▁of ▁the ▁best ▁known ▁cave ▁paint ings ▁and ▁dates ▁to ▁about ▁ 1 5 , 0 0 0 ▁to ▁ 1 0 , 0 0 0 ▁BC . ▁ ▁If ▁there ▁is ▁meaning ▁to ▁the ▁paint ings , ▁it ▁remains ▁unknown . ▁The ▁c aves ▁were ▁not ▁in ▁an ▁inhab ited ▁area , ▁so ▁they ▁may ▁have ▁been ▁used ▁for ▁season al ▁rit uals . ▁The ▁animals ▁are ▁accompanied ▁by ▁signs ▁which ▁suggest ▁a ▁possible ▁magic ▁use . ▁Ar row - like ▁symbols ▁in ▁L asc aux ▁are ▁sometimes ▁interpreted ▁as ▁being ▁used ▁as ▁cal end ars ▁or ▁al man acs , ▁but ▁the ▁evidence ▁remains ▁incon clus ive . ▁The ▁most ▁important ▁work ▁of |
▁the ▁Mes ol ith ic ▁era ▁were ▁the ▁march ing ▁war riors , ▁a ▁rock ▁painting ▁at ▁C ing le ▁de ▁la ▁M ola , ▁Cast ell ón , ▁Spain ▁dated ▁to ▁about ▁ 7 0 0 0 ▁to ▁ 4 0 0 0 ▁BC . ▁The ▁technique ▁used ▁was ▁probably ▁sp itting ▁or ▁blow ing ▁the ▁p ig ments ▁onto ▁the ▁rock . ▁The ▁paint ings ▁are ▁quite ▁natural istic , ▁though ▁st yl ized . ▁The ▁figures ▁are ▁not ▁three - dimensional , ▁even ▁though ▁they ▁overlap . ▁ ▁The ▁earliest ▁known ▁Indian ▁paint ings ▁were ▁the ▁rock ▁paint ings ▁of ▁pre histor ic ▁times , ▁the ▁pet rog lyph s ▁as ▁found ▁in ▁places ▁like ▁the ▁Rock ▁Sh el ters ▁of ▁Bh im bet ka , ▁and ▁some ▁of ▁them ▁are ▁older ▁than ▁ 5 5 0 0 ▁BC . ▁Such ▁works ▁continued ▁and ▁after ▁several ▁mill enn ia , ▁in ▁the ▁ 7 th ▁century , ▁car ved ▁pill ars ▁of ▁A j anta , ▁Mah ar as ht ra ▁state ▁present ▁a ▁fine ▁example ▁of ▁Indian ▁paint ings . ▁The ▁colors , ▁mostly ▁various ▁sh ades ▁of ▁red ▁and ▁orange , ▁were ▁derived ▁from ▁min er als . ▁ ▁Eastern ▁ ▁The ▁history ▁of ▁Eastern ▁painting ▁includes ▁a ▁vast ▁range ▁of ▁influ ences ▁from ▁various ▁cult ures ▁and ▁relig ions . ▁Develop ments ▁in ▁Eastern ▁painting ▁histor ically ▁parallel ▁those ▁in ▁Western ▁painting , ▁in ▁general ▁a ▁few ▁centuries ▁earlier . ▁African ▁art , ▁Jewish ▁art , ▁Islam |
ic ▁art , ▁Indian ▁art , ▁Chinese ▁art , ▁Korean ▁Art , ▁and ▁Japanese ▁art ▁each ▁had ▁significant ▁influence ▁on ▁Western ▁art , ▁and , ▁vice ▁vers a . ▁ ▁Chinese ▁painting ▁is ▁one ▁of ▁the ▁oldest ▁continuous ▁art istic ▁trad itions ▁in ▁the ▁world . ▁The ▁earliest ▁paint ings ▁were ▁not ▁represent ational ▁but ▁orn amental ; ▁they ▁consisted ▁of ▁patterns ▁or ▁designs ▁rather ▁than ▁pictures . ▁Early ▁pot tery ▁was ▁painted ▁with ▁spir als , ▁z ig z ags , ▁d ots , ▁or ▁animals . ▁It ▁was ▁only ▁during ▁the ▁W arring ▁States ▁period ▁( 4 0 3 – 2 2 1 ▁B . C .) ▁that ▁artists ▁began ▁to ▁represent ▁the ▁world ▁around ▁them . ▁Japanese ▁painting ▁is ▁one ▁of ▁the ▁oldest ▁and ▁most ▁highly ▁ref ined ▁of ▁the ▁Japanese ▁arts , ▁en comp ass ing ▁a ▁wide ▁variety ▁of ▁genre ▁and ▁styles . ▁The ▁history ▁of ▁Japanese ▁painting ▁is ▁a ▁long ▁history ▁of ▁synth esis ▁and ▁competition ▁between ▁native ▁Japanese ▁a est het ics ▁and ▁adaptation ▁of ▁imported ▁ideas . ▁Korean ▁painting , ▁as ▁an ▁independent ▁form , ▁began ▁around ▁ 1 0 8 ▁B . C ., ▁around ▁the ▁fall ▁of ▁Go j ose on , ▁making ▁it ▁one ▁of ▁the ▁oldest ▁in ▁the ▁world . ▁The ▁art work ▁of ▁that ▁time ▁period ▁evol ved ▁into ▁the ▁various ▁styles ▁that ▁character ized ▁the ▁Three ▁Kingdom s ▁of ▁Korea ▁period , ▁most ▁not ably ▁the ▁paint ings ▁and ▁fres co es ▁that ▁ad orn ▁the ▁tomb s ▁of |
▁G og ury e o ' s ▁royal ty . ▁During ▁the ▁Three ▁Kingdom s ▁period ▁and ▁through ▁the ▁G ory e o ▁dynast y , ▁Korean ▁painting ▁was ▁character ized ▁primarily ▁by ▁a ▁combination ▁of ▁Korean - style ▁land sc apes , ▁fa cial ▁features , ▁Buddh ist - center ed ▁them es , ▁and ▁an ▁emphas is ▁on ▁cel est ial ▁observation ▁that ▁was ▁facil itated ▁by ▁the ▁rapid ▁development ▁of ▁Korean ▁astronom y . ▁ ▁East ▁Asian ▁See ▁also ▁Chinese ▁painting , ▁Japanese ▁painting , ▁Korean ▁painting . ▁ ▁China , ▁Japan ▁and ▁Korea ▁have ▁a ▁strong ▁tradition ▁in ▁painting ▁which ▁is ▁also ▁highly ▁attached ▁to ▁the ▁art ▁of ▁call ig raph y ▁and ▁print making ▁( so ▁much ▁that ▁it ▁is ▁commonly ▁seen ▁as ▁painting ). ▁Far ▁east ▁traditional ▁painting ▁is ▁character ized ▁by ▁water ▁based ▁techniques , ▁less ▁real ism , ▁" e leg ant " ▁and ▁st yl ized ▁subjects , ▁graph ical ▁approach ▁to ▁dep iction , ▁the ▁importance ▁of ▁white ▁space ▁( or ▁negative ▁space ) ▁and ▁a ▁preference ▁for ▁landscape ▁( inst ead ▁of ▁the ▁human ▁figure ) ▁as ▁a ▁subject . ▁Bey ond ▁in k ▁and ▁color ▁on ▁sil k ▁or ▁paper ▁scroll s , ▁gold ▁on ▁lac quer ▁was ▁also ▁a ▁common ▁medium ▁in ▁painted ▁East ▁Asian ▁art work . ▁Although ▁sil k ▁was ▁a ▁somewhat ▁expensive ▁medium ▁to ▁paint ▁upon ▁in ▁the ▁past , ▁the ▁in vention ▁of ▁paper ▁during ▁the ▁ 1 st ▁century ▁AD ▁by ▁the ▁Han ▁court ▁e |
un uch ▁C ai ▁L un ▁provided ▁not ▁only ▁a ▁cheap ▁and ▁w ides p read ▁medium ▁for ▁writing , ▁but ▁also ▁a ▁cheap ▁and ▁w ides p read ▁medium ▁for ▁painting ▁( making ▁it ▁more ▁accessible ▁to ▁the ▁public ). ▁ ▁The ▁ide ologies ▁of ▁Conf u cian ism , ▁D ao ism , ▁and ▁Buddh ism ▁played ▁important ▁roles ▁in ▁East ▁Asian ▁art . ▁Med ieval ▁Song ▁dynast y ▁pain ters ▁such ▁as ▁Lin ▁T ing gui ▁and ▁his ▁Lu oh an ▁Lau nd ering ▁( h oused ▁in ▁the ▁Smith son ian ▁Fre er ▁Gallery ▁of ▁Art ) ▁of ▁the ▁ 1 2 th ▁century ▁are ▁excellent ▁examples ▁of ▁Buddh ist ▁ideas ▁f used ▁into ▁classical ▁Chinese ▁art work . ▁In ▁the ▁latter ▁painting ▁on ▁sil k ▁( image ▁and ▁description ▁provided ▁in ▁the ▁link ), ▁bald - head ed ▁Buddh ist ▁Lu oh an ▁are ▁dep icted ▁in ▁a ▁practical ▁setting ▁of ▁was hing ▁clothes ▁by ▁a ▁river . ▁However , ▁the ▁painting ▁itself ▁is ▁vis ually ▁st unning , ▁with ▁the ▁Lu oh an ▁port rayed ▁in ▁rich ▁detail ▁and ▁bright , ▁op aque ▁colors ▁in ▁contrast ▁to ▁a ▁ha zy , ▁brown , ▁and ▁bland ▁wood ed ▁environment . ▁Also , ▁the ▁tree ▁to ps ▁are ▁shr oud ed ▁in ▁sw ir ling ▁fog , ▁providing ▁the ▁common ▁" negative ▁space " ▁mentioned ▁above ▁in ▁East ▁Asian ▁Art . ▁ ▁In ▁Japon isme , ▁late ▁ 1 9 th - century ▁Post - Im pression ists ▁like |
▁Van ▁G og h ▁and ▁Henri ▁de ▁Toul ouse - L aut rec , ▁and ▁t onal ists ▁such ▁as ▁James ▁Mc Ne ill ▁Wh ist ler , ▁adm ired ▁early ▁ 1 9 th - century ▁Japanese ▁U ki yo - e ▁artists ▁like ▁H ok us ai ▁( 1 7 6 0 – 1 8 4 9 ) ▁and ▁H iro sh ige ▁( 1 7 9 7 – 1 8 5 8 ) ▁and ▁were ▁influenced ▁by ▁them . ▁ ▁Chinese ▁▁ ▁The ▁earliest ▁surv iving ▁examples ▁of ▁Chinese ▁painted ▁art work ▁date ▁to ▁the ▁W arring ▁States ▁Period ▁( 4 8 1 ▁– ▁ 2 2 1 ▁BC ), ▁with ▁paint ings ▁on ▁sil k ▁or ▁tomb ▁mur als ▁on ▁rock , ▁brick , ▁or ▁stone . ▁They ▁were ▁often ▁in ▁simpl istic ▁st yl ized ▁format ▁and ▁in ▁more - or - less ▁rud iment ary ▁geometric ▁patterns . ▁They ▁often ▁dep icted ▁myth ological ▁cre atures , ▁domestic ▁scenes , ▁labor ▁scenes , ▁or ▁pal atial ▁scenes ▁filled ▁with ▁officials ▁at ▁court . ▁Art work ▁during ▁this ▁period ▁and ▁the ▁subsequent ▁Q in ▁D ynast y ▁( 2 2 1 ▁– ▁ 2 0 7 ▁BC ) ▁and ▁Han ▁D ynast y ▁( 2 0 2 ▁BC ▁– ▁ 2 2 0 ▁AD ) ▁was ▁made ▁not ▁as ▁a ▁means ▁in ▁and ▁of ▁itself ▁or ▁for ▁higher ▁personal ▁expression ; ▁rather ▁art work ▁was ▁created ▁to ▁symbol ize ▁and ▁honor ▁fun er ary ▁r ites , ▁representations |
▁of ▁myth ological ▁de ities ▁or ▁spirits ▁of ▁ancest ors , ▁etc . ▁P aint ings ▁on ▁sil k ▁of ▁court ▁officials ▁and ▁domestic ▁scenes ▁could ▁be ▁found ▁during ▁the ▁Han ▁D ynast y , ▁along ▁with ▁scenes ▁of ▁men ▁hunting ▁on ▁horse back ▁or ▁part aking ▁in ▁military ▁para de . ▁There ▁was ▁also ▁painting ▁on ▁three ▁dimensional ▁works ▁of ▁art ▁like ▁figur ines ▁and ▁stat ues , ▁such ▁as ▁the ▁original - p aint ed ▁colors ▁covering ▁the ▁soldier ▁and ▁horse ▁stat ues ▁of ▁the ▁Ter rac otta ▁Army . ▁During ▁the ▁social ▁and ▁cultural ▁climate ▁of ▁the ▁ancient ▁Eastern ▁Jin ▁D ynast y ▁( 3 1 6 ▁– ▁ 4 2 0 ▁AD ) ▁based ▁at ▁Nan j ing ▁in ▁the ▁south , ▁painting ▁became ▁one ▁of ▁the ▁official ▁past imes ▁of ▁Conf u cian - t aught ▁b ureau cr atic ▁officials ▁and ▁arist ocr ats ▁( al ong ▁with ▁music ▁played ▁by ▁the ▁gu q in ▁z ither , ▁writing ▁f anc iful ▁call ig raph y , ▁and ▁writing ▁and ▁rec iting ▁of ▁poetry ). ▁P ain ting ▁became ▁a ▁common ▁form ▁of ▁art istic ▁self - expression , ▁and ▁during ▁this ▁period ▁pain ters ▁at ▁court ▁or ▁amongst ▁el ite ▁social ▁circ uits ▁were ▁jud ged ▁and ▁ranked ▁by ▁their ▁pe ers . ▁ ▁The ▁establishment ▁of ▁classical ▁Chinese ▁landscape ▁painting ▁is ▁acc red ited ▁largely ▁to ▁the ▁Eastern ▁Jin ▁D ynast y ▁artist ▁Gu ▁Ka iz hi ▁( 3 4 4 ▁– ▁ 4 0 |
6 ▁AD ), ▁one ▁of ▁the ▁most ▁famous ▁artists ▁of ▁Chinese ▁history . ▁Like ▁the ▁el ong ated ▁scroll ▁scenes ▁of ▁Ka iz hi , ▁Tang ▁dynast y ▁( 6 1 8 ▁– ▁ 9 0 7 ▁AD ) ▁Chinese ▁artists ▁like ▁Wu ▁Da oz i ▁painted ▁v ivid ▁and ▁highly ▁detailed ▁art work ▁on ▁long ▁horizontal ▁hand scroll s ▁( which ▁were ▁very ▁popular ▁during ▁the ▁Tang ), ▁such ▁as ▁his ▁E ight y ▁Seven ▁Cel est ial ▁People . ▁P aint ed ▁art work ▁during ▁the ▁Tang ▁period ▁per tain ed ▁the ▁effects ▁of ▁an ▁ideal ized ▁landscape ▁environment , ▁with ▁sparse ▁numbers ▁of ▁objects , ▁persons , ▁or ▁amount ▁of ▁activity , ▁as ▁well ▁as ▁mon och rom atic ▁in ▁nature ▁( example : ▁the ▁mur als ▁of ▁Price ▁Y ide ' s ▁tomb ▁in ▁the ▁Q ian ling ▁M aus ole um ). ▁There ▁were ▁also ▁figures ▁such ▁as ▁early ▁Tang - era ▁painter ▁Z han ▁Z i q ian , ▁who ▁painted ▁super b ▁landscape ▁paint ings ▁that ▁were ▁well ▁ahead ▁of ▁his ▁day ▁in ▁port ray al ▁of ▁real ism . ▁However , ▁landscape ▁art ▁did ▁not ▁reach ▁greater ▁level ▁of ▁m atur ity ▁and ▁real ism ▁in ▁general ▁until ▁the ▁Five ▁D ynast ies ▁and ▁Ten ▁Kingdom s ▁period ▁( 9 0 7 ▁– ▁ 9 6 0 ▁AD ). ▁During ▁this ▁time , ▁there ▁were ▁exception al ▁landscape ▁pain ters ▁like ▁D ong ▁Y uan ▁( refer ▁to ▁this ▁article ▁for ▁an ▁example ▁of ▁his |
▁art work ), ▁and ▁those ▁who ▁painted ▁more ▁v ivid ▁and ▁real istic ▁dep ict ions ▁of ▁domestic ▁scenes , ▁like ▁Gu ▁Hong zh ong ▁and ▁his ▁Night ▁Re vel s ▁of ▁Han ▁X iz ai . ▁ ▁During ▁the ▁Chinese ▁Song ▁dynast y ▁( 9 6 0 ▁– ▁ 1 2 7 9 ▁AD ), ▁not ▁only ▁landscape ▁art ▁was ▁improved ▁upon , ▁but ▁portrait ▁painting ▁became ▁more ▁standard ized ▁and ▁s oph istic ated ▁than ▁before ▁( for ▁example , ▁refer ▁to ▁Emperor ▁Hu iz ong ▁of ▁Song ), ▁and ▁reached ▁its ▁classical ▁age ▁m atur ity ▁during ▁the ▁M ing ▁D ynast y ▁( 1 3 6 8 – 1 6 4 4 ▁AD ). ▁During ▁the ▁late ▁ 1 3 th ▁century ▁and ▁first ▁half ▁of ▁the ▁ 1 4 th ▁century , ▁Chinese ▁under ▁the ▁Mong ol - control led ▁Y uan ▁D ynast y ▁were ▁not ▁allowed ▁to ▁enter ▁higher ▁posts ▁of ▁government ▁( res erved ▁for ▁Mong ols ▁or ▁other ▁eth nic ▁groups ▁from ▁Central ▁Asia ), ▁and ▁the ▁Imperial ▁exam ination ▁was ▁ceased ▁for ▁the ▁time ▁being . ▁Many ▁Conf u cian - ed uc ated ▁Chinese ▁who ▁now ▁lack ed ▁profession ▁turned ▁to ▁the ▁arts ▁of ▁painting ▁and ▁theatre ▁instead , ▁as ▁the ▁Y uan ▁period ▁became ▁one ▁of ▁the ▁most ▁v ibr ant ▁and ▁abund ant ▁er as ▁for ▁Chinese ▁art work . ▁An ▁example ▁of ▁such ▁would ▁be ▁Q ian ▁X uan ▁( 1 2 3 5 – 1 3 0 5 |
▁AD ), ▁who ▁was ▁an ▁official ▁of ▁the ▁Song ▁dynast y , ▁but ▁out ▁of ▁patri ot ism , ▁refused ▁to ▁serve ▁the ▁Y uan ▁court ▁and ▁dedicated ▁himself ▁to ▁painting . ▁Ex amples ▁of ▁super b ▁art ▁from ▁this ▁period ▁include ▁the ▁rich ▁and ▁detailed ▁painted ▁mur als ▁of ▁the ▁Y ong le ▁Palace , ▁or ▁" D ach un y ang ▁L on ge vity ▁Palace ", ▁of ▁ 1 2 6 2 ▁AD , ▁a ▁UN ES CO ▁World ▁Heritage ▁site . ▁Within ▁the ▁palace , ▁paint ings ▁cover ▁an ▁area ▁of ▁more ▁than ▁ 1 0 0 0 ▁square ▁meters , ▁and ▁hold ▁mostly ▁D ao ist ▁them es . ▁It ▁was ▁during ▁the ▁Song ▁dynast y ▁that ▁pain ters ▁would ▁also ▁gather ▁in ▁social ▁clubs ▁or ▁meet ings ▁to ▁discuss ▁their ▁art ▁or ▁others ' ▁art work , ▁the ▁pra ising ▁of ▁which ▁often ▁led ▁to ▁persu as ions ▁to ▁trade ▁and ▁sell ▁pre cious ▁works ▁of ▁art . ▁However , ▁there ▁were ▁also ▁many ▁har sh ▁critics ▁of ▁others ▁art ▁as ▁well , ▁showing ▁the ▁difference ▁in ▁style ▁and ▁taste ▁amongst ▁different ▁pain ters . ▁In ▁ 1 0 8 8 ▁AD , ▁the ▁poly math ▁scient ist ▁and ▁states man ▁Sh en ▁Ku o ▁once ▁wrote ▁of ▁the ▁art work ▁of ▁one ▁Li ▁Ch eng , ▁who ▁he ▁critic ized ▁as ▁follows : ▁ ▁Although ▁high ▁level ▁of ▁st yl ization , ▁myst ical ▁appeal , ▁and ▁sur real ▁eleg ance ▁were ▁often ▁preferred ▁over ▁real |
ism ▁( such ▁as ▁in ▁sh an ▁sh ui ▁style ), ▁beginning ▁with ▁the ▁medieval ▁Song ▁dynast y ▁there ▁were ▁many ▁Chinese ▁pain ters ▁then ▁and ▁afterwards ▁who ▁dep icted ▁scenes ▁of ▁nature ▁that ▁were ▁v ivid ly ▁real . ▁Later ▁M ing ▁D ynast y ▁artists ▁would ▁take ▁after ▁this ▁Song ▁dynast y ▁emphas is ▁for ▁intr icate ▁detail ▁and ▁real ism ▁on ▁objects ▁in ▁nature , ▁especially ▁in ▁dep ict ions ▁of ▁animals ▁( such ▁as ▁du cks , ▁sw ans , ▁sp arrow s , ▁t ig ers , ▁etc .) ▁amongst ▁patch es ▁of ▁bright ly ▁colored ▁flowers ▁and ▁thick ets ▁of ▁br ush ▁and ▁wood ▁( a ▁good ▁example ▁would ▁be ▁the ▁anonymous ▁M ing ▁D ynast y ▁painting ▁Bird s ▁and ▁Pl um ▁Bl oss oms , ▁hous ed ▁in ▁the ▁Fre er ▁Gallery ▁of ▁the ▁Smith son ian ▁Museum ▁in ▁Washington , ▁D . C .). ▁There ▁were ▁many ▁ren owned ▁M ing ▁D ynast y ▁artists ; ▁Q iu ▁Y ing ▁is ▁an ▁excellent ▁example ▁of ▁a ▁param ount ▁M ing ▁era ▁painter ▁( f am ous ▁even ▁in ▁his ▁own ▁day ), ▁util izing ▁in ▁his ▁art work ▁domestic ▁scenes , ▁b ust ling ▁pal atial ▁scenes , ▁and ▁nature ▁scenes ▁of ▁river ▁valle ys ▁and ▁ste ep ed ▁mountains ▁shr oud ed ▁in ▁mist ▁and ▁sw ir ling ▁clouds . ▁During ▁the ▁M ing ▁D ynast y ▁there ▁were ▁also ▁different ▁and ▁rival ing ▁schools ▁of ▁art ▁associated ▁with ▁painting , ▁such ▁as |
▁the ▁Wu ▁School ▁and ▁the ▁Z he ▁School . ▁ ▁Class ical ▁Chinese ▁painting ▁continued ▁on ▁into ▁the ▁early ▁modern ▁Q ing ▁D ynast y , ▁with ▁highly ▁real istic ▁portrait ▁paint ings ▁like ▁seen ▁in ▁the ▁late ▁M ing ▁D ynast y ▁of ▁the ▁early ▁ 1 7 th ▁century . ▁The ▁port ra its ▁of ▁K ang xi ▁Emperor , ▁Y ong zh eng ▁Emperor , ▁and ▁Q ian long ▁Emperor ▁are ▁excellent ▁examples ▁of ▁real istic ▁Chinese ▁portrait ▁painting . ▁During ▁the ▁Q ian long ▁reign ▁period ▁and ▁the ▁continu ing ▁ 1 9 th ▁century , ▁European ▁Bar o que ▁styles ▁of ▁painting ▁had ▁notice able ▁influence ▁on ▁Chinese ▁portrait ▁paint ings , ▁especially ▁with ▁painted ▁visual ▁effects ▁of ▁light ing ▁and ▁sh ading . ▁Like wise , ▁East ▁Asian ▁paint ings ▁and ▁other ▁works ▁of ▁art ▁( such ▁as ▁por cel ain ▁and ▁lac quer ware ) ▁were ▁highly ▁pri zed ▁in ▁Europe ▁since ▁initial ▁contact ▁in ▁the ▁ 1 6 th ▁century . ▁ ▁Chinese ▁oil ▁paint ings ▁ ▁Western ▁techniques ▁of ▁oil ▁paint ings ▁began ▁entering ▁China ▁in ▁the ▁ 1 9 th ▁century , ▁becoming ▁pre val ent ▁among ▁Chinese ▁artists ▁and ▁art ▁students ▁in ▁the ▁early ▁ 2 0 th ▁century , ▁coinc iding ▁with ▁China ' s ▁growing ▁eng agement ▁with ▁the ▁West . ▁Art ists ▁such ▁as ▁Li ▁T ief u , ▁Hong ▁Y i , ▁X u ▁Be ih ong , ▁Yan ▁W en li ang , ▁Lin ▁F eng m |
ian , ▁F ang ▁Gan min , ▁P ang ▁Y uli ang ▁went ▁abroad , ▁pre domin antly ▁to ▁Paris ▁and ▁Tokyo , ▁to ▁learn ▁Western ▁art . ▁Through ▁them , ▁art istic ▁movements ▁such ▁as ▁Im pression ism , ▁Cub ism , ▁F au v ism , ▁Post - im pression ism ▁grew ▁and ▁th riv ed ▁in ▁China , ▁only ▁halt ed ▁by ▁the ▁Second ▁World ▁War ▁and ▁the ▁birth ▁of ▁the ▁People ' s ▁Republic ▁of ▁China , ▁when ▁modern istic ▁art istic ▁styles ▁were ▁seen ▁as ▁being ▁incons istent ▁with ▁the ▁prev ail ing ▁political ▁ide als ▁and ▁real ism ▁was ▁the ▁only ▁acceptable ▁art istic ▁form . ▁Non eth eless , ▁the ▁legacy ▁of ▁the ▁close ▁eng agement ▁with ▁Western ▁art ▁in ▁the ▁early ▁ 2 0 th ▁century ▁end ured . ▁O il ▁paint ings ▁surv ived ▁as ▁a ▁important ▁medium ▁in ▁Chinese ▁art istic ▁scenes ; ▁traditional ▁Chinese ▁in k ▁paint ings ▁were ▁also ▁changed ▁as ▁a ▁result . ▁ ▁Japanese ▁▁ ▁Japanese ▁painting ▁( <0xE7> <0xB5> <0xB5> 画 ) ▁is ▁one ▁of ▁the ▁oldest ▁and ▁most ▁highly ▁ref ined ▁of ▁the ▁Japanese ▁arts , ▁en comp ass ing ▁a ▁wide ▁variety ▁of ▁gen res ▁and ▁styles . ▁As ▁with ▁Japanese ▁arts ▁in ▁general , ▁Japanese ▁painting ▁developed ▁through ▁a ▁long ▁history ▁of ▁synth esis ▁and ▁competition ▁between ▁native ▁Japanese ▁a est het ics ▁and ▁adaptation ▁of ▁imported ▁ideas . ▁U ki yo - e , ▁or ▁" p ictures ▁of ▁the ▁floating ▁world ," ▁is |
▁a ▁genre ▁of ▁Japanese ▁wood block ▁prints ▁( or ▁" wood cut s ") ▁and ▁paint ings ▁produced ▁between ▁the ▁ 1 7 th ▁and ▁ 2 0 th ▁centuries , ▁featuring ▁mot ifs ▁of ▁land sc apes , ▁the ater , ▁and ▁cour tes an ▁districts . ▁It ▁is ▁the ▁main ▁art istic ▁genre ▁of ▁Japanese ▁wood block ▁printing . ▁Japanese ▁print making , ▁especially ▁from ▁the ▁E do ▁period , ▁ex ert ed ▁enorm ous ▁influence ▁on ▁French ▁painting ▁over ▁the ▁ 1 9 th ▁century . ▁ ▁Korean ▁▁ ▁Korean ▁painting , ▁as ▁an ▁independent ▁form , ▁began ▁around ▁ 1 0 8 ▁B . C ., ▁around ▁the ▁fall ▁of ▁Go j ose on , ▁making ▁it ▁one ▁of ▁the ▁oldest ▁in ▁the ▁world . ▁The ▁art work ▁of ▁that ▁time ▁period ▁evol ved ▁into ▁the ▁various ▁styles ▁that ▁character ized ▁the ▁Three ▁Kingdom s ▁of ▁Korea ▁period , ▁most ▁not ably ▁the ▁paint ings ▁and ▁fres co es ▁that ▁ad orn ▁the ▁tomb s ▁of ▁G og ury e o ' s ▁royal ty . ▁During ▁the ▁Three ▁Kingdom s ▁period ▁and ▁through ▁the ▁G ory e o ▁dynast y , ▁Korean ▁painting ▁was ▁character ized ▁primarily ▁by ▁a ▁combination ▁of ▁Korean - style ▁land sc apes , ▁fa cial ▁features , ▁Buddh ist - center ed ▁them es , ▁and ▁an ▁emphas is ▁on ▁cel est ial ▁observation ▁that ▁was ▁facil itated ▁by ▁the ▁rapid ▁development ▁of ▁Korean ▁astronom y . ▁It ▁wasn ' t ▁until ▁the |
▁Jose on ▁dynast y ▁that ▁Conf u cian ▁them es ▁began ▁to ▁take ▁root ▁in ▁Korean ▁paint ings , ▁used ▁in ▁harm ony ▁with ▁ind igen ous ▁aspects . ▁ ▁The ▁history ▁of ▁Korean ▁painting ▁has ▁been ▁character ized ▁by ▁the ▁use ▁mon och rom atic ▁works ▁of ▁black ▁br ush work , ▁often ▁on ▁mul berry ▁paper ▁or ▁sil k . ▁This ▁style ▁is ▁evident ▁in ▁" Min - H wa ", ▁or ▁color ful ▁folk ▁art , ▁tomb ▁paint ings , ▁and ▁rit ual ▁and ▁festival ▁arts , ▁both ▁of ▁which ▁incorpor ated ▁an ▁extensive ▁use ▁of ▁colour . ▁ ▁South ▁Asian ▁ ▁Indian ▁▁ ▁Indian ▁paint ings ▁histor ically ▁revol ved ▁around ▁the ▁religious ▁de ities ▁and ▁k ings . ▁Indian ▁art ▁is ▁a ▁collect ive ▁term ▁for ▁several ▁different ▁schools ▁of ▁art ▁that ▁existed ▁in ▁the ▁Indian ▁sub cont inent . ▁The ▁paint ings ▁varied ▁from ▁large ▁fres co es ▁of ▁A j anta ▁to ▁the ▁intr icate ▁M ug hal ▁mini ature ▁paint ings ▁to ▁the ▁metal ▁emb ell ished ▁works ▁from ▁the ▁Tan j ore ▁school . ▁The ▁paint ings ▁from ▁the ▁Gand har – T ax ila ▁are ▁influenced ▁by ▁the ▁Pers ian ▁works ▁in ▁the ▁west . ▁The ▁eastern ▁style ▁of ▁painting ▁was ▁mostly ▁developed ▁around ▁the ▁N al anda ▁school ▁of ▁art . ▁The ▁works ▁are ▁mostly ▁inspired ▁by ▁various ▁scenes ▁from ▁Indian ▁myth ology . ▁ ▁History ▁ ▁The ▁earliest ▁Indian ▁paint ings ▁were ▁the ▁rock ▁paint ings ▁of ▁pre histor ic ▁times |
, ▁the ▁pet rog lyph s ▁as ▁found ▁in ▁places ▁like ▁the ▁Rock ▁Sh el ters ▁of ▁Bh im bet ka , ▁and ▁some ▁of ▁them ▁are ▁older ▁than ▁ 5 5 0 0 ▁BC . ▁Such ▁works ▁continued ▁and ▁after ▁several ▁mill enn ia , ▁in ▁the ▁ 7 th ▁century , ▁car ved ▁pill ars ▁of ▁A j anta , ▁Mah ar as ht ra ▁state ▁present ▁a ▁fine ▁example ▁of ▁Indian ▁paint ings , ▁and ▁the ▁colors , ▁mostly ▁various ▁sh ades ▁of ▁red ▁and ▁orange , ▁were ▁derived ▁from ▁min er als . ▁ ▁A j anta ▁C aves ▁in ▁Mah ar as ht ra , ▁India ▁are ▁rock - cut ▁cave ▁monuments ▁d ating ▁back ▁to ▁the ▁ 2 nd ▁century ▁B CE ▁and ▁containing ▁paint ings ▁and ▁sculpt ure ▁considered ▁to ▁be ▁master pie ces ▁of ▁both ▁Buddh ist ▁religious ▁art ▁and ▁universal ▁p ict orial ▁art . ▁ ▁Mad h ub ani ▁painting ▁Mad h ub ani ▁painting ▁is ▁a ▁style ▁of ▁Indian ▁painting , ▁pract iced ▁in ▁the ▁M ith ila ▁region ▁of ▁Bi har ▁state , ▁India . ▁The ▁orig ins ▁of ▁Mad h ub ani ▁painting ▁are ▁shr oud ed ▁in ▁anti qu ity . ▁ ▁M ug hal ▁▁ ▁M ug hal ▁painting ▁is ▁a ▁particular ▁style ▁of ▁Indian ▁painting , ▁generally ▁conf ined ▁to ▁illustr ations ▁on ▁the ▁book ▁and ▁done ▁in ▁mini atures , ▁and ▁which ▁emer ged , ▁developed ▁and ▁took ▁shape ▁during ▁the ▁period ▁of ▁the ▁M ug |
hal ▁Empire ▁ 1 6 th ▁− 1 9 th ▁centuries . ▁ ▁Raj put ▁ ▁Raj put ▁painting ▁evol ved ▁and ▁fl our ished ▁during ▁the ▁ 1 8 th ▁century , ▁in ▁the ▁royal ▁courts ▁of ▁Raj put ana , ▁India . ▁Each ▁Raj put ▁kingdom ▁evol ved ▁a ▁distinct ▁style , ▁but ▁with ▁certain ▁common ▁features . ▁Raj put ▁paint ings ▁dep ict ▁a ▁number ▁of ▁them es , ▁events ▁of ▁ep ics ▁like ▁the ▁Ram ay ana ▁and ▁the ▁Mah ab har ata , ▁Kr ish na ' s ▁life , ▁beautiful ▁land sc apes , ▁and ▁humans . ▁M ini atures ▁were ▁the ▁preferred ▁medium ▁of ▁Raj put ▁painting , ▁but ▁several ▁manuscript s ▁also ▁contain ▁Raj put ▁paint ings , ▁and ▁paint ings ▁were ▁even ▁done ▁on ▁the ▁walls ▁of ▁pal aces , ▁inner ▁ch amb ers ▁of ▁the ▁for ts , ▁ha vel ies , ▁particularly , ▁the ▁ha vel is ▁of ▁She kh await . ▁ ▁The ▁colors ▁extracted ▁from ▁certain ▁min er als , ▁plant ▁sources , ▁con ch ▁shell s , ▁and ▁were ▁even ▁derived ▁by ▁processing ▁pre cious ▁stones , ▁gold ▁and ▁silver ▁were ▁used . ▁The ▁prepar ation ▁of ▁desired ▁colors ▁was ▁a ▁length y ▁process , ▁sometimes ▁taking ▁weeks . ▁Br ush es ▁used ▁were ▁very ▁fine . ▁ ▁Tan j ore ▁ ▁Tan j ore ▁painting ▁is ▁an ▁important ▁form ▁of ▁classical ▁South ▁Indian ▁painting ▁native ▁to ▁the ▁town ▁of ▁Tan j ore ▁in ▁T amil ▁N adu . |
▁The ▁art ▁form ▁dates ▁back ▁to ▁the ▁early ▁ 9 th ▁century , ▁a ▁period ▁domin ated ▁by ▁the ▁Ch ola ▁r ul ers , ▁who ▁encourag ed ▁art ▁and ▁literature . ▁These ▁paint ings ▁are ▁known ▁for ▁their ▁eleg ance , ▁rich ▁colors , ▁and ▁attention ▁to ▁detail . ▁The ▁them es ▁for ▁most ▁of ▁these ▁paint ings ▁are ▁H indu ▁God s ▁and ▁God d esses ▁and ▁scenes ▁from ▁H indu ▁myth ology . ▁In ▁modern ▁times , ▁these ▁paint ings ▁have ▁become ▁a ▁much ▁sought ▁after ▁sou venir ▁during ▁fest ive ▁occasions ▁in ▁South ▁India . ▁ ▁The ▁process ▁of ▁making ▁a ▁Tan j ore ▁painting ▁involves ▁many ▁stages . ▁The ▁first ▁stage ▁involves ▁the ▁making ▁of ▁the ▁pre lim inary ▁sketch ▁of ▁the ▁image ▁on ▁the ▁base . ▁The ▁base ▁consists ▁of ▁a ▁cloth ▁past ed ▁over ▁a ▁wooden ▁base . ▁Then ▁ch alk ▁pow der ▁or ▁z inc ▁ox ide ▁is ▁mixed ▁with ▁water - sol ub le ▁ad hes ive ▁and ▁applied ▁on ▁the ▁base . ▁To ▁make ▁the ▁base ▁sm o other , ▁a ▁m ild ▁ab ras ive ▁is ▁sometimes ▁used . ▁After ▁the ▁drawing ▁is ▁made , ▁decor ation ▁of ▁the ▁j ew ell ery ▁and ▁the ▁app are ls ▁in ▁the ▁image ▁is ▁done ▁with ▁semi - pre cious ▁stones . ▁L aces ▁or ▁threads ▁are ▁also ▁used ▁to ▁decor ate ▁the ▁j ew ell ery . ▁On ▁top ▁of ▁this , ▁the ▁gold ▁fo ils ▁are ▁past ed . ▁Finally , ▁d |
yes ▁are ▁used ▁to ▁add ▁colors ▁to ▁the ▁figures ▁in ▁the ▁paint ings . ▁ ▁Mad ras ▁School ▁During ▁British ▁rule ▁in ▁India , ▁the ▁crown ▁found ▁that ▁Mad ras ▁had ▁some ▁of ▁the ▁most ▁tal ented ▁and ▁intellectual ▁art istic ▁minds ▁in ▁the ▁world . ▁As ▁the ▁British ▁had ▁also ▁established ▁a ▁huge ▁settlement ▁in ▁and ▁around ▁Mad ras , ▁Ge or get own ▁was ▁chosen ▁to ▁establish ▁an ▁inst itute ▁that ▁would ▁c ater ▁to ▁the ▁art istic ▁expect ations ▁of ▁the ▁royal ▁family ▁in ▁London . ▁This ▁has ▁come ▁to ▁be ▁known ▁as ▁the ▁Mad ras ▁School . ▁At ▁first ▁traditional ▁artists ▁were ▁employed ▁to ▁produce ▁ex quis ite ▁vari eties ▁of ▁furn iture , ▁metal ▁work , ▁and ▁curios ▁and ▁their ▁work ▁was ▁sent ▁to ▁the ▁royal ▁pal aces ▁of ▁the ▁Queen . ▁ ▁Un like ▁the ▁Beng al ▁School ▁where ▁' copy ing ' ▁is ▁the ▁norm ▁of ▁teaching , ▁the ▁Mad ras ▁School ▁fl our ishes ▁on ▁' cre ating ' ▁new ▁styles , ▁arguments ▁and ▁tr ends . ▁ ▁Beng al ▁School ▁ ▁The ▁Beng al ▁school ▁of ▁art ▁was ▁an ▁influ ential ▁style ▁of ▁art ▁that ▁fl our ished ▁in ▁India ▁during ▁the ▁British ▁Raj ▁in ▁the ▁early ▁ 2 0 th ▁century . ▁It ▁was ▁associated ▁with ▁Indian ▁national ism , ▁but ▁was ▁also ▁promoted ▁and ▁supported ▁by ▁many ▁British ▁arts ▁administr ators . ▁ ▁The ▁Beng al ▁School ▁arose ▁as ▁an ▁avant ▁gar de ▁and ▁national ist ▁movement ▁react ing ▁against ▁the ▁academic |
▁art ▁styles ▁previously ▁promoted ▁in ▁India , ▁both ▁by ▁Indian ▁artists ▁such ▁as ▁R aja ▁R avi ▁Var ma ▁and ▁in ▁British ▁art ▁schools . ▁Following ▁the ▁w ides p read ▁influence ▁of ▁Indian ▁spiritual ▁ideas ▁in ▁the ▁West , ▁the ▁British ▁art ▁teacher ▁Ernest ▁Bin field ▁H avel ▁attempted ▁to ▁reform ▁the ▁teaching ▁methods ▁at ▁the ▁Cal cut ta ▁School ▁of ▁Art ▁by ▁encourag ing ▁students ▁to ▁im itate ▁M ug hal ▁mini atures . ▁This ▁caused ▁immense ▁controvers y , ▁leading ▁to ▁a ▁strike ▁by ▁students ▁and ▁compla ints ▁from ▁the ▁local ▁press , ▁including ▁from ▁national ists ▁who ▁considered ▁it ▁to ▁be ▁a ▁retro gress ive ▁move . ▁H avel ▁was ▁supported ▁by ▁the ▁artist ▁Ab an ind ran ath ▁Tag ore , ▁a ▁nep hew ▁of ▁the ▁poet ▁Rab ind ran ath ▁Tag ore . ▁Tag ore ▁painted ▁a ▁number ▁of ▁works ▁influenced ▁by ▁M ug hal ▁art , ▁a ▁style ▁that ▁he ▁and ▁H avel ▁believed ▁to ▁be ▁express ive ▁of ▁India ' s ▁distinct ▁spiritual ▁qual ities , ▁as ▁opposed ▁to ▁the ▁" material ism " ▁of ▁the ▁West . ▁Tag ore ' s ▁best - known ▁painting , ▁B har at ▁M ata ▁( M other ▁India ), ▁dep icted ▁a ▁young ▁woman , ▁port rayed ▁with ▁four ▁arms ▁in ▁the ▁manner ▁of ▁H indu ▁de ities , ▁holding ▁objects ▁symbol ic ▁of ▁India ' s ▁national ▁asp ir ations . ▁Tag ore ▁later ▁attempted ▁to ▁develop ▁links ▁with ▁Japanese ▁artists ▁as ▁part ▁of ▁an ▁asp |
iration ▁to ▁construct ▁a ▁pan - As ian ist ▁model ▁of ▁art . ▁ ▁The ▁Beng al ▁School ' s ▁influence ▁in ▁India ▁decl ined ▁with ▁the ▁spread ▁of ▁modern ist ▁ideas ▁in ▁the ▁ 1 9 2 0 s . ▁In ▁the ▁post - in dep end ence ▁period , ▁Indian ▁artists ▁showed ▁more ▁adapt ability ▁as ▁they ▁borrow ed ▁freely ▁from ▁europe an ▁styles ▁and ▁am alg am ated ▁them ▁freely ▁with ▁the ▁Indian ▁mot ifs ▁to ▁new ▁forms ▁of ▁art . ▁While ▁artists ▁like ▁Francis ▁Newton ▁Sou za ▁and ▁Ty eb ▁Me ht a ▁were ▁more ▁western ▁in ▁their ▁approach , ▁there ▁were ▁others ▁like ▁Gan esh ▁Py ne ▁and ▁Ma q bool ▁F ida ▁Hus ain ▁who ▁developed ▁thoroughly ▁ind igen ous ▁styles ▁of ▁work . ▁Today ▁after ▁the ▁process ▁of ▁liberal ization ▁of ▁market ▁in ▁India , ▁the ▁artists ▁are ▁experien cing ▁more ▁expos ure ▁to ▁the ▁international ▁art - scene ▁which ▁is ▁helping ▁them ▁in ▁emer ging ▁with ▁newer ▁forms ▁of ▁art ▁which ▁were ▁h ither to ▁not ▁seen ▁in ▁India . ▁J it ish ▁K all at ▁had ▁shot ▁to ▁fame ▁in ▁the ▁late ▁ 1 9 9 0 s ▁with ▁his ▁paint ings ▁which ▁were ▁both ▁modern ▁and ▁beyond ▁the ▁scope ▁of ▁generic ▁definition . ▁However , ▁while ▁artists ▁in ▁India ▁in ▁the ▁new ▁century ▁are ▁trying ▁out ▁new ▁styles , ▁them es ▁and ▁met aph ors , ▁it ▁would ▁not ▁have ▁been ▁possible ▁to ▁get ▁such ▁quick ▁recognition ▁without ▁the ▁aid ▁of ▁the ▁business |
▁houses ▁which ▁are ▁now ▁entering ▁the ▁art ▁field ▁like ▁they ▁had ▁never ▁before . ▁ ▁Modern ▁Indian ▁▁ ▁Am rita ▁Sher - G il ▁was ▁an ▁Indian ▁painter , ▁sometimes ▁known ▁as ▁India ' s ▁Fr ida ▁K ah lo , ▁and ▁today ▁considered ▁an ▁important ▁woman ▁painter ▁of ▁ 2 0 th - century ▁India , ▁whose ▁legacy ▁stands ▁at ▁par ▁with ▁that ▁of ▁the ▁Masters ▁of ▁Beng al ▁Renaissance ; ▁she ▁is ▁also ▁the ▁' most ▁expensive ' ▁woman ▁painter ▁of ▁India . ▁ ▁Today , ▁she ▁is ▁amongst ▁N ine ▁Masters , ▁whose ▁work ▁was ▁declared ▁as ▁art ▁tre asures ▁by ▁The ▁Arch ae ological ▁Survey ▁of ▁India , ▁in ▁ 1 9 7 6 ▁and ▁ 1 9 7 9 , ▁and ▁over ▁ 1 0 0 ▁of ▁her ▁paint ings ▁are ▁now ▁displayed ▁at ▁National ▁Gallery ▁of ▁Modern ▁Art , ▁New ▁Del hi . ▁ ▁During ▁the ▁colonial ▁era , ▁Western ▁influ ences ▁started ▁to ▁make ▁an ▁impact ▁on ▁Indian ▁art . ▁Some ▁artists ▁developed ▁a ▁style ▁that ▁used ▁Western ▁ideas ▁of ▁composition , ▁perspective ▁and ▁real ism ▁to ▁illustrate ▁Indian ▁them es . ▁O thers , ▁like ▁Jam ini ▁Roy , ▁cons ci ously ▁drew ▁insp iration ▁from ▁folk ▁art . ▁ ▁By ▁the ▁time ▁of ▁Independ ence ▁in ▁ 1 9 4 7 , ▁several ▁schools ▁of ▁art ▁in ▁India ▁provided ▁access ▁to ▁modern ▁techniques ▁and ▁ideas . ▁Gall eries ▁were ▁established ▁to ▁show case ▁these ▁artists . ▁Modern ▁Indian ▁art ▁typically ▁shows ▁the ▁influence ▁of |
▁Western ▁styles , ▁but ▁is ▁often ▁inspired ▁by ▁Indian ▁them es ▁and ▁images . ▁Major ▁artists ▁are ▁beginning ▁to ▁gain ▁international ▁recognition , ▁initially ▁among ▁the ▁Indian ▁di as por a , ▁but ▁also ▁among ▁non - Ind ian ▁aud ien ces . ▁ ▁The ▁Progress ive ▁Art ists ' ▁Group , ▁established ▁shortly ▁after ▁India ▁became ▁independent ▁in ▁ 1 9 4 7 , ▁was ▁intended ▁to ▁establish ▁new ▁ways ▁of ▁express ing ▁India ▁in ▁the ▁post - colon ial ▁era . ▁The ▁found ers ▁were ▁six ▁em inent ▁artists ▁– ▁K . ▁H . ▁Ara , ▁S . ▁K . ▁Bak re , ▁H . ▁A . ▁G ade , ▁M . F . ▁Hus ain , ▁S . H . ▁R aza ▁and ▁F . ▁N . ▁Sou za , ▁though ▁the ▁group ▁was ▁dissol ved ▁in ▁ 1 9 5 6 , ▁it ▁was ▁prof ound ly ▁influ ential ▁in ▁changing ▁the ▁id iom ▁of ▁Indian ▁art . ▁Al most ▁all ▁India ' s ▁major ▁artists ▁in ▁the ▁ 1 9 5 0 s ▁were ▁associated ▁with ▁the ▁group . ▁Some ▁of ▁those ▁who ▁are ▁well - known ▁today ▁are ▁Bal ▁Ch ab da , ▁Man ishi ▁De y , ▁M uk ul ▁De y , ▁V . ▁S . ▁G ait onde , ▁Ram ▁K umar , ▁Ty eb ▁Me ht a , ▁and ▁Ak bar ▁Pad am see . ▁Other ▁famous ▁pain ters ▁like ▁Jah ar ▁Das gu pta , ▁Pro k ash ▁K arm ak ar |
, ▁John ▁Wil kins , ▁Nar ay an an ▁Ram ach and ran , ▁and ▁Bij on ▁Ch oud h uri ▁en rich ed ▁the ▁art ▁culture ▁of ▁India . ▁They ▁have ▁become ▁the ▁icons ▁of ▁modern ▁Indian ▁art . ▁Art ▁histor ians ▁like ▁Prof . ▁R ai ▁An and ▁Kr ish na ▁have ▁also ▁referred ▁to ▁those ▁works ▁of ▁modern ▁artist es ▁that ▁reflect ▁Indian ▁eth os . ▁Ge eta ▁V ad h era ▁has ▁had ▁acc laim ▁in ▁transl ating ▁complex , ▁Indian ▁spiritual ▁them es ▁onto ▁canvas ▁like ▁S uf i ▁thought , ▁the ▁Up an ish ads ▁and ▁the ▁Bh ag wad ▁Ge eta . ▁ ▁Indian ▁art ▁got ▁a ▁boost ▁with ▁the ▁economic ▁liberal ization ▁of ▁the ▁country ▁since ▁the ▁early ▁ 1 9 9 0 s . ▁Art ists ▁from ▁various ▁fields ▁now ▁started ▁bringing ▁in ▁varied ▁styles ▁of ▁work . ▁In ▁post - li ber al ization ▁India , ▁many ▁artists ▁have ▁established ▁themselves ▁in ▁the ▁international ▁art ▁market ▁like ▁the ▁abstract ▁painter ▁Nat var ▁B hav s ar , ▁figur ative ▁artist ▁Dev aj y oti ▁Ray ▁and ▁sculpt or ▁An ish ▁Kap oor ▁whose ▁m amm oth ▁post min imal ist ▁art works ▁have ▁acquired ▁attention ▁for ▁their ▁she er ▁size . ▁Many ▁art ▁houses ▁and ▁gall eries ▁have ▁also ▁opened ▁in ▁USA ▁and ▁Europe ▁to ▁show case ▁Indian ▁art works . ▁ ▁Filip ino ▁▁ ▁Filip ino ▁painting ▁as ▁a ▁whole ▁can ▁be ▁seen ▁as ▁an ▁am alg am ation ▁of ▁many ▁cultural |
▁influ ences , ▁though ▁it ▁tends ▁to ▁be ▁more ▁Western ▁in ▁its ▁current ▁form ▁with ▁Eastern ▁roots . ▁ ▁Early ▁Filip ino ▁painting ▁can ▁be ▁found ▁in ▁red ▁s lip ▁( cl ay ▁mixed ▁with ▁water ) ▁designs ▁emb ell ished ▁on ▁the ▁rit ual ▁pot tery ▁of ▁the ▁Philippines ▁such ▁as ▁the ▁acc laimed ▁Man ung g ul ▁Jar . ▁Ev idence ▁of ▁Philipp ine ▁pot tery - making ▁dated ▁as ▁early ▁as ▁ 6 0 0 0 BC ▁has ▁been ▁found ▁in ▁S anga - s anga ▁C ave , ▁Sul u ▁and ▁Laur ente ▁C ave , ▁C ag ay an . ▁It ▁has ▁been ▁proven ▁that ▁by ▁ 5 0 0 0 BC , ▁the ▁making ▁of ▁pot tery ▁was ▁pract iced ▁throughout ▁the ▁country . ▁Early ▁Filip inos ▁started ▁making ▁pot tery ▁before ▁their ▁Camb od ian ▁neighb ors ▁and ▁at ▁about ▁the ▁same ▁time ▁as ▁the ▁Th ais ▁as ▁part ▁of ▁what ▁appears ▁to ▁be ▁a ▁w ides p read ▁Ice ▁Age ▁development ▁of ▁pot tery ▁technology . ▁Further ▁ev id ences ▁of ▁painting ▁are ▁manif ested ▁in ▁the ▁t atto o ▁tradition ▁of ▁early ▁Filip inos , ▁whom ▁the ▁Portuguese ▁expl orer ▁referred ▁to ▁as ▁P int ados ▁or ▁the ▁' Paint ed ▁People ' ▁of ▁the ▁Vis ay as . ▁Vari ous ▁designs ▁referencing ▁fl ora ▁and ▁fa una ▁with ▁heaven ly ▁bodies ▁decor ate ▁their ▁bodies ▁in ▁various ▁colored ▁p ig ment ation . ▁Perhaps , ▁some ▁of ▁the ▁most ▁elaborate ▁painting ▁done ▁by |
▁early ▁Filip inos ▁that ▁surv ive ▁to ▁the ▁present ▁day ▁can ▁be ▁manif ested ▁among ▁the ▁arts ▁and ▁architecture ▁of ▁the ▁Mar ana o ▁who ▁are ▁well ▁known ▁for ▁the ▁N ā ga ▁Drag ons ▁and ▁the ▁Sar iman ok ▁car ved ▁and ▁painted ▁in ▁the ▁beautiful ▁Pan ol ong ▁of ▁their ▁Tor og an ▁or ▁King ' s ▁House . ▁ ▁Filip inos ▁began ▁creating ▁paint ings ▁in ▁the ▁European ▁tradition ▁during ▁the ▁ 1 7 th - century ▁Spanish ▁period . ▁The ▁earliest ▁of ▁these ▁paint ings ▁were ▁Church ▁fres co es , ▁religious ▁imag ery ▁from ▁Bib lic al ▁sources , ▁as ▁well ▁as ▁eng rav ings , ▁sculpt ures ▁and ▁l ith ograph s ▁featuring ▁Christian ▁icons ▁and ▁European ▁nob ility . ▁Most ▁of ▁the ▁paint ings ▁and ▁sculpt ures ▁between ▁the ▁ 1 9 th , ▁and ▁ 2 0 th ▁century ▁produced ▁a ▁mixture ▁of ▁religious , ▁political , ▁and ▁landscape ▁art ▁works , ▁with ▁qual ities ▁of ▁sweet ness , ▁dark , ▁and ▁light . ▁Early ▁modern ist ▁pain ters ▁such ▁as ▁D ami án ▁Dom ingo ▁was ▁associated ▁with ▁religious ▁and ▁sec ular ▁paint ings . ▁The ▁art ▁of ▁Juan ▁L una ▁and ▁F éli x ▁H idal go ▁showed ▁a ▁tr end ▁for ▁political ▁statement . ▁Art ist ▁such ▁as ▁Fernando ▁Am ors olo ▁used ▁post - mod ern ism ▁to ▁produce ▁paint ings ▁that ▁illustrated ▁Philipp ine ▁culture , ▁nature , ▁and ▁harm ony . ▁While ▁other ▁artists ▁such ▁as ▁Fernando ▁Z ó |
bel ▁used ▁real ities ▁and ▁abstract ▁on ▁his ▁work . ▁ ▁South - E ast ▁Asia ▁ ▁Western ▁ ▁Egypt , ▁Greece ▁and ▁Rome ▁ ▁An cient ▁Egypt , ▁a ▁civil ization ▁with ▁very ▁strong ▁trad itions ▁of ▁architecture ▁and ▁sculpt ure ▁( both ▁originally ▁painted ▁in ▁bright ▁colours ) ▁also ▁had ▁many ▁m ural ▁paint ings ▁in ▁tem ples ▁and ▁buildings , ▁and ▁painted ▁illustr ations ▁on ▁pap yrus ▁manuscript s . ▁Egypt ian ▁wall ▁painting ▁and ▁decor ative ▁painting ▁is ▁often ▁graph ic , ▁sometimes ▁more ▁symbol ic ▁than ▁real istic . ▁Egypt ian ▁painting ▁dep ict s ▁figures ▁in ▁bold ▁outline ▁and ▁flat ▁sil hou ette , ▁in ▁which ▁symmetry ▁is ▁a ▁constant ▁characteristic . ▁Egypt ian ▁painting ▁has ▁close ▁connection ▁with ▁its ▁written ▁language ▁– ▁called ▁Egypt ian ▁hier og lyph s . ▁P aint ed ▁symbols ▁are ▁found ▁amongst ▁the ▁first ▁forms ▁of ▁written ▁language . ▁The ▁Egypt ians ▁also ▁painted ▁on ▁lin en , ▁rem n ants ▁of ▁which ▁surv ive ▁today . ▁An cient ▁Egypt ian ▁paint ings ▁surv ived ▁due ▁to ▁the ▁extremely ▁dry ▁climate . ▁The ▁ancient ▁Egypt ians ▁created ▁paint ings ▁to ▁make ▁the ▁after life ▁of ▁the ▁dece ased ▁a ▁pleasant ▁place . ▁The ▁them es ▁included ▁journey ▁through ▁the ▁after world ▁or ▁their ▁protect ive ▁de ities ▁introdu cing ▁the ▁dece ased ▁to ▁the ▁gods ▁of ▁the ▁under world . ▁Some ▁examples ▁of ▁such ▁paint ings ▁are ▁paint ings ▁of ▁the ▁gods ▁and ▁god d esses ▁Ra , ▁Hor us , |
▁An ub is , ▁N ut , ▁Os ir is ▁and ▁Is is . ▁Some ▁tomb ▁paint ings ▁show ▁activities ▁that ▁the ▁dece ased ▁were ▁involved ▁in ▁when ▁they ▁were ▁alive ▁and ▁wished ▁to ▁carry ▁on ▁doing ▁for ▁et ern ity . ▁In ▁the ▁New ▁Kingdom ▁and ▁later , ▁the ▁Book ▁of ▁the ▁Dead ▁was ▁buried ▁with ▁the ▁ent om bed ▁person . ▁It ▁was ▁considered ▁important ▁for ▁an ▁introduction ▁to ▁the ▁after life . ▁ ▁To ▁the ▁north ▁of ▁Egypt ▁was ▁the ▁M ino an ▁civil ization ▁centered ▁on ▁the ▁island ▁of ▁Cre te . ▁The ▁wall ▁paint ings ▁found ▁in ▁the ▁palace ▁of ▁Kn oss os ▁are ▁similar ▁to ▁that ▁of ▁the ▁Egypt ians ▁but ▁much ▁more ▁free ▁in ▁style . ▁My c ena e an ▁Greece , ▁beginning ▁around ▁ 1 6 0 0 ▁BC , ▁produced ▁similar ▁art ▁to ▁that ▁of ▁M ino an ▁Cre te . ▁An cient ▁Greek ▁art ▁during ▁the ▁Greek ▁Dark ▁Age ▁became ▁far ▁less ▁complex , ▁but ▁the ▁renew al ▁of ▁Greek ▁civil ization ▁throughout ▁the ▁Mediter rane an ▁during ▁Arch a ic ▁Greece ▁brought ▁about ▁new ▁forms ▁of ▁Greek ▁art ▁with ▁the ▁Oriental izing ▁style . ▁ ▁An cient ▁Greece ▁had ▁sk illed ▁pain ters , ▁sculpt ors ▁( though ▁both ▁endeav ours ▁were ▁regarded ▁as ▁mere ▁manual ▁labour ▁at ▁the ▁time ), ▁and ▁architect s . ▁The ▁Par then on ▁is ▁an ▁example ▁of ▁their ▁architecture ▁that ▁has ▁last ed ▁to ▁modern ▁days . ▁Greek ▁mar ble ▁sculpt ure ▁is ▁often ▁described |
▁as ▁the ▁highest ▁form ▁of ▁Class ical ▁art . ▁P ain ting ▁on ▁pot tery ▁of ▁An cient ▁Greece ▁and ▁cer am ics ▁gives ▁a ▁particularly ▁inform ative ▁g limp se ▁into ▁the ▁way ▁society ▁in ▁An cient ▁Greece ▁function ed . ▁Black - figure ▁v ase ▁painting ▁and ▁Red - figure ▁v ase ▁painting ▁gives ▁many ▁surv iving ▁examples ▁of ▁what ▁Greek ▁painting ▁was . ▁Some ▁famous ▁Greek ▁pain ters ▁on ▁wooden ▁pan els ▁who ▁are ▁mentioned ▁in ▁texts ▁are ▁Ap elles , ▁Ze ux is ▁and ▁Par r has ius , ▁however ▁no ▁examples ▁of ▁An cient ▁Greek ▁panel ▁painting ▁surv ive , ▁only ▁written ▁descri ptions ▁by ▁their ▁contempor aries ▁or ▁later ▁Rom ans . ▁Ze ux is ▁lived ▁in ▁ 5 – 6 BC ▁and ▁was ▁said ▁to ▁be ▁the ▁first ▁to ▁use ▁sf um ato . ▁According ▁to ▁Pl iny ▁the ▁E lder , ▁the ▁real ism ▁of ▁his ▁paint ings ▁was ▁such ▁that ▁birds ▁tried ▁to ▁eat ▁the ▁painted ▁g rap es . ▁Ap elles ▁is ▁described ▁as ▁the ▁greatest ▁painter ▁of ▁Anti qu ity ▁for ▁perfect ▁technique ▁in ▁drawing , ▁brilliant ▁color ▁and ▁model ing . ▁ ▁Roman ▁art ▁was ▁influenced ▁by ▁Greece ▁and ▁can ▁in ▁part ▁be ▁taken ▁as ▁a ▁desc endant ▁of ▁ancient ▁Greek ▁painting . ▁However , ▁Roman ▁painting ▁does ▁have ▁important ▁unique ▁characteristics . ▁Sur v iving ▁Roman ▁paint ings ▁include ▁wall ▁paint ings ▁and ▁fres co es , ▁many ▁from ▁vill as ▁in ▁Camp ania , ▁in ▁Southern ▁Italy ▁at ▁sites |
▁such ▁as ▁Pom pe ii ▁and ▁Her cul ane um . ▁Such ▁painting ▁can ▁be ▁grouped ▁into ▁four ▁main ▁" styles " ▁or ▁periods ▁and ▁may ▁contain ▁the ▁first ▁examples ▁of ▁trom pe - l ' œ il , ▁pseudo - pers pective , ▁and ▁pure ▁landscape . ▁Al most ▁the ▁only ▁painted ▁port ra its ▁surv iving ▁from ▁the ▁An cient ▁world ▁are ▁a ▁large ▁number ▁of ▁coff in - port ra its ▁of ▁b ust ▁form ▁found ▁in ▁the ▁Late ▁Ant ique ▁c emetery ▁of ▁Al - F ay um . ▁Although ▁these ▁were ▁neither ▁of ▁the ▁best ▁period ▁nor ▁the ▁highest ▁quality , ▁they ▁are ▁impress ive ▁in ▁themselves , ▁and ▁give ▁an ▁idea ▁of ▁the ▁quality ▁that ▁the ▁fin est ▁ancient ▁work ▁must ▁have ▁had . ▁A ▁very ▁small ▁number ▁of ▁mini atures ▁from ▁Late ▁Ant ique ▁illustrated ▁books ▁also ▁surv ive , ▁and ▁a ▁rather ▁larger ▁number ▁of ▁copies ▁of ▁them ▁from ▁the ▁Early ▁Med ieval ▁period . ▁ ▁Middle ▁A ges ▁ ▁The ▁rise ▁of ▁Christian ity ▁im part ed ▁a ▁different ▁spirit ▁and ▁aim ▁to ▁painting ▁styles . ▁By z antine ▁art , ▁once ▁its ▁style ▁was ▁established ▁by ▁the ▁ 6 th ▁century , ▁placed ▁great ▁emphas is ▁on ▁retain ing ▁traditional ▁icon ography ▁and ▁style , ▁and ▁gradually ▁evol ved ▁during ▁the ▁thousand ▁years ▁of ▁the ▁By z antine ▁Empire ▁and ▁the ▁living ▁trad itions ▁of ▁Greek ▁and ▁Russian ▁Orth odox ▁icon - p ain ting . ▁ ▁By z antine ▁painting ▁has ▁a |
▁hier atic ▁feeling ▁and ▁icons ▁were ▁and ▁still ▁are ▁seen ▁as ▁a ▁representation ▁of ▁divine ▁revel ation . ▁ ▁There ▁were ▁many ▁fres cos , ▁but ▁fewer ▁of ▁these ▁have ▁surv ived ▁than ▁m osa ics . ▁By z antine ▁art ▁has ▁been ▁compared ▁to ▁contemporary ▁abstra ction , ▁in ▁its ▁flat ness ▁and ▁highly ▁st yl ised ▁dep ict ions ▁of ▁figures ▁and ▁landscape . ▁ ▁Some ▁periods ▁of ▁By z antine ▁art , ▁especially ▁the ▁so - called ▁Mac ed onian ▁art ▁of ▁around ▁the ▁ 1 0 th ▁century , ▁are ▁more ▁flexible ▁in ▁approach . ▁F res cos ▁of ▁the ▁Pala e olog ian ▁Renaissance ▁of ▁the ▁early ▁ 1 4 th ▁century ▁surv ive ▁in ▁the ▁Ch ora ▁Church ▁in ▁Ist an bul . ▁ ▁In ▁post - Ant ique ▁Catholic ▁Europe ▁the ▁first ▁distinct ive ▁art istic ▁style ▁to ▁emer ge ▁that ▁included ▁painting ▁was ▁the ▁Ins ular ▁art ▁of ▁the ▁British ▁Is les , ▁where ▁the ▁only ▁surv iving ▁examples ▁are ▁mini atures ▁in ▁Ill umin ated ▁manuscript s ▁such ▁as ▁the ▁Book ▁of ▁K ells . ▁ ▁These ▁are ▁most ▁famous ▁for ▁their ▁abstract ▁decor ation , ▁although ▁figures , ▁and ▁sometimes ▁scenes , ▁were ▁also ▁dep icted , ▁especially ▁in ▁Evangel ist ▁port ra its . ▁Carol ing ian ▁and ▁Ott onian ▁art ▁also ▁surv ives ▁mostly ▁in ▁manuscript s , ▁although ▁some ▁wall - p ain ting ▁remain , ▁and ▁more ▁are ▁documented . ▁ ▁The ▁art ▁of ▁this ▁period ▁comb ines ▁Ins |
ular ▁and ▁" bar bar ian " ▁influ ences ▁with ▁a ▁strong ▁By z antine ▁influence ▁and ▁an ▁asp iration ▁to ▁recover ▁classical ▁monument ality ▁and ▁po ise . ▁ ▁W alls ▁of ▁Roman es que ▁and ▁Goth ic ▁churches ▁were ▁decor ated ▁with ▁fres co es ▁as ▁well ▁as ▁sculpt ure ▁and ▁many ▁of ▁the ▁few ▁remaining ▁mur als ▁have ▁great ▁intensity , ▁and ▁combine ▁the ▁decor ative ▁energy ▁of ▁Ins ular ▁art ▁with ▁a ▁new ▁monument ality ▁in ▁the ▁treatment ▁of ▁figures . ▁Far ▁more ▁mini atures ▁in ▁Ill umin ated ▁manuscript s ▁surv ive ▁from ▁the ▁period , ▁showing ▁the ▁same ▁characteristics , ▁which ▁continue ▁into ▁the ▁Goth ic ▁period . ▁ ▁P anel ▁painting ▁becomes ▁more ▁common ▁during ▁the ▁Roman es que ▁period , ▁under ▁the ▁heavy ▁influence ▁of ▁By z antine ▁icons . ▁ ▁Tow ards ▁the ▁middle ▁of ▁the ▁ 1 3 th ▁century , ▁Med ieval ▁art ▁and ▁Goth ic ▁painting ▁became ▁more ▁real istic , ▁with ▁the ▁beg inn ings ▁of ▁interest ▁in ▁the ▁dep iction ▁of ▁volume ▁and ▁perspective ▁in ▁Italy ▁with ▁C im ab ue ▁and ▁then ▁his ▁pup il ▁Gi otto . ▁ ▁From ▁Gi otto ▁on , ▁the ▁treatment ▁of ▁composition ▁by ▁the ▁best ▁pain ters ▁also ▁became ▁much ▁more ▁free ▁and ▁innov ative . ▁ ▁They ▁are ▁considered ▁to ▁be ▁the ▁two ▁great ▁medieval ▁master s ▁of ▁painting ▁in ▁western ▁culture . ▁C im ab ue , ▁within ▁the ▁By z antine ▁tradition , ▁used ▁a ▁more ▁real istic ▁and |
▁dram atic ▁approach ▁to ▁his ▁art . ▁His ▁pup il , ▁Gi otto , ▁took ▁these ▁innov ations ▁to ▁a ▁higher ▁level ▁which ▁in ▁turn ▁set ▁the ▁found ations ▁for ▁the ▁western ▁painting ▁tradition . ▁Both ▁artists ▁were ▁pione ers ▁in ▁the ▁move ▁towards ▁natural ism . ▁ ▁Church es ▁were ▁built ▁with ▁more ▁and ▁more ▁windows ▁and ▁the ▁use ▁of ▁color ful ▁st ained ▁glass ▁become ▁a ▁st ap le ▁in ▁decor ation . ▁One ▁of ▁the ▁most ▁famous ▁examples ▁of ▁this ▁is ▁found ▁in ▁the ▁c athedral ▁of ▁Notre ▁D ame ▁de ▁Paris . ▁By ▁the ▁ 1 4 th ▁century ▁Western ▁soci eties ▁were ▁both ▁rich er ▁and ▁more ▁cultiv ated ▁and ▁pain ters ▁found ▁new ▁pat rons ▁in ▁the ▁nob ility ▁and ▁even ▁the ▁b our ge ois ie . ▁Ill umin ated ▁manuscript s ▁took ▁on ▁a ▁new ▁character ▁and ▁sl im , ▁fashion ably ▁dressed ▁court ▁women ▁were ▁shown ▁in ▁their ▁land sc apes . ▁This ▁style ▁soon ▁became ▁known ▁as ▁International ▁style ▁and ▁temper a ▁panel ▁paint ings ▁and ▁alt arp ie ces ▁gained ▁importance . ▁ ▁Renaissance ▁and ▁M anner ism ▁ ▁The ▁Renaissance ▁( F rench ▁for ▁' reb irth '), ▁a ▁cultural ▁movement ▁roughly ▁sp anning ▁the ▁ 1 4 th ▁through ▁the ▁mid - 1 7 th ▁century , ▁her ald ed ▁the ▁study ▁of ▁classical ▁sources , ▁as ▁well ▁as ▁adv ances ▁in ▁science ▁which ▁prof ound ly ▁influenced ▁European ▁intellectual ▁and ▁art istic ▁life . ▁In ▁the ▁Low ▁Count ries |
, ▁especially ▁in ▁modern ▁day ▁Fland ers , ▁a ▁new ▁way ▁of ▁painting ▁was ▁established ▁in ▁the ▁beginning ▁of ▁the ▁ 1 5 th ▁century . ▁In ▁the ▁foot steps ▁of ▁the ▁develop ments ▁made ▁in ▁the ▁ill um ination ▁of ▁manuscript s , ▁especially ▁by ▁the ▁Lim bourg ▁Brothers , ▁artists ▁became ▁fasc in ated ▁by ▁the ▁tang ible ▁in ▁the ▁visible ▁world ▁and ▁began ▁representing ▁objects ▁in ▁an ▁extremely ▁natural istic ▁way . ▁The ▁ad option ▁of ▁oil ▁painting ▁whose ▁in vention ▁was ▁tradition ally , ▁but ▁err one ously , ▁cred ited ▁to ▁Jan ▁van ▁E y ck , ▁made ▁possible ▁a ▁new ▁ver is im il itude ▁in ▁dep ict ing ▁this ▁natural ism . ▁The ▁medium ▁of ▁oil ▁paint ▁was ▁already ▁present ▁in ▁the ▁work ▁of ▁Mel ch ior ▁Bro eder lam , ▁but ▁pain ters ▁like ▁Jan ▁van ▁E y ck ▁and ▁Robert ▁Camp in ▁brought ▁its ▁use ▁to ▁new ▁height s ▁and ▁employed ▁it ▁to ▁represent ▁the ▁natural ism ▁they ▁were ▁aim ing ▁for . ▁With ▁this ▁new ▁medium ▁the ▁pain ters ▁of ▁this ▁period ▁were ▁capable ▁of ▁creating ▁rich er ▁colors ▁with ▁a ▁deep ▁inten se ▁ton ality . ▁The ▁ill usion ▁of ▁g low ing ▁light ▁with ▁a ▁por cel ain - like ▁finish ▁character ized ▁Early ▁Nether land ish ▁painting ▁and ▁was ▁a ▁major ▁difference ▁to ▁the ▁mat te ▁surface ▁of ▁temper a ▁paint ▁used ▁in ▁Italy . ▁Un like ▁the ▁It ali ans , ▁whose ▁work ▁drew ▁heavily ▁from ▁the ▁art ▁of |
▁An cient ▁Greece ▁and ▁Rome , ▁the ▁northern ers ▁retained ▁a ▁sty list ic ▁resid ue ▁of ▁the ▁sculpt ure ▁and ▁ill umin ated ▁manuscript s ▁of ▁the ▁Middle ▁A ges ▁( es pecially ▁its ▁natural ism ). ▁The ▁most ▁important ▁artist ▁of ▁this ▁time ▁was ▁Jan ▁van ▁E y ck , ▁whose ▁work ▁ranks ▁among ▁the ▁fin est ▁made ▁by ▁artists ▁who ▁are ▁now ▁known ▁as ▁Early ▁Nether land ish ▁pain ters ▁or ▁F lem ish ▁Prim it ives ▁( since ▁most ▁artists ▁were ▁active ▁in ▁cities ▁in ▁modern ▁day ▁Fland ers ). ▁The ▁first ▁painter ▁of ▁this ▁period ▁was ▁the ▁Master ▁of ▁Fl ém alle , ▁now ad ays ▁identified ▁as ▁Robert ▁Camp in , ▁whose ▁work ▁follows ▁the ▁art ▁of ▁the ▁International ▁Goth ic . ▁Another ▁important ▁painter ▁of ▁this ▁period ▁was ▁Rog ier ▁van ▁der ▁W ey den , ▁whose ▁compos itions ▁str essed ▁human ▁em otion ▁and ▁drama , ▁demonstrated ▁for ▁instance ▁in ▁his ▁Des cent ▁from ▁the ▁Cross , ▁which ▁ranks ▁among ▁the ▁most ▁famous ▁works ▁of ▁the ▁ 1 5 th ▁century ▁and ▁was ▁the ▁most ▁influ ential ▁Nether land ish ▁painting ▁of ▁Christ ' s ▁cru c if ix ion . ▁Other ▁important ▁artists ▁from ▁this ▁period ▁are ▁Hugo ▁van ▁der ▁Go es ▁( wh ose ▁work ▁was ▁highly ▁influ ential ▁in ▁Italy ), ▁D ier ic ▁B outs ▁( who ▁was ▁among ▁the ▁first ▁northern ▁pain ters ▁to ▁demonstrate ▁the ▁use ▁of ▁a ▁single ▁van ishing ▁point ), ▁Pet rus ▁Christ us , ▁Hans |
▁Mem ling ▁and ▁Ger ard ▁David . ▁ ▁In ▁Italy , ▁the ▁art ▁of ▁Class ical ▁anti qu ity ▁inspired ▁a ▁style ▁of ▁painting ▁that ▁emphas ized ▁the ▁ideal . ▁Art ists ▁such ▁as ▁Paolo ▁U cc ello , ▁Mas ac cio , ▁Fra ▁Angel ico , ▁Pier o ▁della ▁Frances ca , ▁Andrea ▁M ante g na , ▁Fil ipp o ▁Li ppi , ▁Sand ro ▁B ott ic elli , ▁Leon ardo ▁da ▁V inci , ▁Michel ang elo ▁Bu on ar ro ti , ▁and ▁Rap ha el ▁took ▁painting ▁to ▁a ▁higher ▁level ▁through ▁the ▁use ▁of ▁perspective , ▁the ▁study ▁of ▁human ▁an atom y ▁and ▁proportion , ▁and ▁through ▁their ▁development ▁of ▁an ▁un pre ced ented ▁ref in ement ▁in ▁drawing ▁and ▁painting ▁techniques . ▁A ▁somewhat ▁more ▁natural istic ▁style ▁emer ged ▁in ▁Ven ice . ▁P ain ters ▁of ▁the ▁Ven et ian ▁school , ▁such ▁as ▁Giovanni ▁Bell ini , ▁Giorg ione , ▁Tit ian , ▁T int or etto , ▁and ▁Ver on ese , ▁were ▁less ▁concerned ▁with ▁precision ▁in ▁their ▁drawing ▁than ▁with ▁the ▁rich ness ▁of ▁color ▁and ▁unity ▁of ▁effect ▁that ▁could ▁be ▁achieved ▁by ▁a ▁more ▁sp ont aneous ▁approach ▁to ▁painting . ▁ ▁F lem ish , ▁Dutch ▁and ▁German ▁pain ters ▁of ▁the ▁Renaissance ▁such ▁as ▁Hans ▁Hol be in ▁the ▁Young er , ▁Al bre cht ▁D ür er , ▁Lucas ▁C ran ach , ▁Matth ias ▁Gr ü new ald , ▁Hier onymous |
▁Bos ch , ▁and ▁Pi eter ▁Bru eg el ▁represent ▁a ▁different ▁approach ▁from ▁their ▁Italian ▁colle agues , ▁one ▁that ▁is ▁more ▁real istic ▁and ▁less ▁ideal ized . ▁Gen re ▁painting ▁became ▁a ▁popular ▁id iom ▁amongst ▁the ▁Northern ▁pain ters ▁like ▁Pi eter ▁Bru eg el . ▁ ▁Renaissance ▁painting ▁reflect s ▁the ▁revolution ▁of ▁ideas ▁and ▁science ▁( astr onomy , ▁ge ography ) ▁that ▁occurred ▁in ▁this ▁period , ▁the ▁Re formation , ▁and ▁the ▁in vention ▁of ▁the ▁printing ▁press . ▁D ür er , ▁considered ▁one ▁of ▁the ▁greatest ▁of ▁print m akers , ▁states ▁that ▁pain ters ▁are ▁not ▁mere ▁art is ans ▁but ▁think ers ▁as ▁well . ▁With ▁the ▁development ▁of ▁eas el ▁painting ▁in ▁the ▁Renaissance , ▁painting ▁gained ▁independence ▁from ▁architecture . ▁E as el ▁paint ings — mov able ▁pictures ▁which ▁could ▁be ▁hung ▁easily ▁on ▁walls — bec ame ▁a ▁popular ▁alternative ▁to ▁paint ings ▁fixed ▁to ▁furn iture , ▁walls ▁or ▁other ▁structures . ▁Following ▁centuries ▁domin ated ▁by ▁religious ▁imag ery , ▁sec ular ▁subject ▁matter ▁slowly ▁returned ▁to ▁Western ▁painting . ▁Art ists ▁included ▁vis ions ▁of ▁the ▁world ▁around ▁them , ▁or ▁the ▁products ▁of ▁their ▁own ▁imag in ations ▁in ▁their ▁paint ings . ▁Those ▁who ▁could ▁afford ▁the ▁exp ense ▁could ▁become ▁pat rons ▁and ▁commission ▁port ra its ▁of ▁themselves ▁or ▁their ▁family . ▁ ▁The ▁High ▁Renaissance ▁gave ▁rise ▁to ▁a ▁st yl ized ▁art ▁known ▁as ▁M anner ism . |
▁In ▁place ▁of ▁the ▁bal anced ▁compos itions ▁and ▁rational ▁approach ▁to ▁perspective ▁that ▁character ized ▁art ▁at ▁the ▁dawn ▁of ▁the ▁ 1 6 th ▁century , ▁the ▁M anner ists ▁sought ▁inst ability , ▁art ifice , ▁and ▁doubt . ▁The ▁un pert urbed ▁faces ▁and ▁gest ures ▁of ▁Pier o ▁della ▁Frances ca ▁and ▁the ▁calm ▁Vir g ins ▁of ▁Rap ha el ▁are ▁replaced ▁by ▁the ▁trouble d ▁expressions ▁of ▁Pont orm o ▁and ▁the ▁emot ional ▁intensity ▁of ▁El ▁Gre co . ▁Rest less ▁and ▁un stable ▁compos itions , ▁often ▁extreme ▁or ▁dis j unct ive ▁effects ▁of ▁perspective , ▁and ▁st yl ized ▁pos es ▁are ▁characteristic ▁of ▁Italian ▁M anner ists ▁such ▁as ▁T int or etto , ▁Pont orm o , ▁and ▁Bron z ino , ▁and ▁appeared ▁later ▁in ▁the ▁work ▁of ▁Northern ▁M anner ists ▁such ▁as ▁Hend rick ▁G olt z ius , ▁Bar th ol ome us ▁Spr anger , ▁and ▁Jo achim ▁W te wa el . ▁ ▁Bar o que ▁and ▁Roc oco ▁ ▁Bar o que ▁painting ▁is ▁associated ▁with ▁the ▁Bar o que ▁cultural ▁movement , ▁a ▁movement ▁often ▁identified ▁with ▁Ab sol ut ism ▁and ▁the ▁C ounter ▁Re formation ▁or ▁Catholic ▁Rev ival ; ▁the ▁existence ▁of ▁important ▁Bar o que ▁painting ▁in ▁non - ab sol ut ist ▁and ▁Protest ant ▁states ▁also , ▁however , ▁unders c ores ▁its ▁popular ity , ▁as ▁the ▁style ▁spread ▁throughout ▁Western ▁Europe . ▁ ▁Bar |
o que ▁painting ▁is ▁character ized ▁by ▁great ▁drama , ▁rich , ▁deep ▁color , ▁and ▁inten se ▁light ▁and ▁dark ▁sh adows . ▁Bar o que ▁art ▁was ▁meant ▁to ▁e voke ▁em otion ▁and ▁passion ▁instead ▁of ▁the ▁calm ▁rational ity ▁that ▁had ▁been ▁pri zed ▁during ▁the ▁Renaissance . ▁During ▁the ▁period ▁beginning ▁around ▁ 1 6 0 0 ▁and ▁continu ing ▁throughout ▁the ▁ 1 7 th ▁century , ▁painting ▁is ▁character ized ▁as ▁Bar o que . ▁Among ▁the ▁greatest ▁pain ters ▁of ▁the ▁Bar o que ▁are ▁Car av aggio , ▁Rem brand t , ▁Fr ans ▁H als , ▁Rub ens , ▁Vel áz quez , ▁P ous sin , ▁and ▁Johannes ▁V erme er . ▁Car av aggio ▁is ▁an ▁he ir ▁of ▁the ▁human ist ▁painting ▁of ▁the ▁High ▁Renaissance . ▁His ▁real istic ▁approach ▁to ▁the ▁human ▁figure , ▁painted ▁directly ▁from ▁life ▁and ▁dram atically ▁spot lit ▁against ▁a ▁dark ▁background , ▁shock ed ▁his ▁contempor aries ▁and ▁opened ▁a ▁new ▁chapter ▁in ▁the ▁history ▁of ▁painting . ▁Bar o que ▁painting ▁often ▁dram at izes ▁scenes ▁using ▁light ▁effects ; ▁this ▁can ▁be ▁seen ▁in ▁works ▁by ▁Rem brand t , ▁V erme er , ▁Le ▁N ain , ▁La ▁Tour , ▁and ▁J use pe ▁de ▁R iber a . ▁ ▁In ▁Italy , ▁the ▁Bar o que ▁style ▁is ▁ep it om ized ▁by ▁religious ▁and ▁myth ological ▁paint ings ▁in ▁the ▁Grand ▁M anner ▁by ▁artists ▁such ▁as |
▁the ▁Car rac ci , ▁Gu ido ▁Ren i , ▁and ▁Lu ca ▁Gi ord ano . ▁Ill usion istic ▁church ▁ce iling ▁fres co es ▁by ▁Pietro ▁da ▁Cort ona ▁seemed ▁to ▁open ▁to ▁the ▁sky . ▁A ▁much ▁qui eter ▁type ▁of ▁Bar o que ▁emer ged ▁in ▁the ▁Dutch ▁Republic , ▁where ▁eas el ▁paint ings ▁of ▁every day ▁subjects ▁were ▁popular ▁with ▁middle - class ▁collect ors , ▁and ▁many ▁pain ters ▁became ▁special ists ▁in ▁genre , ▁others ▁in ▁landscape ▁or ▁se as cape ▁or ▁still ▁life . ▁V erme er , ▁Ger ard ▁ter ▁Bor ch , ▁and ▁Pi eter ▁de ▁Ho och ▁brought ▁great ▁technical ▁ref in ement ▁to ▁the ▁painting ▁of ▁domestic ▁scenes , ▁as ▁did ▁Wille m ▁Cla esz . ▁H eda ▁to ▁still ▁life . ▁In ▁contrast , ▁Rem brand t ▁excel led ▁in ▁painting ▁every ▁type ▁of ▁subject , ▁and ▁developed ▁an ▁individual ▁painter ly ▁style ▁in ▁which ▁the ▁ch iar osc uro ▁and ▁dark ▁background s ▁derived ▁from ▁Car av aggio ▁and ▁the ▁U tre cht ▁Car av agg ists ▁lose ▁their ▁the atr ical ▁quality . ▁ ▁During ▁the ▁ 1 8 th ▁century , ▁Roc oco ▁followed ▁as ▁a ▁l ighter ▁extension ▁of ▁Bar o que , ▁often ▁f riv ol ous ▁and ▁er otic . ▁Roc oco ▁developed ▁first ▁in ▁the ▁decor ative ▁arts ▁and ▁interior ▁design ▁in ▁France . ▁Louis ▁XV ' s ▁succession ▁brought ▁a ▁change ▁in ▁the ▁court ▁artists ▁and ▁general ▁art istic ▁fashion . |
▁ ▁The ▁ 1 7 3 0 s ▁represented ▁the ▁height ▁of ▁Roc oco ▁development ▁in ▁France ▁exempl ified ▁by ▁the ▁works ▁of ▁Antoine ▁Wat te au ▁and ▁François ▁B ouch er . ▁ ▁Roc oco ▁still ▁maintained ▁the ▁Bar o que ▁taste ▁for ▁complex ▁forms ▁and ▁intr icate ▁patterns , ▁but ▁by ▁this ▁point , ▁it ▁had ▁begun ▁to ▁integrate ▁a ▁variety ▁of ▁diverse ▁characteristics , ▁including ▁a ▁taste ▁for ▁Oriental ▁designs ▁and ▁asym metric ▁compos itions . ▁ ▁The ▁Roc oco ▁style ▁spread ▁with ▁French ▁artists ▁and ▁eng ra ved ▁publications . ▁ ▁It ▁was ▁readily ▁received ▁in ▁the ▁Catholic ▁parts ▁of ▁Germany , ▁Boh emia , ▁and ▁Austria , ▁where ▁it ▁was ▁merged ▁with ▁the ▁l ively ▁German ▁Bar o que ▁trad itions . ▁ ▁German ▁Roc oco ▁was ▁applied ▁with ▁enthus ias m ▁to ▁churches ▁and ▁pal aces , ▁particularly ▁in ▁the ▁south , ▁while ▁Freder ician ▁Roc oco ▁developed ▁in ▁the ▁Kingdom ▁of ▁Pr uss ia . ▁ ▁The ▁French ▁master s ▁Wat te au , ▁B ouch er ▁and ▁F rag on ard ▁represent ▁the ▁style , ▁as ▁do ▁Giovanni ▁Batt ista ▁T ie p olo ▁and ▁Jean - B apt iste - Sim éon ▁Ch ardin ▁who ▁was ▁considered ▁by ▁some ▁as ▁the ▁best ▁French ▁painter ▁of ▁the ▁ 1 8 th ▁century ▁– ▁the ▁Anti - R oc oco . ▁Port rait ure ▁was ▁an ▁important ▁component ▁of ▁painting ▁in ▁all ▁countries , ▁but ▁especially ▁in ▁England , ▁where ▁the ▁leaders ▁were ▁William ▁Hog arth |
, ▁in ▁a ▁bl unt ▁real ist ▁style , ▁and ▁Francis ▁Hay man , ▁Angel ica ▁K auff man ▁( who ▁was ▁Swiss ), ▁Thomas ▁G ains borough ▁and ▁Josh ua ▁Reyn olds ▁in ▁more ▁fl atter ing ▁styles ▁influenced ▁by ▁Anthony ▁van ▁Dy ck . ▁In ▁France ▁during ▁the ▁Roc oco ▁era ▁Jean - B apt iste ▁Gre u ze ▁( the ▁favorite ▁painter ▁of ▁Den is ▁D ider ot ), ▁excel led ▁in ▁port ra its ▁and ▁history ▁paint ings , ▁and ▁Maurice ▁Qu entin ▁de ▁La ▁Tour ▁and ▁É lis abeth ▁V ig ée - L eb run ▁were ▁highly ▁accomplished ▁portrait ▁pain ters . ▁La ▁Tour ▁special ized ▁in ▁past el ▁painting , ▁which ▁became ▁a ▁popular ▁medium ▁during ▁this ▁period . ▁ ▁William ▁Hog arth ▁helped ▁develop ▁a ▁theoretical ▁foundation ▁for ▁Roc oco ▁beauty . ▁Though ▁not ▁intention ally ▁referencing ▁the ▁movement , ▁he ▁argued ▁in ▁his ▁Analysis ▁of ▁Beaut y ▁( 1 7 5 3 ) ▁that ▁the ▁und ulating ▁lines ▁and ▁S - cur ves ▁prominent ▁in ▁Roc oco ▁were ▁the ▁basis ▁for ▁grace ▁and ▁beauty ▁in ▁art ▁or ▁nature ▁( un like ▁the ▁straight ▁line ▁or ▁the ▁circle ▁in ▁Classic ism ). ▁The ▁beginning ▁of ▁the ▁end ▁for ▁Roc oco ▁came ▁in ▁the ▁early ▁ 1 7 6 0 s ▁as ▁figures ▁like ▁Vol taire ▁and ▁Jacques - Fran çois ▁Bl ond el ▁began ▁to ▁voice ▁their ▁criticism ▁of ▁the ▁super f icial ity ▁and ▁deg ener acy ▁of ▁the ▁art . ▁ ▁Bl ond |
el ▁de cri ed ▁the ▁" rid icul ous ▁j umble ▁of ▁shell s , ▁drag ons , ▁re eds , ▁pal m - trees ▁and ▁plants " ▁in ▁contemporary ▁inter iors . ▁ ▁By ▁ 1 7 8 5 , ▁Roc oco ▁had ▁passed ▁out ▁of ▁fashion ▁in ▁France , ▁replaced ▁by ▁the ▁order ▁and ▁serious ness ▁of ▁Ne oc lass ical ▁artists ▁like ▁Jacques - Louis ▁David . ▁▁ 1 9 th ▁century : ▁Ne o - class ic ism , ▁History ▁painting , ▁Rom antic ism , ▁Im pression ism , ▁Post - Im pression ism , ▁Symbol ism ▁ ▁After ▁Roc oco ▁there ▁arose ▁in ▁the ▁late ▁ 1 8 th ▁century , ▁in ▁architecture , ▁and ▁then ▁in ▁painting ▁severe ▁ne o - class ic ism , ▁best ▁represented ▁by ▁such ▁artists ▁as ▁David ▁and ▁his ▁he ir ▁In gres . ▁In gres ' ▁work ▁already ▁contains ▁much ▁of ▁the ▁sens ual ity , ▁but ▁none ▁of ▁the ▁sp ont ane ity , ▁that ▁was ▁to ▁character ize ▁Rom antic ism . ▁This ▁movement ▁turned ▁its ▁attention ▁toward ▁landscape ▁and ▁nature ▁as ▁well ▁as ▁the ▁human ▁figure ▁and ▁the ▁supre m acy ▁of ▁natural ▁order ▁above ▁man kind ' s ▁will . ▁There ▁is ▁a ▁p ant he ist ▁philosophy ▁( see ▁Sp ino za ▁and ▁H eg el ) ▁within ▁this ▁conception ▁that ▁oppos es ▁En light en ment ▁ide als ▁by ▁seeing ▁man kind ' s ▁dest iny ▁in ▁a ▁more ▁trag ic ▁or ▁p ess |
im istic ▁light . ▁The ▁idea ▁that ▁human ▁be ings ▁are ▁not ▁above ▁the ▁forces ▁of ▁Nature ▁is ▁in ▁contradiction ▁to ▁An cient ▁Greek ▁and ▁Renaissance ▁ide als ▁where ▁man kind ▁was ▁above ▁all ▁things ▁and ▁owned ▁his ▁fate . ▁This ▁thinking ▁led ▁rom antic ▁artists ▁to ▁dep ict ▁the ▁sub lime , ▁ru ined ▁churches , ▁ship w re cks , ▁mass ac res ▁and ▁mad ness . ▁ ▁By ▁the ▁mid - 1 9 th - century ▁pain ters ▁became ▁liber ated ▁from ▁the ▁dem ands ▁of ▁their ▁patron age ▁to ▁only ▁dep ict ▁scenes ▁from ▁religion , ▁myth ology , ▁portrait ure ▁or ▁history . ▁The ▁idea ▁" art ▁for ▁art ' s ▁sake " ▁began ▁to ▁find ▁expression ▁in ▁the ▁work ▁of ▁pain ters ▁like ▁Francisco ▁de ▁Go ya , ▁John ▁Const able , ▁and ▁J . M . W . ▁Turner . ▁Rom antic ▁pain ters ▁saw ▁landscape ▁painting ▁as ▁an ▁important ▁genre ▁to ▁express ▁the ▁van ity ▁of ▁man kind ▁in ▁opposition ▁to ▁the ▁grande ur ▁of ▁nature . ▁Until ▁then , ▁landscape ▁painting ▁wasn ' t ▁considered ▁the ▁most ▁important ▁genre ▁for ▁pain ters ▁( like ▁portrait ure ▁or ▁history ▁painting ). ▁But ▁pain ters ▁like ▁J . M . W . ▁Turner ▁and ▁Cas par ▁David ▁Friedrich ▁managed ▁to ▁elev ate ▁landscape ▁painting ▁to ▁an ▁em in ence ▁riv alling ▁history ▁painting . ▁Some ▁of ▁the ▁major ▁pain ters ▁of ▁this ▁period ▁are ▁Eug ène ▁Del ac ro ix , ▁Thé odore ▁G érica ult |
, ▁J . ▁M . ▁W . ▁Turner , ▁Cas par ▁David ▁Friedrich ▁and ▁John ▁Const able . ▁Francisco ▁de ▁Go ya ' s ▁late ▁work ▁demonstr ates ▁the ▁Rom antic ▁interest ▁in ▁the ▁ir r ational , ▁while ▁the ▁work ▁of ▁Arnold ▁B ö ck lin ▁ev okes ▁mystery ▁and ▁the ▁paint ings ▁of ▁A est h etic ▁movement ▁artist ▁James ▁Mc Ne ill ▁Wh ist ler ▁e voke ▁both ▁s oph istic ation ▁and ▁dec ad ence . ▁In ▁the ▁United ▁States ▁the ▁Rom antic ▁tradition ▁of ▁landscape ▁painting ▁was ▁known ▁as ▁the ▁Hudson ▁River ▁School : ▁ex ponents ▁include ▁Thomas ▁Cole , ▁Freder ic ▁Ed win ▁Church , ▁Albert ▁B ier stadt , ▁Thomas ▁Mor an , ▁and ▁John ▁Frederick ▁K ens ett . ▁L umin ism ▁was ▁a ▁movement ▁in ▁American ▁landscape ▁painting ▁related ▁to ▁the ▁Hudson ▁River ▁School . ▁ ▁The ▁leading ▁Barb izon ▁School ▁painter ▁Camil le ▁Cor ot ▁painted ▁in ▁both ▁a ▁rom antic ▁and ▁a ▁real istic ▁ve in ; ▁his ▁work ▁pre fig ures ▁Im pression ism , ▁as ▁does ▁the ▁paint ings ▁of ▁Eug ène ▁B oud in ▁who ▁was ▁one ▁of ▁the ▁first ▁French ▁landscape ▁pain ters ▁to ▁paint ▁out do ors . ▁B oud in ▁was ▁also ▁an ▁important ▁influence ▁on ▁the ▁young ▁Claude ▁Mon et , ▁whom ▁in ▁ 1 8 5 7 ▁he ▁introduced ▁to ▁Ple in ▁air ▁painting . ▁A ▁major ▁force ▁in ▁the ▁turn ▁towards ▁Real ism ▁at ▁mid - century ▁was ▁Gust ave ▁Cour bet . |
▁In ▁the ▁latter ▁third ▁of ▁the ▁century ▁Im pression ists ▁like ▁Éd ou ard ▁Man et , ▁Claude ▁Mon et , ▁Pierre - August e ▁Ren oir , ▁Camil le ▁P iss ar ro , ▁Alfred ▁S is ley , ▁Bert he ▁Mor is ot , ▁Mary ▁Cass att , ▁and ▁Ed gar ▁D eg as ▁worked ▁in ▁a ▁more ▁direct ▁approach ▁than ▁had ▁previously ▁been ▁exhib ited ▁public ly . ▁They ▁es ch ew ed ▁alleg ory ▁and ▁narr ative ▁in ▁favor ▁of ▁individual ized ▁responses ▁to ▁the ▁modern ▁world , ▁sometimes ▁painted ▁with ▁little ▁or ▁no ▁prepar atory ▁study , ▁re lying ▁on ▁de ft ness ▁of ▁drawing ▁and ▁a ▁highly ▁chrom atic ▁pal lette . ▁Man et , ▁D eg as , ▁Ren oir , ▁Mor is ot , ▁and ▁Cass att ▁concentr ated ▁primarily ▁on ▁the ▁human ▁subject . ▁Both ▁Man et ▁and ▁D eg as ▁re inter pre ted ▁classical ▁figur ative ▁can ons ▁within ▁contemporary ▁situations ; ▁in ▁Man et ' s ▁case ▁the ▁re - im agin ings ▁met ▁with ▁host ile ▁public ▁reception . ▁Ren oir , ▁Mor is ot , ▁and ▁Cass att ▁turned ▁to ▁domestic ▁life ▁for ▁insp iration , ▁with ▁Ren oir ▁foc using ▁on ▁the ▁female ▁n ude . ▁Mon et , ▁P iss ar ro , ▁and ▁S is ley ▁used ▁the ▁landscape ▁as ▁their ▁primary ▁mot if , ▁the ▁trans ience ▁of ▁light ▁and ▁weather ▁playing ▁a ▁major ▁role ▁in ▁their ▁work . ▁While ▁S is ley ▁most ▁closely |
▁ad her ed ▁to ▁the ▁original ▁princip als ▁of ▁the ▁Im pression ist ▁per ception ▁of ▁the ▁landscape , ▁Mon et ▁sought ▁challeng es ▁in ▁increasing ly ▁chrom atic ▁and ▁change able ▁conditions , ▁cul min ating ▁in ▁his ▁series ▁of ▁monument al ▁works ▁of ▁Water ▁Lil ies ▁painted ▁in ▁G iver ny . ▁ ▁P iss ar ro ▁adopted ▁some ▁of ▁the ▁experiments ▁of ▁Post - Im pression ism . ▁S light ly ▁younger ▁Post - Im pression ists ▁like ▁Vincent ▁van ▁G og h , ▁Paul ▁G au gu in , ▁and ▁Georges ▁Se ur at , ▁along ▁with ▁Paul ▁C é z anne ▁led ▁art ▁to ▁the ▁edge ▁of ▁modern ism ; ▁for ▁G au gu in ▁Im pression ism ▁gave ▁way ▁to ▁a ▁personal ▁symbol ism ; ▁Se ur at ▁transformed ▁Im pression ism ' s ▁broken ▁color ▁into ▁a ▁scientific ▁optical ▁study , ▁struct ured ▁on ▁fr ie ze - like ▁compos itions ; ▁Van ▁G og h ' s ▁tur bul ent ▁method ▁of ▁paint ▁application , ▁couple d ▁with ▁a ▁son orous ▁use ▁of ▁color , ▁predicted ▁Expression ism ▁and ▁F au v ism , ▁and ▁C é z anne , ▁des iring ▁to ▁un ite ▁classical ▁composition ▁with ▁a ▁revolution ary ▁abstra ction ▁of ▁natural ▁forms , ▁would ▁come ▁to ▁be ▁seen ▁as ▁a ▁prec ursor ▁of ▁ 2 0 th - century ▁art . ▁The ▁spell ▁of ▁Im pression ism ▁was ▁felt ▁throughout ▁the ▁world , ▁including ▁in ▁the ▁United ▁States , ▁where ▁it |
▁became ▁integral ▁to ▁the ▁painting ▁of ▁American ▁Im pression ists ▁such ▁as ▁Ch ilde ▁Hass am , ▁John ▁Tw acht man , ▁and ▁The odore ▁Robinson ; ▁and ▁in ▁Australia ▁where ▁pain ters ▁of ▁the ▁Heidel berg ▁School ▁such ▁as ▁Arthur ▁Street on , ▁Frederick ▁McC ub bin ▁and ▁Charles ▁Con der ▁painted ▁en ▁ple in ▁air ▁and ▁were ▁particularly ▁interested ▁in ▁the ▁Australian ▁landscape ▁and ▁light . ▁It ▁also ▁ex ert ed ▁influence ▁on ▁pain ters ▁who ▁were ▁not ▁primarily ▁Im pression istic ▁in ▁theory , ▁like ▁the ▁portrait ▁and ▁landscape ▁painter ▁John ▁S inger ▁S argent . ▁At ▁the ▁same ▁time ▁in ▁America ▁at ▁the ▁turn ▁of ▁the ▁ 2 0 th ▁century ▁there ▁existed ▁a ▁native ▁and ▁nearly ▁ins ular ▁real ism , ▁as ▁rich ly ▁emb od ied ▁in ▁the ▁figur ative ▁work ▁of ▁Thomas ▁E ak ins , ▁the ▁Ash can ▁School , ▁and ▁the ▁land sc apes ▁and ▁se as cap es ▁of ▁W ins low ▁H omer , ▁all ▁of ▁whose ▁paint ings ▁were ▁deeply ▁inv ested ▁in ▁the ▁solid ity ▁of ▁natural ▁forms . ▁The ▁vision ary ▁landscape , ▁a ▁mot ive ▁largely ▁dependent ▁on ▁the ▁ambigu ity ▁of ▁the ▁no ct ur ne , ▁found ▁its ▁advoc ates ▁in ▁Albert ▁P ink ham ▁Ry der ▁and ▁Ralph ▁Albert ▁Bla kel ock . ▁ ▁In ▁the ▁late ▁ 1 9 th ▁century ▁there ▁also ▁were ▁several , ▁rather ▁dis similar , ▁groups ▁of ▁Symbol ist ▁pain ters ▁whose ▁works ▁reson ated ▁with ▁younger ▁artists ▁of |
▁the ▁ 2 0 th ▁century , ▁especially ▁with ▁the ▁F au v ists ▁and ▁the ▁Sur real ists . ▁Among ▁them ▁were ▁Gust ave ▁More au , ▁Od ilon ▁Red on , ▁Pierre ▁Pu vis ▁de ▁Ch av annes , ▁Henri ▁F antin - Lat our , ▁Arnold ▁B ö ck lin , ▁Ed vard ▁M unch , ▁F é lic ien ▁R ops , ▁and ▁Jan ▁To or op , ▁and ▁Gust ave ▁K lim t ▁amongst ▁others ▁including ▁the ▁Russian ▁Symbol ists ▁like ▁Mik h ail ▁V r ub el . ▁ ▁Symbol ist ▁pain ters ▁m ined ▁myth ology ▁and ▁dream ▁imag ery ▁for ▁a ▁visual ▁language ▁of ▁the ▁soul , ▁seeking ▁ev oc ative ▁paint ings ▁that ▁brought ▁to ▁mind ▁a ▁static ▁world ▁of ▁silence . ▁The ▁symbols ▁used ▁in ▁Symbol ism ▁are ▁not ▁the ▁familiar ▁em blem s ▁of ▁main stream ▁icon ography ▁but ▁intens ely ▁personal , ▁private , ▁obsc ure ▁and ▁ambigu ous ▁references . ▁More ▁a ▁philosophy ▁than ▁an ▁actual ▁style ▁of ▁art , ▁the ▁Symbol ist ▁pain ters ▁influenced ▁the ▁contemporary ▁Art ▁N ouve au ▁movement ▁and ▁Les ▁N ab is . ▁In ▁their ▁expl oration ▁of ▁dream like ▁subjects , ▁symbol ist ▁pain ters ▁are ▁found ▁across ▁centuries ▁and ▁cult ures , ▁as ▁they ▁are ▁still ▁today ; ▁Bernard ▁Del v aille ▁has ▁described ▁René ▁Mag rit te ' s ▁sur real ism ▁as ▁" Symbol ism ▁plus ▁Fre ud ". ▁▁ 2 0 th - century ▁modern ▁and ▁contemporary ▁ ▁The |
▁her itage ▁of ▁pain ters ▁like ▁Van ▁G og h , ▁C é z anne , ▁G au gu in , ▁and ▁Se ur at ▁was ▁essential ▁for ▁the ▁development ▁of ▁modern ▁art . ▁At ▁the ▁beginning ▁of ▁the ▁ 2 0 th ▁century ▁Henri ▁Mat isse ▁and ▁several ▁other ▁young ▁artists ▁revolution ized ▁the ▁Paris ▁art ▁world ▁with ▁" w ild ", ▁multi - color ed , ▁express ive , ▁land sc apes ▁and ▁figure ▁paint ings ▁that ▁the ▁critics ▁called ▁F au v ism . ▁Pablo ▁Pic asso ▁made ▁his ▁first ▁cub ist ▁paint ings ▁based ▁on ▁C é z anne ' s ▁idea ▁that ▁all ▁dep iction ▁of ▁nature ▁can ▁be ▁reduced ▁to ▁three ▁sol ids : ▁cube , ▁sphere ▁and ▁cone . ▁ ▁P ione ers ▁of ▁the ▁ 2 0 th ▁century ▁ ▁The ▁her itage ▁of ▁pain ters ▁like ▁Van ▁G og h , ▁C é z anne , ▁G au gu in , ▁and ▁Se ur at ▁was ▁essential ▁for ▁the ▁development ▁of ▁modern ▁art . ▁At ▁the ▁beginning ▁of ▁the ▁ 2 0 th ▁century ▁Henri ▁Mat isse ▁and ▁several ▁other ▁young ▁artists ▁including ▁the ▁pre - c ub ist ▁Georges ▁Bra que , ▁André ▁Der ain , ▁Ra oul ▁D uf y ▁and ▁Maurice ▁de ▁V lam in ck ▁revolution ized ▁the ▁Paris ▁art ▁world ▁with ▁" w ild ", ▁multi - color ed , ▁express ive , ▁land sc apes ▁and ▁figure ▁paint ings ▁that ▁the ▁critics ▁called ▁F au v ism . |
▁Henri ▁Mat isse ' s ▁second ▁version ▁of ▁The ▁Dance ▁sign ifies ▁a ▁key ▁point ▁in ▁his ▁career ▁and ▁in ▁the ▁development ▁of ▁modern ▁painting . ▁It ▁reflect s ▁Mat isse ' s ▁in cip ient ▁fasc ination ▁with ▁primitive ▁art : ▁the ▁inten se ▁warm ▁colors ▁against ▁the ▁cool ▁blue - green ▁background ▁and ▁the ▁rh ythm ical ▁succession ▁of ▁dan cing ▁n udes ▁convey ▁the ▁feelings ▁of ▁emot ional ▁liber ation ▁and ▁h ed on ism . ▁Pablo ▁Pic asso ▁made ▁his ▁first ▁cub ist ▁paint ings ▁based ▁on ▁C é z anne ' s ▁idea ▁that ▁all ▁dep iction ▁of ▁nature ▁can ▁be ▁reduced ▁to ▁three ▁sol ids : ▁cube , ▁sphere ▁and ▁cone . ▁With ▁the ▁painting ▁Les ▁Dem ois elles ▁d ' Av ignon ▁ 1 9 0 7 , ▁Pic asso ▁dram atically ▁created ▁a ▁new ▁and ▁radical ▁picture ▁dep ict ing ▁a ▁raw ▁and ▁primitive ▁bro th el ▁scene ▁with ▁five ▁prost it utes , ▁viol ently ▁painted ▁women , ▁rem in is cent ▁of ▁African ▁trib al ▁mask s ▁and ▁his ▁own ▁new ▁Cub ist ▁invent ions . ▁analyt ic ▁Cub ism ▁was ▁joint ly ▁developed ▁by ▁Pablo ▁Pic asso ▁and ▁Georges ▁Bra que , ▁exempl ified ▁by ▁Vi olin ▁and ▁Cand l est ick , ▁Paris , ▁from ▁about ▁ 1 9 0 8 ▁through ▁ 1 9 1 2 . ▁Anal yt ic ▁cub ism , ▁the ▁first ▁clear ▁manifest ation ▁of ▁cub ism , ▁was ▁followed ▁by ▁synth etic ▁cub ism , |
▁pract ised ▁by ▁Bra que , ▁Pic asso , ▁Fern and ▁Lé ger , ▁Juan ▁Gr is , ▁Albert ▁G le izes , ▁Marcel ▁Duch amp ▁and ▁count less ▁other ▁artists ▁into ▁the ▁ 1 9 2 0 s . ▁Syn th etic ▁cub ism ▁is ▁character ized ▁by ▁the ▁introduction ▁of ▁different ▁text ures , ▁surfaces , ▁coll age ▁elements , ▁pap ier ▁coll é ▁and ▁a ▁large ▁variety ▁of ▁merged ▁subject ▁matter . ▁ ▁Les ▁F au ves ▁( F rench ▁for ▁The ▁Wild ▁Be asts ) ▁were ▁early - 2 0 th - century ▁pain ters , ▁experiment ing ▁with ▁freedom ▁of ▁expression ▁through ▁color . ▁The ▁name ▁was ▁given , ▁humor ously ▁and ▁not ▁as ▁a ▁compl iment , ▁to ▁the ▁group ▁by ▁art ▁critic ▁Louis ▁V aux cell es . ▁F au v ism ▁was ▁a ▁short - l ived ▁and ▁loose ▁grouping ▁of ▁early - 2 0 th - century ▁artists ▁whose ▁works ▁emphas ized ▁painter ly ▁qual ities , ▁and ▁the ▁imag in ative ▁use ▁of ▁deep ▁color ▁over ▁the ▁represent ational ▁values . ▁F au v ists ▁made ▁the ▁subject ▁of ▁the ▁painting ▁easy ▁to ▁read , ▁ex agger ated ▁pers pect ives ▁and ▁an ▁interesting ▁pres cient ▁prediction ▁of ▁the ▁F au ves ▁was ▁expressed ▁in ▁ 1 8 8 8 ▁by ▁Paul ▁G au gu in ▁to ▁Paul ▁S ér us ier , ▁ ▁" How ▁do ▁you ▁see ▁these ▁trees ? ▁They ▁are ▁yellow . ▁So , ▁put ▁in ▁yellow ; ▁this |
▁shadow , ▁rather ▁blue , ▁paint ▁it ▁with ▁pure ▁ul tr amar ine ; ▁these ▁red ▁leaves ? ▁Put ▁in ▁verm il ion ." ▁ ▁The ▁leaders ▁of ▁the ▁movement ▁were ▁Henri ▁Mat isse ▁and ▁André ▁Der ain ▁– ▁friendly ▁riv als ▁of ▁a ▁sort , ▁each ▁with ▁his ▁own ▁follow ers . ▁Ult imately ▁Mat isse ▁became ▁the ▁y ang ▁to ▁Pic asso ' s ▁y in ▁in ▁the ▁ 2 0 th ▁century . ▁F au v ist ▁pain ters ▁included ▁Albert ▁Mar quet , ▁Charles ▁Cam oin , ▁Maurice ▁de ▁V lam in ck , ▁Ra oul ▁D uf y , ▁O th on ▁F ries z , ▁the ▁Dutch ▁painter ▁Ke es ▁van ▁D ong en , ▁and ▁Pic asso ' s ▁partner ▁in ▁Cub ism , ▁Georges ▁Bra que ▁amongst ▁others . ▁F au v ism , ▁as ▁a ▁movement , ▁had ▁no ▁concrete ▁theories , ▁and ▁was ▁short ▁lived , ▁beginning ▁in ▁ 1 9 0 5 ▁and ▁ending ▁in ▁ 1 9 0 7 , ▁they ▁only ▁had ▁three ▁exhib itions . ▁Mat isse ▁was ▁seen ▁as ▁the ▁leader ▁of ▁the ▁movement , ▁due ▁to ▁his ▁senior ity ▁in ▁age ▁and ▁prior ▁self - est ab lish ment ▁in ▁the ▁academic ▁art ▁world . ▁His ▁ 1 9 0 5 ▁portrait ▁of ▁M me . ▁Mat isse ▁The ▁Green ▁Line , ▁( above ), ▁caused ▁a ▁sens ation ▁in ▁Paris ▁when ▁it ▁was ▁first ▁exhib ited . ▁He ▁said ▁he ▁wanted ▁to ▁create ▁art ▁to ▁delight |
; ▁art ▁as ▁a ▁decor ation ▁was ▁his ▁purpose ▁and ▁it ▁can ▁be ▁said ▁that ▁his ▁use ▁of ▁bright ▁colors ▁tries ▁to ▁maintain ▁ser en ity ▁of ▁composition . ▁In ▁ 1 9 0 6 ▁at ▁the ▁suggestion ▁of ▁his ▁deal er ▁Am bro ise ▁Voll ard , ▁André ▁Der ain ▁went ▁to ▁London ▁and ▁produced ▁a ▁series ▁of ▁paint ings ▁like ▁Char ing ▁Cross ▁Bridge , ▁London ▁( above ) ▁in ▁the ▁F au v ist ▁style , ▁par ap hr asing ▁the ▁famous ▁series ▁by ▁the ▁Im pression ist ▁painter ▁Claude ▁Mon et . ▁Masters ▁like ▁Henri ▁Mat isse ▁and ▁Pierre ▁Bonn ard ▁continued ▁developing ▁their ▁narr ative ▁styles ▁independent ▁of ▁any ▁movement ▁throughout ▁the ▁ 2 0 th ▁century . ▁ ▁By ▁ 1 9 0 7 ▁F au v ism ▁no ▁longer ▁was ▁a ▁shock ing ▁new ▁movement , ▁soon ▁it ▁was ▁replaced ▁by ▁Cub ism ▁on ▁the ▁critics ' ▁rad ar ▁screen ▁as ▁the ▁latest ▁new ▁development ▁in ▁Contempor ary ▁Art ▁of ▁the ▁time . ▁In ▁ 1 9 0 7 ▁App ol inaire , ▁comment ing ▁about ▁Mat isse ▁in ▁an ▁article ▁published ▁in ▁La ▁Fal ange , ▁said , ▁" We ▁are ▁not ▁here ▁in ▁the ▁presence ▁of ▁an ▁extra v ag ant ▁or ▁an ▁extrem ist ▁undert aking : ▁Mat isse ' s ▁art ▁is ▁em in ently ▁reasonable ." ▁Anal yt ic ▁cub ism ▁ ▁was ▁joint ly ▁developed ▁by ▁Pablo ▁Pic asso ▁and ▁Georges ▁Bra que ▁from ▁about ▁ 1 9 0 8 |
▁through ▁ 1 9 1 2 . ▁Anal yt ic ▁cub ism , ▁the ▁first ▁clear ▁manifest ation ▁of ▁cub ism , ▁was ▁followed ▁by ▁Syn th etic ▁cub ism , ▁pract ised ▁by ▁Bra que , ▁Pic asso , ▁Fern and ▁Lé ger , ▁Juan ▁Gr is , ▁Albert ▁G le izes , ▁Marcel ▁Duch amp ▁and ▁count less ▁other ▁artists ▁into ▁the ▁ 1 9 2 0 s . ▁Syn th etic ▁cub ism ▁is ▁character ized ▁by ▁the ▁introduction ▁of ▁different ▁text ures , ▁surfaces , ▁coll age ▁elements , ▁pap ier ▁coll é ▁and ▁a ▁large ▁variety ▁of ▁merged ▁subject ▁matter . ▁ ▁During ▁the ▁years ▁between ▁ 1 9 1 0 ▁and ▁the ▁end ▁of ▁World ▁War ▁I ▁and ▁after ▁the ▁he yd ay ▁of ▁cub ism , ▁several ▁movements ▁emer ged ▁in ▁Paris . ▁Giorg io ▁De ▁Ch ir ico ▁moved ▁to ▁Paris ▁in ▁July ▁ 1 9 1 1 , ▁where ▁he ▁joined ▁his ▁brother ▁Andrea ▁( the ▁poet ▁and ▁painter ▁known ▁as ▁Alberto ▁Sav in io ). ▁Through ▁his ▁brother ▁he ▁met ▁Pierre ▁Lap rade ▁a ▁member ▁of ▁the ▁j ury ▁at ▁the ▁Sal on ▁d ' Autom ne , ▁where ▁he ▁exhib ited ▁three ▁of ▁his ▁dream like ▁works : ▁En igma ▁of ▁the ▁Oracle , ▁En igma ▁of ▁an ▁Af ternoon ▁and ▁Self - Port rait . ▁During ▁ 1 9 1 3 ▁he ▁exhib ited ▁his ▁work ▁at ▁the ▁Sal on ▁des ▁Ind ép end ants ▁and ▁Sal on ▁d ' Autom |
ne , ▁his ▁work ▁was ▁noticed ▁by ▁Pablo ▁Pic asso ▁and ▁Guillaume ▁Ap oll inaire ▁and ▁several ▁others . ▁His ▁comp elling ▁and ▁myster ious ▁paint ings ▁are ▁considered ▁instrument al ▁to ▁the ▁early ▁beg inn ings ▁of ▁Sur real ism . ▁During ▁the ▁first ▁half ▁of ▁the ▁ 2 0 th ▁century ▁in ▁Europe ▁master s ▁like ▁Georges ▁Bra que , ▁André ▁Der ain , ▁and ▁Giorg io ▁De ▁Ch ir ico ▁continued ▁painting ▁independent ▁of ▁any ▁movement . ▁ ▁P ione ers ▁of ▁Modern ▁art ▁ ▁In ▁the ▁first ▁two ▁dec ades ▁of ▁the ▁ 2 0 th ▁century ▁and ▁after ▁Cub ism , ▁several ▁other ▁important ▁movements ▁emer ged ; ▁fut ur ism ▁( B alla ), ▁abstract ▁art ▁( K and in sky ), ▁Der ▁Bla ue ▁Re iter ), ▁Bau haus , ▁( K and in sky ) ▁and ▁( K lee ), ▁Or ph ism , ▁( Ro bert ▁D ela un ay ▁and ▁Fr anti š ek ▁K up ka ), ▁Syn chrom ism ▁( M organ ▁Russell ), ▁De ▁St ij l ▁( M ond rian ), ▁Sup rem at ism ▁( M ale v ich ), ▁Con struct iv ism ▁( T at lin ), ▁D ada ism ▁( D uch amp , ▁Pic ab ia , ▁Ar p ) ▁and ▁Sur real ism ▁( De ▁Ch ir ico , ▁André ▁Bre ton , ▁Mir ó , ▁Mag rit te , ▁Dal í , ▁Ernst ). ▁Modern ▁painting ▁influenced ▁all ▁the ▁visual ▁arts , |
▁from ▁Modern ist ▁architecture ▁and ▁design , ▁to ▁avant - gar de ▁film , ▁theatre ▁and ▁modern ▁dance ▁and ▁became ▁an ▁experimental ▁labor atory ▁for ▁the ▁expression ▁of ▁visual ▁experience , ▁from ▁phot ography ▁and ▁concrete ▁poetry ▁to ▁advert ising ▁art ▁and ▁fashion . ▁Van ▁G og h ' s ▁painting ▁ex ert ed ▁great ▁influence ▁upon ▁ 2 0 th - century ▁Expression ism , ▁as ▁can ▁be ▁seen ▁in ▁the ▁work ▁of ▁the ▁F au ves , ▁Die ▁Br ücke ▁( a ▁group ▁led ▁by ▁German ▁painter ▁Ernst ▁Kirch ner ), ▁and ▁the ▁Expression ism ▁of ▁Ed vard ▁M unch , ▁Eg on ▁Sch iele , ▁Marc ▁Ch ag all , ▁Am ede o ▁Mod igli ani , ▁Cha im ▁S out ine ▁and ▁others .. ▁ ▁Wass ily ▁K and in sky ▁a ▁Russian ▁painter , ▁print maker ▁and ▁art ▁the or ist , ▁one ▁of ▁the ▁most ▁famous ▁ 2 0 th - century ▁artists ▁is ▁generally ▁considered ▁the ▁first ▁important ▁painter ▁of ▁modern ▁abstract ▁art . ▁As ▁an ▁early ▁Modern ist , ▁in ▁search ▁of ▁new ▁modes ▁of ▁visual ▁expression , ▁and ▁spiritual ▁expression , ▁he ▁the or ized ▁as ▁did ▁contemporary ▁occ ult ists ▁and ▁the osoph ists , ▁that ▁pure ▁visual ▁abstra ction ▁had ▁cor ollary ▁v ibr ations ▁with ▁sound ▁and ▁music . ▁They ▁pos ited ▁that ▁pure ▁abstra ction ▁could ▁express ▁pure ▁spiritual ity . ▁His ▁earliest ▁abstra ctions ▁were ▁generally ▁titled ▁as ▁the ▁example ▁in ▁the ▁( above ▁gallery ) ▁Com position ▁VII |
, ▁making ▁connection ▁to ▁the ▁work ▁of ▁the ▁compos ers ▁of ▁music . ▁K and in sky ▁included ▁many ▁of ▁his ▁theories ▁about ▁abstract ▁art ▁in ▁his ▁book ▁Conc ern ing ▁the ▁Spirit ual ▁in ▁Art . ▁Robert ▁D ela un ay ▁was ▁a ▁French ▁artist ▁who ▁is ▁associated ▁with ▁Or ph ism , ▁( re min is cent ▁of ▁a ▁link ▁between ▁pure ▁abstra ction ▁and ▁cub ism ). ▁His ▁later ▁works ▁were ▁more ▁abstract , ▁rem in is cent ▁of ▁Paul ▁Kle e . ▁His ▁key ▁contributions ▁to ▁abstract ▁painting ▁refer ▁to ▁his ▁bold ▁use ▁of ▁color , ▁and ▁a ▁clear ▁love ▁of ▁experiment ation ▁of ▁both ▁depth ▁and ▁tone . ▁At ▁the ▁inv itation ▁of ▁Wass ily ▁K and in sky , ▁D ela un ay ▁and ▁his ▁wife ▁the ▁artist ▁Son ia ▁D ela un ay , ▁joined ▁The ▁Blue ▁R ider ▁( Der ▁Bla ue ▁Re iter ), ▁a ▁Mun ich - based ▁group ▁of ▁abstract ▁artists , ▁in ▁ 1 9 1 1 , ▁and ▁his ▁art ▁took ▁a ▁turn ▁to ▁the ▁abstract . ▁ ▁Other ▁major ▁pione ers ▁of ▁early ▁abstra ction ▁include ▁Russian ▁painter ▁Kas imir ▁Male v ich , ▁who ▁after ▁the ▁Russian ▁Revolution ▁in ▁ 1 9 1 7 , ▁and ▁after ▁pressure ▁from ▁the ▁St alin ist ▁regime ▁in ▁ 1 9 2 4 ▁returned ▁to ▁painting ▁imag ery ▁and ▁Pe as ants ▁and ▁Work ers ▁in ▁the ▁field , ▁and ▁Swiss ▁painter ▁Paul ▁Kle e ▁whose ▁master ful ▁color ▁experiments ▁made |
▁him ▁an ▁important ▁pione er ▁of ▁abstract ▁painting ▁at ▁the ▁Bau haus . ▁Still ▁other ▁important ▁pione ers ▁of ▁abstract ▁painting ▁include ▁the ▁Swedish ▁artist ▁Hil ma ▁af ▁Kl int , ▁Czech ▁painter ▁Fr anti š ek ▁K up ka ▁as ▁well ▁as ▁American ▁artists ▁St anton ▁Mac Donald - W right ▁and ▁Morgan ▁Russell ▁who , ▁in ▁ 1 9 1 2 , ▁founded ▁Syn chrom ism , ▁an ▁art ▁movement ▁that ▁closely ▁res emb les ▁Or ph ism . ▁ ▁Expression ism ▁and ▁Symbol ism ▁are ▁broad ▁rub rics ▁that ▁involve ▁several ▁important ▁and ▁related ▁movements ▁in ▁ 2 0 th - century ▁painting ▁that ▁domin ated ▁much ▁of ▁the ▁avant - gar de ▁art ▁being ▁made ▁in ▁Western , ▁Eastern ▁and ▁Northern ▁Europe . ▁Expression ist ▁works ▁were ▁painted ▁largely ▁between ▁World ▁War ▁I ▁and ▁World ▁War ▁II , ▁mostly ▁in ▁France , ▁Germany , ▁Norway , ▁Russia , ▁Belg ium , ▁and ▁Austria . ▁Expression ist ▁artists ▁are ▁related ▁to ▁both ▁Sur real ism ▁and ▁Symbol ism ▁and ▁are ▁each ▁uniqu ely ▁and ▁somewhat ▁ecc entr ically ▁personal . ▁F au v ism , ▁Die ▁Br ücke , ▁and ▁Der ▁Bla ue ▁Re iter ▁are ▁three ▁of ▁the ▁best ▁known ▁groups ▁of ▁Expression ist ▁and ▁Symbol ist ▁pain ters . ▁ ▁Art ists ▁as ▁interesting ▁and ▁diverse ▁as ▁Marc ▁Ch ag all , ▁whose ▁painting ▁I ▁and ▁the ▁Village , ▁( above ) ▁tells ▁an ▁aut obi ographical ▁story ▁that ▁exam ines ▁the ▁relationship ▁between ▁the ▁artist ▁and ▁his |
▁orig ins , ▁with ▁a ▁lex icon ▁of ▁art istic ▁Symbol ism . ▁Gustav ▁K lim t , ▁Eg on ▁Sch iele , ▁Ed vard ▁M unch , ▁Emil ▁N ol de , ▁Cha im ▁S out ine , ▁James ▁Ens or , ▁O sk ar ▁K ok os ch ka , ▁Ernst ▁Ludwig ▁Kirch ner , ▁Max ▁Beck mann , ▁Franz ▁Marc , ▁K ä the ▁Schmidt ▁K oll witz , ▁Georges ▁Rou ault , ▁Am ede o ▁Mod igli ani ▁and ▁some ▁of ▁the ▁Americans ▁abroad ▁like ▁Mars den ▁Hart ley , ▁and ▁Stuart ▁Davis , ▁were ▁considered ▁influ ential ▁expression ist ▁pain ters . ▁Although ▁Alberto ▁Gia com etti ▁is ▁primarily ▁thought ▁of ▁as ▁an ▁inten se ▁Sur real ist ▁sculpt or , ▁he ▁made ▁inten se ▁expression ist ▁paint ings ▁as ▁well . ▁ ▁P ione ers ▁of ▁abstra ction ▁ ▁Piet ▁Mond rian ' s ▁art ▁was ▁also ▁related ▁to ▁his ▁spiritual ▁and ▁philosoph ical ▁studies . ▁In ▁ 1 9 0 8 ▁he ▁became ▁interested ▁in ▁the ▁the osoph ical ▁movement ▁launched ▁by ▁Hel ena ▁Pet rov na ▁B lav at sky ▁in ▁the ▁late ▁ 1 9 th ▁century . ▁B lav at sky ▁believed ▁that ▁it ▁was ▁possible ▁to ▁att ain ▁a ▁knowledge ▁of ▁nature ▁more ▁prof ound ▁than ▁that ▁provided ▁by ▁empir ical ▁means , ▁and ▁much ▁of ▁Mond rian ' s ▁work ▁for ▁the ▁rest ▁of ▁his ▁life ▁was ▁inspired ▁by ▁his ▁search ▁for ▁that ▁spiritual ▁knowledge . ▁ ▁De ▁St ij l |
▁also ▁known ▁as ▁ne op last ic ism , ▁was ▁a ▁Dutch ▁art istic ▁movement ▁founded ▁in ▁ 1 9 1 7 . ▁The ▁term ▁De ▁St ij l ▁is ▁used ▁to ▁refer ▁to ▁a ▁body ▁of ▁work ▁from ▁ 1 9 1 7 ▁to ▁ 1 9 3 1 ▁founded ▁in ▁the ▁Netherlands . ▁ ▁De ▁St ij l ▁is ▁also ▁the ▁name ▁of ▁a ▁journal ▁that ▁was ▁published ▁by ▁the ▁Dutch ▁painter , ▁designer , ▁writer , ▁and ▁critic ▁The o ▁van ▁Does burg ▁propag ating ▁the ▁group ' s ▁theories . ▁Next ▁to ▁van ▁Does burg , ▁the ▁group ' s ▁principal ▁members ▁were ▁the ▁pain ters ▁Piet ▁Mond rian , ▁Vil mos ▁H usz ár , ▁and ▁Bart ▁van ▁der ▁Le ck , ▁and ▁the ▁architect s ▁Ger rit ▁R iet vel d , ▁Robert ▁van ▁' t ▁Hoff , ▁and ▁J . ▁J . ▁P . ▁O ud . ▁The ▁art istic ▁philosophy ▁that ▁formed ▁a ▁basis ▁for ▁the ▁group ' s ▁work ▁is ▁known ▁as ▁ne op last ic ism ▁– ▁the ▁new ▁pl astic ▁art ▁( or ▁N ieu we ▁Be eld ing ▁in ▁Dutch ). ▁ ▁Pro ponents ▁of ▁De ▁St ij l ▁sought ▁to ▁express ▁a ▁new ▁u top ian ▁ideal ▁of ▁spiritual ▁harm ony ▁and ▁order . ▁They ▁advoc ated ▁pure ▁abstra ction ▁and ▁univers ality ▁by ▁a ▁reduction ▁to ▁the ▁ess entials ▁of ▁form ▁and ▁colour ; ▁they ▁simplified ▁visual ▁compos itions ▁to ▁the ▁vertical ▁and ▁horizontal ▁directions , ▁and ▁used ▁only |
▁primary ▁colors ▁along ▁with ▁black ▁and ▁white . ▁Indeed , ▁according ▁to ▁the ▁T ate ▁Gallery ' s ▁online ▁article ▁on ▁ne op last ic ism , ▁Mond rian ▁himself ▁sets ▁forth ▁these ▁del imit ations ▁in ▁his ▁ess ay ▁" Ne o - Pl astic ism ▁in ▁P ict orial ▁Art ". ▁He ▁writes , ▁"... this ▁new ▁pl astic ▁idea ▁will ▁ignore ▁the ▁particular s ▁of ▁appearance , ▁that ▁is ▁to ▁say , ▁natural ▁form ▁and ▁colour . ▁On ▁the ▁contrary , ▁it ▁should ▁find ▁its ▁expression ▁in ▁the ▁abstra ction ▁of ▁form ▁and ▁colour , ▁that ▁is ▁to ▁say , ▁in ▁the ▁straight ▁line ▁and ▁the ▁clearly ▁defined ▁primary ▁colour ." ▁The ▁T ate ▁article ▁further ▁summar izes ▁that ▁this ▁art ▁allows ▁" only ▁primary ▁colours ▁and ▁non - col ours , ▁only ▁squares ▁and ▁rect angles , ▁only ▁straight ▁and ▁horizontal ▁or ▁vertical ▁line ." ▁The ▁G ug gen heim ▁Museum ' s ▁online ▁article ▁on ▁De ▁St ij l ▁summar izes ▁these ▁tra its ▁in ▁similar ▁terms : ▁" It ▁[ De ▁St ij l ] ▁was ▁pos ited ▁on ▁the ▁fundamental ▁principle ▁of ▁the ▁geometry ▁of ▁the ▁straight ▁line , ▁the ▁square , ▁and ▁the ▁rectangle , ▁combined ▁with ▁a ▁strong ▁asym met rical ity ; ▁the ▁pre domin ant ▁use ▁of ▁pure ▁primary ▁colors ▁with ▁black ▁and ▁white ; ▁and ▁the ▁relationship ▁between ▁positive ▁and ▁negative ▁elements ▁in ▁an ▁arrangement ▁of ▁non - object ive ▁forms ▁and ▁lines ." ▁ ▁De ▁St ij l ▁movement |
▁was ▁influenced ▁by ▁Cub ist ▁painting ▁as ▁well ▁as ▁by ▁the ▁myst ic ism ▁and ▁the ▁ideas ▁about ▁" ide al " ▁geometric ▁forms ▁( such ▁as ▁the ▁" per fect ▁straight ▁line ") ▁in ▁the ▁ne op lat onic ▁philosophy ▁of ▁math ematic ian ▁M . ▁H . ▁J . ▁Sch o en ma ek ers . ▁The ▁works ▁of ▁De ▁St ij l ▁would ▁influence ▁the ▁Bau haus ▁style ▁and ▁the ▁international ▁style ▁of ▁architecture ▁as ▁well ▁as ▁cl othing ▁and ▁interior ▁design . ▁However , ▁it ▁did ▁not ▁follow ▁the ▁general ▁gu idel ines ▁of ▁an ▁" ism " ▁( C ub ism , ▁Fut ur ism , ▁Sur real ism ), ▁nor ▁did ▁it ▁ad here ▁to ▁the ▁principles ▁of ▁art ▁schools ▁like ▁Bau haus ; ▁it ▁was ▁a ▁collect ive ▁project , ▁a ▁joint ▁enter prise . ▁ ▁D ada ▁and ▁Sur real ism ▁ ▁Marcel ▁Duch amp , ▁came ▁to ▁international ▁prom in ence ▁in ▁the ▁w ake ▁of ▁his ▁not orious ▁success ▁at ▁the ▁New ▁York ▁City ▁Arm ory ▁Show ▁in ▁ 1 9 1 3 , ▁( so on ▁after ▁he ▁den ounced ▁art making ▁for ▁ch ess ). ▁After ▁Duch amp ' s ▁N ude ▁Des c ending ▁a ▁St air case ▁became ▁the ▁international ▁cause ▁cele bre ▁at ▁the ▁ 1 9 1 3 ▁Arm ory ▁show ▁in ▁New ▁York ▁he ▁created ▁The ▁B ride ▁St ri pped ▁B are ▁by ▁Her ▁Bach el ors , ▁Even , ▁Lar ge ▁G lass . |
▁The ▁Lar ge ▁G lass ▁pushed ▁the ▁art ▁of ▁painting ▁to ▁radical ▁new ▁limits ▁being ▁part ▁painting , ▁part ▁coll age , ▁part ▁construction . ▁Duch amp ▁became ▁closely ▁associated ▁with ▁the ▁D ada ▁movement ▁that ▁began ▁in ▁neutral ▁Zur ich , ▁Switzerland , ▁during ▁World ▁War ▁I ▁and ▁pe aked ▁from ▁ 1 9 1 6 ▁to ▁ 1 9 2 0 . ▁The ▁movement ▁primarily ▁involved ▁visual ▁arts , ▁literature ▁( po etry , ▁art ▁manif esto es , ▁art ▁theory ), ▁theatre , ▁and ▁graph ic ▁design , ▁and ▁concentr ated ▁its ▁anti ▁war ▁polit ic ▁through ▁a ▁re jection ▁of ▁the ▁prev ail ing ▁standards ▁in ▁art ▁through ▁anti - art ▁cultural ▁works . ▁Francis ▁Pic ab ia , ▁Man ▁Ray , ▁Kurt ▁Schw it ters , ▁Tr istan ▁T z ara , ▁Hans ▁Rich ter , ▁Jean ▁Ar p , ▁Soph ie ▁T ae uber - Ar p , ▁along ▁with ▁Duch amp ▁and ▁many ▁others ▁are ▁associated ▁with ▁the ▁D ada ist ▁movement . ▁Duch amp ▁and ▁several ▁D ada ists ▁are ▁also ▁associated ▁with ▁Sur real ism , ▁the ▁movement ▁that ▁domin ated ▁European ▁painting ▁in ▁the ▁ 1 9 2 0 s ▁and ▁ 1 9 3 0 s . ▁ ▁In ▁ 1 9 2 4 ▁André ▁Bre ton ▁published ▁the ▁Sur real ist ▁Man if esto . ▁The ▁Sur real ist ▁movement ▁in ▁painting ▁became ▁syn onymous ▁with ▁the ▁avant - gar de ▁and ▁which ▁featured ▁artists ▁whose ▁works ▁varied ▁from ▁the ▁abstract |
▁to ▁the ▁super - real ist . ▁With ▁works ▁on ▁paper ▁like ▁Machine ▁Turn ▁Quick ly , ▁( above ) ▁Francis ▁Pic ab ia ▁continued ▁his ▁invol vement ▁in ▁the ▁D ada ▁movement ▁through ▁ 1 9 1 9 ▁in ▁Zur ich ▁and ▁Paris , ▁before ▁breaking ▁away ▁from ▁it ▁after ▁developing ▁an ▁interest ▁in ▁Sur real ist ▁art . ▁Y ves ▁T angu y , ▁René ▁Mag rit te ▁and ▁Salvador ▁Dal í ▁are ▁particularly ▁known ▁for ▁their ▁real istic ▁dep ict ions ▁of ▁dream ▁imag ery ▁and ▁fant astic ▁manifest ations ▁of ▁the ▁imagination . ▁Joan ▁Mir ó ' s ▁The ▁T illed ▁Field ▁of ▁ 1 9 2 3 – 1 9 2 4 ▁ver ges ▁on ▁abstra ction , ▁this ▁early ▁painting ▁of ▁a ▁complex ▁of ▁objects ▁and ▁figures , ▁and ▁arrang ements ▁of ▁sex ually ▁active ▁characters ; ▁was ▁Mir ó ' s ▁first ▁Sur real ist ▁master pie ce . ▁Mir ó ' s ▁The ▁T illed ▁Field ▁also ▁contains ▁several ▁par alle ls ▁to ▁Bos ch ' s ▁Garden ▁of ▁Earth ly ▁Del ights : ▁similar ▁f lock s ▁of ▁birds ; ▁po ols ▁from ▁which ▁living ▁cre atures ▁emer ge ; ▁and ▁o vers ize ▁dis emb od ied ▁ears ▁all ▁echo ▁the ▁Dutch ▁master ' s ▁work ▁that ▁Mir ó ▁saw ▁as ▁a ▁young ▁painter ▁in ▁The ▁Pr ado . ▁The ▁more ▁abstract ▁Joan ▁Mir ó , ▁Jean ▁Ar p , ▁André ▁Mass on , ▁and ▁Max ▁Ernst ▁were ▁very ▁influ ential , ▁especially |
▁in ▁the ▁United ▁States ▁during ▁the ▁ 1 9 4 0 s . ▁Through out ▁the ▁ 1 9 3 0 s , ▁Sur real ism ▁continued ▁to ▁become ▁more ▁visible ▁to ▁the ▁public ▁at ▁large . ▁A ▁Sur real ist ▁group ▁developed ▁in ▁Britain ▁and , ▁according ▁to ▁Bre ton , ▁their ▁ 1 9 3 6 ▁London ▁International ▁Sur real ist ▁Ex hib ition ▁was ▁a ▁high ▁water ▁mark ▁of ▁the ▁period ▁and ▁became ▁the ▁model ▁for ▁international ▁exhib itions . ▁Sur real ist ▁groups ▁in ▁Japan , ▁and ▁especially ▁in ▁Latin ▁America , ▁the ▁Car ib bean ▁and ▁in ▁Mexico ▁produced ▁innov ative ▁and ▁original ▁works . ▁ ▁Dal í ▁and ▁Mag rit te ▁created ▁some ▁of ▁the ▁most ▁widely ▁recognized ▁images ▁of ▁the ▁movement . ▁The ▁ 1 9 2 8 / 1 9 2 9 ▁painting ▁This ▁Is ▁Not ▁A ▁Pi pe , ▁by ▁Mag rit te ▁is ▁the ▁subject ▁of ▁a ▁Michel ▁Fou ca ult ▁ 1 9 7 3 ▁book , ▁This ▁is ▁not ▁a ▁Pi pe ▁( English ▁edition , ▁ 1 9 9 1 ), ▁that ▁discuss es ▁the ▁painting ▁and ▁its ▁par ado x . ▁Dal í ▁joined ▁the ▁group ▁in ▁ 1 9 2 9 , ▁and ▁participated ▁in ▁the ▁rapid ▁establishment ▁of ▁the ▁visual ▁style ▁between ▁ 1 9 3 0 ▁and ▁ 1 9 3 5 . ▁ ▁Sur real ism ▁as ▁a ▁visual ▁movement ▁had ▁found ▁a ▁method : ▁to ▁expose ▁psych ological ▁truth ▁by ▁stri pping ▁ordinary ▁objects |
▁of ▁their ▁normal ▁significance , ▁in ▁order ▁to ▁create ▁a ▁comp elling ▁image ▁that ▁was ▁beyond ▁ordinary ▁formal ▁organization , ▁and ▁per ception , ▁sometimes ▁ev oking ▁em path y ▁from ▁the ▁vie wer , ▁sometimes ▁laugh ter ▁and ▁sometimes ▁out rage ▁and ▁bew ilder ment . ▁▁ 1 9 3 1 ▁marked ▁a ▁year ▁when ▁several ▁Sur real ist ▁pain ters ▁produced ▁works ▁which ▁marked ▁turning ▁points ▁in ▁their ▁sty list ic ▁evolution : ▁in ▁one ▁example , ▁liquid ▁shapes ▁become ▁the ▁tra dem ark ▁of ▁Dal í , ▁particularly ▁in ▁his ▁The ▁Pers istence ▁of ▁Memory , ▁which ▁features ▁the ▁image ▁of ▁watch es ▁that ▁sag ▁as ▁if ▁they ▁are ▁mel ting . ▁Ev oc ations ▁of ▁time ▁and ▁its ▁comp elling ▁mystery ▁and ▁abs urd ity . ▁ ▁The ▁characteristics ▁of ▁this ▁style ▁– ▁a ▁combination ▁of ▁the ▁dep ict ive , ▁the ▁abstract , ▁and ▁the ▁psych ological ▁– ▁came ▁to ▁stand ▁for ▁the ▁al ien ation ▁which ▁many ▁people ▁felt ▁in ▁the ▁modern ist ▁period , ▁combined ▁with ▁the ▁sense ▁of ▁reaching ▁more ▁deeply ▁into ▁the ▁ps y che , ▁to ▁be ▁" made ▁whole ▁with ▁one ' s ▁individual ity ." ▁ ▁Max ▁Ernst ▁whose ▁ 1 9 2 0 ▁painting ▁Mur der ing ▁Air plane , ▁studied ▁philosophy ▁and ▁psych ology ▁in ▁Bonn ▁and ▁was ▁interested ▁in ▁the ▁alternative ▁real ities ▁experienced ▁by ▁the ▁ins ane . ▁His ▁paint ings ▁may ▁have ▁been ▁inspired ▁by ▁the ▁ps y cho anal yst ▁Sig mund ▁Fre ud ' |
s ▁study ▁of ▁the ▁del us ions ▁of ▁a ▁par ano iac , ▁Daniel ▁Paul ▁Sch re ber . ▁Fre ud ▁identified ▁Sch re ber ' s ▁fant asy ▁of ▁becoming ▁a ▁woman ▁as ▁a ▁cas tr ation ▁complex . ▁The ▁central ▁image ▁of ▁two ▁pairs ▁of ▁legs ▁refers ▁to ▁Sch re ber ' s ▁herm aph rod it ic ▁des ires . ▁Ernst ' s ▁ins cription ▁on ▁the ▁back ▁of ▁the ▁painting ▁reads : ▁The ▁picture ▁is ▁curious ▁because ▁of ▁its ▁symmetry . ▁The ▁two ▁sex es ▁balance ▁one ▁another . ▁ ▁During ▁the ▁ 1 9 2 0 s ▁André ▁Mass on ' s ▁work ▁was ▁enorm ously ▁influ ential ▁in ▁helping ▁the ▁newly ▁arrived ▁in ▁Paris ▁and ▁young ▁artist ▁Joan ▁Mir ó ▁find ▁his ▁roots ▁in ▁the ▁new ▁Sur real ist ▁painting . ▁Mir ó ▁acknowled ged ▁in ▁letters ▁to ▁his ▁deal er ▁Pierre ▁Mat isse ▁the ▁importance ▁of ▁Mass on ▁as ▁an ▁example ▁to ▁him ▁in ▁his ▁early ▁years ▁in ▁Paris . ▁ ▁Long ▁after ▁personal , ▁political ▁and ▁professional ▁t ensions ▁have ▁fragment ed ▁the ▁Sur real ist ▁group ▁into ▁thin ▁air ▁and ▁ ether , ▁Mag rit te , ▁Mir ó , ▁Dal í ▁and ▁the ▁other ▁Sur real ists ▁continue ▁to ▁define ▁a ▁visual ▁program ▁in ▁the ▁arts . ▁Other ▁prominent ▁sur real ist ▁artists ▁include ▁Giorg io ▁de ▁Ch ir ico , ▁Mé ret ▁O ppen heim , ▁To yen , ▁Gr é go ire ▁Mich on ze , ▁Roberto ▁Mat ta , ▁Kay |
▁S age , ▁Leon ora ▁Car r ington , ▁Dor othe a ▁T anning , ▁and ▁Leon or ▁F ini ▁among ▁others . ▁ ▁Before ▁and ▁after ▁the ▁war ▁ ▁Der ▁Bla ue ▁Re iter ▁was ▁a ▁German ▁movement ▁last ing ▁from ▁ 1 9 1 1 ▁to ▁ 1 9 1 4 , ▁fundamental ▁to ▁Expression ism , ▁along ▁with ▁Die ▁Br ücke ▁which ▁was ▁founded ▁the ▁previous ▁de cade ▁in ▁ 1 9 0 5 ▁and ▁was ▁a ▁group ▁of ▁German ▁expression ist ▁artists ▁formed ▁in ▁Dresden ▁in ▁ 1 9 0 5 . ▁Found ing ▁members ▁of ▁Die ▁Br ücke ▁were ▁Fritz ▁B ley l , ▁Er ich ▁He ck el , ▁Ernst ▁Ludwig ▁Kirch ner ▁and ▁Karl ▁Schmidt - R ott l uff . ▁Later ▁members ▁included ▁Max ▁Pe ch stein , ▁Otto ▁Mu eller ▁and ▁others . ▁The ▁group ▁was ▁one ▁of ▁the ▁sem inal ▁ones , ▁which ▁in ▁due ▁course ▁had ▁a ▁major ▁impact ▁on ▁the ▁evolution ▁of ▁modern ▁art ▁in ▁the ▁ 2 0 th ▁century ▁and ▁created ▁the ▁style ▁of ▁Expression ism . ▁ ▁Wass ily ▁K and in sky , ▁Franz ▁Marc , ▁August ▁Mack e , ▁Alex ej ▁von ▁J aw l ens ky , ▁whose ▁psych ically ▁express ive ▁painting ▁of ▁the ▁Russian ▁dan cer ▁Port rait ▁of ▁Alexander ▁Sak har off , ▁ 1 9 0 9 ▁is ▁in ▁the ▁gallery ▁above , ▁Marian ne ▁von ▁W ere f kin , ▁Ly onel ▁Fe ining er ▁and ▁others ▁founded ▁the ▁Der |
▁Bla ue ▁Re iter ▁group ▁in ▁response ▁to ▁the ▁re jection ▁of ▁K and in sky ' s ▁painting ▁Last ▁Jud g ement ▁from ▁an ▁exhibition . ▁Der ▁Bla ue ▁Re iter ▁lack ed ▁a ▁central ▁art istic ▁manif esto , ▁but ▁was ▁centered ▁around ▁K and in sky ▁and ▁Marc . ▁Art ists ▁Gab rie le ▁Mün ter ▁and ▁Paul ▁Kle e ▁were ▁also ▁involved . ▁ ▁The ▁name ▁of ▁the ▁movement ▁comes ▁from ▁a ▁painting ▁by ▁K and in sky ▁created ▁in ▁ 1 9 0 3 . ▁It ▁is ▁also ▁claimed ▁that ▁the ▁name ▁could ▁have ▁derived ▁from ▁Marc ' s ▁enthus ias m ▁for ▁horses ▁and ▁K and in sky ' s ▁love ▁of ▁the ▁colour ▁blue . ▁For ▁K and in sky , ▁blue ▁is ▁the ▁colour ▁of ▁spiritual ity : ▁the ▁dark er ▁the ▁blue , ▁the ▁more ▁it ▁aw ak ens ▁human ▁desire ▁for ▁the ▁et ernal . ▁ ▁In ▁the ▁USA ▁during ▁the ▁period ▁between ▁World ▁War ▁I ▁and ▁World ▁War ▁II ▁pain ters ▁t ended ▁to ▁go ▁to ▁Europe ▁for ▁recognition . ▁Art ists ▁like ▁Mars den ▁Hart ley , ▁Patrick ▁Henry ▁Bruce , ▁Ger ald ▁Mur phy ▁and ▁Stuart ▁Davis , ▁created ▁re put ations ▁abroad . ▁In ▁New ▁York ▁City , ▁Albert ▁P ink ham ▁Ry der ▁and ▁Ralph ▁Bla kel ock ▁were ▁influ ential ▁and ▁important ▁figures ▁in ▁advanced ▁American ▁painting ▁between ▁ 1 9 0 0 ▁and ▁ 1 9 2 0 . ▁During ▁the ▁ 1 9 2 0 |
s ▁photograph er ▁Alfred ▁St ie gl itz ▁exhib ited ▁Georgia ▁O ' K ee ffe , ▁Arthur ▁D ove , ▁Alfred ▁Henry ▁Ma urer , ▁Charles ▁Dem uth , ▁John ▁Mar in ▁and ▁other ▁artists ▁including ▁European ▁Masters ▁Henri ▁Mat isse , ▁August e ▁Rod in , ▁Henri ▁R ous seau , ▁Paul ▁C é z anne , ▁and ▁Pablo ▁Pic asso , ▁at ▁his ▁gallery ▁the ▁ 2 9 1 . ▁ ▁Social ▁conscious ness ▁ ▁During ▁the ▁ 1 9 2 0 s ▁and ▁the ▁ 1 9 3 0 s ▁and ▁the ▁Great ▁De pression , ▁Sur real ism , ▁late ▁Cub ism , ▁the ▁Bau haus , ▁De ▁St ij l , ▁D ada , ▁German ▁Expression ism , ▁Expression ism , ▁and ▁modern ist ▁and ▁master ful ▁color ▁pain ters ▁like ▁Henri ▁Mat isse ▁and ▁Pierre ▁Bonn ard ▁character ized ▁the ▁European ▁art ▁scene . ▁In ▁Germany ▁Max ▁Beck mann , ▁Otto ▁D ix , ▁George ▁Gros z ▁and ▁others ▁polit ic ized ▁their ▁paint ings , ▁for esh adow ing ▁the ▁coming ▁of ▁World ▁War ▁II . ▁While ▁in ▁America ▁American ▁Sc ene ▁painting ▁and ▁the ▁social ▁real ism ▁and ▁regional ism ▁movements ▁that ▁contained ▁both ▁political ▁and ▁social ▁comment ary ▁domin ated ▁the ▁art ▁world . ▁Art ists ▁like ▁Ben ▁Sh ahn , ▁Thomas ▁Hart ▁Bent on , ▁Grant ▁Wood , ▁George ▁To oker , ▁John ▁Ste u art ▁Cur ry , ▁Regin ald ▁Marsh , ▁and ▁others ▁became ▁prominent . ▁In ▁Latin ▁America ▁besides |
▁the ▁Uruguay an ▁painter ▁Jo aqu ín ▁Tor res ▁García ▁and ▁R uf ino ▁Tam ay o ▁from ▁Mexico , ▁the ▁m ural ist ▁movement ▁with ▁Diego ▁River a , ▁David ▁S ique iros , ▁José ▁O roz co , ▁Pedro ▁Nel ▁Gó mez ▁and ▁Santiago ▁Mart ine z ▁Del g ado ▁and ▁the ▁Symbol ist ▁paint ings ▁by ▁Fr ida ▁K ah lo ▁began ▁a ▁r ena issance ▁of ▁the ▁arts ▁for ▁the ▁region , ▁with ▁a ▁use ▁of ▁color ▁and ▁historic , ▁and ▁political ▁messages . ▁Fr ida ▁K ah lo ' s ▁Symbol ist ▁works ▁also ▁relate ▁strongly ▁to ▁Sur real ism ▁and ▁to ▁the ▁Magic ▁Real ism ▁movement ▁in ▁literature . ▁The ▁psych ological ▁drama ▁in ▁many ▁of ▁K ah lo ' s ▁self ▁port ra its ▁( above ) ▁unders core ▁the ▁vital ity ▁and ▁relev ance ▁of ▁her ▁paint ings ▁to ▁artists ▁in ▁the ▁ 2 1 st ▁century . ▁ ▁American ▁Goth ic ▁is ▁a ▁painting ▁by ▁Grant ▁Wood ▁from ▁ 1 9 3 0 . ▁Port ray ing ▁a ▁pitch f ork - hold ing ▁far mer ▁and ▁a ▁younger ▁woman ▁in ▁front ▁of ▁a ▁house ▁of ▁Car p enter ▁Goth ic ▁style , ▁it ▁is ▁one ▁of ▁the ▁most ▁familiar ▁images ▁in ▁ 2 0 th - century ▁American ▁art . ▁Art ▁critics ▁had ▁favor able ▁opinions ▁about ▁the ▁painting , ▁like ▁Ger tr ude ▁Stein ▁and ▁Christopher ▁Mor ley , ▁they ▁assumed ▁the ▁painting ▁was ▁meant ▁to ▁be ▁a ▁sat ire ▁of ▁rural |
▁small - town ▁life . ▁It ▁was ▁thus ▁seen ▁as ▁part ▁of ▁the ▁tr end ▁towards ▁increasing ly ▁critical ▁dep ict ions ▁of ▁rural ▁America , ▁along ▁the ▁lines ▁of ▁Sher wood ▁Anderson ' s ▁ 1 9 1 9 ▁W ines burg , ▁Ohio , ▁S inc la ir ▁Lewis ' ▁ 1 9 2 0 ▁Main ▁Street , ▁and ▁Carl ▁Van ▁V ech ten ' s ▁The ▁T atto o ed ▁Count ess ▁in ▁literature . ▁However , ▁with ▁the ▁on set ▁of ▁the ▁Great ▁De pression , ▁the ▁painting ▁came ▁to ▁be ▁seen ▁as ▁a ▁dep iction ▁of ▁stead fast ▁American ▁pione er ▁spirit . ▁ ▁Diego ▁River a ▁is ▁perhaps ▁best ▁known ▁by ▁the ▁public ▁world ▁for ▁his ▁ 1 9 3 3 ▁m ural , ▁" Man ▁at ▁the ▁Cross ro ads ", ▁in ▁the ▁lo bb y ▁of ▁the ▁R CA ▁Building ▁at ▁Rock ef eller ▁Center . ▁When ▁his ▁patron ▁Nelson ▁Rock ef eller ▁discovered ▁that ▁the ▁m ural ▁included ▁a ▁portrait ▁of ▁Vladimir ▁Len in ▁and ▁other ▁commun ist ▁imag ery , ▁he ▁fired ▁River a , ▁and ▁the ▁un fin ished ▁work ▁was ▁eventually ▁destroyed ▁by ▁Rock ef eller ' s ▁staff . ▁The ▁film ▁C rad le ▁Will ▁Rock ▁includes ▁a ▁dram at ization ▁of ▁the ▁controvers y . ▁Fr ida ▁K ah lo ▁( R iver a ' s ▁wife ' s ) ▁works ▁are ▁often ▁character ized ▁by ▁their ▁stark ▁port ray als ▁of ▁pain . ▁Of ▁her ▁ 1 4 |
3 ▁paint ings ▁ 5 5 ▁are ▁self - port ra its , ▁which ▁frequently ▁incorpor ate ▁symbol ic ▁port ray als ▁of ▁her ▁physical ▁and ▁psych ological ▁w ounds . ▁K ah lo ▁was ▁deeply ▁influenced ▁by ▁ind igen ous ▁Mexican ▁culture , ▁which ▁is ▁apparent ▁in ▁her ▁paint ings ' ▁bright ▁colors ▁and ▁dram atic ▁symbol ism . ▁Christian ▁and ▁Jewish ▁them es ▁are ▁often ▁dep icted ▁in ▁her ▁work ▁as ▁well ; ▁she ▁combined ▁elements ▁of ▁the ▁classic ▁religious ▁Mexican ▁tradition — which ▁were ▁often ▁blo ody ▁and ▁violent — with ▁sur real ist ▁render ings . ▁While ▁her ▁paint ings ▁are ▁not ▁over t ly ▁Christian ▁they ▁certainly ▁contain ▁elements ▁of ▁the ▁mac ab re ▁Mexican ▁Christian ▁style ▁of ▁religious ▁paint ings . ▁ ▁Political ▁activ ism ▁was ▁an ▁important ▁piece ▁of ▁David ▁S ique iros ' ▁life , ▁and ▁frequently ▁inspired ▁him ▁to ▁set ▁aside ▁his ▁art istic ▁career . ▁His ▁art ▁was ▁deeply ▁root ed ▁in ▁the ▁Mexican ▁Revolution , ▁a ▁violent ▁and ▁cha otic ▁period ▁in ▁Mexican ▁history ▁in ▁which ▁various ▁social ▁and ▁political ▁fa ctions ▁fought ▁for ▁recognition ▁and ▁power . ▁The ▁period ▁from ▁the ▁ 1 9 2 0 s ▁to ▁the ▁ 1 9 5 0 s ▁is ▁known ▁as ▁the ▁Mexican ▁Renaissance , ▁and ▁S ique iros ▁was ▁active ▁in ▁the ▁attempt ▁to ▁create ▁an ▁art ▁that ▁was ▁at ▁once ▁Mexican ▁and ▁universal . ▁He ▁briefly ▁gave ▁up ▁painting ▁to ▁focus ▁on ▁organ izing ▁min ers ▁in ▁J alis co . ▁ |
▁World ▁conflict ▁ ▁During ▁the ▁ 1 9 3 0 s ▁radical ▁left ist ▁politics ▁character ized ▁many ▁of ▁the ▁artists ▁connected ▁to ▁Sur real ism , ▁including ▁Pablo ▁Pic asso . ▁On ▁ 2 6 ▁April ▁ 1 9 3 7 , ▁during ▁the ▁Spanish ▁Civil ▁War , ▁the ▁Bas que ▁town ▁of ▁G ern ika ▁was ▁the ▁scene ▁of ▁the ▁" B omb ing ▁of ▁G ern ika " ▁by ▁the ▁Cond or ▁Leg ion ▁of ▁Naz i ▁Germany ' s ▁Luft wa ffe . ▁The ▁Germ ans ▁were ▁attack ing ▁to ▁support ▁the ▁efforts ▁of ▁Francisco ▁Franco ▁to ▁over throw ▁the ▁Bas que ▁Government ▁and ▁the ▁Spanish ▁Republican ▁government . ▁The ▁town ▁was ▁dev ast ated , ▁though ▁the ▁B isc ay an ▁assembly ▁and ▁the ▁Oak ▁of ▁G ern ika ▁surv ived . ▁Pablo ▁Pic asso ▁painted ▁his ▁m ural ▁s ized ▁Gu ern ica ▁to ▁comm emor ate ▁the ▁horror s ▁of ▁the ▁bomb ing . ▁ ▁In ▁its ▁final ▁form , ▁Gu ern ica ▁is ▁an ▁immense ▁black ▁and ▁white , ▁ ▁tall ▁and ▁ ▁wide ▁m ural ▁painted ▁in ▁oil . ▁The ▁m ural ▁presents ▁a ▁scene ▁of ▁death , ▁violence , ▁brut ality , ▁suffering , ▁and ▁hel pl ess ness ▁without ▁port ray ing ▁their ▁immediate ▁causes . ▁The ▁choice ▁to ▁paint ▁in ▁black ▁and ▁white ▁contrast s ▁with ▁the ▁intensity ▁of ▁the ▁scene ▁dep icted ▁and ▁inv okes ▁the ▁imm edia cy ▁of ▁a ▁newspaper ▁photograph . ▁Pic asso ▁painted ▁the ▁m ural |
▁s ized ▁painting ▁called ▁Gu ern ica ▁in ▁protest ▁of ▁the ▁bomb ing . ▁The ▁painting ▁was ▁first ▁exhib ited ▁in ▁Paris ▁in ▁ 1 9 3 7 , ▁then ▁Sc and in avia , ▁then ▁London ▁in ▁ 1 9 3 8 ▁and ▁finally ▁in ▁ 1 9 3 9 ▁at ▁Pic asso ' s ▁request ▁the ▁painting ▁was ▁sent ▁to ▁the ▁United ▁States ▁in ▁an ▁extended ▁loan ▁( for ▁safe keep ing ) ▁at ▁Mo MA . ▁The ▁painting ▁went ▁on ▁a ▁tour ▁of ▁museum s ▁throughout ▁the ▁USA ▁until ▁its ▁final ▁return ▁to ▁the ▁Museum ▁of ▁Modern ▁Art ▁in ▁New ▁York ▁City ▁where ▁it ▁was ▁exhib ited ▁for ▁nearly ▁thirty ▁years . ▁Finally ▁in ▁accord ▁with ▁Pablo ▁Pic asso ' s ▁wish ▁to ▁give ▁the ▁painting ▁to ▁the ▁people ▁of ▁Spain ▁as ▁a ▁gift , ▁it ▁was ▁sent ▁to ▁Spain ▁in ▁ 1 9 8 1 . ▁ ▁During ▁the ▁Great ▁De pression ▁of ▁the ▁ 1 9 3 0 s , ▁through ▁the ▁years ▁of ▁World ▁War ▁II ▁American ▁art ▁was ▁character ized ▁by ▁Social ▁Real ism ▁and ▁American ▁Sc ene ▁P ain ting ▁in ▁the ▁work ▁of ▁Grant ▁Wood , ▁Edward ▁Ho pper , ▁Ben ▁Sh ahn , ▁Thomas ▁Hart ▁Bent on , ▁and ▁several ▁others . ▁N ighth aw ks ▁( 1 9 4 2 ) ▁is ▁a ▁painting ▁by ▁Edward ▁Ho pper ▁that ▁port ray s ▁people ▁sitting ▁in ▁a ▁dow nt own ▁din er ▁late ▁at ▁night . ▁It ▁is ▁not ▁only ▁Ho pper ' |
s ▁most ▁famous ▁painting , ▁but ▁one ▁of ▁the ▁most ▁recogn izable ▁in ▁American ▁art . ▁It ▁is ▁currently ▁in ▁the ▁collection ▁of ▁the ▁Art ▁Institute ▁of ▁Chicago . ▁The ▁scene ▁was ▁inspired ▁by ▁a ▁din er ▁( since ▁demol ished ) ▁in ▁Green wich ▁Village , ▁Ho pper ' s ▁home ▁neighborhood ▁in ▁Manh attan . ▁Ho pper ▁began ▁painting ▁it ▁immediately ▁after ▁the ▁attack ▁on ▁Pear l ▁Har bor . ▁After ▁this ▁event ▁there ▁was ▁a ▁large ▁feeling ▁of ▁glo om iness ▁over ▁the ▁country , ▁a ▁feeling ▁that ▁is ▁port rayed ▁in ▁the ▁painting . ▁The ▁urban ▁street ▁is ▁empty ▁outside ▁the ▁din er , ▁and ▁inside ▁none ▁of ▁the ▁three ▁pat rons ▁is ▁apparently ▁looking ▁or ▁talking ▁to ▁the ▁others ▁but ▁instead ▁is ▁lost ▁in ▁their ▁own ▁thoughts . ▁This ▁port ray al ▁of ▁modern ▁urban ▁life ▁as ▁empty ▁or ▁lon ely ▁is ▁a ▁common ▁theme ▁throughout ▁Ho pper ' s ▁work . ▁ ▁The ▁Dynamic ▁for ▁artists ▁in ▁Europe ▁during ▁the ▁ 1 9 3 0 s ▁d eter ior ated ▁rapidly ▁as ▁the ▁Naz i ' s ▁power ▁in ▁Germany ▁and ▁across ▁Eastern ▁Europe ▁increased . ▁The ▁climate ▁became ▁so ▁host ile ▁for ▁artists ▁and ▁art ▁associated ▁with ▁Modern ism ▁and ▁abstra ction ▁that ▁many ▁left ▁for ▁the ▁Amer icas . ▁D eg ener ate ▁art ▁was ▁a ▁term ▁adopted ▁by ▁the ▁Naz i ▁regime ▁in ▁Germany ▁for ▁virt ually ▁all ▁modern ▁art . ▁Such ▁art ▁was ▁b anned ▁on ▁the ▁grounds ▁that ▁it ▁was ▁un - |
G erman ▁or ▁Jewish ▁B ols he v ist ▁in ▁nature , ▁and ▁those ▁identified ▁as ▁deg ener ate ▁artists ▁were ▁subject ed ▁to ▁san ctions . ▁These ▁included ▁being ▁dismiss ed ▁from ▁teaching ▁positions , ▁being ▁forb idden ▁to ▁exhib it ▁or ▁to ▁sell ▁their ▁art , ▁and ▁in ▁some ▁cases ▁being ▁forb idden ▁to ▁produce ▁art ▁entirely . ▁ ▁D eg ener ate ▁Art ▁was ▁also ▁the ▁title ▁of ▁an ▁exhibition , ▁mounted ▁by ▁the ▁Naz is ▁in ▁Mun ich ▁in ▁ 1 9 3 7 , ▁consisting ▁of ▁modern ist ▁art works ▁cha ot ically ▁hung ▁and ▁accompanied ▁by ▁text ▁labels ▁der iding ▁the ▁art . ▁Design ed ▁to ▁infl ame ▁public ▁opinion ▁against ▁modern ism , ▁the ▁exhibition ▁subsequently ▁tra ve led ▁to ▁several ▁other ▁cities ▁in ▁Germany ▁and ▁Austria . ▁German ▁artist ▁Max ▁Beck mann ▁and ▁scores ▁of ▁others ▁fled ▁Europe ▁for ▁New ▁York . ▁In ▁New ▁York ▁City ▁a ▁new ▁generation ▁of ▁young ▁and ▁exc iting ▁Modern ist ▁pain ters ▁led ▁by ▁Ar sh ile ▁G ork y , ▁Wille m ▁de ▁K oon ing , ▁and ▁others ▁were ▁just ▁beginning ▁to ▁come ▁of ▁age . ▁ ▁Ar sh ile ▁G ork y ' s ▁portrait ▁of ▁someone ▁who ▁might ▁be ▁Wille m ▁de ▁K oon ing ▁( above ) ▁is ▁an ▁example ▁of ▁the ▁evolution ▁of ▁abstract ▁expression ism ▁from ▁the ▁context ▁of ▁figure ▁painting , ▁cub ism ▁and ▁sur real ism . ▁Al ong ▁with ▁his ▁friends ▁de ▁K oon ing ▁and ▁John ▁D . |
▁Graham ▁G ork y ▁created ▁bio - m orph ically ▁sh aped ▁and ▁abstract ed ▁figur ative ▁compos itions ▁that ▁by ▁the ▁ 1 9 4 0 s ▁evol ved ▁into ▁totally ▁abstract ▁paint ings . ▁G ork y ' s ▁work ▁seems ▁to ▁be ▁a ▁careful ▁analysis ▁of ▁memory , ▁em otion ▁and ▁shape , ▁using ▁line ▁and ▁color ▁to ▁express ▁feeling ▁and ▁nature . ▁ ▁Tow ards ▁mid - century ▁ ▁The ▁ 1 9 4 0 s ▁in ▁New ▁York ▁City ▁her ald ed ▁the ▁triumph ▁of ▁American ▁abstract ▁expression ism , ▁a ▁modern ist ▁movement ▁that ▁combined ▁less ons ▁learned ▁from ▁Henri ▁Mat isse , ▁Pablo ▁Pic asso , ▁Sur real ism , ▁Joan ▁Mir ó , ▁Cub ism , ▁F au v ism , ▁and ▁early ▁Modern ism ▁via ▁great ▁teachers ▁in ▁America ▁like ▁Hans ▁Hof mann ▁and ▁John ▁D . ▁Graham . ▁American ▁artists ▁benef ited ▁from ▁the ▁presence ▁of ▁Piet ▁Mond rian , ▁Fern and ▁Lé ger , ▁Max ▁Ernst ▁and ▁the ▁André ▁Bre ton ▁group , ▁Pierre ▁Mat isse ' s ▁gallery , ▁and ▁Peg gy ▁G ug gen heim ' s ▁gallery ▁The ▁Art ▁of ▁This ▁Century , ▁as ▁well ▁as ▁other ▁factors . ▁The ▁figur ative ▁work ▁of ▁Francis ▁Ba con , ▁Fr ida ▁K ah lo , ▁Edward ▁Ho pper , ▁Luci an ▁Fre ud , ▁Andrew ▁Wy eth ▁and ▁others ▁served ▁as ▁a ▁kind ▁of ▁alternative ▁to ▁abstract ▁expression ism . ▁ ▁Post - Second ▁World ▁War ▁American ▁painting ▁called ▁Abstract |
▁expression ism ▁included ▁artists ▁like ▁Jackson ▁Pol lock , ▁Wille m ▁de ▁K oon ing , ▁Ar sh ile ▁G ork y , ▁Mark ▁Roth ko , ▁Hans ▁Hof mann , ▁C ly ff ord ▁Still , ▁Franz ▁K line , ▁Ad olph ▁Gott lie b , ▁Mark ▁Tob ey , ▁Bar nett ▁New man , ▁James ▁Bro oks , ▁Philip ▁Gust on , ▁Robert ▁Mother well , ▁Con rad ▁Mar ca - R elli , ▁Jack ▁T work ov , ▁William ▁B azi otes , ▁Richard ▁P ous ette - D art , ▁Ad ▁Rein hardt , ▁Hed da ▁S terne , ▁Jimmy ▁Ernst , ▁Est eb an ▁Vic ente , ▁Brad ley ▁Walker ▁Tom lin , ▁and ▁The odor os ▁St amos , ▁among ▁others . ▁American ▁Abstract ▁expression ism ▁got ▁its ▁name ▁in ▁ 1 9 4 6 ▁from ▁the ▁art ▁critic ▁Robert ▁Co ates . ▁It ▁is ▁seen ▁as ▁combining ▁the ▁emot ional ▁intensity ▁and ▁self - den ial ▁of ▁the ▁German ▁Expression ists ▁with ▁the ▁anti - fig ur ative ▁a est h etic ▁of ▁the ▁European ▁abstract ▁schools ▁such ▁as ▁fut ur ism , ▁the ▁Bau haus ▁and ▁synth etic ▁cub ism . ▁Abstract ▁expression ism , ▁action ▁painting , ▁and ▁Color ▁Field ▁painting ▁are ▁syn onymous ▁with ▁the ▁New ▁York ▁School . ▁ ▁Techn ically ▁Sur real ism ▁was ▁an ▁important ▁prede cess or ▁for ▁abstract ▁expression ism ▁with ▁its ▁emphas is ▁on ▁sp ont aneous , ▁automatic ▁or ▁sub cons cious ▁creation . ▁Jackson ▁Pol |
lock ' s ▁dri pping ▁paint ▁onto ▁a ▁canvas ▁laid ▁on ▁the ▁floor ▁is ▁a ▁technique ▁that ▁has ▁its ▁roots ▁in ▁the ▁work ▁of ▁André ▁Mass on . ▁Another ▁important ▁early ▁manifest ation ▁of ▁what ▁came ▁to ▁be ▁abstract ▁expression ism ▁is ▁the ▁work ▁of ▁American ▁North west ▁artist ▁Mark ▁Tob ey , ▁especially ▁his ▁" white ▁writing " ▁can v ases , ▁which , ▁though ▁generally ▁not ▁large ▁in ▁scale , ▁anticip ate ▁the ▁" all ▁over " ▁look ▁of ▁Pol lock ' s ▁d rip ▁paint ings . ▁ ▁Abstract ▁expression ism ▁ ▁Additionally , ▁Abstract ▁expression ism ▁has ▁an ▁image ▁of ▁being ▁reb elli ous , ▁an arch ic , ▁highly ▁id ios ync r atic ▁and , ▁some ▁feel , ▁rather ▁n ih il istic . ▁In ▁practice , ▁the ▁term ▁is ▁applied ▁to ▁any ▁number ▁of ▁artists ▁working ▁( most ly ) ▁in ▁New ▁York ▁who ▁had ▁quite ▁different ▁styles , ▁and ▁even ▁applied ▁to ▁work ▁which ▁is ▁not ▁especially ▁abstract ▁nor ▁expression ist . ▁Pol lock ' s ▁ener get ic ▁" action ▁paint ings ", ▁with ▁their ▁" bus y " ▁feel , ▁are ▁different ▁both ▁techn ically ▁and ▁a est het ically , ▁to ▁the ▁violent ▁and ▁gro tes que ▁Women ▁series ▁of ▁Wille m ▁de ▁K oon ing . ▁As ▁seen ▁above ▁in ▁the ▁gallery ▁Woman ▁V ▁is ▁one ▁of ▁a ▁series ▁of ▁six ▁paint ings ▁made ▁by ▁de ▁K oon ing ▁between ▁ 1 9 5 0 ▁and ▁ 1 9 5 3 |
▁that ▁dep ict ▁a ▁three - qu arter - length ▁female ▁figure . ▁He ▁began ▁the ▁first ▁of ▁these ▁paint ings , ▁Woman ▁I ▁collection : ▁The ▁Museum ▁of ▁Modern ▁Art , ▁New ▁York ▁City , ▁in ▁June ▁ 1 9 5 0 , ▁repeatedly ▁changing ▁and ▁painting ▁out ▁the ▁image ▁until ▁January ▁or ▁February ▁ 1 9 5 2 , ▁when ▁the ▁painting ▁was ▁abandoned ▁un fin ished . ▁The ▁art ▁historian ▁Meyer ▁Sch api ro ▁saw ▁the ▁painting ▁in ▁de ▁K oon ing ' s ▁studio ▁soon ▁afterwards ▁and ▁encourag ed ▁the ▁artist ▁to ▁persist . ▁De ▁K oon ing ' s ▁response ▁was ▁to ▁begin ▁three ▁other ▁paint ings ▁on ▁the ▁same ▁theme ; ▁Woman ▁II ▁collection : ▁The ▁Museum ▁of ▁Modern ▁Art , ▁New ▁York ▁City , ▁Woman ▁III , ▁Te h ran ▁Museum ▁of ▁Contempor ary ▁Art , ▁Woman ▁IV , ▁Nelson - At kins ▁Museum ▁of ▁Art , ▁Kansas ▁City , ▁Missouri . ▁During ▁the ▁summer ▁of ▁ 1 9 5 2 , ▁spent ▁at ▁East ▁Ham pton , ▁de ▁K oon ing ▁further ▁expl ored ▁the ▁theme ▁through ▁draw ings ▁and ▁past els . ▁He ▁may ▁have ▁finished ▁work ▁on ▁Woman ▁I ▁by ▁the ▁end ▁of ▁June , ▁or ▁possibly ▁as ▁late ▁as ▁November ▁ 1 9 5 2 , ▁and ▁probably ▁the ▁other ▁three ▁women ▁pictures ▁were ▁concluded ▁at ▁much ▁the ▁same ▁time . ▁The ▁Woman ▁series ▁are ▁decided ly ▁figur ative ▁paint ings . ▁Another ▁important ▁artist ▁is ▁Franz ▁K line , ▁as ▁demonstrated |
▁by ▁his ▁painting ▁High ▁Street , ▁ 1 9 5 0 ▁as ▁with ▁Jackson ▁Pol lock ▁and ▁other ▁Abstract ▁Expression ists , ▁was ▁label led ▁an ▁" action ▁painter " ▁because ▁of ▁his ▁seem ingly ▁sp ont aneous ▁and ▁inten se ▁style , ▁foc using ▁less , ▁or ▁not ▁at ▁all , ▁on ▁figures ▁or ▁imag ery , ▁but ▁on ▁the ▁actual ▁br ush ▁stro kes ▁and ▁use ▁of ▁canvas . ▁ ▁C ly ff ord ▁Still , ▁Bar nett ▁New man , ▁Ad olph ▁Gott lie b , ▁and ▁the ▁ser en ely ▁sh immer ing ▁blocks ▁of ▁color ▁in ▁Mark ▁Roth ko ' s ▁work ▁( which ▁is ▁not ▁what ▁would ▁usually ▁be ▁called ▁expression ist ▁and ▁which ▁Roth ko ▁denied ▁was ▁abstract ), ▁are ▁class ified ▁as ▁abstract ▁expression ists , ▁al beit ▁from ▁what ▁Clement ▁Green berg ▁term ed ▁the ▁Color ▁Field ▁direction ▁of ▁abstract ▁expression ism . ▁Both ▁Hans ▁Hof mann ▁and ▁Robert ▁Mother well ▁( g allery ) ▁can ▁be ▁comfort ably ▁described ▁as ▁pract ition ers ▁of ▁action ▁painting ▁and ▁Color ▁Field ▁painting . ▁ ▁Abstract ▁expression ism ▁has ▁many ▁sty list ic ▁similar ities ▁to ▁the ▁Russian ▁artists ▁of ▁the ▁early ▁ 2 0 th ▁century ▁such ▁as ▁Wass ily ▁K and in sky . ▁Although ▁it ▁is ▁true ▁that ▁sp ont ane ity ▁or ▁of ▁the ▁impression ▁of ▁sp ont ane ity ▁character ized ▁many ▁of ▁the ▁abstract ▁expression ists ▁works , ▁most ▁of ▁these ▁paint ings ▁involved ▁careful ▁planning , ▁especially ▁since ▁their |
▁large ▁size ▁demanded ▁it . ▁An ▁exception ▁might ▁be ▁the ▁d rip ▁paint ings ▁of ▁Pol lock . ▁ ▁Why ▁this ▁style ▁gained ▁main stream ▁accept ance ▁in ▁the ▁ 1 9 5 0 s ▁is ▁a ▁matter ▁of ▁debate . ▁American ▁Social ▁real ism ▁had ▁been ▁the ▁main stream ▁in ▁the ▁ 1 9 3 0 s . ▁It ▁had ▁been ▁influenced ▁not ▁only ▁by ▁the ▁Great ▁De pression ▁but ▁also ▁by ▁the ▁Social ▁Real ists ▁of ▁Mexico ▁such ▁as ▁David ▁Alf aro ▁S ique iros ▁and ▁Diego ▁River a . ▁The ▁political ▁climate ▁after ▁World ▁War ▁II ▁did ▁not ▁long ▁toler ate ▁the ▁social ▁protest s ▁of ▁those ▁pain ters . ▁Abstract ▁expression ism ▁arose ▁during ▁World ▁War ▁II ▁and ▁began ▁to ▁be ▁show c ased ▁during ▁the ▁early ▁ 1 9 4 0 s ▁at ▁gall eries ▁in ▁New ▁York ▁like ▁The ▁Art ▁of ▁This ▁Century ▁Gallery . ▁The ▁late ▁ 1 9 4 0 s ▁through ▁the ▁mid - 1 9 5 0 s ▁us her ed ▁in ▁the ▁Mc Car thy ▁era . ▁It ▁was ▁after ▁World ▁War ▁II ▁and ▁a ▁time ▁of ▁political ▁conserv at ism ▁and ▁extreme ▁art istic ▁c ensor ship ▁in ▁the ▁United ▁States . ▁Some ▁people ▁have ▁conject ured ▁that ▁since ▁the ▁subject ▁matter ▁was ▁often ▁totally ▁abstract , ▁Abstract ▁expression ism ▁became ▁a ▁safe ▁strategy ▁for ▁artists ▁to ▁purs ue ▁this ▁style . ▁Abstract ▁art ▁could ▁be ▁seen ▁as ▁ap olit ical . ▁Or ▁if ▁the ▁art ▁was ▁political , ▁the ▁message |
▁was ▁largely ▁for ▁the ▁ins iders . ▁However , ▁those ▁the or ists ▁are ▁in ▁the ▁minor ity . ▁As ▁the ▁first ▁truly ▁original ▁school ▁of ▁painting ▁in ▁America , ▁Abstract ▁expression ism ▁demonstrated ▁the ▁vital ity ▁and ▁cre ativity ▁of ▁the ▁country ▁in ▁the ▁post - war ▁years , ▁as ▁well ▁as ▁its ▁ability ▁( or ▁need ) ▁to ▁develop ▁an ▁a est h etic ▁sense ▁that ▁was ▁not ▁const rained ▁by ▁the ▁European ▁standards ▁of ▁beauty . ▁ ▁Although ▁Abstract ▁expression ism ▁spread ▁quickly ▁throughout ▁the ▁United ▁States , ▁the ▁major ▁cent ers ▁of ▁this ▁style ▁were ▁New ▁York ▁City ▁and ▁California , ▁especially ▁in ▁the ▁New ▁York ▁School , ▁and ▁the ▁San ▁Francisco ▁Bay ▁area . ▁Abstract ▁expression ist ▁paint ings ▁share ▁certain ▁characteristics , ▁including ▁the ▁use ▁of ▁large ▁can v ases , ▁an ▁" all - over " ▁approach , ▁in ▁which ▁the ▁whole ▁canvas ▁is ▁treated ▁with ▁equal ▁importance ▁( as ▁opposed ▁to ▁the ▁center ▁being ▁of ▁more ▁interest ▁than ▁the ▁edges ). ▁The ▁canvas ▁as ▁the ▁ar ena ▁became ▁a ▁cre do ▁of ▁action ▁painting , ▁while ▁the ▁integrity ▁of ▁the ▁picture ▁plane ▁became ▁a ▁cre do ▁of ▁the ▁Color ▁Field ▁pain ters . ▁Many ▁other ▁artists ▁began ▁exhib iting ▁their ▁abstract ▁expression ist ▁related ▁paint ings ▁during ▁the ▁ 1 9 5 0 s ▁including ▁Alfred ▁Les lie , ▁Sam ▁Francis , ▁Joan ▁Mitchell , ▁Helen ▁Frank ent hal er , ▁Cy ▁Tw omb ly , ▁Mil ton ▁Res nick , ▁Michael ▁Gold berg , |
▁Norman ▁Bl u hm , ▁Ray ▁Parker , ▁Nicolas ▁Car one , ▁Grace ▁Hart igan , ▁Fried el ▁D z ub as , ▁and ▁Robert ▁Good n ough ▁among ▁others . ▁ ▁During ▁the ▁ 1 9 5 0 s ▁Color ▁Field ▁painting ▁initially ▁referred ▁to ▁a ▁particular ▁type ▁of ▁abstract ▁expression ism , ▁especially ▁the ▁work ▁of ▁Mark ▁Roth ko , ▁C ly ff ord ▁Still , ▁Bar nett ▁New man , ▁Robert ▁Mother well ▁and ▁Ad olph ▁Gott lie b . ▁It ▁essentially ▁involved ▁abstract ▁paint ings ▁with ▁large , ▁flat ▁exp ans es ▁of ▁color ▁that ▁expressed ▁the ▁sens ual , ▁and ▁visual ▁feelings ▁and ▁properties ▁of ▁large ▁areas ▁of ▁nu anced ▁surface . ▁Art ▁critic ▁Clement ▁Green berg ▁perce ived ▁Color ▁Field ▁painting ▁as ▁related ▁to ▁but ▁different ▁from ▁Action ▁painting . ▁The ▁overall ▁exp anse ▁and ▁gest alt ▁of ▁the ▁work ▁of ▁the ▁early ▁color ▁field ▁pain ters ▁speak s ▁of ▁an ▁almost ▁religious ▁experience , ▁aw est ruck ▁in ▁the ▁face ▁of ▁an ▁expand ing ▁universe ▁of ▁sens ual ity , ▁color ▁and ▁surface . ▁During ▁the ▁early - to - mid - 1 9 6 0 s , ▁Color ▁Field ▁painting ▁came ▁to ▁refer ▁to ▁the ▁styles ▁of ▁artists ▁like ▁Jules ▁Ol it ski , ▁Kenneth ▁N ol and , ▁and ▁Helen ▁Frank ent hal er , ▁whose ▁works ▁were ▁related ▁to ▁second - gener ation ▁abstract ▁expression ism , ▁and ▁to ▁younger ▁artists ▁like ▁Larry ▁Z ox , ▁and ▁Frank ▁St ella , ▁– ▁all |
▁moving ▁in ▁a ▁new ▁direction . ▁Art ists ▁like ▁C ly ff ord ▁Still , ▁Mark ▁Roth ko , ▁Hans ▁Hof mann , ▁Morris ▁Louis , ▁Jules ▁Ol it ski , ▁Kenneth ▁N ol and , ▁Helen ▁Frank ent hal er , ▁Larry ▁Z ox , ▁and ▁others ▁often ▁used ▁greatly ▁reduced ▁references ▁to ▁nature , ▁and ▁they ▁painted ▁with ▁a ▁highly ▁art ic ulated ▁and ▁psych ological ▁use ▁of ▁color . ▁In ▁general ▁these ▁artists ▁elimin ated ▁recogn izable ▁imag ery . ▁In ▁Mountains ▁and ▁Sea , ▁from ▁ 1 9 5 2 , ▁a ▁sem inal ▁work ▁of ▁Color ▁Field ▁painting ▁by ▁Helen ▁Frank ent hal er ▁the ▁artist ▁used ▁the ▁st ain ▁technique ▁for ▁the ▁first ▁time . ▁ ▁In ▁Europe ▁there ▁was ▁the ▁continu ation ▁of ▁Sur real ism , ▁Cub ism , ▁D ada ▁and ▁the ▁works ▁of ▁Mat isse . ▁Also ▁in ▁Europe , ▁T ach isme ▁( the ▁European ▁equivalent ▁to ▁Abstract ▁expression ism ) ▁took ▁hold ▁of ▁the ▁new est ▁generation . ▁Serge ▁Pol iak off , ▁Nicolas ▁de ▁Sta ël , ▁Georges ▁Math ieu , ▁Vie ira ▁da ▁Silva , ▁Jean ▁Dub uff et , ▁Y ves ▁Klein ▁and ▁Pierre ▁Soul ages ▁among ▁others ▁are ▁considered ▁important ▁figures ▁in ▁post - war ▁European ▁painting . ▁ ▁Event ually ▁abstract ▁painting ▁in ▁America ▁evol ved ▁into ▁movements ▁such ▁as ▁Ne o - D ada , ▁Color ▁Field ▁painting , ▁Post ▁painter ly ▁abstra ction , ▁Op ▁art , ▁hard - edge ▁painting , ▁Min imal |
▁art , ▁sh aped ▁canvas ▁painting , ▁L yr ical ▁Ab stra ction , ▁Ne o - expression ism ▁and ▁the ▁continu ation ▁of ▁Abstract ▁expression ism . ▁As ▁a ▁response ▁to ▁the ▁t endency ▁toward ▁abstra ction ▁imag ery ▁emer ged ▁through ▁various ▁new ▁movements , ▁not ably ▁Pop ▁art . ▁ ▁Pop ▁art ▁ ▁Ear lier ▁in ▁England ▁in ▁ 1 9 5 6 ▁the ▁term ▁Pop ▁Art ▁was ▁used ▁by ▁Lawrence ▁Allow ay ▁for ▁paint ings ▁that ▁celebrated ▁consumer ism ▁of ▁the ▁post ▁World ▁War ▁II ▁era . ▁This ▁movement ▁rejected ▁abstract ▁expression ism ▁and ▁its ▁focus ▁on ▁the ▁herm ene ut ic ▁and ▁psych ological ▁interior , ▁in ▁favor ▁of ▁art ▁which ▁dep icted , ▁and ▁often ▁celebrated ▁material ▁consumer ▁culture , ▁advert ising , ▁and ▁icon ography ▁of ▁the ▁mass ▁production ▁age . ▁The ▁early ▁works ▁of ▁David ▁H ock ney ▁and ▁the ▁works ▁of ▁Richard ▁Hamilton ▁Peter ▁Bla ke ▁and ▁Edu ardo ▁Pa ol oz zi ▁were ▁considered ▁sem inal ▁examples ▁in ▁the ▁movement . ▁ ▁Pop ▁art ▁in ▁America ▁was ▁to ▁a ▁large ▁degree ▁initially ▁inspired ▁by ▁the ▁works ▁of ▁Jas per ▁Joh ns , ▁Larry ▁R ivers , ▁and ▁Robert ▁R aus chen berg . ▁Although ▁the ▁paint ings ▁of ▁Ger ald ▁Mur phy , ▁Stuart ▁Davis ▁and ▁Charles ▁Dem uth ▁during ▁the ▁ 1 9 2 0 s ▁and ▁ 1 9 3 0 s ▁set ▁the ▁table ▁for ▁pop ▁art ▁in ▁America . ▁In ▁New ▁York ▁City ▁during ▁the ▁mid - 1 9 |
5 0 s ▁Robert ▁R aus chen berg ▁and ▁Jas per ▁Joh ns ▁created ▁works ▁of ▁art ▁that ▁at ▁first ▁seemed ▁to ▁be ▁continu ations ▁of ▁Abstract ▁expression ist ▁painting . ▁Actually ▁their ▁works ▁and ▁the ▁work ▁of ▁Larry ▁R ivers , ▁were ▁radical ▁depart ures ▁from ▁abstract ▁expression ism ▁especially ▁in ▁the ▁use ▁of ▁b anal ▁and ▁literal ▁imag ery ▁and ▁the ▁inclusion ▁and ▁the ▁combining ▁of ▁m und ane ▁materials ▁into ▁their ▁work . ▁The ▁innov ations ▁of ▁Joh ns ' ▁specific ▁use ▁of ▁various ▁images ▁and ▁objects ▁like ▁ch airs , ▁numbers , ▁targets , ▁be er ▁can s ▁and ▁the ▁American ▁flag ; ▁R ivers ▁paint ings ▁of ▁subjects ▁drawn ▁from ▁popular ▁culture ▁such ▁as ▁George ▁Washington ▁crossing ▁the ▁Del aware , ▁and ▁his ▁inclus ions ▁of ▁images ▁from ▁advert is ements ▁like ▁the ▁cam el ▁from ▁Cam el ▁c igare tt es , ▁and ▁R aus chen berg ' s ▁surprising ▁constru ctions ▁using ▁inclus ions ▁of ▁objects ▁and ▁pictures ▁taken ▁from ▁popular ▁culture , ▁hardware ▁stores , ▁j unk y ards , ▁the ▁city ▁streets , ▁and ▁tax id erm y ▁gave ▁rise ▁to ▁a ▁radical ▁new ▁movement ▁in ▁American ▁art . ▁Event ually ▁by ▁ 1 9 6 3 ▁the ▁movement ▁came ▁to ▁be ▁known ▁world wide ▁as ▁pop ▁art . ▁ ▁American ▁pop ▁art ▁is ▁exempl ified ▁by ▁artists : ▁Andy ▁War hol , ▁Cla es ▁Old enburg , ▁Wayne ▁Th ie ba ud , ▁James ▁Rosen qu ist , ▁Jim ▁D ine , ▁Tom |
▁W essel mann ▁and ▁Roy ▁L ichten stein ▁among ▁others . ▁L ichten stein ' s ▁most ▁important ▁work ▁is ▁arg u ably ▁Wh a am ! ▁( 1 9 6 3 , ▁T ate ▁Modern , ▁London ), ▁one ▁of ▁the ▁earliest ▁known ▁examples ▁of ▁pop ▁art , ▁adapted ▁a ▁com ic - book ▁panel ▁from ▁a ▁ 1 9 6 2 ▁issue ▁of ▁DC ▁Comics ' ▁All - American ▁Men ▁of ▁War . ▁The ▁painting ▁dep ict s ▁a ▁f ighter ▁aircraft ▁firing ▁a ▁ro cket ▁into ▁an ▁enemy ▁plane , ▁with ▁a ▁red - and - yellow ▁explos ion . ▁The ▁cart oon ▁style ▁is ▁height ened ▁by ▁the ▁use ▁of ▁the ▁on om at op oe ic ▁letter ing ▁" W ha am !" ▁and ▁the ▁box ed ▁ca ption ▁" I ▁pressed ▁the ▁fire ▁control ... ▁and ▁ahead ▁of ▁me ▁rock ets ▁bla zed ▁through ▁the ▁sky ..." ▁Pop ▁art ▁mer ges ▁popular ▁and ▁mass ▁culture ▁with ▁fine ▁art , ▁while ▁inject ing ▁humor , ▁ir ony , ▁and ▁recogn izable ▁imag ery ▁and ▁content ▁into ▁the ▁mix . ▁In ▁October ▁ 1 9 6 2 ▁the ▁Sid ney ▁Jan is ▁Gallery ▁mounted ▁The ▁New ▁Real ists ▁the ▁first ▁major ▁pop ▁art ▁group ▁exhibition ▁in ▁an ▁u pt own ▁art ▁gallery ▁in ▁New ▁York ▁City . ▁Sid ney ▁Jan is ▁mounted ▁the ▁exhibition ▁in ▁a ▁ 5 7 th ▁Street ▁store front ▁near ▁his ▁gallery ▁at ▁ 1 5 ▁E . ▁ 5 7 th ▁Street . ▁The |
▁show ▁sent ▁shock w aves ▁through ▁the ▁New ▁York ▁School ▁and ▁rever ber ated ▁world wide . ▁Ear lier ▁in ▁the ▁fall ▁of ▁ 1 9 6 2 ▁an ▁histor ically ▁important ▁and ▁ground - bre aking ▁New ▁P ain ting ▁of ▁Common ▁Object s ▁exhibition ▁of ▁pop ▁art , ▁cur ated ▁by ▁Walter ▁Ho pp s ▁at ▁the ▁Pas ad ena ▁Art ▁Museum ▁sent ▁shock ▁waves ▁across ▁the ▁Western ▁United ▁States . ▁ ▁While ▁in ▁the ▁dow nt own ▁scene ▁in ▁New ▁York ▁City ' s ▁East ▁Village ▁ 1 0 th ▁Street ▁gall eries ▁artists ▁were ▁form ulating ▁an ▁American ▁version ▁of ▁Pop ▁Art . ▁Cla es ▁Old enburg ▁had ▁his ▁store front ▁and ▁made ▁painted ▁objects , ▁and ▁the ▁Green ▁Gallery ▁on ▁ 5 7 th ▁Street ▁began ▁to ▁show ▁Tom ▁W essel mann ▁and ▁James ▁Rosen qu ist . ▁Later ▁Leo ▁Cast elli ▁exhib ited ▁other ▁American ▁artists ▁including ▁the ▁bulk ▁of ▁the ▁care ers ▁of ▁Andy ▁War hol ▁and ▁Roy ▁L ichten stein ▁and ▁his ▁use ▁of ▁B end ay ▁d ots , ▁a ▁technique ▁used ▁in ▁commercial ▁reprodu ction . ▁There ▁is ▁a ▁connection ▁between ▁the ▁radical ▁works ▁of ▁Duch amp , ▁and ▁Man ▁Ray , ▁the ▁reb elli ous ▁D ada ists ▁– ▁with ▁a ▁sense ▁of ▁humor ; ▁and ▁pop ▁artists ▁like ▁Alex ▁K atz ▁( who ▁became ▁known ▁for ▁his ▁par od ies ▁of ▁portrait ▁phot ography ▁and ▁sub urban ▁life ), ▁Cla es ▁Old enburg , ▁Andy ▁War hol , ▁Roy ▁L ichten |
stein ▁and ▁the ▁others . ▁ ▁While ▁throughout ▁the ▁ 2 0 th ▁century ▁many ▁pain ters ▁continued ▁to ▁practice ▁landscape ▁and ▁figur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁like ▁Mil ton ▁A very , ▁John ▁D . ▁Graham , ▁Fair field ▁Por ter , ▁Edward ▁Ho pper , ▁B alth us , ▁Francis ▁Ba con , ▁Nicolas ▁de ▁Sta ël , ▁Andrew ▁Wy eth , ▁Luci an ▁Fre ud , ▁Frank ▁A uer bach , ▁Philip ▁Pear l stein , ▁David ▁Park , ▁Nathan ▁O live ira , ▁David ▁H ock ney , ▁Mal col m ▁Mor ley , ▁Richard ▁Est es , ▁Ralph ▁Go ings , ▁Aud rey ▁F lack , ▁Ch uck ▁Close , ▁Susan ▁Roth enberg , ▁Eric ▁F isch l , ▁V ija ▁Cel m ins ▁and ▁Richard ▁Die ben k orn . ▁ ▁Fig ur ative , ▁landscape , ▁still - Life , ▁se as cape , ▁and ▁Real ism ▁ ▁During ▁the ▁ 1 9 3 0 s ▁through ▁the ▁ 1 9 6 0 s ▁abstract ▁painting ▁in ▁America ▁and ▁Europe ▁evol ved ▁into ▁movements ▁such ▁as ▁abstract ▁expression ism , ▁Color ▁Field ▁painting , ▁Post ▁painter ly ▁abstra ction , ▁Op ▁art , ▁hard - edge ▁painting , ▁Min imal ▁art , ▁sh aped ▁canvas ▁painting , ▁and ▁L yr ical ▁Ab stra ction . ▁Other ▁artists ▁react ed ▁as ▁a ▁response ▁to ▁the ▁t endency ▁toward ▁abstra ction , ▁allowing ▁figur ative ▁imag ery ▁to ▁continue ▁through ▁various ▁new ▁context |
s ▁like ▁the ▁Bay ▁Area ▁Fig ur ative ▁Mov ement ▁in ▁the ▁ 1 9 5 0 s ▁and ▁new ▁forms ▁of ▁expression ism ▁from ▁the ▁ 1 9 4 0 s ▁through ▁the ▁ 1 9 6 0 s . ▁In ▁Italy ▁during ▁this ▁time , ▁Giorg io ▁Mor and i ▁was ▁the ▁for em ost ▁still ▁life ▁painter , ▁expl oring ▁a ▁wide ▁variety ▁of ▁approaches ▁to ▁dep ict ing ▁every day ▁bott les ▁and ▁kitchen ▁implements . ▁Through out ▁the ▁ 2 0 th ▁century ▁many ▁pain ters ▁pract iced ▁Real ism ▁and ▁used ▁express ive ▁imag ery ; ▁pract icing ▁landscape ▁and ▁figur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁and ▁unique ▁express ivity ▁like ▁still - life ▁painter ▁Giorg io ▁Mor and i , ▁Mil ton ▁A very , ▁John ▁D . ▁Graham , ▁Fair field ▁Por ter , ▁Edward ▁Ho pper , ▁Andrew ▁Wy eth , ▁B alth us , ▁Francis ▁Ba con , ▁Leon ▁Kos so ff , ▁Frank ▁A uer bach , ▁Luci an ▁Fre ud , ▁Philip ▁Pear l stein , ▁Wille m ▁de ▁K oon ing , ▁Ar sh ile ▁G ork y , ▁Grace ▁Hart igan , ▁Robert ▁De ▁N iro , ▁Sr ., ▁Ela ine ▁de ▁K oon ing ▁and ▁others . ▁Al ong ▁with ▁Henri ▁Mat isse , ▁Pablo ▁Pic asso , ▁Pierre ▁Bonn ard , ▁Georges ▁Bra que , ▁and ▁other ▁ 2 0 th - century ▁master s . ▁In ▁particular ▁Mil ton ▁A very ▁through |
▁his ▁use ▁of ▁color ▁and ▁his ▁interest ▁in ▁se as cape ▁and ▁landscape ▁paint ings ▁connected ▁with ▁the ▁Color ▁field ▁aspect ▁of ▁Abstract ▁expression ism ▁as ▁manif ested ▁by ▁Ad olph ▁Gott lie b ▁and ▁Mark ▁Roth ko ▁as ▁well ▁as ▁the ▁less ons ▁American ▁pain ters ▁took ▁from ▁the ▁work ▁of ▁Henri ▁Mat isse . ▁ ▁Head ▁VI , ▁ 1 9 4 9 ▁is ▁a ▁painting ▁by ▁the ▁Irish ▁born ▁artist ▁Francis ▁Ba con ▁and ▁is ▁an ▁example ▁of ▁Post ▁World ▁War ▁II ▁European ▁Expression ism . ▁The ▁work ▁shows ▁a ▁dist orted ▁version ▁of ▁the ▁Port rait ▁of ▁In noc ent ▁X ▁painted ▁by ▁the ▁Spanish ▁artist ▁Diego ▁Vel áz quez ▁in ▁ 1 6 5 0 . ▁The ▁work ▁is ▁one ▁of ▁a ▁series ▁of ▁variants ▁of ▁the ▁Vel áz quez ▁painting ▁which ▁Ba con ▁executed ▁throughout ▁the ▁ 1 9 5 0 s ▁and ▁early ▁ 1 9 6 0 s , ▁over ▁a ▁total ▁of ▁forty - five ▁works . ▁When ▁asked ▁why ▁he ▁was ▁comp elled ▁to ▁revis it ▁the ▁subject ▁so ▁often , ▁Ba con ▁replied ▁that ▁he ▁had ▁nothing ▁against ▁the ▁Pop es , ▁that ▁he ▁merely ▁" w anted ▁an ▁exc use ▁to ▁use ▁these ▁colours , ▁and ▁you ▁can ' t ▁give ▁ordinary ▁clothes ▁that ▁pur ple ▁colour ▁without ▁getting ▁into ▁a ▁sort ▁of ▁false ▁f au ve ▁manner ." ▁The ▁Pope ▁in ▁this ▁version ▁se eth es ▁with ▁anger ▁and ▁ag gression , ▁and ▁the ▁dark ▁colors ▁give ▁the ▁image ▁a |
▁gro tes que ▁and ▁night mar ish ▁appearance . ▁The ▁ple ated ▁cur tain s ▁of ▁the ▁back drop ▁are ▁rendered ▁transparent , ▁and ▁seem ▁to ▁fall ▁through ▁the ▁Pope ' s ▁face . ▁Italian ▁painter ▁Giorg io ▁Mor and i ▁was ▁an ▁important ▁ 2 0 th - century ▁early ▁pione er ▁of ▁Min imal ism . ▁Born ▁in ▁Bolog na , ▁Italy , ▁in ▁ 1 8 9 0 , ▁throughout ▁his ▁career , ▁Mor and i ▁concentr ated ▁almost ▁exclus ively ▁on ▁still ▁lif es ▁and ▁land sc apes , ▁except ▁for ▁a ▁few ▁self - port ra its . ▁With ▁great ▁sens itivity ▁to ▁tone , ▁color , ▁and ▁compos itional ▁balance , ▁he ▁would ▁dep ict ▁the ▁same ▁familiar ▁bott les ▁and ▁v ases ▁again ▁and ▁again ▁in ▁paint ings ▁notable ▁for ▁their ▁simplicity ▁of ▁execution . ▁Mor and i ▁executed ▁ 1 3 3 ▁et ch ings , ▁a ▁significant ▁body ▁of ▁work ▁in ▁its ▁own ▁right , ▁and ▁his ▁draw ings ▁and ▁water colors ▁often ▁approach ▁abstra ction ▁in ▁their ▁economy ▁of ▁means . ▁Through ▁his ▁simple ▁and ▁repet itive ▁mot ifs ▁and ▁econom ical ▁use ▁of ▁color , ▁value ▁and ▁surface , ▁Mor and i ▁became ▁a ▁pres cient ▁and ▁important ▁for er un ner ▁of ▁Min imal ism . ▁He ▁died ▁in ▁Bolog na ▁in ▁ 1 9 6 4 . ▁ ▁After ▁World ▁War ▁II ▁the ▁term ▁School ▁of ▁Paris ▁often ▁referred ▁to ▁T ach isme , ▁the ▁European ▁equivalent ▁of ▁American ▁Abstract |
▁expression ism ▁and ▁those ▁artists ▁are ▁also ▁related ▁to ▁Cob ra . ▁Import ant ▁pro ponents ▁being ▁Jean ▁Dub uff et , ▁Pierre ▁Soul ages , ▁Nicholas ▁de ▁Sta ël , ▁Hans ▁Hart ung , ▁Serge ▁Pol iak off , ▁and ▁Georges ▁Math ieu , ▁among ▁several ▁others . ▁During ▁the ▁early ▁ 1 9 5 0 s ▁Dub uff et ▁( who ▁was ▁always ▁a ▁figur ative ▁artist ), ▁and ▁de ▁Sta ël , ▁abandoned ▁abstra ction , ▁and ▁returned ▁to ▁imag ery ▁via ▁fig uration ▁and ▁landscape . ▁De ▁Sta ël ▁' s ▁work ▁was ▁quickly ▁recogn ised ▁within ▁the ▁post - war ▁art ▁world , ▁and ▁he ▁became ▁one ▁of ▁the ▁most ▁influ ential ▁artists ▁of ▁the ▁ 1 9 5 0 s . ▁His ▁return ▁to ▁representation ▁( se as cap es , ▁football ers , ▁jazz ▁mus icians , ▁se ag ull s ) ▁during ▁the ▁early ▁ 1 9 5 0 s ▁can ▁be ▁seen ▁as ▁an ▁influ ential ▁preced ent ▁for ▁the ▁American ▁Bay ▁Area ▁Fig ur ative ▁Mov ement , ▁as ▁many ▁of ▁those ▁abstract ▁pain ters ▁like ▁Richard ▁Die ben k orn , ▁David ▁Park , ▁El mer ▁B isch off , ▁Wayne ▁Th ie ba ud , ▁Nathan ▁O live ira , ▁Joan ▁Brown ▁and ▁others ▁made ▁a ▁similar ▁move ; ▁returning ▁to ▁imag ery ▁during ▁the ▁mid - 1 9 5 0 s . ▁Much ▁of ▁de ▁Sta ël ▁' s ▁late ▁work ▁– ▁in ▁particular ▁his ▁th inned , ▁and ▁dil |
uted ▁oil ▁on ▁canvas ▁abstract ▁land sc apes ▁of ▁the ▁mid - 1 9 5 0 s ▁predict s ▁Color ▁Field ▁painting ▁and ▁L yr ical ▁Ab stra ction ▁of ▁the ▁ 1 9 6 0 s ▁and ▁ 1 9 7 0 s . ▁Nicolas ▁de ▁Sta ël ' s ▁bold ▁and ▁intens ely ▁v ivid ▁color ▁in ▁his ▁last ▁paint ings ▁predict ▁the ▁direction ▁of ▁much ▁of ▁contemporary ▁painting ▁that ▁came ▁after ▁him ▁including ▁Pop ▁art ▁of ▁the ▁ 1 9 6 0 s . ▁ ▁Art ▁brut , ▁New ▁Real ism , ▁Bay ▁Area ▁Fig ur ative ▁Mov ement , ▁ne o - D ada , ▁phot ore al ism ▁ ▁During ▁the ▁ 1 9 5 0 s ▁and ▁ 1 9 6 0 s ▁as ▁abstract ▁painting ▁in ▁America ▁and ▁Europe ▁evol ved ▁into ▁movements ▁such ▁as ▁Color ▁Field ▁painting , ▁post - p ain ter ly ▁abstra ction , ▁op ▁art , ▁hard - edge ▁painting , ▁minimal ▁art , ▁sh aped ▁canvas ▁painting , ▁L yr ical ▁Ab stra ction , ▁and ▁the ▁continu ation ▁of ▁Abstract ▁expression ism . ▁Other ▁artists ▁react ed ▁as ▁a ▁response ▁to ▁the ▁t endency ▁toward ▁abstra ction ▁with ▁art ▁brut , ▁as ▁seen ▁in ▁Court ▁les ▁r ues , ▁ 1 9 6 2 , ▁by ▁Jean ▁Dub uff et , ▁flux us , ▁ne o - D ada , ▁New ▁Real ism , ▁allowing ▁imag ery ▁to ▁re - emer ge ▁through ▁various ▁new ▁context s ▁like ▁pop |
▁art , ▁the ▁Bay ▁Area ▁Fig ur ative ▁Mov ement ▁( a ▁prime ▁example ▁is ▁Die ben k orn ' s ▁City s cape ▁I , ▁( L ands cape ▁No . ▁ 1 ), ▁ 1 9 6 3 , ▁O il ▁on ▁canvas , ▁ 6 0 ▁ 1 / 4 ▁x ▁ 5 0 ▁ 1 / 2 ▁inches , ▁collection : ▁San ▁Francisco ▁Museum ▁of ▁Modern ▁Art ) ▁and ▁later ▁in ▁the ▁ 1 9 7 0 s ▁Ne o - expression ism . ▁The ▁Bay ▁Area ▁Fig ur ative ▁Mov ement ▁of ▁whom ▁David ▁Park , ▁El mer ▁B isch off , ▁Nathan ▁O live ira ▁and ▁Richard ▁Die ben k orn ▁whose ▁painting ▁City s cape ▁ 1 , ▁ 1 9 6 3 ▁is ▁a ▁typical ▁example ▁were ▁influ ential ▁members ▁fl our ished ▁during ▁the ▁ 1 9 5 0 s ▁and ▁ 1 9 6 0 s ▁in ▁California . ▁Although ▁throughout ▁the ▁ 2 0 th ▁century ▁pain ters ▁continued ▁to ▁practice ▁Real ism ▁and ▁use ▁imag ery , ▁pract icing ▁landscape ▁and ▁figur ative ▁painting ▁with ▁contemporary ▁subjects ▁and ▁solid ▁technique , ▁and ▁unique ▁express ivity ▁like ▁Mil ton ▁A very , ▁Edward ▁Ho pper , ▁Jean ▁Dub uff et , ▁Francis ▁Ba con , ▁Frank ▁A uer bach , ▁Luci an ▁Fre ud , ▁Philip ▁Pear l stein , ▁and ▁others . ▁Young er ▁pain ters ▁pract iced ▁the ▁use ▁of ▁imag ery ▁in ▁new ▁and ▁radical ▁ways . ▁Y ves |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.