18th century art
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| The century also saw the rise of [[Academic art|academies]] and the [[Paris salon]]s. | The century also saw the rise of [[Academic art|academies]] and the [[Paris salon]]s. | ||
| - | + | ==Overview== | |
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| - | ==Neoclassicism, Romanticism, Academism and Realism== | + | |
| - | :''[[19th century art]]'' | + | |
| - | As time passed, many artists were repulsed by the ornate grandeur of these styles and sought to revert to the earlier, simpler art of the Renaissance, creating [[Neoclassicism]]. Neoclassicism was the artistic component of the intellectual movement known as [[the Enlightenment]], which was similarly idealistic. [[Jean Auguste Dominique Ingres|Ingres]], [[Antonio Canova|Canova]], and [[Jacques-Louis David]] are among the best-known neoclassicists. | + | |
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| - | Just as Mannerism rejected Classicism, so did [[Romanticism]] reject the ideas of the Enlightenment and the aesthetic of the Neoclassicists. Romantic art focused on the use of color and motion in order to portray emotion, but like classicism used Greek and Roman mythology and tradition as an important source of symbolism. Another important aspect of Romanticism was its emphasis on nature and portraying the power and beauty of the natural world. Romanticism was also a large literary movement, especially in [[poetry]]. Among the greatest Romantic artists were [[Eugène Delacroix]], [[Francisco Goya]], [[J.M.W. Turner]], [[John Constable]], [[Caspar David Friedrich]], [[Thomas Cole]], and [[William Blake]]. | + | |
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| - | Most artists attempted to take a centrist approach which adopted different features of Neoclassicist and Romanticist styles, in order to synthesize them. The different attempts took place within the French Academy, and collectively are called [[Academic art]]. [[Adolphe William Bouguereau]] is considered a chief example of this stream of art. | + | |
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| - | In the early 19th century the face of Europe, however, became radically altered by [[industrialization]]. Poverty, squalor, and desperation were to be the fate of the new [[working class]] created by the "revolution." In response to these changes going on in society, the movement of [[realism (arts)|Realism]] emerged. Realism sought to accurately portray the conditions and hardships of the poor in the hopes of changing society. In contrast with Romanticism, which was essentially optimistic about mankind, Realism offered a stark vision of poverty and despair. Similarly, while Romanticism glorified nature, Realism portrayed life in the depths of an urban wasteland. Like Romanticism, [[Realism (arts)|Realism]] was a literary as well as an artistic movement. The great [[Realism (visual arts)|Realist]] painters include [[Jean Baptiste Siméon Chardin]], [[Gustave Courbet]], [[Jean-François Millet]], [[Jean-Baptiste Camille Corot|Camille Corot]], [[Honoré Daumier]], [[Edouard Manet]], [[Edgar Degas]] (both considered as [[Impressionism|Impressionist]]s), and [[Thomas Eakins]], among others. | + | |
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| - | The response of architecture to industrialisation, in stark contrast to the other arts, was to veer towards historicism. Although the railway stations built during this period are often considered the truest reflections of its spirit – they are sometimes called "the cathedrals of the age" – the main movements in architecture during the Industrial Age were revivals of styles from the distant past, such as the [[Gothic Revival architecture|Gothic Revival]]. Related movements were the [[Pre-Raphaelite Brotherhood]], who attempted to return art to its state of "purity" prior to [[Raphael]], and the [[Arts and Crafts Movement]], which reacted against the impersonality of mass-produced goods and advocated a return to medieval craftsmanship. | + | |
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| - | '''Time Period''': | + | |
| - | *[[Neoclassicism]] — 18th century to 19th century | + | |
| - | *[[Romanticism]] — Late 18th century to 19th century | + | |
| - | *[[Realism (arts)|Realism]] — 19th century | + | |
| ==France== | ==France== | ||
Revision as of 07:38, 28 January 2010
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Art in the 18th century was dominated first by Rococo and than by Neoclassicism. The center of the art world shifted from Italy and the Low Countries to France.
After Rococo there arose in the late 18th century, in architecture, and then in painting severe neo-classicism, best represented by such artists as David.
This movement turned its attention toward landscape and nature as well as the human figure and the supremacy of natural order above mankind's will. There is a pantheist philosophy (see Spinoza and Hegel) within this conception that opposes Enlightenment ideals by seeing mankind's destiny in a more tragic or pessimistic light. The idea that human beings are not above the forces of Nature is in contradiction to Ancient Greek and Renaissance ideals where mankind was above all things and owned his fate. This thinking led romantic artists to depict the sublime, ruined churches, shipwrecks, massacres and madness.
The century also saw the rise of academies and the Paris salons.
Contents |
Overview
France
- François Boucher, French painter
- Jean-Baptiste-Siméon Chardin, French painter
- Jacques-Louis David, French painter
- Jean-Honoré Fragonard, French painter
- Jean-Baptiste Greuze, French painter
- Antoine Watteau, French painter
- Étienne Maurice Falconet, French sculptor
Low Countries
England
In the 18th century, English painting finally developed a distinct style and tradition again, still concentrating on portraits and landscapes, but also attempting to find a successful approach to history painting, regarded as the highest of the hierarchy of genres.
Sir James Thornhill's paintings were executed in the Baroque style of the European Continent and William Hogarth may be called the first English artist — English in habits, disposition, and temperament, as well as by birth. His satirical works, full of black humor, are originally English, pointing out to contemporary society the deformities, weaknesses and vices of London life.
Leading portraitists were Thomas Gainsborough; Sir Joshua Reynolds, founder of the Royal Academy of Arts; George Romney; and Sir Thomas Lawrence. Joseph Wright of Derby was well known for his minute candlelight pictures, George Stubbs for his animal paintings.
Painters
- William Blake, English artist and poet
- Thomas Gainsborough, English painter
- William Hogarth, English painter and engraver
- Joshua Reynolds, English painter
Spain
- Francisco de Goya, Spanish painter
Italy
Rococo was the tail end of the Baroque period, mainly in France of the 18th century. The main artist of the Rococo style in Italy was Giovanni Battista Tiepolo (1696 to 1770).
Germany
Japan
Woodblock prints and Bunjinga: The school of art best known in the West is that of the ukiyo-e paintings and woodblock prints of the demimonde, the world of the kabuki theater and the brothel district. Ukiyo-e prints began to be produced in the late 17th century, but in 1764 Harunobu produced the first polychrome print. Print designers of the next generation, including Torii Kiyonaga and Utamaro, created elegant and sometimes insightful depictions of courtesans. In the West, erotic woodblock "prints" became popular because the material was not otherwise available. In that sense, such niche prints did more to promote Japanese art in the West than art studies.
The origins of art criticism
Although critiques of art may have its origins in the origins of art itself, art criticism as a genre is credited to have acquired its modern form by the 18th century.
The first writer to acquire an individual reputation as an art critic in 18th C. France was La Font de Saint-Yenne who wrote about the Salon of 1737 and wrote primarily to entertain while including anti-monarchist rhetoric in his prose.
The 18th C. French writer Denis Diderot is usually credited with the invention of the modern medium of art criticism. Diderot's "The Salon of 1765" was one of the first real attempts to capture art in words. According to art historian Thomas E. Crow, "When Diderot took up art criticism it was on the heels of the first generation of professional writers who made it their business to offer descriptions and judgments of contemporary painting and sculpture. The demand for such commentary was a product of the similarly novel institution of regular, free, public exhibitions of the latest art." [Published in Diderot on Art I, p.x]
See also
