The collective techniques of an industrial age forced nineteenth century artists to analyze their function and to study closely the physical nature of their medium.
Hyde, Minor, Art History's History. 32-35. Baroque Art emerged in Europe around 1600, as a reaction against the intricate and formulaic Mannerist style that dominated the late Renaissance. Baroque art is less complex, more realistic and more emotionally affecting than Mannerism. This movement was encouraged by the Catholic Church, the most important patron of the arts at that time, as a return to tradition and spirituality.
Rosenblum, Robert, 19th Century Art, 17-38.
The goal of self-determination that Napoleon imported to Holland, Italy, Germany and Austria affected not only nations but also individuals. Heightened sensibility and intensified feeling became characteristic of the visual arts as well as musical arts. This tendency toward images of impassioned or poignant feeling cut across all national boundaries. Feeling became both the subject and object of art.
De La Croix, 875. By the mid-nineteenth century, much of Europe had become industrialized, and the generation of artists who had inaugurated the Romantic Movement were dead. In their emphasis on individual genius and subjective experience, arts of the Romantic era handed future generations the basis for their own development.
De La Croix, 874-875. Contour is simply shaded line.
De La Croix, 849. David reworked the classical and academic traditions. He rebelled against the Rococo as an "artificial taste" and exalted Classical art...
Four men stand out as the penultimate figures of Post-Impressionism, namely, Georges Suerat (1859-1891), Paul Cezanne (1839-1906), Paul Gauguin (1843-1903) and Vincent Van Gogh (1853-1890), all of whom at first accepted the Impressionist methods and then moved away from it toward a new type of painting. In the case of Cezanne, the basis of his art had much to do with studying nature in a new way, for his aim
Art of classical antiquity, in the ancient cultures of Greece and Rome, has been much revered, admired, and imitated. In fact, the arts of ancient Greece and Rome can be considered the first self-conscious and cohesive art movements in Europe. Style, form, execution, and media were standardized and honed to the point where aesthetic ideals were created and sustained over time. The art of classical antiquity in Greece and Rome
Art has always been used as a means of expression and of confirmation of events and movements that take place in the society in that respective period of time. The Neo-Classical and Romanticist art makes no exception to this rule and the two periods have been considered in the history of artistic art as two of the most representative for the expressivity they brought to the world of the arts
But even as the memory of the terrors that inspired the work have come and gone, the figures in Goya's painting, to a contemporary viewer, come to represent all innocent persons who suffer at the hands of soldiers in wartime. In the face of the haunted, hunted man at the center of the work the viewer of today no longer sees a Spaniard of Goya's time but the face
The bronze cools and the plaster mold is broken. The sculpture is cleaned, ground and welded to blend the surface texture. Finally, the bronze sculpture is treated with chemicals and heat to give it color or "patina" when it reacts with the air (Hatcher 72-74). Now one can easily see all the creativity, time and resources that went into this sculpture. How different from Rodin's sculpture is this second piece
The exoticism and escapism of Romantic Art is manifest by the focus in the features of Napoleon on the bright or the wider scenes of the battlefield. However, it is the works of Francisco Goya that perhaps most perfectly epitomizes the intense individualism and emotion of Romantic art. Even the titles of Goya's works like "Yo lo Vi (This I saw)" and "Para Eso Yo Nacido (for this I
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