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
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
The Romanticism of Goya's work is shown in the way that it is openly partisan and emotional -- it lacks the clean lines of David's painting and thus make the figures seem more worthy of pathos, more real as subjects to the viewer, even though the rendering of the subject may be less realistic on the surface. Goya's intent was to make a clear, partisan point that would move the
Neoclassicism: Oath of the Horatii (1784) by Jacques-Louis David Romanticism: The Plagues of Egypt (1800) by Joseph Turner Style Guide Representing the Neoclassicist period of art is the French painter Jacques-Louis David's (1784) Oath of the Horatii, painted for the French government (prior to the Revolution) in Rome. It conveys a Republican sentiment, both in form and in function (as the story of the Horatii was an old one from ancient Roman history that told
Nostalgia for the Past Nostalgia can take many forms, but can perhaps be summarized by the phrase 'appropriating selected aspects of the past for the use of the present'. It tends to involve an emotional or spiritual response to the past rather than a rationalizing one, and as a result is associated with the art of sentiment rather than of intellect. As we shall see, however, eighteenth- and nineteenth-century artists who
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