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Bachelor Criminologie EUR > Kunstgeschiedenis > Flashcards

Kunstgeschiedenis Flashcards

1
Q

Jaren Renaissance

A

Early Renaissance, ca.1420-1494

High Renaissance, ca.1494-1520

(Mannerism, ca. 1520-1600)

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2
Q
A

Masaccio (1401-1428)
Early Renaissance
1425

Linear perspective

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3
Q
A

Pierodella Francesca(ca. 1406/12-1492)

1465

Early Rennaiscance

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4
Q
A

Sandro Botticelli

1486

Early Renaissance

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5
Q
A

Leon Battista Alberti

1470

Triangular pediment
Triumph arch
Colossal Corinthian pilasters
Heights = width

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6
Q

Characteristics sculpture renaissance

A

Freestanding sculpture (no longer part of architecture)

Nudity (large nudes)

Contraposto-pose

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7
Q
A

Donatello (1386-1466)

ca. 1415-1417

Rennaisance

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8
Q
A

Donatello (1386-1466)

1435 or 1430-1450 or 1444-1446.

Renaissance

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9
Q

Reden einde early Renaissance

A

The Fall of Florence

1494: Girolamo Savonarola

Rome takes over from Florence

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10
Q
A

Michelangelo Buonarroti (1475-1564)

1501-1504

High Renaissance

-Inspired by Antique sculpture:
-Contraposto-pose
Nude
-Story David & Goliath can be linked to Greek Antiquity (Trojan War), battle against the great evil

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11
Q
A

Michelangelo, 1508-1512.

High Renaissance

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12
Q
A

Leonardo Da Vinci (1452-1519)

1503-1505

High Renaissance

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13
Q
A

Leonardo Da Vinci (1452-1519)

1484-1490

High Renaissance

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14
Q
A

Da Vinci,

1495-1498.

High Renaissance

Balance, Symmatry

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15
Q
A

Raffaello Sanzioda Urbino (Raphael) (1483-1520)

1509-1511

High Renaissance

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16
Q
A

Raphael 1509-1511.
High Renaissance

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17
Q

Reden einde High Renaissance

A

1520: death of Raphael

1527: Il Saccodi Roma (Sack of Rome)

Artists leave the city and spread throughout Europe

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18
Q

Mannerism

A

ca. 1520-1600
Florence, Rome and Venice

Transition to Baroque era

Political and religious agitation in Italy, observable in the arts

Leaving behind the Renaissance ideals
-Unbalanced and chaotic compositions
-Distorted proportions
-Sharp color contrasts

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19
Q
A

Michelangelo, 1536-41.
Mannerism

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20
Q
A

Parmigianino (1503-1540),
1535
Mannerism

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21
Q
A

Tintoretto (1518-1594),
1594
Mannerism

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21
Q

Renaissance in Northern-Europe & the arts

A

ca.1500-1600

Italian Renaissance reaches Northern-Europe

Unique developments in the North

Study classics from Antiquity

Publications in vernacular

Humanist ideology

Critical reasoning through logic and observation

Artists strive for realism

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22
Q

Desiderius Erasmus (ca. 1466-1536)

A

One of the first Northern-European Humanists: “Prince of theHumanists”

Moriae Encomium (Praiseof folly), 1511

Goal: cleanse the church from within

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23
Q

Martin Luther (1483-1546)

A

Key figure Reformation

‘Salvation not earned through good deeds, but through faith’
→ Challenges views Rome

Sola Fides, Sola Scriptura

Roman-Catholic church must be abolished

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24
Q

Iconoclasm

A

Destruction religious images (paintings, sculptures, etc.)

Consequences:
-New themes replace religious themes
-Northern Renaissance art follows different course than Italian Renaissance

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25
Q
A

Jan Van Eijck (1390-1441)

1433

Rennaissance

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26
Q
A

Jan and Hubert Van Eijck,

1432.

Rennaissance

Careful anatomy Delicate play of light and shade First large-scale nudes in Northern European art

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27
Q
A

Albrecht Dürer (1471-1528)

1500

Renaissance

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28
Q
A

Albrecht Dürer (1471-1528)

1503 en 1502

Renaissance

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29
Q
A

Albrecht Dürer (1471-1528)

1498

Renaissance

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30
Q
A

Pieter Breughel the Elder(ca. 1525-1569)
1567-1568

Rennaiscance

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31
Q
A

Pieter Breughel the Elder (ca. 1525-1569)

1565

Rennaissance

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32
Q

Michel de Montaigne (1533-1592)

A

French philosopher and author
*
Introspection
*
Individualism
*
New genre: Essay

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33
Q

William Shakespeare (1564-1616)

A

Sonnets(1609)
*
Plays:
-History plays (Kings): Henry IV, 1598.
-4 big tragedies: Hamlet, ca. 1602; Othello, 1605; Macbeth, 1606; King Lear, 1607.
-(Tragi)comedies: As you like it, 1599; A Midsummer Night’s Dream, 1595/1596.

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34
Q

General Characteristics Renaissance

A

1) Idealization of Classical Antiquity
Critical reading of the original Greek and Latin (philosophical) texts: Ad fontes (back to the source)

Study and imitate classic texts on art

Study of Classical architecture and sculpture

Development new styles and techniques based on Classic tradition (but better)

2) Humanism
The emergence of Humanism:

Theocratic worldview  Anthropocentric worldview (Middle Ages) (Renaissance)

Individualism: uomo singulare and uomo universale

Perfect ‘breeding ground’ in Italy

The father of Humanism: Petrarca (Petrarch

3) Realism: search for representation and understanding of reality

Rationalismandscientificrevolutionsfindtheiroriginsin theRenaissance

In the arts:
Realism Perspective!

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35
Q

Typen Rennaissance schilderen

A

Linear perspective
Sfumato
Foreshortening
Chiaroscuro

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36
Q

The Age of
the Baroque (origins)

A

ca. 1550
first half 18th century

Origins
in Italy

For a long time:
negative perception

Emphasis: Emotion

Second half 16th century in Rome

Barocco Barroco

Deviation from the norm

Europe in crisis

Religious ) wars
E.g. Thirty Years’ War (1618
1648)

Peace of Westphalia 1648

Peace of Westphalia
*
Implosion of the HRE
(25 to 40% of the population died)
*
End of Spain as a world power
*
New independent states
(Switzerland, The Netherlands, Italian
City States)
*
Rise of France and England as world powers

Absolutism
Full power to the monarch
*
Divine rights of Kings
*
L’État c’est moi ’

Art expresses divine authority
of the Monarch

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37
Q

Characteristics Baroque art

A

Emotions
*
Realism
*
Theatrical
and dramatic
*
Movement
*
Dynamic
energy
*
Strive
for total work of art’
*
Decorations
, pomp and
circumstance

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38
Q

Italian Baroque characteristics

A

More
powerful expression classic forms
*
More dynamic spatial effects
*
Open
constructions
*
Theatrical
effects
*
Imaginative
use of light

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39
Q
A

Carlo Maderno
(1556 1629)

1603

Baroque

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40
Q
A

Gianlorenzo Bernini (1598 1680)
1629: starts
working on St. Peter’s
Basilica

Had been
working with Maderno
for 5 years

Adds
drama

(1598 1680)

Baroque

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41
Q
A

Bernini, 1623. Baroque

action and movement
*
right in the moment
*
emotion
*
interaction
with environment

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42
Q
A

Bernini 1645-52.
Baroque

Religion = theatre
Emotion
Naturalism, not idealization
Interaction with the environment
Broad appeal
Action

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43
Q
A

Francesco Borromini (1599 1667)
1665 Baroque

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44
Q
A

Caravaggio (1571 1610)
ca.1599 1602.
Baroque

Tenebrism

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45
Q
A

Artemisia Gentileschi (1593-1654 or later)

1620

Baroque

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46
Q
A

Artemisia Gentileschi (1593-1654 or later)

1638-39

Baroque

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47
Q

Baroque low countries

A

Dutch Revolt (1568-1648)

WHY?
Taxation for Spanish wars

Centralization policy Philips ll

Eighty Year’s War

7 Northern provinces claimed independence, Southern
provinces remain Spanish

Northern United Provinces = very wealthy!

Protestant

Republic of merchants
very little royalty

Enourmous
rise of the middle class demand for art

Few individual patrons
open market!

Production, distribution, and consumption are different:

Large number of artists

Large number of paintings

Nature of production

Method of distribution

Large and broad audience
different taste!

Genre, still life, landscapes, seascapes, (group) portraits

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48
Q
A

Frans Hals (ca. 1581/85 1666)
1628-1630
Baroque

Baroque influences in middle class context

Moral undertones

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49
Q
A

Judith Leyster (1609 1660)
1635 Baroque

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50
Q
A

Rembrandt van Rijn (1606 1669)
Baroque 1642

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51
Q
A

Thomas de Keijser, 1596 1667
1632 Baroque

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52
Q
A

Johannes Vermeer (1632 1675)
1660 Baroque

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53
Q
A

Johannes Vermeer 1662-65
Baroque

Serene light
Scientific observation
Private
moment

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54
Q
A

Pieter Claesz (1597/98 1660)

Still
Lifes
*
Lifeless objects as
starting point
*
Symbolic meaning
*
Vanitas paintings

Baroque

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55
Q
A

Jacob van Ruisdael c.1650 1682.

Baroque Landscape

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56
Q

Baroque in flanders

A

Dutch
Revolt : 1568 1648 > Northern Netherlands independent
*
Catholic
Flanders part of Spain (“The Spanish Netherlands”)
*
Also
religious subjects
*
Counter
Reformation
*
Peter Paul Rubens
and Antony Van Dyck

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57
Q

Peter Paul Rubens (1577-1640)

A

Rich
and very popular
*
Humanist
scholar and diplomat
*
Knighted
by Philip IV (Spain) and Charles I
(
*
Atelier
*
Catalogue
Self

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58
Q
A

PPR 1622 Baroque

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59
Q
A

PPR 1610 Baroque

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60
Q
A

Peter Paul Rubens, 1616
Baroque

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61
Q
A

Peter Paul Rubens
1638.
Baroque

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62
Q
A

Anthony Van
Dyck
(1599 1641) 1635
Baroque

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63
Q
A

Anthony Van Dyck 1623/25
Baroque

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64
Q

Franse Baroque

A

Baroque in France?
= CLASSICISM = Louis XIV

Symbols of the Sun and Apollo

Art as propaganda for Absolutist
policies

Paris as center of the art world

Académie Royale de
Peinture et de Sculpture 1648)
*
Under direct control of
the
king
*
Goal:
define standards to
value and rank art
*
Central status
*
Vip’s: Le Brun & Colbert
*
Classicism

French
Classicism and the Academy
Hierarchy
styles :
1.
Antique
art
2.
School of Raphael
3.
Nicolas
Poussin
4.
…
Low:
Venetian art, Flemish and
Dutch Schools
Hierarchy
subjects:
1.
History
painting , mythological ,
religious painting
2.
Portraits
3.
Genre
painting
4.
Landscapes
5.
Animal
painting
6.
Still
lifes
82

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65
Q
A

Nicolas Poussin (1594
1665) 1660-64

Baroque

Exponent Classicism
*
Clarity , order and logic
*
Appeals to the mind
The

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66
Q
A

Nicolas Poussin ca.1636 1637.
Classicsm

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67
Q

France Baroque architecture

A

Louis Le
Vau , Claude
Perrault en Charles Le
Brun , Palais du Louvre ,
Paris, 1661 1674.

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68
Q
A

Louis Le Vau
en Jules
Hardouin
Massart ,
Palace and
gardens of
Versailles,
from 1669.

France baroque

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69
Q
A

Jules Hardouin Massart , Galerie des Glaces (Hall of Mirrors )), Versailles, 1678 1684.

France Baroque architecture

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70
Q

Baroque Literature

A

Genres: epos,
rise of pastoral and picaresque novel
*
Mysteries of love
*
Appeal
to emotions
*
Dramatic
language
*
Relation
with God: the Religious turn’

*
Narrative
literature :
*
Picaresque
novel
*
Pastoral
novel
*
The mysteries of love
*
Emotions
and contrasts
*
Miguel de
Cervantes (1547 1616)
*
Don
Quijote (1605 1615)
*
Conflict
reality imagination

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71
Q

René Descartes (1596-1650)

A

René Descartes (1596-1650)
*
Rationalist
*
‘Je pensedoncje suis/cogito ergo sum’
*
Emphasis on observation, but certain that God existed

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72
Q

The Enlightenment: ideals

A

Doctrine of progress(the ‘staircase’)
*
Age of reason: emphasison ratio
*
Analyze and improve social customs, politicalsystems
*
Less emphasison God’sexistence

*
Central concepts:
*
Individual rights and rights of the citizen (protected by government)
*
(Religious) freedom: people are born free
*
Universal tolerance
*
Value of nature
*
Progress
*
Freedom, equality, fraternity
*
Importance of education

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73
Q

Voltaire (1694 –1778)

A

Deist > God is creator, but has no direct influence
*
Science can advance human civilization > “doctrine of progress”
*
Separation church & state, freedom of religion, freedom of expression
*
Republics Ancient Greece and Rome as models

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74
Q

Enlightenment INDUSTRIAL REVOL

A

From rural to industrial (modern) society
*
Emergence of cities
*
From craftsmen and farmers to factory laborers
*
More, faster, cheaper production and transportation
*
Anonymusinternational markets

Emphasis on reason and empirical knowledge
*Measurement is the key to knowledge
*Modern scientific disciplines
*The world is knowable, classifiable reality (laws)
22

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75
Q
A

Denis Diderot & Jean d’Alembert
1751-72 Enlightement

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76
Q
A

Carolus Linnaeus, Systema naturae (1735)

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77
Q
A

Francis Francken ll,
Cabinet d’art et de
curiosité,
Kunsthistorisches
Museum Vienna, 1636
Enlightement

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78
Q

Rococo What is it?

A

Style of theFrench Elite, of theAncien Régime
*
‘Rocaille’ (French) & ‘barocco’ (Italian) => // Baroque
*
Similarities Baroque: Theatrical, court life, Louis XV

Differences Baroque:
*
Asymmetry, elegance, airiness and loveliness
*
Light colorsandpastels
*
Small gestures
*
Intimate atmosphere, private character

1715-1723
Philippe II of Orléans
Duke of Orléans
= Regent of France

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79
Q
A

Madame de Pompadour,official chief mistress of Louis XV from1745 to 1751.

Rococo

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80
Q
A

Germain Boffrand, 1732 Rococo

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81
Q
A

Private SalonsIndividual fancy
Intimate style
Decorative arts
Ensemble

Pineau 1735 rococo

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82
Q
A
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83
Q
A

François Boucher(1703-1770)
1742 Rococo

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84
Q
A

François Boucher, 1742. Rococo

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85
Q
A

Jean Honoré Fragonard, 1771-1773. 45
Rococo

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86
Q
A

Jean Honoré Fragonard, 1771-1773. Rococo

IntrigueDistractionFantasyWorld of pleasure

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87
Q
A

Antoine Watteau, 1717-1718.
Rococo (conversation pieces)
Rococo

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88
Q
A

Peter Paul Rubens, 1638, rococo

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89
Q
A

Johann-Baptist & Dominikus Zimmerman, 745-1757.
Rococo German architecture

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90
Q
A

Johann-Baptist & Dominikus Zimmerman, 1745-1757
Rococo german architecture

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91
Q

Rococo in England

A

William Hogarth(1697-1764)
*
Satire: Critical on English aristocracy
*
Moral narrative
*
Series: Marriage à la Mode, 1743-1745.

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92
Q
A

William Hogarth, 1743-1745
Rococo england

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93
Q
A

Marie-Louise Elisabeth Vigée-Lebrun 1785 Rococo

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94
Q

Decline popularity rococo

A

Middleof the18th century
*Associated with the decadence and extravagance of the aristocrats (AncienRégime)

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95
Q

Neo-classicism

A

Movement in visual arts and architecture, ca.1750-1825
*
Return to Italian Renaissance and French Classicism(Poussin)
*
Sometimes ‘more Greek’ than the Greeks
*
Rigid and emotionless
*
Strict, static ideas about what art should be

Archeological discoveries → Renewed fascination for Greek and Roman Antiquity
*
Intellectual context of the Enlightenment
*
Aversion ‘decadent’ Rococo → renewed appreciation for ‘pure’ and ‘honest’ Classical arts and architecture

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96
Q
A

Angelica Kauffman 1785 neo-classicism

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97
Q
A

Jacques Louis David 1785 neo-classicism

Classic theme
Intellectual: virtue, sacrifice, politics
Symmetry
Strictlineair perspective
Sharplineair contours

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98
Q
A

Jacques-Louis David 1800
Neo-classicism

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99
Q
A

Jean-Antoine Houdon,
Voltaire Seated, 1781. Neo-classicism

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100
Q
A

Jean-Antoine Houdon
George Washington,
1788-92. Neo-classicism

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101
Q

Literature engligthment

A

Reflection of the ideals of the Enlightenment
*
Emphasison reasonandfaithin human ratio
*
Typicalgenres of the18th century:
*
(Political) satire
*
The novel

Satire in the18th century
*
Literary genre
*
Rationalism of the Enlightenment
*
Ideal genre to criticize in a disguised and safe way
*
Examples: Swift and Voltaire

Jonathan Swift (1667-1754) = Master of satire
*Misanthrope
*Aggressivesatire on British society-> Selfishness and irrationality
*Gulliver’s Travels (1726)
*A Modest Proposal(1729)

The Novel
*
New genre?
*
Increasingnumberof readers
*
Content:
*
Themes: love, marriage, power or status
*
Reflectionof events andchanges in society

Daniel Defoe(1659 –1731)
*
Robinson Crusoë(1719)
Jane Austen (1775 -1817)
*
Pride& Prejudice(1813)
*
Socialcomedies, but alsocritical
commentson contemporarysociety

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102
Q

Enlightment American Revo

A

Political revolution
*
England versus colonies in North USA
*
Fight for independence and
freedom
*
Declaration of Independence (July 4, 1776)

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103
Q

Enlightment France revo

A

Economic unrest
*
Failed harvests and hunger
*
Poverty of the people versus rich nobility
*
Ideals of the Enlightenment
*
Rising self-confidence middle-class

The French Revolution(1789)
*
August 26, 1789: Déclaration des droits de l’homme et du citoyen (Declaration of the Rights of Man and Citizen)→ Tolerance, equality, separation of powers
*
But: execution former rulers (including Louis XVI), their staff, and the aristocracy (and later even the revolutionary heroes themselves)
*
Result: years of unrest (‘terror’)

Napoleon Bonaparte(1769-1821)
*
1799: Coup d’étatNapoleon
*
Emperor: 1804-1814
*
Code Napoléon(1804)
Jacques

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104
Q

End of the 18th century

A

Dissatisfaction about trust in rationalism and progress

Artists and philosophers‘rebel’ against the principles of the Enlightenment

Complex relationship Enlightenment -Romanticism

Romanticism as second important ‘pillar’

Nietzsche: Apollo & Dionysus

Apollo:
Beauty and harmonious balance
Rationalism
Renaissance and Enlightenment

Dionysus:
Subconscious, dark powers and the irrational
Corporeality
Middle Ages and Romanticism

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105
Q

General characteristics of Romantiscism

A

1) Emotion
2) Retrospection
3) Transcendence
4) Spirituality

1) Reason versus Emotion
ENLIGHTENMENT
Reason is our most important strength/ power

ROMANTICISM
Emphasis on (the importance of) emotions and imagination

Romantic art: Originality and liberation of the Self!

Romantic art: Celebration of the original virtuoso

Romantic artist: Extraordinary person, a calling

2) Progress versus Retrospection
ENLIGHTENMENT
Strong belief in progress: everything is possible if based on reason

ROMANTICISM
Fatalistic and retrospective attitude towards life

ENLIGHTENMENT
Origins of natural sciences (Positivism)

ROMANTICISM
Origins of humanities(Historicism)
Unique characteristics of cultures
Interest in the supernatural

ENLIGHTENMENT
Nature exists to serve mankind
Positivedevelopment that humanity distanced itself from nature

ROMANTICISM
Alienation natural position in the worldNature as a power that should be respected and appreciated
Spiritualism

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106
Q

Romantic motifs

A

Individualism and self-expression: proclaim own ideas
*
Idea(l) of freedom: personal freedom
*
Humanitarian feelings: anti-slavery movement, civil wars, etc.
*
Dissatisfaction with the ‘now’
*
Fleeing into the distance (Wanderer-motif, travels)
*
Fleeing into the past (glorification, Middle Ages, attention for ‘time’)
*
Orientalism and Exoticism

Weltschmerz, spleen, mal du siècle (time)
*
Subjectivity, limiting ratio, passions, the irrational, madness, magic, dreams
*
Interest for nature: mystery, the marvelous, infinity
*
Interest for the ‘primitive’: childhood, the child, fairytales,

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107
Q

Jean-Jacques Rousseau

A

Imagination> Reason
*
AutobiographicConfessions(1765-1770)
Self-analysis andcelebrationof theself
*
Emile, oul’éducation(1762)
*
Goodnessof human nature
*
Principleof education
*
Society affectsbasic instincts| Child = innocent
*
Nature as a sanctuary

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108
Q

Johann Wolfgang von Goethe

A

DialogueEnglightenment–Romanticism
*
Sturm und Drang
*
Freedom: individual self-actualization, step back from class society, and new ideal of beauty

Epistolary: Die Leiden des JungenWerthers(1774)
→ “The Werther-effect”
*
Faust (1772-1808)
*
Different parts
*
Characters: Dr. Johann Faust andMephistopheles
*
Poems, e.g. Erlkönig

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109
Q

Romantic literature

A

France
Victor Hugo

United Kingdom
William Blake
Lake Poets
Satanic Poets
Emily Brontë
Mystery Novels

Victor Hugo (1802-1885)
Melodramatic novels
About political and social issues
Notre Dame de Paris (1831)
Les Misérables (1862)

William Blake (1757-1827)
Art = calling
Search for the transcendent
Double vision
“To open the Eternal Worlds, to open the immortal Eyes Of Man inwards into the Worlds of Thought, into Eternity’

Innocenceandexperience
Glorificationof theinnocent child, butworldlyexperiencesare good

Songs of Innocence/Songs of Experience

Alsovisualartist

Among others: William Wordsworth (1770-1850) and Samuel Taylor Coleridge (1772-1834)
*
Sentimental poetry, spontaneity, emotions, closeness to nature, focus on everyday subjects
*
Clear break with (Neo)Classicism: no more strict rules
*
More natural, casual style and everyday subjects (nature

The Satanic Poets
*
Lessclearbreak withClassicism
*
Extravagance and unorthodox
*
Amongothers: Lord George Gordon Byron (1788-1824), John Keats(1795-1821) andPercy ByssheShelley (1792-1822)

Lord George Gordon Byron (1788-1824)
*
Cult of the Artist, life of Sturm und Drang
*
“Only he who can unite poetry with truth and wisdom, is truly a poet”
*
Don Juan (1818-1824)
*
Byronic Hero

Emily Brontë (1818-1848)
*
Three sisters: Charlotte, Emily & Anne
*
Charlotte > wedding affairs and etiquette high society
*
Wuthering Heights (1847)
*
Passionate feelings of love and hate
*
Nostalgia for childhood
*
Longing for freedom
*
Heathcliff as Byronic hero

The Mystery Novel
*
The irrational, themystery, theoccult
*
Sir Arthur ConanDoyle (1859-1930)
→ Sherlock Holmes & Watson
*
Robert Louis Stevenson (1850-1894)
→ StrangeCase of Dr. Jekyll& Mr. Hyde (1886)

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110
Q
A

Josepth Mallard William Turner (1835) Romantic

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111
Q
A

Josepth Mallard William Turner (1811) Romantic

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112
Q
A

Josepth Mallard William Turner (1840) Romantic

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113
Q
A

Caspar David Friedrich Romantic 1817

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114
Q
A

Caspar David Friedrich Romantic 1808

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115
Q
A

Caspar David Friedrich Romantic 1810

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116
Q

Historical background france romantiscism

A

1815: Battle of Waterloo
Defeat Napoleon
*Bourbon Monarchy restored
*King Louis XVlll
*King Charles X

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117
Q
A

Eugène Delacroix(1798-1863) 1830
Romanticism

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118
Q
A

Théodore Géricault(1791-1824) 1818 Romanticism

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119
Q
A

Francisco Goya 1800 romanticism

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120
Q
A

Francisco Goyay Lucientes 1797 romanticism

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121
Q
A

Francisco Goyay Lucientes 1815 romanticism

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122
Q
A

goya 1820 romanticsm

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123
Q
A

Goya 1820 Romantiscm

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124
Q
A

Sir Charles barry (1840) Neo-gothic architecture

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125
Q
A

Victor Jamaer, 1873, neo-gothic architecture

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126
Q
A

Eduard Riedel, 1868, medievalism

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127
Q

Emergence Realism

A

Away from subjective and expressive Romanticism
*
Strive for truthful depiction of reality
*
No return to(Neo)Classicism, or realismfromtheRenaissance

1848 –A Year of Revolutions

July Monarchy 1830-1848
*
Louis-Philippe, King of the French
*
Forced to step down during the 1848 French Revolution

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128
Q

Characteristics Realism

A

Art = part of revolutionarypolitics

No Romantic glorification

Themes: working class, daily (modern) life, society, social realism

Oftenlarge sizes, darkcolors, more of a free style

Truthful depiction of societal reality

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129
Q
A

Rosa Bonheur (1849) Realism

130
Q
A

Gustave Courbet (1849) Realism

131
Q
A

Gustave Courbet (1850) Realism

132
Q
A

Gustave Courbet (1866) Realism

133
Q
A

Jacob Riis (1889) Photo Realism

134
Q
A

Jacob Riis (1890) Realism Photo

135
Q
A

John Draper (1840) Photo realism

136
Q
A

Eadweard Muybridge (1878) Realism Photo

137
Q

Realism Literature

A

Honoréde Balzac (1799-1850)
-Capture contemporary life with encyclopedic precision
-La ComédieHumaine

Gustave Flaubert (1821-1880)
-Attacking the Romantic spirit
-Detailed descriptions of actions and motifs underlying these actions
-Dispassion, impartiality, and impersonality
-Madame Bovary (1857)

Emile Zola (1840-1902)
-Writing= science
Map how origin and upbringing develop characters
-Naturalism
-Les Rougon-Macquart(1871-1893)

138
Q

Romanticism vs Realism

A

Romanticism versus Realism

ROMA
Artist as genius
Originality of the artwork
Subjective experiences and emotions
Increasing interest for the exotic
Nature’s beauty as a starting point

REALI
Depiction of not-idealized reality
Confrontation with the reality of modern society
Not aristocracy, but the working class, ordinary people are central
A key stylistic characteristic from Realism: depicting people the way they are

139
Q
A

Camille Pissarro (1898) Hausmannization

140
Q
A

Paul Delaroche (1833) Academic art

141
Q
A

Jean-leon Gerome (1846) Acadamic art

142
Q
A

William Adolphe Bouruergeau (1873) Academic art

143
Q

The belle époque

A

1871-1914

Middle class/Bourgeoisie

Peace, la vie en rose

Arts benefited from this situation!

144
Q

Origins of Impressionism

A

°ca.1860-1870 in Paris

Successors of Realism
*
Differences:
*
Natural reality (vs. societal reality with Realists)
*
Human observation: impressions
*
The goodlife of the middleclass

The Father of Impressionism
Édouard Manet (1832-1883)
“Le Peintre de la vie Moderne

145
Q
A

Édouard Manet (1862) Impressionism

146
Q
A

Alexandre Cabanel (1863) ???

147
Q
A

Édouard Manet (1863) Realism? Precurser to impressionism

148
Q
A

Édouard Manet, 1874 Impressionism

149
Q
A

Édouard Manet, 1879, Impressionism

150
Q

Impressionism

A

1874-1886

Eight Exhibitions

Variation in participants

Characteristics
1.
Natural reality (vs. societal reality with Realists) Impressions
2.
Topic: la vie moderne/the good life of the middle class
3.
Influence Japanese art
4.
Technique and open-air
5.
Group formation

Rapid and visible brushstrokes
Experimentation with color
Lighter
Color theory
Open-air/plein-air painting

The arts become autonomous and birth of “avant-garde”

Professionalization art world: galleries modern art, critics, art journals, art dealers (Paul Durand-Ruel)

Conversations among peers about art (often at café)

L’artpour l’art

Renewal, distinction, experimentation

151
Q
A

Claude Monet (1872) Impressionsim

152
Q
A

Claude Monet, 1875, Impressionism

153
Q
A

Claude Monet (1892) Impressionsim

154
Q
A

Claude Monet (1890) Impressionsim

155
Q
A

Claude Monet (1920) Impressionsim

156
Q
A

Claude Monet (1899) Impressionism

157
Q
A

Pierre-Auguste renoir (1881) Impressionism

158
Q
A

Pierre-Auguste renoir (1876) Impressionism

159
Q
A

Édouard Manet, 1868, Impressionism, Japanese influences

160
Q
A

Claude Monet (1875) Impressionism japanese influences

161
Q
A

Claude Monet (1916) Impressionism

162
Q
A

Vincent van Gogh (1887) Impressionsim

163
Q
A

Hilaire-Germain Edgar Degas (1868) impressionism

164
Q
A

Hilaire-Germain Edgar Degas impressionis 1877

165
Q
A

Hilaire-Germain Edgar Degas impressionis 1876

166
Q

The Fin de Siècle –Dark side

A

New technologies

Political tensions

Threat of a war

Ends in 1914 with WW1
The Fin de Siècle

Economic and social inequality

Period of decadence

Feelings of world-weariness, anxiety, and despair

Apocalyptic idea ‘end of a phase of civilization

Psychiatry
Jean-Martin Charcot (1825-1893)
Sigmund Freud (1856-1939)

Religion
Revival Roman Catholic piety
Esoteric movements
New philosophies of life

Post-Impressionism
Cézanne & Seurat, Van Gogh & Gauguin

Fin de Siècle sculpture
Rodin

Architecture
Art Nouveau and towards Modernism

167
Q

Post-Impressionism

A

1880’s –(New) group of artistspushes beyond Impressionism

Name from Exhibition1910-1911, Grafton Gallery, London

Worked in isolation, very personal styles

Two directions:

Pseudo-scientific approach
Paul Cézanne& Georges Seurat

Personal and subjective approach
Vincent van Gogh & Paul Gauguin

168
Q
A

Paul Cézanne (post-impressionism) 1885

169
Q
A

Paul Cézanne (post-impressionism) 1887

170
Q
A

Paul Cézanne (1904) Post impressionime

Focus on primal forms
The essential

171
Q
A

Paul Cézanne (1906)
Moderne kunst, post-impressionisme, cubisme

172
Q
A

Georges Seurat (1884)
Post-impressionisme

Remoteness
Pointillism
Systematized Impressionism

173
Q
A

Paul Gauguin, 1888, post-impressionism

174
Q
A

Vincent van Gogh, 1885, Post-impressionism

175
Q
A

Vincent van Gogh, 1888, Post-impressionism

176
Q
A

Vincent van Gogh, 1888, Post-impressionism

177
Q
A

Vincent van Gogh, 1889, Post-impressionism

Subjectivity
Expression

178
Q
A

Paul Gauguin, 1888 Post-impressionism

179
Q
A

Paul gauguin, 1892, Post-impressionism

180
Q
A

Auguste Rodin, 1882, post-impressionism

Depiction human forms in a natural and gracious way

Depiction moods and emotions

181
Q
A

Auguste Rodin, 1880 Post-impressionsim

182
Q

Art nouveau (architecture)

A

Deliberatebreak withexistingarchitecturaltraditions

Ten yearsactiveas a movement

Pursuitof pure contemporarystyle

Organicdecorations

Asymmetricalcompositions

183
Q
A

Victor Horta (1893) art nouveau

184
Q
A

Victor Horta (1893) art nouveau

185
Q
A

Atoni Gaudi (1905) Art noveau

186
Q
A

Antoni Gaudi (1882) Art nouveau

187
Q

Technical developments (end of cycle)

A

Possibilitiestobuildconstructionsout of iron, steel, concrete, andlarge sheets of glass
*
Skeletalframes: lighterbuildings
*
Higher, (better), faster, stronger

188
Q

Modernism

A

Indicator forperiodandstyle

Innovation andexperimentation

Artist = innovator; Art = innovation

Characteristics:

Break with existing traditions
Avant-gardes and -ism
Search for abstraction
From perception to conception

Search for abstraction

Expressive art: inner world of the artist (German Expressionism)

Formalist art: search for universal truths in abstraction (Cubism, De Stijl)

Fantastic/imaginative art: imagining new societies/exploring the subconscious (Dada, Surrealism)

189
Q

Fauvism

A

Salon d’Automne(Paris, 1905)

‘Les Fauves’

Abstraction: colors

Leader: Henri Matisse (1869-1954)

190
Q
A

Henri Matisse (1905) Fauvisme

190
Q
A

Henri Matisse (1905) Fauvisme

191
Q
A

Henri Matisse (1908) Fauvisme

192
Q
A

Henri Matisse (1911) Fauvisme

193
Q
A

André Derain (1906) Fauvisme

194
Q
A

George Braque (1906) Fauvisme

195
Q

Cubism

A

France, 1908-1914

Order, reflection and construction

Father of Cubism: Paul Cézanne

Show objects from different angles

Reduces objects to basic (often geometric) forms

Different types
Proto-Cubism(1907-1909) (Pablo picasso) (Georges Braque)

Analytical Cubism(1909-1911/12)
(More abstraction through fragmentary appearance of multiple viewpoints and overlapping planes)
Simplified palette of colors
Themes: stilllifes, the human figure
No perspective

Synthetic Cubism(second half 1912-1914)
PapiersCollés
Increased recognizability
Reintroduction color
Adding textures and patterns (collages)
Flattening out the image

Further developments and deviations (from1910)

196
Q
A

Pablo Picasso (1907) Cubism

197
Q
A

Georges braque (1907) Cubism

198
Q
A

Georges Braque (1908) Cubism

199
Q
A

Pablo Picasso (1909) Cubism

200
Q
A

Georges Braque (1911) analytical cubism

201
Q
A

Pablo Picasso (1911) analytical cubism

202
Q
A

Georges Braque (1914) Synthetic cubism

203
Q
A

Pablo Picasso (1912) Synthetic cubism

204
Q
A

Constantin Brancusi (1908) Sculpture modernism

205
Q
A

Constantin Brancusi (1909) Sculpture modernism

206
Q
A

Constantin Brancusi (1915) Sculpture modernism

207
Q

Futerism

A

Manifesto of Futurism(1909)

Reflect own time

Dynamic, strong lines

Progress and new technology

Depiction of movement

208
Q
A

Giacomo Balla, 1909 Futurism

209
Q
A

Giacomo Balla (1912) Futurisme

210
Q
A

Giacomo Balla (1913) Futurisme

211
Q
A
212
Q

German Expression

A

Emphasis artist’s inner feelings over replicating reality
*
Simplified shapes, bright colors, gestural brushstrokes
*
Two German Schools:
Die Brücke
Der Blaue Reiter

213
Q
A

Edward Munch, 1893, predecessor to german expression

214
Q
A

Emil Nolde, 1910

Die brucke

Bridge to a new society”
Color to express psychological anxiety and social commentary

215
Q
A

Wassily Kandinsky (1909)

Der blaue reiter (german expression)

216
Q
A

Wassily Kandinsky (1909)
Der Blaue reiter (german expression)

217
Q

Modernisme en wereldoorlog

A

Before WW1:
Fauvism–abstraction of color
Cubism–abstractionof form
Futurism–abstraction of movement
German Expressionism–abstraction of emotion

During and after WWl, but not too much affected by it:
Russian AvantGarde
De Stijl

218
Q

Russian Avant-garde

A

Two most important movements
Suprematism:

Revolutionary art
Complete abstraction; ‘objectless’ art
Basic geometric forms
Kazimir Malevich(1878-1935)
Ed Lissitzky(1890-1941)

Constructivism:
Utilitarian approach
Social idealism: join art and society
Art should directly reflect the modern industrial world
Vladimir Tatlin, Alexander Rodchenko, and Naum Gabo

219
Q
A

Kazimir Malevich, 1914, revolutionary art (russian avant-garde)

220
Q
A

Kazimir Malevich, 1915, revolutionary art (russian avant-garde)

221
Q
A

Ed lissitzky (1920) Revolutionary art (russian avant-garde)

222
Q
A

Ed lissitzky (1923) Revolutionary art (russian avant-garde)

223
Q
A

Vladimir Tatlin (1915) Constructivsme (russian avant-garde)

224
Q
A

Alexander Rodchenko (1920) Constructivsm (russion avant-garde)

225
Q
A

Naum Gabo (1923) Constructivsm russian avant-garde

226
Q
A

Naum Gabo (1957) Constructivism russian avant-garde

227
Q

De Stijl

A

Characteristics:

Simplicity, clarityandcalmness

Harmony through abstract forms

Precision, abstraction, and purity, but innovative translation

Neo-Plasticism

Theo van Doesburg and Piet Mondriaan

228
Q
A

Piet mondriaan (1921) De stijl

229
Q
A

Piet Mondriaan (1942) De stijl

230
Q
A

Gerrit Rietveld, 1923, De stijl

231
Q
A

Bart van der Leck (1917) de stijl

232
Q

Moderism Literature

A

Characteristics: Aiming for radical innovation

The power of language

“Stream of consciousness”

James Joyce (1882-1941)
Ulysses(1922)
Novel with epic tendencies

Virginia Woolf
Mrs. Dalloway(1925)
To the lighthouse(1927)

Franz Kafka(1883-1924)
No school
Kafkian/Kafkaesque
Nightmarish, ominousatmosphere
Anxiety and alienation caused by the Modern era

233
Q

Interbellum (between WW1 en WW2)

A

-Pessimism
-Escape contemporary society
-Various avant-garde movements
-Peaceful coexistence abstraction and figuration

234
Q

Dadaism

A

Characteristics:
-The Anti-Art
-Originated: 1915-1916 in Zürich and New York
-Look at the world as children do
-Tabula rasa –start all over
-Dada Manifesto by Hugo Ball (1916)

235
Q

Dada Literature

A

First Dada Manifesto, 1916
-Published on the 14thof July
-Written by Hugo Ball

236
Q
A

Marcel Duchamp (1913) Dadaism

237
Q
A

Marcel Duchamp (1919) Dadaism

238
Q
A

Marcel Duchamp (1917) Dadaism

Artist no longer the ‘maker’:
*Choice of the object is creative act
*Useful object becomes art by stripping it of its function
*Presentation in museum or gallery, adding title give it new meaning

239
Q

Surrealism

A

Characteristics:

Strongly related to Dadaism

More of a constructive concept/approach

Primarily literature and poetry
→ Visual arts = a side effect

240
Q

Surrealism Literature

A

Characteristics

André Breton (1896-1966)

Le premier manifeste du surréalisme(1924)

Écriture automatique
-> Le Cadavre Exquis

241
Q
A

Andre beton, Man ray, Max morise and yves tanguy, 1927, surrealism

242
Q

Surrealism Characteristics

A

Intuition, fantasiesanddreams

Two directions:

Automatic or Abstract Surrealism: Peinture automatique
→ E.g. Joan Miró

Oneiric Surrealism: dream-like
→ E.g. Salvador Dalí, Paul Delvaux, René

243
Q
A

Joan Miro, 1924, Automatic surrealism

244
Q
A

Joan Miro, 1926, automatic surrealism

245
Q
A

Joan Miro, 1961, automatic surrealism

246
Q
A

Salvador Dali, 1937, oneiric surrealism

247
Q
A

Salvador dali, 1931, oneiric surrealism

248
Q
A

Paul Delvaux, 1940, oneiric surrealism

249
Q
A

René Magritte, 1929, oneiric surrealism

250
Q
A

Hans Bellmer, 1935, surrealism

251
Q
A

Meret Oppenheim, 1936, surrealism

252
Q
A

Meret Oppenheim, 1936, surrealism feminist art

253
Q

International style architecture

A

Architecture, ca. 1930-1970
New materials for the construction:
-Steel andconcrete
-Build higher and larger
-Build faster
-Aesthetic/visual benefits

Functionalism: Form follows function
Rectilinear and clean
No decorations, no organic shapes(↔Art Nouveau)
No references to architectural traditions

254
Q

Walter Gropius

A

Co-founder Bauhaus
= Education for visual artists, craftsmen, andarchitects

= Location development many ideas of The International Style

255
Q
A

Walter Gropius, 1925, International style

256
Q
A

Ludwig Mies van der Rohe, 1929, International style

257
Q

Le Corbusier

A

Real name: Charles-Edouard Jeanneret-Gris
*
Machine à habiter
*
Standardized architecture

258
Q
A

le Corbusier, 1931, the international style

259
Q
A

Frank Lloyd Wright (1867-1959)

Symbiosis architecture and environment
Not a fan of the International Style!
Villa Fallingwater, Fayette County, finished in 1937

260
Q

After war 2

A

Existentialism, abstract expressionism, pop art

261
Q

Existentialism

A

Philosophy: Existentialism

Combination literature and philosophy

Attention for human limitations

“The Existential attitude“

DIY: responsibility for yourself and the rest of humankind

Jean Paul Sartre (1905 –1980)
*
Man is ‘what he makes of himself’: choices
*
No objective truths, subjectivity
*
Responsibility for oneself AND for the rest of humankind
*
Frightenig, but also liberating: man is free

How tomake art afterWWII?
*
Artist = responsibleforhis/her ownchoices
*
Art becomesmore subjective
*
e.g. Abstract Expressionism(U.S.A.)

262
Q
A

Georgia O’keeffe, 1923, extensialism

263
Q
A

Edward Hopper, 1942, extensialism

264
Q
A

Lewis Hine (1874-1914), Carolina CottonMill, a.o. J. Paul GettyMuseum, Los Angeles, 1908.

265
Q
A

Dorothea Lange (1895-1965), Migrant Mother, a.o. MoMA, New York, 1936.

266
Q
A

Walker Evans, (1903-1975), Portraitof AllieMae Burroughs, a.o. MoMA, New York, 1936.

267
Q

Abstract Expressionism

A

USA business card

= Newforms of abstract art developed by American painters

Different styles

Art as a spontaneous mean of expressing the artist’s feelings

ACTION PAINTING

Gesture painting

No composition; improvisation

°Dripping technique

268
Q
A

Jackson Pollock, 1948, abstract expressionism

269
Q
A

Clyfford Still, 1950, colorfield painting, abstract expressionism

270
Q
A

Mark Rothko, 1960, abstract expressionism

271
Q

Pop Art

A

Characteristics

1950s-1960s in the United Kingdom/ U.S.A.

Inspiration from consumer society/consumerism
*
Richard Hamilton (U.K.), Andy Warhol(U.S.A.) and Roy Lichtenstein(U.S.A.)

Characteristics
*
Cross-polinationart and massculture
*
Traditional boundaries between high and low culture disappear
*
Strives for innovation by combining different elements

272
Q
A

Richard Hamilton, 1956, pop art

273
Q
A

Roy Lichtenstein, 1965, Pop art

274
Q
A

Roy Lichtenstein, 1965, pop art

275
Q
A

Andy Warhol, 1962, pop art

276
Q
A

Andy Warhol, 1972, Pop art

277
Q
A

Claes Oldenburg, 1963, pop art

278
Q

Goals of postmodernism

A

Basis: e.g. Dadaism and Existentialism
*
Rebel against definitions and labels
*
Broad movement in philosophy and the arts
*
Reaction against Modernism

Period: Postmodernity, ca. 1960 –1990/now?
*
Post-Modernism
*
A new movementor justthenext step?
*
Not one Postmodern style or theory

The Big Three
*
Jean-François Lyotard (1924-1998)
*
Jacques Derrida(1930-2004)
*
Jean Baudrillard (1929-2007)

279
Q

Jean-François Lyotard(1924-1998)

A

La condition postmoderne. Rapport sur le savoir (1979)
*
New type of society
*
Technology/information instead of production
*
Strong competition for knowledge and information access

Crisis of legitimation
*
T.M.I. => no longer one truth
*
Modernism: ‘Meta-narratives’
*
Lyotard: end of the meta-narratives

Multiple views on/conceptions of the truth: subjectivism and pluralism
*
Plurality of perspectives
*
Objective depiction of reality does not exist
*
There is no ‘one truth’

In the arts too: crisis of legitimation
*
No more established/fixed rules or conventions determining what art is or should be
*
Solution: embrace insecurity and doubt!

280
Q

Jacques Derrida (1930-2004)

A

Questioning the dominant discourses: democratization
*
Intertextuality
*
‘Deconstruction’
-
> Unmask idea of ‘only one truth’ and replace it with the understanding that there exists a plurality of truths

Deconstruction& Art
*
Death of the author
*
Impossibility of originality
*
Impossibility of a fixed meaning
*
Plurality of truths and interpretations
*
Derrida and Lyotard: complete and constant innovation/renewal = the only way for the arts to move forward

281
Q

Jean Baudrillard (1929-2007)

A

New type of society: consumption and media society
*The era of neo-capitalism
*Central role for mass media
*Simulation of reality: hyperreality

282
Q

Definition Postmodern art

A

Postmodern Art
*
Blurred boundaries High-Low Art
*
Death of the author
*
Disappearing autonomy and all-encompassing cultural industry (no more distinction between art & mass culture)
*
Plea for stylistic impurity and eclecticism
*
Reality as a simulation, loss of meaning
*
Fragmentation of subject, art as imitation and parody
*
Interest in minorities

Difference in modern en postmodern art:

MODERNISM
*
Clear distinction High-Low Art
*
Autonomous arts with critical purpose
*
Emphasis on stylistic purity, formalism and functionalism
*
Emphasis on authenticity and meaning
*
Emphasis on clear subject matter, cult of the genius and originality

POSTMODERNISM
*
Blurred boundaries High-Low Art
*
Disappearing autonomy and all-encompassing cultural industry
*
Plea for stylistic impurity and eclecticism
*
Reality as a simulation, loss of meaning
*
Fragmentation of subject, art as imitation and parody
*
Interest in minorities

283
Q

Postmodern Architecture

A

Leaves behind functionalism and minimalism
*
Eclecticism and historicism
*
The experience of the building = central
*
Combines styles from the past (using irony)

284
Q
A

Philip Johnson, 1941, postmodern

285
Q
A

Klingstubbins , 1996, postmodern

286
Q
A

Philip Johnson, 1978 Postmodern

287
Q
A

Ieoh ming pei, 1983, postmodern

288
Q
A

Jean Nouvel, 1981, post modern

289
Q
A

Piet Blom, 1977, postmodern

290
Q

Postmodernism and pop art

A

Lines between High art and Low Art are blurred
*
Art is commercialized (loss of autonomy of the arts)
*
Stylistic impurity
*
Loss of depth and meaning
*
Art as imitation and parody

291
Q

multimedia art

A

Minimal Art, Land Art, Conceptual Art, Body Art and Performance, Political Art and Photorealism, Feminist Art, Pictures Generation

292
Q

Minimal art

A

Art should have its own reality

Artwork as a material, worldly object

Critics: no artistic intervention/contribution

293
Q
A

Donald Judd, 1967, minimal art

294
Q
A

Dan Flavin, 1963, minimal art

295
Q
A

Richard Serra, 1968, minimal art

296
Q
A

Richard Serra, 1968 minimal art

297
Q
A

Richard Serra, 1992, minimal art

298
Q
A

Richard Serra, 2005, minimal art

299
Q

Land art

A

Characteristics
*
World outside the classic art scene
*
Art-ificialintervention in the landscape/Earthworks
*
Attention for the environmental issues
*
Problematic status documentation material

300
Q
A

Robert Smithson (1970) landart

301
Q
A

Marinus Boezem (1987) land art

302
Q
A

Christo & Jeanne Claude (1972) Land art

303
Q
A

Christo & Jeanne Claude (1971) Land art

304
Q

Conceptual art

A

Characteristics
*
Follow the immaterial
*
Art as an idea
*
Materialization: by someoneelse, or not at all
*
Language and science

305
Q
A

Joseph Kosuth (1965) conceptual art

306
Q
A

Joseph Kosuth (1966) conceptual art

307
Q
A

On kawara, 1966, conceptual art

308
Q
A

On kawara, 1998, conceptual art

309
Q
A

Body art en performance, Chris burden, 1973

310
Q
A

Body art en performance, chris burden, 1971

311
Q
A

Barry le va, Body art en performance, 1969

312
Q
A

Dennis Oppenheim, Body art en performance, 1970

313
Q
A

Marina Abramovic, Body art en performance, 2010

314
Q
A

Marina Abramovic, Body art en performance, 1977

315
Q

Political art

A

Characteristics
*
Vietnam War (1955-1975)
*
Explicitly political art
*
Figurative art and photography
*
Deconstruction visual world

316
Q
A

Martha Rosler, 1969, political art

317
Q
A

hans haacke, 1971, political art

318
Q
A

Judy Chicago, feminist art, 1974

319
Q
A

Marina Abramovic, 1974, feminist art

320
Q

the pictures generation

A

Characteristics
*
Originality is no longer possible
*
Second-hand images
*
Women too = important artists
*
Much attention for photography

321
Q
A

Guerrila girls, 1989, picture generation

322
Q
A

Cindy Sherman, 1977, picture generation

Bachelor Criminologie EUR (4 decks)

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