Introduction to Art 檢討期中考卷 Watch the DVD The Impressionists Vol. 1 Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Ch. 19 Ch. 20 Ch. 21

Impressionism

Impressionism Originated in France 1860-1900 Evoke strong but subtle, perceptual impressions of sunlight, color and shadow Rejected Academic conventions Not interested in telling stories and painting morals The sensations of light, color and movement

Dance at le Moulin de la Galette, Montmartre, 1876, AUGUSTE RENOIR

Rouen Cathedral. Harmony in Blue, 1893, CLAUDE MONET

Saint-Lazare Station, 1877, CLAUDE MONET

Wind Effect, Series of the Poplars, 1891, CLAUDE MONET

Neo-Impressionism A distinct group within the Impressionist movement Connecting corridor between the two larger movements of Impressionism and Post-Impressionism Less concerned with painting spontaneously and more interested in the preparatory and technical aspects of design and color form

Neo-Impressionism Less interested in evoking spontaneity and movement Seurat labored intensively on preparatory studies for up to a year before beginning to work on the final painting The only artists to develop working methods “organizing” the color on his canvas Pointillism and Divisionism are the most significant of these theory based methods

Bathers at Asnieres, 1884, GEORGES SEURAT THIS SIMPLE MOMENT OF LEISURE CAPTURED IN SHIMMERING PAINT DISGUISES THE ENORMOUS AMOUNT OF LABOUR THAT MADE IT POSSIBLE

The little Country Maid, 1882, CAMILLE PISSARRO

Secessionism In German and Austrian, the artists who broke with the traditions of the art Academies at the end of the 19th century Secession artists wanted independent exhibitions Three most significant Secessions: Munich, Berlin and Vienna

Secessionism Although the Munich Secession showed some avant-grade work it also included a large amount of Naturalistic and Impressionistic painting and was not strongly associated with the period’s most experimental artists

Secessionism The Berlin Secession was formed in 1898 and quickly established itself as the voice of opposition to the conservatism of Berlin’s tradition of Academic painting

Secessionism The Vienna Secession was founded by Gustav Klimt in 1897 The most distinctive work of this group of painters combined a flat, decorative style with subtle, often strong, use of color

The Kiss, 1907-8, GUSTAV KLIMT The ideal, the decorative and the ritualistic are key features which distinguish Viennese Secessionism from the other main Secessionist groups.

Aestheticism Initially a 19th century literary movement led by writers like Oscar Wilde and Joris Karl Huysmans Aestheticism soon found advocates among artists who wanted to liberate art from morality, politics and social purpose

Aestheticism From which Symbolism developed ‘Art for art’s sake’ Provoke a complex and highly nuanced assortment of sensuous and intellectual responses in the viewer

Aestheticism The work as art object was more important than the subject of the painting Demanded that the viewer have sufficient ‘disinterest’ or detachment, to distinguish between feelings Aestheticism’s insistence on art’s independence from life and their scorn for the bourgeoisie

Nocturne: Black and Gold - The Fire Wheel, 1875, JAMES ABBOTT MCNEILL WHISTLER

A Sleeping Girl, c.1875, ALBERT MOORE The mixture of Classical elements with Japanese fans suggests the artifice of the artist’s studio rather than the Classical past. The sleeping girl with the vase and flower still-life in the foreground, suggesting that both are beautiful objects for the spectator to contemplate.

Symbolism Symbolism emerged in the 1880s and was eclipsed by the rise of Modernism Symbolist art subverted bourgeois conventions and emphasized disturbing and disturbed states of mind Influenced by spiritualism, anarchism and socialism

Symbolism Against the 19th century’s belief: science and technology Explored what these left out: the life of the spirit, the mysterious, uncanny, the unknown or the unspeakable Suggestive of another reality

Symbolism Gauguin emphasized that the emotional response to art is more important than the intellectual. The artist must paint on the basis of his intuition and imagination rather than observation and description Melancholy, sexuality and disturbance are central to Symbolism

Green Death, C.1905, ODILON REDON Lurid green as an allusion to the drink Absinthe which was associated with inspiration, excess and fantastical mental states The “green death” could be the death of reason under the influence of intoxication

The Storm, 1893, EDVARD MUNCH Female dressed in white, the traditional color of innocence, suggesting that the storm is in some way connected with this figure’s virginity or youthfulness

Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 「巴洛克」 建築— 波達設計：Il Gesa教堂 結合中世紀與文藝復興建築風格 普為全歐接受的新穎、簡單、巧妙之式樣 繪畫—對形式主義厭倦 卡拉西：聖母哀悼基督之死 強調「古典美」 卡拉瓦喬：多疑的聖托瑪斯 自然主義，脫離陳規、重新思考藝術

Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 卡拉西學派 （or 新古典、學院派）— 雷涅：黎明女神奧羅拉 僕辛：「我，死之神，甚至君臨阿喀笛亞」 羅倫：風景（向阿波羅祭奉） 魯本斯：聖凱塞琳的訂婚式 魯本斯：小女孩頭像 魯本斯：自畫像 魯本斯：和平之幸福的寓言

Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 范戴克：英格蘭王查理一世 范戴克：高雅的史都華和約翰貴族 維拉斯奎茲：賣水的老人 維拉斯奎茲：教皇英諾森十世 維拉斯奎茲：宮女 維拉斯奎茲：西班牙小王子肖像畫 以全心的眼光觀察自然、發現並享用色彩與光線之嶄新和諧，已經成為畫家的必要任務。

Ch. 20 自然之鏡 十七世紀的荷蘭 建築— 受天主教影響 偏愛冷靜嚴謹的建築、裝潢裡流露出輪廓簡單與裝飾貧乏的式樣。 凱本設計：皇宮（前市政廳） 繪畫— 肖像畫 （為了不觸犯宗教（新教）而興盛） 哈爾斯：聖喬治軍方官員的宴會 哈爾斯：布洛克先生肖像

Ch. 20 自然之鏡 十七世紀的荷蘭 專業化（專門繪魚的畫家、專門繪海景的畫家） 夫力格爾：河口景色 戈耶：河畔的風車 林布蘭特—荷蘭最偉大的畫家 肖像畫帶有生命感 林布蘭特：自畫像 林布蘭特：西克斯先生肖像 林布蘭特︰無善心的僕人之寓言故事 林布蘭特：大衛王與兒子亞沙龍的和解 林布蘭特：基督傳道

Ch. 20 自然之鏡 十七世紀的荷蘭 史汀：命名宴 路斯達爾：林野風光 卡爾夫：靜物 維梅爾：倒牛奶的廚婦

Ch. 21 威力與榮光 （一）義大利 十七世紀晚期和十八世紀 巴洛克風格更高度發展 波洛米尼與萊納狄設計：羅馬——教堂 超常的舞台化裝飾、重視表情強度、將觀者引向情緒的頂點 帕尼尼：少女胸像 帕尼尼：聖女泰瑞莎的幻象 高度戲劇性 高利：膜拜耶穌的聖名 蒂波洛：克利奧帕脫之宴 唯一的分支—威尼斯風景油畫與版畫 加爾第：威尼斯——鹹水湖風光