Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Expressionism Ch. 19 觀察與想像 信奉天主教的歐洲國家.

Presentation on theme: "Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Expressionism Ch. 19 觀察與想像 信奉天主教的歐洲國家."— Presentation transcript:

1 Impressionism Neo-Impressionism Secessionism Aestheticism Symbolism Post-Impressionism Modernism Fauvism Primitivism Expressionism Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 Ch. 20 自然之鏡 十七世紀的荷蘭 Ch. 21 威力與榮光 （一）義大利 十七世紀晚期和十八世紀 Ch. 22 威力與榮光 （二）法蘭西、日耳曼與奧地利 十七世紀晚期和十八世紀 Ch. 23 理性的時代 英格蘭與法蘭西 十八世紀 Ch. 24 傳統的打破 英格蘭、美國語法蘭西 十八世紀晚期和十九世紀早期 藝術概論 Week 12 2007/11/28 Iris Tuan 藝術概論 Week 12 2007/11/28 Iris Tuan

2 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 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

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

4 Rouen Cathedral. Harmony in Blue, 1893, CLAUDE MONET

5 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 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

6 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 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

7 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

8 The little Country Maid, 1882, CAMILLE PISSARRO

9 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 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

10 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 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 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 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

11 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 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

12 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.

13 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 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

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

15 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 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

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

17 A Sleeping Girl, c.1875, ALBERT MOORE

18 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 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

19 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 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

20 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 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

21 Green Death, C.1905, ODILON REDON

22 The Storm, 1893, EDVARD MUNCH

23 Post-Impressionism Very broad term used to cover much art produced between the 1880s and the early 20th century The most significant artists: Gauguin, Cezanne and Van Gogh The English critic Roger Fry for his exhibition Manet and the Post- Impressionists in London Very broad term used to cover much art produced between the 1880s and the early 20th century The most significant artists: Gauguin, Cezanne and Van Gogh The English critic Roger Fry for his exhibition Manet and the Post- Impressionists in London

24 Post-Impressionism Manet asserted his freedom to break with tradition in pursuit of his own vision Rejecting most bourgeois standards of taste Focus on design and structure and a refusal to imitate nature or moralise through narrative subjects Manet asserted his freedom to break with tradition in pursuit of his own vision Rejecting most bourgeois standards of taste Focus on design and structure and a refusal to imitate nature or moralise through narrative subjects

25 Post-Impressionism Emphasis on form recovered the significance of art’s symbolic, spiritual and emotional meaning Cezanne approached his painting as something which had to be designed and given a shape Gauguin structured his works to convey what he thought was the spiritual truth of his subject matter Emphasis on form recovered the significance of art’s symbolic, spiritual and emotional meaning Cezanne approached his painting as something which had to be designed and given a shape Gauguin structured his works to convey what he thought was the spiritual truth of his subject matter

26 Mountains at Saint-Remy, 1889, VINCENT VAN GOGH

27 Still Life: Flask, Glass and Jug, c.1877, PAUL CEZANNE

28 Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 波達設計： Il Gesa 教堂 卡拉西：聖母哀悼基督之死 卡拉瓦喬：多疑的剩托瑪斯 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 波達設計： Il Gesa 教堂 卡拉西：聖母哀悼基督之死 卡拉瓦喬：多疑的剩托瑪斯 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

29 Ch. 19 觀察與想像 信奉天主教的歐洲國家 十七世紀前半葉 魯本斯：和平之幸福的寓言 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 魯本斯：和平之幸福的寓言 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

30 Ch. 20 自然之鏡 十七世紀的荷蘭 凱本設計：皇宮（前市政廳） 哈爾斯：聖喬治軍方官員的宴會 哈爾斯：布洛克先生肖像 夫力格爾：河口景色 戈耶：河畔的風車 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 凱本設計：皇宮（前市政廳） 哈爾斯：聖喬治軍方官員的宴會 哈爾斯：布洛克先生肖像 夫力格爾：河口景色 戈耶：河畔的風車 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

31 Ch. 20 自然之鏡 十七世紀的荷蘭 林布蘭特：基督傳道 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 林布蘭特：基督傳道 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

32 Ch. 21 威力與榮光 （一）義大利 十七世紀晚期和十八世紀 波洛米尼與萊納狄設計：羅馬 —— 教堂 帕尼尼：少女胸像 帕尼尼：聖女泰瑞莎的幻象 高利：膜拜耶穌的聖名 蒂波洛：克利奧帕脫之宴 加爾第：威尼斯 —— 鹹水湖風光 波洛米尼與萊納狄設計：羅馬 —— 教堂 帕尼尼：少女胸像 帕尼尼：聖女泰瑞莎的幻象 高利：膜拜耶穌的聖名 蒂波洛：克利奧帕脫之宴 加爾第：威尼斯 —— 鹹水湖風光

33 Ch. 22 威力與榮光 （二）法蘭西、日耳曼與奧地利 十七世 紀晚期和十八世紀 凡爾賽宮（列梵和曼撒爾建造） 維也納望樓（ 布德希蘭德設計 ） 日耳曼城堡 梅爾克修道院（皮蘭道爾設計） 華鐸：野宴圖 凡爾賽宮（列梵和曼撒爾建造） 維也納望樓（ 布德希蘭德設計 ） 日耳曼城堡 梅爾克修道院（皮蘭道爾設計） 華鐸：野宴圖

34 Ch. 23 理性的時代 英格蘭與法蘭西 十八世紀 倫敦聖保羅大教堂（列恩建造） 倫敦聖史蒂芬教堂的內部 （列恩建造） 倫敦契斯維克大宅（巴靈頓和肯特設計） 斯都赫庭園 霍加斯：淪落在瘋人院裡的浪蕩漢 藍諾茲：包爾斯小姐和他的狗 藍諾茲：巴雷提肖像 蓋茲波洛：哈維費爾德小姐肖像 倫敦聖保羅大教堂（列恩建造） 倫敦聖史蒂芬教堂的內部 （列恩建造） 倫敦契斯維克大宅（巴靈頓和肯特設計） 斯都赫庭園 霍加斯：淪落在瘋人院裡的浪蕩漢 藍諾茲：包爾斯小姐和他的狗 藍諾茲：巴雷提肖像 蓋茲波洛：哈維費爾德小姐肖像

35 Ch. 23 理性的時代 英格蘭與法蘭西 十八世紀 蓋茲波洛：鄉野景色 查丁：飯前感恩禱告 胡頓：福爾泰胸像 佛拉格納德：蒂弗利 — 別墅景觀 蓋茲波洛：鄉野景色 查丁：飯前感恩禱告 胡頓：福爾泰胸像 佛拉格納德：蒂弗利 — 別墅景觀

36 Ch. 24 傳統的打破 英格蘭、美國語法蘭西 十八世紀晚期和 十九世紀早期 建築師 — 華波爾︰圖 311 帕渥斯︰圖 312 索內：圖 313 傑弗遜：圖 314 繪畫 — 柯普利：查理一世要求逮捕五名受彈劾的下議院 議員 大衛：馬拉遇刺 建築師 — 華波爾︰圖 311 帕渥斯︰圖 312 索內：圖 313 傑弗遜：圖 314 繪畫 — 柯普利：查理一世要求逮捕五名受彈劾的下議院 議員 大衛：馬拉遇刺

37 Ch. 24 傳統的打破 英格蘭、美國語法蘭西 十八世紀晚期和 十九世紀早期 哥雅：露台群像 哥雅：西班牙王斐迪南七世肖像 哥雅：巨人 布雷克：先知歐羅帕，亙古常在者 泰納：迦太基建國 泰納：暴風雪中的汽船 康斯塔伯：研究樹幹的速寫 康斯塔伯：運乾草貨車 佛．雷德瑞克：西里西亞山區景色 哥雅：露台群像 哥雅：西班牙王斐迪南七世肖像 哥雅：巨人 布雷克：先知歐羅帕，亙古常在者 泰納：迦太基建國 泰納：暴風雪中的汽船 康斯塔伯：研究樹幹的速寫 康斯塔伯：運乾草貨車 佛．雷德瑞克：西里西亞山區景色