Arts: August 1978

Art Nouveau (1890-1914)

Art Nouveau (1890-1914)

Art Nouveau (1890-1914), decorative-art movement centered in Western Europe. It began in the 1880s as a reaction against the historical emphasis of mid-19th-century art, but did not survive World War I. Art nouveau originated in London and was variously called Jugendstil in Germany, Sezessionstil in Austria, and Modernismo in Spain. In general it was most successfully practiced in the decorative arts: furniture, jewelry, and book design and illustration. The style was richly ornamental and asymmetrical, characterized by a whiplash linearity reminiscent of twining plant tendrils. Its exponents chose themes fraught with symbolism, frequently of an erotic nature. They imbued their designs with dreamlike and exotic forms. The movement took its name from La Maison de l'Art Nouveau in Paris, a shop keen to promote modern ideas in art. It was influenced by the Symbolists most obviously in their shared preference for exotic detail, as well as by Celtic and Japanese art. Art Nouveau flourished in Britain with its progressive Arts and Crafts movement, but was highly successful all around the world. Art Nouveau was in many ways a response to the Industrial Revolution. Some artists welcomed technological progress and embraced the aesthetic possibilities of new materials such as cast iron. Others deplored the shoddiness of mass-produced machine-made goods and aimed to elevate the decorative arts to the level of fine art by applying the highest standards of craftsmanship and design to everyday objects. Art Nouveau designers also believed that all the arts should work in harmony to create a total work of art, or Gesamtkunstwerk: buildings, furniture, textiles, clothes, and jewelry all conformed to the principles of Art Nouveau.

Alphonse Maria Mucha - Fruit

http://www.allpaintings.org/v/Art+Nouveau/

Art Nouveau (1890-1914)

Tanagra (1890)

Description	English: Photography of Statue "Tanagra" by Jean-Léon Gérôme Français : Photographie de la Statue "Tanagra" de Jean-Léon Gérôme
Date	1890
Source	http://www.culture.gouv.fr
Artist	Jean-Léon Gérôme (1824–1904)

The Bohemian (1890)

William-Adolphe Bouguereau (1825-1905) - The Bohemian (1890)

The Bohemian is a painting by William-Adolphe Bouguereau completed in 1890. It depicts a barefooted young woman sitting on a concrete bench on the south bank of the Seine across from Notre Dame de Paris resting a violin in her lap. Her right arm is resting on her thigh while the palm of her left hand is pressed down on her left knee so that she does not lean on the violin. Her hands are clasped with the fingers pointing forward while her shoulders are wrapped in a shawl dyed maroon and light green, and she is wearing a gray dress that extends to her ankles. The bow of the violin has been stuck through diagonally under the fingerboard. To her right is a maple tree.

The subject is a model employed by Bouguereau for this and other paintings, including The Shepherdess.
It was owned by The Minneapolis Institute of Arts until 2004 when it was auctioned by Christie's to benefit the acquisition fund.

http://en.wikipedia.org/wiki/The_Bohemian
http://en.wikipedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Bohemian_(1890).jpg

This image (or other media file) is in the public domain because its copyright has expired.

Psyche et L'Amour (1889)

Psyche et L'Amour (1889)

Description: Psyche et L'Amour
Date: 1889
Author: William-Adolphe Bouguereau

http://commons.wikimedia.org/wiki/File:Psyche_et_LAmour.jpg

This image (or other media file) is in the public domain because its copyright has expired.

Eros | Psyche | Amor and Psyche | Paintings by William-Adolphe Bouguereau

Eve After the Fall

Alexandre Cabanel - Eve After the Fall

Date: before 1889

Alexandre Cabanel (1823-1889)

Alexandre Cabanel

Born: 28 September 1823, Montpellier, France
Died: 23 January 1889 (aged 65)
Nationality: French
Field: Painting
Training: François-Édouard Picot
Movement: Academicism
Works: Birth of Venus
Awards: Prix de Rome

Alexandre Cabanel (28 September 1823 – 23 January 1889) was a French painter.

Cabanel was born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style. He was also well-known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the L'art pompier and Napoleon III's preferred painter.

He entered the École des Beaux-Arts in Paris at the age of seventeen. Cabanel studied with François-Édouard Picot and exhibited at the Paris Salon for the first time in 1844, and won the Prix de Rome scholarship in 1845 at the age of twenty two. Cabanel was elected a member of the Institute in 1863 and appointed professor at the École des Beaux-Arts in the same year.

Cabanel won the Grande Médaille d'Honneur at the Salons of 1865, 1867, and 1878.

He was closely connected to the Paris Salon: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting" [2]. His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet and other painters to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés.

A successful academic painter, his 1863 painting Birth of Venus is one of the best known examples of 19th century academic painting. The picture was bought by the emperor Napoleon III; there is also a smaller replica (painted in 1875 for a banker, John Wolf) at the Metropolitan Museum of Art in New York City. It was gifted to them by Wolf in 1893.

http://en.wikipedia.org/wiki/Alexandre_Cabanel

Self portrait with Felt Hat (Gogh, 1888)

Self portrait with Felt Hat

Description: Self portrait with Felt Hat
Year: 1888
Author: Vincent van Gogh (1853–1890)
Type: Oil on canvas
Dimensions: 44 cm × 37.5 cm (17.3 in × 14.8 in)
Location: Van Gogh Museum, Amsterdam

http://en.wikipedia.org/wiki/Divisionism
http://en.wikipedia.org/wiki/File:Self_portrait_with_Felt_Hat.jpg

Modern art | Post-Impressionism | Impressionism

Echo (Alexandre, 1887)

Echo (Alexandre, 1887)

Description: "Echo" by French painter Alexandre Cabanel. Metropolitan Museum of Art.
Date: 1887
Author: Alexandre Cabanel (1823-1889)

Return of Spring (1886)

The Return of Spring (Français : Le printemps)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: The Return of Spring (Français : Le printemps)
Year: 1886
Technique: Oil on canvas
Dimensions: 79.25 × 46.375 in (201.30 × 117.79 cm)
Current location: Joslyn Art Museum

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Return_of_Spring_(1886).jpg

This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

Paintings in the Joslyn Art Museum | Paintings by William-Adolphe Bouguereau | Paintings of spring

The Cliffs at Etretat

The Cliffs at Etretat

Title: The Cliffs at Etretat
Technique: Oil on canvas
Dimensions: 65 x 81,1 cm
Location: Williamstown
Gallery: Clark Art Institute
Year: 1885
Artist: Claude Monet (1840–1926)

Post-Impressionism (1885-1905)

Post-Impressionism

(1885 - 1905) Post-Impressionism in Western painting, movement in France that represented both an extension of Impressionism and a rejection of that style's inherent limitations. The term Post-Impressionism was coined by the English art critic Roger Fry for the work of such late 19th-century painters as Paul Cézanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, Henri de Toulouse-Lautrec, and others. All of these painters except van Gogh were French, and most of them began as Impressionists; each of them abandoned the style, however, to form his own highly personal art. Impressionism was based, in its strictest sense, on the objective recording of nature in terms of the fugitive effects of colour and light. The Post-Impressionists rejected this limited aim in favour of more ambitious expression, admitting their debt, however, to the pure, brilliant colours of Impressionism, its freedom from traditional subject matter, and its technique of defining form with short brushstrokes of broken colour. The work of these painters formed a basis for several contemporary trends and for early 20th-century modernism. The Post-Impressionists often exhibited together, but, unlike the Impressionists, who began as a close-knit, convivial group, they painted mainly alone. Cézanne painted in isolation at Aix-en-Provence in southern France; his solitude was matched by that of Paul Gauguin, who in 1891 took up residence in Tahiti, and of van Gogh, who painted in the countryside at Arles. Both Gauguin and van Gogh rejected the indifferent objectivity of Impressionism in favour of a more personal, spiritual expression. After exhibiting with the Impressionists in 1886, Gauguin renounced “the abominable error of naturalism.” With the young painter Émile Bernard, Gauguin sought a simpler truth and purer aesthetic in art; turning away from the sophisticated, urban art world of Paris, he instead looked for inspiration in rural communities with more traditional values. Copying the pure, flat colour, heavy outline, and decorative quality of medieval stained glass and manuscript illumination, the two artists explored the expressive potential of pure colour and line, Gauguin especially using exotic and sensuous colour harmonies to create poetic images of the Tahitians among whom he would eventually live. Arriving in Paris in 1886, the Dutch painter van Gogh quickly adapted Impressionist techniques and colour to express his acutely felt emotions. He transformed the contrasting short brushstrokes of Impressionism into curving, vibrant lines of colour, exaggerated even beyond Impressionist brilliance, that convey his emotionally charged and ecstatic responses to the natural landscape. In this movement appeared the Pointillism, a technique associated with Paul Signac and Georges Seurat, this partition of the movement called themselves the Neo-Impressionists because of their impressionist revival. In general, Post-Impressionism led away from a naturalistic approach and toward the two major movements of early 20th-century art that superseded it: Cubism and Fauvism, which sought to evoke emotion through colour and line.

Champign by Henri Lebasque

Post-Impressionism, French, XIX

Post-Impressionism (1885-1905)

Woman with Seashell (1885)

Woman with Seashell (Femme au Coquillage)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Woman with Seashell (Femme au Coquillage)
Year: 1885
Source: http://www.goodart.org/blog/WilliamBouguereau-FemmeAuCoquillage-1885Large.jpg

http://commons.wikimedia.org/wiki/File:Bouguereau,_William_-_Femme_au_Coquillage_-1885.jpg
http://commons.wikimedia.org/wiki/Category:Nude_kneeling_women
http://commons.wikimedia.org/wiki/Category:Nude_women_by_posture
http://commons.wikimedia.org/wiki/Category:Nude_women

Lost Pleiad (1884)

Lost Pleiad (1884)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Lost Pleiad (Français : L'Etoile Perdue)
Year: 1884
Dimensions: 195.5 × 95 cm
Source: http://www.artrenewal.org/

The Pleiades (pronounced /ˈplaɪ.ədiːz/, also [ˈpliːədiːz]; from the Greek Πλειάδες [pleːˈades], Modern [pliˈaðes]), companions of Artemis, were the seven daughters of the titan Atlas and the sea-nymph Pleione born on Mount Cyllene. They are the sisters of Calypso, Hyas, the Hyades, and the Hesperides. The Pleiades were nymphs in the train of Artemis, and together with the seven Hyades were called the Atlantides, Dodonides, or Nysiades, nursemaids and teachers to the infant Bacchus.

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Lost_Pleiad_(1884).jpg
http://en.wikipedia.org/wiki/Pleiades_(Greek_mythology)

This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, Australia, the European Union and those countries with a copyright term of life of the author plus 70 years.

Seated Nude (1884)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Seated Nude (Français: Nu assis)
Year: 1884

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Seated_Nude_(1884).jpg

Biblis (1884)

Biblis (1884)

Artist: William-Adolphe Bouguereau (1825-1905)
Title: Biblis (Byblis, Bublis, Βυβλίς)
Year: 1884

In Greek mythology, Byblis or Bublis (Ancient Greek: Βυβλίς) was a daughter of Miletus. Her mother was either Tragasia, Cyanee, daughter of the river-god Meander, or Eidothea, daughter of King Eurytus of Caria. She fell in love with Caunus, Apollo’s grandson and her brother.

http://commons.wikimedia.org/wiki/William-Adolphe_Bouguereau
http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Biblis_(1884).jpg
http://en.wikipedia.org/wiki/Byblis

Les Deux Baigneuses (1884)

Les Deux Baigneuses (1884)

Date: 1884
Author: William-Adolphe Bouguereau (1825–1905)

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Les_Deux_Baigneuses_(1884).jpg

This image (or other media file) is in the public domain because its copyright has expired.

The Youth of Bacchus (1884)

William-Adolphe Bouguereau (1825-1905) - The Youth of Bacchus (1884)

The five senses (1884)

Description	English: Painting »Die fünf Sinne« („The five senses“) by Hans Makart (created in the years 1840-1884) Deutsch: Gemälde »Die fünf Sinne« von Hans Makart (entstanden 1840–1884): Sehen, Hören, Riechen, Schmecken, Tasten.
Date	1884
Author	Hans Makart (1840–1884)

http://commons.wikimedia.org/wiki/File:Makart_Fuenf_Sinne.jpg

La Nuit (1883)

La Nuit (1883)

William-Adolphe Bouguereau (1825-1905)

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_La_Nuit_(1883).jpg

The Nut Gatherers (1882)

The Nut Gatherers (1882)

Description: The Nut Gatherers, Les noisettes (Français)
Date: 1882
Author: William-Adolphe Bouguereau (1825–1905)

The Nut Gatherers (Les Noisettes) is an 1882 painting by William-Adolphe Bouguereau. It is one of the most popular pieces at the Detroit Institute of Arts.

http://en.wikipedia.org/wiki/The_Nut_Gatherers
http://en.wikipedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_The_Nut_Gatherers_(1882).jpg

Evening Mood (1882)

Evening Mood (1882)

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Evening Mood
Year: 1882
Technique: Oil on canvas
Dimensions: 207.5 × 108 cm (81.69 × 42.52 in)

http://commons.wikimedia.org/wiki/File:Bouguereau-Evening_Mood_1882.jpg
http://commons.wikimedia.org/wiki/William-Adolphe_Bouguereau

This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

Day (1881)

Day (1881)

William-Adolphe Bouguereau (1825-1905) - Day (1881)

In ancient Greek city cults, Tyche (Τύχη, meaning "luck" in Greek, Roman equivalent: Fortuna) was the presiding tutelary deity that governed the fortune and prosperity of a city, its destiny.

http://commons.wikimedia.org/wiki/File:William-Adolphe_Bouguereau_(1825-1905)_-_Day_(1881).jpg

This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

Dawn

Dawn

Artist: William-Adolphe Bouguereau (1825–1905)
Title: Dawn
Year: 1881

This work is in the public domain in the United States, and those countries with a copyright term of life of the author plus 100 years or fewer.

The Naiads (1881)

The Naiads, 1881

Description: The Naiads, 1881
Date: 1881
Author: Gioacchino Pagliei (Italian, 1852-1896)

http://commons.wikimedia.org/wiki/File:Gioacchino_Pagliei_-_The_Naiads,_1881.JPG

In the Tepidarium

In the Tepidarium

Artist: Sir Lawrence Alma-Tadema (1836-1912)
Title: In the Tepidarium
Date: 1881
Technique: Oil on canvas

The tepidarium was the warm Roman bath. This painting shows a girl holding an ostrich feather and a strigel used for scraping the skin after soaping and oiling it. Alma-Tadema generally contrasted archaeologically accurate detail with aggressively modern figures and attitudes. He was also the most gifted exponent among Victorian painters in rendering exactly textures, surfaces and colours.

References

http://en.wikipedia.org/wiki/File:Tepidarium_Lawrence_Alma-Tadema_(1836-1912).jpg
http://akorra.com/2010/03/06/top-20-beautiful-female-nude-artwork/

Cubism

Cubism

Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914. The French art critic Louis Vauxcelles coined the term Cubism after seeing the landscapes Braque had painted in 1908 at L'Estaque in emulation of Cézanne. Vauxcelles called the geometric forms in the highly abstracted works "cubes." Other influences on early Cubism have been linked to Primitivism and non-Western sources. The stylization and distortion of Picasso's ground-breaking Les Demoiselles d'Avignon (Museum of Modern Art, New York), painted in 1907, came from African art. Picasso had first seen African art when, in May or June 1907, he visited the ethnographic museum in the Palais du Trocadéro in Paris.

The Cubist painters rejected the inherited concept that art should copy nature, or that they should adopt the traditional techniques of perspective, modeling, and foreshortening. They wanted instead to emphasize the two-dimensionality of the canvas. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space. They also used multiple or contrasting vantage points.

In Cubist work up to 1910, the subject of a picture was usually discernible. Although figures and objects were dissected or "analyzed" into a multitude of small facets, these were then reassembled, after a fashion, to evoke those same figures or objects. During "high" Analytic Cubism (1910–12), also called "hermetic," Picasso and Braque so abstracted their works that they were reduced to just a series of overlapping planes and facets mostly in near-monochromatic browns, grays, or blacks. In their work from this period, Picasso and Braque frequently combined representational motifs with letters (1999.363.63; 1999.363.11). Their favorite motifs were still lifes with musical instruments, bottles, pitchers, glasses, newspapers, playing cards (1997.149.12), and the human face and figure. Landscapes were rare.

During the winter of 1912–13, Picasso executed a great number of papiers collés (1999.363.64). With this new technique of pasting colored or printed pieces of paper in their compositions, Picasso and Braque swept away the last vestiges of three-dimensional space (illusionism) that still remained in their "high" Analytic work. Whereas, in Analytic Cubism, the small facets of a dissected or "analyzed" object are reassembled to evoke that same object, in the shallow space of Synthetic Cubism—initiated by the papiers collés–large pieces of neutral or colored paper themselves allude to a particular object, either because they are often cut out in the desired shape or else sometimes bear a graphic element that clarifies the association.

While Picasso and Braque are credited with creating this new visual language, it was adopted and further developed by many painters, including Fernand Léger (1999.363.35), Robert and Sonia Delaunay, Juan Gris (1996.403.14), Roger de La Fresnaye (1991.397), Marcel Duchamp, Albert Gleizes, Jean Metzinger (59.86), and even Diego Rivera (49.70.51). Though primarily associated with painting, Cubism also exerted a profound influence on twentieth-century sculpture and architecture. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz.

The liberating formal concepts initiated by Cubism also had far-reaching consequences for Dada and Surrealism, as well as for all artists pursuing abstraction in Germany, Holland, Italy, England, America, and Russia.

Fernand Léger - El acróbata y su compañera

Arts

Pages

Art Nouveau (1890-1914)

Tanagra (1890)

The Bohemian (1890)

Psyche et L'Amour (1889)

Eve After the Fall

Alexandre Cabanel (1823-1889)

Self portrait with Felt Hat (Gogh, 1888)

Echo (Alexandre, 1887)

Return of Spring (1886)

The Cliffs at Etretat

Post-Impressionism (1885-1905)

Woman with Seashell (1885)

Lost Pleiad (1884)

Seated Nude (1884)

Biblis (1884)

Les Deux Baigneuses (1884)

The Youth of Bacchus (1884)

The five senses (1884)

La Nuit (1883)

The Nut Gatherers (1882)

Evening Mood (1882)

Day (1881)

Dawn

The Naiads (1881)

In the Tepidarium

Cubism

Search This Blog

Artists

Blog Archive

Art movements

Years

Centuries

Nationalities

Labels