Albert Bierstadt
Albert Bierstadt (January 7, 1830 - February 18, 1902) was a German-American painter best known for his large, detailed landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the 19th century. Bierstadt was part of the Hudson River School, not an institution but rather an informal group of like-minded painters. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism. Albert Bierstadt was born in Solingen, Germany. His family moved to New Bedford, Massachusetts, in 1833. He studied painting with the members of the Düsseldorf School in Düsseldorf, Germany from 1853 to 1857. He taught drawing and painting briefly before devoting himself to painting. Bierstadt began making paintings in New England and upstate New York. In 1859, he traveled westward in the company of a Land Surveyor for the U.S. government, returning with sketches that would result in numerous finished paintings. In 1863 he returned West again, in the company of the author Fitz Hugh Ludlow, whose wife he would later marry. He continued to visit the American West throughout his career. Though his paintings sold for princely sums, Bierstadt was not held in particularly high esteem by critics of his day. His use of uncommonly large canvases was thought to be an egotistical indulgence, as his paintings would invariably dwarf those of his contemporaries when they were displayed together. The romanticism evident in his choices of subject and in his use of light was felt to be excessive by contemporary critics, a charge that continues to be leveled by many of today's art historians. His paintings emphasized atmospheric elements like fog, clouds and mist to accentuate and complement the feel of his work. Nonetheless, his paintings remain popular. He was a prolific artist, having completed over 500 paintings during his lifetime, most of which have survived. Many are scattered through museums around the United States. Original paintings do occasionally come up for sale, at ever increasing prices.
http://www.allpaintings.org/v/Hudson+River+School/Albert+Bierstadt/
Showing posts with label 1830. Show all posts
Showing posts with label 1830. Show all posts
Frederic Leighton (1830-1896)
Frederick Leighton
Frederic Leighton, 1st Baron Leighton PRA (3 December 1830–25 January 1896), known as Sir Frederic Leighton, Bt, between 1886 and 1896, was an English painter and sculptor. His works depicted historical, biblical and classical subject matter. Leighton was bearer of the shortest-lived peerage in history; after only one day his hereditary peerage became extinct.
Biography
Leighton was born in Scarborough to a family in the import and export business. He was educated at University College School, London. He then received his artistic training on the European continent, first from Eduard Von Steinle and then from Giovanni Costa. When in Florence, aged 24, where he studied at the Accademia di Belle Arti, he painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855 to 1859, where he met Ingres, Delacroix, Corot and Millet.
In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning's tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 he became an associate of the Royal Academy and in 1878 he became its President (1878–96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition.
Leighton was knighted at Windsor in 1878, and was created a Baronet, of Holland Park Road in the Parish of St Mary Abbots, Kensington, in the County of Middlesex, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent creating him Baron Leighton, of Stretton in the County of Shropshire, was issued on 24 January 1896; Leighton died the next day of angina pectoris.
s he was unmarried, after his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park, London has been turned into a museum, the Leighton House Museum. It contains a number of his drawings and paintings, as well as some of his sculptures (including Athlete Wrestling with a Python). The house also features many of Leighton's inspirations, including his collection of Iznik tiles. Its centrepiece is the magnificent Arab Hall. The Hall is featured in issue ten of Cornucopia.
Timeline
1864 - Associate of the Royal Academy
1868 - Royal Academy Academician
1878 - President of the Royal Academy
1878 - Légion d'honneur Officer
1878 - Knight Bachelor
1886 - Created Baronet in the Baronetage of the United Kingdom
1889 - Associate member of the Institute of France
1896 - Created Baron in the Peerage of the United Kingdom
Selected works
Death of Brunelleschi (1852), oil on canvas
The Fisherman and the Siren, c. 1856 - 1858 (66.3 x 48.7 cm)
Cimabue's Celebrated Madonna is carried in Procession through the Streets of Florence (1853-5), oil on canvas. This was his first major work and was exhibited at the Royal Academy. Queen Victoria was so taken with it that she bought it for 600 guineas on the opening day of the exhibition.
The Discovery of Juliet Apparently Lifeless (c.1858)
The Villa Malta, Rome (1860s), oil on canvas
The Painter's Honeymoon, c. 1864 (83.8 x 77.5 cm)
Mother and Child, c. 1865, (48.2 x 82 cm)
Actaea, the Nymph of the Shore (1868), oil on canvas, (57.2 x 102.2 cm) National Gallery of Canada, Ottawa.
Daedalus and Icarus, c. 1869, (138.2 x 106.5 cm)
Hercules Wrestling with Death for the Body of Alcestis (1869–71) (132.4 x 265.4 cm)
Greek Girls Picking up Pebbles by the Sea, 1871 (84 x 129.5 cm)
Teresina (circa 1874) Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Music Lesson, c. 1877, (92.8 x 118.1 cm)
An Athlete Wrestling with a Python (1877), bronze sculpture
Nausicaa, c. 1878 (145 x 67 cm)
Winding the Skein, c. 1878, (100.3 x 161.3 cm)
Light of the Harem, c. 1880, (152.4 x 83.8 cm)
Wedded, (c. 1881 - 1882) (145.4 x 81 cm)
Captive Andromache, c. 1888 (197 x 406.5 cm)
The Bath of Psyche, (c. 1889−90) (189.2 x 62.2 cm) Tate Gallery
The Garden of the Hesperides, c. 1892, (169 x 169 cm)
Flaming June (1895), oil on canvas, Museo de Arte de Ponce, Puerto Rico (120.6 x 120.6 cm)
The Parable of the Wise and Foolish Virgins (Fresco)
The armlet
Phoebe (55.88 x 60.96 cm)
A Bather
The Leighton Frescoes, The Arts of Industry as Applied to War and The Arts of Industry as Applied to Peace
http://en.wikipedia.org/wiki/Frederick_Leighton
http://en.wikipedia.org/wiki/File:1880_Frederic_Leighton_-_Self_portrait.jpg
1830 births | 1896 deaths | Barons in the Peerage of the United Kingdom | English painters | English sculptors | History artists | People of the Victorian era | Prix de Rome for painting | People from Scarborough, North Yorkshire | Royal Academicians | Old Gowers | Knights Bachelor | Artists' Rifles officers | Academic art | Officiers of the Légion d'honneur | Victorian Classicism
| Born | 3 December 1830, Scarborough, England |
| Died | 25 January 1896 (aged 65), London, England |
| Nationality | English |
| Field | painting and sculpture |
| Training | Eduard Von Steinle |
| Movement | Academicism, Victorian Classicism |
| Works | Flaming June |
| Influenced | Frank Bernard Dicksee |
| Awards | Prix de Rome, Légion d'honneur |
Frederic Leighton, 1st Baron Leighton PRA (3 December 1830–25 January 1896), known as Sir Frederic Leighton, Bt, between 1886 and 1896, was an English painter and sculptor. His works depicted historical, biblical and classical subject matter. Leighton was bearer of the shortest-lived peerage in history; after only one day his hereditary peerage became extinct.
Biography
Leighton was born in Scarborough to a family in the import and export business. He was educated at University College School, London. He then received his artistic training on the European continent, first from Eduard Von Steinle and then from Giovanni Costa. When in Florence, aged 24, where he studied at the Accademia di Belle Arti, he painted the procession of the Cimabue Madonna through the Borgo Allegri. He lived in Paris from 1855 to 1859, where he met Ingres, Delacroix, Corot and Millet.
In 1860, he moved to London, where he associated with the Pre-Raphaelites. He designed Elizabeth Barrett Browning's tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 he became an associate of the Royal Academy and in 1878 he became its President (1878–96). His 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. His paintings represented Britain at the great 1900 Paris Exhibition.
Leighton was knighted at Windsor in 1878, and was created a Baronet, of Holland Park Road in the Parish of St Mary Abbots, Kensington, in the County of Middlesex, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896. The patent creating him Baron Leighton, of Stretton in the County of Shropshire, was issued on 24 January 1896; Leighton died the next day of angina pectoris.
s he was unmarried, after his death his Barony was extinguished after existing for only a day; this is a record in the Peerage. His house in Holland Park, London has been turned into a museum, the Leighton House Museum. It contains a number of his drawings and paintings, as well as some of his sculptures (including Athlete Wrestling with a Python). The house also features many of Leighton's inspirations, including his collection of Iznik tiles. Its centrepiece is the magnificent Arab Hall. The Hall is featured in issue ten of Cornucopia.
Timeline
1864 - Associate of the Royal Academy
1868 - Royal Academy Academician
1878 - President of the Royal Academy
1878 - Légion d'honneur Officer
1878 - Knight Bachelor
1886 - Created Baronet in the Baronetage of the United Kingdom
1889 - Associate member of the Institute of France
1896 - Created Baron in the Peerage of the United Kingdom
Selected works
Death of Brunelleschi (1852), oil on canvas
The Fisherman and the Siren, c. 1856 - 1858 (66.3 x 48.7 cm)
Cimabue's Celebrated Madonna is carried in Procession through the Streets of Florence (1853-5), oil on canvas. This was his first major work and was exhibited at the Royal Academy. Queen Victoria was so taken with it that she bought it for 600 guineas on the opening day of the exhibition.
The Discovery of Juliet Apparently Lifeless (c.1858)
The Villa Malta, Rome (1860s), oil on canvas
The Painter's Honeymoon, c. 1864 (83.8 x 77.5 cm)
Mother and Child, c. 1865, (48.2 x 82 cm)
Actaea, the Nymph of the Shore (1868), oil on canvas, (57.2 x 102.2 cm) National Gallery of Canada, Ottawa.
Daedalus and Icarus, c. 1869, (138.2 x 106.5 cm)
Hercules Wrestling with Death for the Body of Alcestis (1869–71) (132.4 x 265.4 cm)
Greek Girls Picking up Pebbles by the Sea, 1871 (84 x 129.5 cm)
Teresina (circa 1874) Christchurch Art Gallery Te Puna o Waiwhetu, Christchurch, New Zealand
Music Lesson, c. 1877, (92.8 x 118.1 cm)
An Athlete Wrestling with a Python (1877), bronze sculpture
Nausicaa, c. 1878 (145 x 67 cm)
Winding the Skein, c. 1878, (100.3 x 161.3 cm)
Light of the Harem, c. 1880, (152.4 x 83.8 cm)
Wedded, (c. 1881 - 1882) (145.4 x 81 cm)
Captive Andromache, c. 1888 (197 x 406.5 cm)
The Bath of Psyche, (c. 1889−90) (189.2 x 62.2 cm) Tate Gallery
The Garden of the Hesperides, c. 1892, (169 x 169 cm)
Flaming June (1895), oil on canvas, Museo de Arte de Ponce, Puerto Rico (120.6 x 120.6 cm)
The Parable of the Wise and Foolish Virgins (Fresco)
The armlet
Phoebe (55.88 x 60.96 cm)
A Bather
The Leighton Frescoes, The Arts of Industry as Applied to War and The Arts of Industry as Applied to Peace
http://en.wikipedia.org/wiki/Frederick_Leighton
http://en.wikipedia.org/wiki/File:1880_Frederic_Leighton_-_Self_portrait.jpg
1830 births | 1896 deaths | Barons in the Peerage of the United Kingdom | English painters | English sculptors | History artists | People of the Victorian era | Prix de Rome for painting | People from Scarborough, North Yorkshire | Royal Academicians | Old Gowers | Knights Bachelor | Artists' Rifles officers | Academic art | Officiers of the Légion d'honneur | Victorian Classicism
Barbizon School (1830-1870)
Barbizon School
The Barbizon school (1830–1870) of painters is named after the village of Barbizon near Fontainebleau Forest, France, where the artists gathered. The Barbizon painters were part of a movement towards realism in art which arose in the context of the dominant Romantic Movement of the time. In 1824 the Salon de Paris exhibited works of John Constable. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. One of them, Jean-François Millet, extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), Millet portrays three peasant women working at the harvest. There is no drama and no story told, merely three peasant women in a field. The leaders of the Barbizon school were Jean-Baptiste Camille Corot, Théodore Rousseau, Jean-François Millet and Charles-François Daubigny; other members included Jules Dupré, Narcisse Virgilio Diaz, Charles Olivier de Penne, Henri Harpignies, Gabriel Hippolyte LeBas (1812-1880), Albert Charpin, Félix Ziem, François-Louis Français and Alexandre DeFaux.
Barbizon School (1830-1870)
The Barbizon school (1830–1870) of painters is named after the village of Barbizon near Fontainebleau Forest, France, where the artists gathered. The Barbizon painters were part of a movement towards realism in art which arose in the context of the dominant Romantic Movement of the time. In 1824 the Salon de Paris exhibited works of John Constable. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. One of them, Jean-François Millet, extended the idea from landscape to figures — peasant figures, scenes of peasant life, and work in the fields. In The Gleaners (1857), Millet portrays three peasant women working at the harvest. There is no drama and no story told, merely three peasant women in a field. The leaders of the Barbizon school were Jean-Baptiste Camille Corot, Théodore Rousseau, Jean-François Millet and Charles-François Daubigny; other members included Jules Dupré, Narcisse Virgilio Diaz, Charles Olivier de Penne, Henri Harpignies, Gabriel Hippolyte LeBas (1812-1880), Albert Charpin, Félix Ziem, François-Louis Français and Alexandre DeFaux.
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| The Gleaners (1857) by Jean François Millet |
Barbizon School (1830-1870)
Naturalism (1830- )
Naturalism
Naturalism in art refers to the depiction of realistic objects in a natural setting. The Realism movement of the 19th century advocated naturalism in reaction to the stylized and idealized depictions of subjects in Romanticism, but many painters have adopted a similar approach over the centuries. One example of Naturalism is the artwork of American artist William Bliss Baker, whose landscape paintings are considered some of the best examples of the naturalist movement. Another example is the French Albert Charpin, from the Barbizon School,with his paintings of sheep in their natural settings. An important part of the naturalist movement was its Darwinian perspective of life and its view of the futility of man up against the forces of nature.
Naturalism began in the early Renaissance, and developed itself further throughout the Renaissance, such as with the Florentine School.
Naturalism is a type of art that pays attention to very accurate and precise details, and portrays things as they are.
Controversies about terms
Some writers restrict the terms "Naturalism" and "Realism" for use as labels for period styles of the middle and late nineteenth century in Europe and America, thus making available the terms "naturalism" and "realism," all lowercase, for tendencies of art of any period so long as the works strive for an accurate representation of the visible world.
All art is conventional, but artists following the tendency "naturalism" profess a belief in the importance of producing works that mimic the visible world as closely as possible.
Thus, "Naturalism" is tied to time and place, whereas "naturalism" is timeless.
http://en.wikipedia.org/wiki/Naturalism_(arts)
http://en.wikipedia.org/wiki/Art_periods
Realism (art movement) | Art movements | Art movement stubs | Naturalism (1830-)
Naturalism in art refers to the depiction of realistic objects in a natural setting. The Realism movement of the 19th century advocated naturalism in reaction to the stylized and idealized depictions of subjects in Romanticism, but many painters have adopted a similar approach over the centuries. One example of Naturalism is the artwork of American artist William Bliss Baker, whose landscape paintings are considered some of the best examples of the naturalist movement. Another example is the French Albert Charpin, from the Barbizon School,with his paintings of sheep in their natural settings. An important part of the naturalist movement was its Darwinian perspective of life and its view of the futility of man up against the forces of nature.
Naturalism began in the early Renaissance, and developed itself further throughout the Renaissance, such as with the Florentine School.
Naturalism is a type of art that pays attention to very accurate and precise details, and portrays things as they are.
Controversies about terms
Some writers restrict the terms "Naturalism" and "Realism" for use as labels for period styles of the middle and late nineteenth century in Europe and America, thus making available the terms "naturalism" and "realism," all lowercase, for tendencies of art of any period so long as the works strive for an accurate representation of the visible world.
All art is conventional, but artists following the tendency "naturalism" profess a belief in the importance of producing works that mimic the visible world as closely as possible.
Thus, "Naturalism" is tied to time and place, whereas "naturalism" is timeless.
http://en.wikipedia.org/wiki/Naturalism_(arts)
http://en.wikipedia.org/wiki/Art_periods
Realism (art movement) | Art movements | Art movement stubs | Naturalism (1830-)
Liberty Leading the People (Eugène, 1830)
Liberty Leading the People (Eugène, 1830)
http://en.wikipedia.org/wiki/File:Eug%C3%A8ne_Delacroix_-_La_libert%C3%A9_guidant_le_peuple.jpg
http://en.wikipedia.org/wiki/Romanticism
Romanticism (1800-1850)
| Artist | Eugène Delacroix (1798–1863) |
| Title | Liberty Leading the People Deutsch: Die Freiheit führt das Volk. Español: La libertad guiando al pueblo. Français : La Liberté guidant le peuple. Русский: Свобода, ведущая народ. Tiếng Việt: Nữ thần Tự do dẫn dắt nhân dân |
| Year | 1830 |
| Technique | Oil on canvas |
| Dimensions | 325 × 260 cm (128.0 × 102.4 in) |
| Current location | Musée du Louvre, Paris, France |
| Notes | Romantic history painting. Commemorates the French Revolution of 1830 (July Revolution) on 28 July 1830. Español: Pintura histórica romántica. Conmemora la Revolución francesa el 28 de Julio de 1830. Français : Peinture historique romantique. Commémore les Trois Glorieuses (la Révolution de Juillet) le 28 juillet 1830. Tiếng Việt: Tác phẩm trường phái lãng mạn. Minh họa cuộc cánh mạng tháng Bảy năm 1830 tại Pháp. |
http://en.wikipedia.org/wiki/File:Eug%C3%A8ne_Delacroix_-_La_libert%C3%A9_guidant_le_peuple.jpg
http://en.wikipedia.org/wiki/Romanticism
Romanticism (1800-1850)
Victorian Classicism (1830- )
Victorian Classicism
Britain, Mid to Late 19th Century. Victorian Classicism was a British form of historical painting inspired by the art and architecture of Classical Greece and Rome. Although the word classical often implies direct inspiration from antique art, but this is not a necessary part of the concept, and according to context the word might be intended to convey little more than the idea of clarity of expression, or alternatively of conservatism. In the context of Greek art, the term `Classical' has a more precise meaning, referring to the period between the Archaic and Hellenistic periods, when Greek culture is thought to have attained its greatest splendor. The term `classic' is used to refer to the best or most representative example of its kind in any field or period. In the 19th century, an increasing number of Western Europeans made the Grand Tour to Mediterranean lands. There was a great popular interest in the region's lost civilizations and exotic cultures, and this interest fuelled the rise of Classicism in Britain, and Orientalism, which was mostly centered in continental Europe. The Classicists were closely associated with the Pre-Raphaelites, many artists being influenced by both styles to some degree. Both movements were highly romantic and were inspired by similar historical and mythological themes -- the key distinction being that the Classicists epitomized the rigid Academic standards of painting, while the Pre-Raphaelites were initially formed as a rebellion against those same standards. Frederick Leighton and Lawrence Alma-Tadema were the leading Classicists, and in their lifetimes were considered by many to be the finest painters of their generation.
Art Cyclopedia http://www.artcyclopedia.com/history/victorian-classicism.html
All Paintings http://www.allpaintings.org/v/Victorian+Classicism/
Victorian Classicism (1830-)
Britain, Mid to Late 19th Century. Victorian Classicism was a British form of historical painting inspired by the art and architecture of Classical Greece and Rome. Although the word classical often implies direct inspiration from antique art, but this is not a necessary part of the concept, and according to context the word might be intended to convey little more than the idea of clarity of expression, or alternatively of conservatism. In the context of Greek art, the term `Classical' has a more precise meaning, referring to the period between the Archaic and Hellenistic periods, when Greek culture is thought to have attained its greatest splendor. The term `classic' is used to refer to the best or most representative example of its kind in any field or period. In the 19th century, an increasing number of Western Europeans made the Grand Tour to Mediterranean lands. There was a great popular interest in the region's lost civilizations and exotic cultures, and this interest fuelled the rise of Classicism in Britain, and Orientalism, which was mostly centered in continental Europe. The Classicists were closely associated with the Pre-Raphaelites, many artists being influenced by both styles to some degree. Both movements were highly romantic and were inspired by similar historical and mythological themes -- the key distinction being that the Classicists epitomized the rigid Academic standards of painting, while the Pre-Raphaelites were initially formed as a rebellion against those same standards. Frederick Leighton and Lawrence Alma-Tadema were the leading Classicists, and in their lifetimes were considered by many to be the finest painters of their generation.
.jpg) |  |
| Flaming June by Frederick Leighton | Andromeda by Edward John Poynter |
Art Cyclopedia http://www.artcyclopedia.com/history/victorian-classicism.html
All Paintings http://www.allpaintings.org/v/Victorian+Classicism/
Victorian Classicism (1830-)
Neoclassicism (1750-1830)
Neoclassicism (1750-1830)
The term Neoclassicism refers to the classical revival in European art, architecture, and interior design that lasted from the mid-eighteenth to the early nineteenth century. This period gave rebirth to the art of ancient Rome and Greece and the Renaissance as an opposition to the ostentatious Baroque and Rococo art that preceded the movement. Although the movement spread throughout Western Europe, France and England were the countries that used the style most frequently in their arts and architecture, using the classical elements to express ideas of nationalism, courage, and sacrifice. The movement was inspired by the discovery of ancient Italian artifacts at the ruins of Herculaneum and Pompeii. Neoclassicism emphasized rationality and the resurgence of tradition. Neoclassical artists incorporated classical styles and subjects, including columns, pediments, friezes, and other ornamental schemes in their work. They were inspired by the work of Homer and Plutarch and John Flaxmann’s illustrations for the Illiad and Odyssey. Other classic models included Virgil, Raphael, and Poussin among others. Neoclassical painters took extra care to depict the costumes, settings, and details of classical subject matter with as much accuracy as possible. Much of the subject matter was derived from classical history and mythology. The movement emphasized line quality over color, light, and atmosphere.
Neoclassicism (1750-1830)
The term Neoclassicism refers to the classical revival in European art, architecture, and interior design that lasted from the mid-eighteenth to the early nineteenth century. This period gave rebirth to the art of ancient Rome and Greece and the Renaissance as an opposition to the ostentatious Baroque and Rococo art that preceded the movement. Although the movement spread throughout Western Europe, France and England were the countries that used the style most frequently in their arts and architecture, using the classical elements to express ideas of nationalism, courage, and sacrifice. The movement was inspired by the discovery of ancient Italian artifacts at the ruins of Herculaneum and Pompeii. Neoclassicism emphasized rationality and the resurgence of tradition. Neoclassical artists incorporated classical styles and subjects, including columns, pediments, friezes, and other ornamental schemes in their work. They were inspired by the work of Homer and Plutarch and John Flaxmann’s illustrations for the Illiad and Odyssey. Other classic models included Virgil, Raphael, and Poussin among others. Neoclassical painters took extra care to depict the costumes, settings, and details of classical subject matter with as much accuracy as possible. Much of the subject matter was derived from classical history and mythology. The movement emphasized line quality over color, light, and atmosphere.
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| Cupid and Psyche by Guillaume Seignac |
Neoclassicism (1750-1830)
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