Chapter3. Neoplatonic Ideas in Primavera and The Birth Of Venus There are a lot of interpretations and hypotheses about the subject-matter of Primavera and The Birth of Venus. The most preferred hypothesis is that both of the paintings are the reflection of the idea of Ficino, the leader of Florentine Neoplatonism movement. In Primavera and The Birth of Venus, many images of ancient goddesses are depicted. Botticelli 's usage of the ancient goddess figures are known as the feature of Italian Renaissance classic revival of art.
Moreau’s work is prominently history paintings, but it is his use of Symbolism that makes his artwork so intricate and complex, which forces viewers to navigate the piece to be able to understand it. This will be proven by analyzing the artwork Hesiod and the Muse painted in 1891. Moreau’s neighborhood in the New Athens Quarter in Paris was key in his developed interest in Symbolism, due to the number of contemporary writers as neighbors such as Alexandre Dumas, Émile Zola and Hector Berlioz that lived in the area. It cannot go
Began in France and was noticed after an expo “Arts Decoratifs et Industriels Morderne” that took place in Paris (Dickerson) (Heller). Like every movement even art deco had its critics because of its objects, illustrations and building were highly decorative. Its critics came from modernist designers and writers such as Le Corbusier, who was interested in industrial aesthetic. This movement also has its exotic style and design, which was inspired by the discovery of Kings Tut’s tomb in Egypt in 1922 (Dickerson). The geometric motifs related with art deco came from movements like cubism and futurism.
The focus was to "resolve the previously contradictory conditions of dream and reality". This art reflects the expression of pure thought from the unconscious mind without being restricted by rationalities and logistics. Because of this, the art produced by this movement was see as unusual and disturbing. Surrealist artists featured elements of surprise in their painting, unexpected juxtapositions and non sequitur. Surrealism actually stemmed from the Dada Movement activities during World War I and the most important center of the movement was Paris.
Versailles and Forbidden City represent the difference of traditional cultures and art between the East and the West. Versailles has a elegant U-shaped main building in the center and a royal court with diverse plants. Inspired by the architecture of baroque Italian villas, but executed in the French classical style, the garden front and wings were encased in white cut ashlar stone that called enveloppe. The inner palace for royal family living is decorated with minors and luxurious lights. Sculptures and paintings are displayed in every corner.
Introductory paragraph Jean-Baptiste Lully created a unique French opera and his tragedie-lyrique Armide is a prime example of his use of French tradition. French opera was exceedingly different in performance practice from Italian opera. At the beginning of the eighteenth-century, Francois Raguenet and Jean-Laurent Lecerf published treatises criticizing and praising French style opera. Their praise and criticism can be applied to Lully’s Armide to demonstrate the controversial issues raised by Raguenet and Lecerf. French tradition and King Louis XIV’s absolute monarchy are foremost influencers of Lully’s tragedie-lyrique.
After the rise and fall of Maximilien Robespierre, a five person council came into power known as the Directory. Thus, in 1799, general Napoleon Bonaparte staged the Coup of 18 Brumaire, getting rid of the Directory. He was elected as First Consul of France. Through warfare and diplomacy, Napoleon started a brief period of peace in Europe. Mirroring Julius Caesar, he was then named First Consul for life and a few years later he became emperor of France.
In this discussion, the comparison and contrast will be between two paintings from these two periods. Neoclassic is termed under the “Age of Reason” or as it is also known, Enlightenment. This is where the difference might be seen regarding this period and that of Rococo. Artist began creating artworks at an intellectual level. The Neoclassical paintings tell a story as
The Picture of Dorian Gray and Vanity Fair, without a doubt, differ in many ways, which I will revisit in more detail later on, and yet - art, sin and vanity seem to be the leading motifs in both. Art is a mirror of society and its values, and like with any subjective reflection, what it shows differs from person to person. The first novel revolves around a portrait of a young aristocrat Dorian Gray and the second is a ‘puppet play’ that is the aristocratic world of ‘vanity fair’. This essay shall explore art as both the mirror and the coping mechanism of society in the way it is presented in these two novels – where a spectator is never certain whether they are looking at a real reflection or an idealised image, which leads to unequivocal feeling of personal involvement and dread. Oscar Wilde in The Preface to The Picture of Dorian Gray introduces the reader to the idea of l’art pour l’art, however, the very picture of Dorian Gray is a reflection of Dorian’s sins; due to this and the ever-present idea of aestheticism in the novel, Dorian himself may be the art for the sake of art.
“I 've always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artists can do is to be honest with themselves and make the art they want to make. That 's what I 've always done.” -Jeff Koon In general, the world in the early 20th century witnessed a varied of artistic productivity. Dadaism and Surrealism, both innovative movements had an enormous impact on society and culture in general. And have a big influence in defining Modernism.