- Industry: Art history
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Until the nineteenth century Western art was dominated by the academic theory of History painting and High art (see also Grand manner). Then, the development of Naturalism began to go hand in hand with increasing emphasis on realism of subject, meaning subjects outside the high art tradition. The term Realism was coined by the French novelist Champfleury in the 1840s and in art was exemplified in the work of his friend the painter Courbet. In practice Realist subject matter meant scenes of peasant and working class life, the life of the city streets, cafes and popular entertainments, and an increasing frankness in the treatment of the body and sexual subjects. The term generally implies a certain grittiness of choice of subject. Such subject matter combined with the new naturalism of treatment caused shock among the predominantly upper and middle class audiences for art. Realism is also applied as a stylistic term to forms of sharply focused almost photographic painting irrespective of subject matter, e. G. Early Pre-Raphaelite work such as Millais' Ophelia. (See also Modern Realism).
Industry:Art history
A copy of a work of art that is virtually indistinguishable from the original. Unlike a fake, a replica is not trying to pass for the original and is often made by the artist and used for historical and educational purposes. The vogue for collecting replicas reached the height of popularity in the mid to late nineteenth century when few people could afford to travel on the Continent, so museums acquired reproductions of important monuments and works of art to complement their collections. Replicas in modern art are made as a result of original works of art decaying or being lost. Marcel Duchamp's Fountain, the most famous of the artist's readymade sculptures, was replicated in collaboration with Duchamp from a photograph of the lost original. Tate holds the largest collection of plastic sculptures by Naum Gabo, but despite controlled storage conditions, many of these works are cracking and warping. Computer software will be used to help virtually restore the sculpture models, so that replicas can be made of the originals.
Industry:Art history
Lumina, senzual, intens decorative stil francez dezvoltat începutul secolului XVIII, după moartea lui Louis XIV şi în reacţie la grandorii baroce de la Versailles. Numele vine de la francez rocaille, rock-locul de muncă, pe baza formularelor de scoici mare şi corali. În practica stil de scurtă curbe, suluri şi contra curbe, adesea elaborate cu fantezie. În pictura, Rococo drăgălăşeniile, veselie, curvaceousness si senzualitate exemplificate în munca de Boucher și Fragonard, Watteau sculptura de Clodion. (Exemple superbe stilul rococo şi decor în Wallace Collection, Londra; de asemenea, Victoria and Albert Museum pentru Clodion). A adus în Regatul Unit de Mercier şi robustă versiunea britanică în Hogarth, dar influenţa în Marea Britanie ajunge la înălţime în portrete feminine orbitor de Gainsborough.
Industry:Art history
Avant-garde art school (Academia Altamira) in Buenos Aires, Argentina, founded in 1946 by the Argentinian born Italian artist Lucio Fontana and others. Its aim was to promote the idea that a new art was necessary to reflect the modern world as revealed by science. In practice this art was abstract. Also in 1946 Fontana and a group of his students published the Manifiesto Blanco (white manifesto) setting out their ideas. Strongly influenced by Futurism, it called for an art that was a synthesis of colour, sound, movement, time and space. Among Fontana's pupils at the Altamira Academy was the Brazilian artist Sergio de Camargo. In 1947 Fontana returned to Italy.
Industry:Art history
În 1976, la o înălţime de Minimal artă şi Arta conceptuală, pictor American R. B. Kitaj, apoi cu sediul în Londra, Marea Britanie, a organizat la Hayward Gallery din Londra o expoziţie intitulată lut umane. Exclusiv ea a constat din figurativ desen şi pictură şi s-au dovedit extrem de controversat. În textul său catalog, Kitaj folosit termenul School din Londra de vag pentru a descrie artisti a adus împreună. Numele a rămas pentru a se referi la pictori la acel moment, care au fost urmărirea încăpăţânare forme de pictura figurativa în faţa formelor avangardiste predominante. Artiştii şef asociat cu ideea de scoala din Londra, în plus faţă de Kitaj el însuşi, au fost Michael Andrews, Frank Auerbach, Francis Bacon, Lucian Freud, David Hockney (deşi trăiesc în SUA), Howard Hodgkin, şi Leon Kossoff. Lucrările acestor artişti a fost adus în centrul atenţiei proaspete şi dat un nou impuls de renaştere a interesului în pictura figurativa de o generaţie mai tineri, care a avut loc în sfârşitul anilor 1970 şi anii 1980 (a se vedea pictura aluzive şi spiritul nou).
Industry:Art history
În secolul al nouăsprezecelea Paris, Franţa, a devenit centrul unei şcoli naţionale puternic de pictură şi sculptură, culminând cu inovaţiile orbitor de impresionismul şi post-impresionism. Ca rezultat, în primii ani ai secolului XX Paris a devenit un magnet pentru artişti din toată lumea şi să se concentreze din principalele inovaţii artei moderne, în special Fauvism, Cubism, artă abstractă şi suprarealism. Scoala pe termen de la Paris a crescut pentru a descrie acest fenomen. Şefii twin (bucătari d'école) au fost Pablo Picasso care s-a stabilit la Paris din Spania sa nativă în 1904, și francez Henri Matisse. De asemenea, în 1904, pioneer moderne sculptorului Constantin Brancusi a ajuns în Paris din România, iar în 1906 pictorul şi sculptorul Amedeo Modigliani din Italia. Chaïm Soutine au sosit din Rusia în 1911. Rusă pictorul Marc Chagall a trăit la Paris din 1910-14 şi apoi din nou la 1923-39 şi 1947-9, după care s-a mutat la sudul Franţei. Olandeză-pionier al pur pictura abstracta, Piet Mondrian, s-a stabilit la Paris în anul 1920 şi Wassily Kandinsky în 1933. Zilele de glorie ale şcolii de la Paris a fost încheiat de al doilea război mondial, deşi termenul a continuat să fie folosit pentru a descrie artiştilor din Paris. Cu toate acestea, la aproximativ 1950 dominația cedate de naştere a şcolii New York.
Industry:Art history
The term invented by Robert Delaunay to describe the abstract painting developed by him and his wife Sonia Delaunay from about 1910. Their work was also named Orphism by the poet and critic Apollinaire. The term is derived from the theories of M-E Chevreul whose book of colour theory De la loi du contraste simultanée des couleurs (On the law of the simultaneous contrast of colours) was published in Paris in 1839. It had an increasing impact on French painters from then on, particularly the Impressionists and Post-Impressionists generally, and especially the Neo-Impressionists. The Delaunays' paintings consisted of interlocking or overlapping patches, or planes, of contrasting (or complementary) colours. In Chevreul's theory, and in reality, contrasting colours brought together (i. E. Simultaneous) enhance each other, giving the painting greater intensity and vibrance of colour. The compositions were initially derived from architecture (e. G. R Delaunay's Windows series) but by 1912 he had begun to make paintings in totally abstract circular formats (Disques and Formes circulaires cosmiques series). These compositions were still ultimately based on nature however. In 1912 Delaunay wrote: 'Direct observation of the luminous essence of nature is for me indispensable'.
Industry:Art history
Refers to any Realist painting that also carries a clearly discernible social or political comment. In Britain can be found in eighteenth century in e. G. Hogarth, but became particularly widespread in nineteenth century. Important contributions by Pre-Raphaelites and by the more serious-minded genre painters such as Egg, Frith, Fildes and Holl. Not to be confused with Socialist Realism.
Industry:Art history
A form of modern realism imposed in Russia by Stalin following his rise to power after the death of Lenin in 1924. The doctrine was formally proclaimed by Maxim Gorky at the Soviet Writers Congress of 1934, although not precisely defined. In practice, in painting it meant using realist styles to create rigorously optimistic pictures of Soviet life. Any pessimistic or critical element was banned, and this is the crucial difference from social realism. It was quite simply propaganda art, and has an ironic resemblance to the Fascist realism imposed by Hitler in Germany (see Entartete Kunst). Outside the Soviet Union, socialist artists produced much freer interpretations of the genre.
Industry:Art history
O dispersie de pigmenţi într-un ulei de uscare, care formeaza un film dur, colorate pe expunerea la aer. Uscare de ulei este un ulei vegetal, de multe ori făcută de strivire nuci sau seminte. Pentru vopsele, ulei de in este utilizat cel mai frecvent, dar Mac, floarea-soarelui, șofran, soia si uleiuri de nuc, de asemenea, au fost utilizate. Uleiurile de uscare iniţial vindeca prin oxidare duce la cruce care leagă de lanţuri moleculare; Acest lucru este un proces lent, afectate de grosime film şi componente de vopsea. Artistii au folosit terebentină sau spiritele minerale pentru a dilua vopsea de ulei. Un strat puternic diluat se usuca relativ repede, fiind tac-free în câteva zile. Straturile mai groase, care conţin mai mult petrol, dura mai mult. Vopsea de ulei continuă să se usuce, mai greu cu vârsta peste multe decenii. Pigmenţi şi extenders va afecta rata de uscare, astfel încât diferite culori pot usca la viteze diferite.
Industry:Art history
