LESSON 1

Prehistoric art
The earliest art comes from the
refers to artifacts made
Paleolithic era (the Old Stone Age),
before there was a written but it was in the Neolithic era where
record. Long before the the most important developments in
oldest written languages human history were seen. The way
people live today-settled in cities,
were developed, people protected by laws, eating food from
had become expert at farms-all this dates back
creating forms that were approximately 10.000 years ago to
the Neolithic era (Prehistoric Art,
both practical and
n.d.).
beautiful
The cupule
The earliest forms of prehistoric
a mysterious type of Paleolithic
art are extremely primitive.
cultural marking Venuses
ofBerekhat Ram amounts to no
more than a hemisphericalor cup-
like scouring of the rock surface. It is not until the Upper Paleolithic
(from roughly40,000 BCE onwards)
The early sculptures are such that anatomically modern
crude representationsof humanoid manproduces recognizable
shapes that some experts carvings and pictures(Prehistoric
doubtwhether they are works of art Art. n.d.).
at all.
Prehistoric art
A number of highly sophisticated techniques such as radiometric testing.
Uranium/Thorium dating and thermo luminescence are now available to help
establish the date of ancient artifacts from the Paleolithic era and later.

However, dating of ancient art is not an exact science, and results are often
dependent on tests performed on the layer of earth and debris in which the
artifact was lying, or in the case of rock engraving, an analysis of the content
and style of the markings. Animal drawings using regular side-profiles, for
instance, are typically older than those using three-quarter profiles (Prehistoric
Art. n.d.).
Prehistoric cave art is not really an art
movement as it is a period in humanity's
artistic development. It predates writing,
printmaking and encompasses the
genesis of both early sculpture and
Cave art
painting.

Very few art pieces stand the test of time

and only the toughest sculptures and
paintings made with plenty of pigment
(and presumably sheltered from the
elements) have managed to last tens of
thousands of years (Moffat 2007).
Cave art Like other tribes today. Prehistoric
people often represented their world and
beliefs through visual images. Paintings,
sculptures, engravings and later pottery
reveal not only a quest for beauty but
also complex social systems and
spiritual concepts

Their lifestyles depended on hunting and

foraging for food or later on pastoral
agriculture. Works from this prehistoric
period are not always simple, but can be
quite complex.
Cave art The cave art of all social groups
consists of five principal motifs:
human figures, animals, tools and
weapons, rudimentary local maps,
and symbols or ideograms.

These motifs occur on portable

objects (engraved. sculpted or clay
modelled) and immovable surfaces
like rock paintings and engravings
(Moffat, 2007)
Cave art The Lascaux Cave paintings for example
were created with brushes made from
animal fur. Because the people who
made these art pieces were amateurs,
there is evidence of their desire to show
both realism and to use abstraction in an
effort to make the art more portable
(Moffat. 2007).

Paleolithic artists have five main colors at their disposal: yellow,

red, brown, black and white.White is more rare, but it is seen at
Lascaux cave.
 PRE-HISTORIC EGYPTIAN ART

The three main periods of Egyptian history are the:

Kingdom (approximately 2,700-2,200 B.C.E.)

Middle Kindom (2,050-1,800 B.C.E.)

New Kingdom (approximately 1,550-1,100 B.C.E.). Late New Kingdom, ending
around 343 B.C.E.
PREHISTORY is a relative term that depends on the culture; prehistoric
Egypt means Egypt before 3200 B.C.
 PRE-HISTORIC EGYPTIAN ART

PREHISTORY is a relative term that depends on the

culture; prehistoric Egypt means Egypt before
3200 B.C

A major contributor to late Neolithic art, Egyptian

culture is probably the best known form of ancient
art in the Mediterranean basin, before the advent
of Greek civilization (c.600 BCE).
 ANCIENT EGYPTIAN ART
ARTISTS & ARTISANS

Egyptian sculptors and painters were not artists in the modern sense of being a creative individual.
Ancient Egyptian art was rather the work of paid artisans who were trained and who then worked
as part of a team.
The leading master craftsman might be very versatile, and capable of working in many branches of
art, but his part in the production of a statue or the decoration of a tomb was anonymous.
He would guide his assistants as they worked, and help to train novices, but his personal
contribution cannot be assessed.
Artists at all stages of their craft worked together. The initial outline sketch or drawing would be
executed by one or more, who would then be followed by others carving the intermediate and final
stages. Painters would follow in the same manner.
 ANCIENT EGYPTIAN ART
RULES OF PAINTING/SCULPTURE
Egyptian civilization was highly religious. Thus most Egyptian artworks involve the
depiction of many gods and goddesses - of whom the Pharaoh was one.
The sizes of figures were calculated purely by reference to the person's social status,
rather than by the normal artistic rules of linear perspective.
For Egyptian sculpture and statues, the rules stated that male statues should be darker
than female ones; when seated, the subject's hands should be on knees. Gods too were
depicted according to their position in the hierarchy of deities, and always in the same
guise. For instance, Horus (the sky god) was always represented with a falcon's head,
Anubis (the god of funeral rites) was always depicted with a jackal's head.
 ANCIENT EGYPTIAN ART
USE OF PIGMENT
-used six colours in their paintings red, green, blue, yellow, white and black.

Red, being the colour of power, symbolized life and victory, as well as anger and fire.
Green symbolized new life, growth, and fertility,
Blue symbolized creation and rebirth,
Yellow symbolized the eternal, such as the qualities of the sun and gold.Yellow was the colour of Ra and of all the
pharaohs, which is why the sarcophagi and funeral masks were made of gold to symbolize the everlasting and eternal
pharaoh who was now a god.

White was the colour of purity, symbolizing all things sacred, and was typically used used in religious objects and tools
used by the priests.

Black was the colour of death and represented the underworld and the night.
 ANCIENT EGYPTIAN ART

BOOK OF THE DEAD -This book consists

of a number of magical spells that are
supposedly used to assist a dead
person’s journey through the
underworld once they have died and
been resurrected into the afterlife. The
earliest of the spells and manuscripts
date back to 3000 BC.
 GREEK ART
The Ancient Greeks focused
on the human figure as the
major subject matter in their
art. Even the Gods were
depicted in human form, free
of the supernatural features
seen in images of gods and
goddesses of the Ancient
Near East and Egypt.
 GREEK ART
Some characteristics of ancient
greek art include:
•Order
•Balance
•Elegance & beauty
•Idealised the human figure
•Prefect proportions
 ART PERIODS

Greek art is divided into 3 periods.

1. Archaic period
2.Classical period
3.Hellenistic period
 ARCHAIC PERIOD
The Archaic Period covered roughly a period from
the 7th to the 6th century BC (700-500 BC).

During the Archaic period, Greek art became less

rigidly stylized and more naturalistic. Paintings on
vases evolved from geometric designs to
representations of human figures, often
illustrating epic tales.
ARCHAIC PERIOD
 ARCHAIC PERIOD
In sculpture, faces were
animated with the characteristic
“Archaic smile,” and bodies
were rendered with a growing
attention to human proportion
and anatomy.
 CLASSICAL PERIOD
The classical period (480-323 BCE), was
characterized by restrained harmony,
proportional beauty, and idealization. These
qualities, remarkable given the relative brevity of
the period, emerged as the bedrock of Western
art's canon in the ages that followed.

The perfect individual became the Greek ideal and

the portrayal of beautiful humans became the
focus of many of the greatest Greek artists.
CLASSICAL PERIOD
 HELLENISTIC PERIOD
The period between the death of Alexander the
Great in 323 B.C.E. and the rise of Augustus in
Rome in 31 B.C.E. is collectively known as the
Hellenistic period.

The art in this period was less formal and more

naturalistic and emotional. It was often quite
dramatic.
HELLENISTIC PERIOD
 ROMAN ART
Much of Roman art copied Greek art. The
Romans had a great admiration for Greek art.

Although they borrowed a lot from Greek

styles, they also made important contributions
to their art, especially in architecture.
 SCULPTURES
Greek sculptures Roman sculptures
Idealistic Realistic
Made for public Designed for private needs
monuments Natural and life-like
Usually sculpted the Wanted to remind people
entire body of specific individuals
Considered a Often sculpted just the head
sculpture of a head and not the whole body
or bust incomplete
SCULPTURES
 MURAL PAINTING
Wealthy Romans lived
in lavish homes. They
did not like hanging
artworks so instead
artists painted murals.
 ROMAN ARCHITECTURE
Few examples of Roman sculptures and paintings
remain but examples of architecture have survived.

They designed and constructed city services such as

aqueducts, sewer systems, and public buildings for
business and leisure.

Romans were excellent planners and engineers.

 ROMAN ARCHITECTURE
Many early Roman temples resemble Greek
architecture but the Greeks used columns for support,
while the Romans used them as decoration.
 INNOVATIONS
The Romans into improved the arch
and made it strong enough for large-
scale, widespread use. By developing
an arch capable of supporting huge
amounts of weight, they laid the
groundwork for some of the most
important advancements in
architectural history.
INNOVATIONS
 INNOVATIONS
Wherever the Roman army went they spread the
knowledge of arch and concrete building techniques.
 INNOVATIONS
Aqueducts were a system that carried water from
mountain streams into cities using gravitational flow.
MIDDLE AGES
MIDDLE AGES
(A.D. 500–1400)
It is referred also as the: “Dark Ages”.

Art from this period of history reflects

and depicts “grotesque imagery and
brutal scenery”.

Elements and characteristics of various

artworks, was widely centered around
the Church.
ARTS OF MIDDLE AGES

EARLY CHRISTIAN ART BYZANTINE ART

(RELIGIOUS ART)

ROMANESQUE ART GOTHIC ART

 EARLY CHRISTIAN
ART
Medieval imagery is thought to have originated with
the fall of the Roman Empire and the shift in the third
century from polytheistic belief in mythological gods
to monotheistic devotion to a single deity.

Once Constantine, the Roman Emperor who ruled

from 306 to 337, converted to Christianity, he
removed these religious restrictions. According to a
source, which states that, "First [Constantine] issued
a decree whereby Christians would be tolerated and
their confiscated property restored, then he
recognized Christianity as a lawful religion". As a
Painted depiction of Christ in the Commodilla result of Constantine's decree, religiously inspired
Catacombs in Rome that dates back to the late 4th art became more prevalent.
century.
Artworks from this time features narratives that have taken inspiration from the
Christian faith; mural paintings on walls and ceiling of catacombs. Decorations for
religious funerary were also popular, and sculptural while being limited, can be seen
in relief carvings of a burial sarcophagi.

Replica of the interior of an excavated synagogue in Dura-Europos, Syria

dating back to c. 245-256 which was filled with wall paintings of Old
Testament scenes and narratives.
BYZANTINE ART
In favour of highly stylised, flattened
designs, the Byzantine style rejected the
realistic forms of classical Roman art.

Elongated figures with angular faces,

positioned face to face against ornate gold
backgrounds, defined the era at its peak.

Icons were particularly popular, mostly

painted on wood panels with the encaustic
technique in which coloured pigment was
mixed into wax and burned to the wood,
depicting Christ, Mary or other important
figures of worship.
El Greco (Domenikos Theotokopoulos) Christ Blessing ('The
Saviour of the World') About 1600
 In Byzantine Poikilia, mosaics, often with gold tiles that shimmered with light, invoking a
sense of religious aura around scenes, as were carved, variegated stone surfaces, in
particular ivory reliefs, with minutely precise, intricate details that suggested a realistic
sculpture depth, were predominant.

Other forms of decorative arts existed such as Metalsmithing, enamelling and illuminated
manuscripts, all of which were lavishly decorated with semiprecious stones and enamels.
Biblical scenes were also featured in textiles, fabric designs and pottery with ornate areas
of patterning.

Byzantine mosaic of Christ Pantocrator in Byzantine mosaic of emperor

the Hagia Sophia, Istanbul, Turkey Justinian in Ravenna, Italy
ROMANESQUE ART
ROMANESQUE ART
Began around 1000 and lasted until 1150

Romanesque art was born in the 11th century and

spread to Spain, England, France, Flanders,
Germany, Italy as well as further regions. Being
considered as the first style to spread across the
Europe, it symbolizes the wealth of European
cities and power that church monasteries hold.

Romanesque churches favoured rounded stone

arches reminiscent of early Roman architecture.
There was also a return to monumental sculpture
in Romanesque, with relief sculptures depicting
biblical history adorning the columns and the The Pisa Cathedral (1063-1092). A fine example of Romanesque
massive church doors. architecture with pronounced decorative elements that
distinguishing it from earlier Christian architecture.
 Art from the Romanesque era has grown more poignant and realistic. During this time,
religiously themed illuminated manuscripts and mural paintings were produced in
large quantities. Additionally, painted icons and elaborately designed reliquaries—
which are containers for sacred relics—were produced and prominently displayed in
Romanesque churches.

Shrine of the Three Kings

Vita Christi Illuminated Manuscript
 ARTIST/S

DUCCIO DI
GIOTTO
BUONINSEGNA CIMABUE
GOTHIC ART
GOTHIC ART

Gothic style Covered the period between the 12th and 15th
centuries.

With its structural innovations—such as ribbed vaults, flying

buttresses, and ornamental pinnacles—Gothic architecture
enabled the construction of taller, lighter buildings.

Gothic sculpture started to feature more realistic figures that were

directly inspired by medieval cathedrals. Along with paintings
becoming more realistic, painters began experimenting with
secular themes and non-religious subject matter as a result of the
development of cities, the establishment of universities, increased
trade, and the emergence of a new class of people who could
afford to commission works.
 Virgin of Paris
Vierge a l’Enfant Sculpture
(early 14th century)
 ARTIST/S

DUCCIO DI
GIOTTO
BUONINSEGNA CIMABUE
 NAISSA N C E
RE
ART illaraza
eV B y : S h e r r i e M a
Pr e p a r e d
RENAISSANCE ART
Is a painting, sculpture,
architecture, music, and
literature produced during the
14th, 15th, and 16th centuries in
Europe under the combined
influences of an increased
awareness of nature, a revival of
classical learning, and a more
individualistic view of man.
The Renaissance was a fervent
period of European cultural,
artistic, political and economic
“rebirth” following the Middle
Ages.
 RENAISSANCE
ART

EARLY RENAISSANCE HIGH RENAISSANCE MANNERISM PERIOD

(14TH-15TH CENTURY) (16TH CENTURY)
 E A R L Y
N A I S S A N C E
RE
Early Rena iss a nc e a r t is t s beg a n to c re at e w ork

g e o f a rc h it e c ture,
n sifie d b y k n o w led
inte a t ic s , s c ie n c e ,
, th e o lo g y , m a them
philosophy e m e r g e d in a r t
e in n o v a t io n s that
and design. Th g o o n t o c a u se
t h is p e rio d w o uld
during e t o in f lu en c e
s, w h ic h c o ntin u
reverbera t io n lso
nas to d a y . It is a
n d c u ltu r a l a re
creative a , & e x p re s sio n;
sim p lic it y , g e s ture
emphasis on n a t ure
depict e d m a n &
 HIGH
N A I S S A N C E
RE e n a tio n o f c la s s ic a l a r t m a rr ied
A reju v h e
e s ti g a t io n i n to t
wi th a d e e p in v
o f u n p a r a lle led
s s p u r re d a rtis t s
human it ie m e d
t ion s w e re in f o r
ry w h o s e c re a
maste c e , a n a to m y,
o w le d ge o f sc ien
by a keen kn in t o d a y, s om e
c tu re , a n d rem a
and arc h ite
in s p ir i n g w o rk s of
f t h e m o s t a w e -
o t c a n o n .
th e h is t o ri c a l a r
excelle nc e in
M A N N E R I S M
PE R I O D
a rt is t ic st yle a n d
M an n e ris m is a n
d i n E u r o p e f ro m
t t h a t d e v e lo p e
movemen R e n a is s a n c e ,
y e a rs of th e H i gh
the later o f th e 16th
5 2 0 s , to th e e n d
aroun d th e 1 e
ta rte d t o re p la c
e n B a ro q u e s
century wh re a c t io n to
m w a s b orn a s a
it. Ma nn e r is
m a n d n a tu ra lism
o n io u s c la s si c is
the har m
e R e n a is s a n c e .
of th
 RENAISSANCE
PAINTING

LAMENTATION OF CHRIST
Andrea Mantegna (1480s)

LADY WITH AN ERMINE THE MARRIAGE OF THE VIRGIN

Leonardo Da Vinci (1489-91) Raphael (1504)
 RENAISSANCE
SCULPTURE
Renaissance sculpture originated in
Florence in the 15th century and was
deeply influenced by classical sculpture.

David by Donatello
-Donatello’s genius made him an
The Porta del Paradiso important figure in the early Italian
- in Italian, was created by Florentine Renaissance period. Sculpted between
goldsmith and sculptor Lorenzo 1430–32, his bronze David is an example
Ghiberti between 1425 and 1452 and of his mature work. It is currently
installed in the eastern portal of the located in the Bargello Palace and
Baptistery. Museum.
 RENAISSANCE
DUOMO, CATHEDRAL OF SANTA
MARIA DEL FIORE, FLORENCE, ITALY ARCHITECTURE
a style of architecture that emerged in early 15th-
century Florence, Italy. Ushering in a revival of ancient
Greek and Roman Classical architectural forms, it
supplanted the prevailing Gothic medieval aesthetic
Renaissance architecture strove to create harmony
between humans and mathematical proportions by
creating a human-scale classical geometry
Early Renaissance buildings focused on bringing in air
and light, which was also a nod to the dawning of
Renaissance ideals and thought
 N E R I S M
MAN Sherrie Mae Villaraza
y:
Prepared B
 MANNERISM
The Italian manierism, the artistic
style that prevailed in italy fro the
end of the high renaissance in
the 1520s until the beginning of
Baroque Style 1520.
The Mannerist Style came from
Florence and Rome, extending
through northern italy and
eventually much central and
northern europe.
 MANNERISM
ART

MADONNA WITH THE LONG NECK

Parmigianino

SPRING THE VISION OF SAINT JOHN, OR THE

Giuseppe Arcimboldo OPENING OF THE FIFTH SEAL
El Greco
Baroque
and the
Rococo
Art Appreciation
Extravagance. Luxury. Grandeur. These are just a few of the words that may
run through your mind when you think of the Baroque art and Rococo art:
two styles of art and architecture in Europe

Though Rococo evolved from Baroque (and their definitions can

be loosely defined), the two periods are indeed separate and
distinct, with their own strong cultural influences and
meanings. Similar characteristics and overlapping time periods,
however, are perhaps why Baroque art and Rococo art are often
confused.
What is Baroque Art?
Baroque art emerged around the year 1600, about 70 years
after the end of the Early Renaissance in France and the High
Renaissance in Italy.
The period is said to have lasted about 150 years, during
which time emerged renowned artists and architects like
Caravaggio, Peter Paul Rubens, Diego Velázquez, Giovanni
Battista Gaulli, Rembrandt van Rijn, Johannes Vermeer, Gian
Lorenzo Bernini, and Francisco de Zurbarán.
The term “Baroque” is thought to have emerged from the
Italian word barocco, which was used by Medieval
philosophers to refer to an “obstacle in schematic logic.”
Barocco later became a term for any contorted idea or
complex thought process
Baroque art definition:
Active dates: c. 1600-1750
Stemmed from Italian word for “contorted idea”
Arose mainly as a means to promote the Catholic
Church during the Protestant Reformation
Emphasizes faith in church and power in state
Dramatic contrasts of lights and darks
Emotional, often religious depictions
Feelings of grandeur, awe, movement and tension
Hidden sources of light
Various contrasting textures
All encompassing works (illusionistic)
Materials: bronzes, gildings, plaster, marble, stucco
Focal point in architecture: entrance axis, pavilion
Some Baroque artist and architects
Gian Lorenzo Bernini (1598-1680)

Italian sculptor and architect

Known for: creating the Baroque style of sculpture
 What is Rococo Art
Favoring political philosophy over religious propaganda,
enlightened Europeans influenced the arrival of a new kid on
the block: Rococo.
The term “Rococo” likely stemmed from the French word
rocaille, which means “pebbles” and refers to the stones and
shells that were used to decorate interiors of caves. Shells
and similar forms eventually became the primary Rococo
motif.
Rococo arose in France in the early 1700s, which had already
shown signs of breaking from Baroque with its own French
Baroque style. Rococo was not, of course, associated with the
church, but rather with French King Louis XV. The movement
later spread to other European countries throughout the 18th
century.
Rococo art definition:
Active dates: c. 1715-1789
Stemmed from French word for shells and pebbles
Often characterized by shell motifs
Emerged during the Enlightenment
Emphasizes goals of knowledge, freedom, happiness
Pastel, light, soft colors
Ethereal, delicate, graceful scenes of elite
Feelings of playfulness, happiness, romance
Scattered light
Typically non-religious
Symbols of sex, beauty, courtship, mythology
Materials: bronzes, gildings, marble, carved wood,
stucco
Asymmetrical, curved forms and shapes
Some Rococo artist and architects
Jean Antoine Watteau (1684-1721)

French painter
Known for: founding the French Rococo style
Jean Antoine Watteau, “The Feast of Love,” 1718-19. Image via Wikimedia Commons
Some Rococo artist and architects
Germain Boffrand (1667-1754)

French architect
Known for: Rococo interiors
Rococo-style wall elevation in the bedroom of the Prince de Rohan at the Hôtel de
Soubise by Germain Boffrand, 1735–36. Image via Wikimedia Commons.
Neoclassicism
Art Appreciation
What is Neoclassicism?
First, let’s define Neoclassicism

Neoclassicism was an art movement that sought to evoke the style of

classical antiquity in writing, painting, sculpting, and architecture
found in Greek and Roman culture. Neoclassicism was most popular
between the late 18th century and early 19th century. But its influence
still reverberates throughout the art world today.

Neoclassicism is an important style to understand for

writers, filmmakers, artists, and architects. Why? Because it
changes how we think about classical art. And not just
classical art as in “Greek and Roman art” but all art that we
consider classical. For more, check out our index of art
styles covering more specific and noteworthy movements.
When did Neoclassicism start?
Neoclassicism took off around 1760
due to a growing dissatisfaction with
the gaudy baroque art style and the
emergence of archaeological findings
by German pioneer Johann Joachim
Winckelmann.
Some of the famous Neoclassical artists
Jacques-Louis David
David was a French painter who's credited as a
leading figure in the Neoclassical movement. David’s
1784 painting Oath of the Horatii is considered a
masterpiece of the Neoclassicism style.

Neoclassicism Paintings • Oath of the Horatii by Jacques-Louis David

 Some of the famous Neoclassical artists
Antonio Canova
Canova was an Italian sculptor and
plenipotentiary of the Catholic Church. His
sculpted works (most notably of which were
Psyche Revived by Cupid’s Kiss and Venus
Victrix) received international acclaim
throughout Europe.

Neoclassicism Art • Psyche Revived by Cupid’s Kiss by Antonio Canova

ROMANTICISM
 ROMANTICISM

A literary and artistic movement that spanning

roughly between 1790-1850, marked chiefly by an
emphasis on expression of ideas, imaginations
and emotions.
 ROMANTICISM
ROMANTICISM IS CHARACTERIZED BY THE 5 I’s
Imagination
Intuition
Idealism
Inspiration
Individuality
 ROMANTICISM
IMAGINATION
Imagination and emotion is more
emphasize than reason. Imagination is the
fundamental of arts and is necessary for
creating an artwork. As Rene Descartes
said, “I think; therefore, I am”.
 ROMANTICISM
INTUITION
It is simply the feeling or instinct. Romantics
believe that knowledge is gain through
intuition rather than reasoning. British
Romantic William Wordsworth described
poetry as “the spontaneous overflow of
powerful emotions”.
 ROMANTICISM
IDEALISM
Romantics believed that idealism can make
the world a better place. They also believed
the natural goodness of humans. Idealism
is any theory that emphasizes the spirit,
mind, or language over matter.
 ROMANTICISM
INSPIRATION
Art should be spontaneous rather than
precise. The Romantic artists, musicians, or
writers, are inspired creator than a
technical master.
 ROMANTICISM
INDIVIDUALITY
Romantics celebrated the individual. They
believed that individuals have a endless
unique potential.
 ROMANTICISM
The origin of Romanticism began to take a
root following the French Revolution. It is
believed that the Romanticism began
during the publication of the Lyrical Ballads
by William Wordsworth and Samuel Taylor
Coleridge in 1792.
 ROMANTICISM
It is an artwork by Francisco
Goya, a spanish painter, in 1814.
In the artwork, Goya sought to
commemorate the resistance of
the spanish against the napoleon
army during the Peninsula War.

The Third of May

 ROMANTICISM
The Nightmare in 1781 by Henry
Fuseli, a Swiss artist. It shows a
woman lying with her arms
thrown below her, and with a
demonic and ape-like incubus on
top of her. The painting is a
dream-like haunting evocation
and obsession.

The Nightmare
REALISM
 REALISM
Realism is the attempt to present the
artwork without the involvement of
supernatural elements. It is an artwork that
conveys or portraying the reality.
 REALISM
Realism art movement began in France in
the 1850's after the French Revolution.
Depicting the natural subjects without
idealizing them.
Portraying real people and situations with
truth and accuracy.
REALISM ARTISTS
 REALISM
A French painter who
lived from 1819 to 1877
Coined the term Realism
Known as Father of
Realism

Gustave Courbet
 REALISM
Gustave Courbet Artworks

The Desperate Man (1845) La Recontre (1854)

 REALISM
Noted for his scenes of
peasant farmers
One of the founders of
Barbizon School in
France

Jean Francois Millet

 REALISM
Jean Francois Millet Artworks

Shepherdess with her flock (1864) The Sower (1850)

 REALISM
Rosa Bonheur Artworks

The Horse Fair (1853) Weaning The Calves (1849)

 REALISM
Known as the best
animal painter
She is also a remarkable
French Romanticism
Her masterpiece is The
Horse Fair in 1853

Rosa Bonheur
IMPRESSIONISM
 Impressionism
Impressionism was a 19th-century art movement
characterized by relatively small, thin, yet visible brush
strokes, open composition, emphasis on accurate
depiction of light in its changing qualities (often
accentuating the effects of the passage of time),
ordinary subject matter, unusual visual angles, and
inclusion of movement as a crucial element of human
perception and experience.
 Impressionism
It was originated in France in the middle of the 19th
century—a time of rapid industrialization and
unsettling social change in France. The Impressionists,
however, developed new techniques specific to the
style. Encompassing what its adherents argued was a
different way of seeing, it is an art of immediacy and
movement, of candid poses and compositions, of the
play of light expressed in a bright and varied use of
colour.
 Impressionism
En Plein air
is the momentary and transient effects of sunlight by
painting outdoors. Impressionist foujd that they can
create effects and details like this by using short
"broken" brush strokes of mixed and pure unmixed
colour—not blended smoothly or shaded, as was
customary—to achieve an effect of intense colour
vibration.
 Impressionism
The Impressionists faced harsh opposition from the
conventional art community in France. The name of the
style derives from the title of a Claude Monet work,
Impression, soleil levant (Impression, Sunrise), which
provoked the critic Louis Leroy to coin the term in a
satirical 1874 review of the First Impressionist
Exhibition published in the Parisian newspaper Le
Charivari.
Impressionism Artists
In the early 1860s, four young painters—Claude Monet,
Pierre-Auguste Renoir, Alfred Sisley, and Frédéric
Bazille—met while studying under the academic artist
Charles Gleyre. They discovered that they shared an
interest in painting landscape and contemporary life
rather than historical or mythological scenes.
Impressionism Paintings
During the 1860s, the Salon jury routinely rejected
about half of the works submitted by Monet and his
friends in favour of works by artists faithful to the
approved style.[2] In 1863, the Salon jury rejected
Manet's The Luncheon on the Grass (Le déjeuner sur
l'herbe) primarily because it depicted a nude woman
with two clothed men at a picnic.
Édouard Manet, The Luncheon on the Grass (Le déjeuner sur l'herbe),
1863
Impressionist Techniques
Short, thick strokes of paint quickly capture the
essence of the subject, rather than its details. The
paint is often applied impasto.
Colours are applied side by side with as little mixing
as possible, a technique that exploits the principle
of simultaneous contrast to make the colour appear
more vivid to the viewer.
Greys and dark tones are produced by mixing
complementary colours. Pure impressionism avoids
the use of black paint.
Impressionist Techniques
Wet paint is placed into wet paint without waiting for
successive applications to dry, producing softer edges and
intermingling of colour.
Impressionist paintings do not exploit the transparency of
thin paint films (glazes), which earlier artists manipulated
carefully to produce effects. The impressionist painting
surface is typically opaque.
The paint is applied to a white or light-coloured ground.
Previously, painters often used dark grey or strongly
coloured grounds.
Impressionist Techniques
The play of natural light is emphasized. Close attention is
paid to the reflection of colours from object to object.
Painters often worked in the evening to produce effets de
soir—the shadowy effects of evening or twilight.
In paintings made en plein air (outdoors), shadows are
boldly painted with the blue of the sky as it is reflected
onto surfaces, giving a sense of freshness previously not
represented in painting. (Blue shadows on snow inspired
the technique.)
Prominent Impressionist
Frédéric Bazille (1841–1870), who only posthumously
participated in the Impressionist exhibitions
Gustave Caillebotte (1848–1894), who, younger than the
others, joined forces with them in the mid-1870s
Mary Cassatt (1844–1926), American-born, she lived in
Paris and participated in four Impressionist exhibitions
Paul Cézanne (1839–1906), although he later broke away
from the Impressionists
Edgar Degas (1834–1917), who despised the term
Impressionist
Prominent Impressionist
Armand Guillaumin (1841–1927)
Édouard Manet (1832–1883), who did not participate in any of the Impressionist
exhibitions[61]
Claude Monet (1840–1926), the most prolific of the Impressionists and the one
who embodies their aesthetic most obviously[62]
Berthe Morisot (1841–1895) who participated in all Impressionist exhibitions
except in 1879
Camille Pissarro (1830–1903), who was the only artist to participate in all eight
Impressionist exhibitions.[63]
Pierre-Auguste Renoir (1841–1919), who participated in Impressionist
exhibitions in 1874, 1876, 1877 and 1882
Alfred Sisley (1839–1899)
Timeline: Lives of the Famous
Impressionist
Camille Pissarro, Boulevard Montmartre, 1897, the Hermitage, Saint
Petersburg
Berthe Morisot, The Harbor at Lorient, 1869, National Gallery of Art,
Washington, D.C.
Claude Monet, Jardin à Sainte-Adresse, 1867, Metropolitan Museum of
Art, New York.,[41] a work showing the influence of Japanese prints
Camille Pissarro, Hay Harvest at Éragny, 1901, National Gallery of
Canada, Ottawa, Ontario
Berthe Morisot, Reading, 1873, Cleveland Museum of Art
POST-IMPRESSIONISM
 Post-Impressionism
Post-Impressionism (also spelled Postimpressionism) was a
predominantly French art movement that developed roughly
between 1886 and 1905, from the last Impressionist exhibition to
the birth of Fauvism. Post-Impressionism emerged as a reaction
against Impressionists' concern for the naturalistic depiction of
light and colour. Its broad emphasis on abstract qualities or
symbolic content means
Post-Impressionism
Post-Impressionism encompasses Les Nabis, Neo-
Impressionism, Symbolism, Cloisonnism, the Pont-
Aven School, and Synthetism, along with some later
Impressionists' work. The movement's principal artists
were Paul Cézanne (known as the father of Post-
Impressionism), Paul Gauguin, Vincent van Gogh and
Georges Seurat.
Post-Impressionism
Post-Impressionists extended Impressionism while
rejecting its limitations: they continued using vivid
colours, sometimes using impasto (thick application of
paint) and painting from life, but were more inclined to
emphasize geometric forms, distort form for
expressive effect, and use unnatural or modified
colour.
Camille Pissarro, Haying at Eragny, 1889, Private
Collection
Odilon Redon-The Cyclops (1840–1916)
Henri Rousseau- Le Rêve (1844–1910)
Paul Gauguin-Eu haere ia oe (Where are you going)
(1848–1903)
Vincent van Gogh- The Large Plane Trees (Road Menders
at Saint-Rémy)(1853–1890)
Henri-Edmond Cross- Les cyprès à Cagnes (1856–1910)
Eugène Chigot-Jeune femme au bord de l'étang (Young
woman by a lake) (1860-1923)
Paul Signac- Portrait de Félix Fénéon (1863–1935)
Social Context
NEO-IMPRESSIONISM
 NEO-IMPRESSIONISM
Neo-Impressionism is a term developed in
1886 by Félix Fénéon, an art critic. This term
describes the art style of the end of the 19th
century . It was founded by Georges Seurat
and Paul Signac. They were the first to show
new works with this style.
 NEO-IMPRESSIONISM
They evolved in the used of colours with respect to
Impressionism. They used a lot of dots of pure
colours. This is a technique called "pointillism".
With the use of these coloured dots, looking at the
painting from a little distance , your eyes mix the
colours, achieving a lot of colours and contrast.
 NEO-IMPRESSIONISM
The best moment of this movement was
between 1886 and 1891 , but it didn't end
with Seurat's death. It continued for around
a decade more.
Featured artists and
their artwork during
Neo- Impressionism
 NEO-IMPRESSIONISM
Georges Seurat was a French post-impressionist artist.
He is best known for devising the painting techniques
known as chromoluminarism and pointillism. While less
famous that his paintings , his conté crayon drawings
have also garnered a great deal of critical appreciation
. Seurat's artistic personality was compounded of
qualities which are usually supposed to be opposed
and incompatible ; on the other , a passion for logical
abstraction and an almost mathematical precision of
mind. He was the most important Neo- Impressionist
painter.
GEORGES SEURAT
A Sunday Afternoon on the Island of La Grande Jatte ( 1884-1886)

• Created by Georges - Pierre Seurat between 1884

and 1886.

• It's considered to be one of the best examples of

Neo - impressionism for the use of pointillism. The
use of this technique helps the painting to have a
brighter colours and contrast in the parts with light
and shadows. Seurat paid much attention to shapes,
colours and contrast.

• The painting represents people in the Island of La

Grande Jatte . Most of them are relaxed . People's
faces are represented without expression. That's
because the colours are in charge of provoking the
reactions on the viewer instead of the people
represented.
 NEO-IMPRESSIONISM
Born in Paris on 11 November 1863. He followed the course of
training in architecture before deciding at the age of 18 to
pursue a career as a painter after attending an exhibit of
Monet's work.
In 1884 he met Claude Monet and Georges Seurat. He was
struck by the systematic working methods of Seurat and by
his theory of colors and became Seurats faithful supporter,
friend and heir with his description of Neo- Impressionism and
Divisionism method. Under Seurat's influence he abandoned
the short brush strokes of Impressionism to experiment with
scientifically juxtaposed small dots of pure color, intended to
combine and blend not on the canvas but in the viewer's eye,
PAUL SIGNAC the defining feature of Pointillism.
Against the Enamel of a Background Rhythmic with Beats the Angles, Tones and Tints, Portrait of Félix Fénéon
(1890)
ART NOUVEAU
 ART NOUVEAU
This term, which translates to "New Art,"
refers to a movement that was initiated
in an effort to unite the fine and applied
arts or to close the gap between them.

It was also a reaction to the industrial

revolution, which enabled mass
production. "Long, sinuous lines and
asymmetrical structure and curves" are
used in the creation of artworks, which
frequently incorporate natural
components.

Our Lady of Grace, ASHOP, Montreal, 2011

Peacock Skirt The Kiss
(Aubrey Beardsly) (Gustav Klimt)
The Ancient Art of

FAUVISM
What is
Fauvism?
•name applied to the work produced by a group of artists (which
included Henri Matisse and André Derain) from around 1905 to
1910,
•characterised by strong colours and fierce brushwork, bold, non-
naturalistic colours (often applied directly from the tube), and
wild loose dabs of paint; interest in the scientific colour theories
developed in the 19th century – particularly those relating to
complementary colours; forms of the subjects were also
simplified making them appear quite abstract
• can be seen as an extreme extension of the post-impressionism
of Van Gogh combined with the neo-impressionism of Seurat; can
also be seen as a form of expressionism in its use of brilliant
colors and spontaneous brushwork
Andre Derain, “Henri
Matisse”, 1905

•Matisse and Derain painted portraits of each

other while staying at the port of Collioure in the
south of France. Using vivid, apparently
arbitrary, colours, Matisse has captured the
sensation of sunlight striking the sitter's face
and casting a heavy shadow down one side. He
has also tried to create a dynamic but balanced
relationship between complementary colours,
such as blue and orange, red and green.
Complementary colours 'complete' each other
Vlaminck, “The Bridge
of Chatou” 1906

•Maurice de Vlaminck belonged to the circle of

friends of the Fauves, whose glaring color
compositions had revolutionized painting since
1905. The painter defined the bridges and
buildings on the Seine with black contours.
Through these motifs the Fauves remained
linked to Impressionist landscape painting.
Conversely, the tightness of the composition and
the intensity of the somber colors give their
works an Expressionist element.
The Ancient Art of

CUBISM
 What is
Cubism?
• Cubism was a revolutionary new approach to representing
reality invented in around 1907–08 by artists Pablo Picasso and
Georges Braque - who brought different views of subjects (usually
objects or figures) together in the same picture, resulting in
paintings that appear fragmented and abstracted
• one of the most influential styles of the20th century
•the name ‘cubism’ seems to have derived from a comment made
by the critic Louis Vauxcelles who, on seeing some of Georges
Braque’s paintings exhibited in Paris in 1908, described them as
reducing everything to ‘geometric outlines, to cubes’
• by breaking objects and figures down into distinct areas – or
planes – the artists aimed to show different viewpoints at the
same time and within the same space and so suggest their three
dimensional form
•two distinct phases: the initial and more austere analytical
cubism (1908–12) showing interweaving of planes and lines in
muted tones of blacks, greys and ochres
•and a later, simplere phase of cubism known as synthetic cubism
(1912 to 1914) characterised by simpler shapes and brighter
colours and often include collaged real elements such as
newspapers
Pablo Picasso, “Bowl of Fruit, Violin
and Bottle” 1914 (Synthetic Cubism)

•This table-top scene, with its fruit-bowl, violin,

bottle and (painted) newspaper, is constructed
from areas of colour that resemble cut-out
pieces of paper. The background has been left
white. Picasso and Braque had been making
collages that experimented with representation
and reality since 1912. They soon began to
simulate the appearance of collage materials in
their oil paintings, sometimes adding sand to
the paint to give a heightened reality to the
picture surface.
Georges Braque, “Glass on a Table”
1909-1910 (ANALYTICAL CUBISM)
Traditional painting often presents a single
viewpoint. Artists like Georges Braque and Pablo
Picasso explored new ways of representing
reality. They brought different views together in
the same picture. The resulting paintings appear
fragmented and abstracted. They imitate the
fleeting nature of sight. In this painting of a
glass and pears on a table, these different
perspectives might appear to obscure the subject
matter. But Braque believed that by breaking up
familiar items and re-ordering them, he could
get closer to a true likeness of the object.
What is
Futurism?
• Futurism was an Italian art movement of the early twentieth
century that aimed to capture in art the dynamism and energy of
the modern world.
• Fturism was launched by the Italian poet Filippo Tommaso
Marinetti in 1909. On 20 February he published his Manifesto of
Futurism on the front page of the Paris newspaper Le Figaro.
• Futurist painting used elements of neo-impressionism and
cubism to create compositions that expressed the idea of the
dynamism, the energy and movement of modern life.
• It emphasize dynamism, speed, technology, youth , violence and
objects such as the car , the airplane and the industrial city .
Futurism Art Example
Social Context
Social Context
Social context in art refers to the
environment, events, and prevailing
attitudes or ideologies that influence the
creation, reception, and ation of
artworks. Art is often a reflection of the
society in which it is produced, and
understanding its social context can
provide valuable insights into the
motivations, meanings, and impacts of
artworks.
Here are some key 01 Historical Context

aspects of social
02 Cultural Context
context in art:
03 Political Context

04 Audience Reception

05 Social Issues and

Movements
Historical Context
The historical period in which an artwork is created significantly shapes its content, style, and
themes. For example, Renaissance art often reflects the religious and cultural values of 15th and 16th
century Europe, while the art of the Romantic era is characterized by a focus on emotion,
individualism, and nature, reflecting the political and social upheavals of the time.

Political Context
Art frequently engages with political issues and ideologies, either supporting or challenging
prevailing power structures. Artists may use their work to protest injustice, advocate for change, or
express dissent. For instance, during the 20th century, movements such as Dadaism, Surrealism, and
Social Realism emerged in response to political upheavals such as World War I, the rise of totalitarian
regimes, and social inequality.
Cultural Context
Art is deeply intertwined with culture, reflecting the beliefs, values, customs, and traditions of a
society. Cultural context influences artistic subject matter, symbolism, and aesthetic preferences. Art
can also contribute to cultural identity and serve as a means of preserving heritage. For example,
Indigenous art often incorporates symbols and motifs that hold cultural significance, conveying
stories, spirituality, and connections to the land.

Social Issues and Movements

Art frequently engages with social issues such as gender, race, class, sexuality, and
environmentalism. Artists may use their work to raise awareness, provoke discussion, or advocate
for social change. For example, feminist art challenges traditional gender roles and stereotypes, while
street art often addresses urban decay, inequality, and activism.
Audience Reception
The ation and reception of art are influenced by the social context in which it is viewed. Different
audiences may perceive artworks differently based on their cultural background, experiences, and
values. Additionally, the reception of art can change over time as societal norms and attitudes evolve.