19th Century European Art: Romantic & Realistic Landscapes by Famous Artists, Schemi e mappe concettuali di Elementi di storia dell'arte ed espressioni grafiche

Scarica 19th Century European Art: Romantic & Realistic Landscapes by Famous Artists e più Schemi e mappe concettuali in PDF di Elementi di storia dell'arte ed espressioni grafiche solo su Docsity! Landscape in art throughout the XIXth century: Romanticism: Romanticism is an artistic movement that spread through the whole Europe, specifically in Germany and in England, from 1814 to 1850. It is based on the feeling of nostalgia, the longing desire for what is not there yet. In figurative art both passion and hope are visible in a new interest for the role of nature as a mirror of the soul Some artists choose to explore the inner soul, escaping from the disappointment of the external world by painting natural landscapes without any mythological purpose: Caspar David Friedrich’s “Wanderer above the sea of fog” 1818 is one of the most iconic paintings of the romantic feeling for nature. But Constable’s “The haywain - Landscape noon” 1821 actually moved towards a new concept of landscape depiction and it had a strong influence on the development of french art. During the whole XIX century a gradual decay of the narrative aspect occurs in art and the genre of landscape gains an increasing importance. Particularly in England, landscape watercolour painting from life, starting with W. M. Turner’s work. With John Constable’s, not only landscape is on a way to become a subject, it is used to evoke deep intimate feelings. He choose landscapes evocative of the power of nature as content of his artworks: fog, mist, clouds, dawn, shipwrecks, fires… impressive and dramatic. They both experimented innovative techniques. Water and sky, the changing elements in which the soul can mirror itself, play a role which is also a technical one. Constable studied skies from life and sketched directly with oil paint, noting accuracy with the time of the day. 1- Caspar David Friedrich, “Wanderer on the sea of fog”,1818, oil on canvas, cm 74 X 94, Kunsthalle Hamburg 2 - John Constable, “The hay wain - Landscape noon “, 1821, oil on canvas, cm 130 x 180, National Gallery, London 3 - John Constable, “ Study of clouds”, 1822, oil on cardboard, cm 29 x 47, The G. Davis Collection, London 4 - Joseph Mallord William Turner, “ Slave ship”, 1840, oil on canvas, cm 90 x130, Museum of fine Arts, Boston 5 - Joseph Mallord William Turner,”Evening before the deluge - Shadow and Darkness”, 1843, oil on canvas cm 78 x 78, National Gallery of Art, Washington 6 - Joseph Mallord William Turner, “Morning after the deluge - Light and color - Goethe’s theory”, 1843, oil on canvas cm 78 x 78, Tate Gallery, London Realism: Realism is an artistic movement from 1855 to 1880, that departed from Paris. It shifted interest to the depiction of real life and present times. In Realism there is no attention for the viewer, only the content of the painting counts. Landscape is not captured to be beautiful, or evocative, it simply is there. This attitude draws a finishing line to centuries of tradition. Gustave Courbet, the founder of Realism in painting (he exposes “The painter's studio” that is the manifesto of this movement), was a radical artist and a landscape painter determined to value nature as a content of the artwork. He believed that the role of painting was especially to strive to the truth and to show the real life of people in disadvantaged social situations, so it could contribute to erase social differences. Courbet painted sea, rivers, mountains, countryside as places without any human presence. He renewed oil technique by using palette-knife to scrape earthy colors and thick impasto which gave his landscapes a distinctive material quality. His intention was to render the vivid presence of reality. Jean-François Millet His pictures of farming land and work always show the farmers as people of great dignity and strong spirit, which had to be an example. His nobiliting vision of workers covers the farmed fields of a gentle light. Millet's favourite subject – peasant life – this painting is the culmination of ten years of research on the theme of the gleaners (=spigolatrici). These women incarnate the rural working-class. We can see the three phases of the back-breaking: bending over, picking up the ears of corn and straightening up again. The light of the setting sun accentuates the volumes in the foreground and gives the gleaners a sculptural look. Millet slowly stains the distance into a powdery golden haze (=foschia). Through simple pictorial procedures, Millet gives these certainly poor but no less dignified gleaners an emblematic value, free of any hint of miserabilism. Macchiaioli: