Byzantine style in Italy

• Rise of humanism, revival of ancient texts, high gothic interest in nature, studied antiquity from the Roman style. Human nature and form became the ideal pursuit. Religion influenced the art.
• Gold background, thin proportions, denial of material wieght, humonculous baby Jesus
• 2dimensional form, but attempting to create mass with the throne, irrational space

Byzantine style in Italy

• Rise of humanism, revival of ancient texts, high gothic interest in nature, studied antiquity from the Roman style. Human nature and form became the ideal pursuit. Religion influenced the art.
• Giotto understands mass vs. space and creates an illusion of 3dimensionality with use of horizontal and vertical lines
• Uses light and shade to create motion in draperies
• figures are placed on a visible surface by a horizontal surface

Early Renaissance/Humanist in Italy

• Rebirth of ancient tradition, developments in phylosophy, science music, styles mirrored Greko-Roman antiquity
• The mathmetical proportions of the dome were based off of classical rules from ancient buildings in Rome
• scaffolding, columns, arches or pilasters
• developed the concept of linear perspective, showing depth on a flat surface

Early Renaissance Italy

• Rebirth of ancient tradition, developments in phylosophy, science music, styles mirrored Greko-Roman antiquity
• Utilizes relief in the different pictures portrayed on the doors to create an illusion of depth
• Uses one-point perspective and diminshing size of figures and decrease in relief to create depth
• Showing biblical figures and roman architecture

High Renaissance in Italy

• artists achieved ideal of harmony and balance comparable with the works of ancient Greece or Rome, Forms, colors and proportions, light and shade effects, spatial harmony, composition, perspective, anatomy - all are handled with total control. It was a period of foreign invasion, internal conflicts, french invaded italy, Florence under attack-no longer provided for creative activity. Rome became new artistic center. under control by the Pope, enlightened humanist approach
• dramatic tension, unified architectural setting
• Jesus is triangular position, triple windows, implied orthoganal lines imitate a halo, further reinforced in perspective construction
• Less interested in sacremental side more humanistic side, expression on faces, implied movement of characters

High Renaissance Milan

Mannerism- Italy

• Turmoil politically and artistically, catholic church was challenged and mannerism was used to counterchallenge the church and guidelines for "what is art", the church was trying to portray art as harsh nature, sin is punishment instead of redemption
• human body elongated exaggerated, elegant, and arranged in complex, twisted poses. spaces compressed and crowded, jarring colors, classical proportions rejected, odd juxtapositions of scale and space, ambiguous space

Mannerism- Italy

• Turmoil politically and artistically, catholic church was challenged and mannerism was used to counterchallenge the church and guidelines for "what is art", the church was trying to portray art as harsh nature, sin is punishment instead of redemption
• odd spatial juxtapositions, non-classical proportions, angels chlostrephobically pushed to the left, space to madonna's right is empty, your eye is continuoulsy moving around the painting in order to absorb all of the disproportions

Northern Renaissance-Netherlands

• humanism and protestantism clashed with the inquisition, church was trying  prosectute and punish, religious strife, collected proverbs, placing them in their historical context, but depicting them in and their relevance to contemporary life. Didnt like chiaroscuro, elegant linear qualities, rich colors, crisp edges
• how you should and should not act, predominant blues, accented colors with red and blues to draw eyes througout the picture, shows depth by smaller images in background, asymmetrical, outlined characters, lighting is all over not depicting one source, showing ppl behaving how they shouldnt

Northern Renaissance-Netherlands

• humanism and protestantism clashed with the inquisition, church was trying  prosectute and punish, religious strife, collected proverbs, placing them in their historical context, but depicting them in and their relevance to contemporary life. Didnt like chiaroscuro, elegant linear qualities, rich colors, crisp edges
• a tryptich possible contracted through the church for an alterpiece, uses symbolism of characters, fruits, devilish figures to get the artist/bibles point across about the point of picture, illogical juxtapositions, use of red to make certain images pop, not a sense of presice perspective, rather messy and cluttered

Baroque- Rome Italy

• Wars had ended, territories returned, certain rulers extracted absolute power from God, revolt against absolutism, Gallileo, Inquisitions banned scientific thoughts, sun, gravity, Theatrical, heavy, violence depicted like the ppl, focus on nature directly, lacks controlled space, assymetrical,
• Piazza shows open arms of the church, tall stater cross on top, victory over paganism, church is good, christianity light of world, designed straight arms so that closer the vasilica taller it looked, lots of light, dual columns on both sides of arms dramatic, triangular pediment replicates Greek Temple

Rococo-Paris

• Expression of wit and friviloty, rococo is a world of fantasy and grace, exotic and for satire, industrial revolution, age of enlightenment, fluffy frilly light pastels, the elite would have partners other than their spouse
• pilgramage to make love, no architecure, rich lived excessively in financial state and socially with more than 1 lover
• putti, fluffy landscaping, light colors, elegant people, clothing, etc warm colors, uses putti to draw eyes up towards the sky, pink and red to make characters excentuate,

Rococo-France

• Expression of wit and friviloty, rococo is a world of fantasy and grace, exotic and for satire, industrial revolution, age of enlightenment, fluffy frilly light pastels, the elite would have partners other than their spouse
• implied lines gazing from the the girl to the man in front of her,
• frilly patterns ruffles on the dress mirror and are repearted in the leaves, twisting branches and fluffy clouds, sezual references, cupid on left rep. secrecy (classical imagry)
• erotic them is descriptive of that era's culture and wealthy society, pastels

Neoclassism- France

• was a reaction against the levity of rococo. became the style of the revolutionary movements of the period. derived from its associations with heroic subjec matter, formal clarity, and the impression of stability of government. Monarchy abuses, championed rights of the individuals.
• Suggests loyalty to the monarch; propogandise, 3 sons pledging allegiance 2 the community, women are not as patriotic as men, refers to greek and roman architecture, shallow setting stage, arches, arcade, clear verticals and hortizontals, commisioned by Louis aimed at moral improvement in France

Romantisism- England

• Not a style, an approach, aware of architecture outside of other regions, from all around the world, emotional expression and sentiment, partisan supporters of contemporary causes, focusing on the mind, mysterious, and unexplained, individuals struggles against the abuse of the state.
• Romantic vision of the far east as a distant, exotic locale, indian gothic style, mixture of minarets and onion domes, gothic style arches, incorporates exotic sounds and suggests romantic taste for endless time infinite space.

Romanticism- England

Realism- France

• age of revolution economic, social, and political, contemporary ideas, human rights. conflicts between classes were depicted in art.
• depicting social injustices due to poverties of lower class. Depicts them in a superficial way; rough hands, allowing them to pick seeds, foreshortened forms, give them a sense of powerful energy, prosperous farm shown in background, contrasted with hunched poor gleaners, golden highlights to show classes differences, gleaners shadowed

Realism- France

• age of revolution economic, social, and political, contemporary ideas, human rights. conflicts between classes were depicted in art.
• Retired soldiers were poor, critisizing catholics for not being poor, isosephally- all head same level makes everyone equal regardless of stature, long horizontal line across the page till the cross breaks it and jutts out, symbolizing the catholic church, all black and monotony relflects the rural life in france, catholic officials hilighted in red to show they do not fit in or relate with the ppl

Not Impressionistic/Modernity-Paris

• Imagry that preferred genre subjects, especially scenes of liesure activities, entertainment, and landscape, was influence by Japanese print and new developments in photography, not politics.
• uses impressionistic color, light and brushwork. Use of the mirror hold both narrow space, and then expands it, orange bowl is the accent color in the painting, dobs of white paint on the objects create the impression of sparkling light, lightbulbs on the refelcted pilasters seem flat because there is no tonal variation. Doesnt use shading but uses colors to show effects and movement

Impressionism- France

Post Impressionism-France

• Was influenced by Impressionism with use of bright colors, visible brush strokes, the mediums or subjects dont dissolve into the art, the are outlined and/or very clear
• influenced by japanese art forms, strong sillhouettes to offset textures vs flat patterns. uses partial viewpoints to creat the effect of cropping from a photograph, bright colors, pink and reds to pop with the neutral green contrast, creates the illusion of movement in the skirts by using brush strokes, lack of realistic depth, art is its own

Post Impressionism-France

• Was influenced by Impressionism with use of bright colors, visible brush strokes, the mediums or subjects dont dissolve into the art, the are outlined and/or very clear
• uses disctinct brush strokes, contrasts between the blues and greens creat the illusion of solidity but in essense are just patches of color, symetrical harmony throughout the painting, women mirror trees, 2 men in background mirrior vertical lines further enhancing his idea of spacial depth

Fauvism-Paris

• brigh vivid colors bursting from the space, forms built from colors, vigorous patterns, unusual color combinations creating effects, people didnt like, no use of the line, no restraint and harmony, beastly, less civilized.
• Color has taken the lead, shading, modeling and perspective, patches of color identify the background, variations in the background are mirrored in her face, thus unifying the painting as a whole, unconventional use of color, became more popular eventually due to stein

After Fauvism-Paris

• brigh vivid colors bursting from the space, forms built from colors, vigorous patterns, unusual color combinations creating effects, people didnt like, no use of the line, no restraint and harmony, beastly, less civilized.
• influence by abstraction, not completely, constructive brushstrokes, and unusual color juxtapostions, perspective is minimized, attempting the illusion of space by the positioning of the fruit bowl on table
• endows the woman with some mass by her positioning around the table and the fruit bowl, harmony is used when coloring the table and wall the same, creating the same space for both
• Post Impressionistic color, Symbolist creation of mood, abstraction

Cubism-Paris

• based on simultaneous presentation of multiple views, and geometric reconstruction of objects in flattened ambiguous pictorial space. Figure and ground merge into shifting plains, was a revolution of the artists vision of space, came from Cezanna(bathers-construction with color) Derivitive of primitive or tribal art
• neutral colors, 2d, no depth, blue to highlight and fragment eye across the painting, the gaize, african tribal masks depicted on the 2 of the women, egyptian stance with the leg on another, fruit symbolic of their sexual occupation, no chiaroscuro, uses bold strokes of color instead
• multiple view points, derivitive of cezanne and a key trait in cubism, women are geometric shapes that interact spatially with the background, blurring the distinction between the foreground and background, light is fragmented as well so that the views eye is constantly shifting