Phase 4 Individual Part 1

June 19, 2007June 19, 2007 HUM140-0702B-14 HUM140-0702B-14 11

Neoclassical Art through Neoclassical Art through the Present:the Present: Baroque, Rococo, Neoclassical, Baroque, Rococo, Neoclassical, &Romanticism&RomanticismBy: Daisy Montañez-Ortiz


Baroque- Baroque- Annibale Carracci , Cei l ing Fresco Annibale Carracci , Cei l ing Fresco

, , ’ Located in Rome Italy this ce iling work of art had reached it s all time . , high for Baroque illus ionism Many ce ilings of churches civic

, , . buildings palaces and villas were entire ly covered This particular ’ . painting by Annibale Carracc i was done in the Farnes e family s palace

This piece of artwork was commis s ioned to celebrate the wedding of . Duke Ranuccion Farnes e of Parma This painting creates an illus ion

. that there are framed pictures hanging on the ceiling Stone, , s culptures bronze medallions and nude youths in an architectural ' . framework ins pired by Michelange lo s Sis tine Chapel The Farnes e

ce iling has a warm light s imilar to the works of the Venetian painters . , Titian and Verones e The main image s et in the middle is The Triumph

of Bacchus and Adriane. , , Adriane a mortal princes s is ce lebrated in ( ). this painting Stoks tad Thes e different paintings have colors ranging ’ , , from blue s for the s ky creams and pink for the s kin and s ome blues

. , for the clothing The paintings take your eyes throughout every detail .from the cherubs to animals


Kren and Marx 2007

Kren and Marx 2007

•1597-1601

•Fresco

•Palazzo Farnese, Rome


Rococo-Rococo-Jean-Honoré FragonardJean-Honoré FragonardThe Progress of Love: The MeetingThe Progress of Love: The Meeting

. Rococo is french for Rocaille “rock work ” A more playful s ubject will , , . be us ed s uch as love pas times and friends hips Pas te l co lors are

, , . us ed as well as plants leaves and s hells Rococo is the outgrowth of . the baroque period and is les s dramatic and more e legant and graceful

, . In France this s tyle of art was firs t us ed on furniture and decorations The technique that Fregonard us ed in this painting is at his frees t and . mos t lavis h here He us ed rapid brus hs trokes that dis tinguis hes his. work The colors us ed are darker within the trees and lands cape and

brighter colors are us ed on the c lothing and s kin making s ure your . eyes go s traight to the point The painting s hows a s ecret encounter

. ’ between a young man and his sweetheart She s looking back as if ’ , worried s omeone could ve s een her while ho lding onto a letter ( ). probably arranging for their meet here Stoks tad


•1771-1773

•Oil on Canvas

•The Frick Collection, NYKren and Marx 2007


Neoclass ical-Neoclass ical-Antonio Canova, Cupid and Antonio Canova, Cupid and PsychePsyche

. Neoclas s ical des ign brought about a s ens e of calm res traint to art I chos e the Cupid and Ps yche by Antonio Canova becaus e of the fee ling

. . I fe lt when I looked at it It is re laxing to look at and beautiful It s eems like the cupid and woman are turning toward each other with s ens ual. , love According to Kren and Marx Canova had s ucceeded in

pres enting a highly expres s ive treatment of the theme of love from (2007). Greek mythology The wings of the cupid are s tretched high as

, to g ive balance by the leannes s of the bodies he lping your eyes to . view the entire s culpture The s cene is definite ly obvious when you , .firs t look at it you know that there is emotion


•1787-1793

•Mable

•Musée du Louve, Paris

Kren and Marx 2007


Romantic ism-Romantic ism-Henry Fusel i , The NightmareHenry Fusel i , The Nightmare

. Romantic ism was a reaction agains t the neoc las s ic s tyle When looking at a painting of this s tyle there will be human emotion and

. imagination When I firs t s aw this painting I automatically knew what . they meant about this s tyle The title o f the painting as s umes that it , ’ was actually a nightmare but it could ve been s omething the artis t . , went through According to Kren and Marx this might have been his , ’ love Anna Landolt which her parent s refus ed to allow her to marry. him The ape s itting on top of the woman s eems to give a jealous

. , , glace The co lors us ed in this painting are s carlet brown and cream . for the main focus The light comes from an unknown s ource making

. a s hadows which make the painting even more frightening The face , ’ (2007). of the ape makes it s eem real as if he s s taring at the viewer


•1781• Oil on Canvas

• The Detroit Ins titute ofArt

Kren and Marx 2007


References

Kren, E and Marx, D. (2007) Canova, Antonio. Retrieved June 19, 2007, from,

http://www.wga.hu/framese.html?/html/c/caravagg/04/23conta.html

Kren, E and Marx, D. (2007) Carracci, Annabale. Retrieved June 19, 2007, from,


Kren, E and Marx, D. (2007) Fragonard, Jean-Honare. Retrieved June 19, 2007,

from, http://www.wga.hu/framese.html?/html/c/caravagg/04/23conta.html

Kren, E and Marx,D. (2007) Fuseli, John Henry. Retrieved June 20, 2007, from, http://www.wga.hu/frames-e.html?/html/c/caravagg/04/23conta.html

Stokstad, M. (2007) Art: A Brief History. New Jersey: Prentice Hall.




http://www.wga.hu/frames-e.html?/html/c/caravagg/04/23conta.html

Phase 4 Individual Part 1

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