The Byzantine Style

7/30/2019 The Byzantine Style

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The Byzantine Style

Example of Byzantine style painting and architecture (click to Enlarge)

The Byzantine Era Started from the Age of Justinian (527-565) and lasted

until 1453

The Byzantine is a very easy style to identify, because of the stylized, rigid formality ofthe figures as well as the symmetrical folds of the draperies, which often show a sort ofantiquated charm. The Byzantine style is not so much accurate representation but as asuggestion and symbolism. According to "It is noticeable in these Byzantine picturesthat while the figure-painting is often really excellent, the design skilful, and the posenatural, the landscape, trees, etc., are quite symbolic and fanciful. The painters seem tohave been utterly ignorant of perspective. Buildings, too, without any regard to relativeproportion, are colored merely as parts of a colour scheme. They are pink, pale green,yellow, violet, blue, just to please the eye. That the painter had a system of colour-harmony is plain, but he paid no regard to the facts of city life, unless, indeed, it was the

practice of the medieval Byzantines to paint the outside of their houses in this trulybrilliant style. "

The Byzantine period was tremendously culturally productive, in painting, sculpture,architecture andilluminated manuscripts.Artists emphasized transcendent time andplace; the only worldly concern was with how one must behave in order to get intoheaven. Thus the figures in Byzantine art tend to "hover" in space without weight andsolidness, without inhabiting a three-dimensional space.

The monasteries owned vast libraries and engaged in the copying of manuscripts.Manuscript paintings were generally styled after classical paintings of late antiquity.

Byzantine mosaics are bedecked with gold leaf and iridescent glass tiles, radiating ashimmering, heavenly light. The effect of the composition together with the preciousmaterials, lift the holy figures into a divine spiritual place. The figures themselves aresymmetrical, repetitive, and little emotion or individualism is expressed in their calmfaces.
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Byzantine sovereigns adored gold in a sumptuous way, and on a grand scale. They hadno use for simple, plain jewelry or furnishings. The royal thrones were made of solidgold; even their battle gear was festooned with jewels and gilded with gold and silver.Households of the upper class possessed a immense silver table, and solid silvertableware.

Throughout the life of the Byzantine Empire, the Eastern Orthodox Church also playedan important social role. Sacred images, commissioned by the church acted as moralinstruction to the illiterate peasants who clamored for enlightenment of the holyscriptures.

Gothic Painting1100 - 1450

the age of faith

.

The Gothic period was tremendously culturally productive, in painting,sculpture, architecture andilluminated manuscripts. These art-works arecomplex, fraught with religious fervor andsymbolism. Biblical stories were

told and retold continuously--painted, sermonized, allegorized, embellished,creating a convincing and mysterious belief system.

The Gothic style of painting started in Italy and quickly spread throughout therest of Europe. Gothic paintings are darkly mystical, infused with an ethereal

emotional intensity. The mysticism of theMiddle Agesimparts a sense ofuniqueness and wonder to Gothic art. Painters such as Hieronymus Bosch,

had a taste for the poetic and his use of symbols are secretive hints andglances into the mysterious world that lies behind the painted one. Accordingto Medieval historian, Julia De Wolf Addison, "In medieval art, the beauty of

line, the sense of horror, and the voluptuous spirit, are all more or lesssubservient to the light-hearted buoyancy of a keen sense of fun. To illustratethis point, I wish to call the attention of the reader to the wit of the monasticscribes during the Gothic period. Who could look at the little animals which

are found tucked away almost out of sight in the flowery margins ofmanyilluminated manuscripts, without seeing that the artist himself musthave been amused at their pranks, and intended others to be so? One canpicture a gray-hooded brother, chuckling alone at his own wit, carefully

tracing a jolly little grotesque, and then stealing softly to the alcove of somecongenial spirit, and in a whisper inviting his friend to come and see the satire
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which he has carefully introduced: "A perfect portrait of the Bishop, only withclaws instead of legs! So very droll! And dear brother, while you are here, justlook at the expression of this Page 352 little rabbit's ears, while he listens to

the bombastic utterance of this monkey who wears a stole!"

The International Gothic style of paintings was a reflection of thetransformation that was taking place in Europe, the change from the Dark

Ages to a more enlightened, tolerant society. According to Historian Hendrikvan Loon, "People were tremendously alive. Great states were being founded.

Large centres of commerce were being developed. High above the turrettedtowers of the castle and the peaked roof of the town-hall, rose the slender spireof the newly built Gothic cathedral. Everywhere the world was in motion. Thehigh and mighty gentlemen of the city-hall, who had just become conscious oftheir own strength (by way of their recently acquired riches) were struggling

for more power with their feudal masters. "

With the triumph of Christianity, Gothic artists aspired to reawaken the divinespirit of holy figures rather than depict their physical qualities. Their unique

style is a combination of frontal simplicity, truth to nature, harmonious unitytogether with precision in details. The use of costly materials such as gold,precious stones and ivory indicates the degree of wealth that was commonduring this period, and attests to the sophistication of the Gothic culture.

Gothic style represented early Christian culture and values as well as courtlysplendor. Most prominently featured are the holy symbols of the Christian

faith--Christ, Saints,The Cross,VirginMary, Chalice,Keys,The Anchor,Wheat ,Animals,Fish,Angels,Birds,Insect

s andSatanand his henchmen.

Rococo Art1710-1750

About the Rococo Art Movement'The Art of the Aristocracy'

The word is derived from "rocaille" (pebble), but the term referred in particular to

the small stones and shells used to adorn the interiors of grottoes. Such shells or

shell forms were the primary motifs in Rococo ornament.

The Rococo movement was initially restricted to France, later spreading toall of Europe and above all to England. The movement continued to develop
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until the arrival ofNeoclassicismwhich attempted to return to the purismofclassical antiquity.Rococo art themes centered around carefreearistocrats at play in make-believe settings. Cherubs were often included inthe mix to give the work a touch of delightful whimsy. Romantic scenesdepict luxuriously costumed ladies and gentlemen flirting, picnicking and

laying music at gallant country parties. Thebackground sceneryis oftena serene natural setting with delicate trees and sprays of roses. Colors are a

rofusion of soothing, light pastels. Famous Rocco painter,JoshuaReynoldsstated "Raphael and Titian seem to have looked at Nature fordifferent purposes; they both had the power of extending their view to thewhole; but one looked only for the general effect as produced by form, theother as produced by colour."

The Rococo style began as a backlash againstBaroqueformality andstuffiness. Unlike Baroque, Rococo is not concerned with religious matters

or dramatic expression. The highly decorative art and design movementbegan in Paris, France in the early 1700s and is sometimes called the styleof Louis XV (15th) . The style is profoundly symbolic of the hedonism of theEuropean upper-classes. Rocco manner is characterized by graceful,enchanting, lighthearted themes of flirting and unrequited, melancholiclove among the aristocracy. Sentiment was expressed over reason andemotionalism was expressed over intellect. Paintings are animated andclever, reflecting an impishly sensual daydream.

Rococo Portraiture

Rocco paintings feature beautiful aristocrats decked out in velvet, elegantlaces and rich golden embroideries. The figures are tall and willowy, stylishand charming. The faces are presented as soft and rosy, effeminate andeternally young. Noblemen are depicted wearing feminine coiffeurs, rougedlips and cheeks, often sportinghigh heels. Family portraits are dreamy andlight hearted. Servants are depicted happily serving their aristocraticemployers and were often included infamily portraits. The Roccofemaleiguresare delicate and light; the faces, are childish and sentimental. The

lines of the mouth curve in soft mischief or in a delicate enchanting smile.

Key Descriptive Words and Phrases associated with the Rococo Movement - Late Baroque, tapestry,

Charlottenburg Palace, Versailles, 18th century, France, colloquialism, Louis XV's reign, frills, powdered wigs,

masks, whimsy, garish makeup, men in high heels, cherubs, elaborate recipes, pre-revolution, rediscovery of

the classical world, Chteau de Chantilly, ethereal background scenery, melodramatic, decorative, Age of

Discovery, axonometric drawing, curiosity about the natural world, pastel colors, romanticized
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landscapes, courtship

Require more facts and information about Rococo Painting? Dig around every nook and

cranny of the known universe for information this subject. Search Here

Examples of Rococo paintingclick to enlarge

Mannerism

The name mannerism comes from the Italian maniera, which translates to 'style'

Portrait of aHalberdier ...

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Leda and the Swan,circa ...

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View of Toledo, circa159...

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Mannerism is an artistic style that surfaced after the Sack of Rome on May 61527, when Charles V, Holy Roman Emperor descended upon Rome raping,plundering and massacring. Many great artworks were destroyed or cartedoff. This senseless slaughter unhinged Renaissance confidence, humanismand way of thinking to the core. The style originated in Rome and laterwidened to all of Europe. Mannerists paintings are characterized by elongatedlimbs, thin aquiline noses, overly stylized figures, undersized

heads, electrifying, vibrant colors and elaborately mannered, theatricalcompositions. According to Renaissance scholar John C. Van Dyke "Theyproduced large, crowded compositions, with a hasty facility of the brush andstriking effects of light. Seeking the grand they overshot the temperate. Theirelegance was affected, their sentiment forced, their brilliancy superficialglitter. When they thought to be ideal they lost themselves inincomprehensible allegories; when they thought to be real they grew prosaic in
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detail. These men are known in art history as the Mannerists, and the menwhose works they imitated were chiefly Raphael, Michael Angelo, andCorreggio. "

The Mannerists in Italy worked on generous commission for a restricted

audience of Vatican powerbrokers and royalty. The subjects they were allowedto portray was controlled and restricted to biblical themes, portraiture andoccasionally mythology. El Grecosaid to hell with the money went off toSpain to pursue his own amazing vision.

Masters of The Mannerist Style

Paolo Veronese

Jacopo da Pontormo

Alessandro Allori

El Greco

Giorgio Vasari

Giovanni Rosso Fiorentino

Agnolo Bronzino

Parmigianino

The wordNeoclassicalcomes from the translates to 'New Classical'

Neoclassical Art

"The Art of The French Revolution"

1750-1850
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Description and Origins of the Neoclassic Art Movement

The heart of Neo-Classical movement was centered in Rome, where expatriate artists

congregated around the flamboyant German classical archaeologist and art

criticJohann Joachim Wincklemann.Winckelmann gushed about the "noble

simplicity and quiet grandeur of Greek sculpture, which he believed to be the most

perfect beauty ever created by human hands, and recommended that artists emulate

these classical forms. The period is called neoclassical because its artists looked back

to the art and culture of classicalGreeceandRome. The word Neoclassical comes

from the translates to 'New Classical'.

Wincklemannwrote about roman archeological excavations and touted the

homoeroticism of Greco-Roman art, writing explicit descriptions erotic male

sculptures from Classical Antiquity thereby encouraging an interest in Greek

antiquities. According to Winckelmanns biographer, Walter Pater, "his affinity with

Hellenism was not merely intellectual, that the subtler threads of temperament were

interwoven in it, is proved by his romantic, fervent friendships with young men. He

has known, he says, many young men more beautiful than Guidos archangel. Thesefriendships, bringing him into contact with the pride of human form, and staining the

thoughts with its bloom, perfected his reconciliation to the spirit of Greek sculpture. "

Neoclassical art is characterized by its classical form and structure, clarity, and to an

degree, realism. More than just a classical revival, Neo-Classicism was directly

connected to contemporary political events. Neo-Classical artists at first wanted to

supplant the eroticism and frivolity of theRococo stylewith a style that was orderly

and serious in character. French Neoclassism painters emphasis's patriotism, as well

as a sense of civility and honorableness. The movement was particularly connectedwith the beliefs of the French Revolution and was seen as anti-aristocratic. The

fantasy-based aristocratic art of theRococoeraseemed an insult upon the rights of

men and was vilified by critics and the general public. In an age of sweeping

revolution and transformation Neoclassicism became the art of change.
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French painterJacques-Louis Davidwas infatuated with the former grandeur of Rome

and even painted the tiny, pudgy Napoleonas a magnificent warrior astride a white

stallion. David declared "I will never, for the future, paint the portrait of a tyrant until

his head lies before me on the scaffold."

Mythology, Revolutionary themes, folklore, legends, and the calm grandeur of abygone era were all favored themes for Neoclassical painters.

The Symbolist Painters1870-1910

Lips (Heure del'Observatoire)

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The Symbolist movement was an artistic uprising opposed toNaturalism,RealismandImpressionism.Jean Moreas's Symbolist Manifesto,published in Le Figaro in 1886, stated that realism was obsolete and declaredthat symbolism was the model to be treasured hence forth. The basic

philosophy of this aesthetic movement was a belief that the passing tangibleworld is not true reality, but a reflection of the unseen Absolute. The writingsof Edgar Allan Poe, and Joris Karl Huysmans, andtheGothicandRomanticismstyle were major influences. Painters based theirimagery on magical, sacred and occasionally mythological themes. Somepainters combined painting with mythology, inspired by literary symbolism,exoticism and orientalism.Odilon Redonsimages seems to drift, even havingan element of Japanese Painting. A significant number of the artists dabbledin sorcery, witchcraft and ancient Druid religion.

Symbolist Writers: Joris-Karl Huysmans, Edgar Allan Poe, Oscar Wilde, T.S. Eliot, Rene Vivien, William Blake, Dante Gabriel Rossetti, Albert Samain,

Rmy de Gourmont

A List of the Greatest Symbolist Painters

Man RayAmerican 1890-1976
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Odilon Redon1840-1916

Edvard MunchNorwegian, 1863-1944

Gustave MoreauFrench 1826-1898

Diego RiveraMexican, 1886-1957

William BlakeBritish, 1757-1827

Romanticism1782-1830

"For the objects of contemplation it has to produce, Art requires not only an external given

material - (under which are also included subjective images and ideas), but - for the expressionof spiritual truth - must use the given forms of nature with a significance which art must divine

and possess . " -- Georg Wilhelm Friedrich Hegel c. 1830, Romanticist writer and philosopher

Romanticism started in Germany and quickly moved to England in the early 1780s. In the

beginning the romantic movement was advanced mainly by a number of German writers andpoets. Their influence on painters was inspiring and lasting. The Romantics exalted courtly

love and sought only poetry and truth. They refused to be restricted by the traditional approach

to still-lifes, seascapes, and landscapes. They explored a classical and increasingly decorativepainting style in which structure, forms and luminescent colours were seen as having the power

to evoke an emotional, and even spiritual, response in the viewer. Music, literature and artacquired profound or idealistic meaning. Legends, folklore, mythology and fairytales were rich

sources of inspiration. The Romantics dreamed of a world made better through art that wouldarticulate ideal beauty and the nobleness of the true love.

Masters of Romanticism

William Blake British, 1757-1827 Romantic Painter

Eugne Delacroix French, 1798 - 1863 Romantic Painter

John Constable English, 1776-1837 Romantic Painter

Classical Greek Art
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The Greek Style

In Greece, painting first ceased to be subordinate toarchitecture, and became independent. Greek painters used home madepigments, individual to each artist. The recipes were guarded closely andhanded down generation to generation. Most home-made pigments werecreated from bone, charcoal, ground stone, and naturally occurring earthpigments.

According to art historian, Walter Pater, "The supreme Hellenic culture is a

sharp edge of light across this gloom. The fiery, stupefying wine becomes in ahappier climate clear and exhilarating. The Dorian worship of Apollo, rational,chastened, debonair, with his unbroken daylight, always opposed to the sadChthonian divinities, is the aspiring element, by force and spring of whichGreek religion sublimes itself. Out of Greek religion, under happy conditions,arises Greek art, to minister to human culture. It was the privilege of Greekreligion to be able to transform itself into an artistic ideal."

In early days, there was skill in the ornamentation of vases and in muralpainting. Yet, with much spirit and feeling, there was a conventional

treatment. The earliest artist of whom we know much is Polygnotus, about420 B.C., whose groups of profile figures were described as remarkable fortheir life-like character and fine coloring. Apollodorus of Athens wasdistinguished, but Zeuxis of Heraclea is said to have been the first to paintmovable pictures. He is famed for his marvelous power of imitation: the birdspecked at a bunch of grapes which he painted. But even he was outdone byParrhasius. Zeuxis, however, had far higher qualities than those of a literalcopyist. The most successful of the Greek painters was Apelles. Among hismasterpieces was a painting of Venus rising from the waves, and a portrait ofAlexander the Great. We have not in painting, as in sculpture, a store of

monuments of Greek art; but the skill of the Greeks in painting fell behindtheir unequaled genius in molding the human form in bronze and marble.

The Greeks more and more broke away in a freeand joyous spirit from the stiff and conventional styles of Egyptian andOriental art. In the room of the somber, massive edifices of Egypt, theycombined symmetry and beauty with grandeur in the temples which they
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erected. The temples were originally colored within and without. Three styleswere developed, the Doric, the Ionic, and the Corinthian. In the Doric, thecolumn and entablature have the most solid and simple form. The column hasno other base than the common platform on which the pillars rest, and thecapital that surmounts it is a plain slab.

Originality is a distinguishing trait in Classic Greek Art. Whatever the Greeksborrowed from others they made their own, and reproduced in a form peculiarto themselves. They were never servile copyists. A spirit of humanity, in thebroad sense of the term, pervades their painting, sculpture and mosaics. Theirsense of form, including a perception of beauty, of harmony and proportion--made them the leaders of Western Civilization. -Richard Muther, The Historyof Painting, Henry and Co., London, 1896

Greek painting Techniques and Formula

Greek artists created their masterpieces using homemade pigments. Pigmentswere made according to ancient recipes. Artists used many differentingredients to achieve the desired colors, including burnt apple seeds,pulverized semiprecious stones such as lapis lazuli, charcoal, animal andhuman bones, naturally occurring earth pigments such celadonite andchlorite, pomegranate juice and ground up ibulio beetles. Each artist mixingup his own a batch to use as needed.

Egg tempera is a radiant, semi-translucent paint that dries almostimmediately. The process of setting up the paint was time consuming andtechnical. The artist used 1 egg, 1 tsp. raw olive oil, a few drops if vinegaradded to ground pigment. The process to make just one color took about 30minutes. Brushes were made from squirrel hair, hogs bristle and cat whiskers.

Toxic pigments

. Many of the pigments were extremely toxic causing the person mixing them

to have oozing sores that never healed, patches of baldness, fingernails thatfell off and in a few short years a painful ugly death. Old slaves were usuallyemployed to grind up the pigments and mix up the binders.


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After the Greeks

The Romans like the Greeks loved beauty and art. Upper income people hadevery wall of their home decorated with beautiful murals. Romans favorednature scenes with birds in flight, fish, dogs and exotic animals. Mythologicalscenes and philosophers in contemplation were also popular. Soc, Accordingto noted historian, Hendrik van Loon "The Romans, like their Carthaginianrivals, were too busy administering other people and making money to havemuch love for useless and unprofitable adventures of the spirit. They

conquered the world and built roads and bridges but they borrowed their artwholesale from the Greeks. They invented certain practical forms ofarchitecture which answered the demands of their day and age. But theirstatues and their histories and their mosaics and their poems were mere Latinimitations of Greek originals. Without that vague and hard-to- definesomething which the world calls personality, there can be no art and theRoman world distrusted that particular sort of personality. The Empireneeded efficient soldiers and tradesmen. The business of writing poetry ormaking pictures was left to foreigners."

Egyptian History and ArtEgyptian art from any time period firmly adheres to the same rigid code of design.

The style is called frontalism. This is why Egyptian art remained practically

unchanged for nearly 3,000 years. In sculpture and paintings frontailsm means that the

stance is always frontal and bisymmetrical, with arms close to the trunk and the head

of the individual/creature is always drawn in profile, the leg is turned to the same side

as the head, with one foot placed in front of the other. Egyptian art spans over 4000

years and includes the Old Kingdom 3200 - 2185 BC, Middle Kingdom 2040 - 1650

BC, New Kingdom 1550 - 1070 BC . According to art historian, S. Spooner "The

Egyptian painters and sculptors designed their figures in a style peculiarly stiff andformal, with the legs invariably closed, except in some instances in the tombs of the

Kings at Thebes, and their arms stuck to their sides, as if they had consulted no other

models than their bandaged mummies. The reasons why the Egyptians never made

any progress in art till the time of the Greco-Egyptian kings, were their manners and

customs, which prohibited any innovations, and compelled every one to follow the


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beaten track of his cast, without the least deviation from established rules, thus

chaining down genius, and the stimulus of emulation, honor, renown and reward. "

Origins of the Egyptian People and Art

According to Egyptian historian George Rawlinson "Where the Egyptians came from,is a difficult question to answer. Ancient speculators, when they could not derive a

people definitely from any other, took refuge in the statement, or the figment, that

they were the children of the soil which they had always occupied. Modern theorists

may say, if it please them, that they were evolved out of the monkeys that had their

primitive abode on that particular portion of the earth's surface. Monkeys, however,

are not found everywhere; and we have no evidence that in Egypt they were ever

indigenous, though, as pets, they were very common, the Egyptians delighting in

keeping them. Such evidence as we have reveals to us the man as anterior to the

monkey in the land of Mizraim Thus we are thrown back on the original question

Where did the man, or race of men, that is found in Egypt at the dawn of history comefrom?

It is generally answered that they came from Asia; but this is not much more than a

conjecture. The physical type of the Egyptians is different from that of any known

Asiatic nation. The Egyptians had no traditions that at all connected them with Asia.

Their language, indeed, in historic times was partially Semitic, and allied to the

Hebrew, the Phnician, and the Aramaic; but the relationship was remote, and may be

partly accounted for by later intercourse, without involving original derivation. The

fundamental character of the Egyptian in respect of physical type, language, and tone

of thought, is Nigritic. The Egyptians were not negroes, but they bore a resemblance

to the negro which is indisputable. Their type differs from the Caucasian in exactly

those respects which when exaggerated produce the negro. They were darker, had

thicker lips, lower foreheads, larger heads, more advancing jaws, a flatter foot, and a

more attenuated frame. It is quite conceivable that the negro type was produced by a

gradual degeneration from that which we find in Egypt. It is even conceivable that the

Egyptian type was produced by gradual advance and amelioration from that of the

negro.

Still, whencesoever derived, the Egyptian people, as it existed in the flourishing timesof Egyptian history, was beyond all question a mixed race, showing diverse affinities.

Whatever the people was originally, it received into it from time to time various

foreign elements, and those in such quantities as seriously to affect its physique

Ethiopians from the south, Libyans from the west, Semites from the north-east, where

Africa adjoined on Asia. There are two quite different types of Egyptian form and

feature, blending together in the mass of the nation, but strongly developed, and (so to


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speak) accentuated in individuals. One is that which we see in portraits of Rameses

III, and in some of Remises II.a moderately high forehead, a large, well-formed

aquiline nose, a well-shaped mouth with lips not over full, and a delicately rounded

chin. The other is comparatively coarseforehead low, nose depressed and short,

lower part of the face prognathous and sensual-looking, chin heavy, jaw large, lips

thick and projecting. The two types of face are not, however, accompanied by muchdifference of frame. The Egyptian is always slight in figure, wanting in muscle, flat in

foot, with limbs that are too long, too thin, too lady-like. Something more of

muscularity appears, perhaps, in the earlier than in the later forms; but this is perhaps

attributable to a modification of the artistic ideal."

Religion in EgyptAccording to Herodotus "They are religious excessively beyond all other men, and

with regard to this they have customs as follows:they drink from cups of bronze and

rinse them out every day, and not some only do this but all: they wear garments of

linen always newly washed, and this they make a special point of practice: they

circumcise themselves for the sake of cleanliness, preferring to be clean rather than

comely. The priests shave themselves all over their body every other day, so that no

lice or any other foul thing may come to be upon them when they minister to the gods;

and the priests wear garments of linen only and sandals of papyrus, and any other

garment they may not take nor other sandals; these wash themselves in cold water

twice in a day and twice again in the night; and other religious services they perform

(one may almost say) of infinite number. They enjoy also good things not a few, for

they do not consume or spend anything of their own substance, but there is sacred

bread baked for them and they have each great quantity of flesh of oxen and geese

coming in to them each day, and also wine of grapes is given to them; but it is not

permitted to them to taste of fish: beans moreover the Egyptians do not at all sow in

their land, and those which they grow they neither eat raw nor boil for food; nay the

priests do not endure even to look upon them, thinking this to be an unclean kind of

pulse: and there is not one priest only for each of the gods but many, and of them one

is chief-priest, and whenever a priest dies his son is appointed to his place."Roman artFrom Wikipedia, the free encyclopedia


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Fresco from theVilla of the Mysteries.Pompeii, 80 BC

Roman art refers to the visual arts made inAncient Romeand in the territories of theRoman Empire. Roman

art includesarchitecture,painting,sculptureandmosaic work. Luxury objects inmetal-work,gem

engraving,ivory carvings, andglass, are sometimes considered in modern terms to be minor forms of Roman

art,[1]

although this would not necessarily have been the case for contemporaries. Sculpture was perhaps

considered as the highest form of art by Romans, but figure painting was also very highly regarded. The two

forms have had very contrasting rates of survival, with a very large body of sculpture surviving from about the

1st century BC onwards, though very little from before, but very little painting at all remains, and probably

nothing that a contemporary would have considered to be of the highest quality.Ancient Roman potterywas not

a luxury product, but a vast production of "fine wares" interra sigillatawere decorated with reliefs that reflected

the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable

price.Roman coinswere an important means of propaganda, and have survived in enormous numbers. Other

perishable forms of art have not survived at all.

Types of Visual Art

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There are three basic types of VisualArt. Subcategories exist in each of these types. Often, these types are

misrepresented or more often, misunderstood. Whether the work is threedimensional sculpture or two dimensional, it will still fall under one these
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three main types. These types are representational, abstract, or non-

objective. The intent of the artist often times informs us on the type of art atwhich we are viewing. Beyond this, the application of the medium can also

have an effect on the type of artwork.

Representational Art

Representational artwork aims to represent actual objects or subjects from

reality. Subcategories under representational art include Realism,Impressionism, Idealism, and Stylization. All of these forms of

representationalism represent actual subjects from reality. Although some ofthese forms are taking steps toward abstraction, they still fall under the

category of representation. Representational art is perhaps the oldest of thethree types of art. It can be traced back to the Paleolithic figurine, The

Venus of Willendorf. It is also the easiest to digest from a viewer's

perspective.

We can easily identify with recognizable

subjects in apainting,drawing, or sculpture.

This makes representational art widelyaccepted among the masses.

Representational art also represents thelargest collection of artwork created.

Considering that the other two types, abstractand non-objective, are relatively new types of

art, this makes perfect sense.Representational art has gone through many

phases and movements, yet the principle ofpresenting the viewer with recognizable

subject matter has stayed the same. It isworth noting that some representational artflirts with abstraction. It could be said thatsome representational artwork happens to be

more realistic while other forms focus on the

artist's perception of the subject.

Pierre-Auguste Renoir. Two

Sisters (on the Terrace), 1881
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Abstract Art

Georges Braque. Woman with Guitar,

1913


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The often misunderstood type of art

known as abstraction aims to takesubjects from reality but present

them in way that is different from theway they are viewed in our reality.

This may take the form ofemphasizinglines,shapes,

orcolorsthat transform the subject.Abstract art includes thesubcategories of Minimalism, Cubism,and Precisionism. Abstraction can also

happen when the artist decides to

view the subjects in a non- traditionalmanner. Abstraction is relatively newto the art world, having it's earliest

roots in the deviations from reality taken by the Impressionists. It began to

gain popularity in various forms around the world at the end of the 19thcentury. Artists began to take a more intellectual approach topainting. This

new way of approaching art is evidenced in the Magritte painting entitled,"The Treachery of Images", 1928-1929. Written in French under a

representational painting of a pipe, is the phrase, "This is not a pipe." Thepoint is that the painting is indeed not a pipe, but rather a painting of a

pipe. Artists of this time where now approaching paintings as paintings,allowing for a new form of intellectual expression. Many people have

difficultly in understanding the differences between abstract art and non-objective art. The clear difference lies in the subject matter chosen. If the

artist begins with a subject from reality, the artwork is considered to beabstract. If the artist is creating with no reference to reality, then the work

is considered to be non-objective.

Renee Magritte. The Treachery of

Images, 1928-1929
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Non-Objective Art

The third type of art is often mistaken for Abstract art although it is entirelydifferent from it. Non-Objective art takes nothing from reality. It is createdpurely for aesthetic reasons. The intent of Non-objective art is to usetheelements and principles of artin a way that results in a visually stimulatingwork. It is purely that simple.

Jackson Pollock. Number One 1948
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The Byzantine Style

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Transcript of The Byzantine Style