Art history is the critical interpretation of artwork and involves the formulation of judgements based on the criteria adopted by each individual art historian. There is no universal standard that testifies to the veracity of such criteria, as the opinions derived from which cannot be proved right or wrong categorically by scientific procedures. If art history is considered as part of the history of human evolution, however, it is meaningful to call attention to originality as a quality inherent in the superior work. Regardless whether we are seeking consistency in aesthetic integrity or candidness in response to social realities, innovation in either techniques or substances that forecasts new possibilities is always of historical interest. Art historians seek originality in appreciating work canonized in the past and in promoting a raising star to the canon. Since originality implies individuality, which manifests most persuasively when emanated from the creative individual, the artist's intentions are frequently explored and sometimes even constructed. This paper focuses on the discussions of Cezanne's originality to illustrate the relationship between originality and intention in art historical interpretations. …show more content…
Although contemporary critics were confounded by the primitive sensation that deviated from the traditions of academic painting, there were positive reviews that applauded the same idiosyncrasies for containing a balanced strength comparable to the "imperturbable calm in ... Greek painting or vases" (Harrison 202). The body of theories that rationalizes the merit of Modernism embodied in Cezanne's work undergoes a series of critical reflections, not only on the artwork itself through lens from different historical backgrounds, but also on itself to examine its own independence and rigor. It is in this process that the element of intentionality is discovered and
The 18th century is well known for its complex artistic movements such as Romantism and Neo-classical. The leading style Rococo thrived from 1700-1775 and was originated from the French words rocaille and coquille which meant “rock” and “shell”; used to decorate the Baroque gardens1. Identified as the age of “Enlightenment”, philosophers would ignite their ideas into political movements1. Associated with this movement is England’s John Locke who advanced the concept of “empiricism”. This denotes that accepting knowledge of matters of fact descends from experience and personal involvement1. Locke’s concept assisted the improvements of microscopes and telescopes allowing art students in the French academy to observe real life1. Science and experience influenced painting more so in Neo-Classicalism. Locke fought for people’s rights and the power or “contract” between the ruler and the ruled. Reasoning that “the Light in Enlightenment referred to the primacy of reason and intellect…and a belief in progress and in the human ability to control nature”1. Hence, the commence of experimental paintings such as Joseph Wright’s (1734-1797) oil on canvas painting: Fig.1 An Experiment on a Bird in the Air Pump. This image was developed through science by placing a bird in glass container and pumping air to see the effects it would have on the bird (White cockatoo)1. Throughout the late 18th and early 19th century in Western Europe, Neo-Classical art became the “true Style” and was accepted by the French Revolution under Louis XIV. Neo-Classical art was a reaction to Rococo’s light hearted, humour and emotion filled pieces.
“It’s rare that a single work of art can change the course of art history in such a concrete and dramatic way. In fact it could be argued that all contemporary art owes its very existence to one painting: Marcel Duchamp‘s Nude Descending a Staircase. A painting that is considered to be the most influential development in modern visual narrative and what is considered innovative in art” (Naumann, 2013). “Marcel Duchamp rejected “retinal art” meaning attractive to the eye. He focused more on the intellectual ideas of his work and interpretations that people had from viewing his art. His art engaged the imagination and intellect instead of the eyes like art around his time did. According to Duchamp; The creative act is not performed by the artist alone, the spectator brings the work in contact with the external world by deciphering and interpreting it and thus adds his contribution to the creative act” (Sugandhjot Kaur). He initiated art with self-conscious meaning. He employed techniques of movement that went far beyond what other cubist painters had sought to convey with their prior w...
The period surrounding 1781 to 1855 in France’s history is united by social and political change, an evolution of ideological struggles towards the best possible political struggle amongst anchoring human faults. The life of the artist too underwent change and struggled with the hierarchy that existed to validate artistic triumph. Changes are apparent amongst a broad spectrum, including David, Ingres, history paintings and caricatures. Artists that demonstratively epitomize the shifts, overwhelmingly united by a shift from acceptance to defiance, are Eugene Delacroix (1789 – 1863) and Gustave Courbet (1819 – 1877). Artistic and cultural differences that developed are transparent through understanding of the paradigmatic differences of these two artists. This essay will identify motivating factors in the two artists’ work, explore how they interact with one another, and, ultimately, validate their significance and vitality within the history of French painting. Delacroix and Courbet will both be ultimately described as triumphant in defiance, possessors and enablers of creativity.
The act of creating art is rarely, if ever, a truly original action. The literary scholar Harold Bloom coined the phrase anxiety of influence, which describes the belief that there is no such thing as an original poem: “new poems originate mainly from old poems; that the primary struggle of the young poet is against the old masters.” The same is true
During the 1900’s, art was thriving. Artists, who would eventually become famous household names, were making an impact each in their own way. There was Pablo Picasso, the “father of Cubism”, who often liked to experiment in different styles, such as Surrealism. He is the creator of one of the biggest controversial and outspoken paintings of its time, “Guernica”. Fellow painter Henri Matisse took in inspiration often with Picasso, and it was their witnessing of past artist Paul Cézanne’s “The Large Bathers” display at a retrospective exhibition one evening that sparked the birth of a personal mission in each artist’s heart to create something that would not only do their previous fellow artist justice, but also help make a name for themselves.
Impressionism is an art movement during the 19th century. During the late 19th century, Impressionism was transitioned into the Post-Impressionism by the French artist, Paul Cézanne. He is known as one of the contributors in transitioning to the Post-Impressionism movement. The Post-Impressionist era caused certain criteria’s to be violated but still held the techniques from the Impressionist era. Paul Cézanne developed many techniques that became significant within the movement and ultimately earned him the success as an artist. He introduced a diverse technique in his early works and emphasized symbols that represents the landscape. Many renditions of the landscape “Mont Sainte-Victorie” were created and have a significant factor in his success. The Mont Sainte-Victorie renditions are the stepping stone in the evolutionary change during the Post-Impressionism movement. Paul Cézanne’s Post-Impressionist artwork was so influential, it was able to give birth to the new artistic explorations such as cubism.
While studying the three legs of the western philosophical stool- truth/wisdom, justice, and art/beauty- it became clear one must develop their own perspectives, beliefs, truths, and meanings regarding each leg. The interpretations of truth and meaning come individually based on experiences and different backgrounds. Each piece of artwork described represents a form of peace, coming from within, and a price paid to achieve it. Johannes Vermeer’s The Milkmaid and Girl with a Pearl Earring depict beautiful women intent, almost mesmerized, on their goal, against a dull background. Similarly, Claude Monet’s obsession with his garden at Giverny can be seen in works such as Waterlilies, Water Landscape, Clouds, 1903 and Waterliles, 1897/98. Like Vermeer, Monet’s focus on the simplicity of a scene is not only breathtaking but paints a story of peacefulness. But just like the shadows in each of the four works, peace casts its own
Even though I now have greater knowledge of Monet's background, I still question the extent of his creativity. In order to answer this question as completely as possible, I've analyzed three areas of Monet's life: Childhood and Early Influences, Military Service to Exhibitions at the Salons, and Early Impressionist Exhibitions to the Final Days at Giverny. By examining different aspects of Howard Gardner's model within each of these periods, we can better...
Georges Didi-Huberman is critical of the conventional approaches towards the study of art history. Didi-Huberman takes the view that art history is grounded in the primacy of knowledge, particularly in the vein of Kant, or what he calls a ‘spontaneous philosophy’. While art historians claim to be looking at images across the sweep of time, what they actually do might be described as a sort of forensics process, one in which they analyze, decode and deconstruct works of art in attempt to better understand the artist and purpose or expression. This paper will examine Didi-Huberman’s key claims in his book Confronting Images and apply his methodology to a still life painting by Juan Sánchez Cotán.
I was just telling myself that since I was impressed, there had to be some impression in it; and what freedom? What ease of workmanship? Why, wallpaper in its embryonic state is more finished than that landscape” (L42). Works of similar style were naturally referred to as Impressionistic thereafter, although the word itself does not represent any of its characteristics.
Thesis: The French Revolution transformed not only the French society, but also had a huge influence and marked impact on what the purposes of the arts and their expression were now, making profound changes in what they would supposed to be used for, in the form of the Neoclassic works of art that made their appearance prior to the French Revolution, in which very special emphasis is given to the patriotic, the nationalist feeling, together with a strong sense of self-sacrifice that should be present in every person’s heart.
Due to the subjective nature of the impressionistic art and literary style, both mediums possess an ambiguous quality. According to Bernard Dunstan, in Painting Methods of the Impressionists, impressionism “has come to have overtones and associations which can obscure its true meaning,” (11). This is also true for impressionistic literature. However, Metz argues that “ambiguity surrounds the process through which the impre...
When most people think of Paul Cezanne, they think of two words genius and painting. For these two words he is consider by far to be the Father of modern painting. Cezanne was born in Aix-en-Provence in 1839. He was to die in the same town in 1906.
Paul Cezanne (1839-1906) was a revolutionary painter of the late 19th century. His work could not be contained within one movement of modern art. Cezanne painted during the height of the Impressionists movement, though he did not hit the pinnacle of his career until he became one of the founders of the Post-Impressionist movement. His style of painting has inspired generations of artists to this day. His 1895-1900, Post-Impressionist, still life, Table, Napkin, and Fruit, (Un coin de Table) oil painting comes from his collection of still-lifes. The Barnes Foundation, in Merion, Pennsylvania, houses this remarkable painting. Cezanne encapsulates the simplicity of a bowl of peaches and pears on a table and turns it into a major work of the Post-Impressionist period.
The aesthetic value of Rene Magritte’s paintings is driven by a relationship manufactured by the artist. By specifically targeting an audience who can recognize that a set of established artistic interpretations are being challenged in his paintings, Magritte generates a dialectic argument that attempts to deconstruct Plato’s mimetic interpretation of art. As a result, the painting of a negated representation contained within a painted representation of that same object necessarily appeals to a subjective and not objective desire to comprehend Magritte’s intent. In other words, because we (the audience) know that you (the artist) know that your breaking the “rules,” a specific interest rather than a disinterested idea of beauty influences the aesthetic judgment of Magritte’s work.