ISYU TUNGKOL SA SEKSWLADIDA (ISSUE ABOUT SEXUALITY
Chapter 30 19th Century Art In Europe And The United States 5
1. Chapter 30: 19th Century Art in Europe and the United States Symbolism, Sculpture, Arts and Crafts, Art Noveau Magister Ricard AP Art History
2. Developments of Late 19th Century Artists continued to build on the foundations laid by the Realists and Impressionists Probing the inner mind of art, Post Impressionists established the foundation for Symbolists Sculptors began to stray from copying reality towards exploring the inner essence of life Wealthy patrons were hungry for innovative designs for interior spaces Fin de siècle (end of the century) serves as a transition into Modernism of 20th century
4. Who Were the Symbolists? Inspired heavily by Goya’s black paintings and etchings Inspired also by Gauguin’s work focused on inner visions Odilon Redon, Gustave Moreau, Henri Rousseau, and Edvard Munch Like the Romantics, opposed values of rationalism and material progress Explored non-material, emotion, imagination, spirituality Accompanied by literature, Freud’s Interpretation of Dreams
5. Pierre Puvis de Chavannes The Sacred Grove 1884oil on canvas2 ft. 11 1/2 in. x 6 ft. 10 in.
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7. Odilon Redon The Cyclops 1898oil on canvas2 ft. 1 in. x 1 ft. 8 in.
18. What is Art Nouveau? Got its name from a decorative art store in Paris, L’Art Nouveau Influenced by Arts and Crafts Movement Started in Britain as reaction to Industrial Revolution Features organic designs – artwork that has qualities of organic life – plants, floral patterns, vines
31. Conclusion Symbolism grows out of the Post Impressionist’s style (Gauguin) Sculpture, via Rodin, starts to move away from Neoclassical dogma and into modern convention Arts and Crafts Movement reacts to Industrial Revolution Art Nouveau grows as a continued response against industrialization, return to organic art With new materials comes new architecture, cast iron gives birth to the idea of the skyscraper
Editor's Notes
Auguste RodinGates of HellCommissioned in 1880 for the Museed”Orsay. Features influences from Dante, Baudelaire’s Flowers of Evil poem, and Ghiberti’s Gates of Paradise. Never cast, only plaster cast remains. Features the Thinker in the middle of the lintel. Influenced heavily by Michelangelo and Donatello. Heavily modeled figures in unusual poses.
