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L.v. Beethoven Symphony No.3 Op.55 in E flat major Eroica

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L.v. Beethoven Symphony No.3 Op.55 in E flat major Eroica I. Allegro con brio 0:00 II. Marcia funebre. Adagio assai 17:00 III. Scherzo. Allegro vivace -- Trio 32:17 IV. Finale. Allegro molto 38:26 New York Philharmonic Orchestra Leonard Bernstein Conductor

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Two Men Contemplating On The Moon

(The Met.Museum of Art, New York)

The German Romantics were concerned with trying to find new ways of experiencing and expressing landscape. They were obsessed with haunting landscapes and intensely radiating skies. Friedrich often represented the melancholy and desolateness of nature in his works. One of his most famous motifs was the depiction of two figures seen from behind whilst gazing at the moon in shared contemplation. Friedrich painted three different versions of this theme. The first version of the painting was Two Men Contemplating the Moon (1819), the second version, Man and Woman Contemplating the Moon (ca. 1824), and the third and supposed last version of the painting, Two Men Contemplating the Moon (ca. 1830).

Two Men Contemplating the Moon: First Version

One of the most often illustrated and cited pictures, and the best known of the three, Two Men Contemplating the Moon, 1819 paintings. It is also the most dramatic. According to Dahl (Friedrich's friend and neighbor) the two figures are two of Friedrich's pupils - August Heinrich and his brother is law Christian Wilhelm Brommer. However Wilhelm Wegener claims that the figure on the right is in fact Friedrich himself and the one on the left is his student August Heinrich. The composition is asymmetrical and the landscape relatively is crowded. The two figures in all three versions of the painting are looking out from a stony path (symbol of the path of life) at the moon (symbol of Christ). Other symbolic elements include the dead oak tree, an evergreen and a rock. Interpretations of this work vary from purely Christian, to pagan, mystical, and political.

Man and Woman Contemplating the Moon: Second Version

Man and Woman Contemplating the Moon, 1824: The light of early dusk in this painting contrasts with the dark foreground and the luminous sky. The dead tree with its spiky branches and menacing exposed roots dominates the picture, while the couple fade into the background in dreamy awe at the moon. In this version the woman has been substituted for the younger man in the previous version. This is perhaps because of August Heinrich's death in 1822 which meant he replaced him with a woman who is presumably his wife Caroline.

Two Men Contemplating the Moon: Third Version

Two Men Contemplating the Moon, 1830: In the painting, Friedrich once again portrays two male figures; the sky is again lighter than in the second version however it is painted more assuredly than in the two earlier versions. It shows two men standing in classic Friedrich style, their backs turned to us, looking into the picture and communing with nature.

Well-dressed city dwellers, they seem to be on an evening stroll that has taken them to improbably high ground; they gaze down at the crescent moon and its companion, the evening star, which glimmer through a pinkish mist, framed by the branches of an extravagantly craggy oak. The figures are larger than those in many of Friederich's best-known paintings, and the natural setting is less overwhelmingly immense, but the artist's characteristic religiosity, leavened here with touches of urbanity and implausibility, is firmly in place.

The Met's painting is no bigger than a briefcase, but, as often with Friedrich, it becomes monumental in memory. The two men stand on a steep path and look down on a low crescent moon whose full disk is dimly visible in a peachy glow of reflected light from Earth. The planet Venus glimmers nearby in a lavender sky. A partly uprooted oak overarches the scene. A young man leans chummily on the shoulder of a sternly upright elder, who, like many of Friedrich's heroes, defiantly wears German medieval garb, which was banned under the Metternichian order of Europe after the Napoleonic wars. Friedrich had a habit of combining nationalist resentment and spiritual transport, as if they automatically belonged together. An erotic subtext is hinted at by the presence of Venus: the men are feasting their eyes on the cosmological Eternal Feminine.

The painting was inspirational to one of the great literary masterpieces of the twentieth century - . It was inspired, according to Beckett himself, by a painting by Caspar David Friedrich. Ruby Cohn recalls seeing the painting, Man and Woman Contemplating the Moon of 1824, along with Beckett who "announced unequivocally, 'This was the source of Waiting for Godot, you know.' "He may well have confused two paintings since, at other times, he drew the attention of friends to Two Men Contemplating the Moon from 1819, in which two men dressed in cloaks and viewed from the rear are looking at a full moon framed by the black branches of a large, leafless tree." In either case both paintings are similar enough that what he attested to could apply equally to either. Samuel Beckett's: Waiting for Godot

Friedrich's fascination with the moon inspired artists, writers and poets of the time. The moon was associated with magic, the semi-conscious and dreams and its symbolic meaning developed from "yearning and despair to serene contemplation to final demystification with the advent of rational, scientific inquiry". It was later known as a "phenomenon of the Divine".

Friedrich's landscapes often create a sense of mystery through the use of the moon, dawn and dusk, which were frequent in his night-time scenes. To quote the German philosopher Arthur Schopenhauer (1788-1860), "Why has looking at the moon become so beneficiary, so soothing and so sublime? Because the moon remains purely an object for contemplation, not of the will. Furthermore, the moon is sublime, and moves us sublimely because it stays aloof from all our earthly activities..."

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Two Men Contemplating On The Moon (The Met.Museum of Art, New York) The German Romantics were concerned with trying to find new ways of experiencing and expressing landscape. They were obsessed with haunting landscapes and intensely radiating skies. Friedrich often represented the melancholy and desolateness of nature in his works.

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Venus Anadyomene apelles - Google Search

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Between 1850 and 1870 the growth of scientific knowledge with a rapidly increasing impact on western worldview caused a shift from romanticism to realism, focusing on the outer, real world. Realists often combined their interest in everyday life with a searching examination of social questions.
Realistic Literature:
Literary Realists were distinguished by their deliberate rejection of Romanticism. Gustave Flaubert perfected the realist novel in his work Madame Bovary, which described a town life in France.
Realistic Art:
Gustave Courbet was the most famous artist in the Realist school, in which he painted a realistic portrayal of everyday life. One of his most famous works The Stonebreakers depicted human misery that society wouldn't acknowledge.
Jean-Francois Millet painted scenes from rural life, especially peasants. In The Gleaners, he showed the symbiotic relationship between humans and nature.

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The Renaissance, an era of re-brith from the 14th-17th centuries, saw a revival of greco-roman traditions as well as new developments made in art. Some developments made in this era were oil paint, the use of lights and darks, and a sense of depth in paintings. Art was centered around the human relation to the natural world due to the idea of humanism.

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Alice: Exhibits I and III (Layout/Design)
Aaron: Exhibits II and IV
(Tech Guy)
Chloe: Exhibits V and VI
(Logistics)
Theo: Exhibits VII and VIII
(Research)

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This was the 19th-century intellectual and artistic movement that stressed the importance of intuition, feeling, emotion, and imagination as sources of knowing.

One important characteristic of Romanticism was Individuals, which was the interest in the unique traits of each person.
Romantic Literature:
Gothic literature also began to emerge, embodied by the works of Mary Shelley. Shelley wrote of a mad scientist in her well-known novel, Frankenstein.
Romantic Art:
Caspar David Friedrich painted landscapes with an interest in details. Friedrich valued nature, viewing it as a manifestation of divine life, which he conveyed in Man and Woman Gazing at the Moon.
Romantic Music:
Beethoven singlehandedly transformed the art of music. He used music to reflect his deeper inner feelings. With the composition of the Third Symphony or Eroica, he broke through the elements of Romanticism.

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In Early Civilizations such as Egypt and Mesopotamia(3000 BCE-332 BCE), art was centered around gods, goddesses, and Pharaohs. Artwork, such as amulets and paintings, was also political and displayed the social hierarchy.  Classical Greek art focused on gods and epic heroes. Often, gods were displayed in sculptures and paintings, with focus on the human body and other details.

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In the middle ages, art was mainly based on religion.  Many paintings represented Jesus on the cross, or a Madonna and child for example.  Artists used eggs to make their paints, this was called tempera.  After it dried, it would become cracked.  In the late Middle Ages, people began to incorporate new styles, such as the Gothic style.  The Gothic style was mostly seen in architecture.

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Welcome to the Museo de TACA. The Museo de TACA focuses on educating its patrons on the wonders of historical art
Map
The exhibits progress clockwise starting from early and classical art. The first exhibit is directly to the right of the entryway.

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Please donate to TACA -- donations are what keep us alive!

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Exhibit VIII: Modern Art (Surrealism, Bauhaus)

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Exhibit VIII: Modern Art (Surrealism, Bauhaus)

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Surrealism
Surrealism was not intended to be rational as they thought rationalism inhibited the imagination. Ideas of Freud and Marx influenced this style, in which both "hyperealism" and less common techniques such as collage could be found. Sometimes objects were placed in strange positions or situations, to see it as it truly was rather than in its standard context. Important artists from this school include Salvador Dalí (The Accomodations of Desire), Dorothea Tanning (Birthday), Yves Tanguy (Mama, Papa is Wounded, below) and others. Surrealism began in France in the 1920s and ended in the 1960s.
Bauhaus
Bauhaus attempted to bring art and manufacturing together, inspired by the earlier Arts and Crafts movement. It made art seem more separate from the rest of the humanities. This school was founded by Walter Gropius in 1919, and was centered on an actual school there. The school ended in 1933 when the Nazis took power. Important artists include Gropius himself (he designed the Bauhaus building), Bayer (who designed a typeface called Universal Bayer), and others.

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Exhibit VII: Interpretive Art (and subschools)

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Exhibit VII: Interpretive Art (and subschools)

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Interpretive art includes Post-Impressionism, Cubism, and abstract painting. After the development of the camera, artists switched to less realistic styles, including the focus on structure and form of Post-Impressionism (Cézanne, van Gogh), the geometric cubism (Picasso), and abstract painting's lack of reality altogether (Kandinsky).

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Art during the Enlightenment had shifted artists' focuses toward capturing the dignity and simplicity of style from Greece and Rome, this was called Neoclassicism.  Another famous style during the Enlightenment was called Rococo.  Unlike Baroque, it emphasized grace and gentle action.  One famous artist during the Enlightenment was Jaques-Louis David, for his painting Oath of the Horatii