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CUBISM
GEOMETRIC FORMS
POINT OF VIEW
COLLAGE

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Kids learn about the Cubism Art movement and its major artists such as Pablo Picasso and Georges Braque.

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Pablo Picasso. Brief biography and paintings. Great for kids and esl.

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REALISM
PHOTOGRAPHIC
REPRESENTATIONAL
OPAQUE
TRANSLUCENT

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RENAISSANCE
LINEAR PERSPECTIVE
FRESCO
RENAISSANCE MAN
PHILOSOPHER
BRONZE
PRINTMAKING
CONTRAPPOSTO

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Watch this over as many times as needed.

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The Renaissance, a rebirth of classical Greek and Roman thought, shifted focus from God to human interests, known as Humanism. Key figures like Brunelleschi, Donatello, Michelangelo, and Leonardo da Vinci revolutionized art and architecture. The Northern Renaissance spread these ideas throughout Europe, influencing artists like John Van Eyck and Albrecht Durer. Created by Nancy Ross.

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Learn for free about math, art, computer programming, economics, physics, chemistry, biology, medicine, finance, history, and more. Khan Academy is a nonprofit with the mission of providing a free, world-class education for anyone, anywhere.

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ROMANTICISM
MOOD
DRAMATIC

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Romanticism refers to a time from the late eighteen century to the mid nineteenth century when artists expressed their points of view through their imagination in a more idyllic way, rather than an in a realistic form. Art created in this style ranges in subject matter and may include mythical scenes and historical events. Many romantic artists used nature and were fascinated by the mystical, mysterious and satanic. Emotions and artistic freedom ruled this time period. Romantic artists, such as Eugene Delacroix and J.M.W. Turner helped to define romanticism. Eugene Delacroix was considered the artist that led the Romantic Movement. ​

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Romanticism refers to a time from the late eighteen century to the mid nineteenth century when artists expressed their points of view through their imagination in a more idyllic way, rather than an in a realistic form. Art created in this style ranges in subject matter and may include mythical scenes and historical events.

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SURREALISM
AUTONOMISM
FANTASY
JUXTAPOSE
SUBCONSCIOUS
ILLUSION

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POST-IMPRESSIONISM
EVOKE

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IMPRESSIONISM
ABSTRACTION
VISUAL TEXTURE
POINTILLISM

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Surrealism in 5 Minutes: Idea Behind the Art Movement

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Art With Mati & Dada  – VanGogh | Kids Animated Short Stories in English

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Georges Braque. Man with a Guitar. Céret, summer 1911-early 1912 | MoMA

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Georges Braque. Man with a Guitar. Céret, summer 1911-early 1912. Oil on canvas. 45 3/4 x 31 7/8" (116.2 x 80.9 cm). Acquired through the Lillie P. Bliss Bequest (by exchange). 175.1945. © 2018 Artists Rights Society (ARS), New York / ADAGP, Paris. Painting and Sculpture

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Liberty Leading the People | Description, History, & Facts

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Liberty Leading the People, oil painting (1830) by French artist Eugène Delacroix commemorating the July Revolution in Paris that removed Charles X, the restored Bourbon king, from the throne. The heroic scene of rebellion was initially received with mixed reviews, but it became one of Delacroix’s…

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If you're seeing this message, it means we're having trouble loading external resources on our website.

If you're behind a web filter, please make sure that the domains *.kastatic.org and *.kasandbox.org are unblocked.

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The Case for Realism (video) | Khan Academy

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What's the point of making realistic paintings when photography can do the trick? We look at the history of artists recreating the world as we see it and ponder why it's still happening.

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Gustave Courbet

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A Burial At Ornans ( French: Un enterrement à Ornans, also known as A Funeral At Ornans) is a painting of 1849-50 by Gustave Courbet, and one of the major turning points of 19th-century French art. The painting records the funeral in September 1848 of his great-uncle in the painter's birthplace, the small town of Ornans. It treats an ordinary provincial funeral with unflattering realism, and on the giant scale traditionally reserved for the heroic or religious scenes of history painting. Its exhibition at the 1850-51 Paris Salon created an "explosive reaction" and brought Courbet instant fame. It is currently displayed at the Musée d'Orsay in Paris, France.

The Salon found Courbet triumphant with The Stone Breakers, the Peasants of Flagey, and A Burial At Ornans. People who had attended the funeral were used as models for the painting. Previously, models had been used as actors in historical narratives; here Courbet said that he "painted the very people who had been present at the interment, all the townspeople". The result is a realistic presentation of them, and of life, in Ornans.

The painting, which drew both praise and fierce denunciations from critics and the public, is an enormous work, measuring 10 by 22 feet (3.1 by 6.6 meters). According to art historian Sarah Faunce, "In Paris the Burial was judged as a work that had thrust itself into the grand tradition of history painting, like an upstart in dirty boots crashing a genteel party, and in terms of that tradition it was of course found wanting." Then too, the painting lacks the sentimental rhetoric that was expected in a genre work: Courbet's mourners make no theatrical gestures of grief, and their faces seem more caricatured than ennobled. The critics accused Courbet of a deliberate pursuit of ugliness. Eventually, the public grew more interested in the new Realist approach, and the lavish, decadent fantasy of Romanticism lost popularity. The artist well understood the importance of this painting; Courbet said: "The Burial at Ornans was in reality the burial of Romanticism." It might also be said to be the burial of the hierarchy of genres which had dominated French art since the 17th century.

In 1873, when Courbet's political views had changed, he repudiated the work saying that it was "worth nothing".

1. ^ Political turmoil delayed the opening of the Salon of 1850 until 30 December 1850. Faunce, Sarah; Courbet, Gustave; and Nochlin, Linda 1988, p. 2.

2. Faunce, Sarah, and ^ Linda Nochlin. Courbet reconsidered. Issued on the occasion of an exhibition to open at the Brooklyn Museum Nov. 4, 1988 - Jan. 16, 1989, the Minneapolis Inst. of Arts Febr. 18 - April 30, 1989. Brooklyn, NY: Brooklyn Museum, 1988, p. 4. ISBN 0-300-04298-1

3. ^ Honour, H. and Fleming, J. (2009) A World History of Art. 7th edn. London: Laurence King Publishing, p. 669. ISBN 9781856695848

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A Burial At Ornans ( French: Un enterrement à Ornans, also known as A Funeral At Ornans ) is a painting of 1849-50 by Gustave Courbet, and one of the major turning points of 19th-century French art. The painting records the funeral in September 1848 of his great-uncle in the painter's birthplace, the small town of Ornans.

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Art with Mati and Dada - George Seurat | Kids Animated Short Stories in English

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A Bar at the Folies-Bergère ( French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris. The painting originally belonged to the composer Emmanuel Chabrier, a close friend of Manet, and hung over his piano. It is now in the Courtauld Gallery in London.

The painting exemplifies Manet's commitment to Realism in its detailed representation of a contemporary scene. Many features have puzzled critics but almost all of them have been shown to have a rationale, and the painting has been the subject of numerous popular and scholarly articles.

The central figure stands before a mirror, although critics-accusing Manet of ignorance of perspective and alleging various impossibilities in the painting-have debated this point since the earliest reviews were published. In 2000, however, a photograph taken from a suitable point of view of a staged reconstruction was shown to reproduce the scene as painted by Manet. According to this reconstruction, "the conversation that many have assumed was transpiring between the barmaid and gentleman is revealed to be an optical trick-the man stands outside the painter's field of vision, to the left, and looks away from the barmaid, rather than standing right in front of her." As it appears, the observer should be standing to the right and closer to the bar than the man whose reflection appears at the right edge of the picture. This is an unusual departure from the central point of view usually assumed when viewing pictures drawn according to perspective.

Asserting the presence of the mirror has been crucial for many modern interpreters. It provides a meaningful parallel with Las Meninas, a masterpiece by an artist Manet admired, Diego Velázquez. There has been a considerable development of this topic since Michel Foucault broached it in his book The Order of Things (1966).

The art historian Jeffrey Meyers describes the intentional play on perspective and the apparent violation of the operations of mirrors: "Behind her, and extending for the entire length of the four-and-a-quarter-foot painting, is the gold frame of an enormous mirror. The French philosopher Maurice Merleau-Ponty has called a mirror 'the instrument of a universal magic that changes things into spectacles, spectacles into things, me into others, and others into me.' We, the viewers, stand opposite the barmaid on the other side of the counter and, looking at the reflection in the mirror, see exactly what she sees... A critic has noted that Manet's 'preliminary study shows her placed off to the right, whereas in the finished canvas she is very much the centre of attention.' Though Manet shifted her from the right to the center, he kept her reflection on the right. Seen in the mirror, she seems engaged with a customer; in full face, she's self-protectively withdrawn and remote."

The painting is rich in details which provide clues to social class and milieu. The woman at the bar is a real person, known as Suzon, who worked at the Folies-Bergère in the early 1880s. For his painting, Manet posed her in his studio. By including a dish of oranges in the foreground, Manet identifies the barmaid as a prostitute, according to art historian Larry L. Ligo, who says that Manet habitually associated oranges with prostitution in his paintings. T.J. Clark says that the barmaid is "intended to represent one of the prostitutes for which the Folies-Bergère was well-known", who is represented "as both a salesperson and a commodity-something to be purchased along with a drink."

Other notable details include the pair of green feet in the upper left-hand corner, which belong to a trapeze artist who is performing above the restaurant's patrons. The beer bottles depicted are easily identified by the red triangle on the label as Bass Pale Ale, and the conspicuous presence of this English brand instead of German beer has been interpreted as documentation of anti-German sentiment in France in the decade after the Franco-Prussian War.

The 1934 ballet Bar aux Folies-Bergère with choreography by Ninette de Valois and music of Chabrier was created from, and based around, Manet's painting. The 1947 film The Private Affairs of Bel Ami faithfully references A Bar at the Folies-Bergère twenty nine minutes into the film with a look-alike actress, set and props as the main characters enter the establishment.

The painting was the inspiration of a song (possibly by Sydney Carter) in the popular theatre production The Lyric Revue, in London in 1951. The refrain went "Oh, how I long to be Back in my dear Brittany ... But fate has chosen me For the bar at the Folies-Bergères".

The painting (1954) by Australian artist John Brack, which depicts a comparatively grim and austere Melbourne bar-room scene, is an ironic reference to A Bar at the Folies-Bergère.

In the 1988 Eddie Murphy film Coming To America, during the party scene at McDowell's house, there is a spoof on the painting above the couch, in which the central female figure is replaced with a dark-skinned woman instead.

Canadian artist Jeff Wall makes reference to A Bar at the Folies-Bergère in his work Picture for Women (1979). The Tate Modern wall text for Picture of Women, from the 2005-2006 exhibition Jeff Wall Photographs 1978-2004, outlines the influence of Manet's painting:

In Manet's painting, a barmaid gazes out of frame, observed by a shadowy male figure. The whole scene appears to be reflected in the mirror behind the bar, creating a complex web of viewpoints. Wall borrows the internal structure of the painting, and motifs such as the light bulbs that give it spatial depth. The figures are similarly reflected in a mirror, and the woman has the absorbed gaze and posture of Manet's barmaid, while the man is the artist himself. Though issues of the male gaze, particularly the power relationship between male artist and female model, and the viewer's role as onlooker, are implicit in Manet's painting, Wall updates the theme by positioning the camera at the centre of the work, so that it captures the act of making the image (the scene reflected in the mirror) and, at the same time, looks straight out at us.

References

1. ^ Thierry de Duve, "Intentionality and Art Historical Methodology: A Case Study". Nonsite.org Issue #6, July 1, 2012 [1] Archived 2017-11-08 at the Wayback Machine ; builds and corrects previous work Thierry de Duve, How Manet's A Bar at the Folies-Bergere is Constructed, Critical Enquiry, Vol. 25, No. 1, Autumn 1998, pp. 136-168.

2. Foucault has given a talk on Manet's ^ Bar at the Albright-Knox Art Gallery in Buffalo on April 8, 1970. He had planned a book on Manet's painting and gave a series of lectures during 1970/1 but the project was abandoned; see Cahiers de L'Herne: Michel Foucault, mars 2011

3. Doris Lanier, Absinthe, the Cocaine of the Nineteenth Century: A History of the Hallucinogenic Drug and Its Effect on Artists and Writers in Europe and the United States, McFarland, 2004, pp. 102-103. ISBN 0786419679

4. Kenneth Bendiner, ^ Food In Painting: From The Renaissance To The Present, Reaktion Books, 2004, pp. 73-74. ISBN 1861892136

5. ^ "Tate Modern National Gallery, London UK; Jeff Wall Photographs 1978-2004". 21 October 2005. Archived from the original on 2007-10-26.

6. Merritt, Naomi. ^ "Manet's Mirror and Jeff Wall's Picture for Women: Reflection or Refraction?" Archived 2010-06-05 at the Wayback Machine Emaj (Electronic Melbourne Art Journal), Issue 4, 2009. Merritt discusses the role of the mirror in this work.

7. Gallery Guide text for the exhibition Jeff Wall Photographs 1978-2004, Tate Modern, London, 21 October 2005 to 8 January 2006 quoted in ^ David Campany, "'A Theoretical Diagram in an Empty Classroom': Jeff Wall's Picture for Women", Oxford Art Journal 20.1 (2007): 12-14.

Sources

Gary Tinterow, et al. Manet/Velázquez: The French Taste for Spanish Painting, Metropolitan Museum of Art, 2003.

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A Bar at the Folies-Bergère ( French: Un bar aux Folies Bergère) is a painting by Édouard Manet, considered to be his last major work. It was painted in 1882 and exhibited at the Paris Salon of that year. It depicts a scene in the Folies Bergère nightclub in Paris.

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The treachery of images (This is not a pipe), 1928 - 1929 - Rene Magritte - WikiArt.org

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'The treachery of images (This is not a pipe)' was created in 1929 by Rene Magritte in Surrealism style. Find more prominent pieces of symbolic painting at Wikiart.org - best visual art database.

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Tahitian Women on the Beach

Artist
Paul Gauguin

Year

1891

Medium

oil on canvas

Dimensions

69 cm × 91 cm (27.2 in × 35.8 in)

Location

Musée d'Orsay, Paris

Tahitian Women on the Beach ( French: Femmes de Tahiti) is an 1891 painting by Paul Gauguin. The painting depicts two women on the Pacific island of Tahiti on the beach.

The painting is currently in the collection of the Musée d'Orsay, located in Paris, France.

In 1892 Gauguin painted a similar painting Parau api, ( Two Women of Tahiti) which is in the collection of the Galerie Neue Meister in Dresden. In Tahitian, "parau" means word and "api" means new. Thus "parau api" means news. A common greeting is "Eaha te parau api", or what's new?

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Tahitian Women on the Beach Artist Paul Gauguin Year 1891 Medium oil on canvas Dimensions 69 cm × 91 cm (27.2 in × 35.8 in) Location Musée d'Orsay, Paris Tahitian Women on the Beach ( French: Femmes de Tahiti) is an 1891 painting by Paul Gauguin.

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Sunday Afternoon at the Grande Jatte George Seurat

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Sunday Afternoon at the Grande Jatte George Seurat

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EXAMPLE OF POINTILLISM

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WEEK 4- IMPRESSIONISM-TATE GALLERY VIDEO

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WEEK 4- IMPRESSIONISM-TATE GALLERY VIDEO

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Art with Mati and Dada –  Michelangelo | Kids Animated Short Stories in English

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Art with Mati and Dada –  Leonardo Da Vinci | Kids Animated Short Stories in English

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WEEK1-Renaissance 4-16
WEEK2-Romanticism 4-23
WEEK 3- Realists 4-30
WEEK4- Impressionists 5-7
WEEK5- Post Impressionists 5-14
WEEK6- Cubism 5-21
WEEK7- Surrealism 5-28
WEEK8- CATCH UP 6-4
ALL FINAL PROJECTS ARE DUE (NO ACCEPTIONS )ON 6-11

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Movement -is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades)

Ideology- a form of social or political philosophy in which practical elements are as prominent as theoretical ones. ... It is a system of ideas that aspires both to explain the world and to change it.

Era-A long and distinct period in history with a particular feature or characteristics.

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Renaissance (rebirth): Mannerism, Baroque, Rococo  (Artists: Michelangelo Buonarroti, Leonardo Da Vinci, Rembrandt)

Romanticism: dreamlike, mood, dramatic, movement (Artists :Eugene Delacroix, Joseph M.W. Turner)

Realism: photographic, representational, (Artists: Edouard Manet, Gustave Courbet)

Impressionism: abstraction,  visual texture, pointillism,  (Artists: Claude Monet, George Seurat, Henri Matisse)

Post-Impressionism: abstraction , visual texture, evoke (Artists: Vincent Van Gogh, Paul Gauguin)

Cubism:  geometric forms, scientific discovery(atoms), cultural influence (African) (Artists: Pablo Picasso, George Braque)

Surrealism: fantasy (dreamlike), juxtapose, subconscious (psychology influence), illusion (Artists: Salvador Dali, Rene Magritte)

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OPTION 1- ART MAKING- CREATE A PAINTING, DRAWING OR SCULPTURE IN THE STYLE OF YOUR CHOICE (USE SKETCHES TO DEVELOP YOUR IDEA CREATE AN ARTIST STATEMENT TO ACCOMPANY YOUR COMPLETED WORK.

OR
OPTION 2- CHOOSE ONE OF THE FOLLOWING: Leonardo Davinci, Michaelangelo, Rafael, Donatello, John Van Eyck, Albrecht Durer.
CREATE A WRITTEN REPORT ABOUT YOUR RENAISSANCE ARTIST OR SLIDE SHOW ABOUT THE ARTIST WHICH INCLUDES:

OR
MAKE A POSTER OR SLIDE SHOW THAT IS A TIMELINE OF EUROPIAN ART FROM RENAISSANCE- SURREALISM. USE DATES, IMPORTANT DISCOVERIES, AND ARTIST MASTERWORKS TO SHOW THE PROGRESSION OF TIME.