gizmo49250
May 31, 2007, 05:35 AM
work reqired
A description of the works including the style.
A summary of the artists' personal philosophies of art (if they can be found in published sources), the prevailing trends and schools of thought in the art world at the time and in the place the artist was working. For instance, what was going on in the artists’ city, country, church, that the artist or the people around him/her may have been reacting to. Any other information that might help the reader understand why the artists made the choices they did and where they were “coming from.”
You will need to use the AIU Library to learn about the artists. In the Library, click Search Library and then use the “three boxes” search:
Topics: General Studies
Categories: Art
Resources: Select All
Click Find Library Resources.
An explanation of how the works fit into the context of the time.
Compare the three works in terms of form, content, and subject matter. Using the terminology and concepts that you have learned in the course, explain the similarities and differences in the styles of the works and the context in which they were made. Compare and contrast their aesthetic qualities and symbolic significance, as well as the artists’ points of view. Your personal point of view that you have developed throughout the paper will be summarized here. As with the preceding three sections, you will write in your own words, supported by research
my work
From the Baroque Period through the Romantic Age
ART205-0702A-14: Art Appreciation
Get ready to explore the art style of realism!
Faced with the reality of war, will be three sets of art that I will show to you that gives
http://eeweems.com/goya/_imagery/3rd_of_may_600.jpg
The Third of May
El Tris de Mayo
1814 Oil on canvas
104 1/2 inches by 135 3/4 inches
266cm x 345cm
Prado Museum, Madrid
This image shows the random executions of the Spanish citizenry resulted from the fighting in the Puerto del Sol area of Madrid (Also see the Goya painting Second of May). A national uprising in Spain followed, and scenes such as Goya's 'Third of May' were repeated throughout the Spanish countryside, as the French commanders failed to quell the national mood, and instead made it more furious. (Prado Museum, Madrid, 1996)
Goya had previously admired the practical freedoms the French "enlightenment" had promised. Most of the Spanish intellectuals of Goya's time were weary of the faltering efforts of Charles IV and Ferdinand to bring reform and improvement to Spain. However, the brutality of Napoleon (through his brother Joseph & the military commanders instructed to minimize the fighting there) suspended whatever affection the Spanish liberals had for French freedoms. (Prado Museum, Madrid, 1996)
For the length of the six-year occupation by the French, Goya lived almost entirely in Madrid. There is much speculation in art books about whether Goya personally witnessed events such as 'The Second of May,' and 'The Third of May." It is evident that Goya owned property at La Quinta, where the massacres took place, and there is (though disputed by some historians) a story by one of Goya's gardeners, a man named Isidro, who told Antonio Trueba (recorded in his book Madrid por fuera) that Goya witnessed the shootings at Montana del Principe Pio via telescope (a telescope was inventoried as belonging to Goya after his death), and that Isidro accompanied Goya later that night to the place where the corpses were, at which time Goya made notes. This account is referenced in Xavier de Salas book GOYA, published 1978 by Mayflower books.
... the Third of May, has become even more famous, haunting the covers of history books, appearing on postage stamps and postcards. It has been used to epitomize the art of Goya, as well as the spirit of Spanish revolutionary heroism. This violent yet moving image depicts the public execution of insurgents on 3 May 1808, the day following the insurrection [see Goya's Second of May] In contrast to the vigour of the street battle, in which the Spaniards appear, momentarily, to be gaining the upper hand, this massacre of civilians, which the French carried out in reprisal for the insurrection, has been painted in the most eye-catching colours. Here, in glowing whites, golds and scarlets against the sombre blacks, greys and browns of the background, the doomed men are immortalized, the street fighters from the Second of May meet their fate. One or two are recognizable: the corpse sprawled below the living victims, a prone male figure with matted blood-soaked hair and shattered skull, is identifiable as the hero with the dagger, stabbing the horse in the right-hand foreground of the proceeding (Prado Museum, Madrid, 1996)
eeweems.com/goya/black_paintings.html
http://www.discoverfrance.net/France/Images/Art/Delacroix/Liberty_People.jpg
Eugene Delacroix, French Painter (http://www.discoverfrance.net/France/Art/Delacroix/Delacroix.shtml)
In 1832, Delacroix accompanied a French embassy to the sultan of Morocco. While at Tangiers he filled notebooks with drawings of local details, amassing facts for the paintings with Oriental subjects he would introduce into French art. Yet his Oriental pictures are never mere descriptions of local customs, for Delacroix always insisted that imagination was the essential gift of the painter. In Lion Hunt (1861; Art Institute of Chicago), a Rubenesque picture filled with men, horses, and wild animals, such details as turbans and wild, non-European expressions are fused by the unreal color into an imaginative vision. (discoverfrance, 1996)
http://www.louvre.fr/media/repository/ressources/sources/illustration/atlas/x196image_59151_v2_m56577569830600279.jpg
The Barricade, rue de la Mortellerie, June 1848 | Musée du Louvre (http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=101341986732 26338&CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673226338&FOLDER%3C%3Efolder_id=9852723696500815&bmUID=1180184950862&bmLocale=en)
Ernest MEISSONIER (Lyon, 1815-Poissy, 1891)
The Barricade, rue de la Mortellerie, June 1848
Also called Memory of Civil War
1848
Oil on canvas.
H. 29 cm; W. 22 cm
Carlos de Beistegui donation, subject to usufruct, 1942, entered the Louvre in 1953.
R.F. 1942-31
Paintings
Meissonier wanted to exhibit this canvas at the 1849 Salon under the title of June, but he abandoned the idea because the events were too recent. He exhibited it instead under the title Memory of Civil War at the 1850-51 Salon, but the critics were put out by the painting's unpleasant subject matter. Théophile Gautier (1811-1872) was the only one who dared to admit being disturbed by it and talked of "this trusty truth that no-one wants to tell." Eugène Delacroix (1798-1863) had been struck by the watercolor done at the scene, upon which the painting was based. This painting is unquestionably Meissonier's masterpiece. Most of his works depict scenes of daily life under the Ancien Régime and are painted in small format. Combined with his small stature, they earned him the nickname of "the giant among dwarves" that was coined by Edgar Degas (1838-1917). Another of Meissonier's pictures to achieve fame was called The French Campaign, 1814 (1864, Musée d'Orsay, Paris), and became the most expensive work sold in the nineteenth century. (Louvre , 1996)
A scene observed
The picture is extremely realistic, Meissonier having painted every part of the canvas, the cobblestones as well as the rioters, with the same attention to detail. Unlike historical paintings generally, the work seems to portray a scene observed without comment or message. Although it depicts a historical event, it is a work that is more akin to genre paintings, particularly on account of its small size. It has recently been interpreted by an art historian as a warning to future rebels. Indeed, the artist's impassive reaction to the horror in front of him may well express the hostility of his own social class, the bourgeoisie, toward the underprivileged. (Louvre , 1996)
A description of the works including the style.
A summary of the artists' personal philosophies of art (if they can be found in published sources), the prevailing trends and schools of thought in the art world at the time and in the place the artist was working. For instance, what was going on in the artists’ city, country, church, that the artist or the people around him/her may have been reacting to. Any other information that might help the reader understand why the artists made the choices they did and where they were “coming from.”
You will need to use the AIU Library to learn about the artists. In the Library, click Search Library and then use the “three boxes” search:
Topics: General Studies
Categories: Art
Resources: Select All
Click Find Library Resources.
An explanation of how the works fit into the context of the time.
Compare the three works in terms of form, content, and subject matter. Using the terminology and concepts that you have learned in the course, explain the similarities and differences in the styles of the works and the context in which they were made. Compare and contrast their aesthetic qualities and symbolic significance, as well as the artists’ points of view. Your personal point of view that you have developed throughout the paper will be summarized here. As with the preceding three sections, you will write in your own words, supported by research
my work
From the Baroque Period through the Romantic Age
ART205-0702A-14: Art Appreciation
Get ready to explore the art style of realism!
Faced with the reality of war, will be three sets of art that I will show to you that gives
http://eeweems.com/goya/_imagery/3rd_of_may_600.jpg
The Third of May
El Tris de Mayo
1814 Oil on canvas
104 1/2 inches by 135 3/4 inches
266cm x 345cm
Prado Museum, Madrid
This image shows the random executions of the Spanish citizenry resulted from the fighting in the Puerto del Sol area of Madrid (Also see the Goya painting Second of May). A national uprising in Spain followed, and scenes such as Goya's 'Third of May' were repeated throughout the Spanish countryside, as the French commanders failed to quell the national mood, and instead made it more furious. (Prado Museum, Madrid, 1996)
Goya had previously admired the practical freedoms the French "enlightenment" had promised. Most of the Spanish intellectuals of Goya's time were weary of the faltering efforts of Charles IV and Ferdinand to bring reform and improvement to Spain. However, the brutality of Napoleon (through his brother Joseph & the military commanders instructed to minimize the fighting there) suspended whatever affection the Spanish liberals had for French freedoms. (Prado Museum, Madrid, 1996)
For the length of the six-year occupation by the French, Goya lived almost entirely in Madrid. There is much speculation in art books about whether Goya personally witnessed events such as 'The Second of May,' and 'The Third of May." It is evident that Goya owned property at La Quinta, where the massacres took place, and there is (though disputed by some historians) a story by one of Goya's gardeners, a man named Isidro, who told Antonio Trueba (recorded in his book Madrid por fuera) that Goya witnessed the shootings at Montana del Principe Pio via telescope (a telescope was inventoried as belonging to Goya after his death), and that Isidro accompanied Goya later that night to the place where the corpses were, at which time Goya made notes. This account is referenced in Xavier de Salas book GOYA, published 1978 by Mayflower books.
... the Third of May, has become even more famous, haunting the covers of history books, appearing on postage stamps and postcards. It has been used to epitomize the art of Goya, as well as the spirit of Spanish revolutionary heroism. This violent yet moving image depicts the public execution of insurgents on 3 May 1808, the day following the insurrection [see Goya's Second of May] In contrast to the vigour of the street battle, in which the Spaniards appear, momentarily, to be gaining the upper hand, this massacre of civilians, which the French carried out in reprisal for the insurrection, has been painted in the most eye-catching colours. Here, in glowing whites, golds and scarlets against the sombre blacks, greys and browns of the background, the doomed men are immortalized, the street fighters from the Second of May meet their fate. One or two are recognizable: the corpse sprawled below the living victims, a prone male figure with matted blood-soaked hair and shattered skull, is identifiable as the hero with the dagger, stabbing the horse in the right-hand foreground of the proceeding (Prado Museum, Madrid, 1996)
eeweems.com/goya/black_paintings.html
http://www.discoverfrance.net/France/Images/Art/Delacroix/Liberty_People.jpg
Eugene Delacroix, French Painter (http://www.discoverfrance.net/France/Art/Delacroix/Delacroix.shtml)
In 1832, Delacroix accompanied a French embassy to the sultan of Morocco. While at Tangiers he filled notebooks with drawings of local details, amassing facts for the paintings with Oriental subjects he would introduce into French art. Yet his Oriental pictures are never mere descriptions of local customs, for Delacroix always insisted that imagination was the essential gift of the painter. In Lion Hunt (1861; Art Institute of Chicago), a Rubenesque picture filled with men, horses, and wild animals, such details as turbans and wild, non-European expressions are fused by the unreal color into an imaginative vision. (discoverfrance, 1996)
http://www.louvre.fr/media/repository/ressources/sources/illustration/atlas/x196image_59151_v2_m56577569830600279.jpg
The Barricade, rue de la Mortellerie, June 1848 | Musée du Louvre (http://www.louvre.fr/llv/oeuvres/detail_notice.jsp?CONTENT%3C%3Ecnt_id=101341986732 26338&CURRENT_LLV_NOTICE%3C%3Ecnt_id=10134198673226338&FOLDER%3C%3Efolder_id=9852723696500815&bmUID=1180184950862&bmLocale=en)
Ernest MEISSONIER (Lyon, 1815-Poissy, 1891)
The Barricade, rue de la Mortellerie, June 1848
Also called Memory of Civil War
1848
Oil on canvas.
H. 29 cm; W. 22 cm
Carlos de Beistegui donation, subject to usufruct, 1942, entered the Louvre in 1953.
R.F. 1942-31
Paintings
Meissonier wanted to exhibit this canvas at the 1849 Salon under the title of June, but he abandoned the idea because the events were too recent. He exhibited it instead under the title Memory of Civil War at the 1850-51 Salon, but the critics were put out by the painting's unpleasant subject matter. Théophile Gautier (1811-1872) was the only one who dared to admit being disturbed by it and talked of "this trusty truth that no-one wants to tell." Eugène Delacroix (1798-1863) had been struck by the watercolor done at the scene, upon which the painting was based. This painting is unquestionably Meissonier's masterpiece. Most of his works depict scenes of daily life under the Ancien Régime and are painted in small format. Combined with his small stature, they earned him the nickname of "the giant among dwarves" that was coined by Edgar Degas (1838-1917). Another of Meissonier's pictures to achieve fame was called The French Campaign, 1814 (1864, Musée d'Orsay, Paris), and became the most expensive work sold in the nineteenth century. (Louvre , 1996)
A scene observed
The picture is extremely realistic, Meissonier having painted every part of the canvas, the cobblestones as well as the rioters, with the same attention to detail. Unlike historical paintings generally, the work seems to portray a scene observed without comment or message. Although it depicts a historical event, it is a work that is more akin to genre paintings, particularly on account of its small size. It has recently been interpreted by an art historian as a warning to future rebels. Indeed, the artist's impassive reaction to the horror in front of him may well express the hostility of his own social class, the bourgeoisie, toward the underprivileged. (Louvre , 1996)