Impressionism Impressionism is a 19th-century art movement that originated with a group of Paris-based artists. Their independent exhibitions brought them to prominence during the 1870s and 1880s, in spite of harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. Overview[edit] Radicals in their time, early Impressionists violated the rules of academic painting. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. Beginnings[edit] In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art.
Middle Ages In European history, the Middle Ages, or Medieval period, lasted from the 5th to the 15th century. It began with the collapse of the Western Roman Empire and merged into the Renaissance and the Age of Discovery. The Middle Ages is the middle period of the three traditional divisions of Western history: Antiquity, Medieval period, and Modern period. The Medieval period is itself subdivided into the Early, the High, and the Late Middle Ages. Depopulation, deurbanisation, invasion, and movement of peoples, which had begun in Late Antiquity, continued in the Early Middle Ages. The barbarian invaders, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. During the High Middle Ages, which began after AD 1000, the population of Europe increased greatly as technological and agricultural innovations allowed trade to flourish and the Medieval Warm Period climate change allowed crop yields to increase. Etymology and periodisation[edit]
Post-Impressionism Predominantly French art movement that developed roughly between 1886 and 1905 The term Post-Impressionism was first used by art critic Roger Fry in 1906.[2][3] Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-Impressionists of France.[4] Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet and the Post-Impressionists, defining it as the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, often thick application of paint, and real-life subject matter, but were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or arbitrary colour. Overview[edit] Defining Post-Impressionism[edit] Most of the artists in Fry's exhibition were younger than the Impressionists.
Industrial Revolution Iron and Coal, 1855–60, by William Bell Scott illustrates the central place of coal and iron working in the industrial revolution and the heavy engineering projects they made possible. The Industrial Revolution was the transition to new manufacturing processes in the period from about 1760 to sometime between 1820 and 1840. This transition included going from hand production methods to machines, new chemical manufacturing and iron production processes, improved efficiency of water power, the increasing use of steam power, and the development of machine tools. It also included the change from wood and other bio-fuels to coal. The Industrial Revolution marks a major turning point in history; almost every aspect of daily life was influenced in some way. Etymology Some historians, such as John Clapham and Nicholas Crafts, have argued that the economic and social changes occurred gradually and the term revolution is a misnomer. Important technological developments Textile manufacture Chemicals
Gothic Revival architecture Gothic Revival (also referred to as Victorian Gothic, Neo-Gothic or Jigsaw Gothic, and when used for school, college, and university buildings as Collegiate Gothic) is an architectural movement that began in the late 1740s in England. Its popularity grew rapidly in the early 19th century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval Gothic architecture, in contrast to the neoclassical styles prevalent at the time. Gothic Revival architecture often has certain features,derived from the original Gothic architecture style, including decorative patterns, finals, scalloping, lancet windows, hood moldings and label stops. Relation to other cultural movements[edit] The Gothic Revival was paralleled and supported by "medievalism", which had its roots in "antiquarian' concerns with survivals and curiosities. Survival and revival[edit] A younger generation, taking Gothic architecture more seriously, provided the readership for J.
Pop art Art movement Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.[1][2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.[3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[2][3] Pop art often takes imagery that is currently in use in advertising. Origins[edit] By contrast, the origins of pop art in post-War Britain, while employing irony and parody, were more academic. Proto-pop[edit] United Kingdom: the Independent Group[edit] United States[edit] France[edit] Spain[edit]
Special relativity Special relativity implies a wide range of consequences, which have been experimentally verified,[2] including length contraction, time dilation, relativistic mass, mass–energy equivalence, a universal speed limit, and relativity of simultaneity. It has replaced the conventional notion of an absolute universal time with the notion of a time that is dependent on reference frame and spatial position. Rather than an invariant time interval between two events, there is an invariant spacetime interval. Combined with other laws of physics, the two postulates of special relativity predict the equivalence of mass and energy, as expressed in the mass–energy equivalence formula E = mc2, where c is the speed of light in vacuum.[3][4] A defining feature of special relativity is the replacement of the Galilean transformations of classical mechanics with the Lorentz transformations. Postulates[edit] Lack of an absolute reference frame[edit] Relativity theory depends on "reference frames". where we get
Romanticism Defining Romanticism[edit] Basic characteristics[edit] Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on untrammelled feeling is summed up in the remark of the German painter Caspar David Friedrich that "the artist's feeling is his law".[7] To William Wordsworth poetry should be "the spontaneous overflow of powerful feelings".[8] In order to truly express these feelings, the content of the art must come from the imagination of the artist, with as little interference as possible from "artificial" rules dictating what a work should consist of. Not essential to Romanticism, but so widespread as to be normative, was a strong belief and interest in the importance of nature. However this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. The term[edit] The period[edit] Romantic literature[edit]
Pointillism Technique of painting with small, distinct dots Pointillism (, )[1] is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term "Pointillism" was coined by art critics in the late 1880s to ridicule the works of these artists, but is now used without its earlier pejorative connotation.[2] The movement Seurat began with this technique is known as Neo-impressionism. The Divisionists used a similar technique of patterns to form images, though with larger cube-like brushstrokes.[3] Technique[edit] The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. M. Practice[edit] The majority of Pointillism is done in oil paint. Music[edit] Pointillism also refers to a style of 20th-century music composition. Notable artists[edit] Notable paintings[edit] Gallery[edit] See also[edit]
Sigmund Freud Sigmund Freud (/frɔɪd/;[2] German pronunciation: [ˈziːkmʊnt ˈfʁɔʏ̯t]; born Sigismund Schlomo Freud; 6 May 1856 – 23 September 1939) was an Austrian neurologist, now known as the father of psychoanalysis. Freud qualified as a doctor of medicine at the University of Vienna in 1881,[3] and then carried out research into cerebral palsy, aphasia and microscopic neuroanatomy at the Vienna General Hospital.[4] Upon completing his habilitation in 1895, he was appointed a docent in neuropathology in the same year and became an affiliated professor (professor extraordinarius) in 1902.[5][6] Psychoanalysis remains influential within psychotherapy, within some areas of psychiatry, and across the humanities. Biography[edit] Early life and education[edit] Freud's birthplace, a rented room in a locksmith's house, Příbor, Czech Republic Freud (aged 16) and his beloved[12] mother, Amalia, in 1872 In 1859, the Freud family left Freiberg. Freud entered the University of Vienna at age 17. Early followers[edit]
Medievalism Medievalism is the system of belief and practice characteristic of the Middle Ages, or devotion to elements of that period, which has been expressed in areas such as architecture, literature, music, art, philosophy, scholarship, and various vehicles of popular culture.[1] Since the 18th century, a variety of movements have used the medieval period as a model or inspiration for creative activity, including Romanticism, the Gothic revival, the Pre-Raphaelite and arts and crafts movements and neo-medievalism (a term often used interchangeably with medievalism). Medievalism can also be used as an insult, implying conservatism and outdated attitudes. The words "medievalism" and "Medieval" are both first recorded in the 19th century. "Medieval" is derived from Latin medium aevum (Middle Ages). This term comes from the idea the Middle Ages was an interruption in the advance of classical learning. History[edit] Renaissance to Enlightenment[edit] Romanticism[edit] The Nazarenes[edit]
Photorealism John's Diner with John's Chevelle, 2007John Baeder, oil on canvas, 30×48 inches. History[edit] Origins[edit] As a full-fledged art movement, Photorealism evolved from Pop Art[1][2][3] and as a counter to Abstract Expressionism[2][3] as well as Minimalist art movements[2][3][4][5] in the late 1960s and early 1970s in the United States.[5] Photorealists use a photograph or several photographs to gather the information to create their paintings and it can be argued that the use of a camera and photographs is an acceptance of Modernism.[6] However, the admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s,[7] despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.[8] Louis K. Definition[edit] Louis K. Styles[edit] Artists[edit] In the UK, photorealist approaches were favoured by many artists including Mike Gorman and Eric Scott. Since 2000[edit]