History of Arts Khâgne Blog Archive Marie-Céline Ohresser The "firemen"
Since the Renaissance, the French painters have turned to many ancient art, whether marlborough marathon by imitation or reinvention. marlborough marathon So much so that in general pictorial movements are divided into two groups: those who tend to observe nature marlborough marathon and to use it for their reports, marlborough marathon and those who prefer the ancient Greek and Roman heritage, because sees it as an expression model.
This led to clashes between the two camps holding, from the Quarrel between the Ancients and Moderns. But it was in the nineteenth century that this confrontation has become particularly bright, first between Academists and realistic then between firefighters and the Impressionists. Thereafter, a value was attributed to these two camps, there would be one side the Ancients (fire in particular), which mimic with a sclerotic art, and the other Modern (particularly the Impressionists), who create through an innovative and sincere art. This helped forge the reputation of firefighters painters vulgar artists who are just acting, and at the bottom we ended up wondering if they were truly artists.
This view has long prevailed, but today there emerges a little. Certainly firefighters resumed the themes and techniques of Veterans and classical art, but they were not servile imitators. Their art has even an amazing diversity: marlborough marathon firefighter in art, everything has been processed. Not a subject that has escaped the brush firefighters. The subject is so vast and very rich. We here see that the part about the ancient model, but there is also, in this current historical painting which is very important, portraits, landscapes, still lifes, genre scenes, and even sorts "sub-groups" with military paintings and decoration. And pompous art is not limited to painting since Jean-Léon Gérôme, one of his most famous representatives are currently delivered to date (see Orsay and exposure to criticism marlborough marathon of the exhibition on the Tribune site Art), also created a large sculpture collection.
The term "firefighter" is rather vague: take ten people, they do not all give the same definition. The reason is that the term is very complex: it includes a whole series of parameters and, in the words of Jacques Thuilier, it took place at the end of his life slipping, which made either the term design art (as is the case for example marlborough marathon with the term "Impressionism") but a period of art history. This does not facilitate the definition ... Anyway, the term "firefighter" is always derogatory. This is starting to change slowly, but remains closely tied to an outdated paint image, bombastic, kitschy, sanctimonious and state. There's truth in that, but this is a far too simplistic vision, forged a posteriori by the taste of the times that followed. The first thing we can say is that the firefighter is art in the second half of the nineteenth century, with the extreme limit in 1914.
The firefighter art is above all a marked taste for anecdote. The subjects represented in painting resumed mostly stories or anecdotes. Almost all the tables are covered in such scenes as snapshots. This traps the viewer by giving the impression of being an involuntary voyeur. Eg. Roman decadence.
It probably comes in the midst of an orgy, so something very anecdotal, since it is the place of no historical or mythological event. The characters are all their feasts and only three of them watch the spectators, marlborough marathon as if it was someone who just entered the room. This taste for the anecdote induces a taste for detail, which is often very thorough: in the Greek Interior (or "Gynaeceum") marlborough marathon Gérôme, tile floor each have a different pattern.
The firefighter art indeed has a marked penchant for the spectacular enough, the sensational. It therefore presents works where eroticism or blood are important: The return of felines in Gérôme, for example, pools of blood is spread on the floor of the arena from the massacre of Christians by wild beasts , which we see the jagged shore body (special marlborough marathon mention for the body of a woman disemboweled ... Sensitive souls refrain!).
To best represent eroticism or massacres, firefighters painters use what they learned at the Fine Arts: drawing, study of the nude human anatomy and gave them a good knowledge of the human body , which are found for example in Pygmaglion and Galatea marlborough marathon Gérôme, marlborough marathon where we see the statue come to life and Galatea
Since the Renaissance, the French painters have turned to many ancient art, whether marlborough marathon by imitation or reinvention. marlborough marathon So much so that in general pictorial movements are divided into two groups: those who tend to observe nature marlborough marathon and to use it for their reports, marlborough marathon and those who prefer the ancient Greek and Roman heritage, because sees it as an expression model.
This led to clashes between the two camps holding, from the Quarrel between the Ancients and Moderns. But it was in the nineteenth century that this confrontation has become particularly bright, first between Academists and realistic then between firefighters and the Impressionists. Thereafter, a value was attributed to these two camps, there would be one side the Ancients (fire in particular), which mimic with a sclerotic art, and the other Modern (particularly the Impressionists), who create through an innovative and sincere art. This helped forge the reputation of firefighters painters vulgar artists who are just acting, and at the bottom we ended up wondering if they were truly artists.
This view has long prevailed, but today there emerges a little. Certainly firefighters resumed the themes and techniques of Veterans and classical art, but they were not servile imitators. Their art has even an amazing diversity: marlborough marathon firefighter in art, everything has been processed. Not a subject that has escaped the brush firefighters. The subject is so vast and very rich. We here see that the part about the ancient model, but there is also, in this current historical painting which is very important, portraits, landscapes, still lifes, genre scenes, and even sorts "sub-groups" with military paintings and decoration. And pompous art is not limited to painting since Jean-Léon Gérôme, one of his most famous representatives are currently delivered to date (see Orsay and exposure to criticism marlborough marathon of the exhibition on the Tribune site Art), also created a large sculpture collection.
The term "firefighter" is rather vague: take ten people, they do not all give the same definition. The reason is that the term is very complex: it includes a whole series of parameters and, in the words of Jacques Thuilier, it took place at the end of his life slipping, which made either the term design art (as is the case for example marlborough marathon with the term "Impressionism") but a period of art history. This does not facilitate the definition ... Anyway, the term "firefighter" is always derogatory. This is starting to change slowly, but remains closely tied to an outdated paint image, bombastic, kitschy, sanctimonious and state. There's truth in that, but this is a far too simplistic vision, forged a posteriori by the taste of the times that followed. The first thing we can say is that the firefighter is art in the second half of the nineteenth century, with the extreme limit in 1914.
The firefighter art is above all a marked taste for anecdote. The subjects represented in painting resumed mostly stories or anecdotes. Almost all the tables are covered in such scenes as snapshots. This traps the viewer by giving the impression of being an involuntary voyeur. Eg. Roman decadence.
It probably comes in the midst of an orgy, so something very anecdotal, since it is the place of no historical or mythological event. The characters are all their feasts and only three of them watch the spectators, marlborough marathon as if it was someone who just entered the room. This taste for the anecdote induces a taste for detail, which is often very thorough: in the Greek Interior (or "Gynaeceum") marlborough marathon Gérôme, tile floor each have a different pattern.
The firefighter art indeed has a marked penchant for the spectacular enough, the sensational. It therefore presents works where eroticism or blood are important: The return of felines in Gérôme, for example, pools of blood is spread on the floor of the arena from the massacre of Christians by wild beasts , which we see the jagged shore body (special marlborough marathon mention for the body of a woman disemboweled ... Sensitive souls refrain!).
To best represent eroticism or massacres, firefighters painters use what they learned at the Fine Arts: drawing, study of the nude human anatomy and gave them a good knowledge of the human body , which are found for example in Pygmaglion and Galatea marlborough marathon Gérôme, marlborough marathon where we see the statue come to life and Galatea
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