Exploration of the 15th century onward, has led to colonization of

peoples that did not have as updated of warfare methods as the

conquering people. Effect on cultures-- Loss of…? Dependence on…?
Destruction of way of life, tradition…?

Spain and Portugal were prominent powers, but Great Britain gradually
begins to dominate during the 18th-19th century.

To become powerful and wealthy, trade became vital; the powers

would use the natural resources of an area, trade and employ slaves to
create more goods to trade. The Industrial Revolution which began
about 1760 in England was the start of the factory system. Coal
mining, textiles, metal industries, railroad and ship building dominated.
More people moved to the cities for work.
After the opulence, frivolity, excesses of the Baroque (and Rococo)
styles of the wealthy, plus the rebellion of the religious against being
dominated by the wealthy church leaders, the Age of Enlightenment
began. This was the idea that every person has rights, the power of
reasoning can solve all problems, people in charge must take
responsibility for the welfare of others, and neither tyrannical
government nor intolerance of religions should happen. John Locke of
England (government can only rule with the acceptance of its people),
Voltaire of France (supporter of reasoning, but later came to believe
we should cultivate our own garden rather than change the world),
Montesquieu of France supported checks and balances in government
(at the time England had this type of government.)

The American Revolution took place in 1776, creating a democracy

intent on religious freedom and providing for the welfare of their own
country, no longer being a colony of Britain. Also, a migration of
people from Europe began to the new land, intent on starting a new
life with more opportunities.

The French Revolution of 1789 was born of extreme poverty,

dissatisfaction with the upper classes who did not look after others,
rules and taxes that only supported the very upper class. This lead also
to Napoleon’s conquests of territories and eventually becoming
dictator of France.

The climate of the times caused patronage of the arts to be in flux. No

longer were only the church, nobility and the very rich sustaining the
arts. As artists took on the causes of the times, they felt they could
influence and change ideas with their paintings. Eventually, Paris
became the center of the art world and artists struggled to be
accepted in galleries and the annual Salon show which was curated by
government-picked art critiques.
Chapter 20: late 18th and 19th centuries
Art Movements: all based on realistic subject matter

Neoclassicism: The artist believed they had a duty to promote a political purpose, to
include values, ethics, democracy. They looked to the cultures of ancient Greece and
Rome for classic aesthetics. There tended to be a dramatic scene in the front part of the
painting as in a theatre; in a Roman setting which was stable, often symmetrical
consisting of muted colors; a narrative story with people in Roman drapery of the colors
of pure hues of red, blue white; the front being lit well but the background less; strong
verticals and limited clutter. Even the style of painting was meticulously executed, much
like late Renaissance in Northern Europe. Architecture of the time mimicked the classic
styles also to represent the ideals of classic cultures.
Romanticism: Some artist felt that the neoclassic styles were too cold, did not convey
the soul or emotions of the times or an event. Goya and Delacroix used the dramatic
scene with striking Baroque-type lighting and diagonals; they were claustrophobic in
their composition, fully involving the viewer. The events depicted were brutal, intense,
frightening in the uselessness of the situation being portrayed. The realistically depicted
scenes were executed in a looser brushwork style. This brushwork style, plus the joy of
color characterized Turner’s paintings. The subject was of an intense dramatic moment,
but, atmosphere, water, air, smoke, clouds became the real subject matter. This was true
also of the landscape painters of the new land of America. Vast areas, texture, detail,
space, atmosphere depicted an enticing landscape depicting the hope of new beginnings,
fresh starts.
Photography: The landscape photos of the times also had the characteristics of the
Romantic landscape paintings. However, the fact that photography was a new invention,
mechanical, and that the photo could not be manipulated as far as the fact that it was
“real”, made the photo a unique and new art experience. Portraits were also explored,
often keeping the tone of the history of portraits with a delicate sensibility of the person
being portrayed.
Realism: Some artists felt that common every-day experiences, less dramatic, exotic or
historical were worthy of being subject matter. In fact, Courbet’s The Stone Breakers
depict common work people breaking stones, not even facing the viewer. With his
rendering, depiction of texture, people in a moment of hard work being depicted on a life-
size scale, he was elevating the subject matter to what had traditionally been heroic
topics. He also was one of the first artists to paint his subject totally outdoors working
from nature. Other artists depicted scenes not usually a topic for painting, in a manner
that drew the viewer in to enjoy the idea of what was going on. Tanner’s The Banjo
Lesson reveals a sweet scene of grandfather teaching grandson in a plain living place but
with the lighting and colors tenderly beautifying the scene.
1. Impressionism, 1868 to 1882: Centered in Paris. After taking the
lead from Manet who emphasized the picture plane, “realism” of
the canvas, artist choice of manipulating light, the impressionists
chose to paint outdoors so they could readily capture the light,
colors that a time of day or season could reveal. This allowed
the brush marks to be physically a part of the work, and even
playful scenes of casual social events was a good enough topic.
This became the beginning of the influence of Japanese prints on
composition ideas, assymetrical balance, heightened diagonals
over “real” space.
2. Post Impressionism, 1905 to 1938. Took freedom of the
impressionists to a new level with color exploration (intensities,
combinations) and placement, structure of objects seen from
different angles, more compositional explorations with frontal
objects taking a design lead but not the main subject. Return to
emotional idea of a painting.