Art

Postmodern Art Around the 1960s, artists began to react against Modernism, and as a result, Post Modern art was born. Where Modernism was centered around idealism and reason,  Postmodernism  challenged notions of universal truths through skepticism and a suspicion of reason. Postmodernism is not defined by a specific style; in fact, a cornerstone of postmodernism is its refusal to accept rules and definitions regarding what art should be . Thus, the unifying aspect of art from this era is its non-traditional approach.  The non-traditional approach that defines Postmodernism was influenced in part by the social happenings of the era. The Vietnam War was a point of contention during the 1960s. After World War I and II's devastations, many people wanted the world to exist in peace, not war. Students on college campuses across America began protesting the Vietnam War . Around the same time, the Civil Rights movement was gaining ground. Congress passed the Civil Rights Act of 1964 , wh

Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch in Germany  (c. 1919 ) by Hannah Höch Cut paper collage Berlin, Germany Dada Dada  arose as a direct reaction to World War I (WWI) and the nationalism that many thought led to the war. Although Dada artists did not have a unifying style, they did have  unifying ideals . Dadaists were not focused on creating aesthetically pleasing works; rather, Dadaists produced works that generated questions about society, offended upper-class sensibilities, and showed an irreverence towards traditional art.  Hannah Höch's collage above is certainly different from the more traditional works that were typical up to this point. This work does not have a distinct subject, and the eyes wander trying to make sense of all the components. Germany's government had completely changed after WWI and the country was rife with conflict. Here, Höch is creating a juxtaposition by taking political figures that the Dadaists were

The Beeches  ( c.1845 ) by Asher Brown Durand 60 3/8 x 48 1/8 in., oil on canvas America View from Mount Holyoke, Northampton, Massachusetts. after a Thunderstorm - The Oxbow ( c. 1836 ) by Thomas Cole 51 1/2 x 76 in., oil on canvas America Hudson River School Style: Intentions and Analysis The primary focus of Hudson River School painters was American landscapes. This style of painting emerged around the same time the phrase " Manifest Destiny " was coined. Manifest Destiny was the belief that the United States was destined by God to expand its territory west and spread democracy and capitalism across North America. Hudson River School style was based in New York, though many artists traveled west, and so their paintings documented westward expansion and reinforced Manifest Destiny. With the Civil War beginning in 1861, their landscape paintings provided hope and the promise of beautiful lands untouched by battle.  Hudson River School style was heavily influenced by the Rom

Oath of the Horatii ( c. 1784 ) by Jacques-Louis David 3.3m x 4.25m, oil on canvas Rome The Death of General Warren at the Battle of Bunker's Hill, 17 June, 1775  ( c. 1786 ) by John Trumbull   65.1cm x 95.6cm, oil on canvas   America Samuel Adams ( c. 1772 ) by John Singleton Copley 125.73 cm x 100.33 cm, oil on canvas America Neoclassical Style Neoclassicism gained popularity as a direct opposition to the frivolous sensuality of Rococo painters of the time. Neoclassicist artists believed that art should be cerebral, not sensual. Neoclassical art is defined by its use of strong drawing and smooth surfaces (no visible brush strokes).   Revolutions During the late 1700s, the American Revolution and the French Revolution were both current and relevant topics. As such, Neoclassicists wanted to express a rationality and seriousness befitting such a serious time. Additionally, the Enlightenment occurred during this time; philosophers believed one could control their destiny by followin

Breakfast Table with Blackberry Pie ( c. 1631 ) by Willem Claesz Heda. 820cm x 540cm Likely created in the Netherlands Baroque Era and the Rise of the Merchant Classes In Protestant countries to the North , the Church and monarchy were no longer the wealthiest source of patronage. Rather, a flourishing middle class became eager to show off their new status and pride by purchasing art. These new art purchasers wanted smaller, more sensible paintings that could be displayed in their private homes. Consumers of art in the North therefore wanted paintings that they could easily relate to. Artists met this demand by creating paintings using landscape and still-life genres, as well as  genre paintings  (scenes of everyday life, like a housewife doing housework).   Analysis The painting above falls into the still-life genre popular in the Protestant North during the Baroque era. I have always enjoyed still-life paintings and I like this one particularly for its intricate details that make the

Background Information This is the Primavera , also known as "Spring," by Sandro Botticelli. The painting was created in Florence, Italy,  circa 1480 . It is 207 x 319 cm and is tempera grassa on wood.  The painting depicts nine figures from classical mythology. To the right, Zephyrus is reaching for Chloris. Chloris transforms into Flora, the spring goddess. In the center of the painting is Venus, the goddess of love and beauty, with Cupid directly above her. Farthest left is Mercury, with the Three Graces dancing next to him.  This is the  largest mythological painting  of the Early Renaissance, and it was commissioned by the Medici family. There have been many interpretations of the painting by scholars over the years. The Primavera  and the famous Birth of Venus were created by Botticelli as companion paintings and are meant to be displayed together. The central figure in both paintings is Venus, who had just arrived on Earth in the Birth of Venus . In the Primavera , she