ARTA211 MIDTERMS

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127 Terms

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HARMONY

  • means all parts of the visual image relate to and complement each other.

  • makes use of related elements.

  • This might be similar colors, shapes, sizes of objects, etc. It’s about repetition and a relationship between elements. 

  • creates a sense of connection between the objects, creating a sense of flow.

  • one of the most important aspects when it comes to principles of art 

  • achieved when all the elements of a thing are put together to come up with a coherent whole.

  • Every part of a work of art is necessary to the composition to the extent that all the parts exhibit a sense of belonging together and a pleasing relationship with one another.

  • Visually satisfying effect of combining similar or related elements.

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RHYTHM

  • organized movement, a beat, a repetition.

  • created by repetition, and repetitive patterns convey a sense of movement.

  • in the visual arts, the viewer perceives rhythm by grouping elements such as color, line and shape. 

  • the continuous use of a motif or repetitive pattern of succession of similar or identical items.

  • the use of regular, evenly distributed elements – they could occur in slow, fast, smooth or jerky intervals, and this tells you something about the feelings invoked.

  • Help the eye to move easily from one part of the room to another or from one part of a design to another

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Regular Rhythm/Repetition

  • Consistent and predictable repetition of elements, creating a sense of order and harmony

  • creating rhythm in which elements of a composition are duplicated at orderly or fixed intervals. 

  • The easiest and most precise way to create rhythm.

  • Core property of Minimalist artists, was a core of which Flavin was one.

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Alternating Rhythm

Two or more contrasting elements are repeated in a sequence, creating a sense of visual interest and movement

different elements repeat in a work themselves in a predictable order.

contains a repetition of two or more components that are used interchangeably. alternating rhythm. Some examples include alternating light and dark colors or placing various shapes and/or colors in a repeating pattern

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Radiating Rhythm

Repetition of motif from the center or toward it

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Progressive Rhythm

Minor variations in rhythm can add interest to a composition.

Use of motifs of varying sizes from the smallest to the largest, or vice versa

the rhythm of elements of a work of art such as shape, texture, or color change slightly as they move or progress toward a defined point in the composition.

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BALANCE

  • concept of physical equilibrium and relates to our physical sense of balance. It is a reconciliation of opposing forces in a composition that results in visual stability. 

  • refers to the weight of objects and their placement in relation to each other. It’s a sense of stability you might feel from elements in alignment

  • Most successful compositions achieve balance in one of three ways: symmetrically or asymmetrically and radial

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Symmetrical Balance

the elements of a work are balanced by similarity of form or arrangement on either side of a dividing line or plane, or to correspondence of parts, as in size, shape, or position

can be described as having equal "weight" on equal sides of a centrally placed fulcrum. It may also be referred to as formal balance.

Bilateral Symmetry - when the elements are arranged equally on either side of a central axis.

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Asymmetrical Balance

the type of balance in which there are more than slight differences between the divided areas of a work, yet there is an overall sense of balance

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Radial Balance/Symmetry

when objects are distributed all around a central point

exists when the same measure occurs from the central point to the end of every radius. This kind of symmetry mostly applies to round objects or those with radii.

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EMPHASIS

  • giving proper importance on one or more parts of the thing or the whole thing itself. It is achieved by means of size or proportion, shape, color, line, position, and variety.

  • can be created by contrast or by extreme change in an element, or making certain elements more dominant than others.

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Emphasis by Directional Lines

encourage the viewer to focus on a specific point or area of a composition by using directional lines. 

Other aspects that help create emphasis: Strong lines Bright areas of color and content. 

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Emphasis by Isolation

drawing attention to a specific element by separating it from other element within the composition, making it stand out as the focal point. This technique utilizes the principle of visual hierarchy, where the isolated element becomes dominant and commands the viewer’s attention

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UNITY

  • implies harmony. It suggests that the parts of a composition are there by happenstance; rather, they fit together to form a meaningful whole

  • The sense of harmony and wholeness created when all the elements in an artwork work together to form a cohesive visual experience.  

  • Not to be confused with harmony, unity is the overall cohesion of the work.

  • You might achieve this through any kind of grouping of objects.

  • Any kind of similarity will help to strengthen the sense of unity you feel when looking at a series of objects.

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VARIETY

  • as the British writer Aphra comprise a bland sameness, a cookie “Variety is the soul of pleasure. ” Without variety, life would cutter existence from which we all shrink. Variety in art, as in life, is seductive. It demands our attention, turns the predictable on edge.

  • sense of the difference between elements of an artwork – the opposite of unity, or harmony.

  • adds a sense of chaos to a work, and this is often used to highlight certain powerful emotions. 

  • Salvador Dali is one of the artists who have experimented with chaos and variety in his paintings, yet achieved a great sense of perfection.

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PROPORTION

  • refers to the relative size and scale of the various elements in a design. The issue is the relationship between objects, or parts, of a whole. This means that it is necessary to discuss proportion in terms of the context or standard used to determine proportions.

  • Leonardo da Vinci. Study of Human Proportion: The Vitruvian Man (1492) Pen and Ink drawing (13 ½” x 9 ¾”).

  • According to ancient Greek sculptor Polyclitus (flourished c. 450 415 BCE), a well proportioned human body is eight head parts, that is, the head isone eighth of the entire human body.

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CONTRAST

  • the disparity between the elements that figure into the composition. One object may be made stronger compared to other objects (hence, emphasis). This can be done in many ways using the elements of art.

  • For instance, specifically, the use of negative and positive space, is an example of contrast. Another example is the use of contemporary colors in a work of art.

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CLARITY

  • quality of being easily understood and free from ambiguity, allowing for straightforward interpretation. It involves the use of well-defined forms, understandable compositions, and effective use of visual elements to create a readily grasped artwork.

  • achieved through various means, including well-defined lines, balanced compositions, and a focused use of color and light.

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SIMPLICITY

the philosophy and practice of creating only what is necessary within a work of art. Simplicity depends greatly on both the artist and what they are exploring or expressing through their medium. The artist must decide what is absolutely necessary within their work and what is not

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PREHISTORIC ERA

  • 40,000 B.C. - 2300 B.C.

  • Artists employed resources from their natural environments, such as clays, rocks, minerals, animal hair, bones, wood, fat, and blood to create images.

  • This era is also known as the Stone Age Culture.

  • There are 3 phases or periods under the Prehistoric Era, which shows the transition of the Stone Age art.
    - Paleolithic
    - Mesolithic
    - Neolithic

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Lower Paleolithic Period

  • Stone tools represented the art of this period - the key form of creative human expression.

  • witnessed the emergence of three different tool-based cultures

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Oldowan Culture

2,500,000 - 1,500,000 BCE

Describes the first stone tools used by prehistoric man

Method of chipping stones to create a chopping or cutting edge. Most tools were fashioned using a single strike of one rock against another to create a sharp-edged flake

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Acheulean Culture

1, 650,000 - 100,000 BCE

The most important and dominant tool-making tradition

Acheulean tool users with their signature style oval and pear-shaped hand-axes were the first humans to expand successfully across Eurasia

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Clactonian Culture

c. 400,000 - 300,000 BCE

a culture of European flint tool manufacture or art associated with Homo erectus

Clactonian tools were sometimes notched, indicating they were attached to a handle or shaft.

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Lower Paleolithic Rock Art

  • The earliest recorded examples of human art were created during the Lower Paleolithic in the caves and rock shelters of central India.

  • The next oldest prehistoric art from the Lower Paleolithic comes almost at the end of the period. Two primitive figures:Venus of Berekhat Ram(found on the Golan Heights) and Venus of Tan-Tan(discovered in Morocco) were dated between roughly 200,000 and 500,000 BCE (the former is more ancient.

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Middle Paleolithic Period

  • The dominant Paleolithic culture was Mousterian, a flake tool industry largely characterized by the point and side scraper, associated (in Europe) with Homo neanderthalensis.

  • Tool forms featured a wide variety of specialized shapes, including barbed and serrated edges. These new blade designs helped to reduce the need for humans to use their teeth to perform certain tasks, thus contributing to a diminution of facial and jaw features among later humans.

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Middle Paleolithic Art

  • One of the few works of art dating from the Middle Paleolithic, is the pair of ochre rocks decorated with abstract cross-hatch patterns found in the Blombos Cave east of Cape Town.

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Upper Paleolithic Art

  • Witnessed the beginning of fine art, featuring, drawing, modelling, sculpture, and painting, as well as jewelry, personal adornments and early forms of music and dance.

  • The three main art forms were cave painting, rock engraving and miniature figurative carvings.

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Upper Paleolithic Cave Painting

  • During this period, prehistoric society began to accept ritual and ceremony of a quasi-religious or shaman-type nature.

  • As a result, certain caves were reserved as prehistoric art galleries, where artists began to paint animals and hunting scenes, as well as a variety of abstract or symbolic drawings

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MESOLITHIC PERIOD

  • As the ice disappeared, to be replaced by grasslands and forests, mobility and flexibility became more important in the hunting and acquisition of food. As a result, Mesolithic cultures are characterized by small, lighter flint tools, quantities of fishing tackle, stone adzes, bows, and arrows. Very gradually, at least in Europe, hunting and fishing was superseded by farming and the domestication of animals.

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Neolithic Art

  • In general, the more settled and better-resourced the region, the more art it produces. So it was with Neolithic art, which branched out in several different directions. And although most ancient art remained essentially functional in nature, there was a greater focus on ornamentation and decoration.

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Jade Carving

One of the greatest specialities of Chinese art - first appeared during the era of Neolithic culture, as does Chinese lacquerware and porcelain

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Portable Art

with greater settlement in villages and other small communities, rock painting begins to be replaced by more portable art

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Ceramics

major medium of Neolithic civilization was ceramic pottery. The finest examples of which (mostly featuring) geometric designs or animal/plant motifs) were produced among the region of Mesopotamia (Iran, Iraq) and the eastern Mediterranean

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BRONZE AGE

  • In Europe, 3000 BCE - 1200 BCE

  • Characterized by the development of metallurgy, in particular copper mining and smelting, along with tin-mining and smelting, as reflected in the exquisite bronze, gold, and silver sculptures

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Mesopotamia

  • An ancient empire in what is known as modern-day Iraq.

  • Generally, art was made by carving stone relief used to decorate imperial monuments. The reliefs depict royal affairs, such as hunting and art.

  • Animal forms, particularly horses and lions were represented in great detail, while human figures were of less significance

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Architecture of the Sumerians

the typical building of the Sumerians was Ziggurat

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Architecture of the Assyrians

The Sargon’s palace stood as a representative of the Assyrian sculpture. The palace of Sargon was built above the ground level of the city to convey that the king stood between the Gods and his people

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Architecture of the Neo-Babylonians

 the Ishtar-gate of Babylonian King Nebuchadnezzar II. Ishtar Gate, is lined with several beasts done in brightly colored glazed bricks and dedicated to the goddess Ishta

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Architecture of the Persians

the royal palace at Persepolis is a representative of Persian architecture.

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Egypt

  • Egyptian art was expressed through painting, sculpture, and jewelry.

  • The artwork embodies a unique style and makes use of an ancient form of symbolism

  • Much of the remaining art comes from tombs and monuments.

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First Dynastic Period

The subject matters of the sculpture are the sun, moon, stars, and sacred animals

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Old Kingdom Period

Portrait sculpture was emphasized. Five lifelike structures existed in every home. The faces of statues were always calm and grave

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Middle Kingdom Period

faces of statues depicted individual moods but their bodies were still rigid and straight in posture

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New Kingdom

Figures were lifelike and vigorous-looking. The figures were depicted in usual poses as walking, dancing and bending

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Architecture of the Old Kingdom

the Mastaba, the stepped pyramid of Zoser, and the Pyramids at Giza are examples of architecture.

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Architecture of the Middle Kingdom

among the characteristics remains of the Middle Kingdom are the rock-cut tombs

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Architecture of the New Kingdom

it represents another version of the combination of the horizontal and vertical axes. The structure arises from the valley floor in three colonnaded terraces connected by ramps

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Greece

  • Sculpture and architecture from Greek civilizations have influenced others throughout history.

  • Known for their architectural monuments as well as sculptural masterpieces, the Greeks were also expert craftsmen. They crafted and painted beautiful vessels used for everyday life.

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Formative or Pre-greek Period

motif was sea and nature

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First Greek Period

largely Egyptian influence

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Hellenistic Period

heightened individualism, tragic mood and contorted faces

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Daedalic Period

marble was used as material. Nude male statues were usually executed

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Classical Age

 this was the golden age or Age of Pericles. Temples of Gods and Goddesses were adorned with sculptured figure.

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Late Greek Period

male and female figures were shown with very little to no clothing at all.

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The Aegean Architecture

the Palace of Knossos, Crete is an example of Aegean architecture. The oblong shape of the court and the general layput of the palace shows a centralized arrangement.

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Ancient Greek Architecture

is essentially columnar and trabeate. The columns taper towards the top

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Doric order

was the earliest of the Greek architectural orders. Doric order is massive and severe in appearance

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Ionic and Corithian Order

were regarded as feminine. It does not consist of volutes but of stylized acanthus leaves

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Rome

  • Greatly influenced by Greek culture, the Ancient Romans excelled in painting, sculpting, and architectural design.

  • Mythological subject matter predominated art at this time.

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Etruscan period

subject matters of painting were on ancestor worship; catacombs and sarcophagi

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Roman period

the subject matters of painting were commemorative statues, sarcophagi, frescoes, designs with vine motifs

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Roman Sculpture

  • Was more represented in burst forms of famous men and women.

  • The figures showed their individual imperfections as of they were in real life.

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Etruscan and Ancient Roman Architecture

The Etruscan house was a simple rectangular structure which grew progressively more complex.

Etruscan Temple was intended to function primarily as an interior space

The ancient Roman Architecture is a combination of axis and center

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MIDDLE AGES ART

  • Period between the Roman Empire and the Renaissance

  • Characterized by ignorance and darkness

  • Church was the central figure and authority of the period

  • Scriptures were done by hand.

  • Great cathedrals were also built.

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Romanesque

1050 - 1200

Characterized by semi-circular arches, thick stone walls, and durable construction

Sculptures were also prevalent during this time

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Gothic 

1200 - 1500

Originated in the 12th century with the rebuilding of the Abbey Church in Saint-Denis, France

Offered revolutionary structural advancements such as ribbed vaults, flying buttresses, and decorative pinnacles all contributing to taller, lighter building designs.

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Byzantine Art

Characterized by its lack of realism. The artists did not try to make their paintings realistic, but focused on the symbolism of their art.

The subjects of the paintings were almost entirely religious with many paintings being of the Christ and the Virgin Mary.

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  • Donatello - Penitent Magdalene

  • David - Madonna and Child

  • Giotto Di Bondone - Scrovegni Chapel

Artists of the Middle Ages and their works

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RENAISSANCE ART

  • Rebirth of naturalism

  • A positive willingness to learn and explore.

  • Sought to capture the experience of the individual and the beauty and mystery of the natural world

  • Valued the “individual” as a subject of arts.

  • Most artwork emphasized naturalism

  • Most artist also added perspective of depth wherein spaces were explored in different artworks

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  • Chiaroscuro

  • Sfumato

Techniques Popularized in Renaissance Art

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Early Renaissance

Artists began to reject the Byzantine style of religious painting and strove to create realism in their depiction of the human form and space

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High Renaissance

Rome had displaced Florence as the principal center of Renaissance art

Da Vinci, Michelangelo & Raphael: 3 great high Renaissance masters

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  • Leonardo Da Vinci - The Last Supper, Mona Lisa

  • Michelangelo - Pieta, David, The Sistine Chapel

  • Raphael - School of Athens

Artists of the Renaissance and their works

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Architecture of the Renaissance Period

  • Sensitivity towards the ancient past

  • Resumption of classical orders

  • Clear articulation of plans and elevation 

  • Proportion

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Music of the Renaissance Period

  • Music based on modes

  • Richer texture in four or more parts.

  • Blending rather than contrasting strands in the musical texture.

  • Harmony with a greater concern with the flow and progression of chords

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MANNERISM

  • A product of Renaissance Period; also known as the Late Reniassance

  • Regarded as a bridge between the High Renaissance and the Baroque period, which adopted the subset’s ornate aesthetic and adapted it as extravagance

  • Originated as a reaction to the harmonious classicism and the idealized naturalism of High Renaissance art as practiced by Leonardo da Vinci, Michelangelo, and Raphael in the first two decades of the 16th century

  • 1519

  • “Laocoon and His Sons” by Agesander, Athenodoros, and Polydorus of Rhodes

    • Mannerism role-model: an ancient sculpture, rediscovered in 1506; now in the Vatican Museums. The artists of Mannerism greatly admired this piece of sculpture.

  • Was an anti-classical movement which differed greatly from the aesthetic ideologies of the Renaissance.

  • Though Mannerism was initially accepted with positivity based on the writings of Vasari, it was letter regarded in a negative light because it solely view as, “an alteration of natural truth and a trite repetition of natural formulas

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  • Elongation of figures

  • Distortion of perspective

  • Black backgrounds

  • Use of darkness and light

  • Sculptural forms

  • Clarity of line

  • Composition and space 

  • Mannerist movement

  • Painted frames

  • Atmospheric effects

  • Mannerist colour

Characteristics that Mannerist Artists would employ in their Artworks

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BAROQUE ART

  • Baroque comes from the Portuguese word barroco, which means flawed pearl/irregular shape

  • exudes a masculine energy and presence

  • mainly Christian in subject matter. Paintings and Sculptures depict biblical figures and stories with intense accuracy. Public buildings such as churches and other religious sanctuaries utilized this style to imbue a sense of wonder to the structures and entice followers

  • Stemmed from Italian word “contorted idea”

  • Arose mainly as a means to promote the Catholic Church during the Protestant Reformation

  • Emphasizes faith in church and power in state

  • Dramatic contrasts of lights and darks

  • Emotional, often religious depictions

  • Feelings of grandeur, awe, movement and tension

  • Various contrasting textures

  • All encompassing works (illusionistic)

  • Materials: bronzes, gildings, plaster, marble, stucco

  • Focal point in architecture: entrance axis, pavilion

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ROCOCO ART

  • relates to the French words, Rocaille (mussel) and Coque (seashell), is actually a divergence from the previous Baroque style

  • focuses on secular themes and leisurely times. Paintings depict love stories, sexually charged escapades, and classical mythology

  • style of baroque architecture and decorative art, from 18th century France, having elaborate ornamentation

  • less commonly Rococo or Late Baroque

  • It is often described as the final expression of the Baroque movement

  • developed first in the decorative arts and interior design, and its influence later spread to architecture, sculpture, theater design, painting, and music.

  • characterized by elaborate ornamentation, asymmetrical values, pastel color palette, and curved or serpentine lines.

  • often depict themes of love, classical myths, youth, and playfulness

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BAROQUE MUSIC

  • prevailed during the period from about 1600 to about 1750, known for its grandiose, dramatic, and energetic spirit but also for its stylistic diversity.

  • period or style of Western classical music from approximately 1600 to 1750 originated in Western Europe

  • Divided into three major phases: early, middle, and late. Overlapping in time, they are conventionally dated from 1580 to 1650, from 1630 to 1700, and from 1680 to 1750. Baroque music forms a major portion of the “classical music” canon, and is now widely studied, performed, and listened to.

  • During the baroque era, professional musicians were expected to be accomplished improvisers of both solo melodic lines and accompaniment parts.

  • A characteristic baroque form was the dance suite. While the pieces in a dance suite were inspired by actual dance music, dance suites were designed purely for listening, not for accompanying dancers

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Antonio Lucio Vivaldi

(born March 4, 1678, Venice, Republic of Venice (Italy), died July 28, 1741, Vienna, Austria), Italian composer and violinist who left a decisive mark on the form of the concerto and the style of late Baroque instrumental music

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Arcangelo Corelli

Italian violinist and composer of the Baroque era. His music was key in the development of the modern genres of sonata and concerto, in establishing the preeminence of the violin, and as the first coalescing of modern tonality and functional harmony

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Claudio Giovanni Antonio Monteverdi

an Italian composer, string player, choirmaster, and priest. A composer of both secular and sacred music, and a pioneer in the development of opera, he is considered a crucial transitional figure between the Renaissance and Baroque periods of music history.

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Johann Sebastian Bach

(1685-1750) was a German composer and musician of the late Baroque period

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George Frideric Handel

(1685-1759) a German-British Baroque composer well-known for his operas, oratorios, anthems, concerti grossi, and organ concertos

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Characteristics of Baroque music

  • Saw the creation of tonality

  • During the period, composers and performers used more elaborate musical ornamentation, made changes in musical natation, developed new instrumental playing techniques

  • expanded the size, range, and complexity of instrumental performance, and also established opera, cantata, oratorio, concerto, and sonata as musical genes.

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Early Baroque Music

(1580-1650)

In reference to music, they based their ideals on a perception of Classical (especially ancient Greek) musical drama that valued discourse and oration. As such, they rejected their contemporaries’ use of polyphony and instrumental music, and discussed such ancient Greek music devices as monody, which consisted of a solo singing accompanied by a kithara. The early L’Euridice marked the beginning of opera, which in turn was somewhat of a catalyst for Baroque music

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Middle Baroque Music

(1630-1680)

Period in Italy, defined by the emergence of the vocal styles of cantata, oratorio, and opera during the 1630s, and a new concept of melody and harmony that elevated the status of the music to one of equality with the words, which formerly had been regarded as pre-eminent

The florid, coloratura monody of the early Baroque gave way to a simpler, more polished melodic style. These melodies were built from short, cadentially delimited ideas often based on stylized dance patterns drawn from the sarabande or the courante

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Late Baroque Music

(1680-1730)

Through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of composition

A continuous worker, Handel borrowed from others and often recycled his own material. He was also known for reworking pieces such as the famous Messiah, which premiered in 1742, for available singers and musicians.

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ROCOCO MUSIC

  • Occupies a really specific transition from Baroque style to Classical era.

  • Has diluted the highly complex polyphonic structures of the Baroque period into a lighter, simpler yet very ornamented elegant style of musical expression.

  • Roughly landing on the decades between the 1740s-1770s rococo music took root in France and spread throughout Europe rapidly, to the delight of a growing class of ubiquitous music amateurs and aficionados

  • It was referred to differently throughout Europe - from Style Galant to Empfindsamer Stil (sensitive style) in Germany

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Johann Christian Bach

were at the forefront of this stylistic revolution against the density and complexity of the Baroque period composing style in Germany

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Jean Pihilippe Rameau, Louis-Claude Daquin and Francois Couperin

In France Style Galant was championed by

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Giovanni Battista Sammartini

Italy the music of this composer that was rococo personified

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Characteristics of Rococo Music

  • Rococo composers wanted to convey the lightness of heart and simplicity of emotional states, by focusing the artistic expression on a single affect, as opposed to conflating multiple disparate emotional states as a counterpoint to themselves. 

  • Galant style in music brought forth instrumental works such as string quartets to take center stage of musical entertainment, outpacing the contrapuntal vocal compositions of the early eighteenth century.

  • New style called for instrumental music to delight the ear with intricate ornamentation, memorable melodies and positive disposition

  • Rococo art and music are remarkably symbiotic as they both embody the cult of elegance and grace.

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NEOCLASSICISM

  • A movement in Europe that transpired during the late 18th and early 19th centuries,

  • It was the dominant art movement that time which basically aimed to revive and rekindle the influences of Greek and Roman into art and architecture

  • Some historians would also say that this movement was a reaction to the artworks produced during the Baroque period

  • There was a call to veer away from such extravagance in terms of style and form of the Baroque period

  • The ancient Greeks and Europeans had placed emphasis on human reason and keeping society in order. These very principle were also the dominant principles during the Enlightenment Period

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Enlightenment Period

  • Enlightenment thinkers condemned Rococo art for being immoral and indecent, and called for a new kind of art that would be moral instead of immoral, and teach people right and wrong

  • encouraged criticism of the corruption of the monarchy (at this point King Louis XVI), and the aristocracy.

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ROMANTICISM

  • Also known as the Romantic era

  • A movement in art and literature in the eighteenth and nineteenth century

  • Strong senses, emotions, feelings

  • Revolt against the Neoclassicism of the previous centuries

  • Awe of nature

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Romantic Architecture

This flow is highly aesthetic in the arts and literature so that more use of imagination and things that are exotic value like taking from nature

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REALISM

  • Focuses on reality

  • Artistic movement characterized by subjects painted in a naturalistic manner from common life

  • Rejects imaginative idealization in favour of a close observation of outward appearances

  • Indeed, realism may be viewed as a major trend in French novels and paintings between 1850 and 1880.

  • The French proponents of realism were agreed in their rejection of the artificiality of both the Classicism and Romanticism of the academies and on the necessity for contemporary in an effective work of art.

  • Observing society instead of creating exotic romantic works that were out from reality.

  • Literary realism, in particular, introduced a new way of writing and a new generation of authors whose influence can still be seen in American literature and English literature to this day