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The Importance Of The Salon

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After the eighteenth century, the Age of Enlightenment and neoclassicism in the West, which dominated the aesthetics and the classical canons begin the nineteenth century, it will be very turbulent, both historical facts and artistic styles. So will be happening romantic and realistic styles, each with its shapes and models and inspired by a society in continuous shift away from hegemonic forms so far to become a more mundane art. The ruling classes were replaced by the bourgeoisie and by a new generation of intellectuals and artists who dreamed of a new world.
Styles that these artists were setting were tendency to rebel against the established order. Romanticism, the main source of future impressionism and realism, where normal people were …show more content…

The Salon was an annual exhibition of art made in France. The artists who won awards at the Salon, were almost always getting important monetary income to create artworks for the state. For any artist, it was important to exhibit at the Salon because it was one of the few ways that artists had to get recognition for your artwork and be able to make a living painting. To get an idea of the importance of Salon, we have to know that each year about 5,000 paintings of nearly 2,000 artists were presented. The number of visitors to the Salon (many of them foreigners) exceeded …show more content…

Some of the painters were Théodore Rousseau, Jean-Baptiste Camille Corot, Jean-François Millet y Charles-François Daubigny. Otros miembros fueron Jules Dupré, Narcisso Virgilio Díaz de la Peña, Albert Charpin etc. Little by little the paints of those artist envolved since a romantic stile to the impressionist movement. The painters of the Barbizon School were also a history of the French Impressionist movement. Thirty years before the first Impressionist exhibition, Camille Corot, circumstantial member of the Barbizon school sometimes described as the father of impressionism, interpreted the changes of light on a number of subjects painted at different times of day. Eugène Louis Boudin a pre-Impressionist painter, who was master of Monet, taught his disciples to express a feeling of spontaneity in his works, while the realist Gustave Courbet taught the Impressionists find inspiration in everyday

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At the beginning of the seventeenth century central Europe was plagued by a series of unremitting of religious conflicts and which were known as the Thirty Year’s War. The main cause for this was the arrival of Jesuit priests in Germany. Their mission was to convert the vast majority of Protestants to Catholicism. They faced strong opposition, and a revolt began in Bohemia in 1618 by the Protestant Nobility against the Holy Roman Empire. This marked the start of the Thirty Years’ War.

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Salvadore Dali was a very famous Spanish surrealist and artist during the 12th century and was one of the most recognized artist in the world. Salvadore Dali was also a successful artist in fashion, printmaking, sculpture, advertising, writing a film making. He was well known for his unique personality and his great artworks. Salvadore Dali had started doing art at a very young age. He then went to study at the academy of Madrid where he studied fine arts.

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During the 19th century, the church lost its power and its traditional theme and the rapid growth of urbanization and industrialization led to to the birth of “Isms”. Neoclassicism, a revival of Greek and Roman art; a direct reaction to the excessiveness of Baroque and Rococo styles. During the American and French Revolutions, the political atmosphere began to lean towards an Age of Reason and Enlightenment. With admiration for classical Roman and Greek art renewed after excavations of Herculaneum and Pompei, efforts for style to accompany philosophy caused an inevitable return to the "classics"(AML 68). Early works of artists such as Jean August Dominique Ingres and especially Jacques-Louis David encompassed the thematic elements associated with Neoclassicism.

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Modern art takes the best of artists and their art work and adapts it, adding new techniques and personal styles of each. When one carefully analyzes different pieces of art with openness to emotional impression and introspection it allows appreciation and pleasure towards other artists as well as their works. This paper will provide information on the artist Paul Cézanne and his work The Large Bathers, look into Matisse’s Bonheur de Vivre (Joy of Life) and Picasso’s Les Demoiselles d’Avignon. It will also discuss the influence Paul Cézanne had on the aforementioned artists upon producing their masterpieces. Paul Cézanne, The Large Bathers, 1906, oil on canvas, 210 x 250.8 cm (Philadelphia Museum of Art)

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Paul Cezanne is famous as a post-impressionist artist, as well as the creator of abstract art known as cubism. In contrast, although Auguste Renoir was an artist of the same era, his work has renowned for Impressionism. Ekrisson (2013)reveals that Paul Cezanne was the artist who led the post impressionism,By the way, he used harmonious color, short and repetitive brush strokes, and capacity to give personal expression in paintings .furthermore, Cezanne felt to depict subjects in geometrical forms, in the third

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He rejected traditional, academic style of painting and conventional themes (AML 100). He began taking everyday objects and pulling out of those objects new feelings and creations which provoke thought. With broad strokes Manet used a vivid summary technique. One of his most famous painting, “Olympia” create a great stir about the first modern nudity in the art society (AML 101). Claude Monet Monet’s early stages as an artist wasn’t financially prospering.

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To understand Henri Matisse and Pablo Picasso, you have to place them in perspective with Cezanne. It is impossible to overstate the influence Paul Cezanne had on the Fauvist and Cubist movements. And, with his final painting, “Le Grandes Baigneuses,” (The Large Bathers), exhibited posthumously after his death in 1906, Cezanne produced both an inspiration and a challenge for future painters. Wikipedia notes that Cezanne was interested in the “simplification of naturally occurring forms to their geometric essentials.” However, Cezanne’s simplification goes beyond an impression of nature.

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In the late 19th and early 20th centuries, many artists, among them Paul Signac, Henri Matisse, and Franz Marc, developed new languages of representation and color to move away from the traditions of illusionism. With approaches ranging from the scientific to expressionist, these three artists made choices about color that ran counter to traditional notions of painterly technique. In addition to their varied techniques, Signac, Matisse, and Marc had different ends in mind for their respective styles. Overall, through developing new languages of color, these three artists subverted the time-honored styles of academy art and pushed painting into the 20th century. Paul Signac was among the most important Neo-Impressionists, a well-organized movement

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Henri Matisse drew some outstanding paintings. In the beginning of the 20th century was the modernism era. It included amazing and famous painters, sculptors, draughtsmen, and printmakers. In this era an amazing artist was born called Henri Matisse.

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The French Revolution began to abolish privileged, high class society as people rose up against the authority and monarchy in France. As a result of this political upheaval almost all of Europe was shaken by social changes, revolutions, and wars (“French Revolution”). Artists and artwork began to reflect this new sense of change and nationalism with a movement called Neoclassicism. Neoclassicism is characterized by strong drawing, rationality, and better moral ideology. Artists began to no longer show their brush strokes and paint more about nationalism and patriotism in society.

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One of is such movements was a new aestheticism, which roots go to romanticism. In the atmosphere of the contradictory ideas of the Victorian era, in the time of extreme optimism and extreme pessimism, a time where strict moral rules and exaggerated virtues contrasted with the widespread of prostitution and child labor, Oscar Wilde as the most notable follower of the new aestheticism has a special position as the preacher of this new movement for which beauty was above morals, art was

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1. Introduction Writing about a living phenomenon is a complicated effort especially when realizing it is a dynamic, changeable and heterogeneous structure. This happens when we try to study contemporary practices today, in postmodern era, which is definitely a special expression of specific moment. If Modernism, among others, tried to enforce authority, postmodernism brought anarchy. Many things found today in postmodernism can be traced back, transformed of course, in the main modern flows; dadaism, futurism, surrealism.

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From the above, we can see the essential role played by the capitalist society and its relation to the theory of Marxist aesthetics under the discussion of Marxism. To develop a further understanding in the art history related to Marxism, the materialist art history should also not to be missed out in the context of Marxist aesthetics. From the point of view of Marx and Engels, they believed that the forms of society is the most hostile to art when the society is developed into industrial capitalism in a full way, while the division of material labor and mental labor may have to go through the point of extremeness. (Klingender, 1943) The art history of materialism has focused on the production modes of art, in the other words, the labor of

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