Modern Art Essay -- Manet, Rembrandt, Gaugin

This paper references the following worksOlympia. Edouard Manet. 1863. embrocate on opinion poll. H. 130 W. xcl cm. Paris, Muse dOrsay self Portrait. Rembrandt. 1660. Oil on canvas. 31.61 x 26.5 cm. metropolitan Museum of fine machination, New York. ego Portrait Dedicated to Paul Gaugin. Vincent van Gogh. 1888. Oil on canvas. 60.5 x 49.4 cm. Fogg Art Museum, Harvard UniversityPieta. Anabale Carricci. 1600. Oil on canvas. 149 x 156 cm. Museo Nazionale di Capodimonte, Naples, Italy. charr with Dead Child. Kathe Kollowitz. 1903. Etching. 39 x 48 cm. To the casual viewer, Modern finesse is often shocking, amusing, indecipherable and unnerving because art has always been understood in terms of traditional representation. However at the turn of the 19th century, European artists began to rebel against the institution of classical art. To gain success as an artist in Europe up until this time, acceptance by the Royal Academies of Art was essential (Rosenfeld 2000). The approved sty le was that of classical antiquity depicting reckon historical, mythological and religious scenes and because the Academies controlled official patronage for artists, they set the rules for standards of beauty in art (Rosenfeld 2000). However with the rise of modernity in the late nineteenth and early twentieth century, art theory evolved. Modernity in this current was characterised by rapid growth of industry and technology in the city, which meant whole social and economic innovation across Europe. Feelings of anxiety and instability attach to this rapid transformation (Sturken and Cartwright 2009, 449) and lead to a self-importance-conscious awareness inwardly artists and consumers alike. So strongly were the changes felt that artists began reinterpreting traditional subject matter to job this new modern age. Ultimately, Modern artists sought truth over beauty, a concept which encompassed both the physicality of painting as a median(a) as well as the artists sense of self in an endeavour to create pure art (Greenberg). Academic art strove to overcome the limitations of painting as a medium surface flatness, canvas structure and properties of paint pigment (Kleiner 2009, 822), to create illusions of space and aesthetics. Modern artists reacted by emphasising the same properties to communicate original insights and observations. However, the popular notion that Modernism was a... ...3857?accountid=10382 (accessed Feb 4, 2015) come in 2. Olympia. Edouard Manet. 1863. Oil on canvas. H. 130 W. 190 cm. Paris, Muse dOrsay offered to the french State by public subscription initiated by Claude Monet, 1890 RMN-Grand Palais (Muse dOrsay) / Herv Lewandowski. Reproduced from http//www.pbs.org/wgbh/cultureshock/flashpoints/visualarts/olympia_a.html (accessed Feb 4, 2015).Figure 3. Self Portrait. Rembrandt. 1660. Oil on canvas. 31.61 x 26.5 cm. Metropolitan Museum of Art, New York. http//totallyhistory.com/self-portrait-altman/ (accessed Feb 4, 2015)Figure 4. Se lf Portrait Dedicated to Paul Gaugin. Vincent van Gogh. 1888. Oil on canvas. 60.5 x 49.4 cm. Fogg Art Museum, Harvard University, Cambridge, MA. http//www.ibiblio.org/wm/paint/auth/gogh/self/gogh.self-gauguin.jpg (accessed Feb 4, 2015)Figure 5. Pieta. Anabale Carricci. 1600. Oil on canvas. 149 x 156 cm. Museo Nazionale di Capodimonte, Naples, Italy. http//www.wikipaintings.org/en/annibale-carracci/pieta-1600 (accessed Feb 4, 2015)Figure 6. Woman with Dead Child. Kathe Kollowitz. 1903. Etching. 39 x 48 cm. oj0 http//hammer.ucla.edu/programs/detail/program_id/204 (accessed Feb 4, 2015)