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Non-Western Art: The Nihonga Movement

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    Nihonga      Nihonga is a Japanese art movement that developed in 1882 and continues to this day. During the Meiji period (1868-1912) “Japan had opened up its trade borders for the first time in over two centuries” (The Art Story) causing a push in the direction of more modern and western styles of art. Nihonga artists wanted to preserve the heritage and traditions of classical Japanese paintings, resulting in a refurbished form of this classic style. One of the main characteristics of Nihonga is remaining tied to the ancestral roots. This can be seen by how artists will use all natural materials, such as natural stones and silk, wood, or washi paper.  Another major characteristic is the mixing of natural mineral pigments with animal glue, this remains unchanged through the years as it is central to the Japanese tradition. Three fantastic artists within this movement are Hashimoto Gahō, Hishida Shunsō, and Gyoshū Hayami. Nihonga honored the classical style of Japanese painting whil
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Mid Modern Art- Abstract Expressionism

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       Abstract Expressionism became a big development within the state of New York, “their art was championed for being emphatically American in spirit - monumental in scale, romantic in mood, and expressive of a rugged individual freedom” (The Art Story). This movement started in 1943 and drew much influence from the surrealism movement. Artists translated surrealism “into a new style fitted to the post-war mood of anxiety and trauma” (The Art Story). This movement encompassed the work of artists who saturated their canvases with colors and abstract forms, it also included those who bombarded the canvas with vigorous gestural expressionism. Additionally, it included painters who “espoused the painterly actions of the artist as a sign of his or her emotions.” (Art Institute of Chicago). Three very influential artists within abstract expressionism were Jackson Pollock, Willem de Kooning, and Helen Frankenthaler. This movement was a great success, which robbed Paris of its crown as lea
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Early Modern Art

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 Dada Movement      World War 1 took place from July 1914 to November 1918. Involving all of the major nations, it brought shock to the world as many nations suffered the affects of war. This war involved a more modern approach to combat, with weapons capable of reaching further distances, and the first use of tank and trench warfare along with new technology. Many changes and movements were actively taking place at this time, and this was a globally talked about event. The Dada movement “ arose as a reaction to World War I and the nationalism that many thought had led to the war ” (The Art Story). This artistic and literary movement originated in Zürich, Switzerland. Dada was known for the mockery of materialistic and nationalistic attitudes. A major goal in this movement was to oppose all norms of bourgeois culture, meaning it focused on opposing a society that is dominated by the mores of the ruling-class. Many artists accomplished this through generating difficult questions about s
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Romantic Era: Post- Impressionism vs. Realism

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  Post-Impressionism Post-Impressionism lasted from 1880-1905 and was heavily influenced by the previous Impressionism outbreak. Two key artists of the Post-Impressionism were Georges Seurat and Vincent van Gough, who also happen to be two of my favorite artists. As a whole, Post-Impressionism “ rejected interest in depicting the observed world, [it] instead looked to memories and emotions in order to connect with the viewer on a deeper level” (The Art Story). I believe this is an excellent viewpoint into this time period - artists during this time strived to penetrate the viewers’ emotions. This style also “relied upon the interrelations of color and shape to describe the world around” (The Art Story).  This style of art is my most favorite for the Romantic Era because there is so much depth to each painting that leaves me connected with each piece on a physical and emotional level. Seurat, Georges. A Sunday on La Grande Jatte — 1884, Oil on Canvas. Art Institute of Chicago, Chicago
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Classical Blog Exhibit

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   Morality in the Arts of the Classical Era         During the 18 th century there was a divide between two major art styles: Rococo and Neoclassical. According to a publication by Boise State University, Rococo was an artistic style that followed the Baroque period characterized by elaborate ornamentation, curved lines, and pastel coloring. Rococo tends to have themes depicting romance, love, nature, and playful scenes. During the Enlightenment period, Neoclassicism was formed, which is art that draws inspiration from the ancient culture of the Greeks and Romans. Many viewed the Rococo style to be immoral, which is why the Neoclassicism style is often described as a reaction against the frivolous Rococo style. As described in the publication by Boise State University, Neoclassical art is characterized by a smooth paint surface, clear definition of forms, straight lines, and a minimal use of color. The French Neoclassical style also contributed to the monumentalism of the French Rev
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Baroque Era- Fetti

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       Domenico Fetti was an Italian Baroque painter who is well known for his representations of biblical parables as scenes from everyday life.  Fetti was born in 1588 in Rome, he was inspired by Caravaggio’s dramatic paintings as a young prosperous artist. He served as court painter to Cardinal Ferdinando Gonzaga who later became Duke of Mantua. During this time in Mantua Fetti created the painting, David with the Head of Goliath.   Domenico Fetti (?Rome 1588/9-1623 Venice) David with the head of Goliath oil on canvas: 63¼ x 39 in. (160.7 x 99.1 cm.)      This beautiful oil painting was completed in 1620 and is a depiction of the biblical story David and Goliath (1 Samuel, 17:48-51). Using a stone from his sling David, a young shepherd boy killed the champion of the Philistines named Goliath. David then decapitates him using Goliaths own sword. In this painting, Fetti captures the conclusion of the drama as David holds the severed head of Goliath in one hand and the massive sword in
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Italian Renaissance

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 Italian Renaissance    Sandro Botticelli,  The Birth of Venus , 1483-85, tempera on panel, 68 x 109 5/8″ (172.5 x 278.5 cm) (Galeria degli Uffizi, Florence; photo:  Steven Zucker , CC BY-NC-SA 2.0)                            In Botticelli’s beautiful piece named The Birth of Venus , the goddess Venus is being born from the sea. On the left side she is being blown by the west wind Zephyr, intertwined is Chloris. On the right is an attendant who is prepared to wrap the newborn goddess.  This painting provides great representations of patterns and tone to make the piece have depth but appear flat. A great use of patterns is seen with the flowers. There are flowers being blown over the waves on the left side, this pattern of flowers continues to them being on the attendants’ dress and appearing on the drape she is holding. These patterns bring a great sense of depth to the painting. The use of tones for a contrast of lights and darks within the seashell Venus is on enables the back of
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