Monthly Archives: February 2018
Analytical cubism is the second phase of cubism, characterized by a gradual blurring of the differences between form and space and the disappearance of images of objects. In the paintings of this period appear translucent, iridescent, intersecting planes, the position of which is not clearly defined. The arrangement of forms in space and their relation to large compositional masses are constantly changing. The result is a visual interaction of form and space. Analytical cubism was developed by artists from the Golden Section artistic association: Albert Gleize, Marcel Duchamp, Raymond Duchamp-Villon, Jean Metzinger and Jacques Villon.
In the paintings of this period, iridescent colors appear translucent intersecting planes, the position of which is not clearly defined. Continue reading
Empire (from the French. Empire – empire) – a style in architecture and decorative art that arose in France at the beginning of the 19th century, during the First Empire of Napoleon Bonaparte. Empire is the final development of classicism. For the embodiment of majesty, sophistication, luxury, power and military strength, Ampiru is characterized by an appeal to ancient art: ancient Egyptian decorative forms (trophies, winged sphinxes …), Etruscan vases, Pompeii paintings, Greek and Roman decor, Renaissance frescoes and ornaments. The main representative of this style was J.L. David (paintings “The Oath of Horatius” (1784), “Brutus” (1789))
The predecessor of the Empire style – classicism – placed human dignity above all. Architecture was strictly proportionate to this virtue. The empire came in order to affirm the absolute superiority of the emperor over peoples and countries. The name of the style, derived from the French. “Empire,” speaks for itself quite loudly – “empire.” The empire is also called late classicism, since it was born along with the ambitions of the Emperor Napoleon Bonaparte and a negligible period of 30 years reigned. Continue reading
Academism (from the French academisme) is a direction in European painting of the 16th-19th centuries. It was based on dogmatic following the external forms of classical art. Followers characterized this style as a discourse on the art form of the ancient ancient world and the Renaissance. Academism replenished the traditions of ancient art, in which the image of nature was idealized, while compensating for the norm of beauty. Annibale, Agostino and Lodovico Carracci wrote in this style.
The history of the development of Academism is associated with the “Academy of the Right Path” in Bologna (c. 1585), the French Royal Academy of Painting and Sculpture (1648) and the Russian Academy of Three Noble Arts (1757).
The activities of all the academies were based on a strictly regulated educational system, focused on the great achievements of previous eras – antiquity and the Italian Renaissance, from which the individual qualities of classical art that were accepted as ideal and unsurpassed were consciously selected. Continue reading