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| The sublime has to do with this shift from humanism (the idea of the human being the center of the universe) to the the Sublime where humans were nothing in comparison to nature and God's creation which can overcome anything man has achieved. It's this idea becoming exalted at the realization of all mans fate (tragic counsciousness) in the presence of something greater than man. Its a personal spiritual experience. This idea of individualism in art comes about due to the rising Revolutions (French and America) and spread the idea of civil liberties and human rights for all men. |
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| Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, and gold. Unlike the political Baroque, the Rococo had playful and witty themes. The interior decoration of Rococo rooms was designed as a total work of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. |
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| Trompe-l'œil (French for "deceive the eye", pronounced [tʁɔ̃p lœj]) is an art technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions. Forced perspective is a comparable illusion in architecture. |
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The Baroque (US /bəˈroʊk/ or UK /bəˈrɒk/) is often thought of as a period of artistic style which used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, theatre, and music. The style began around 1600 in Rome and Italy, and spread to most of Europe.[1]
The popularity and success of the Baroque style was encouraged by the Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes with direct and emotional involvement.[2][3] The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, and control. Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, "baroque" has a resonance and application that extend beyond a simple reduction to either a style or period.[4] |
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| European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Baroque and Rococo styles. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Rome and Ancient Greece, and were more immediately drawn from 16th-century Renaissance Classicism. Each "neo"-classicism selects some models among the range of possible classics that are available to it, and ignores others. The Neoclassical writers and talkers, patrons and collectors, artists and sculptors of 1765–1830 paid homage to an idea of the generation of Phidias, but the sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of Late Antiquity. The "Rococo" art of ancient Palmyra came as a revelation, through engravings in Wood's The Ruins of Palmyra. Even Greece was all-but-unvisited, a rough backwater of the Ottoman Empire, dangerous to explore, so Neoclassicists' appreciation of Greek architecture was mediated through drawings and engravings, which subtly smoothed and regularized, "corrected" and "restored" the monuments of Greece, not always consciously. |
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| a style of painting depicting scenes from ordinary life, especially domestic situations. Genre painting is associated particularly with 17th-century Dutch and Flemish artists. |
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| A still life (plural still lifes) is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, dead animals, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on). |
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| a European intellectual movement of the late 17th and 18th centuries emphasizing reason and individualism rather than tradition. It was heavily influenced by 17th-century philosophers such as Descartes, Locke, and Newton, and its prominent exponents include Kant, Goethe, Voltaire, Rousseau, and Adam Smith. |
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style, artefacts, or traits considered characteristic of the peoples and cultures of Asia.
the representation of Asia, especially the Middle East, in a stereotyped way that is regarded as embodying a colonialist attitude. |
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a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual.
Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. |
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| a still-life painting of a 17th-century Dutch genre containing symbols of death or change as a reminder of their inevitability. |
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| Cabinet of Curiosities were encyclopedic collections of objects whose categorical boundaries were, in Renaissance Europe, yet to be defined. Modern terminology would categorize the objects included as belonging to natural history (sometimes faked), geology, ethnography, archaeology, religious or historical relics, works of art (including cabinet paintings), and antiquities |
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| Tenebrism, from the Italian, tenebroso (murky), also called dramatic illumination, is a style of painting using very pronounced chiaroscuro, where there are violent contrasts of light and dark, and where darkness becomes a dominating feature of the image. |
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Illusionistic Ceiling painting. perspective tools such as foreshortening, and other spatial effects are used to create the illusion of three-dimensional space on an otherwise two-dimensional or mostly flat ceiling surface above the viewer
The artist would paint a feigned architecture in perspective on a flat or barrel-vaulted ceiling in such a way that it seems to continue the existing architecture. The perspective of this illusion is centered towards one focal point. The steep foreshortening of the figures, the painted walls and pillars, creates an illusion of deep recession, heavenly sphere or even an open sky. Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky. |
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