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French art

ComiXology Thousands of Digital Comics. East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands. Withoutabox Submit to Film Festivals. Gothic art and architecture were products of a Medieval art movement that lasted about three hundred years. It began in France, developing from the Romanesque period in the mid-twelfth century.

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By the late fourteenth century, it had evolved toward a more secular and natural style known as, International Gothic , which continued until the late fifteenth century, when it evolved further, into Renaissance art. The primary Gothic art media were sculpture , panel painting , stained glass , fresco , and illuminated manuscript. The designations of styles in French Gothic architecture are as follows: Division into these divisions is effective, but debatable.

Because Gothic cathedrals were built over several successive periods, and the artisans of each period not necessarily following the wishes of previous periods, the dominant architectural style often changed during the building of a particular building. Consequently, it is difficult to declare one building as belonging to certain era of Gothic architecture. It is more useful to use the terms as descriptors for specific elements within a structure, rather than applying it to the building as a whole.

The French ideas spread. Gothic sculpture evolved from the early stiff and elongated style, still partly Romanesque, into a spatial and naturalistic treatment in the late twelfth and early thirteenth century. Influences from surviving ancient Greek and Roman sculptures were incorporated into the treatment of drapery, facial expression, and pose of the Dutch-Burgundian sculptor, Claus Sluter , and the taste for naturalism first signaled the end of Gothic sculpture, evolving into the classicistic Renaissance style by the end of the fifteenth century.

Painting in a style that may be called, "Gothic," did not appear until about , nearly fifty years after the start of Gothic architecture and sculpture. The transition from Romanesque to Gothic is very imprecise and by no means clearly delineated, but one may see the beginning of a style that is more somber, dark, and emotional than the previous period. This transition occurs first in England and France around , in Germany around , and in Italy around Painting, the representation of images on a surface, was practiced during the Gothic period in four primary crafts, frescos , panel paintings , manuscript illumination , and stained glass.

Frescoes continued to be used as the main pictorial narrative craft on church walls in southern Europe as a continuation of early Christian and Romanesque traditions. In the north, stained glass remained the dominant art form until the fifteenth century. In the late fifteenth century, the French invasion of Italy and the proximity of the vibrant Burgundy court, with its Flemish connections, brought the French into contact with the goods, paintings, and the creative spirit of the Northern and Italian Renaissance.

It is characterized by figures which are elongated and graceful that rely upon visual rhetoric , including the elaborate use of allegory and mythology. No longer conceived of as fortresses, such pleasure palaces took advantage of the richness of the rivers and lands of the Loire region and they show remarkable architectural skill. The seventeenth century marked a golden age for French art in all fields. In the early part of the seventeenth century, late mannerist and early Baroque tendencies continued to flourish in the court of Marie de Medici and Louis XIII.

Art from this period shows influences from both the north of Europe, namely the Dutch and Flemish schools, and from Roman painters of the Counter-Reformation. Artists in France frequently debated the contrasting merits of Peter Paul Rubens with his Flemish baroque, voluptuous lines and colors to Nicolas Poussin with his rational control, proportion, Roman classicism. Many young French painters of the beginning of the century went to Rome to train themselves and soon assimilated Caravaggio 's influence like Valentin de Boulogne and Simon Vouet.

The later is credited with bringing the baroque in France and at his return in Paris in he was named first painter of the king. But French painting soon departed from the extravagance and naturalism of the Italian baroque and painters like Eustache Le Sueur and Laurent de La Hyre , following Poussin example developed a classicist way known as "Parisian atticism", inspired by Antiquity, and focusing on proportion, harmony and the importance of drawing. Even Vouet, after his return from Italy, changed his manner to a more measured but still highly decorative and elegant style.

But at the same time there was still a strong Caravaggisti school represented in the period by the amazing candle-lit paintings of Georges de La Tour. The wretched and the poor were featured in a quasi-Dutch manner in the paintings by the three Le Nain brothers. In the paintings of Philippe de Champaigne there are both propagandistic portraits of Louis XIII ' s minister Cardinal Richelieu and other more contemplative portraits of people in the Catholic Jansenist sect.

From the mid to late seventeenth century, French art is more often referred to by the term "Classicism" which implies an adherence to certain rules of proportion and sobriety uncharacteristic of the Baroque, as it was practiced in southern and eastern Europe during the same period.

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Through propaganda , wars, and great architectural works, Louis XIV launched a vast program designed for the glorification of France and his name. In Rome, Pierre Legros , working in a more baroque manner, was one of the most influential sculptors of the end of the century. Rococo and Neoclassicism are terms used to describe the visual and plastic arts and architecture in Europe from the late seventeenth to the late eighteenth centuries. There a new style emerged in the decorative arts, known as rocaille: This manner used to decorate rooms and furniture also existed in painting. Most of the times the moralising sides of myths or history paintings are omitted and the accent is put on the decorative and pleasant aspect of the scenes depicted.

Paintings from the period show an emphasis more on color than drawing, with apparent brush strokes and very colorful scenes. The Louis XV style of decoration, although already apparent at the end of the last reign, was lighter with pastel colors, wood panels, smaller rooms, less gilding, and fewer brocades; shells, garlands, and occasional Chinese subjects predominated. The most prominent architects of the first half of the century were, apart Boffrand, Robert de Cotte and Ange-Jacques Gabriel , who designed public squares like the place de la Concorde in Paris and the place de la Bourse in Bordeaux in a style consciously inspired by that of the era of Louis XIV.

During the first half of the century, France replaced Italy as the artistic centre and main artistic influence in Europe and many French artists worked in other courts across the continent. The latter half of the eighteenth century continued to see French preeminence in Europe, particularly through the arts and sciences, and the speaking the French language was expected for members of the European courts.

Although the hierarchy of genres continued to be respected officially, genre painting , landscape , portrait , and still life were extremely fashionable. Chardin and Jean-Baptiste Oudry were hailed for their still lives although this was officially considered the lowest of all genres in the hierarchy of painting subjects.

One also finds in this period a Pre-romanticist aspect. Hubert Robert 's images of ruins, inspired by Italian cappricio paintings, are typical in this respect as well as the image of storms and moonlight marines by Claude Joseph Vernet. One also finds in some of these gardens—curious ruins of temples—called "follies". The middle of the eighteenth century saw a turn to Neoclassicism in France, that is to say a conscious use of Greek and Roman forms and iconography.

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This movement was promoted by intellectuals like Diderot, in reaction to the artificiality and the decorative essence of the rocaille style. In painting, the greatest representative of this style is Jacques-Louis David , who, mirroring the profiles of Greek vases, emphasized the use of the profile. His subject matter often involved classical history such as the death of Socrates and Brutus.

The dignity and subject matter of his paintings were greatly inspired by Nicolas Poussin in the seventeenth century. Neoclassicism also penetrated decorative arts and architecture. The French Revolution and the Napoleonic wars brought great changes to the arts in France. Jean-Auguste-Dominique Ingres was the main figure of neoclassicism until the s and a prominent teacher, giving priority to drawing over color. Meanwhile, Orientalism , Egyptian motifs, the tragic anti-hero , the wild landscape, the historical novel , and scenes from the Middle Ages and the Renaissance—all these elements of Romanticism —created a vibrant period that defies easy classification.

Camille Corot tried to escape the conventional and idealized form of landscape painting influenced by classicism to be more realist and sensible to atmospheric variations at the same time. Romantic tendencies continued throughout the century, both idealized landscape painting and Naturalism have their seeds in Romanticism.

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The work of Gustave Courbet and the Barbizon school are logical developments from it, as is the late nineteenth century Symbolism of such painters as Gustave Moreau , the professor of Henri Matisse and Georges Rouault , as well as Odilon Redon. Academic painting developed at the Ecole des Beaux-Arts was the most successful with the public and the State: Though criticized for their conventionalism by the young avant-garde painters and critics, the most talented of the Academic painters renewed the historical genre, drawing inspiration from multiple cultures and techniques, like the Orient and the new framings made possible by the invention of photography.

His rediscovery of Spanish painting from the golden age, his willingness to show the unpainted canvas, his exploration of the forthright nude, and his radical brush strokes are the first steps toward Impressionism.

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Impressionism would take the Barbizon school one step farther, rejecting once and for all a belabored style and the use of mixed colors and black, for fragile transitive effects of light as captured outdoors in changing light partly inspired by the paintings of J. It led to Claude Monet with his cathedrals and haystacks, Pierre-Auguste Renoir with both his early outdoor festivals and his later feathery style of ruddy nudes, Edgar Degas with his dancers and bathers.

After that threshold was crossed, the next thirty years became a litany of amazing experiments. Vincent van Gogh , Dutch born, but living in France, opened the road to expressionism.

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Georges Seurat , influenced by color theory, devised a pointillist technique that governed the Impressionist experiment and was followed by Paul Signac. Paul Gauguin , a banker, found symbolism in Brittany along Emile Bernard and then exoticism and primitivism in French Polynesia. They preached that a work of art is the end product and the visual expression of an artist's synthesis of nature in personal aesthetic metaphors and symbols. The early years of the twentieth century were dominated by experiments in colour and content that Impressionism and Post-Impressionism had unleashed.

The products of the far east also brought new influences. Cubism in all its phases would dominate paintings of Europe and America for the next ten years. See the article on Cubism for a complete discussion. World War I did not stop the dynamic creation of art in France. In a group of discontents met in a bar in Zurich, the Cabaret Voltaire , and created the most radical gesture possible, the anti-art of Dada. At the same time, Francis Picabia and Marcel Duchamp were exploring similar notions. Mutt as work of art, becoming the father of the readymade. When Dada reached Paris, it was avidly embraced by a group of young artists and writers who were fascinated with the writings of Sigmund Freud , particularly by his notion of the unconscious mind.

The provocative spirit of Dada became linked to the exploration of the unconscious mind through the use of automatic writing , chance operations, and, in some cases, altered states. The surrealists quickly turned to painting and sculpture. The shock of unexpected elements, the use of Frottage , collage , and decalcomania , the rendering of mysterious landscapes and dreamed images were to become the key techniques through the rest of the s.

Immediately after this war the French art scene diverged roughly in two directions. There were those who continued in the artistic experiments from before the war, especially surrealism, and others who adopted the new Abstract Expressionism and action painting from New York, executing them in a French manner using Tachism or L'art informel. Parallel to both of these tendencies, Jean Dubuffet dominated the early post-war years while exploring childlike drawings, graffiti, and cartoons in a variety of media.

The late s and early s in France saw art forms that might be considered Pop Art. Yves Klein had attractive nude women roll around in blue paint and throw themselves at canvases. Victor Vasarely invented Op-Art by designing sophisticated optical patterns.