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ecture was the presence of dynamism done through curves solomonic columns and ovals in france baroque is synonymous with the reign of louis xiv between 1643 and 1715 since multiple monumental buildings were built in paris versailles and other parts of france during his rule such as the palace of versailles the château de maisons the château de vaux le vicomte the louvre colonnade or the dôme des invalides besides the building itself the space where it was placed has a role too baroque buildings try to seize viewers attention and to dominate their surroundings whether on a small scale such as the san carlo alle quattro fontane in rome or on a massive one like the new facade of the santiago de compostela cathedral designed to tower over the city applied arts prospered during this period as well baroque furniture could be as bombastic as the rooms they were meant to adorn and their motifs and techniques were carefully calibrated to coordinate with the architect s overall decorative programme one of the most prestigious furniture makers was andré charles boulle known for his marquetry technique made by gluing sheets of tortoiseshell and brass together and cut to form the design his works were also adorned with gilded bronze mounts complex gobelins tapestries featured scenes inspired by classical antiquity and the savonnerie manufactory produced big highly detailed carpets for the louvre these carpets with black or yellow backgrounds had a central motif or a medallion chinese porcelain delftware and mirrors fabricated at saint gobain france spread rapidly in all princely palaces and aristocratic residences in france during the reign of louis xiv big mirrors are put above fireplace mantels and this trend will last long after the baroque period 166 the four continents by peter paul rubens c 1615 oil on canvas 209 x 284 cm kunsthistorisches museum vienna austria château de maisons france by françois mansart 1630 1651 167 the rape of the sabine women by nicolas poussin 1634 1635 oil on canvas 1 55 2 1 m metropolitan museum of art new york city 168 the night watch by rembrandt 1642 oil on canvas 3 63 4 37 m rijksmuseum amsterdam the netherlands 169 ecstasy of saint teresa by gian lorenzo bernini 1647 1652 marble height 3 5 m santa maria della vittoria rome 170 las meninas by diego velázquez 1656 oil on canvas 318 cm 2 76 m museo del prado madrid spain 171 vanitas still life by maria van oosterwijck 1668 oil on canvas 73 x 88 5 cm kunsthistorisches museum 172 carpet with fame and fortitude by the savonnerie manufactory 1668 1685 knotted and cut wool pile woven with about 90 knots per square inch 909 3 x 459 7 cm metropolitan museum of art dôme des invalides paris 1677 1706 by jules hardouin mansart 173 commode by andré charles boulle c 1710 1732 walnut veneered with ebony and marquetry of engraved brass and tortoiseshell gilt bronze mounts antique marble top 87 6 x 128 3 x 62 9 cm metropolitan museum of art 174 part of a meissen porcelain tea and chocolate service c 1725 given to vittorio amadeo ii king of sardinia 1666 1732 by augustus the strong owner of the meissen factory frauenkirche in dresden 1726 1743 by george bähr rococo edit main article rococo see also style louis xv coiffure à l indépendance ou le triomphe de la liberté 1778 depicting a fashionable aristocratic woman is applying the finishing touches to her toilette 175 originating in c 1720 paris rococo is characterized by natural motifs soft colours curving lines asymmetry and themes including love nature and light hearted entertainment its ideals were delicacy gaiety youthfulness and sensuality beginning in france as a reaction against the heavy baroque grandeur of louis xiv s court at the palace of versailles the rococo movement became associated particularly with the powerful madame de pompadour 1721 1764 the mistress of the new king louis xv 1710 1774 because of this the style was also known as pompadour the name of the movement derives from the french rocaille or pebble and refers to stones and shells that decorate the interiors of caves as similar shell forms became a common feature in rococo design it began as a design and decorative arts style and was characterized by elegant flowing shapes architecture followed and then painting and sculpture the french painter with whom the term rococo is most often associated is jean antoine watteau whose pastoral scenes or fêtes galantes dominate the early part of the 18th century although there are some important bavarian churches in this style such as the wieskirche rococo is most often associated with secular buildings principally great palaces and salons where educated elites would meet to discuss literary and philosophical ideas in paris its popularity coincided with the emergence of the salon as a new type of social gathering the venues for which were often decorated in the rococo style among the most characteristically elegant and refined examples is the salon oval de la princesse of the hôtel de soubise one of the most beautiful 18th century mansions in paris the rococo introduced dramatic changes to elite furniture as it favoured smaller pieces with narrow sinewy frames and more delicate often asymmetrical decoration often including elements of chinoiserie the taste for far eastern objects mainly chinese lead to the use of chinese painted and lacquered panels for furniture the movement spread quickly throughout europe and as far as ottoman turkey and china thanks to ornament books featuring cartouches arabesques and shell work as well as designs for wall panels and fireplaces the most popular were made by juste aurèle meissonnier 1695 1750 jacques françois blondel 1705 1774 pierre edmé babel 1720 1775 and françois de cuvilliés 1695 1768 176 the embarkation for cythera by jean antoine watteau 1718 oil on canvas 1 29 x 1 94 m schloss charlottenburg 177 zwinger dresden germany by matthäus daniel pöppelmann 1719 178 the salon oval de la princesse of the hôtel de soubise paris 1737 1739 by germain boffrand charles joseph natoire and jean baptiste lemoyne 179 candelabrum by jean joseph de saint germain c 1750 gilt bronze overall 72 4 x 49 3 x 39 7 cm cleveland museum of art cleveland ohio us fire by jean pierre defrance c 1750 1760 limestone height 223 cm metropolitan museum of art new york city pilgrimage church of wies steingaden germany by dominikus and johann baptist zimmermann 1754 180 side table commode en console by bernard ii van risamburgh c 1755 1760 japanese lacquer gilt bronze mounts and sarrancolin marble top height 90 2 cm metropolitan museum of art madame de pompadour by françois boucher 1756 oil on canvas 2 01 x 1 57 m alte pinakothek munich germany 179 coffeepot 1757 silver height 29 5 cm metropolitan museum of art covered tureen terrine du roi by the manufacture nationale de sèvres 1756 soft paste porcelain with enamel and gilt decoration overall 24 2 cm cleveland museum of art the swing by jean honoré fragonard 1767 oil on canvas 81 x 64 cm wallace collection london 179 marie antoinette with the rose by élisabeth vigée le brun 1783 oil on canvas 130 x 87 cm palace of versailles versailles france neoclassicism edit main article neoclassicism oath of the horatii by jacques louis david 1784 oil on canvas louvre 181 inspired by the excavations of the ancient roman cities of pompeii and herculaneum from 1748 a renewed interest in the arts of antiquity occurred neoclassicism dominates western art from the mid to late 18th century until the 1830s embracing order and restraint it developed in reaction to the perceived frivolity hedonism and decadence of rococo and exemplifying the rational thinking of the age of enlightenment aka the age of reason initially the movement was developed not by artists but by enlightenment philosophers they requested replacing rococo with a style of rational art moral and dedicated to the soul 182 this fit well with a perception of classical art as the embodiment of realism restraint and order inspired by ancient greek and roman art the classical history paintings of the french artist nicolas poussin 1594 1665 and the ideas of the german writer anton raphael mengs 1728 1779 and the german archaeologist and art historian johann joachim winckelmann 1717 1768 neoclassicism began in rome but soon spread throughout europe rome had become the main focus of the grand tour by the mid 18th century and aristocratic travellers went there in search of classical visions to recreate on their country estates thus spreading the style across europe particularly in england and france the tour was also an opportunity for collecting classical antiquities neoclassical paintings tended to be populated with figures posed like classical statues or reliefs set in locations filled with archaeological details the style favoured greek art over roman considering it purer and more authentically classical in its aesthetic goal in 1789 france was on the brink of its first revolution and neoclassicism sought to express their patriotic feelings politics and art were closely entwined during this period they believed that art should be serious and valued drawings above painting smooth contours and paint with no discernible brushstrokes were the ultimate aim both painting and sculpture exerted calmness and restraint and focused on heroic themes expressing such noble notions as self sacrifice and nationalism this movement paved the way for romanticism that appeared when the idealism of the revolution faded away and after the napoleonic period came to an end in the early 19th century neoclassicism should not be seen as the opposite of romanticism however but in some ways an early manifestation of it 183 184 fantasy view with the pantheon and other monuments of ancient rome by giovanni paolo panini 1737 oil on canvas museum of fine arts houston us the ancient capitol ascended by approximately one hundred steps by giovanni battista piranesi c 1750 etching metropolitan museum of art new york city hôtel de la marine paris by ange jacques gabriel 1761 1770 185 petit trianon versailles france by ange jacques gabriel 1764 186 a philosopher lecturing on the orrery by joseph wright of derby c 1766 oil on canvas derby museum and art gallery derby england 187 the hall osterley park london by robert adam 1767 188 the artist and her daughter by élisabeth vigée le brun c 1785 oil on canvas louvre 189 brandenburg gate in berlin 1788 1791 by carl gotthard langhans washstand athénienne or lavabo 1800 1814 legs base and shelf of yew wood gilt bronze mounts iron plate beneath shelf metropolitan museum of art portrait of charlotte du val d ognes by marie denise villers 1801 oil on canvas metropolitan museum of art 190 the three graces by antonio canova 1813 1816 marble hermitage museum saint petersburg russia 191 altes museum in berlin 1825 1830 by karl friedrich schinkel western art after 1770 edit the ghost of a flea by william blake 1819 tempera with gold on panel tate britain london many art historians place the origins of modern art in the late 18th century others in the mid 19th century art historian h harvard arnason stated a gradual metamorphosis took place in the course of a hundred years 192 events such as the age of enlightenment revolutions and democracies in america and france and the industrial revolution had far reaching affects in western culture people commodities ideas and information could travel between countries and continents with unprecedented speed and these changes were reflected in the arts the invention of photography in the 1830s further altered certain aspects of art particularly painting by the dawn of the 19th century a long and gradual paradigm shift was complete from the gothic when artists were viewed as craftsmen in the service of the church and monarchies to the idea of art for art s sake where the ideas and visions of the individual artist were held in the high regard with patronage from an increasingly literate affluent and urban middle and upper class population that had been emerging for 200 years particularly in paris and london a dichotomy began in the late 18th century between neoclassicism and romanticism that subdivided and continued to run through virtually every new movement in modern art spreading like waves these isms defy national ethnic and chronological boundaries never dominant anywhere for long they compete or merge with each other in endlessly shifting patterns 193 modern art has consistently moved toward international influences and exchanges from the exotic curiosity of orientalism the deeper influence of japonisme to the arts of oceania africa and the americas conversely modern art has increasingly extended beyond western europe in russia and the us the arts were developing to a degree that rivaled the leading european countries by the end of the 19th century many of the major movements appeared in latin america australia and asia too and geography and nationality became increasingly insignificant with each passing decade by the 20th century important and influential artists were emerging around the world e g foujita japan arshile gorky armenia diego rivera and frida kahlo mexico wifredo lam cuba edvard munch norwegian roberto matta chilean mark rothko lithuanian american fernando botero angulo colombia constantin brâncuși and victor brauner romania 194 195 196 197 198 newton s cenotaph exterior by night by étienne louis boullée 1784 ink and wash 40 2 63 3 cm bibliothèque nationale the dog francisco de goya ca 1819 1823 mural transferred to canvas 131 5 79 3 cm museo del prado death on a pale horse j m w turner c 1830 oil on canvas 60 76 cm tate britain toothless man laughing charles philipon form célébrités du juste milieu honoré daumier 1832 33 painted clay 16 4 x 13 x 10 6 cm musée d orsay still life with statue of jupiter tonans by louis jacques daguerre c 1839 daguerreotype 19th century edit romanticism c 1790 1880 edit main article romanticism visual arts english landscape garden at stourhead the uk the 1740s by henry hoare 199 wanderer above the sea of fog 1818 by caspar david friedrich romanticism emerged in the late 18th century out of the german sturm und drang movement and flourished in the first half of the 19th century with significant and international manifestations in music literature and architecture as well as the visual arts it grew from a disillusionment with the rationalism of 18th century enlightenment despite being often viewed as the opposite of neoclassicism there were some stylistic overlapping with both movements and many romantic artists were excited by classicism the movement focused on intense emotions imagination and on the impressive power of nature a bigger and more powerful force than the one of men with its potential for disaster neoclassicism is a new revival of classical antiquity while romanticism refers not to a specific style but to an attitude of mind that may reveal itself in any number of ways 200 one of the earliest expression...