Cómo reconocer los diferentes estilos artísticos

Presentación del tema: "Cómo reconocer los diferentes estilos artísticos"— Transcripción de la presentación:

1 Cómo reconocer los diferentes estilos artísticos
Obras de Arte Cómo reconocer los diferentes estilos artísticos

2 Realismo Definición: Representación real de personas, lugares y cosas fiel a su apariencia (como lo vemos con los ojos- como una fotografía).

3 el Realismo Ejemplos: Obra: un retrato “Luís Góngora y Argote”
Diego Velázquez (otros del realismo= pintor español Francisco Goya El Greco Obra: un retrato “Luís Góngora y Argote” (1622) pintado por Diego Velázquez, pintor muy famoso del Siglo 17en España

4 el Realismo Retrato de un hombre usando colores oscuros. La luz alumbra una parte de su cara pero la otra parte está en la sombra.

5 Otra obra realista pintada por Diego Velázquez
“Las meninas” Una de las obras más famosas de España antes del siglo XVII. La obra se enfoca en la princesa Margarita y unas otras niña en el primer plano. Un poco atrás se ve al pintor pintando sobre un lienzo. Y al fondo se ve un hombre entrando por una puerta abierta y un espejo que refleja al rey y la reina que están donde nosotros estamos parados mirando la obra.

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7 el Arte abstracto Definición:
Una imagen que es más exagerada o más sencilla de como se ve en realidad.

8 Ejemplo de arte abstrcto:
obra de Joan Miró, pintor español del siglo XX

9 Miró: Harlequin’s Carnival

10 Otra obra abstracta (de Kandinsky)
Usa colores vivos y diferentes formas.

11 el Impresionismo Definición:
Un movimiento que comenzó en Francia en 1860, mostrando el efecto de la luz en los sujetos. Las personas y la escena parecen borrosas (fuzzy) como mirando por la neblina (fog) del amanecer.

12 Impresionismo Ejemplos famosos: Obra de ejemplo:
Monet, Renoir, Cezanne, Dégas y el español- Joaquín Sorolla Obra de ejemplo: de Joaquín Sorolla más importante pintor impresionista de España del Siglo 19 y principios del 20

13                                                                                                                               Impresionismo

14 Obra impresionista del pintor Claude Monet.

15 Obra famosa del pintor Vincent van Gogh
Obra famosa del pintor Vincent van Gogh. Es un paisaje pintado en colores muy vivos.

16 El Cubismo Definición:
Un movimiento que comenzó en Francia del Siglo XX con Picasso y Braques. El artista rompe la escena, analiza y reconstruye el sujeto usando formas geométricas.

17 Cubismo Ejemplos: Obra de ejemplo: “Hombre con bigote”
Picasso, Braque, Cézanne y Diego Rivera Obra de ejemplo: “Hombre con bigote” del español Pabo Picasso

18 el Cubismo Un retrato de un hombre dibujado usando formas geométricas.

19 Es una naturaleza muerta pintada por Pablo Picasso
Es una naturaleza muerta pintada por Pablo Picasso. En el primer plano se ve un violín y quizás un jarro de agua. El resto de la escena tiene cosas representadas por formas geométricas.

20 Un paisaje cubista de Picasso.

21 Se ve la figura de una mujer sentada en colores vivos.

22 Un retrato cubista del pintor mexicano,
Diego Rivera pintado usando colores oscuros o apagados y también vivos de rojo, azul y verde.

23 Surrealismo Definición:
Un movimiento que comenzó en el Siglo XX, basado en las teorías de Sigmund Freud. Las imágenes son espontáneas y confusas, una mezcla de sueños y realidad.

24 Surrealismo Ejemplos: Salvador Dalí, Joan Miró y DiegoRivera
Obra: “Fantasma de Vermeer de Delft que se puede usar como una mesa” Dalí

25 El Surrealismo de Salvador Dalí

26 “la metamórfasis de Narciso” de Dalí

27 “Mujeres vendiendo flores en el mercado” pintado por el mexicano, Diego Rivera.

28 ¿De qué estilo son las siguientes obras?
del Realismo del Estilo abstracto del Impresionismo del Cubismo del Surrealismo ¿Cómo son, de qué son????

29 Velázquez: Cristo en casa de Marta y María, 1619
Es un (paisaje, retrato, naturaleza muerta o un autoretrato). Se ve en el primer plano _____ y al fondo hay ____. Los colores usados son________.

30 Disintegration of the Persistence of Memory (1952 - 54)
In the Disintegration of the Persistence of Memory from 1954, Dalí disintegrated the scene from his popular 1931 painting The Persistence of Memory, located in New York's Museum of Modern Art. This disintegration is an acknowledgment of the developments of modern science. The disquieting landscape of his earlier work has here been shattered by the effects of the atomic bomb. All of the elements in the painting are separating from each other. The rectangular blocks in the foreground and the rhinoceros horns floating through space metaphorically suggest that the world is formed of atomic particles that are constantly in motion. Forms disintegrating as a result of the bomb populate the barren landscape. The soft skin of the face to the right is fluid, and the soft watch from the 1931 canvas is not just draped over a branch in the dead olive tree, it is ripping apart. By locating this work in the barren region of the Bay of Cullero, Dalí revealed that the atomic bomb has disturbed even the serenity of the artist's isolated Port Lligat. Yet in spite of this painting's bleak implications, Dalí presents the atomic disintegration in a harmonious pattern, indicating the persistence of an underlying order in nature.

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32 Dalí: Eggs on a Plate Without a Plate (1930)
This painting was inspired by what Dalí referred to as an "intra-uterine memory." According to Dalí, he remembered his existence in the womb, "as though it was yesterday." All his pleasure was in his eyes, he claimed, and the most splendid vision he had while in the womb was that of "a pair of eggs fried in a pan without a pan." Here, Dalí reproduced this vision and the colors he saw: "red, orange, yellow, and bluish, the color of flames...." In the background, the remarkable mineral colors of Cape Creus are intensified by the glow of twilight. Dalí likened the eggs' shimmer to Gala's piercing gaze. The suspended egg also represents the embryo attached to an umbilical cord. The dripping watch, which hangs near the wall, is an interesting variant of Dalí's "soft watch," representing the fluidity and irrelevance of time.

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34 Picasso:  Accordionist (1911)

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36 Mary Cassatt: Children Playing on the Beach, 1884

37 Dalí: Old Age, Adolescence, Infancy (The Three Ages) (1940)
Here, Dalí used double images to create the allegorical faces of Old Age, Adolescence, Infancy. Glimpses of Port Lligat are seen through the apertures where illusions of faces also appear. These openings were suggested to Dalí by the worn arches of the ruins of Ampurias. On the left, the bowed head of the woman from Millet's Angelus makes up the eye of Old Age; the hole in the brick wall forms her head's outline, and the rest of the figure forms the nose and mouth. The nose and mouth of Adolescence, the figure in the center, is created from the head and scarf of Dalí's nurse sitting on the ground with her back to us. The eyes emerge from the isolated houses seen in the hills across the Bay of Cadaques. On the right, a fisherwoman repairing a net composes the barely-formed face of Infancy.

38 Picasso: "Ma Jolie" (Woman with a Zither or Guitar) (1911)

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41 Miró: The Table (Still Life with Rabbit)

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43 Picasso: The Italian Girl, 1917.

44 Auguste Renoir: Girl with a Hoop, 1885

45 Miró: Prades, the Village, summer 1917
Prades, the Village, summer Oil on canvas, 25 5/8 x 28 5/8 inches. Solomon R. Guggenheim Museum During the summer of 1923 Joan Miró began painting The Tilled Field, a view of his family’s farm in Montroig, Catalonia. Although thematically related to his earlier quasi-realistic, Fauvist-colored rural views, such as Prades, The Village, this painting is the first example of Miró’s Surrealist vision. Its fanciful juxtaposition of human, animal, and vegetal forms and its array of schematized creatures constitute a realm visible only to the mind’s eye, and reveal the great range of Miró’s imagination. While working on the painting he wrote, “I have managed to escape into the absolute of nature.” The Tilled Field is thus a poetic metaphor that expresses Miró’s idyllic conception of his homeland, where, he said, he could not “conceive of the wrongdoings of mankind.” The complex iconography of The Tilled Field has myriad sources, and attests to Miró’s long-standing interest in his artistic heritage. The muted, contrasting tones of the painting recall the colors of Catalan Romanesque frescoes, while the overt flatness of the painting—space is suggested by three horizontal bands indicating sky, sea, and earth—and the decorative scattering of multicolored animals throughout were most likely inspired by medieval Spanish tapestries. These lively creatures are themselves derived from Catalan ceramics, which Miró collected and kept in his studio. The stylized figure with a plow has its source in the prehistoric cave paintings of Altamira, which Miró knew well. Even the enormous eye peering through the foliage of the pine tree, and the eye-covered pine cone beneath it, can be traced to examples of early Christian art, in which the wings of angels were bedecked with many tiny eyes. Miró found something alive and magical in all things: the gigantic ear affixed to the trunk of the tree, for example, reflects his belief that every object contains a living soul. Miró’s spirited depiction of The Tilled Field also has political content. The three flags—French, Catalan, and Spanish—refer to Catalonia’s attempts to secede from the central Spanish government. Primo de Rivera, who assumed Spain’s dictatorship in 1923, instituted strict measures, such as banning the Catalan language and flag, to repress Catalan separatism. By depicting the Catalan and French flags together, across the border post from the Spanish flag, Miró announced his allegiance to the Catalan cause. Nancy Spector

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49 Miró: Landscape (The Hare), autumn 1927
Landscape (The Hare), autumn Oil on canvas, 51 x 76 5/8 inches. Solomon R. Guggenheim Museum In 1925 Miró’s work took a decisive turn, stimulated, according to the artist, by hunger-induced hallucinations involving his impressions of poetry. These resulted in the artist’s “dream paintings,” such as Personage, in which ghostly figures hover in a bluish ether. Miró explored Surrealist automatism in these canvases, attempting to freely transcribe his wandering imagination without preconceived notions. Although these images are highly schematic, they are not without references to real things, as the artist made clear. “For me a form is never something abstract,” he said in “It is always a sign of some-thing. It is always a man, a bird, or something else.” In these works Miró began to develop his own language of enigmatic signs: the forms in Personage depict a large vestigial foot and a head with three “teeth” in its grinning mouth. The star shape often represents female genitalia in Miró’s oeuvre, and the dot with four rays symbolizes the vision of a disembodied eye. Two years later Miró reverted to imagery somewhat more grounded in reality. In Landscape (The Hare), among other works, he also returned to one of his favorite subjects, the countryside around his family’s home in Catalonia. Miró said that he was inspired to paint this canvas when he saw a hare dart across a field on a summer evening. In Landscape (The Hare), this event has been transformed to emphasize the unfolding of a heavenly event. A primeval terrain of acid oranges and red is the landscape in which a hare with bulging eyes stares transfixed by a spiraling “comet.” By the late 1940s Miró was making canvases on a much larger scale and with broader markings. Painting of 1953 is more than 6 feet high by 12 feet wide and is characterized by loose, gestural brushstrokes and stained pigments. The calligraphic drawing style and open field of works such as Personage has, in Painting, metamorphosed into bold, energetic lines in a vast, cosmic atmosphere. Yet the star and sun, the animal-like forms, and the sprays of dots are signs of the artist’s symbolic language developed in the 1920s. Jennifer Blessing

50 Picasso:  Child with a Dove, 1901

51 Miró: The Tilled Field, 1923–24
The Tilled Field, 1923–24. Oil on canvas, 26 x 36 1/2 inches. Solomon R. Guggenheim Museum During the summer of 1923 Joan Miró began painting The Tilled Field, a view of his family’s farm in Montroig, Catalonia. Although thematically related to his earlier quasi-realistic, Fauvist-colored rural views, such as Prades, The Village, this painting is the first example of Miró’s Surrealist vision. Its fanciful juxtaposition of human, animal, and vegetal forms and its array of schematized creatures constitute a realm visible only to the mind’s eye, and reveal the great range of Miró’s imagination. While working on the painting he wrote, “I have managed to escape into the absolute of nature.” The Tilled Field is thus a poetic metaphor that expresses Miró’s idyllic conception of his homeland, where, he said, he could not “conceive of the wrongdoings of mankind.” The complex iconography of The Tilled Field has myriad sources, and attests to Miró’s long-standing interest in his artistic heritage. The muted, contrasting tones of the painting recall the colors of Catalan Romanesque frescoes, while the overt flatness of the painting—space is suggested by three horizontal bands indicating sky, sea, and earth—and the decorative scattering of multicolored animals throughout were most likely inspired by medieval Spanish tapestries. These lively creatures are themselves derived from Catalan ceramics, which Miró collected and kept in his studio. The stylized figure with a plow has its source in the prehistoric cave paintings of Altamira, which Miró knew well. Even the enormous eye peering through the foliage of the pine tree, and the eye-covered pine cone beneath it, can be traced to examples of early Christian art, in which the wings of angels were bedecked with many tiny eyes. Miró found something alive and magical in all things: the gigantic ear affixed to the trunk of the tree, for example, reflects his belief that every object contains a living soul. Miró’s spirited depiction of The Tilled Field also has political content. The three flags—French, Catalan, and Spanish—refer to Catalonia’s attempts to secede from the central Spanish government. Primo de Rivera, who assumed Spain’s dictatorship in 1923, instituted strict measures, such as banning the Catalan language and flag, to repress Catalan separatism. By depicting the Catalan and French flags together, across the border post from the Spanish flag, Miró announced his allegiance to the Catalan cause. Nancy Spector

52 Picasso: Portrait of Ambroise Vollard (1910)

53 Edgar Degas: The Dance Lesson, c. 1879

54 Monet: Sunrise, 1873

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56 Edouard Manet: "A Bar at the Folies-Bergere”, 1882

57 Charles-François Daubigny: "The Village of Gloton”, 1857

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68 Velázquez: La túnica de José, 1630