Name- Priyanshu kumar

1)

Europe and the rest of the world underwent rapid and deep development during the
19th century. With the French Revolutions, the fall of the Spanish, Holy Roman, and
French Napoleonic empires, and the expansion of the British and German empires,
Europe was always in upheaval.
With the advent of science as a profession and the era of machinery, two major
industrial revolutions that have made a major impact on all steps of life while improving
almost every aspect of everyday life are also social changes and cities. It greatly
contributed to the conversion.
19th-century art, especially painting, was no exception.

throughout the 19th century, numerous inventive and unique art movements and styles emerged.
While some of these movements were localized and only flourished for a brief period of time, others
were widespread and had a significant influence on the growth of art.

Neoclassicism
The late 18th and early 19th centuries saw a major trend in European art and architecture that is
known as "Neoclassicism" . It expressed a desire to revive the spirit and aesthetics of classical art
from antiquity, whose ideals of order and reason were perfectly compatible with the European Age of
Enlightenment. These art forms came from ancient Greece and Rome. Neoclassicism also served
as a reaction to the decadent frivolity of the ornate Rococo school and the ostentatiousness of
Baroque art. The revival of ancient artistic norms was not a coincidence. It drew inspiration from
Renaissance art itself, the more restrained Baroque architectural designs, the Enlightenment
mindset, and the dissatisfaction with Rococo. neoclassical architecture began around 1640 and is
still in use today. Ironically, Rome, the center of the neoclassicism movement, had little neoclassical
architecture due to the city's plethora of ancient classical structures.

Characteristics of Neoclassical Painting

Neoclassical paintings used classical antiquity themes and presented contemporary or
newly created works in neoclassical ways. The
theme was borrowed or inspired by epics, poems, and stories written in ancient Greece
and Rome. Homer, the Greek writer of Iliad and Odyssey, is a prime example.

Numerous tendencies of neoclassical artwork are primarily based totally on Roman and
Greek conceptions of science, math, philosophy, and the arts. They include restricted use of
color; a focal point on symmetry, direct lines, and geometric shapes; a unique description of
bureaucracy and figures; and a focal point on classical difficulty matter.
Romanticism
Like Neoclassicism, Romanticism changed into a part of a bigger inventive motion that
protected literature and structure in addition to painting, originating in Britain withinside the
mid-18th Century. It coexisted with neoclassicism until the mid-19th century and eventually
evolved into eclipsed conformation or other styles.
Romanticism, in contrast to Neoclassicism, emphasised the emotional, personal, and
imaginative components of art while rejecting the order and idealisation that Neoclassicism
championed.

This movement was partly a reaction to the Industrial Revolution and partly a reaction to the
reasoning era of the Enlightenment philosophy. Instead, it favored a deeper understanding
of sensations, emotions, and the beauty of nature rather than reason and reasoning.

Characteristics of Romantic painting

In terms of subject matter, romantic painting covered a wide range, favouring emotive
portrayals, and highly sad, and intensely heroic subjects. Romantic paintings were not all
alike in terms of aesthetics. Since the mood and the emotion were what mattered most in
this style—hence its name, Romanticism—they can actually seem quite different from one
another.

Paintings were characterised by striking contrasts of light and shade and powerful, linear
lines. Although this is not true of all Romantic paintings, many of them have a sketchy,
grainy aspect and a certain softness about them.

Realism

Following the French Revolution of 1848, realism, also known as naturalism, developed in
France in the 1850s. Realism was most closely linked with France and French painters,
while it also flourished in many other European nations
The word "realism" does not suggest that a work need look realistic in order to be the
antithesis of abstraction. Nearly all artworks up until this point attempted to show the
composition in a "realistic" manner. Realism, in contrast to Neoclassical history paintings
and Romanticism, which elevated subjects to monumental importance, was more focused in
the realism of the subject matter. Commoners and regular people were the subjects that
interested realism.
Realism, which rebelled against the prevailing Romantic aesthetic, was concerned with
accurately portraying subjects without the use of illogical or creative flourishes.

The fashion peaked in popularity in the late 19th century before being gradually replaced by
Impressionism.
characteristics of Realism
Realist paintings showed images from everyday life in an effort to appeal to a wider
audience rather than only the wealthiest members of society.

Idealized, sentimental, and dramatic content was entirely ignored in favour of realistically
rendered images of encounters and situations that did not downplay the unpleasant sides of
life.

Realism celebrated people from all walks of life, especially those from the working class,
with lifelike representations within of logical

Impressioism

Impressionism was a stylistic movement of painting that emerged in the 1870s in France
and became popular throughout Europe for the next fifty years.
The movement began with a group of radical Parisian painters who rose to renown during
the time for defying the strict restrictions of academic painting, which at the time preferred
meticulously produced, realistically accurate paintings.
The forerunners of the Impressionist style had a common interest in painting "from life,"
outdoors in the countryside, and they preferred social interactions and landscape scenes to
large, overly dramatic ones.

Impressionism was not simply a movement, though; it also offered entirely new aesthetic
and technical painting methods, in contrast to Realism, which gave the utmost weight to
representational honesty and a photograph-like look.

Features of Impressionist paintings

The main features of the Impressionists are the thin, light, highly visible brushstrokes that
wipe out the entire painting and the importance of paying attention to the accurate depiction
of both day and night light.

The Impressionists also made use of new developments in colour theory that were
published, Michel Eugene Chevreul presented in the middle of the 19th century. The
Impressionists also used this theory.
Post-Impressionism

The Post-Impressionists sought to restore order and structure to paintings, to make

solid, durable art that celebrated a distinct, artistic style.
Most Post-Impressionist works were characterised by strong emotional content and
complex symbolism. Many Post-Impressionist paintings were characterised by thick,
painterly brushstrokes that were organised in neat, directional patterns to form a
composition.

2)
Vincent Van Gogh's artwork Wheat Field with Cypresses, which ranged from his self-portraits to
still life paintings to landscape landscapes, epitomised the time with his impetuous, viscerally
expressive brushstrokes, vivid colours, and tragically and highly passionate works.

Most fondly regarded as the romantic embodiment of the tortured artist, Van Gogh battled
mental health issues that ultimately led to his suicide. Despite his obvious brilliance, he lived in
poverty and only became well-known after his passing.
Van Gogh expressed his views on the meaning of life through his paintings. The wheat fields
represent the cycle of life, where people celebrate their development while still being vulnerable
to nature's strong powers. In a wild environment, the cypress trees represent stability at the
same time the cypress was associated with cemeteries and death in the south of France,
though many believe that this was not the intended meaning of the cypresses for Van Gogh.
The French art movement known as Post-Impressionism emerged in response to
Impressionism. It is a development of Impressionism, which is distinguished by paintings with
vivid colours, realistic subjects, and a thick coat of paint.

By incorporating symbolism and emotions into the paintings to express the artist's mood, post-
impressionism developed on impressionism.

Impression of the sunrise Le Havre's harbour is shown in Sunrise as the sun rises over the
cranes, derricks, and masts of the anchored ships. Sunrise was probably certainly completed on
the spot in one sitting. Monet actually completed it in a single session while seated at a window
and gazing out at the harbour at dawn. The only sign of life is the sluggish movement of the
oarsman in the area of the composition that is most clearly defined. The painting strongly
resembles earlier views of mist and fog that the artist created in London in 1870 and suggests
an early morning mist that was then choked with the city's industrial pollution.
Despite having a landscape painter's perspective and being more interested in the effects of
light than any particular architectural characteristics or the social importance of the industrial
manifestations, Monet was nevertheless painting images of urban and industrial life at this
period. Impression, Sunrise's immediate execution and ability to capture a single perceived
moment are undoubtedly its most striking features. The sun's bold, distinct shape and colour
serve as the work's central motif, and the dense, subdued pale blue that surrounds it creates an
opposition of complementary hues that brings out both of their brilliance. The colour key, the
darkest component of the entire artwork, is identified and stabilised by the dark note of the
closest boat. The closest boat's dark note establishes and grounds the colour key; the only
near-black accentuated horizontal defining the waterline is the darkest element in the entire
painting. The lower left- and right-hand portions of this painting show some early drawing that
occasionally emerges with time, adding to the sense of urgency and immediacy of the work.

This painting's colour scheme is based on the contrast of complementary or nearly

complementary colours, orange and blue. A brown (a blend of the same orange and blue)
provides a linking colour note in the top left. Like the majority of Impressionist paintings, the
composition is straightforward yet nevertheless has a dramatic impact. A diagonal from the left
edge through the three little boats accentuates the positioning of the orange sun, while the
middle small boat mimics the sun's position in the other quarter. The vague outlines of the port
flow across the canvas. The result is a dynamic equilibrium where the picture is brought to life
by the sun's reflection in the water.