Paintings
American | British | Dutch and Flemish 16th-17th centuries | French and Italian 17th century | Italian 13th-14th centuries | Northern European 15th-16th centuries | Spanish | Modern and Contemporary Painting and Sculpture
American Paintings
Much art of the American colonial period consisted of portraits, as settlers sought to establish their identities in a new world. After the new nation achieved its independence, landscapes and scenes of native flora, fauna, and folk customs began to express its unique qualities and illustrate its untapped resources.
Portraiture formed the mainstay of subject matter in colonial and federal American art, as immigrants to the New World attempted to bring a semblance of Old World civilization to their wild or, at best, provincial surroundings. When Benjamin West arrived in Rome in 1760, he was the first American artist to study in Europe. Upon seeing the Vatican's famous classical statue, the Apollo Belvedere, West exclaimed, "My God! How like it is to a young Mohawk warrior!" His astute comparison between a "noble savage" and the "glory that was Greece" won hearty applause from the connoisseurs. West soon emerged as Europe's foremost history painter, dropping the allegorical trappings from classical antiquity that had been the norm and basing his work on historical research.
British Paintings
During the 18th and 19th centuries, young members of the British upper classes extended their education with the Grand Tour of continental Europe. There they were introduced to a sophisticated level of artistic achievement that influenced their tastes as adult art patrons. To ensure such high standards in the visual arts, the Royal Academy opened in London in 1769; until the 1800s virtually every major artist in Britain was elected a member or, at least, submitted work for its annual exhibitions.
Dutch and Flemish 16th-17th centuries
Religious and political turmoil in the 1500s split the Low Countries into two nations with differing social values and artistic tastes. Flanders remained Catholic and royalist; Flemish artists such as Rubens and Van Dyck glorified the Church and monarchy with grandiose themes, lively compositions, and vivid colors. The United Netherlands, however, became a republic populated mainly by Calvinists. Dutch Protestants like Rembrandt conveyed morals and religious messages through concealed symbolism in landscapes, still lifes, and scenes of daily life.
French and Italian 17th century
Nicolas Poussin The Assumption of the Virgin, c. 1626 Ailsa Mellon Bruce Fund 1963.5.1In Italy, the Counter-reformation helped drive a style of painting that was emotional and direct. Artists again emphasized careful observation of the natural world and looked to the examples of past masters. Their classical approach would leave its mark all over Europe for more than 100 years and, in France, would be institutionalized in the French Academy, founded in 1648.Fueled by the wealth of the Vatican and the spate of construction of new buildings, seventeenth-century Rome offered great opportunities for artists. Domenico Fetti saw the Veil of Veronica when it was exhibited at Saint Peter's in Rome and made it the subject of a moving portrayal of Christ in his suffering.
Italian 13th-14th centuries
Early Italian artists adopted the techniques and traditions of Byzantine art: the gold backgrounds and timeless figures that give spiritual force to icons. But increasingly they began to convey a physical as well as a spiritual reality. The Renaissance celebration of freedom of self-determination had a profound effect on the visual arts. Whereas medieval art focused on otherworldly truths, Renaissance art was nurtured on the principles of humanism, which also paid tribute to visible reality. Greek and Latin learning emboldened thinkers to place the human being at the center of their world view. Interest in the classical past did not impede Christian devotion; religious art remained dominant, and secular art forms emerged also.
Northern European 15th-16th centuries
Early Italian artists adopted the techniques and traditions of Byzantine art: the gold backgrounds and timeless figures that give spiritual force to icons. But increasingly they began to convey a physical as well as a spiritual reality. The Renaissance celebration of freedom of self-determination had a profound effect on the visual arts. Whereas medieval art focused on otherworldly truths, Renaissance art was nurtured on the principles of humanism, which also paid tribute to visible reality. Greek and Latin learning emboldened thinkers to place the human being at the center of their world view. Interest in the classical past did not impede Christian devotion; religious art remained dominant, and secular art forms emerged also.
Spanish
Early Italian artists adopted the techniques and traditions of Byzantine art: the gold backgrounds and timeless figures that give spiritual force to icons. But increasingly they began to convey a physical as well as a spiritual reality. The Renaissance celebration of freedom of self-determination had a profound effect on the visual arts. Whereas medieval art focused on otherworldly truths, Renaissance art was nurtured on the principles of humanism, which also paid tribute to visible reality. Greek and Latin learning emboldened thinkers to place the human being at the center of their world view. Interest in the classical past did not impede Christian devotion; religious art remained dominant, and secular art forms emerged also.
Modern and Contemporary Painting and Sculpture
Early Italian artists adopted the techniques and traditions of Byzantine art: the gold backgrounds and timeless figures that give spiritual force to icons. But increasingly they began to convey a physical as well as a spiritual reality. The Renaissance celebration of freedom of self-determination had a profound effect on the visual arts. Whereas medieval art focused on otherworldly truths, Renaissance art was nurtured on the principles of humanism, which also paid tribute to visible reality. Greek and Latin learning emboldened thinkers to place the human being at the center of their world view. Interest in the classical past did not impede Christian devotion; religious art remained dominant, and secular art forms emerged also.