Gustave Courbet @190
From The Art and Popular Culture Encyclopedia
| Revision as of 12:38, 6 June 2009 Jahsonic (Talk | contribs) ← Previous diff |
Revision as of 12:45, 6 June 2009 Jahsonic (Talk | contribs) Next diff → |
||
| Line 6: | Line 6: | ||
| [[Criticism and legacy of Academic art]] | [[Criticism and legacy of Academic art]] | ||
| - | Academic art was first criticised by Realist artists such as [[Gustave Courbet]], as being based on clichés and representing fantasies and tales of ancient myth while real social concerns were being ignored. Impressionists, who were associated with loose brushstrokes, criticized the smooth finish of academic art. | + | Academic art was first criticised by [[realism (arts)|Realist]] artists such as [[Gustave Courbet]], as being based on clichés and representing fantasies and tales of ancient myth while real social concerns were being ignored. [[Impressionists]], who were associated with loose brushstrokes, criticized the smooth finish of academic art. |
| - | As modern art and its avant-garde gained more power, academic art was further denigrated, and seen as sentimental, clichéd, conservative, non-innovative, bourgeois, and "styleless". The French referred derisively to the style of academic art as "art pompier" (pompier means fireman) alluding to the paintings of Jacques-Louis David (who was held in esteem by the academy) which often depicted soldiers wearing fireman-like helmets. The paintings were called "grande machines" which were said to have manufactured false emotion through contrivances and tricks. | + | As [[modern art]] and its avant-garde gained more power, academic art was further denigrated, and seen as sentimental, clichéd, conservative, non-innovative, [[Bourgeois|bourgeois]], and "styleless". The French referred derisively to the style of academic art as "art pompier" (pompier means fireman) alluding to the paintings of [[Jacques-Louis David]] (who was held in esteem by the academy) which often depicted soldiers wearing fireman-like helmets. The paintings were called "grande machines" which were said to have manufactured false emotion through contrivances and tricks. |
| - | This denigration of academic art reached its peak through the writings of art critic Clement Greenberg who stated that all academic art is "kitsch". | ||
| - | Other artists, such as the Symbolist painters and some of the Surrealists, were kinder to the tradition. As painters who sought to bring imaginary vistas to life, these artists were more willing to learn from a strongly representational tradition. Once the tradition had come to be looked on as old-fashioned, the allegorical nudes and theatrically posed figures struck some viewers as bizarre and dreamlike. | + | This denigration of academic art reached its peak through the writings of art critic [[Clement Greenberg]] who stated that all academic art is "[[Kitsch|kitsch]]". |
| - | With the arrival of Postmodernism, academic art has been brought back into history books and discussion, though many postmodern art historians hold a bias against the "bourgeois" nature of the art. | + | Other artists, such as the [[Symbolist painters]] and some of the [[Surrealism|Surrealists]], were kinder to the tradition. As painters who sought to bring imaginary vistas to life, these artists were more willing to learn from a strongly representational tradition. Once the tradition had come to be looked on as old-fashioned, the [[allegory|allegorical]] nudes and theatrically posed figures struck some viewers as bizarre and dreamlike. |
| + | With the arrival of [[Postmodernism]], academic art has been brought back into history books and discussion, though many postmodern art historians hold a bias against the "[[Bourgeois|bourgeois]]" nature of the art. | ||
| {{GFDL}} | {{GFDL}} | ||
Revision as of 12:45, 6 June 2009
|
Related e |
|
Featured: |
Gustave Courbet @190
Ever since the appearance of Meyer Schapiro's essay on "Courbet and Popular Imagery" in 1941, we have been expanding our awareness of the popular arts.
Criticism and legacy of Academic art
Academic art was first criticised by Realist artists such as Gustave Courbet, as being based on clichés and representing fantasies and tales of ancient myth while real social concerns were being ignored. Impressionists, who were associated with loose brushstrokes, criticized the smooth finish of academic art.
As modern art and its avant-garde gained more power, academic art was further denigrated, and seen as sentimental, clichéd, conservative, non-innovative, bourgeois, and "styleless". The French referred derisively to the style of academic art as "art pompier" (pompier means fireman) alluding to the paintings of Jacques-Louis David (who was held in esteem by the academy) which often depicted soldiers wearing fireman-like helmets. The paintings were called "grande machines" which were said to have manufactured false emotion through contrivances and tricks.
This denigration of academic art reached its peak through the writings of art critic Clement Greenberg who stated that all academic art is "kitsch".
Other artists, such as the Symbolist painters and some of the Surrealists, were kinder to the tradition. As painters who sought to bring imaginary vistas to life, these artists were more willing to learn from a strongly representational tradition. Once the tradition had come to be looked on as old-fashioned, the allegorical nudes and theatrically posed figures struck some viewers as bizarre and dreamlike.
With the arrival of Postmodernism, academic art has been brought back into history books and discussion, though many postmodern art historians hold a bias against the "bourgeois" nature of the art.
