#list3

1. That morning chill.

2. The smell of the air.

3. Trees changing colors.

4. Halloween.

5. Apple cider.

6. Candy.

7. Costumes.

8. Salem.

9. Frosty grass.

1. Paul McCartney - The absolute best concert. It was the last concert I went to with my mom. It was a combination birthday/Mother’s Day gift for her, the last one I would ever give her. This concert means so much to me because as I was growing up, we would always listen to the Beatles, Wings and of course Paul McCartney’s solo music. It was so fun to share this experience with my mom, singing, laughing, crying and just having the best time. 

2. Foo Fighters - The husband and I have wanted to see the Foo Fighters FOREVER. We just love them so much - in fact, we danced to Everlong at our wedding. When they finally added Fresno to their tour, we knew we had to go and I’m so glad we did. They put on such a great show. 

3. No Doubt/Gwen Stefani - No Doubt was one of my very first all time favorite bands. I have seen them 3 times and have also seen Gwen 3 times. They always put on an amazing show. I am really, really hoping they do a 25 year anniversary tour of Tragic Kingdom. Fingers crossed! 

4. Dropkick Murphy’s - I have seen them 3 times. The second time I saw them, I got tossed up on stage with a bunch of other girls to sing “Kiss Me, I’m Shitfaced” and it was so damn fun. Never have I been so beat up at a concert before - I always came back from those shows with bruised ribs, more holes in my jeans then I went in with, and ripped shirts. Wouldn’t trade it for anything in the world, it was so much fun. 

5. Kanye West & Jay-Z - This is the only true rap/hip-hop concert I have ever been too and it was so crazy and so damn cool. They were touring together with the album they had just put out called “Watch the Throne” which is one of my fave albums. They did songs from the album and they did their solo stuff too. It was just so cool to see 2 legends like this together. 

6. Queens of the Stone Age - I have seen them twice now and want to see them every single time they come near us. These guys put on a hell of a show. It’s always so loud and so so so fun! 

7. Flogging Molly - Another fun band to see live. Their live album is one of my all time favorites. They are such great musicians and always come to each show with so much energy. This is another band that we always see whenever they come around Fresno. 

Lets get back to it.

November Has Come by Gorillaz

This song came on shuffle as I was leaving my house in Riverside to go to work in Anahiem in the morning. It feels like morning and I think it’s not often a song with rapping sounds okay that early. but this is the one. it’s spooky cool

Spread Your Wings by Queen

A year or two back now we were all dedicating ourselves to different classic bands just to see what we could find in there. We were hunting for the deep cuts in the classics and I wanted to try Queen out because I remember buying a cd when I was younger and only listened to like three bands. So I downloaded all of Queen and it’s kind of a lot to digest. So I couldn’t commit to full albums and got lazy and they hung out on my ipod and died there for a few years and then this song came on shuffle and I think it’s really cool.

Gone by Kanye West

This is everything you need in a Kanye song to convince you to listen to another Kanye song. He uses features as such a commpliment to what he’s doing, and it’s the perfect kind of Kanye verse. It’s worth it, trust me.

Lover of Mine by Beach House

By the sixth second this song will take you right into the dream it belongs in. get high with this one.

I Hope Time Doesn’t Change Him by The Drums

Super cool

Old Robot by James Supercave

First part: Prehistoric art to Perednizhniki

Ism is is a derived word used in art, philosophy, politics, religion or other areas pertaining to an ideology of some sort, sometimes with a derogatory sense. In art it ussally discribes a group of artist with a common style.

Prehistoric Art

In the history of art, prehistoric art is all art produced in preliterate, prehistorical cultures beginning somewhere in very late geological history, and generally continuing until that culture either develops writing or other methods of record-keeping, or makes significant contact with another culture that has, and that makes some record of major historical events. At this point ancient art begins, for the older literate cultures. The end-date for what is covered by the term thus varies greatly between different parts of the world.

The very earliest human artifacts showing evidence of workmanship with an artistic purpose are the subject of some debate; it is clear that such workmanship existed by 40,000 years ago in the Upper Paleolithic era, however there is evidence of artistic activity dating as far back as 500,000 years ago performed by Homo Erectus. From the Upper Palaeolithic through the Mesolithic, cave paintings and portable art such as figurines and beads predominated, with decorative figured workings also seen on some utilitarian objects. In the Neolithic evidence of early pottery appeared, as did sculpture and the construction of megaliths. Early rock art also first appeared in the Neolithic. The advent of metalworking in the Bronze Age brought additional media available for use in making art, an increase in stylistic diversity, and the creation of objects that did not have any obvious function other than art. It also saw the development in some areas of artisans, a class of people specializing in the production of art, as well as early writing systems. By the Iron Age, civilizations with writing had arisen from Ancient Egypt to Ancient China.

Many indigenous peoples from around the world continued to produce artistics works distinctive to their geographic area and culture, until exploration and commerce brought record-keeping methods to them. Some cultures, notably the Maya civilization, independently developed writing during the time they flourished, which was then later lost. These cultures may be classified as prehistoric, especially if their writing systems have not been deciphered.

Antiquity

any period before the Middle Ages (476–1453), but still within the period of Western civilization-based human history or prehistory. The term is most often used of Classical antiquity, the classical civilizations of the Mediterranean, especially Ancient Greece and Ancient Rome.

Classical antiquity (also the classical era, classical period or classical age) is a broad term for a long period of cultural history centered on the Mediterranean Sea, comprising the interlocking civilizations of ancient Greece and ancient Rome, collectively known as the Greco-Roman world. It is the period in which Greek and Roman society flourished and wielded great influence throughout Europe, North Africa and Southwestern Asia.

Conventionally, it is taken to begin with the earliest-recorded Epic Greek poetry of Homer (8th–7th century BC), and continues through the emergence of Christianity and the decline of the Roman Empire (5th century AD). It ends with the dissolution of classical culture at the close of Late Antiquity (300–600), blending into the Early Middle Ages (600–1000). Such a wide sampling of history and territory covers many disparate cultures and periods. “Classical antiquity” may refer also to an idealised vision among later people of what was, in Edgar Allan Poe’s words, “the glory that was Greece, and the grandeur that was Rome.”

The culture of the ancient Greeks, together with some influences from the ancient Near East, prevailed throughout classical antiquity as the basis of art,  philosophy, society, and educational ideals.  These ideals were preserved, imitated and spread over Europe by the Romans.  This Greco-Roman cultural foundation has been immensely influential on the language, politics, educational systems, philosophy, science, art, and architecture of the modern world: From the surviving fragments of classical antiquity, a revival movement was gradually formed from the 14th century onwards which came to be known later in Europe as the Renaissance, and again resurgent during various neo-classical revivals in the 18th and 19th centuries.

“Ancient history” generally, and may be used of any historical period before the Middle Ages.

Ancient history is the aggregate of past events from the beginning of recorded human history and extending as far as the Early Middle Ages or the Postclassical Era. The span of recorded history is roughly 5,000 years, beginning with Sumerian Cuneiform script, the oldest discovered form of coherent writing from the protoliterate period around the 30th century BC. The term classical antiquity is often used to refer to history in the Old World from the beginning of recorded Greek history in 776 BC (First Olympiad). This roughly coincides with the traditional date of the founding of Rome in 753 BC, the beginning of the history of ancient Rome, and the beginning of the Archaic period in Ancient Greece. Although the ending date of ancient history is disputed, some Western scholars use the fall of the Western Roman Empire in 476 AD (the most used), the closure of the Platonic Academy in 529 AD, the death of the emperor Justinian I in 565 AD, the coming of Islam or the rise of Charlemagne as the end of ancient and Classical European history. In India, ancient history includes the early period of the Middle Kingdoms, and, in China, the time up to the Qin Dynasty.

Medieval period

In European history, the Middle Ages, or Medieval period, lasted from the 5th to the 15th century. It began with the collapse of the Western Roman Empire and merged into the Renaissance and the Age of Discovery. The Middle Ages is the middle period of the three traditional divisions of Western history: Antiquity, Medieval period, and Modern period. The Medieval period is itself subdivided into the Early, the High, and the Late Middle Ages.

Jean Bourdichon

Thoman Burgkmair

Jan van Eyck

Jean Fouquet

Rueland Frueauf the Elder 

Rueland Frueauf the Younger

Stefan Lochner

Hans Memling

Albert van Ouwater

Martin Schongauer

Geertgen tot Sint Jans

Rogier van der Weyden

Michael Wolgemut

Renaissance (Italy)

Italian Renaissance painting is the painting of the period beginning in the late 13th century and flourishing from the early 15th to late 16th centuries, occurring in the Italian peninsula, which was at that time divided into many political areas. The painters of Renaissance Italy, although often attached to particular courts and with loyalties to particular towns, nonetheless wandered the length and breadth of Italy, often occupying a diplomatic status and disseminating artistic and philosophical ideas. The city of Florence in Tuscany is renowned as the birthplace of the Renaissance, and in particular of Renaissance painting.

There was also a northern reniassance. The Northern Renaissance was the Renaissance that occurred in Europe north of the Alps. From the last years of the 15th century, its Renaissance spread around Europe. Called the Northern Renaissance because it occurred north of the Italian Renaissance, this period became the German, French, English, Low Countries, Polish Renaissances and in turn other national and localized movements, each with different attributes.

In some areas the Northern Renaissance was distinct from the Italian Renaissance in its centralization of political power. While Italy and Germany were dominated by independent city-states, most of Europe began emerging as nation-states or even unions of countries. The Northern Renaissance was also closely linked to the Protestant Reformation with the resulting long series of internal and external conflicts between various Protestant groups and the Roman Catholic Church having lasting effects.

Albrecht Altdorfer

Sofonisba Anguissola

Hans Baldung Grien

Francesco Bassano

Jacopo Bassano

Leandro Bassano

Giovanni Bellini

Ambrosius Benson

Joachim Beuckelaer

Sandro Botticelli

Hans Burgkmair the Elder

Michelangelo Buonarroti

Antonio Campi

Bernardino Campi

Galeazzo Campi 

Giulio Campi

Jean Clouet

François Clouet

Jan Wellens de Cock

Lucas Cranach the Elder

Augustin Cranach

Hans Cranach

Lucas Cranach the Younger

Albrecht Dürer

Lavinia Fontana

Lukas Furtenagel

Giorgione

El Greco

Matthias Grünewald

Catharina van Hemessen

Hans Holbein the Elder

Ambrosius Holbein

Hans Holbein the Younger

Gerard Horenbout 

Lucas Horenbout

Wolfgang Huber

Filippo Lippi

Andrea Mantegna

Antonello da Messina

Michael Pacher

Francesco Pesellino

Piero del Pollaiuolo

Giovanni Ambrogio de Predis

Raphael

Hans Leonhard Schäufelein

Jakob Seisenegger

Levina Teerlinc

Paolo Veronese

Leonardo da Vinci

English miniaturist painters

Nicholas Hilliard

Peter Oliver

Isaac Oliver

John Bettes the Elder

John Bettes the younger

Manierism (Italy)

Mannerism is a period of European art that emerged from the later years of the Italian High Renaissance around 1520. It lasted until about 1580 in Italy, when the Baroque style began to replace it, but Northern Mannerism continued into the early 17th century. The word mannerism derives from the Italian maniera, meaning “style” or “manner”.

Pieter Aertsen

Lucia Anguissola

Giuseppe Arcimboldo

Hendrik Goltzius

Rowland Lockey

Giulio Romano

William Scrots

Bartholomeus Spranger

Tintoretto

Vincenzo Campi

Joachim Wtewael

Baroque  (Italy)

The Baroque is often thought of as a period of artistic style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, architecture, literature, dance, and music. The style began around 1600 in Rome, Italy and spread to most of Europe.

The popularity and success of the Baroque style was encouraged by the Catholic Church, which had decided at the time of the Council of Trent, in response to the Protestant Reformation, that the arts should communicate religious themes in direct and emotional involvement. The aristocracy also saw the dramatic style of Baroque architecture and art as a means of impressing visitors and expressing triumph, power and control. Baroque palaces are built around an entrance of courts, grand staircases and reception rooms of sequentially increasing opulence. However, ‘baroque’ has resonance and application that extend beyond a simple reduction to either style or period.

Nathaniel Bacon

Marie Beale

André Bouys

Caravaggio

Agostino Carracci

Annibale Carracci

Antonio Carracci

Lodovico Carracci

Juan del Castillo

Antonio del Castillo y Saavedra

Anthony van Dyck

Domenichino

Gerrit Dou

Justus van Egmont

Georg Flegel

Francesco Furini

Artemisia Gentileschi

Orazio Gentileschi

Hendrik Goltzius

Abraham Janssens

Jacob Jordaens

Claude Lefèbvre

Claude Lorrain

Bartolomé Esteban Murillo

Josefa de Óbidos

Rembrandt

Guido Reni

Francisco Ribalta

Hyacinthe Rigaud

Peter Paul Rubens

Karel Skréta

David Teniers the Younger

Tiberio Tinelli

Georges de la Tour

Diego Velazquez

Simon Vouet

Francisco de Zurbarán

Dutch Golden Age (Netherlands)

The Dutch Golden Age (Dutch: Gouden Eeuw) was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. The first half is characterized by the Eighty Years’ War which ended in 1648. The Golden Age continued in peacetime during the Dutch Republic until the end of the century. The Netherlands’s transition from a possession of the Holy Roman Empire in the 1590s to the foremost maritime and economic power in the world has been called the “Dutch Miracle” by historian K. W. Swart.

Dutch Golden Age painting was among the most acclaimed in the world at the time, during the seventeenth century. There was an enormous output of painting, so much so that prices declined seriously during the period. From the 1620s, Dutch painting broke decisively from the Baroque style typified by Rubens in neighboring Flanders into a more realistic style of depiction, very much concerned with the real world. Types of paintings included historical paintings, portraiture, landscapes and cityscapes, still lifes and genre paintings. In the last four of these categories, Dutch painters established styles upon which art in Europe depended for the next two centuries. Paintings often had a moralistic subtext. The Golden Age never really recovered from the French invasion of 1671, although there was a twilight period lasting until about 1710.

Ferdinand Bol

Hans Bollongier

Gerrit Dou

Frans Hals

Pieter de Hooch

Sir Godfrey Kneller

Gabriël Metsu

Willem van Mieris

Jean-Baptiste Monnoyer

Pieter  Mulier the Elder

Rembrandt van Rijn

Jacob van Ruisdael

Godfried Schalcken

Jan Steen

Abraham Storck

Johannes Vermeer

Jacob Ferdinand Voet

Gaspar van Wittel

Joachim Wtewael

Veduta (Italy)

A veduta (Italian for “view”; plural vedute) is a highly detailed, usually large-scale painting or, actually more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti.

As the itinerary of the Grand Tour became somewhat standardized, vedute of familiar scenes like the Roman Forum or the Grand Canal recalled early ventures to the Continent for aristocratic Englishmen. By the mid-18th century, Venice became renowned as the centre of the vedutisti. The genre’s greatest practitioners belonged to the Canal and Guardi families of Venice. Some of them went to work as painters in major capitals of Europe, e.g., Canaletto in London and his nephew Bernardo Bellotto in Dresden and Warsaw. In other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved.

Bernardo Bellotto

Giuseppe Bernardino Bison

Canaletto

Luca Carlevarijs

Francesco Lazzaro Guardi

Giovanni Paolo Panini

Giovanni Battista Piranesi

Gaspar van Wittel

Rococo (France)

Rococo , less commonly roccoco, or “Late Baroque”, is an 18th-century artistic movement and style, affecting many aspects of the arts including painting, sculpture, architecture, interior design, decoration, literature, music, and theatre. It developed in the early 18th century in Paris, France as a reaction against the grandeur, symmetry, and strict regulations of the Baroque, especially of the Palace of Versailles. Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, and gold. Unlike the political Baroque, the Rococo had playful and witty themes.

Jacques-André-Joseph Aved

François Boucher

Louise Élisabeth Vigée Le Brun

Pierre Jacques Cazes

Jean-Baptiste-Siméon Chardin

Charles De La Fosse

Jean-Honoré Fragonard

Thomas Gainsborough

Marguerite Gérard

François Lemoyne

Charles-Joseph Natoire

Francois de Troy

Jean Antoine Watteau

Academic Classicism

Academic art is a style of painting and sculpture produced under the influence of European academies of art. Specifically, academic art is the art and artists influenced by the standards of the French Académie des Beaux-Arts, which practiced under the movements of Neoclassicism and Romanticism, and the art that followed these two movements in the attempt to synthesize both of their styles.

The art influenced by academies in general is also called “academic art.” In this context as new styles are embraced by academics, the new styles come to be considered academic, thus what was at one time a rebellion against academic art becomes academic art.

Classicism, in the arts, refers generally to a high regard for a classical period, classical antiquity in the Western tradition, as setting standards for taste which the classicists seek to emulate. The art of classicism typically seeks to be formal and restrained:.

Lawrence Alma-Tadema

Albert Aublet

Pauline Auzou

Paul Barbier

Julius Victor Berger

Émile Jean-Baptiste Philippe Bin 

Eugene de Blaas

Joseph Paul Blanc

Adélaïde Binart

William-Adolphe Bouguereau

Gustave Boulanger

Marie-Geneviève Bouliard

Karl Bryullov

Alexandre Cabanel

Marie-Gabrielle Capet

John Singleton Copley

Fernand Cormon

Édouard Joseph Dantan

Jacques-Louis David

Paul Delaroche

Rose-Adélaïde Ducreux

Joseph-Siffred Duplessis

Carolus-Duran

Marie Ellenrieder

Henri Fantin-Latour

Anselm Feuerbach

François Flameng

Jean-Hippolyte Flandrin

Eugène Fromentin

François Pascal Simon Gérard

Jean-Léon Gérôme

Henri Gervex

John William Godward

Christian Griepenkerl

Antoine-Jean Gros

Jean Auguste Ingres

Jean-Baptiste Isabey

Paul Joseph Jamin

Angelica Kauffman

Adélaïde Labille-Guiard

Thomas Lawrence

Jules Joseph Lefebvre

Louis-François, Baron Lejeune

Anicet Charles Gabriel Lemonnier

Emanuel Leutze

Konstantin Makovsky

Auguste Antoine Masse

Jean-Louis-Ernest Meissonier

Charles August Mengin

Alfred Munnings

Jacques Augustin Pajou

Léon Bazille Perrault

François-Édouard Picot

Isidore alexandre Augustin Pils

Jean-François Portaels

Nicolas Poussin

Allan Ramsay

Joshua Reynolds

Giulio Rosati

Guillaume Seignac

Alfred Stevens

Virgilio Tojetti

Horace Vernet

Frederik Vezin

Joseph-Marie Vien

François-André Vincent

John Reinhard Weguelin

Franz Xaver Winterhalter

Johan Zoffany

Romanticism

Romanticism (also known as the Romantic movement or Romantic era) was an artistic, literary, musical, and intellectual movement that originated in Europe towards the end of the 18th century, and in most areas was at its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its emphasis on emotion and individualism, idealization of nature, suspicion of science and industrialization, and glorification of the past with a strong preference for the medieval rather than the classical. It was partly a reaction to the Industrial Revolution, the social and political norms of the Age of Enlightenment, and the scientific rationalization of nature. It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography, education, chess, social sciences, and the natural sciences. It had a significant and complex effect on politics, with romantic thinkers influencing conservatism, liberalism, radicalism, and nationalism.

The movement emphasized intense emotion as an authentic source of aesthetic experience, placing new emphasis on such emotions as fear, horror and terror, and awe — especially that experienced in confronting the new aesthetic categories of the sublime and beauty of nature. It elevated folk art and ancient custom to something noble, but also spontaneity as a desirable characteristic (as in the musical impromptu). In contrast to the Rationalism and Classicism of the Enlightenment, Romanticism revived medievalism and elements of art and narrative perceived as authentically medieval in an attempt to escape population growth, early urban sprawl, and industrialism.

Although the movement was rooted in the German Sturm und Drang movement, which preferred intuition and emotion to the rationalism of the Enlightenment, the events and ideologies of the French Revolution were also proximate factors since many of the early Romantics were cultural revolutionaries and sympathetic to the revolution. Romanticism assigned a high value to the achievements of "heroic" individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art. There was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism. The decline of Romanticism during this time was associated with multiple processes, including social and political changes.

Andreas Achenbach

Ivan Aivazovsky

Anna Barbara Bansi 

Albert Bierstadt

Giuseppe Bisi

Agostino Brunias

Augustus Wall Callcott

George Catlin

Frederic Edwin Church

Thomas Cole

John Constable

Eugène Delacroix

Charles Lock Eastlake

Federico Faruffini

Caspar David Friedrich

John Henry Fuseli

Francisco Goya

Hans Fredrik Gude

Benjamin Robert Haydon

William Hodges

Orest Adamovich Kiprensky

Joseph Anton Koch

John Linnell

Constance Mayer

Alfred Jacob Miller

Samuel Palmer

Pierre-Paul Prud'hon

Adolph Tidemand

William Turner

Henry Wallis

Realisme (France)

Realism was an artistic movement that emerged in France in the 1840s, around the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the early 19th century. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. The movement aimed to focus on unidealized subjects and events that were previously rejected in art work. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes brought by the Industrial and Commercial Revolutions. Realism was primarily concerned with how things appeared to the eye, rather than containing ideal representations of the world.[citation needed] The popularity of such "realistic" works grew with the introduction of photography—a new visual source that created a desire for people to produce representations which look objectively real.

The Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in a similar manner. Gloomy earth toned palettes were used to ignore beauty and idealization that was typically found in art. This movement sparked controversy because it purposefully criticized social values and the upper classes, as well as examining the new values that came along with the industrial revolution. Realism is widely regarded as the beginning of the modern art movement due to the push to incorporate modern life and art together. Classical idealism and Romantic emotionalism and drama were avoided equally, and often sordid or untidy elements of subjects were not smoothed over or omitted. Social realism emphasizes the depiction of the working class, and treating them with the same seriousness as other classes in art, but realism, as the avoidance of artificiality, in the treatment of human relations and emotions was also an aim of Realism. Treatments of subjects in a heroic or sentimental manner were equally rejected.

Realism as an art movement was led by Gustave Courbet in France. It spread across Europe and was influential for the rest of the century and beyond, but as it became adopted into the mainstream of painting it becomes less common and useful as a term to define artistic style. After the arrival of Impressionism and later movements which downgraded the importance of precise illusionistic brushwork, it often came to refer simply to the use of a more traditional and tighter painting style. It has been used for a number of later movements and trends in art, some involving careful illusionistic representation, such as Photorealism, and others the depiction of "realist" subject matter in a social sense, or attempts at both.

Henri Biva

Lucien Felix Biva

Paul Biva

Jules Breton

Jean-Baptiste-Camille Corot

Gustave Courbet

Honoré Daumier

Édouard Manet

Jean-François Millet

James Abbott McNeill Whistler

The Barbizon School (France)

The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form.

Jean Baptiste Camille Corot

Charles-François Daubigny

Narcisse Virgile Diaz de la Peña

Jules Dupré

Henri Joseph Harpignies

Charles-Émile Jacque

Emile van Marcke

Jean-François Millet

Théodore Rousseau

Constant Troyon

Félix Ziem

Düsseldorf school of painting(Germany)

The Düsseldorf school of painting refers to a group of painters who taught or studied at the Düsseldorf Academy (now the Staatliche Kunstakademie Düsseldorf or Düsseldorf State Art Academy) in the 1830s and 1840s, when the Academy was directed by the painter Wilhelm von Schadow. The work of the Düsseldorf School is characterized by finely detailed yet fanciful landscapes, often with religious or allegorical stories set in the landscapes. Leading members of the Düsseldorf School advocated "plein air painting", and tended to use a palette with relatively subdued and even colors. The Düsseldorf School grew out of and was a part of the German Romantic movement. Prominent members of the Düsselorf School included von Schadow, Karl Friedrich Lessing, Johann Wilhelm Schirmer, Andreas Achenbach, Hans Fredrik Gude, Oswald Achenbach, and Adolf Schrödter. The Düsseldorf School had a significant influence on the Hudson River School in the United States, and many prominent Americans trained at the Düsseldorf Academy and show the influence of the Düsseldorf School, including George Caleb Bingham, David Edward Cronin, Eastman Johnson, Worthington Whittredge, Richard Caton Woodville, William Stanley Haseltine, James McDougal Hart, Helen Searle, and William Morris Hunt, as well as German émigré Emanuel Leutze. Albert Bierstadt applied but was not accepted. His American friend Worthington Whittredge became his teacher while attending Düsseldorf.

Andreas Achenbach

Oswald Achenbach

Eugen Dücker

James McDougal Hart

Hermann Herzog

William Stanley Haseltine

Emanuel Leutze

Adelsteen Normann

Lesser Ury

Frederik Vezin

Heinrich Vogeler

Thomas Worthington Whittredge

The Hudson River School (USA)

The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. The paintings for which the movement is named depict the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and the White Mountains; eventually works by the second generation of artists associated with the school expanded to include other locales in New England, the Maritimes, the American West, and South America.

Albert Bierstadt

John William Casilear

Frederic Edwin Church

Thomas Cole

Samuel Colman

Jasper Francis Cropsey

Thomas Doughty

Robert Duncanson

Asher Brown Durand

Sanford Robinson Gifford

Régis François Gignoux

James McDougal Hart

William McDougal Hart

William Stanley Haseltine

Martin Johnson Heade

Hermann Ottomar Herzog

Thomas Hill

David Johnson

John Frederick Kensett

Jervis McEntee

Thomas Moran

Robert Walter Weir

Thomas Worthington Whittredge

Glascow School (UK)

The Glasgow School was a circle of influential artists and designers that began to coalesce in Glasgow, Scotland in the 1870s, and flourished from the 1890s to around 1910. Representative groups included The Four (also known as the Spook School), the Glasgow Girls and the Glasgow Boys. They were responsible for creating the distinctive Glasgow Style.

The Four aka the Spook School

Charles Rennie Mackintosh

Margaret Macdonald Mackintosh

Frances Macdonald MacNair

James Herbert MacNair

Glasgow experienced an economic boom at the end of the 19th century, resulting in an increase in distinctive contributions to the Art Nouveau movement, particularly in the fields of architecture, interior design and painting.

Through the 1880s and 1890s, around the same time that the Spook School was gaining prominence, a collective which came to be known as the Glasgow Boys was interpreting and expanding the canon of Impressionist and post-impressionist painting. Their subject matter featured rural, prosaic scenes from in and around Glasgow. Their colorful depictions attempted to capture the many facets of the character of Scotland.

The Glasgow Boys consisted of several men, most of whom were trained in, or had strong ties to the city of Glasgow. These men were brought together by a passion for realism and naturalism and this showed through in the pieces they produced. Along with this passion for naturalism, they shared a marked distaste for the Edinburgh oriented Scottish art establishment, which they viewed as oppressive. Driven and motivated by these ideals they embraced change, created masterpieces, and became Scottish icons in the process.

Joseph Crawhall

Thomas Millie Dow

David Gauld

James Guthrie

George Henry

William Kennedy

John Lavery

William York MacGregor

Harrington Mann

Arthur Melville

Thomas Corsan Morton

James Nairn

James Stuart Park

James Paterson

George Pirie

John Quinton Pringle

Alexander Ignatius Roche

David Young Cameron

Edward Arthur Walton

James Whitelaw Hamilton

The Glasgow Girls

The Glasgow Girls is the name now used for a group of female designers and artists. 

Women were able to flourish in Glasgow during a "period of enlightenment" that took place between 1885 and 1920, where women were actively pursuing art careers and the Glasgow School of Art had a significant period of "international visibility". This is sometimes attributed to the "influential" and "progressive" head of the art school, Fra Newbery, who established an environment in which women could flourish, both as students and as teachers. Women benefited from the new Glasgow Society of Lady Artists (founded 1882) which offered a place for women artists to meet and also had exhibition space. In addition, many art school students and staff were involved in women's suffrage. "Students took turns between classes stitching up banners" for the movement.

The name "Glasgow Girls" emerged much later. In the 1960s there was an attempt to give due attention to the work of the city’s women artists to balance the plentiful discussion of the Glasgow Boys. It is thought that the then head of the Scottish Arts Council William Buchanan was the first to use the name in the catalogue for a 1968 Glasgow Boys exhibition. This "invention" has been called an "ironic reference" to the equivalent men’s grouping.[ The term Glasgow Girls was emphasised by a major exhibition Glasgow Girls: Women in Art and Design 1880-1920 organised by Jude Burkhauser in 1990.

Annie French

Norah Neilson Gray

Jessie Marion King

lizabeth “Bessie” MacNicol

Eleanor Allen Moore

Luminism (USA)

Luminism is an American landscape painting style of the 1850s – 1870s, characterized by effects of light in landscapes, through using aerial perspective, and concealing visible brushstrokes. Luminist landscapes emphasize tranquillity, and often depict calm, reflective water and a soft, hazy sky. The term luminism was introduced by mid-20th-century art historians to describe a 19th-century American painting style that developed as an offshoot of the Hudson River school.

Sanford Robinson Gifford

William Stanley Haseltine

David Johnson

John Frederick Kensett

Fitz Henry Lane

Robert Salmon

The Skagen Painters (Denmark)

The Skagen Painters (Danish: Skagensmalerne) were a group of Scandinavian artists who gathered in the village of Skagen, the northernmost part of Denmark, from the late 1870s until the turn of the century. Skagen was a summer destination whose scenery and quality of light attracted northern artists to paint en plein air, emulating the French Impressionists—though members of the Skagen colony were also influenced by Realist movements such as the Barbizon school. They broke away from the rather rigid traditions of the Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts, espousing the latest trends that they had learned in Paris. The group gathered together regularly at the Brøndums Inn.

Anna Ancher

Michael Ancher

Oscar Björck

Holger Drachmann

Viggo Johansen

Christian Krohg

Oda Lasson Krohg

Johan Krouthén

Marie Triepcke Krøyer Alfvén

Peder Severin Krøyer

Carl Locher

Karl Madsen

Eilif Peterssen

Frits Thaulow

Laurits Tuxen

The Hague school (Netherlands)

The Hague School is the name given to a group of artists who lived and worked in The Hague between 1860 and 1890. Their work was heavily influenced by the realist painters of the French Barbizon school. The painters of the Hague school generally made use of relatively somber colors, which is why the Hague School is sometimes called the Gray School.

Gerard Bilders

Johannes Bosboom

Paul Gabriël

Johannes Hubertus Leonardus de Haas

Jozef Israëls

Jacob Maris

Matthijs Maris

Willem Maris

Anton Mauve

Hendrik Willem Mesdag

Willem Roelofs

Jan Hendrik Weissenbruch

Pre-Raphaelite Brotherhood (UK)

The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848. The group’s intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name “Pre-Raphaelite”. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called “Sir Sloshua”. To the Pre-Raphaelites, according to William Michael Rossetti, “sloshy” meant “anything lax or scamped in the process of painting … and hence … any thing or person of a commonplace or conventional kind”. In contrast, the brotherhood wanted a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English artist whose influences were driven by his religious background.

Philip Hermogenes Calderon

James Collinson

John Atkinson Grimshaw

William Holman Hunt

John Everett Millais

Dante Gabriel Rossetti

Hans Thoma

John Wilson Carmichael

Pre-Raphaelite Painters non-members

John Brett

Rosa Brett

Henry Meynell Rheam

Henry Wallis

Macchiaioli (Italy)

The Macchiaioli were a group of Italian painters active in Tuscany in the second half of the nineteenth century, who, breaking with the antiquated conventions taught by the Italian academies of art, did much of their painting outdoors in order to capture natural light, shade, and colour. This practice relates the Macchiaioli to the French Impressionists who came to prominence a few years later, although the Macchiaioli pursued somewhat different purposes.

Giuseppe Abbati

Vito D’Ancona

Odoardo Borrani

Vincenzo Cabianca

Giovanni Fattori

Silvestro Lega

Telemaco Signorini

Serafino de Tivoli

Peredvizhniki (Russia)

Peredvizhniki (Russian: Передви́жники; IPA: [pʲɪrʲɪˈdvʲiʐnʲɪkʲɪ]), often called The Wanderers or The Itinerants in English, were a group of Russian realist artists who in protest at academic restrictions formed an artists’ cooperative; it evolved into the Society for Travelling Art Exhibitions in 1870.

In 1863 a group of fourteen students decided to leave The Imperial Academy of Arts. The students found the rules of the Academy constraining; the teachers were conservative and there was a strict separation between high and low art. In an effort to bring art to the people, the students formed an independent artistic society; The Petersburg Cooperative of Artists (Artel). In 1870, this organization was largely succeeded by the Association of Travelling Art Exhibits (Peredvizhniki) to give people from the provinces a chance to follow the achievements of Russian Art, and to teach people to appreciate art. The society maintained independence from state support and brought the art, which illustrated the contemporary life of the people from Moscow and Saint Petersburg, to the provinces.

From 1871 to 1923, the society arranged 48 mobile exhibitions in St. Petersburg and Moscow, after which they were shown in Kiev, Kharkov, Kazan, Oryol, Riga, Odessa and other cities.

Abram Efimovich Arkhipov

Alexander Karlovich Beggrov

Alexey Petrovich Bogolyubov

Mikhail Konstantinovich Clodt

Nikolay Dubovskoy

Alexander Kiselev

Ivan Nikolaevich Kramskoi

Arkhip Kuindzhi

Isaac Ilyich Levitan

Alexander Dmitrievich Litovchenko

Konstantin Yegorovich Makovsky

Vladimir Yegorovich Makovsky

Grigory Grigoryevich Myasoyedov

Nikolai Vasilyevich Nevrev

Leonid Pasternak

Vasily Dmitrievich Polenov

Ilya Yefimovich Repin

Konstantin Apollonovich Savitsky

Ivan Ivanovich Shishkin

Vasily Ivanovich Surikov

Sawyer Montgomery - 98 pts

Isabella Lancaster - 88 pts

Gabriella Castillo - 87 pts

Nathaniel Sinclair - 87 pts

Warren Turner - 87 pts

Maia Lancaster - 85 pts

Faye Miller - 80 pts

Isaac Goldman - 80 pts

Meera Kapoor - 79 pts

Evelyn Grady - 75 pts

Lexa Papadopoulos - 75 pts

Jared Hamilton - 68 pts

Willow Schmidt - 67 pts

Samantha Hastings - 65 pts

Caleb Reyes - 59 pts

Emilia Hayes - 55 pts

Lila Eaton - 54 pts

Alaska Fairchild - 52 pts

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