Realist Paintings

Question 1: Representative Works of Realist Paintings Realism is represented by Courbet, Rousseau, Corot, Millet, Daumier, etc., whose artistic practices and unprecedented works hold up the cultural star of realism. Realism's proposal to reflect contemporary real life can be traced back to David, who was called neo-classical, and if it is traced back even further, it can be fixed in the Spanish School (represented by Velasquez) and the Dutch School (represented by Rembrandt), but of course, it is only in terms of "realism", and there is no inheritance relationship among them. Against the background of a new society in which religion was unable to solve social problems and science and technology were shining in social practice, Courbet became a representative of realism by responding to people's aspirations for progressive beliefs and the desire to see their own lives in art. 1855, at the Fine Arts Exhibition at the Universal Exhibition in Paris, Courbet's The Drawing Room and The Funeral of Hernandez were not selected, and he withdrew all the eleven works that had already been selected. He withdrew all 11 works that had already been selected, and responded with a confrontational solo exhibition in a shed on the rue Montagne. On the sign at the entrance of the exhibition hall, it was written: "Realism, Courbet, 40 works on display", and openly proclaimed his own artistic ideas on the catalog of the exhibition, which is known as the "Manifesto of Realism". Courbet's The Drawing Room and The Funeral of Ornan are undoubtedly his important works. Representing grave diggers, friends and relatives of the deceased, vigilantes, judges, notaries, clergymen, mayors, etc., they fascinatingly reveal the psychology of each character and unflinchingly portray treachery, greed and hypocrisy. Courbet distinctly displayed the flag of realism, which was separate from the "ideal beauty" of neo-classicism and the "exaggerated beauty" of romanticism. The far-reaching Barbizon School was a French school of landscape painting that appeared in the 1830s and 1840s. They advocated intuitive nature, sketching and deep respect for nature, and were regarded as the "beginning of realism". Rousseau, the main general of the school, expressed the vitality of nature with the temperament of a poet, making the viewers feel the life of nature with him. His "Oaks near Barbizon" reveals the depth and grandeur, "Pasture by the Tree" shows the depth and vitality, "Scenery by the River" is touching with its melancholy and mellow, and "Sunset in the Winter Woods" awakens people with its practice and purity. Corot was devoted to nature, saying "My life is devoted to her alone, and I will never change my mind". Together with the young painters of Barbizon, he loudly proposed "to go to nature and sketch the scene". His "Dancing Nymphs in the Woods" is not rendered but full of life, "Memories of Fontainebleau de la Motte" is not strong but heart-warming, "Diana and Companions in the Bathing" is not contrived but fascinating, and "Nymphs in the Woods Playing with the Little God of Love" is not exaggerated but interesting. Born in a peasant family, Miller was good at finding beauty in the real life of peasants, and his pen often appeared to be tired and poor, laborers who toiled all day long. His "Sower" has a solid image and dynamic beauty; "Evening Bell" has a solemn beauty as the sound of church bells comes from the depths of the field; "Mother and Child" reflects the daily life of a peasant family and has the beauty of affection; "Farmer Leaning on a Hoe" expresses the "cry of the earth" and has the beauty of sadness and grandeur. Dumière was a master of realist satire, attacking the vulgarity of the bourgeoisie, depicting the suffering of the masses, and eulogizing the purity of the laborers. His The Washerwoman (illustrated) objectively reflects the laborers' panting; The Third-Class Carriage concisely outlines the life of the middle and lower classes at that time; The Street Vendor draws out the helplessness and scribbling of life; The Wicked Lord and the Adulterous Slave portrays the treachery and wickedness....... Realism is based on realism, into the woodwork, and the love and hatred are clear all the way through. Sharpness, reflecting the social reality of the mid-19th century, the artist's concern for social conflicts and the persistent pursuit of new creative principles.

Question 2: Explain the term: European realist painting, and trouble to list five painters and their masterpieces. Thank you! Realist painting (Reali *** Painting): appeared in the 1840s in France. This genre is the use of realism art creation method, realism artists praise nature, glorify labor, profound and comprehensively show the broad picture of real life, especially depicting the life and struggles of ordinary laborers, at this time, the laborers really become the main image of the paintings, nature is also as an independent subject matter by the realist painters favor.

Representative painters: Corot (Camille Corot), masterpieces: "Memories of Montefontaine", "Girl with Pearls", "Playing the Mandolin"

Rousseau (Theodore Rousseau), masterpieces: "The Oak Tree", "Spring", "The Entrance to the Forest of Fontainebleau"

Miller (Jean-Francois Millet), representative works: "The Oak Tree", "Spring", "Entrance to the Forest of Fontainebleau"

Miller (Francois Millet). Francois Millet, The Sower, The Gleaner, The Hunger Bells

Gustave Courbet, The Mason, The Woman Sifting Wheat, The Funeral of Ornan, The Drawing Room

Honore Daumier, Gioconda, The Hero of July, Freedom of the Press

Gustave Courbet, The Sower, The Gleaner, The Hunger Bells, The Hunger Bells

Honore Daumier, Goconda, The Hero of July, Freedom of the Press

Honore Daumier, Goconda, The Hero of Spring, The Entrance to the Forest of Fontainebleau. July Heroes", "Freedom of Publication"

I hope the above answer is helpful to you:)

Question 3: The representative works of surrealist paintings Dali's "Eternity of Memory" The Spanish painter Dali (1904-1989) is one of the most prestigious painters of the 20th century. He used reverse thinking to freely put together imaginary images, and constructed a surrealist scene with novelty and strangeness of imagery by inverting and replaying past experiences. His masterpiece Eternity of Memory, created in 1931, typifies his early surrealist style of painting. The picture shows an empty beach, on which lies a monster that looks like a horse but not a horse, and the front part of which looks like the remnants of a human head with only eyelashes, nose and tongue absurdly assembled together; there is a platform beside the monster, and on the platform grows a dead tree; the most surprising thing is that several clocks appearing in this picture have become soft and malleable objects, hanging on the branches of the tree, resting on the platform, or draped over the monster's head. platform, or draped over the monster's back, as if these clocks made of metal, glass, and other hard substances had become exhausted after too long and had all come loose. This unique expression of the frantic passage of time suggests the inescapable force of personal emotions that erupt under the extrusion of the material world. The Eternity of Memory is one of the quintessential visual images of the 20th century. Dali admitted that he had no choice but to express "the personal dreams and hallucinations revealed by Freud" in Memory of Eternity. He wrote down as accurately as possible his subconscious mind and the outcome of each of his dreams. Magritte's Skyfall The Belgian painter, Magritte, is another representative of the Surrealist trend. Magritte believed that in order to break the visual habit of rational order, it was necessary to borrow rational means and question the familiar system with the original familiar things, so that the objects in the paintings would have considerable resemblance. For this reason, Magritte prefers to use cool colors, thin flat paint, and clear boundaries in his paintings. There is a kind of black humor in Magritte's work, like Dali and Ernst, but Magritte's approach seems to create a calm atmosphere, unlike the nightmarish and bizarre images of the former two. He likes to take ordinary things and give them a new look, so that people can hold their breath in silence, and sometimes in a supernatural situation, a kind of floating poetry will suddenly arise, allowing people's emotions to leap freely and their minds to be liberated. His representative work "Skyfall" depicts some eccentric-looking figures wearing bowler hats descending from the sky like snowflakes drifting over the city. The image is unusually clear and highly realistic, reflecting the surrealist painters' love of "abnormal" visual images. Many objects appear to be normal, but are actually in a state of contradiction. Skyfall has a grotesque rationality.

Question 4: What was the content and influence of Realist art? Realism

Since the 20th century, there have been various schools of art and trends of thought with avant-garde characteristics, which are separate from traditional literature and art, also known as modernism.

Development The origin of modernism can be traced back to French impressionism, in the 1880s, the French post-impressionism, neo-impressionism and symbolism painters put forward the "independent value of artistic language", "painting is not a servant of nature", "painting is not a servant of nature", "painting is not a servant of nature", "painting is not a servant of nature", "painting is not a servant of nature" and "painting is not a servant of nature". The concepts of "independent value of artistic language itself", "painting is not a servant of nature", "painting is free from the dependence on literature and history" and "art for art's sake" were the theoretical basis of the modernist art system, so the French post-impressionist painter P. Cézanne, who pursued the geometrical structure and form of the painting language in his works, was the most important one of them. Therefore, the French post-impressionist painter P. Cézanne, who pursued the geometric structure and beauty of form in his works, was called the "father of modern painting".

The more obvious modernist painting style first appeared in the works of French Fauvist painters. A group of young painters, represented by H. Matisse, exhibited a number of wild, exaggerated, deformed and expressive works at the Paris Autumn Salon in 1905, which were called the "Fauvists" and hence the name "Fauvism". In 1908, another group of young painters, represented by P. Picasso and G. Braque, launched Cubist painting in France. The principles of Cubism first appeared in Picasso's painting The Young Lady of Avignon. This painting is considered a watershed between traditional and modern art. Cubism uses the structural relationship of blocks and surfaces to analyze objects and express the beauty of decent overlapping and interlacing, which is the goal pursued by Cubism. Both Fauvism and Cubism absorbed sustenance from African sculpture, and their artistic language was far from the traditional law, marking that modernism had entered the stage of self-establishment. At the same time, the rise of expressionist societies such as the Bridge Society, organized in Germany in 1905, and the Green Knights Society, founded in 1909. Their aesthetic goals and artistic pursuits were similar to those of French Fauvism, except that they were characterized by strong Nordic colors and German national traditions. If Expressionism was influenced by industrial technology and expressed the static beauty of objects, Futurism, which emerged in Italy, used the method of decomposing objects to express the scene of movement and the feeling of motion under the *** of modern industrial technology. They were also keen on depicting a series of overlapping shapes and successive layers of interlacing and combinations with line and color, and tried to depict light and sound with line.

The above trends and movements, especially Futurism, were reflected in the field of sculpture. The Futurist painter and sculptor U. Boccioni signed the Manifesto on the art of sculpture in April 1912 and applied the principles of Futurism to his own work, represented by the work "Forms in the space continuum" (1913). The corresponding modernist art trend was also active in Russia at the beginning of the 20th century. In addition to a number of societies influenced by Cubism and Futurism, Russian Constructivism made a unique contribution to modern art's exploration of how to express industrial beauty.

Abstractist art was first produced around 1910. The first to engage in abstraction was the Russian painter W. Kandinsky, who participated in the activities of the German Green Knights. He used the combination and composition of dots, lines and surfaces, and referred to the expressive language of music to convey ideas and emotions through painting. His writings On the Spirit in Art (1912) and Dots, Lines and Surfaces (1923) laid the theoretical foundation of abstractionism. As a practitioner, he was primarily engaged in the creation of lyrical abstract paintings, but also explored geometric abstraction. Suprematism, created by the Russian painter K.C. Malevich around 1913, falls into the category of geometric abstraction. Suprematism's efforts in planar composition and its attempts to explore the emptiness, void and nothingness of art should be considered meaningful. What really laid the theoretical foundation of Geometric Abstraction and made outstanding contributions to artistic practice was the Stylistic School (or New Stylism) created by the Dutch painter P. Mondrian. Throughout the 20th century, abstractionism basically followed the development of both lyrical and geometric abstraction, with only variations at various stages.

Kandinsky: First Abstract Watercolors

The emergence of the Dadaist community in Zurich, Switzerland, during the First World War spread its influence to Europe and America. There were Dadaist art societies in France and Germany. Dadaism was against war, against authority and against tradition, and also against art, against everything, and as a society it was bound to come to the point of self-denial. Dada's spirit of nihilism and anti-tradition has been present throughout the process of modern Western literature and art. Dada's contribution to modern art was to use collage in flat paintings, and to apply chance and opportunity in the creation of art.

The association of surrealism was born from Dada's ...... >>

Question 5: Characteristics of the works of surrealist paintings In surrealist paintings, painters began to explore their irrational side in order to find a new creative freedom. Although surrealist paintings are strange and grotesque, alien to reality, and characterized by "perversity", they have a sense of timelessness that transcends time and space, and give people a sense of spirituality and emptiness. This is a suppressed everyday world, and these works are a metaphor for the contradictions between human beings and the universe, which are broken yet interconnected, fully embodying the artistic charm of "perversity and harmony". Surrealist paintings display different language characteristics and artistic techniques that best reflect the essence of painting. This method of creation is a reaction to the previous realist paintings characterized by rationality and reality, aiming at exploring and expressing the truth at a deeper level. Surrealist paintings mostly rely on the skillful embedding of figurative expressions with abstract picture scenarios, i.e., intentionally pairing abstract moods with figurative entities, constituting a realm where the real and the imaginary intersect in a way that is both concrete and ambiguous, thus providing readers with the information to trace the artist's individual feelings. This is in line with the ancient Chinese emphasis on the realm of "beyond the image, to get its wanzhong", the artistic effect of surrealist paintings lies in the appropriate mix of abstraction and figuration, to achieve the right balance between the two. In the treatment of "virtual" and "real", the "virtual" part is the place where the artist's imagination flies, that is, the surrealism of the painting.

Question 6: The difference between Romanticism and Realism Romanticism is a kind of art that emphasizes the expression of individuality, the freedom of creation, and the importance of imagination and emotion.

Realism is a kind of art that emphasizes the expression of individuality, freedom of creation, imagination and emotion. Realism is a kind of art that reveals the contradictions and injustices of the society through the depiction of social phenomena or scenes around them and the expression of their national feelings and ideals for freedom.

Question 7: What are the realist works, literature or pictures in China China's realist literature has its source in the Book of Poetry, through the historical prose of the Spring and Autumn and the Warring States Periods and the prose of the sons, to the Qin and Han Periods with Sima Qian's Historical Records, the folk songs of the Han Lefu, the poems of the Three Cao and Seven Sons of the Jian'an Literature, the poetry of Tao Yuanming in the Eastern Jin Dynasty, the poems of Dufu Bai Juyi in the Tang Dynasty, the miscellaneous dramas of Guan Hanqing in the Yuan Dynasty, and the four major classical novels of the Ming and Qing Dynasties. the four major classical novels of the Ming and Qing dynasties, Dream of Red Mansions is the highest peak of Chinese classical realist literature.

Question 8: Introduction to the School of Realist Painting Realism as an art movement emerged at the same time as the 1848 revolution in France. The painter Courbet and the theorist Jean Fleury were its spiritual leaders. Realism was a resolute expression of the style, ideas and outlook of the painter's time, in which sincerity was essential. The term "realism" (reali *** ) can also be used in Western languages to refer to the realistic approach to art. Therefore, "realism" can also be called "realism".

Question 9: Which painters and representative works represent the development of Western painting from classicism to realism The middle of the 19th century was a period when realist art flourished. The French painter Courbet is the advocate of realism, his masterpiece "Funeral of Aunan" can be called the painting of the "human comedy", and the "stonemason" is a profound revelation of the social contradictions, showing the author of the sympathy of the working people. Miller, a hardworking and simple peasant painter, glorified the hard-working peasants with his mellow and sincere feelings. The political satirist Du Mier created a large number of lithographs and paintings with profound ideas and exaggerated images. The German female printmaker Kohler Huichy created a series of copperplate and lithographs reflecting the workers' movement and the peasant revolution with social-democratic ideas and distinctive personal styles. Russian critical realism produced outstanding painters such as Leben and Surikov. The works of French sculptor Rodin also have a certain quality of realism.

Impressionism emerged in France in the late 19th century. This school of painting appeared in an innovative posture, it opposed the then already obsolete classical academy of art concepts and laws, inspired by modern optics and color science, focusing on the performance of the effect of light in the painting. The representative painters include Manet, Monet, Renoir, Degas, Pissarro, Sisley and so on. After Impressionism, there were also Neo-Impressionism (represented by Seurat and Signac) and Post-Impressionism (represented by Cézanne, Van Gogh and Gauguin). In fact, Post-Impressionism and Impressionism are not the same or even completely opposite in terms of artistic ideas. Van Gogh's paintings focused on expressing his strong emotions, with bright colors and unrestrained lines. Gauguin's paintings have symbolic meanings and decorative lines and colors. The French painter Cézanne (1839-1906) was a representative figure of Post-Impressionism. His lifelong pursuit of expression, the use of color, modelling have a new creation, his paintings are the pursuit of geometric form structure, he is honored as the "father of modern art". The source of his paintings was nature, people and the real world in which he lived, not the stories and myths of the past.