GE6 – Art Appreciation The Roman Catholic Church after the Council of Trent (1545-63) adopted a

BAROQUE ART AND NEO-CLASSICISM (GROUP 3) propagandistic stance in which art was to serve as a means of extending and stimulating the
public's faith in the church. To this end the church adopted a conscious artistic program
THE BAROQUE ART whose art products would make an overtly emotional and sensory appel to the faithful. The
Baroque style that evolved from this program was paradoxically both sensuous and spiritual;
Baroque art and architecture, the visual arts and building design and construction while a naturalistic treatment rendered the religious image more accessible to the average
produced during the era in the history of Western art that roughly coincides with the 17th church goer, dramatic and illusory effect were used to stimulate piety and devotion and
century. The earliest manifestations, which occurred in Italy, date from latter decades of the convey an impression of the splendor of the divine. Baroque church ceilings thus dissolved in
15th century, while in some regions, notably Germany and colonial South America, certain painted scenes that presented vivid views of the infinite to the observer and directed the
culminating achievements of Baroque period is stylistically complex, even contradictory. In scenes toward heavenly concerns.
general, however, the desire to evoke emotional states by appealing to the senses, often in
dramatic ways, underlies its manifestations. Some of the qualities most frequently associated The second tendency was the consolidation of absolute monarchies, accompanied by a
with Baroque are grandeur, sensuous richness, drama, vitality , movement, tension, simultaneous crystallization of the prominent and powerful middle class, which now came to
emotional, exuberance, and tendency to blur distinctions among the various arts. play a role in art patronage. Baroque places were built on an expanded and monumental
scale in order to display the power and grandeur of the centralized state, a phenomenon best
The Origin of the Term displayed in the royal palace and gardens at Versailles.
The term Baroque probably ultimately derived from the Italian word "barocco" which The third tendency was a new interest in nature and a general broadening of human
philosophers used during Middle Ages to describe an obstacle in schematic logic. intellectual by explorations of the globe. These simultaneously produced a new sense both of
Subsequently the word came to denote any contorted idea involuted process of thought. human insignificance (particularly abetted by the Copernican displacement of the Earth from
Another possible source is the Portuguese word “barroco” (Spanish barrueco), used to the center of the universe) and of the unsuspected complexity and infinitude of the natural
describe an irregular or imperfectly shape, pearl, and this usage still survives in the jeweler's world.
term baroque pearl.
Architecture, Painting, and Sculpture
In art criticism the word 'Baroque' came to be used to describe anything irregular, bizarre,
or otherwise departing from established rules and proportions. This biased view of 17th The arts present an unusual diversity in the Baroque period, chiefly because currents of
century art styles was held with few modifications by critics from Johann Winckelmann to naturalism and classicism coexisted and intermingled with the typical Baroque style. Indeed,
John Ruskin and Jacob Burckhardt, and until the late 19th century the term always carried Annibale Carracci and Caravaggio, the two Italian painters who decisively broke with
the implication of odd, grotesque, exaggerated, and over decorated. It was only with Heinrich Mannerism in the 1590's and thus, helped usher in the Baroque style, painted, respectively, in
Wölfflin's pioneer study "Renaissance und Barock" (1888) the term 'Baroque' was used a classicist and realist modes. A specifically Baroque style of the painting arose in Rome in the
stylistic designation rather than as a term of thinly, veiled abuse, and a systematic formulation 1620s and culminated in the monumental painted ceilings and other church decorations of
of the characteristics of Baroque style was achieved. Pietro da Cortona, Guido Reni, II Guercino, Domenichino and countless lesser artists. The
greatest of the Baroque sculptor-architects was Gian Lorenzo Bernini, who designed both
Three Main Tendencies of the Era Baldachin with spiral columns above the altar of St. Peter's in Rome and the vast colonnade
Three broader cultural and intellectual tendencies had a profound impact on Baroque art fronting that church. Baroque architecture as developed by Bernini, Carlo Maderno,
as well as Baroque music. The first of these was the emergence of the Counter- reformation Francesco Borromini and Guarino Guarini emphasized massiveness and monumentality,
and the expansion of its domain, both territorially and intellectually. movement, dramatic spatial and lighting sequences, and a rich interior decoration using
contrasting surface textures, vivid colors, and luxurious materials to geighten the structure's
physical immediacy and evoke sensual delight.
 Johann Joachim Winckelmann, founder of modern archeology and art history, praised the
Greeks and believed them to be as close to Perfection as possible. Following Winckelmann's
French architecture is even less recognizably Baroque in its pronounced qualities of words, many artists began to study Greek architecture and create classically inspired works
subtlety, elegance and restraint. Baroque tenets were enthusiastically adopted in staunchly of art. In 1738, excavation of Pompeii and Herculaneum led to the finding of well-preserved,
Roman Catholic Spain, however, particularly in architecture. The greatest of the Spanish colorful paintings, mosaics, and pottery. These discoveries only fueled artistic fascination and
builders, Jose Benito Churriguera, shows most fully the Spanish interest in surface textures curiosity for antiquity, and artists began to use this new knowledge of the past in their art,
and lush detail. He attracted many followers, and their adaptations of his style, labeled creating their own "new" classical style that was extremely different from the Rococo--a style
Churrigueresque, spread throughout Spain's colonies in the Americas and elsewhere. popular during the early to mid-18th century.
The Baroque made only limited inroads into northern Europe, notably in what is now The discovery of preserved ancient artifacts also played a huge role in the Decorative
Belgium. That Spanish-ruled, largely Roman Catholic region's greatest master was the Arts of the time. Josiah Wedgwood (British, 1730-1795), one of the most famous English
painter Peter Paul Rubens, whose tempestuous diagonal compositions and ample, full- ceramic manufacturers of the 18th century, founded the Wedgwood company in 1759, which
blooded figures are the epitome of Baroque painting. The elegant portraits of Anthony van produced classically inspired jasperware, creamware, and black basalts, formed using simple
Dyck and the robust figurative works of Jacob Jordaens emulated Ruben's example. Art in geometric lines, and decorated with frieze-like scenes reminiscent of ancient Greek and
the Netherlands was conditioned by the realist tastes of its dominant middle-class patrons, Roman pottery.
and thus both the innumerable genre and landscape painters of that country and such
towering masters as Rembrandt and Frans Hals remained independent of the Baroque style John Flaxman (British, 1755-1826), a prominent neoclassical sculptor, illustrator and
in important respects. designer, began working for Wedgwood around 1775. His oeuvre includes illustrations for
classical literature like Odyssey, and designs, for classically inspired decorative works of art
The Baroque did have a notable impact in England, however, particularly in the churches produced by Wedgwood, and monuments for military heroes and nobles.
and palaces designed, respectively, by Christopher Wren and Sir John Vanbrugh.
In music, the period saw the rise of classical music in painting, the works of Jacques-
The last flowering of the Baroque was in largely Roman Catholic southern Germany and Louis David became synonymous with the classical revival. However, Neoclassicism was felt
Austria, where the native architects broke away from Italian building models in the 1720s. In most strongly in architecture, sculpture, and the decorative arts, where classical models in the
ornate churches, monasteries, and palaces designed by J.B. Fisher von Erlach, J.L. von same medium were fairly numerous and accessible. Sculpture in particular had a great
Hildebrandt, Balthasar Neumann, Dominikus Zimmermann, and brothers Cosmas Damian wealth of ancient models from which to learn, however, most were Roman copies of Greek
Asam and Egid Quirin Asam, an extraordinarily rich but delicate style of stucco decoration originals.
was used in combination with painted surfaces to evoke subtle illusionistic effects.
Neoclassical architecture was modeled after the classical style and, as with other art
NEO CLASSICICM forms, was in many ways a reaction against the exuberant Rococo style. The architecture of
As the term implies, neoclassicism is a revival of the classical past. The movement began the Italian architect Andrea Palladio became a very popular in the mid-18th century.
around the middle of that 18th century, marking a time in art history when artists began to Additionally, archaeological ruins found in Pompeii and based on the ancient Roman
imitate Greek and Roman antiquity and the artists of the Renaissance. rediscoveries.

Neoclassicism grew to encompass all of the arts, including painting, sculpture, the Neoclassicism - Characteristics
decorative arts, theatre, literature, music, and architecture. The style can generally be Neoclassical works (paintings and sculptures) were serious, unemotional and sternly
identified by its use of straight lines, minimal of use color, simplicity of form and, of course, its heroic. Neoclassical painters depicted subjects from Classical literature and history, as used
adherence to classical values and techniques. in earlier Greek art and Republican Roman art, using somber colors with occasional brilliant
highlights, to convey moral narratives of self-denial and self-sacrifice fully in keeping with the - Praised Greeks, believed they achieved perfection.
supposed ethical superiority of antiquity. Neoclassical sculpture dealt with the same subjects,
and was more restrained than the more theatrical Baroque sculpture, less whimsical than the Archaeological Discoveries:
indulgent Rococo, Neoclassical architecture was more ordered and less grandiose than Pompeii and Herculaneum:
Baroque, although the dividing line between the two can sometimes be blurred. It bore a
close external resemblance to the Greek Orders of architecture, with one obvious exception - - 1738 excavations revealed well-preserved Greek and Roman artifacts.
there were no domes in ancient Greece. Most roofs were flat. - Colorful paintings, mosaics, and pottery.
The most recent phase pf neoclassicism - the Classical Revival in modern art - emerged Neoclassical Artist:
between about 1900 and 1930, with active participants including Pablo Picasso (1881-1973),
Fernand Leger (1881-1955) and Giorgio de Chirico (1888-1978). - Jean-Auguste-Dominique Ingres (French, 1780-1867):
o Notable work: "Oedipus and the Sphinx" (1808).
Additional information o Represents a scene from Sophocles' classical Greek plays.
Neoclassicism in Art and Culture Decorative Arts:
Definition: - Josiah Wedgwood (British, 1730-1795):
Neoclassicism: A revival of the classical past, emerged in the mid-18th century. o Founder of the Wedgwood company in 1759.
o Produced classically inspired jasperware, creamware, and black basalt.
Neoclassicism in music was a 20th-century trend that emerged in the interwar period o Simple geometric lines, decorated with frieze-like scenes from ancient Greek
(between World War I and World War II) as a reaction against the perceived excesses of and Roman pottery.
Romanticism and the experimentalism of early 20th-century music. Neoclassical composers
sought to rediscover and revive the formal balance, clarity, and emotional restraint of classical
music, particularly that of the Baroque and Classical periods.

Scope: Encompasses various art forms: painting, sculpture, decorative arts, theatre,
literature, music, and architecture.

Characteristics: Straight lines, minimal use of color, simplicity of form. Adherence to

classical values and techniques.

Influential Figure:

- Johann Joachim Winckelmann:

- Founder of modern archaeology and art history.
 - and several other modern art styles, such as Pop Art. The style retains its influence on the
GE6 – Art Appreciation visual arts to this day.
THE ART OF REALISM (GROUP 2)
Realist Artists

THE ART OF REALISM Realist artists, strongly associated with the 19th century movement include:Jean-
Francois Millet (1814-75), Gustave Courbet (1819-77), Honore Daumier. (1808-79). However,
From 1400 to 1800, Western art was dominated by Renaissance-inspired academic many more were influenced by Realism without allowing it to dominate their work. An
theories of idealized painting and high art executed in the Grand Manner. Thereafter, caused interesting example is the Russian painter Ilya Repin (1844-1930), who produced outstanding
partly by the huge social changes triggered by the Industrial Revolution, there was a greater realist style works such as Bargemen on the Volga (1870), as well as Krestny Khod
focus on realism of subject - that is subject matter outside the high art tradition. The term (Religious Procession) in Kursk Gubernia (1883). Another example is Jules Bastien-Lepage
Realism was promoted by the French novelist Champfleury during the 1840s, although it (1848-84), whose naturalism was a strong influence on the conservative strand of
began in earnest in 1855, with an Exposition by the French painter Gustave Courbet (1819- Impressionist painting. The realist style was taken up and adapted by French Impressionists
77) after one of his paintings (The Artist's Studio) had been rejected by the World Fair in like Edgar Degas (for example, in his picture The Absinthe Drinker (1830-1900). The
Paris. Courbet set up his own marquee nearby and issued a manifesto to accompany his Germanic Biedermeier style of Romantic realism - a comforting domestic idiom popular in
personal exhibition. It was entitled "Le Realisme." Germany, Austria and Denmark, not unlike the seventeenth century Dutch Realism School -
is discussed in German Art, 19th Century.
Characteristics: Genres and Subject Matter

The style of Realist painting spread to almost all genres, including history: painting,  Harvesters resting in the Gleaners by Millet
portraits, genre-painting, and landscapes. For example, landscape artist went out to the  Stone breaker by Corbet
provinces in search of the 'real' France, setting up artistic colonies in places like Barbizon, Famous 19th Century Realist Paintings
and later at Grez-Sur-Loing, Pont-Aven, and Concarnean. Favorite subject matter for Realist
artists included genre scenes of rural and urban working class life, scenes of street-life, cafes The main schools of Realism during the nineteenth century included the English
and night clubs, as well as increasing frankness in the treatment of the body, nudity and Figurative School, the French School (led by Gustave Courbet), the Russian School (led by
sensual subjects. Not surprisingly, this gritty approach shocked many of the upper and middle Ilya Repin), the German School (led by Adolph von Menzel), and the American School (led by
class patrons of the arts, both in France and in the Victorian art of England, where Realism Thomas Eakins). In addition, numerous artists produced paintings in the realist style,
was never fully embraced. A general trend, as well as a specific style of art, Realism heralded including the Romantic Theodore Gericault (notably his asylum portraits), the Impressionist
a general move away from the "ideal' (as typified by the art of Classical mythology, s0 Edgar Degas (notably his ballet pictures).
beloved by Renaissance artists and sculptors) towards the ordinary. Thus, in their figure
Realism in the 20th-Century
drawing and figure painting. Realists portrayed real people not idealized types. From now on,
artists felt increasingly free to depict real-life situations stripped of aesthetics and universal With two horrific world wars, a worldwide depression, the holocaust, the Vietnam
truth. (No more cute-looking child beggars picturesque streets and views, healthy-looking War and the appearance of nuclear weapons, twentieth century realist artists had no
contented peasants and so on.) In this sense, Realism reflected a progressive and highly shortage of subjects. Indeed, modern realism appeared in a wide variety of forms. Here is a
influential shift in the significance and function of art in general, including literature as well as short introduction to a selection of realist schools and themes in fine art painting and
fine art It influenced Impressionism - see, for instance, Realism to Impressionism (1830 1900) sculpture (Encyclopedia Art History).
1. Verismo (1890s/1900s)- This Italian term implies extreme raw realism, without any fantasy-like paintings of Salvador Dali (1904-89) Rene Magritte (1898-1967), and the
interpretation. The word first appeared in the violent melodramatic operas of automatism of Joan Miro (1893-1983).
Mascagnie, such as Cavalleria Rusticana (1890), and was taken up by Italian artists
6. American Contemporary Realism (1960s/Early 1970s) - This term describe the
like Telemaco Signorini (1835-1901).
relatively straightforward realistic approach to representation taken by artists in the
2. Ashcan School (c.1908-1913) - The Ashcan School was a small group of painters post-abstract era. Well aware of modem abstract concepts of art, contemporary
who strove to chronicle everyday life in New York City during pre-war period, realists nevertheless prefer to paint or sculpt in a mor traditional manner. Among the
producing realistic and unvarnished pictures and etchings urban streetscapes and famous painters associated with this approach to fine art are William Bailey, Nell
genre scenes. Led by Robert Henri (1865-1929), who was influenced by the strong Welliver and Philip Pearlstein. Nor that Contemporary Realism differs from
unglamorous realism of Thomas Eakins and Thomas Anshutz, the Ashcan school Photorealism owing to the latter’s somewhat exaggerated and ironic tone.
included other painters like Everett Shin (1876-1953), George Luks (1866-1933),
7. Cynical Realism (China)(1990s)- Cynical Realism is a satirical style of Chinese
George Wesley Bellows (1882-1925 William Glackens (1870-1938) and John Sloan
contemporary painting which appeared in the 1990s following the suppression of the
(1571-1951). The legacy of the Ashcan School endured in the American Social
Tiananmen Square demonstrations. Cynical Realists borrowed imagery from various
Realism scene painting of the 1920s and 1930s, thanks to Edward Hopper (1882-
traditions, including Surrealism and Symbolism, as well as classical figure painting.
1967): see, in particular, hi House by the Railroad (1925, MOMA) and Lighthouse at
Two Lights (1929 Metropolitan Museum). The Art of the Impressionist
3. Precisionism (1920s) - An American painting movement which depicted Impressionism can be considered the first distinctly modern movement in painting.
urban/industrial landscapes often in a Cubist/Futurist manner, its members were Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the
known by a variety of labels such as "Cubist-Realists", "Immaculates" "Sterilists" or United States. Its originators were artists who rejected the official, government-sanctioned
"modern classicists". The style was also known as "sharp-focos realism." The best exhibitions, or salons, and were consequently shunned by powerful academic art institutions.
known exponents of Precisionism were Charles Sheele (1883-1965), Charles In turning away from the fine finish and detail to which most artists of their day aspired, the
Demuth (1883-1935), and Georgla O'Keeffe (1887-1986) Impressionists aimed to capture the momentary, sensory effect of a scene - the impression
objects made on the eye in a fleeting instant. To achieve this effect, many Impressionist
4. Social Realism (1920N/1930s) - The term Social Realists describes the urban
artists moved from the studio to the streets and countryside, painting en plein air.
American Scene artists who worked during the Depression era. Social Realism is a
naturalistic style of realism which focuses exclusively on social issues and everyday Key Features
hardships. Best known members of the Social Realism school include Ben Shahn
(1898-1969), Jack Levine and Jacob Lawrence. All were significantly influenced by The Impressionists loosened their brushwork and lightened their palettes to include
the earlier Ashcan School of New York city. pure, intense colors. They abandoned traditional linear perspective and avoided the clarity of
form that had previously served to distinguish the more important elements of a picture from
5. Surrealism (1920s/1930s) - A bizarre art-form, Surrealism was founded in Paris in the lesser ones. For this reason, many critics faulted Impressionist paintings for their
1924 following the publication of Andre Breton's manifesto. Based on unfinished appearance and seemingly amateurish quality. Picking up on the ideas of Gustave
Courbet, the Impressionists aimed to be painters of the real - they aimed to extend the
the psychoanalytical ideas of Sigmund Freud, Surrealism sought to released creative
possible subjects for paintings. Getting away from depictions of idealized forms and perfect
potential of the unconscious mind. Two broad types of Surrealist art emerged. The
symmetry, but rather concentrating on the world as they saw it, imperfect in a myriad of ways.
 At the time, there were many ideas of what constituted modernity. Part of the Edouard Manet was among the first and most important innovators to emerge in the
Impressionist idea was to capture a split second of life, an ephemeral moment in time on the public exhibition scene in Paris. Although he grew up in admiration of the Old Masters, he
canvas: the impression. Scientific thought at the time was beginning to recognize that what began to incorporate an innovative, looser painting style and brighter palette in the early
the eye perceived and what the brain understood were two different things. The 1860s. He also started to focus on images of everyday life, such as scenes in cafes,
Impressionists sought to capture the former.- the optical effects of light - to convey the boudoirs, and out in the street. His anti-academic style and quintessentially modern subject
passage of time, changes in weather, and other shifts in the atmosphere in their canvases. matter soon attracted the attention of artists on the fringes and influenced a new type of
Their art did not necessarily rely on realistic depictions. Impressionism records the effects of painting that would diverge from the standards of the official salon. Similar to Le dejeuner sur
the massive mid-19th-century renovation of Paris led by civic planner Georges-Eugene l'herbe, his other works such as Olympia (1863) gave the emerging group ideas to depict that
Haussmann, which included the city's newly constructed railway stations; wide tree-lined were not previously considered art worthy.
boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment
Olympia is a painting by Edouard Manet, first exhibited at the 1865 Paris Salon, which shows
buildings. The works that focused on scenes of public leisure - especially scenes of cafes and
a nude woman lying on a bed being brought flowers by a servant. Olympia was modelled by
cabarets - conveyed the new sense of alienation experienced by the inhabitants of the first
Victorine Meurent and Olympia's servant by the art model Laure. (Wikipedia)
modern metropolis. The realist movement, championed by Gustave Courbet, first confronted
the official Parisian art establishment in the middle of the 19th century. Courbet was an Post Impressionism
anarchist that thought the art of his time closed its eyes on realities of life. The French were
ruled by an oppressive regime and much of the public was in the throes of poverty. Instead of Post-Impressionism is a term used to describe the reaction in the 1880s against
depicting such scenes, the artists of the time concentrated on idealized nudes and glorious Impressionism. It was led by Paul Cezanne, Paul Gauguin, Vincent van Gogh and Georges
depictions of nature. In his protest, Courbet financed an exhibition of his work right opposite Seurat. The Post-Impressionists rejected Impressionism's concern with the spontaneous and
the Universal Exposition in Paris of 1855, a bold act that led to the emergence of future artists naturalistic rendering of light and color. Post-Impressionists extended Impressionism while
that would challenge the status quo. rejecting its limitations: they continued using vivid colors, often thick application of paint, and
real-life subject matter, but were more inclined to emphasize geometric forms, distort form for
Exhibitions in Paris and the Salon des Refusés expressive effect, and use unnatural or arbitrary color. Expressionist art tried to convey
emotion and meaning rather than reality. Each artist had his own unique way of "expressing"
In 1863, at the official yearly art salon, the all-important event of the French art world,
his emotions in his art. In order to express emotion, the subjects are often distorted or
a large number of artists were not allowed to participate, leading to public outcry. The same
exaggerated. At the same time, colors are often vivid and shocking. Known for their diverse
year, the Salon des Refuses ("Salon of the Refused") was formed in response to allow the
yet distinctive styles and their subjective perceptions of the world around them, the Post-
exhibition of works by artists who had previously been refused entrance to the official salon.
Impressionists pioneered a new approach to painting at the turn of the century. Post-
Some of the exhibitors were Paul Cezanne, Camille Pissarro, James Whistler, and the early
Impressionist artists were not unified by a single aesthetic approach. Rather, what brought
iconoclast Edouard Manet. Although promoted by authorities and sanctioned by Emperor
them together was a shared interest in openly exploring the mind of the artist.
Napoleon 111, the 1863 exhibition caused a scandal, due largely to the unconventional
themes and styles of works such as Manet's Le dejeuner sur I’herebe (1863), which featured Characteristics of Post Impressionism
clothed men and naked women enjoying an afternoon picnic (the women were not classical
depictions of a nude, but rather women that took off their clothes). 1. Emotional Symbolism - As Fry explained, Post-Impressionists believed that a work of
art should not revolve around style, process, or aesthetic approach. Instead, it should
place emphasis on symbolism, communicating messages from the artist's own sub-
Edouard Manet and the Painting Revolution conscious. Rather than employ subject matter as a visual tool or means to an end, Post-
 Impressionists perceived it as a way to convey feelings. According to Paul Cezanne, "a had to answer customer complaints about the quality of the yarn's color. While trying to
work of art.” address the problem, he discovered the principle of "simultaneous contrast," or the effect of
o Pyramid of Skulls (1901) by Paul Cezanne. the color of an adjacent yarn on the peroeption of another yarn's color. Subsequently,
2. Evocative Color - Unlike the Impressionists who strived to capture natural light's effect Chevreul wrote The Principles of Harmony and Contrast of Colors in 1839. Ogden Rood's
on tonality, Post-Impressionists purposely employed an artificial color palette as a way to Modern Chromatics discussed how the viewer's eye "blends" or "mixes" adjacent colors, and
portray their emotion- drive perceptions of the world around them. Saturated hues, David Sutter's Phenomena of Vision (1880) established rules for the relationship between
multicolored shadows, and rich ranges of color are evident in most Post-Impressionist painting and science. To achieve the most brilliant colors and a shimmering effect, Neo-
paintings, proving the artists' innovative and imaginative approach to representation. Impressionism relied upon applying dots or brushstrokes of complementary colors to the
canvas. Rather than mixing pigments on a palette, Neo-Impressionist painters relied on the
o Yellow Chirst By Paul Gauguin. viewer's eye to "blend" the colors that appeared on the canvas.
3. Distinctive Brushstroke – Like works completed in the Impressionist style, most Post-
Though some of these theories are now considered only quasi-scientific, at the time
Impressionist pieces feature discernible, broad brushstrokes. In addition to adding texture
they seemed cutting edge. Seurat felt he had discovered the science of painting, one that
and a sense of depth to a work of art, these marks also point to the painterly qualities of
required discipline and precise application and that could achieve an intensity of color. He
the piece, making it clear that it is not intended to be a realistic representation of its
applied his color theory and a new technique that he called balaye, criss-crossing strokes to
subject.
apply matte colors, in his 1884 Bathers at Asnieres, a monumental work that depicts a
o The Bathers by Paul Cezanne.
number of workmen bathing in the river on a hot summer day. Subsequently Seurat began
Neo-Impressionism work on A Sunday Afternoon on the Island of La Grande Jatte (1884) by undertaking
extensive preliminary studies and sketches. Depicting the bourgeoisie in the park along the
Neo-Impressionism is a movement in French painting of the late 19th century that river, the work used the Pointillist style Seurat developed - tiny dots of complementary colors
reacted against the empirical realism of Impressionism by relying on systematic calculation placed next to each other. In 1890 Seurat published Esthetique, his foundational work on
and scientific theory to achieve predetermined visual effects. Whereas the Impressionist Neo- Impressionism's scientific color theory. Other Neo-Impressionists were to continue
painters spontaneously recorded nature in terms of the fugitive effects of color and light, the exploring this scientific basis; for instance, around 1887 Albert Dubois- Pillet developed the
Neo-Impressionists applied scientific optical principles of light and color to create strictly idea of passage, where the separate pigment of each of the primary light colors created a
formalized compositions. Neo- impressionism was led by Georges Seurat, who was its passage between different hues.
original theorist and most significant artist, and by Paul Signac, also an important artist and
the movement's major spokesman. Other Neo-Impressionist painters were Henri-Edmond - A Sunday on La Grande Jatte- 1884, oil on canvas by Georges Surat.
Cross, Albert Dubois-Pillet, Maximilien Luce, Theo Van Rysselberghe, and, for a time, the
By the 1890s the influence of Neo-Impressionism was waning, but it was important in the
Impressionist painter Camille Pissarro. The group founded a Société des Artistes
early stylistic and technical development of several artists of the late 19th and early 20th
Independants in 1884.
centuries, including Vincent van Gogh, Paul Gauguin Henri de Toulouse-Lautrec, and Henri
The Theory of Neo-Impressionism Matisse.

The discoveries of "optical blending" and "simultaneous contrast" that Seurat read
about became the theoretical foundation of Chromoluminarism, which came to be known as
Neo-Impressionism. While working at Gobelins dye factory in Paris, Michel-Eugene Chevreul
 The Cubists saw the limitations of perspective as an obstacle to progress.

They wanted to introduce the idea of ‘relativity’ - how the artist perceived and selected
elements from the subject, fusing both their observations and memories into one
GE6 – Art Appreciation concentrated image.
CUBISM (GROUP 4)
A typical Cubist painting depicts real people, places or objects, but not from a fixed viewpoint.

Instead, it will show you many parts of the subject at one time, viewed from different angles,
CUBISM
and reconstructed into a composition of planes, forms and colors.
Cubism was an attempt by artist to revitalize the repetitive traditions of Western art and a
They applied to revitalize their work was to draw on the expressive energy of art from other
response to the world that was changing with unprecedented speed.
cultures, especially African art.
Developed by Pablo Picasso and George Braque.
However, they were not interested in the true spiritual or social symbolism of these cultural
Evolved at the beginning of the 20th century and was considered as the first style of abstract objects but valued them superficially for their expressive style (i.e. Dan Mask from West
art. Africa).

The Cubist style emphasized the flat, two-dimensional surface of the picture plane, rejecting ANALYTICAL AND SYNTHETIC
the traditional techniques of perspective, foreshortening, modeling, and chiaroscuro (the CUBISM
treatment of light and shade in drawing and painting), and refuting time-honored theories that
art should imitate nature. Cubism had two distinct phases. The early phase, which lasted until about 1912, was
called Analytical Cubism.
Cubist painters were not bound to copying form, texture, color, and space; instead, they
presented a new reality in paintings that depicted radically. The artist analyzed the subject from many different viewpoints and reconstructed it
within a geometric framework, the overall effect of which was to create an image that evoke a
LES DEMOISELLES D’ AVIGNON (1907) – by Pablo Picasso sense of the subject.
(FROM THE WEB)
These fragmented images were unified by the use of a subdued and limited palette of
Les Demoiselles d’ Avignon marks a radical break from traditional composition and colors.
perspective in painting. It depicts five naked women composed of flat, splintered planes
whose faces were inspired by Iberian sculpture and African masks. Around 1912, the styles of Picasso and Braque were becoming predictable. Their
images had grown so similar that their paintings of this period are often difficult to tell apart.
(FROM THE PRESENTATION)
In an attempt to revitalize the style and pull it back from total abstraction, Picasso
Presaged the new style; in this work, the forms of five female nudes become fractured, began to glue printed images from the ‘real world’ onto the surface of his still life.
angular shapes. As in Cézanne’s art, perspective is rendered through color, with the warm
His painting ‘Still Life with Chair Caning’ was the first example of this ‘collage’
reddishbrowns advancing and the cool blues receding.
technique, and it opened the door for himself and other artists to the second phase of the
THE CUBIST VISION Cubist style: Synthetic Cubism.
CUBISM AND BEYOND
ABSTRACT OR NON-OBJECTIVE ART
Cubism was born in France but immigrated across Europe and integrated with the artistic
consciousness of several countries. It emerged as Futurism in Italy, Vorticism in England, and Nonobjective art is a type of abstract or nonrepresentational art. It tends to be geometric and
Suprematism and Constructivism in Russia, and Expressionism in Germany. It also does not represent specific objects, people, or other subjects found in the natural world. One
influenced several of the major designs and architectural styles of the 20th century and of the best-known nonobjective artists is Wassily Kandinsky. Paintings like his are most
prevails to this day as a mode of expression in the language of art. common. This style can be used in other media as well.

FUTURISM Nonobjective art takes nonrepresentational to another level.

Futurism, an early 20th century artistic movement centered in Italy, emphasized the Most of the time it includes geometric shapes and flat plains to create simple and clean
dynamism, speed, energy ,and power of the machine and the vitality, change and compositions. Many people use the term “pure” to describe it.
restlessness of modern life.
Nonobjective art can go by many names including concrete art, geometric abstraction, and
During the second decade of the 20th century, the movement’s influence radiated outward minimalism.
across most of Europe, most significantly to the Russian avant-garde
The term nonobjective art was first used by the Russian Constructivist artist Alexander
The most significant results of the movement were in the visual arts and poetry. Rodchenko (1891-1956) in the titles of some of his pictures.

It was then taken up by others, such as his compatriot Kasmir Malevich. The inventor of
Futurism emerged in 1909 with Italian poet and editor Filippo Tommaso Marinetti's manifesto Suprematism who wrote in 1919 in referring to nonobjectivity.
on a French newspaper called “Le Figaro”, advocating for the embrace of modernity,
discarding traditional art, and celebrating speed, innovation, and violence. His manifesto's Nonobjective painting typically uses geometric motifs on a shallow picture plane. As a general
aggressive tone aimed to provoke public reaction and controversy. rule, no use is made of linear perspective to create illusion of pictorial deft. Neither is impasto
employed to the create textural effects.
Boccioni also became interested in sculpture, publishing a manifesto on the subject in the
spring of 1912. He is considered to have most fully realized his theories in two sculptures, Also, the picture is purposely devoid of any references to worldly things, either material or
“Development of a Bottle in Space in 1912”, in which he represented both the inner and outer emotional. Nonobjective art is obstruction in its purest form.
contours of a bottle, and “Unique forms of Continuity in Space in 1913” portrayed as one solid
form but is instead composed of the multiple planes in space through which the figure moves. DADAISM

Futurist principles extended to architecture as well. Antonio Sant'Elia formulated A Futurist Dadaism was an artistic and literary movement that began in Zurich, Switzerland, as a
manifesto and architecture in 1914. reaction to World War One. It produced a wide range of art, including performance art,
poetry, photography, sculpture, painting, and collage. Influenced by other avantgarde
movements - Cubism, Futurism, Constructivism, and Expressionism. The movement's
Boccioni, who had been the most talented artist in a group and Sant'Elia both died during
influence spread to other cities including Berlin, Hannover, Paris, New York, and Cologne,
military service in 1916. Boccioni's death combined with expansion of the group's personnel
and it faded away with the rise of Surrealism.
and its sobering realities of the devastation caused by World War One effectively brought an
end to the Futurist movement as an important historical force in the visual arts.
Dada's ideas have had a lasting impact on modern and contemporary art.
SURREALISM: THE RISE AND THE DOWNFALL
Switzerland's neutrality during World War One and limited censorship provided a haven for
artists and intellectuals, leading to the founding of Cabaret Voltaire in Zurich on February 5, Though Surrealism originated in France, strains of it can be identified in art throughout the
1916. Initiated by Hugo Ball and Emmy Hennings, the cabaret aimed to be a center for artistic world. Particularly in the 1930s and 1940s, many artists were swept into its orbit, and
entertainment, hosting musical performances, readings, and inviting artists to contribute. increasing political upheaval in a second global war encouraged fears that human civilization
Notable attendees included Jeans Arp, Tristan Tzara, Marcel Janco, and Richard was in a state of crisis and collapse.
Huelsenbeck.

The first Dada evening took place in July, with Hugo Ball presenting the movement's first The emigration of many Surrealists to the Americas during WW2 spread their ideas further.
manifesto. The word "Dada" is believed to have originated from a dictionary randomly opened Following the war, however, the group's ideas were challenged by the rise of existentialism,
by Richard which, while also celebrating individualism, was more rationally based than surrealism in the
Huelsenbeck. Its childlike and nonsensical nature resonated with the group's desire to arts of the Abstract Expressionist, incorporated surrealist ideas and usurped their dominance
challenge conventional norms. The word's ambiguity and cross language applicability aligned by pioneering new techniques for representing the unconscious.
with their internationalist stance.

The aim of Dada art and activities was both to help to stop the war and to vent frustration with Breton increasingly interested in their revolutionary political activism as the movement's
the nationalists and bourgeois conventions that led to do it. Their anti-authoritarian stance primary goal. The result was the dispersal of the original movement into smaller factions of
made for a protean movement as they oppose any form of group leadership or guiding artist. The Bretonians, such as Roberto Matta, believe that art was inherently political. Others
ideology. like Yves Tanguy, Max Ernst, and Dorothea Tanning, mountain in America to separate from
Breton. Salvador Dali, likewise, retreated to Spain, living in their centrality of the individual in
RECEPTION, DOWNFALL, AND DISSEMINATION OF DADAIST IDEALS art.

Dadaism was a revolutionary art movement that emerged during Additional notes:
World War I. Its bold approach, rejection of traditional art forms, and the willingness to
challenge the status quo attracted both supporters and critics. Some saw Dadaism as the from DADAISM:
next step in avant-garde art, while others dismissed it as nothing more than a collection of
useless objects. Despite the controversy, Dadaism left an enduring mark on art history, PHOTOMONTAGE - Photomontage is a type of collage art that uses two or more
inspiring future movements and challenging the very definition of art. photographs to create a new image. It can be done by cutting, gluing, rearranging and
overlapping the photos, or by using digital editing tools.
Duchamp was the first artist to use a readymade and his choice of a urinal was guaranteed to
challenge and offend even his fellow artist, there is little manipulation of their urinal by the from SURREALISM:
artist other than to turn it upside down and to sign it with a fictitious name.
Surrealism is also defined as an artistic movement by tapping into the unconscious mind as
Dadaism gripped audiences into the 1920s, but the movement as a whole was destined to a way of creating art, resulting in dreamlike, sometimes bizarre imagery across endless
crumble. Some like Man Ray, found their inclinations moving into their subconscious realm of mediums.
surrealism, other founder pressures of the modern European artists too weighty to bear. The
rise to power of Adolf Hitler in the 1930s dealt a powerful blow to the modern art world. The core of Surrealism is a focus on illustrating the mind’s deepest thoughts automatically
when they surface. This thought process for creating art known as “automatism.”
GE6 – Art Appreciation • Gigue /ZHēɡ/ - //a lively piece of music in the style of a dance
BAROQUE AND CLASSICAL MUSIC (GROUP 1)
• Chaconne in F minor //For organ
• Hexachordum Apollinis //a set of Keyboard variation
BAROQUE INSTRUMENTAL MUSIC
- His son, Wilhelm Hieronynous Pachelbel, was also an organist and composer.
Introduction:
2. Antonio Vivaldi (1678-1741)
Baroque music, characterized by its ornate style, predates the Classical period,
spanning from 1600 to 1750. This era produced notable German and Italian composers, - Nicknamed as il Prete Rosso (“The Red Priest”)
setting the stage for the evolution of classical music. - Venetian priest, virtuoso violinist, and prolific Baroque composer.
- Was born in Conservatorio dell'Ospedale della Pietà
//Baroque music is a fancy and decorated type of music that originated after the
Renaissance. Although people often think it belongs to the Classical music era, it actually // Became maestro di violine (master of violine) at an orphanage called Pio Ospedale della
came before that. The Baroque period was from 1600 to 1750, while the Classical period Pietà (Devout Hospital of Mercy) in September 1703.//
followed from 1750 to 1820.//
//While Vivaldi is most famous as a composer, he was regarded as an exceptional technical
Key Characteristics of Baroque Music: violinist as well. Vivaldi, one of the Baroque era's greatest composers, loved the violin.//
Baroque music is known for its heavily ornamented style, and many forms such as Vivaldi’s most famous works:
the cantata, concerto, sonata, oratorio, and opera originated in Italy during this period.
a. The Four Seasons, the first four concertos of a collection of twelve concertos
//"Heavily ornamented style" in music means using lots of fancy and decorative elements written by Vivaldi called Il cimento dell'armonia e dell'inventione (The Contest
like intricate melodies and detailed decorations. It's like adding extra details or fancy touches Between Harmony and Invention).
to make the music more elaborate and interesting. In Baroque music, this ornamentation was
a common and distinctive feature, making the music sound rich and complex.// b. Concerto No. 5 in E Flat Major, "La Tempesta Di Mare (The Storm Sea). It's one
of Vivaldi's shorter concertos, but he packed quite a punch in there. The entire piece
//Around the middle of the 1700s, people started paying more attention to German is high energy, filled with fresh, colorful passages.
composers like Bach and Handel. The different types of music associated with the Baroque
period, like cantatas, concertos, sonatas, oratorios, and operas, originally came from Italy. c. The Anna Maria Concertos. Vivaldi composed around 30 concertos for this most
favorite student of his, violinist Anna Maria.
NOTABLE BAROQUE INSTRUMENTAL COMPOSERS
3. Johann Sebastian Bach (1685-1750)
1. Johann Pachelbel (1653-1706)
- Celebrated German composer born in 1685.
- German composer renowned for organ works. - Bach is considered one of the central figures of the Baroque era in music.
- Contrapuntally simple style, influenced by Italian forms derived from Girolamo - Proficient in playing various instruments, including the organ, harpsichord, violin, and
Frescobaldi through Johann Jakob Froberger. more.
- Composed a wide range of music, including orchestral, chamber, choral, and
Significant contributions: keyboard works.
• Pachelbel’s Canon in D // was written for three violins - Mastery of counterpoint, harmonic organization, and adaptation of foreign influences.

• Basso Continuo
 Bach’s famous works: was just a small village. He loves music since he was a boy but his parents didn't have
 Brandenburg Concertos - a set of six instrumental works enough money for musical lessons.//
 The Well-Tempered Clavier - a collection of keyboard music. Intended for education
//At the age of 6, they gave him to a choir master named Johann Matthias Frankh. For 2
and training of keyboard players
years, Haydn was trained there as a boy soprano and sang soloist and in church choir.
 Mass in B Minor - divided into several sections, including the Kyrie, Gloria, Credo,
Haydn’s singing impressed those who heard him and he was eventually brought to the
Sanctus, and Agnus Dei. Each section consists of multiple movements.
attention of George Von Reutter, director of music in St. Stephen’s Cathedral in Vienna.//
4. George Frederick Handel (1685-1759) 2. Wolfgang Amadeus Mozart:
- German-born English composer primarily known for operas and oratorios. - Born in 1756, Austrian composer and prodigy.
- Handel’s famous composition is the Messiah, Water Music, and Music for the Royal - Masterworks in various genres, including operas like Le nozze di Figaro and Don
Fireworks. Giovanni.
- Masterful in both vocal and instrumental compositions. - Known for serenades, divertimenti, and acclaimed piano concertos.
- Handel's music had a profound influence on the development of Baroque music, and
his works continue to be widely performed and appreciated today. Works and composition:
- One of the great instrumental composers of the late Baroque era.
 classical composers, created a vast array of compositions across various genres.
- Handel also published harpsichord music, called Suites de pièces pour le clavecin
Some of his most famous works include operas like "The Marriage of Figaro," "Don
of 1720 and the Suites de pièces of 1733, containing 17 sets in all. his finest
Giovanni," and "The Magic Flute." He also composed symphonies, such as
contribution to that instrument's repertoire.
Symphony No. 40 and Symphony No. 41 ("Jupiter"), as well as chamber music, piano
5. Franz Schubert (1797-1828) sonatas, concertos (including the famous Piano Concerto No. 21), and choral works
like "Requiem Mass in D minor." His musical legacy is incredibly diverse and prolific.
- Austrian composer bridging Classical and Romantic eras.
- Prolific output, including over 600 vocal works, symphonies, and chamber music. 3. Ludwig van Beethoven:
- Notable compositions: Symphony No. 9, Symphony in B Minor (Unfinished), and
Lieder. - German composer, dominant in the transition from Classical to Romantic.
- Innovator in musical form, with notable works like Symphony No. 9 and Moonlight
CLASSICAL INSTRUMENTAL MUSIC Sonata.
- Overcame deafness, leaving a profound impact on music.
While sonata form did not exist in the Baroque period, it laid the groundwork for the - His first concert was when he was around 7 years old.
Classical era. Key composers include:
- Started losing hearing at age 26.
1. Joseph Haydn
Works and music
- Austrian composer, "Father of Quartet" and "Father of Symphony."
1. Symphony #7 Movement 2
- Notable works: String quartets, Piano Sonata in C Minor, and the "Farewell"
Symphony. 2. Symphony #6 (The Pastoral) Movement 1
//Joseph Haydn or Franz Joseph Haydn is one of the most important composers of the 3. Piano Sonata #13 Movement 3
classical period. He is the Father of the Symphony. He is also called the Father of the String
Quartet because of his contribution to the musical form. He was born in Rohrau, Austria. It 4. Piano Sonata #14 (Moonlight) Movement 1
 5. Violin Sonata #5 (Spring) Movement 2
6. Piano Trio #6 Movements 1 and 3 GE6 – Art Appreciation
THE MODERN PERIOD (GROUP 5)
7. Violin Concerto Movement 2
8. Fidelio – The Prisoners Chorus
Introduction:
9. Missa Solemnis – Sanctus
Music became more accessible to the masses in the 20th century with the invention of mass-
10. Für Elise market gramophone records and radio broadcasting. This enabled people to listen to a wider
variety of music, including classical music and folk music, which was previously only available
//An interesting fact about Beethoven was that some of his greatest works were composed
to the wealthy. Composers and songwriters also began to experiment with new forms and
while he was going deaf. As one of the greatest musical geniuses of all time, he is the crucial
transitional figure connecting the Classical and Romantic ages of Western music.// sounds, leading to the development of new musical styles such as jazz fusion and electronic
dance music.
//If we take a peek into his personal life, we would be able to know that it was marked by a
struggle against deafness, and some of his most important works were composed during the THE MODERN PERIOD:
last 10 years of his life, when he was quite unable to hear.//
The defining feature of modern music (and modern art generally) is the breaking
//Beethoven and Mozart, both important figures in this era, was believed or speculated to down of all traditional aesthetic conventions, thereby unleashing complete freedom in all
have crossed paths. There were only speculation and inconclusive evidence for this however, aesthetic dimensions, including melody, rhythm, and chord progression.
tradition has it that, upon hearing Beethoven, Mozart said, "Keep your eyes on him; someday
he will give the world something to talk about.” Indeed, Beethoven continued to carve out his The convention of major-minor tonality (already heavily strained by Wagner and his
reputation as the most promising young court musician at that time.// successors) was completely abandoned by many composers. Even the very notion of what
constitutes “music” was redefined.
CONCLUSION
The development of audio recording technology, along with the ability to quickly and
Baroque and Classical instrumental music, characterized by the evolution of forms and the cheaply distribute recordings and scores was central to the revolutions of modern music.
contributions of master composers like Haydn, Mozart, and Beethoven, have left an indelible
mark on the history of Western music. These eras paved the way for the development of The vast catalog of western art music became much more accessible. Moreover,
symphonies, quartets, and sonatas, setting the stage for the rich diversity of musical non-Western music was suddenly open to exploration thus exposing Western composers to
expression that followed. The enduring brilliance of these compositions continues to captivate countless exotic musical ideas.
audiences worldwide.
The Modern Period Artists: Composers

1. CLAUDE DEBUSSY
- French Composer

Early Life:

-Achille-Claude Debussy was born on August 22, 1862 in Saint-Germain-en-Laye,

France.
-He showed an early affinity for the piano and began taking lessons at the age of 7. - Debussy died of colon cancer on March 25, 1918 when he was just 55 years old, in
Paris.
-By age 10 or 11, he had entered the Paris Conservatory, where his instructors and fellow
- Debussys's music has had a profound influence on 20th-century composers.
students recognized his talent but often found his attempts at musical innovation strange.
2. ARNOLD SCHOENBERG
Early Works & Compositions
- Austrian-American composer
-In 1884, when he was just 22 years old, Debussy entered his cantata L’Enfant - created new methods of musical composition involving atonality namely: serialism
prodigue (The Prodigal Child) in the Prix de Rome, a competition for composers. He and 12-tone row.
took home the top prize, which allowed him to study for three years in the Italian capital. • - influential teachers of the 20th century, one of his students:
He studied the music of German composer Richard Wagner while in Rome. Debussy o Alban Berg & Anton Webern
returned to Paris in 1887 and attended the Paris World Exposition two years later. There - a well-known triskaidekaphobe (fear of the number 13)
he heard a Javanese gamelan – a musical ensemble composed of a variety of bells,
gongs, metallophones and xylophones, sometimes accompanied by vocals – and the Early Life:
subsequent years found Debussy incorporating the elements of the gamelan into his
- Born: September 13, 1874 in Vienna, Austria
existing style to produce a wholly new kind of sound.
- Was largely self-taught musician
Debussy’s masterpieces that showcase the gamelan's impact on his style: - Amateur Cellist
- He demonstrated from an early age a particular aptitude for composition
 Ariettes oubliées (forgotten song) 1888
- Received rudimentary instruction in harmony and counterpoint from Oskar Adler
 Prélude à l'après-midi d'un faune (Prelude to the Afternoon of a Faun (1892)
- Studied composition briefly with Alexander Zemlinsky
 The String Quartet (1893)
Early Works and Composition:
Pelléas et Mélisande
- Early works influenced by German Romanticism
- Debussys's seminal opera, was completed in 1895 and was a sensation when first
- Verklärte Nacht, Op. 4 (1899) - first important composition
performed in 1902.
- One of the works that embarked upon one of the most influential phases of his
- The attention gained with Pelléas, paired with the success of Prélude in 1892, earned
career: Five Orchestral Pieces (1909) and the epochal Pierrot lunaire (1912)
Debussy extensive recognition.
- His “atonal music (he preferred "pantonal"), which rejected traditional tonality,was
widely criticized.
- Despite criticism, Schoenberg's music also inspired a faithful and active following.
Later Works: - Arnold Schoenberg's most notable disciples were Alban Berg and Anton Webern.
- Over the following 10 years, Debussy was the leading figure in French music. These three composers -- the principal figures of the so-called Second Viennese
School -- were the central force in the development of atonal and 12-tone music in
- La Mer (The Sea; 1905) and Ibéria (1908), both for orchestra,
the first half of the twentieth century and beyond.
- Images (1905) and Children's Corner Suite (1908), both for solo piano.
- Schoenberg's Suite for Piano (1921-1923) marks his first complete composition
- Claude Debussy spent his remaining years writing as a critic, composing and
using the 12-tone technique.
performing his own works internationally.
- While the 12-tone technique is not the sole defining element of Schoenberg's style, it
Death and Legacy: remains the most closely associated characteristic with his music.
 - Schoenberg employed the 12-tone technique across various genres, including • Le Tombeau de Couperin (circa 1917) for solo piano
chamber works, orchestral works, and choral works.
• Rapsodie espagnole and Boléro for orchestra
Life in the United States:
• Daphnis et Chloé (1912), a ballet commissioned by Sergey Diaghilev
- Fled Europe in 1933 due to political climate
• La Valse (1920), a piece for ballet or concert performance
- Settled in the United States and became a citizen in 1941
- Schoenberg occasionally revisited traditional tonality in his later works, such as the Death and Legacy:
Theme and Variations for band (1943), reaffirming his connection to the great
German musical heritage that extended back to Bach. - Ravel died in Paris, France, on December 28, 1937.
- He viewed the dissolution of tonality was a logical and inevitable step in the evolution - Today, he remains widely regarded as France's most popular composer.
of Western music - He is remembered for once stating, "The only love affair I have ever had was with
- Despite facing constant criticism, Schoenberg remained committed to his musical music."
vision, driven by a powerful creative force. 4. JOHN CAGE
- Though debate over the man and his music rages on, Schoenberg is today - American Composer and Music Theorist
acknowledged as one of the most significant figures in music history. - Born on September 5, 1912 in Los Angeles, California.
- He died in Los Angeles, on July 13, 1951. - By 1939 he had begun to experiment with “prepared piano”, tape recorders, record
players and radios
3. MAURICE RAVEL - In 1943, his percussion ensemble concert at the Museum of Modern Art marked the
- French Composer first step in his emergence as a leader of the American musical avant garde.
- Joseph-Maurice Ravel was born on March 7, 1875 in Ciboure, France - In 1944, Cage turned to Zen Buddhism and Eastern philosophies and concluded that
- Has a Basque mother and a Swiss father all the activities that make up music must be seen as part of a single natural process.
- In 1889, at the age of 14, Ravel began taking courses at the Paris Conservatoire, a - To this end he cultivated the principle of indeterminism in his music.
prestigious music and dance school located in the capital of France, studying under
Gabriel Fauré. Principle of Indeterminism

Early Works at the Conservatoire: - He used a number of devices to ensure randomness and thus eliminate any element
of personal taste on the part of the performer: unspecified instruments and numbers
Ravel continued to study at the Conservatoire until his early 20s of performers, freedom of duration of sounds and entire pieces, inexact notation, and
sequences of events determined by random means such as by consultation with the
• Pavane pour une infante défunte (Pavane for a Dead Princess; 1899)
Chinese Yijing (I Ching).
• Jeux d'eau (1901) or "Fountains" or "Playing Water" – a piece that Ravel
- In his later works he extended these freedoms over other media, a performance of
dedicated to Fauré.
his work HPSCHD (completed 1969) might include a light show, slide projections,
• String Quartet (1903) – which is played in F major and follows four movements.
costumed performers, and the 7 harpsichord soloists and 51 tape machines for which
• Sonatine (circa 1904) – for solo piano
it was scored.
Miroirs (1905)
• Gaspard de la nuit (1908)

Later Works:
 Best-Known Works: - Played throughout the world's leading houses.
• Glass has composed music for experimental theater, Academy Award-winning films
• 4'33" (Four Minutes and Thirty-three Seconds, 1952) –a piece in which the
like "The Hours" and "Kundun."
performer/s remain silent onstage for that amount of time.
• Imaginary Landscape No. 4 (1951) –Incorporates 12 randomly tuned radios, 24 • Koyaanisqatsi
performers, and a conductor
• Sonatas and Interludes (1946-48) - His initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble
– for prepared piano - May be the most radical and influential mating of sound and vision since "Fantasia."
• Fontana Mix (1958) –a piece based on a series of programmed transparent cards
Philip Glass's connections with leading rock, pop, and world music artists date back to
that, when superimposed, give a graph for the random selection of electronic
the 1960s, beginning with his collaboration with artist Robert Wilson.
sounds
• Cheap Imitation (1969) – an "impression" of the music of Erik Satie Glass is the first composer to achieve widespread popularity across multiple genres,
• Roaratorio (1979) –an electronic composition utilizing thousands of words including opera, concert music, dance, film, and popular music.
- found in James Joyce's novel Finnegans Wake.
Philip Glass's compositions for operas, symphonies, ensembles, and collaborations had
John Cage's Literary Contributions and Influence: an impact on the musical and intellectual life of his time

- Cage published several books, including Silence: Lectures and Writings (1961) Evolving Musical Style of Philip Glass
and M: Writings '67-72 (1973).
- His influence extended to such established composers as Farle Brown, Lejaren - The new musical style that Glass was evolving was eventually dubbed
Hiller, Morton Feldman, and Christian Wolff. "minimalism."
- More broadly, his work was recognized as significant in the development of traditions - He preferred to speak of himself as a composer of "music with repetitive
ranging from minimalist and electronic music to performance art. structures."
- Much of his early work was based on the extended reiteration of brief, elegant
5. PHILIP GLASS melodic fragments that wove in and out of an aural tapestry.
- American Composer and Pianist - There has been nothing "minimalist" about his output
- Born in 1937 and grew up in Baltimore - Despite the "minimalist" label, Glass's output is remarkably diverse, encompassing
- He studied at the University of Chicago, the Juilliard School and in Aspen with Darius over 20 operas, 10 symphonies, concertos, film scores, chamber music, and solo
Milhaud works.
- Dissatisfied with contemporary music, Glass moved to Europe to study with Nadia - Glass has collaborated with a wide range of artists, including Paul Simon, Linda
Boulanger and collaborate with Ravi Shankar. Ronstadt, Yo-Yo Ma, and Doris Lessing.
- He returned to New York in 1967 and formed the Philip Glass Ensemble seven - He actively engages with audiences through lectures, workshops, solo performances,
musicians playing keyboards and a variety of woodwinds, amplified and fed through a and regular appearances with the Philip Glass Ensemble.
mixer.

Philip’s Works:

• "Einstein on the Beach," "Satyagraha," "Akhnaten," and "The Voyage,"

- The operas.