Discuss ways Ingres and Delacroix represent the seemingly opposing forces of early nineteenth-century French painting. What specific works by these artists exemplify their attitudes and artistic philosophies?
The seeming rivalry between Delacroix and Ingres, the two titans of French painting in the 19th century, is occasionally witnessed as embodying the conflict between the period’s non-conformist Romanticism and neoclassicism. Ingres belongs in many respects to the heroic age of the Greek’s. His works are more of the sculptor as compared to a painter ( Rosenblum, Janson & Janson, 2014). Ingres predominantly occupies himself exclusively with form and line and purposely neglects color and animation. In contrast, Delacroix willfully sacrifices the drawing rigors to the drama demands he portrays. His manner of work; less chaste and more reserved emphasizes the brilliance of color above the purity of line ( Shelton, 2015) . His paintings are more ardent and animated. Delacroix was quite a separate narrative and was not interested in sublimation. Whilst Ingres needed a polished surface, a point where the irrational could rumble and mutter about, Delacroix wanted passion and energy to dominate in his piece of work (Shelton, 2016).
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Discuss the rise of photography as an artistic medium in the nineteenth century. How was technology wedded to aesthetics derived from other art forms? How was it inherent in the new medium of photography itself?
In 1839, a fresh manner of visual representation was made known to a startled world: photography. While the medium was largely embraced by the larger public, the photographers spent lots of time debating and experimenting with the new technology. In this period, the photographers were the scientists had to master the battling array of processes and learned how to handle the material and equipment (Rosenblum, 2016). This is the period that the handlers grasped with aesthetic issues and how to convey texture, tone, and detail in multicolored reality in a monochrome medium. This is the period that the scientists discovered and performed an exploitation of the distinctive ways in which the camera frames presented the entire world.
During the late 19th century, advancements in technology and processing, alongside the invention of small handheld cameras, for instance, Kodak suddenly made it possible for a vast majority in the middle class to take photographs (Rosenblum, 2016). Through the improvement in technology, the aesthetic value of photographs improved and the price reduced.
Some of the advancements made in the 19th century are inherent in the new medium of photography itself. Since the late 19th century until present, most of the photographers manipulate their prints to reveal authorial control (Galassi, 2014). That further results in painterly effects and distanced themselves from mechanized processes and amateur photographers.
Compare and Contrast on the Pieces of Artwork
Marcel Duchamp , Fountain , 1917 Documenta 8, Kassel , Germany 1987
Fountain and documenta are two great pieces of art produced by a mastered photographer. The fountain is a piece of art sculpture that was produced by Marcel Duchamp while Documenta is an exhibition of contemporary art that is periodically interchanged in Germany. The original fountain piece art was composed of the standard urinal that was meant for purposes of the exhibition rather than upright. Each Documenta has a limitation of 100 days of the exhibition.
From the year 1985, interior works utilizing items pertaining to the building industry and thus rearrange the concerned spaces. It entailed apparent destabilization and stabilization of building apparatus and the internal spaces through construction in structural bodies. The fountain is urinal shaped and entailed a black and white kind of photography while the Documenta is a representation of a color modern photograph. The Fountain is small as compared to documenta in terms of material covered. Both pieces of art represented high skilled works of photography.
References
Galassi, P. (2014). Before photography: painting and the invention of photography . Museum of Modern Art; Boston: Distributed by New York Graphic Society.
Rosenblum, N. (2016). A world history of photography . New York: Abbeville Press.
Rosenblum, R., Janson, H. W., & Janson, H. W. (2014). Art of the nineteenth century: painting and sculpture . Thames and Hudson.
Shelton, A. C. (2015). The Orient in western art . Konemann.
Shelton, A. C. (2016). Ingres versus Delacroix. Art History , 23 (5), 726-742.
