History of stylistic

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History of stylistic

Overview[ edit ] Any piece of art is in theory capable of being analysed in terms of style; neither periods nor artists can avoid having a style, except by complete incompetence, [6] and conversely natural objects or sights cannot be said to have a style, as style only results from choices made by a maker.

Artists in recent developed societies tend to be highly conscious of their own style, arguably over-conscious, whereas for earlier artists stylistic choices were probably "largely unselfconscious".

The names of most older styles are the invention of art historians and would not have been understood by the practitioners of those styles. Some originated as terms of derision, including GothicBaroqueand Rococo.

Western art, like that of some other cultures, most notably Chinese arthas a marked tendency to revive at intervals "classic" styles from the past. Classical art criticism and the relatively few medieval writings on History of stylistic did not greatly develop a concept of style in art, or analysis of it, [12] and though Renaissance and Baroque writers on art are greatly concerned with what we would call style, they did not develop a coherent theory of it, at least outside architecture.

Giorgio Vasari set out a hugely influential but much-questioned account of the development of style in Italian painting mainly from Giotto to his own Mannerist period.

He stressed the development of a Florentine style based on disegno or line-based drawing, rather than Venetian colour. With other Renaissance theorists like Leon Battista Alberti he continued classical debates over the best balance in art between the realistic depiction of nature and idealization of it; this debate was to continue until the 19th century and the advent of Modernism.

This type of art history is also known as formalismor the study of forms or shapes in art.

History of stylistic

Terms originated to describe architectural periods were often subsequently applied to other areas of the visual arts, and then more widely still to music, literature and the general culture.

A major area of debate in both art history and archaeology has been the extent to which stylistic change in other fields like painting or pottery is also a response to new technical possibilities, or has its own impetus to develop the kunstwollen of Rieglor changes in response to social and economic factors affecting patronage and the conditions of the artist, as current thinking tends to emphasize, using less rigid versions of Marxist art history.

Remarks on the History of Thingshave made notable contributions to the debate, which has also drawn on wider developments in critical theory. The use of terms such as Counter-Maniera appears to be in decline, as impatience with such "style labels" grows among art historians.

In Marcia B. Hall, a leading art historian of 16th-century Italian painting and mentee of Sydney Joseph Freedberg —who invented the term, was criticised by a reviewer of her After Raphael: Painting in Central Italy in the Sixteenth Century for her "fundamental flaw" in continuing to use this and other terms, despite an apologetic "Note on style labels" at the beginning of the book and a promise to keep their use to a minimum.

Individual style[ edit ] Traditional art history has also placed great emphasis on the individual style of an artist: The identification of individual style in works is "essentially assigned to a group of specialists in the field known as connoisseurs ", [28] a group who centre in the art trade and museums, often with tensions between them and the community of academic art historians.

His techniques were adopted by Bernard Berenson and others, and have been applied to sculpture and many other types of art, for example by Sir John Beazley to Attic vase painting. In Chinese art it is just as deeply held, but traditionally regarded as a factor in the appreciation of some types of art, above all calligraphy and literati paintingbut not others, such as Chinese porcelain; [32] a distinction also often seen in the so-called decorative arts in the West.

Formative period

Chinese painting also allowed for the expression of political and social views by the artist a good deal earlier than is normally detected in the West.

Manner[ edit ] "Manner" is a related term, often used for what is in effect a sub-division of a style, perhaps focused on particular points of style or technique. It is a somewhat outdated term in academic art history, avoided because it is imprecise. Style in archaeology[ edit ] Paleolithic stone tools grouped by period In archaeologydespite modern techniques like radiocarbon datingperiod or cultural style remains a crucial tool in the identification and dating not only of works of art but all classes of archaeological artefactincluding purely functional ones ignoring the question of whether purely functional artefacts exist.

This is used to construct typologies for different types of artefacts, and by the technique of seriation a relative dating based on style for a site or group of sites is achieved where scientific absolute dating techniques cannot be used, in particular where only stone, ceramic or metal artefacts or remains are available, which is often the case.

In contrast to recent trends in academic art history, the succession of schools of archaeological theory in the last century, from culture-historical archaeology to processual archaeology and finally the rise of post-processual archaeology in recent decades has not significantly reduced the importance of the study of style in archaeology, as a basis for classifying objects before further interpretation.

More technically, it has been defined as "the decorative generalization of figures and objects by means of various conventional techniques, including the simplification of line, form, and relationships of space and color", [40] and observed that "[s]tylized art reduces visual perception to constructs of pattern in line, surface elaboration and flattened space".

Motifs in the decorative arts such as the palmette or arabesque are often highly stylized versions of the parts of plants. Even in art that is in general attempting mimesis or "realism", a degree of stylization is very often found in details, and especially figures or other features at a small scale, such as people or trees etc.

But this is not stylization intended to be noticed by the viewer, except on close examination.Chinese music: Chinese music, art form of organized vocal and instrumental sounds that developed in China and is the one of the oldest of all known musical systems.

Warner Bros.' GoodFellas () is director Martin Scorsese's stylistic masterpiece - a follow-up film to his own Mean Streets (), released in the year of Francis Ford Coppola's third installment of his gangster epic - The Godfather, Part III ().

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