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By the late 18th century the term had expanded to mean any image with an equivalent degree of fantasy, for example as used in the titles of print series by Giovanni Battista Tiepolo and Goya, both of whom focus on figures rather than architecture. The term is also used for other types of art with an element of fantasy (as capriccio in music).
The middle of the 18th century saw a turn to Neoclassicism in France, that is to say a conscious use of Greek and Roman forms and iconography. In painting, the greatest representative of this style is Jacques-Louis David who, mirroring the profiles of Greek vases, emphasized the use of the profile; his subject matter often involved classical ...
18th-century painting stubs (314 P) Pages in category "18th-century paintings" The following 39 pages are in this category, out of 39 total.
The group began to develop a revivalist and nostalgic style, inspired by 18th century literature and painting, and to follow a way of life similar to that of the old aristocracy, with its salons and sophisticated habits, attracting the attention of other writers and poets. Soon their number would become considerable, giving rise to a romantic ...
Fancy pictures are a sub-genre of genre paintings in 18th-century English art, featuring scenes of everyday life but with an imaginative or storytelling element, usually sentimental. The usage of the term varied, and there was often an overlap with the conversation piece , a type of group portrait showing the subjects engaged in some activity.
A view of the Roman Campagna from Tivoli, evening by Claude Lorrain, 1644–1645. Picturesque is an aesthetic ideal introduced into English cultural debate in 1782 by William Gilpin in Observations on the River Wye, and Several Parts of South Wales, etc. Relative Chiefly to Picturesque Beauty; made in the Summer of the Year 1770, a practical book which instructed England's leisured travellers ...
18th-century paintings (17 C, 38 P) R. Rococo art ... Pages in category "18th century in art" ... William and Mary style
The painting was one of a number of British works challenging the set categories of the rigid, French-dictated hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject.