141TJ123-8-2009 LK VWD0011 Tradition Humanistic 6th Edition W:220mm x H:292mm 175L 115 Stora Enso M/A Magenta (V)LOOKING BACK
Music Listening Selections Glossary
141- The proponents of the style prized the arts of Asia and Islam,
which featured bold, flat, organic patterns and semiabstract linear
designs. In America, the style was advanced in the art glass of
Louis Comfort Tiffany.
Sculpture in the Late Nineteenth Century
- The works of Degas and Rodin reflect a common concern for
figural gesture and expressive movement. - Rodin’s efforts to translate inner states of feeling into
physical form were mirrored by Isadora Duncan’s
innovations in modern dance.
The Arts of Africa and Oceania
- The late nineteenth century was a time of high artistic productivity
in Africa and Oceania. Reliquaries, masks, and freestanding
sculptures were among the power objects created to channel the
spirits of ancestors, celebrate rites of passage, and ensure the
well-being of the community.
•While sharing with some Western styles (such as Symbolism) a
general disregard for objective representation, the visual arts of
Africa and Oceania stood apart from nineteenth-century Western
academic tradition.
Primitivism
- Colonialism and travel to Africa and Oceania worked to introduce
the West to cultures that were perceived by some as exotic and
violent, and by others as “primitive” and blissfully close to nature. - The Paris Exposition Universelle of 1880 brought non-Western
culture to public attention, encouraging the establishment of
ethnographic collections and a broader interest in the world
beyond the West.
Postimpressionism
- Renouncing their predecessors’ infatuation with the fleeting
effects of light, the Postimpressionists explored new pictorial
strategies. - Van Gogh and Gauguin used color not as an atmospheric
envelope but as a tool for personal, symbolic, and visionary
expression. - Seurat and Cézanne reacted against the formlessness
of Impressionism by inventing styles that featured
architectural stability.
Late Nineteenth-Century Thought
- The provocative German thinker Friedrich Wilhelm Nietzsche,
who detected in European materialism a deepening decadence,
called for a revision of traditional values.
•While Nietzsche anticipated the darker side of modernism, Henri
Bergson presented a positive view of life as a vital impulse that
evolved creatively and intuitively.
Poetry in the Late Nineteenth Century: The Symbolists
- Symbolist poets, such as Paul Verlaine and Arthur Rimbaud,
devised a language of sensation that evoked rather than
described feeling. - In Stéphane Mallarmé’s L’après-midi d’un faune, sensuous images
unfold as discontinuous literary fragments.
Music in the Late Nineteenth Century: Debussy
- Symbolist poetry found its counterpart in music. The compositions
of Claude Debussy engage the listener through nuance and
atmosphere. - Inspired by Indonesian music, Wagnerian opera, and Symbolist
poetry, Debussy created a mood of reverie in the shifting
harmonies of his Prelude to “The Afternoon of a Faun.”
Painting in the Late Nineteenth Century
- The Impressionists, led by Monet, were equally representative of
the late nineteenth-century interest in sensation and sensory
experience. These artists tried to record an instantaneous vision
of their world, sacrificing the details of perceived objects in order
to capture the effects of light and atmosphere. - Renoir, Degas, and Pissarro produced informal, painterly
canvases that offer a glimpse into the pleasures of
nineteenth-century urban life. - Two major influences on late nineteenth-century artists were
stop-action photography and Japanese woodblock prints. The
latter, originally popularized as souvenirs, entered Europe along
with Asian trade goods. - In the domestic interiors of Cassatt and the cabarets of
Toulouse-Lautrec, scenes of everyday life show the influence
of Japanese prints.
Art Nouveau
•Originating in Belgium, Art Nouveau(“new art”) was an
ornamental style that became enormously popular in the late
nineteenth century.
CD Two Selection 16 Debussy, Prélude à
“L’après-midi d’un faune,”1894.negative spacethe background or ground area seen
in relation to the shape of the (positive) figure