Roku HD1000 Supplementary Manual page 6

A B o u t t h e a r t i s t s
Sandro Botticelli Joannes Busschaert
Italian, 1444–1510 Flemish, c.1610–?
Early Renaissance Northern Renaissance
Botticelli lived in Florence during Little is known of Busschaert aside
the Medici rule. His work is remark- from the fact that he was born in
able for its three-dimensional per- Flanders in 1610. Even the date of his
spective, prefiguring the work of death is lost to history.
Leonardo and Michelangelo.
Gustave Caillebotte
Pieter Bruegel I (the Elder) French, 1848–1894 Impressionism
Flemish, c.1525 –1569 Caillebotte was a generous patron of
Northern Renaissance the Impressionists. His own oeuvre,
Bruegel refused to adopt the idealized roughly 500 pieces painted in a more
Italian Renaissance style of portraiture realistic style, was largely overlooked
— incurring the scorn of higher art until recently.
circles even after his death. Only in
Paul Cézanne
the twentieth century was he redis-
French, 1839–1906
covered as one of the masters.
Post-Impressionism
Pieter Bruegel II (the Younger) Cézanne pioneered a unique style,
Flemish, c.1564–1638 using flat brush strokes and a bold
Northern Renaissance color palette that prefigured Cubism
The son of Pieter Bruegel I and broth- and other modern art movements.
er of Jan Bruegel I painted the ordi-
Leonardo da Vinci
nary lives of villagers in scenes of
Italian; 1452–1519
large scope and great detail.
High Renaissance
Jan Bruegel I (the Elder) A consummate master in many fields
Flemish, 1568–1625 — painting, drawing, scientific discov-
Northern Renaissance ery and invention — Leonardo
The second son of Pieter Bruegel I, Jan brought an unprecedented level of
Bruegel carried on the family tradition realism to art, especially in depictions
of painting village life. His son Jan of the human body.
established the family's third genera-
tion of master painters.
8 Roku Gallery Collection
Jacques-Louis David
French, 1748–1825 Neoclassicism
First painter to Napoleon, David was
interested in historical subject matter
as well as key contemporary figures.
His work, much of which was com-
pleted during the French Revolution,
conveyed strongly nationalistic
themes such as virtue and patriotism.
Edgar Degas
French, 1834–1917 Impressionism
Degas's fluid style of painting was
ideal for capturing the grace, beauty
and drama of the ballet. He rejected
pure Impressionism, carefully staging
his subjects and focusing on human
movement rather than the effects of
light and color.
Eugène Delacroix
French, 1798–1863 Romanticism
Delacroix's Orientalism incorporated
vivid colors and a realistic style to
depict exotic people and settings.
Liberty suggests a feeling of solidarity
with the spirit of the July Revolution
and the French Revolution in 1789.
Paul Gauguin Edouard Manet
French, 1848–1903 French, 1832–1883
Post-Impressionism Realism/Impressionism
Though influenced by Impres- Manet's frank, confrontational nudes
sionism, Gauguin used flat, vivid scandalized French society at a time
areas of color rather than small brush when only idealized nudes were
strokes to infuse his work with a acceptable. His paintings drew heavi-
heightened reality. In 1891 he moved ly from classic works, but he made no
to Tahiti, where he painted his most effort to reveal these references —
significant works. with the result that he was consid-
ered incompetent, and his paintings,
Winslow Homer
indecent.
American, 1836–1910 Realism
Homer took a more personal, mod- Michelangelo Buonarroti
ern approach to his subjects than Italian, 1475–1564
other painters of the time. Asked to High Renaissance
briefly describe one of his works, he Michelangelo is known for his mas-
said,"I regret very much that I have tery of perspective and proportion in
painted a picture that requires any a wide range of media. His most
description." famous works include The Creation of
Adam, a detail from his ceiling fres-
Jean-Auguste-Dominique Ingres
coes for the Sistine Chapel, and his
French, 1780–1867 Neoclassicism
iconic David in Florence. He also
Ingres painted members of the
played a major role in the construc-
upper class with photographic real-
tion of St. Peter's Basilica.
ism and a strong attention to detail.
His ability to capture the psychologi- Amedeo Modigliani
cal aspects of his subjects was Italian, 1884–1920 Expressionism
unusual for a painter of his era. Modigliani came from a bourgeois
Italian Jewish family but moved to
Gustav Klimt
Paris in 1906. His first solo exhibition
Austrian, 1862–1918 Art Nouveau
in 1917 caused a scandal because of
Klimt was recognized as a gifted
its provocative nude subjects. His
artist at the tender age of 14. His
work captures precise human
works use symbolism inspired by
expressions using only the most
Greek and Byzantine art, as well as
essential lines, such as the drawn-out
gold embellishments reminiscent of
face typical of many of his portraits.
his father's work as an engraver.
Claude Monet
French, 1840–1926 Impressionism
At the turn of the twentieth century,
Monet led the trend from figuration
to abstraction. He studied the effect
of light and color abstracted from
form in his garden at Giverny, built
expressly for that purpose. His series
of water lilies represent the apotheo-
sis of his signature style of loosely
defined color swatches.
Pablo Picasso
Spanish, 1881–1973 Cubism
Picasso once said,"We all know that
Art is not truth. Art is a lie that makes
us realize the truth, at least the truth
that is given to us to understand." His
style surpassed the limitations of
realism, showing a subject from mul-
tiple perspectives simultaneously.
Raffaelo Sanzio (Raphael)
Italian, 1483–1520
High Renaissance
Raphael's artistic education in
Florence under da Vinci and
Michelangelo, combined with his
immense talent, enabled him to cre-
ate The School of Athens — a tribute
to the heroic role of the philosopher
in society, as well as the rediscovery
of Classical thought. Leonardo and
Michelangelo appear in the painting
as Plato and Heraclitus, respectively.
The Classics 9