哥特式建筑的特点
区别一、发源时间不同哥特式建筑发源于十二世纪的法国，持续至十六世纪；巴洛克建筑是17片找初演至18世纪发展起来的。区别二、建筑特色不同 哥费脚创毫区织容航创矛由德式建筑的特色包括尖形拱门、肋状拱顶与飞拱；巴洛克建筑常使用穿插的曲面和椭圆形。哥特式建筑（英语：Gothic architecture），或译作歌德式建筑，是获雨一种兴盛于中世纪高峰与末期的建筑风格。它由罗曼式建筑发展而来，为文艺复兴建筑所继承。巴洛克建筑典型实例有罗马的圣卡罗教堂，是波洛米尼设计的。它的殿堂平面近似橄榄形，周围有一些不规则的小祈祷室；此外还有生活庭院。 扩展资料：命名来源： 巴洛克（Baro乡罗盟和宜指席鸡边热创que）此字源于西班牙语及葡萄牙语的“变形的珍珠”(—barroco)。作为形容词，此字有“俗丽凌乱见”意。欧洲人最初用这个词指“缺乏古典主义均衡特性的作品”，它原是18世纪崇尚古典艺术的人们，对17世纪不同于文艺复兴风格的一个带贬义的称呼，现今这个词已失去了原有的贬义，仅指17世纪风行于欧洲的一种艺术风格。参考资料来源：百度百科——哥特式建筑参考资料来源：百度百科——巴洛克建筑
求~“新古典主义”~美术方面的 英文介绍 急用 2天内~
NEOCLASSICISM
Neoclassicism was a widespread and influential movement in painting and
the other visual arts that began in the 1760s, reached its height in the
1780s and '90s, and lasted until the 1840s and '50s. In painting it
generally took the form of an emphasis on austere linear design in the
depiction of classical themes and subject matter, using archaeologically
correct settings and costumes.
Neoclassicism arose partly as a reaction against the sensuous and
frivolously decorative Rococo style that had dominated European art
from the 1720s on. But an even more profound stimulus was the new and
more scientific interest in classical antiquity that arose in the 18th century.
Neoclassicism was given great impetus by new archaeological
discoveries, particularly the exploration and excavation of the buried
Roman cities of Herculaneum and Pompeii (the excavations of which
began in 1738 and 1748, respectively). And from the second decade of
the 18th century on, a number of influential publications by Bernard de
Montfaucon, Giovanni Battista Piranesi, the Comte de Caylus, and
Robert Wood provided engraved views of Roman monuments and other
antiquities and further quickened interest in the classical past. The new
understanding distilled from these discoveries and publications in turn
enabled European scholars for the first time to discern separate and
distinct chronological periods in Greco-Roman art, and this new sense of
a plurality of ancient styles replaced the older, unqualified veneration of
Roman art and encouraged a dawning interest in purely Greek antiquities.
The German scholar Johann Joachim Winckelmann's writings and
sophisticated theorizings were especially influential in this regard.
Winckelmann saw in Greek sculpture "a noble simplicity and quiet
grandeur" and called for artists to imitate Greek art. He claimed that in
doing so such artists would obtain idealized depictions of natural forms
that had been stripped of all transitory and individualistic aspects, and
their images would thus attain a universal and archetypal significance.
Neoclassicism as manifested in painting was initially not stylistically
distinct from the French Rococo and other styles that had preceded it.
This was partly because, whereas it was possible for architecture and
sculpture to be modeled on prototypes in these media that had actually
survived from classical antiquity, those few classical paintings that had
survived were minor or merely ornamental works–until, that is, the
discoveries made at Herculaneum and Pompeii. The earliest Neoclassical
painters were Joseph-Marie Vien, Anton Raphael Mengs, Pompeo
Batoni, Angelica Kauffmann, and Gavin Hamilton; these artists were
active during the 1750s, '60s, and '70s. Each of these painters, though
they may have used poses and figural arrangements from ancient
sculptures and vase paintings, was strongly influenced by preceding
stylistic trends. An important early Neoclassical work such as Mengs's
"Parnassus" (1761; Villa Albani, Rome) owes much of its inspiration to
17th-century classicism and to Raphael for both the poses of its figures
and its general composition. Many of the early paintings of the
Neoclassical artist Benjamin West derive their compositions from works
by Nicolas Poussin, and Kauffmann's sentimental subjects dressed in
antique garb are basically Rococo in their softened, decorative prettiness.
Mengs's close association with Winckelmann led to his being influenced
by the ideal beauty that the latter so ardently expounded, but the church
and palace ceilings decorated by Mengs owe more to existing Italian
Baroque traditions than to anything Greek or Roman.
"Oath of the Horatii," oil
painting by
Jacques-Louis David,
1784; in the Louvre, Paris
/Art Resource, NY
"The Death of Marat,"
oil painting by
Jacques-Louis David,
1793; in the Musées
Royaux des. . .
/Art Resource, NY
A more rigorously Neoclassical painting style arose in France in the
1780s under the leadership of Jacques-Louis David. He and his
contemporary Jean-François-Pierre Peyron were interested in narrative
painting rather than the ideal grace that fascinated Mengs. Just before and
during the French Revolution, these and other painters adopted stirring
moral subject matter from Roman history and celebrated the values of
simplicity, austerity, heroism, and stoic virtue that were traditionally
associated with the Roman Republic, thus drawing parallels between that
time and the contemporary struggle for liberty in France. David's history
paintings of the "Oath of the Horatii" (1784; Louvre, Paris [see
photograph]) and "Lictors Bringing to Brutus the Bodies of His Sons"
(1789; Louvre) display a gravity and decorum deriving from classical
tragedy, a certain rhetorical quality of gesture, and patterns of drapery
influenced by ancient sculpture. To some extent these elements were
anticipated by British and American artists such as Hamilton and West,
but in David's works the dramatic confrontations of the figures are
starker and in clearer profile on the same plane, the setting is more
monumental, and the diagonal compositional movements, large groupings
of figures, and turbulent draperies of the Baroque have been almost
entirely repudiated (see photograph). This style was ruthlessly austere
and uncompromising, and it is not surprising that it came to be associated
with the French Revolution (in which David actively participated).
Neoclassicism as generally manifested in European painting by the 1790s
emphasized the qualities of outline and linear design over those of colour,
atmosphere, and effects of light. Widely disseminated engravings of
classical sculptures and Greek vase paintings helped determine this bias,
which is clearly seen in the outline illustrations made by the British
sculptor John Flaxman in the 1790s for editions of the works of Homer,
Aeschylus, and Dante. These illustrations are notable for their drastic and
powerful simplification of the human body, their denial of pictorial space,
and their minimal stage setting. This austere linearity when depicting the
human form was adopted by many other British figural artists, including
the Swiss-born Henry Fuseli and William Blake, among others.
Neoclassical painters attached great importance to depicting the
costumes, settings, and details of their classical subject matter with as
much historical accuracy as possible. This worked well enough when
illustrating an incident found in the pages of Homer, but it raised the
question of whether a modern hero or famous person should be
portrayed in classical or contemporary dress. This issue was never
satisfactorily resolved, except perhaps in David's brilliantly evocative
portraits of sitters wearing the then-fashionable antique garb, as in his
"Portrait of Madame Récamier" (1800; Louvre).
Classical history and mythology provided a large part of the subject
matter of Neoclassical works. The poetry of Homer, Virgil, and Ovid,
the plays of Aeschylus, Sophocles, and Euripides, and history recorded
by Pliny, Plutarch, Tacitus, and Livy provided the bulk of classical
sources, but the most important single source was Homer. To this general
literary emphasis was added a growing interest in medieval sources, such
as the pseudo-Celtic poetry of Ossian, as well as incidents from medieval
history, the works of Dante, and an admiration for medieval art itself in
the persons of Giotto, Fra Angelico, and others. Indeed, the
Neoclassicists differed strikingly from their academic predecessors in
their admiration of Gothic and Quattrocento art in general, and they
contributed notably to the positive reevaluation of such art. (see also
Index: classical literature)
Finally, it should be noted that Neoclassicism coexisted throughout much
of its later development with the seemingly obverse and opposite
tendency of Romanticism. But far from being distinct and separate, these
two styles intermingled with each other in complex ways; many ostensibly
Neoclassical paintings show Romantic tendencies, and vice versa. This
contradictory situation is strikingly evident in the works of the last great
Neoclassical painter, Jean-Auguste-Dominique Ingres, who painted
sensuous Romantic female nudes while also turning out precisely linear
and rather lifeless historical paintings in the approved Neoclassical mode
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