Name: Shadab

The question is precisely right for the elaborate answer of this question, because without the massive
changes occured in the 19th century, development of art would've been not get developed at the pace
and to the extent it does now. It was the 19th century when Europe going through historic changes such
as, fall of the Spanish rule in its' colonies and fall of the holy Roman empire or the western Roman
empire. These two empires had profound influences on the art, because of social, cultural, political
association that Europe had with its' colonies and partners in and outside of Europe.

The emergence of science as a profession and two enormous Industrial Revolutions, which established
the time as the Age of the Machine, brought about significant social change and urbanization,
influencing all spheres of society and enhancing nearly every aspect of daily life. The same was true of
19th-century art, particularly painting. The move from historical "Old Masters" style paintings to the
emergence of Modernity over the span of a century was profound.

It wasn't until the 19th century that painters really began to produce works of their own accord,
exploring new and personal areas of interest, as opposed to previously being commissioned to do so on
behalf of a client or organisation.

New developments in transportation, particularly train travel, facilitated cross-border communication

and facilitated the rapid dissemination of new ideas and creative influences throughout Europe. As a
result, numerous inventive and unique art movements and styles emerged during the 19th century.
Some of these movements were brief and only thrived in a few localised areas, while others were
widespread and had a significant impact on the development of art. In order to demonstrate how
artistic liberties changed between 1800 and 1900, this blog just looks at a handful of the most significant
movements and styles of the time.

Let's discuss these art movements ans style of those days.

1. Neoclassicism.

Neoclassicism was the preeminent painting movement in Europe in 1800, during the beginning of the
19th Century. The ornamental style that included architecture, sculpture, and the decorative arts was
part of a greater decorative trend that emerged in the 18th century.
After the ancient Italian cities of Herculaneum and Pompeii were discovered in the middle of the 18th
century, neoclassicism gained popularity.

characteristics of neoclassical art.

Neoclassical paintings used themes from Classical antiquity or depicted modern or freshly created
compositions in a Classicized manner.

Topics were taken from or inspired by the Epic, which were poems and stories written in ancient Greece
and Rome. Homer, a Greek author of the Iliad and Odyssey, is a prime example. Because the art of
drawing was typically highly valued by artists in the Neoclassical style, the surface of Neoclassical
paintings was completely smooth and devoid of any brushstrokes. Figures in the paintings could be
easily distinguished from shadow and were, as is typical, well-lit. Paintings' shadows never obscured or
perplexed any of the composition's features, and the observer always knew where the paintings' focus
points were.

History painting, a genre that spanned several styles but depended on historical subject matter, is
typically referred to as neoclassical painting. History painting has been regarded as one of the most
significant genres in the established hierarchy of genres that artists have been required to adhere to
since the founding of the Royal Academy in the 17th Century.

Romanticism

Beginning in Britain in the middle of the 18th century, Romanticism, like Neoclassicism, was a
component of a larger aesthetic movement that included embraced writing, architecture, and sculpture.

The trend didn't arrive in continental Europe until around 1820, when it coexisted with Neoclassicism
until the middle of the 19th century, when both finally lost ground to or evolved into other styles.

characteristics of the romanticism

While the subject matter covered by Romantic art was very diverse, it favoured emotive portrayals,
deeply depressing and heroic themes. Romantic paintings were not all alike in terms of aesthetics. Since
the mood and the emotion were what mattered most in this style—hence its name, Romanticism—they
can actually seem quite different from one another.

Paintings were characterised by striking contrasts of light and shade and powerful, linear lines. Although
this is not true of all Romantic paintings, many of them have a sketchy, grainy aspect and a certain
softness about them. Romantic paintings in England, where the movement had its roots in the 18th
century, showed a variety of topics, including man's relationship to God and his role in the universe, as
well as history painting, but in a Romantic manner. Paintings of landscapes and seascapes were also
quite popular.

Paintings exalted the fear, heroism, or tragedy of events as Romanticism later modified and expanded to
embrace the contemporary in France. Even though the style and intent clearly differ, it is possible to
detect the Neoclassical's effect on French Romantic painting.

Realism

Following the French Revolution of 1848, realism, also known as naturalism, developed in France in the
1850s. Realism was most closely linked with France and French painters, while it also flourished in many
other European nations, particularly in Russia.

The word "realism" does not suggest that a work need look realistic in order to be the antithesis of
abstraction. Nearly all artworks up until this point attempted to show the composition in a "realistic"
manner. Realism, in contrast to Neoclassical history paintings and Romanticism, which elevated subjects
to monumental importance, was more focused in the realism of the subject matter. Commoners and
regular people were the subjects that interested realism.

characteristics of realism

Realist paintings showed images from everyday life in an effort to appeal to a wider audience rather
than only the wealthiest members of society.
Idealized, sentimental, and dramatic content was entirely ignored in favour of realistically rendered
images of encounters and situations that did not downplay the unpleasant sides of life.

Realism celebrated people from all walks of life, especially those from the working class, with lifelike
representations within of logical, straightforward compositions.

Question 2: I'm going to differentiate between painting patato eaters from impressionism era, which
were the topic of my presentation, and Saturn devouring his son from romanticism era. The painting
patato eaters was a contrary kind of artwork from van Gogh, because it was not in line with vein of van
Gogh. The patato eaters depict the stark reality of the society that has been overlooked by almost
everyone. Whereas, Saturn devouring his son concern this painting was fundamentally based on
mythology and in the visual sense had no relation with the reality. Though, the painting profoundly
based and influenced by the reality in the sense of its' definition. The Potato Eaters was intended as a
showcase for Van Gogh's abilities as a figure painter, therefore he purposefully chose a challenging
composition. He gave the peasants rugged cheeks and bony, labor-intensive hands because the painting
had to capture the hard reality of farm life. By doing this, he hoped to demonstrate that they "had
honestly earned their meal" because they "have tilled the ground themselves with these hands they are
putting in the dish. He used earth tones to paint the five figures, "something like the colour of a really
dusty potato, of course unpeeled." Van Gogh placed greater value on the painting's message than its
accurate depiction of human anatomy or technical brilliance. He was very happy with the outcome,
although his painting received a lot of criticism due of the figures' errors and the picture's gloomy
colours. One of Van Gogh's most well-known pieces today is The Potato Eaters.

The gruesome painting shows the imposing figure of Saturn emerging from the darkness. His mad-like
eyes are bulging from his face as he prepares to take a bite as his fingers dig into his child. The corpse is
motionless and lifeless, his head and arm have been already been consumed. Only the flesh and blood
of the mutilated corpse have colour in the darkened scene, which represents Saturn's fear of being
usurped by one of his children. The disturbing portrait was likely influenced by Peter Paul Rubens'
Saturn Devouring His Son, a Baroque-style painting created in 1636. The Black Paintings, or Pinturas
Negras, are a series of fourteen works painted by Goya at his villa outside Madrid. They were created
during the artist's later years, likely between 1819 and 1823

The terrifying picture depicts Saturn's enormous form emerging from the shadows. As he prepares to
bite into his child, his bulging, maddening eyes protrude from his face. The body is lifeless and immobile,
and his head and arm have already been eaten. The tableau is black, representing Saturn's fear of being
usurped by one of his children; only the flesh and blood of the dismembered corpse has colour. The
frightening portrait was probably motivated by Peter Paul Rubens' 1636 Baroque work Saturn Devouring
His Son. Goya created a group of fourteen paintings known as The Black Paintings, or Pinturas Negras, at
his house outside of Madrid. They were produced in the late years of the artist's life. The intense
paintings often depict haunting images and distressing themes. They reflect Goya's fear of insanity and
his dreary view of humanity during a time when conflict such as the Napoleonic Wars created significant
social and political turmoil and change in Spain. Goya's pessimistic attitude towards humanity reflect his
own the fear and experience during conflict as well as his fear of relapsing following two serious
illnesses. Saturn Devouring His Son was painted in the artist's dining room at Quinta del Sordo (Deaf
Man's Villa). The villa was named for its previous owner, who was deaf. Goya moved to the villa outside
of Madrid in 1819 when the artist himself suffered from hearing loss. His hearing loss was caused by an
unknown illness when he was 46, leaving him almost completely deaf.

The dramatic paintings frequently feature unsettling themes and ominous imagery. They depict Goya's
fear of madness and his pessimistic perspective on humanity at a time when tremendous social and
political upheaval and change occurred in Spain as a result of wars like the Napoleonic Wars. Goya's
negative views on humanity are a reflection of his personal anxiety during times of war as well as his
worry of relapsing after suffering from two major illnesses. In the dining room of Quinta del Sordo (Deaf
Man's Villa), the artist painted Saturn Devouring His Son. The deaf previous owner of the mansion
inspired the villa's moniker. When Goya developed hearing loss himself in 1819, he relocated to the
home outside of Madrid. When he was younger, an unidentified ailment led to his hearing loss.

The original Greek myth would actually describe about how each son would be swallowed whole, still
being alive by the time they reached Saturn's stomach. The artist here clearly chooses to amend the
original story in order to increase the level of shock experienced by the viewer. Here, the son is
essentially being chewed to death and this allows a more graphic image to be delivered. It is perhaps
this change that helps to make this painting so well known and memorable, even within his respected
Black Paintings series. Rubens' version from 1639 would also increase the drama as compared to the
original content. In his version, Saturn apepars to be literally sucking out the heart of his victim, which is
something incredibly disturbing when witnessed amidst the realistic forms created by these two
masters. The Baroque movement was fundamentally about drama and excitement, with Goya then
appending his own dark shadow upon proceedings with his work from 1636.

Each son would be devoured whole and still alive when they reached Saturn's stomach, according to the
original Greek tale. In this case, it is obvious that the artist changed the original narrative in order to
shock the viewer more. Here, the boy is essentially being chewed to death, which enables the delivery of
a more graphic image. Even within his renowned Black Paintings series, this alteration may be part of
what makes this work so recognisable and memorable. In comparison to the original content, Rubens'
version from 1639 would have more drama. In his interpretation, Saturn appears to be literally sucking
the victim's heart out, which is extremely unsettling.