| rttagtype | | | | renaissance owing to the fact that at that time, |
| tags" name="PlaceName" downloadurl=" | | | | geniuses were universal in nature and some of them |
| Introduction | | | | included Da Vinci. In fact, the late nineteenth century |
| Artists in the late nineteenth century challenged | | | | artist felt so tortured that they opted to abandon |
| status quo while those ones in the Renaissance | | | | their respective countries of origin and instead opted |
| period either lived by it or made mild attempts at | | | | to go to other parts of the world. Usually, they |
| speaking out. This major difference was as a result | | | | settled on countries that contravened western ideals |
| of the social, economic, political and cultural changes | | | | altogether. Usually, such artists were trying to protest |
| that societies underwent during these different art | | | | against the concept of capitalism. Gauguin — a |
| periods. However, because of the nature of art, | | | | nineteenth century artist decided to go to Tahiti. It |
| there were still certain commonalities between these | | | | can therefore be said that this rejection of western |
| eras | | | | ideals further contributes to the notion that |
| Similarities between artists and society in the | | | | nineteenth century artists challenged status quo. |
| nineteenth Century and in the Reformation period | | | | During the reformation, artists rarely displayed their |
| During both eras, most artists were male. In both | | | | work for their public as art was not considered a |
| periods of history, female emancipation was a | | | | commercial issue. On the other hand, public viewings |
| concept that society had not yet embraced. While | | | | were often quite common in the late nineteenth |
| the late nineteenth century may have been | | | | century. Artists at that time rejected the notion of |
| characterized by a number of advances made by | | | | art exhibitions being run by the government and the |
| women; these were largely in other fields and more | | | | instead opted to run their own show. Again, this |
| was yet to be done in the field of art. In fact, in | | | | showed how artists in the nineteenth century were |
| both eras, women were often regarded as the | | | | independent minded and also how they were not |
| subjects of art and not the creators of those | | | | afraid of challenging the status quo. (Kloss, 2007) |
| subjects. This is why it was often common to find | | | | The styles used by artists in both eras differed |
| their depictions in both times. (Burke, 1999) | | | | sharply. During the reformation era, artist tended to |
| In both time frames, artists largely represented the | | | | dwell on the new mathematical perspectives that had |
| views held by society. In this regard, they were | | | | just been discovered. This was the reason why most |
| affected by the advancements in science or | | | | of their work fell under the latter categories; |
| technology synonymous to their times. Additionally, | | | | -Landscapes |
| they embraced societal attitudes in their art forms. It | | | | -Portraits |
| should be noted that these attitudes were quite | | | | Additionally, at this time woodcuts became very |
| different in both eras but this does not change the | | | | common because technology had just emerged. In |
| fact that they were reflected by artists in their work. | | | | contrast, artist in the late nineteenth century tended |
| In close relation to the latter factor is the fact that | | | | to embrace new dimensions of art. Examples of |
| artists and art in general held a special place in society | | | | traditional but distinct styles include; Impressionism |
| within the nineteenth century and the renaissance. | | | | and Pointillism. Impressionism required that the artist |
| Art was an important indicator of the | | | | involved leave the confines of their art studios and |
| transformations that those societies were undergoing | | | | go to the outdoors to capture the beauty of the |
| and most people sought art as a method of self | | | | outdoors. Usually, it was common to find urban |
| expression. | | | | scenes and rural landscapes being painted by such |
| Portraiture was an element common to both periods | | | | artists. On the other hand, different genres of art |
| of history as one only has to examine examples | | | | began emerging that defied traditional understanding |
| from different parts of the divide to find out about | | | | of art and these were brought on by the industrial |
| why this statement is true. It is common to find | | | | movement. Some of them included; |
| representations of these portraits by citing common | | | | -Photography |
| examples from either side of history. (Lopez, 1970) | | | | -Cinema |
| Artists in both eras of history were instrumental in | | | | Artists in both eras were undergoing different phases |
| promoting images that built identity in society. During | | | | and such differences were depicted in their art |
| the late nineteenth century this was depicted in the | | | | pieces. During the late nineteenth century, it was the |
| development of the spirit of nationalism through | | | | industrial revolution while during the renaissance it was |
| demonstration of images that reflected those ideas. | | | | the advancement of mathematics and other sciences. |
| Also, in the reformation era, artists promoted the | | | | This was largely the reason why artists within the |
| spirit of humanism. The reason behind this endearing | | | | renaissance tended to adopt styles that reflected |
| element to their work is that renaissance artists | | | | newly discovered mathematical perspectives. In other |
| brought out the real human spirit. The latter tradition | | | | words, the representation of three dimensional |
| was pioneered in that era and is one of the most | | | | objects became much more refined. On the other |
| sought after qualities in modern art. That concept | | | | hand, art in the later nineteenth century depicted |
| was carried forward into the late nineteenth century. | | | | some of the historical occurrences within that era. |
| Differences between the renaissance and the | | | | The industrial revolution brought with it advancement |
| reformation | | | | of cities and creation of other kinds of infrastructure |
| Art was made and commercialized very differently | | | | that were reflective of that century. For instance, |
| during the nineteenth century as compared to the | | | | artists were drawn to newly developed cities and |
| reformation. In the reformation, most artists had | | | | tended to show this in their pieces. For instance, |
| patrons in high places hence the reason why being an | | | | there was a lot of work on the Napoleonic era in |
| artist was considered an affluent thing. In fact, they | | | | Paris and the renovations that occurred thereof. |
| tended to have connections to persons who | | | | (Nochlin, 1978) Additionally, infrastructure such as |
| mattered in society. For instance, they were often | | | | bridges and other urban structures were also a |
| acquainted with kings or princes who also happened | | | | common sight. It can therefore be argued that the |
| to be their patrons. (Cronin, 1992) On the other hand, | | | | images depicted in art pieces from each era were |
| artists in the nineteenth century era were quite | | | | reflective of the economical background existent at |
| independent. This period in history saw a marked | | | | that time. Another element that also reflected the |
| increase in commercialization of art where different | | | | industrial revolution was leisure activities synonymous |
| individuals could make their own paintings and then | | | | to the upper and the middle class. These new leisure |
| sell them independently. In certain instances, these | | | | activities had been propagated by the economic |
| independent efforts would succeed. However, in | | | | benefits of the industrial revolution. At that time, |
| other scenarios, it would be common to find that a | | | | picnics in the parks had become a common |
| society is well aware of an artist but that artist may | | | | occurrence. Additionally, attendance of other social |
| still be struggling. This period saw the treatment of | | | | activities such as; |
| artists as marginalized members of society; | | | | · race tracks |
| something that was in stark contrasts to the wealthy | | | | · cafes |
| and important artists in the reformation. | | | | · races |
| Another issue that made nineteenth century quite | | | | · dance hallswere also common. Additionally, other |
| different for their counterparts in the reformation era | | | | minor features that indicated exactly how |
| is the fact that in the latter period, artists tended to | | | | technologically advanced the late nineteenth century |
| dwell on neo-Platonist ideas. Usually, the content of | | | | was from the renaissance as a result of the industrial |
| their art was still religious in nature. In other words, | | | | revolution. For instance, paintings in the renaissance |
| their paintings and other artistic works were not as | | | | tended to contain indoor lighting thus implying that |
| rooted in common day occurrences as was the case | | | | more and more people were now using light bulbs. |
| in the nineteenth century. During the late nineteenth | | | | The concept of rejecting status quo was continually |
| century, there was a great emphasis on real life and | | | | depicted in late nineteenth century art as compared |
| examples of pieces of art that reflected such | | | | to art in the reformation period. This was mostly |
| sentiments included; art by Jean François Millet and | | | | because in the renaissance, the subject of their art |
| Gioto. These artists took on a political agenda by | | | | pieces centered on heroes, political figures and the |
| challenging the status quo. Their pieces were often | | | | like. However, in the late nineteenth century, most |
| very controversial ones and this implies that through | | | | artists wanted to defy these common ideals. Instead, |
| their paintings. | | | | they went for the lives of the urban poor and the |
| Late 19th Century artists managed to show the | | | | rural poor too. In these paintings, they reflected the |
| stark realities of poverty in the rural areas. In fact, | | | | themes of class oppression and economic inequalities. |
| this showed that artists within this period were | | | | The late nineteenth century was characterized by |
| operating in a manner that opposed societal ideals. | | | | another movement known as realism. Its essentially |
| (Tinterow, 1987) | | | | sought to convey messages of an objective and |
| Some of the works that 19th Century artists carried | | | | truthful image of contemporary life. (Finocchio, 2004) |
| out were treated negatively by other individuals who | | | | While some elements of realism were present in the |
| labeled them as political threats that hated authority. | | | | renaissance era, this movement thrived more in the |
| In these paintings, the latter artists were often trying | | | | current scenario than in the late nineteenth century. |
| to depict native people who were showing the | | | | Some of the artists who stuck in this movement had |
| dignity of work. Consequently, their critics claimed | | | | grown weary of the extremism present in the |
| that instead of dwelling on the people who lead | | | | romantic era and they felt a need to change this a |
| society, these artists were focusing on the persons | | | | little more. Consequently, artists in the late nineteenth |
| being led. They also claimed that they were trying to | | | | century tended to draw more inspiration from direct |
| despise authority by under-looking the role that they | | | | observations of day to day occurrences compared |
| had played in making society what it was currently. | | | | to their counterparts in the renaissance era. These |
| Some said that common paintings were an ironic | | | | artists were revolutionary in their own way because |
| depiction of life in society as people knew it. This | | | | they were responsible for elevating ordinary working |
| was because industrialized nations were incapable of | | | | class citizens into art and literature. This changed their |
| freeing people from some of the unpleasant tasks | | | | status from being members of a mass group to |
| that the ordinary man under took. In fact, other 19th | | | | becoming individuals in their own right. The following |
| C art critics felt that artists attempting this form of | | | | were some of the agenda that artists within this era |
| art were engaging in crude art forms. This was | | | | sought to address |
| because one had to borrow some idealist styles and | | | | · Economic change |
| use them to depict ordinary day to day activities. | | | | · Political repression |
| The technique seemed to confuse critics owing to | | | | · Addressing problems of the poor |
| the fact that it was responsible for violating | | | | This era was therefore more political in that artists |
| conventional rules. Additionally, it challenged what | | | | had an inclination to develop ideological focus through |
| society had accepted as the norm because of the | | | | encompassing socialist interest. The renaissance era |
| following; | | | | on the other dwelt on religious and social topics alone. |
| -It Challenged gender role | | | | Conclusion |
| -Challenged class distinctions | | | | Artists in the late nineteenth century related distinctly |
| -Challenged rules of art (Raffini, 1998) | | | | from their societies compared to their counterparts in |
| These artists were rebellious and changed the face | | | | the renaissance. The major difference was seen in |
| of art as people understood it at that time since | | | | the way that the former artists addressed sensitive |
| they attempted at all costs to show the down side | | | | issues such as class oppression. However, this era |
| of society’s rules or to show other ways in | | | | was similar with regard to art and society because in |
| which things could be re-examined. In sharp contrast | | | | both times, artists reflected the attitudes and |
| to this assertion was work done by artists within the | | | | knowledge of their time. |
| Renaissance periods. These painters were in tune | | | | References |
| with societal rules and tended to produce pieces that | | | | Lopez, R. (1970): The three ages of the Italian |
| reflected those perceptions. | | | | Renaissance; Virginia University Press |
| It should be noted that the understanding of genius | | | | Raffini, C. (1998): Political approaches in renaissance |
| changed sharply during this eras and that the | | | | Platonism; Peter Lang Publishing |
| understandings were also carried forward into art. | | | | Cronin, V. (1992): The flowering of the renaissance; |
| This was largely because in the late nineteenth | | | | Mc Milan Publishers |
| century, geniuses were treated as individuals who | | | | Burke, P. (1999): the Italian Renaissance; Princeton |
| were deeply marginalized and tortured as was the | | | | University press |
| case with Vab Gogh. The latter artist tended to | | | | Kloss, W. (2007): Great Artists of the renaissance; |
| struggle with his own emotions and this idea became | | | | Smithsonian institution, 12, 3, 49 |
| common among other artists who changed the | | | | Nochlin, L. (1978): realism; Penguin Publishers |
| perception of what a genius really was. Such | | | | Tinterow, G. |
| perceptions sharply contrasted those ones held in the | | | | |