American Realism - Twentieth-Century Drawings and by Alvin Martin

By Alvin Martin

Booklet through Alvin Martin

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Illinois Landscape No. 41. 1982. 0) left: 15. Series II cused mostly on the realistic end of the scale of visual choices, but it should be recalled that the opposite end was also admired. , a sophisticated Roman was capable of appreciating a realistic contemporary portrait sculpture, an illusionistic wall painting, or any number of antigue examples from all periods of Greek art. In terms of its realism, Classical art began with the inguiring eyes of the artists of the late Archaic period and ended with the matter-of-fact empiricism of Roman portraiture.

Masaccio, Donatello, Fra Angelico, Fra Filippo Lippi, and others, experimented with perspective theory in relation to In Italy, large-scale wall paintings were often commis- sioned, but in northern Europe in the fifteenth century, the realism most widely patronized works were cism illustrated books and manuscripts or relatively intimate panels serving as — idealized through comprehension — to lay the groundwork for a new By the end altar- pieces or retables. Working on this small scale and in great work gave the Burgundian and Netherlandish artists a meticulously trained hand and eye.

In a few moments a photographer could capture a faithful image in all its detail. Therefore, the artist should involve himself purely with interpretation. The desire to be free of the past combined with liberation from it of painting emulation propelled modernist from imitation art and ultimately tation, to invention, to interpre- to the creation of nonrep- resentational abstract forms. If Theophil Groell. Rocks and Trees. 1982. 0) 40. Courbet established the modernist imperative avant-garde, his younger colleague Edouard Manet of the consoli- dated and further developed the doctrine.

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