Here is the synopsis of our sample research paper on Storm Paintings/Neo-classical and Romantic. Have the paper e-mailed to you 24/7/365.
Essay / Research Paper Abstract
A 3 page research paper/essay that discusses two paintings--Jean-Antoine Watteau's The Storm and Eugene Delacroix's The Sea of Galilee--as to which one is the most neo-classical and which represents the romantic period in art history. Bibliography lists 4 sources.
Page Count:
3 pages (~225 words per page)
File: KL9_khwdstorm.rtf
Buy This Term Paper »
Unformatted sample text from the term paper:
ancient Greek and Rome ("Neoclassicism"). The Romantic movement arose in the early eighteenth century as a reaction to the strict boundaries imposed by Neoclassicism ("Romanticism"). Rather than the idealizing the
intellect, Romantic artists focused on the emotions and idealized the imagination, using their art to "glorify nature," as well as to express themselves with "emotion and intuition" ("Romanticism"). The following
examination of two works, Jean-Antoine Watteaus The Storm and Eugene Delacroixs The Sea of Galilee as to how these paintings represent the Neoclassical and Romantic art periods. The Storm
by Watteau (1684-1721) is definitely more Neo-classical than the Romantic painting by Delacroix. However, some art scholars describe this work in terms of the Rococo movement of the early eighteenth
century, rather than relating it to the Neo-classical era. Rococo art was a reaction to the "heavy works" of the Baroque art ("Rococo"). It was characterized by "pastel colors, gracefully
delicate curving forms, fanciful figures and a lighthearted mood" ("Rocco"). An online source identifies Watteau as "one of the first Rococo painters" and that he frequently created "asymmetrical compositions," that
presented pleasing aesthetic balance ("Rococo"). The pale yellows and muted greens of The Storm support this description. The composition is asymmetrical in that the majority of the people and
workers who are hurrying to finish their work and/or reach their destinations before the storm arrives are on the left-hand side of the painting. The tree that is roughly in
the center of work is bent by the coming wind and divides the color palette used in the work, as, to the left, the light is golden, suggesting reflection of
a late afternoon sun, but to the right, the sky is darkening, indicating the approaching storm. Yet, the approaching storm is not presented in an ominous manner, but rather as
...