Eclectic Painting in the Nineteenth Century (An Analytical Study of Some Paintings Models) | ||
| Journal of Design Sciences and Applied Arts | ||
| Article 21, Volume 2, Issue 2, June 2021, Pages 250-259 PDF (1.83 M) | ||
| Document Type: Original Article | ||
| DOI: 10.21608/jdsaa.2021.54096.1091 | ||
| Authors | ||
| Mahitab El Shafie* 1; Dalia El Sharkawy2; Dowa khaled Hattem1 | ||
| 1decoration department- faculty of applied arts- helwan university- Egypt | ||
| 2Faculty of Applied Arts ,Helwan University, Cairo, Egypt | ||
| Abstract | ||
| ABSTRACT: The Academic tendency in Europe since the sixteenth century in the field of painting and sculpture has been based on eclectic thought, that is, the synthesis of the characteristics of the previous (Italian Renaissance) * teacher’s styles, those features that contrasted with the convergence of classical idealism. With the beginning of the nineteenth century and the growth of nationalism in Europe at the time, selectivity can be spoken of as a separate trend with its constituents. Eclecticism was the prevailing style in Le Beaux Art in France, which produced eclectic artists distinguished in a different artistic and intellectual style, such as Paul Delaroche, Thomas Couture, Paul Boudrey, and the Italian artist Tintoretto. The methods in the application of selective thought have varied, from ancient times to the present day, between transmission, quotation, mixing and hybridization between the selected elements of different architectural styles, or the artistic methods of the Renaissance teachers in the field of paintings, or quoting from the above in templates Contemporary under the name of Revival thought, and modern arts. | ||
| Keywords | ||
| Eclecticism; eclectic Painting; Le Beaux Art school; Renaissance | ||
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