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High Gothic (1140-1350)
Late Gothic (1340-1450)
Early Renaissance (1420-1503)
High Renaissance (1490-1550)
Renaissance-Mannerism (1530-1610)
Baroque-Mannerism (1600-1670)
Classic Baroque (1640-1715)
High Baroque (1680-1750)
Rococo (1715-1789)
Classicism (1750-1815)
Classical Romantic (1789-1848)
High Romantic (1815-1890)
Late Romantic (1848-1914)
Romantic Realism (1848-1939)
Impressionism (1870-1929)
Post-Impressionism (1880-1980)
Avant-Garde (1880-1960)
Expressionism (1890-)
Neo-Classicism (1890-1969)
Abstraction (1910-)
Surrealism (1914-)
Romantic Revival (1918-1969)
Social Realism (1929-)
Post Modernism (1945-)

Notes on the Archetypes
(and Special Note on 3 Historical Uses of the Term 'Neo-classical')

Notes on Definition of Fine Arts

NEWMAN, C.A.   (1986).  Archetypes in the arts: a synoptic historical survey of western artistic movements from the 12th century to the present day across all artforms by cluster analysis of their principal exponents.  Includes a comparison of romantic and classical definitions of fine arts, and a discussion of the three historical uses of the term 'neo-classicism'.  St.John's Catholic Secondary College, Doveton, Victoria [Art Department: Class & Curriculum Notes/ Unit 1: Introduction to Aesthetics & Western Art Studies].

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	High Gothic  (1140-1350)	Late Gothic  (1340-1450)
p sc arch lit poet phil  mus	GIOTTO SCH OF NOTRE DAME SUGER (FRANCE) NIBELUNG CYCLE DANTE AQUINAS, R.BACON ALFONSO EL SABIO, DE MACHAUT	VAN EYCK GHIBERTI SCH OF VENICE CHAUCER BOCCACCIO PETRARCH DUNSTABLE, DUFAY
.
	Early Renaissance (1420-1503)	High Renaissance (1490-1550)
p sc arch lit poet phil  mus	BOTTICELLI DONATELLO BRUNELLESCHI, ALBERTI MALORY VILLON FICINO OBRECHT, JOSQUIN	DA VINCI, RAPHAEL MICHELANGELO LESCOT, MICHELANGELO RABELAIS AROISTO ERASMUS, MORE, LUTHER SUSATO, CREQUILLON
.
	Renaissance-Mannerism (1530-1610)	Baroque-Mannerism (1600-1670)
p sc arch lit dr poet phil  mus	TINTORETTO, VERONESE PILON, CELLINI MADERNO, PALLADIO SPENSER, CERVANTES SHAKESPEARE SIDNEY, SHAKESPEARE, SPENSER MONTAIGNE PALESTRINA, PRAETORIUS, BYRD	RUBENS, VAN DYCK BERNINI BORROMINI, INIGO JONES DRAYTON CORNEILLE DONNE, MILTON DESCARTES MONTEVERDI, SCHUTZ
.
	Classic Baroque (1640-1715)	High Baroque (1680-1750)
p sc arch lit dr poet phil  mus	REMBRANDT, VERMEER GUARINI, GIRARDON H-MANSART, WREN RACINE, LA FAYETTE, FENELON MOLIERE DRYDEN, LA FONTAINE PASCAL, NEWTON, SPINOZA LULLY, CORELLI	DEL POZZO, HOGARTH ROUBILLAC PRANDTAUER, VAN BRUGH SWIFT, DEFOE DEFOE, LESAGE POPE MONTESQUIEU, LOCKE, BERKELEY BACH, HANDEL
.
	Rococo (1715-1789)	Classicism (1750-1815)
p a-p sc arch lit dr poet phil  mus	WATTEAU, FRAGONARD, BOUCHER PARKINSON CLODION, FALCONET BOFFRAND, CUVILLIES, LUDOVICE STERNE, S.JOHNSON DE BELLOY, MARIVAUX GRAY DIDEROT, VOLTAIRE SONS OF BACH	GAINSBOROUGH, REYNOLDS EARLE, GLOVER HOUDON SOUFFLOT, BOULLÉE, ADAM GIBBON, BOSWELL LESSING, GOLDSMITH, BEAUMARCHAIS COWPER SMITH, HUME, KANT, LA PLACE, BATTEUX MOZART, HAYDN
.
	Classic Romantic (1789-1848)	High Romantic (1815-1890)
p a-p sc arch lit dr poet phil  mus	DAVID, INGRES, CONSTABLE MARTENS, BUVELOT CANOVA NASH SCOTT, AUSTEN, DE STAEL, MACAULAY GOETHE, SCHILLER, MACPHERSON COLERIDGE, WORDSWORTH, BURNS ROUSSEAU BEETHOVEN, SCHUBERT	DELACROIX, TURNER PROUT, DOWLING, STRUTT RUDE, PREAULT BARRY BALZAC, DUMAS, HUGO, BRONTE GOGOL, HUGO, DUMAS [II] BYRON, TENNYSON, BAUDELAIRE HEGEL, SCHOPENHAUER, NIETSCHE WAGNER, CHOPIN
.
	Late Romantic (1848-1914)	Romantic Realism (1848-1939)
p a-p sc arch lit dr film poet phil  mus	ROSSETTI, MILLAIS, BURNE-JONES CHEVALIER, VON GUERARD CARPEAUX GARNIER TOLSTOY, DOSTOEVSKY, HAGGARD CHEKHOV WEGENER YEATS, MAURRAS BOSANQUET, BRADLEY TCHAIKOVSKY	DEGAS, COURBET, MANET ROBERTS, STRUTT RODIN SULLIVAN, RICHARDSON DICKENS, HARDY, TWAIN, ZOLA IBSEN, WILDE, SHAW, GORKY A.ASQUITH JAURES MILL, MARX, TAINE, SANTAYANA RACHMANINOV, PUCCINI
.
	Impressionism (1870-1929)	Post-Impressionism (1880-1980)
p a-p sc arch lit dr film poet phil  mus	MONET, RENOIR CONDER, McCUBBIN, STREETON BOURDELLE PAXTON, EIFFEL VALERY, JEROME BERNSTEIN, FLERS SORENSEN VERLAINE, MALLARME BERGSON DEBUSSY, DELIUS, RAVEL	CEZANNE, VAN GOGH, GAUGUIN LINDSAY, PRESTON, C-SMITH, REES MAILLOL, EPSTEIN DUTERT PROUST, GIDE, MANN CLAUDEL J.RENOIR, BERGMAN ELIOT HUSSERL, STEINER HOLST, VAUGHAN-WILLIAMS
.
	Avant-Garde (1880-1960)	Expressionism (1890-)
p a-p sc arch lit dr film poet phil  mus	MATISSE, BAKST, BEARDSLEY LONG, FIZELLE BRANCUSI, MODIGLIANI GAUDI, HORTA APOLLINAIRE COCTEAU, STOPPARD CHAPLIN, PRESSBURGER, WELLES G.STEIN, PASTERNAK CROCE, KAHN, COLLINGWOOD POULENC, HINDEMITH SCHOENBERG	ROUAULT, MUNCH, KOKOSCHKA DOBELL, BOYD, NOLAN MINNE, LEHMBRUCK, MARINI MENDELSOHN, STEINER KAFKA, CAMUS, ST-SIMON BRECHT LANG, LENI, WIENE, MURNAU BECHER, GOLL, BENN FREUD, HEIDEGGER, SARTRE SCHOENBERG
.
	Neo-Classicism (1890-1969)	Abstraction (1910-)
p a-p sc arch lit dr film poet phil  mus	PICASSO, BRAQUE CROWLEY, DE MAISTRE, WILSON MOORE, BOCCIONI, LIPCHITZ WRIGHT, LE CORBUSIER, GROPIUS MARINETTI, ORWELL, VONNEGUT PINTER LOSEY, TATI, VISCONTI THOMAS, MAYAKOVSKY RUSSELL, WITTGENSTEIN STRAVINSKY	KANDINSKY, MONDRIAN, POLLOCK BALSON, FAIRWEATHER, WATKINS PEVSNER, GORIN NERVI, SAARINEN, UTZON JOYCE BECKETT FELLINI BALL, CUMMINGS, TSARA MACH, GABO SCULTHORPE, STOCKHAUSEN, GLASS
.
	Surrealism (1914-)	Romantic Revival (1918-1960)
p a-p sc arch lit dr film poet phil  mus	DALI, MIRO, MAGRITTE GLEESON GIACOMETTI, GONZALEZ KIESLER, JOHANSEN F.JUNG, ARP JARRY BUNUEL, COCTEAU LICHTENSTEIN, TRAKL, ARAGON BRETON, DRIESCH, C.WILSON BARTOK	TOSI, CASORATI, SIRONI O'BRIEN MANZU CARLU, BOILEAU, AZEMA TOLKIEN, C.S.LEWIS, C.WILLIAMS ANOUILLH, SHERRIF EISENSTEIN, BONDARCHUK MASEFIELD, AUDEN, CLAUDEL C.G.JUNG, TEILHARD, GRAVES PROKOFIEV, SHOSTAKOVITCH
.
	Social Realism (1929-)	Post-Modernism (1945-)
p a-p sc arch lit dr film poet phil  mus	S.SPENCER, HOPPER, GARCIA DRYSDALE, HERMANN DE ANDREA RUDOLPH STEINBECK, SOLZHENITSYN T.WILLIAMS, WESKER, MILLER PICK, RUSSELL SAKHAROV, MILLER G.MOORE, RYLE, TROTSKY GERSHWIN, KHACHATURIAN	WARHOL, LINDNER, RIVERS BRACK, SMART, WHITELEY KIENHOLZ, SEGAL, HANSON FULLER, OLDENBURG SALLINGER, BELLOW OSBORNE, D.POTTER TRUFEAU, GODARD, ANTONINI, ALMODOVAR YEVTUSHENKO, ENWRIGHT MAO, SARTRE, DE BEAUVOIR BERIO, CAGE, GLASS

 
 

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NOTES ON THE ARCHETYPES
(Including a discussion of the Three Historical Uses of the Term 'Neo-Classicism')

1   CLASSICAL, CLASSIC ROMANTIC.  Subdivisions of early Neo-Classicism (Sense No.1).  Correspond to Formalism, in Post-Baroque & Pre-Romantic phases respectively.  The former derived from Academic criteria relating to 'pure [=perfect] harmony'; the latter additionally from Idealist philosophy.  Both were influenced by the revival of interest in classical (Graeco-Roman) literature.

2   LATE ROMANTICISM.  Pre-Raphaelites & Nationalists, influenced by images derived from medieval mythology or folklore, with a predisposition to nostalgia, grandeur or fantastic escapism.  Distinguished from HIGH ROMANTICISM characterised by high emotion, titanic struggle & drama (e.g. Parnassian movement);  also by tragedy, tragic romance, subjectivism.

3  AVANT-GARDE.  Revolutionary but diverse artistic styles of [i] the 'School of Paris';  extended to include [ii] early Fauves, [Modern] Art Nouveau, Early Colourists, & Independent artists such as Matisse & Chagall;  and [iii] to the early modern 'Neo-Classic Style' (Sense No.2) of circle of late Cezanne, early Picasso, & esp. Cocteau, who adopted classical mannerisms such as stylised Grecian urns & pillars.  More persistent features were curvilinearity, humour & esp. references to natural, organic form with increasing figurative abstraction.

4  NEO-CLASSICAL  (Sense No.3).  'Modernism' or 'Modern Formalism', exemplified by Orphists, Futurists, Cubists and others who chose to remove what they saw as stylistic pretension, formulating a new functional 'International Style' based on objective principles of harmony.  In this sense, neo-classicism is opposite to the mannered neo-classical style of the avant-garde, although the term can be applied to the work of painter Picasso and composer Stravinsky in both new (modernist) and old (mannerist) senses at different stages in their careers, implying underlying linkage & natural progression. In design & architecture, 'Art Deco' & 'Mod' styles sought to distil new mannerisms to express modernist rigour.

5  ROMANTIC REVIVAL.  Refers to Idealism after WWI (1918-), reconfigured in response to modern conditions & influences;  associated especially with (i) the Oxford romantics in England;  (ii) the school of Rome ('neo-romantics') in Italy;  (iii) Jungian psychology (cf. 'Gnosticism');  (iv) Fascism in Germany, Italy, Spain & Japan;  and (v) Russian Idealism in the Soviet Union.  Although these elements have often been at odds, they share a common heroic, anti-materialist & gnostic-idealist set of concepts showing continuity with earlier romantics.

6  POST-MODERNISM or POPULAR REALISM.  Factor in artistic expression since WW2 (1945-), that is accessible to the masses through use of icon images derived from mass culture [esp. mass media].  The result is an icon collage portraying a set of accessible pictograms, behind which are ideological treatments of powerful trends of modern culture.  The induced response may be frankly propagandous, socially defensive or offensive, or reflective.  Examples include Neo-Expressionism and Pop Art.  Aspects of existential philosophy, gestalt psychology and economic materialism feature prominently, suggesting post-formalist, anti-romantic & populist modernism with a primary goal of ideological reinforcement.

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Notes on the Definition of 'Art' & 'Fine Art'

Definition by Common Usage -

art is any skill involving both the rational intellect & technical dexterity, where the skill is pursued at least partly as an object in itself.

fine art is any skilful technique pursued wholly as an object in itself & chiefly involving mind & imagination.

art is the skilful arrangement of sense-data by a rational agent, whereby an intellectual abstraction of external, internal or ideal (mythopoeic) realities is formally symbolised within the accessible sensorium, and such that the process is pursued wholly or partly as its own end..

[1]  Skill or Technique.

[2]  Arrangement of Sense-Data.  Art is both sensual & rational, i.e. (i) its operations & motives are unashamedly sensual rather than merely reflecting a rarefied symbolic rationalism; & (ii) at the same time a work of art reflects arrangement, i.e. rational control of sensation, according to a matrix of aesthetic criteria designed to raise the level of imaginative participation in the sense-data.

[3]  Intellectual Abstraction  by a Rational Agent.  Art operates via concepts (=abstracts) of reality.  The concepts make themselves available for operations by the intellect.  Only rational beings can stand 'alongside reality', reflecting on its nature, duration or forms; only free agents can initiate & create on their own behalf without being caused.  Design & creativity are functions of free & rational beings.

[4]  Formal Symbolism.  There is an essential symbolism in art which provides sensually accessible symbols for rationally accessible concepts.  Consistent (i.e. formal) criteria determine the arrangement of symbols.

[5]  Reference to Some Reality (or Realities).  Even the most abstract, decorative or applied arts refer to the true form of some human reality.  The referred reality need not be [i] external(=the reality of material, empirical data);  it may also be [ii] internal (refering to the reality of subjective data & feelings);  or, most frequently, it may be [iii]  ideal  (=the reality of abstract, compound, rationalist, geometric, immaterial, spiritual or mythic entities).  Aesthetic theorists disagree as to which reality or combination of realities can be the object of artistic expression.

[6]  Accessibility.  Art operates through the framework of the basic senses, although it is further limited to that part of the sensorium which is accessible for symbol operations by the intellect.  There is an essential element of externalisation in artistic skill, no less intrinsic to art than the initial act of rationalisation.

[7]  Skill as an End in Itself.  All artistic activity, whether pure or applied, is in whole or in part pursued as an object in itself.  This is related to (i) the 'demiurge' or natural desire to see material forms created by free-will;  and to (ii) the 'taxophilic urge' to order, arrange, classify & symbolise experience.

[A]   Applied Arts.   These are technical skills which, although they involve design, intellect, creative imagination, and technical dexterity, and are partly satisfying creative and perfectionistic drives, are partly or mainly to satisfy ordinary, practical needs.
Examples- architecture, tool-making, applied ceramics, cooking.

[B]   Fine Arts.   These are skills which mainly concern mind, sense & imagination;  they are pursued wholly as their own object;  and they are of two kinds:  [1] 'performing arts' (e.g. theatre, ballet, music, film) in which human action is a formal & integral part of the sense-data, which are defined by movements in a performance;  [2] 'plastic arts' (e.g. painting, sculpture) in which formal object arrangements (static or recurring) constitute the sense-data of works created by artefaction.

[C]   Literature.   A skill consisting in imaginitive constructions of language in poetry, prose or drama, incorporating sense-symbolism indirectly through literary images.
 

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2: Theories of Art:  Synopses of Various Perspectives

art is essentially instinctive & communicative rather than ideal or formal in character
                     >>  primitivism, cf. primitivist theories of art [ e.g. expr: 1890- ].

art is essentially taxophilic - rooted in an inborn (inherited & instinctive) urge to arrange & classify objects;  it is a natural by-product of the process of human evolution, especially evolution of a highly complex nervous system capable of collating stored impulses
                     >>  biological theories of art.

all art is an applied social activity, essentially communicative & ideological;  its raison-d'etre is to achieve social ends either functional for its society or as propaganda for some interest group
                     >>  sociological theories of art [ e.g. social realism  ].

art is essentially a creative act rooted in free will and the 'demiurge', an urge to endow ideal forms of imagination with material substance corresponding with their conception;  since human creativity cannot give life to its objects, it must be considered at best a kind of 'sub-creation', an act to be judged by its ability to momentarily suspend disbelief and to suggest the true forms of latent realities
                     >>  romanticism - idealist theories of art.

art is an independent , goal-directed activity whose goal is the arrangement of sense-data according to formal, objective (i.e. non-relative) aesthetic criteria;  harmonies of sense thereby achieved suggest to the mind the pure and simple concept of perfect harmony, thereby inducing imaginative participation in its Form
                     >>  classicism / formalism [ ren: 1420- | cb: 1640- | cl: 1750- | cr: 1789- | nc3: 1890- ].

art is the expression of the natural relations between artist and environment;  as such it is essentially representational, since it is elements of  the natural & external reality, no matter how abstracted or distilled, which provide the only possible basis for a language to express those natural relations
                     >>  naturalism  [ rr: 1848- | imp: 1870- | pi: 1880- | sr: 1929- ].

art is a unique, complex activity with primitive, sensual, rational, ideal, formal and naturalistic aspects
                     >>  analytic theories of art [ e.g.  pm: 1945- ].

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REFERENCES
 
 

CITATION

Title:  Archetypes in the arts
Sub-title:  A synoptic historical survey of western artistic movements from the 12th century to the present day across all artforms by cluster analysis of their archetypal exponents.
Author:   NEWMAN, Campbell Alexander
Posting Date:  October 1986

St.John's Catholic Secondary College
Art Department
Co-ordinator:  AKSIONOV, Brenda A.
Class Notes / Unit 1:  Introduction to Aesthetics & Western Art Studies

1. Fine Arts   2. History of Art   3. Art Education / Practicum

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