1. The first manifestation of Hispanic Art

2. PALEOLITHIC ART
Paleo (Greek) = Old
Lithic (Greek) = Stone
Paleolithic = Old Stone Age
40,000 BCE – 4,000 BCE in Europe

3. MESOLITHIC-NEOLITHIC
 In “open” places (rock shelters, not deep in caves anymore)
 No glacial fauna = no Paleolithic
 Three types of styles:
 Levantine
 Schematic
 Macro schematic
10,000 BCE – 1,000 BC

4. LEVANTINE ART
• Importance of the human figure.
• Representation of clothes, genitals (phallic representations) and
weapons (arrows, sticks, quivers, etc.).
• Animals depicted are identifiable as belonging to species we
can see in the present day (deer, goat, dog, cattle).

5. LEVANTINE ART
Importance of the human figure
•Frequently the main theme, and when
it appears in the same scene as animals,
the human figure runs towards them.
•People performing other activities
typical of their time such as: hunting,
fighting, carrying out agricultural tasks,
domestication of animals, gathering
honey

8. SCHEMATIC ART

9. SCHEMATIC ART
• Associated with the first metallurgical cultures
• Only the basic fragments of each figure are
represented
• Very simple and stylized figures
• Monochromatic (red ochre)

10. SCHEMATIC ART

11. MACRO SCHEMATIC ART
 Big paintings in rock shelters
 Wide lines
 Use of dark red
 Human figures and geometric
symbols
 Probably the oldest

13. THE IBERIAN ART

14. When
 “Second Iron Age”
 From V to III Century BC

15. CARACHTERISTICS
 Polichrome sandstone
 From S.V to Roman conquest
 Mainly seated or standing females (Goddess? Priestess?)
 Familiar groups
 Males: heads or busts, warriors
 Bulls, lions & griffins

16. CARACHTERISTICS
Bulls, lions & griffins
For protection

17. LADY OF BAZA
 Policrome grey stone
 A hole for ashes at the right
side
 Small bird in one hand
(life after death?)

18.  Polichrome sandstone
 IV Century BC
 Complex headdress
 Funerary statue? (has an
apperture in the rear for ashes)
 Strong Greek influence
LADY OF ELCHE

19.  Maybe part of a seated statue?

21. ROMAN ART

22. ROMAN ARCHITECTURE
•Functionalism and Pragmatism
•Systematic use of arch and vault
•Monumental proportions
•Decorative art is associated to architecture
•Stone, brick or mortar of concrete

23. THE ROMANESQUE

24.  Europe XI – XIII Centuries
 FEUDALISM
 It’s called Romanesque because of the use of Ancient
Roman’s technical solutions (arc, vaux,…)
 It’s basically a RELIGIOUS art.

25. ROMANESQUE ARCHITECTURE
 CARACHTERISTIQUES

26. ROMANESQUE ARCHITECTURE
 AUSTERITY very few ornaments
 SIMPLICITY simple forms
 SOLIDITY very thick walls

27. BARREL VAULT

30. ROMANESQUE PORTAL

31. EL MUDÉJAR
 Mudajjan ‫,مدجن‬ meaning "domesticated", in a reference to
the Muslims who submitted to the rule of the Christian kings
 In erecting Romanesque buildings (Gothic and Renaissance
too), builders used elements of Islamic art
 Use of BRICKS in a geometrical character
 Only in Spain

32. EL MUDÉJAR

33. Al-Andalus
The Islamic Art in Spain

34. Year 711 aC

35. Islamic Architecture
• Built to accommodate as many worshippers as possible in
prostrate position: Communal Prayer
• No elaborate ritual with a center of visual attention (like an
altar)
• Emphasizes horizontality as opposed to verticality (Christian
Churches).
• Roofed part held up by a combination of arches/columns
called a hypostyle hall.

36. Parts of a Mosque
MinaretMinaret

37. The Mosque of CórdobaThe Mosque of Córdoba

38. Great Mosque, Córdoba, begun in 786
• An infinite sea of columns on the interior (columns harvested from
existing Roman and Visigoth buildings.
• Short columns (c. 9 feet) necessitated 2-tiered arches to raise ceiling
and increase light.
• Columns interlace with each other
• Columns have capitals, but no bases
• Arches are rounded, with alternating stripes (red brick and white
marble)
• Columns represent endless number of worshippers
• All face the mihrab

39. The Alhambra, Granada
• Originally a military fortification built in 889
• Later reconstructed as a palace around 1333

40. The palace complex was designed with the mountainous site in mind

41. Court of the Myrtles
The birka (pool) helped to cool the palace and acted as a symbol of power

42. Hall of the Ambassadors
The largest in the Alhambra and occupies all the Torre de Comares

43. Hall of the Ambassadors
This was the grand reception room,
and the throne of the sultan
was placed opposite the entrance.
It was in this setting that Christopher Columbus
received Isabel and Ferdinand's support to sail
to the New World

44. Court of the Lions
•Fountain surrounded by lions,
demonstrating some secular
use of animal forms.
•Lions are crudely carved,
indicating infrequency with
subject in art.

46. Each hour one lion
would produce water from its mouth

47. GOTHIC

48. THE NAME ‘GOTHIC’
 From the Renaissance
 Begins in France in XIIth
Century
 Almost all Europe

49. XII Century
AGRICULTURAL
Technical
improvements
MORE
POPULATION
CITIES
NEW
SOCIAL CLASS
BOURGEOISIE
NEW CLIENTS
FOR
ART

51. NEW TECHINICAL SOLUTIONS
POINTED ARCH

52. RIB VAULT
INTERIOR

53. YOU DON’T NEED THICK WALLS ANYMORE

55. RENAISSANCE: INTRODUCTION
 Means “rebirth” in French
 Term first used by Giorgio Vasari* to describe
the renewal of classical Greek and Roman arts,
movement toward perfection
(* Biographer of the artists, and contemporary art historian)

56.  Rejection of mythological themes or the cult of
the nude.
 Religiouse painting basically.
 Normally completed in oil.
 The figures are all of the same size and
anatomically correct.
 The colors and the shading are applied in tonal
ranges.
 To accentuate the Italian style: a candelieri and
Roman ruins on foreground.
Characteristics

57.  The use of perspective
 Foreshortening (the appearance that the object of
a drawing is extending into space by shortening the lines with which that
object is drawn)
 Sfumato (the application of subtle layers of translucent paint so that
there is no visible transition between colors, tones and often objects)
 Chiaroscuro (use of exaggerated light contrasts in order to create the
illusion of volume)
 Balance and Proportion
Techniques

58. RENAISSANCE PAINTING
IN SPAIN
RENAISSANCE PAINTING
IN SPAIN
Characteristics

59. •Unnaturally elongated features
•Purposefully asymmetrical or unbalanced
•Unusual light sources
•Figura serpentina: twisting movement of body
similar to that of a serpent’s
MANNERISM

60. MANNERISM

61. Renaissance painting: El Greco

62. TECHNIQUE
 Color have primacy over form
(the painter liked "the colors crude and unmixed in great blots as a boastful
display of his dexterity“)
 Tendency to dramatize rather than to describe.
 Each figure seems to carry its own light within or
reflects the light that emanates from an unseen source

63.  It represents a legend of the
beginning of the 14th
century: the count of Orgaz
was a very generous man,
and because of that, when
he died, Saint Stephen
(Esteban) and Saint
Agustine (Agustín)
descended in person from
the heavens and buried him
by their own hands.

64. Upper zone
Heaven (Paradise) with
Christ, the Virgin, Saint Joan
and other saints.
Lower zone
The burial of the Count with
Saint Stephen, Saint
Agustine and the people
present at the ceremony.
The painting is divided into
two zones:

65. Artistic style that used exaggerated motion and clear,
easily interpreted detail to produce drama, tension,
exuberance, and grandeur
Artistic style that used exaggerated motion and clear,
easily interpreted detail to produce drama, tension,
exuberance, and grandeur
- From the Spanish barrueco, a large, irregularly-shaped pearl.
- The term "Baroque" was initially used with a derogatory meaning, to
underline the excesses of its emphasis and its eccentric redundancy
and noisy abundance of details

66. The demands of the Council of Trent on art
•Clarity, simplicity, and intelligibility
•Realistic interpretation (unveiled truth, accuracy, decorum)
•Emotional stimulus to piety
•Emphasis on the splendor and glory of the church
The demands of the Council of Trent on art
•Clarity, simplicity, and intelligibility
•Realistic interpretation (unveiled truth, accuracy, decorum)
•Emotional stimulus to piety
•Emphasis on the splendor and glory of the church
Protestant ReformationProtestant Reformation
Catholic Counter-ReformationCatholic Counter-Reformation

67. Hallmarks of Baroque art
•Exaggerated emotionalism.
•Manipulation of light and dark for theatrical effect (Chiaroscuro)
•A dynamic sense of movement that extends beyond the
artwork.
•A heightened sense of realism.
• Iconography was direct, simple, obvious, and theatrical.
Hallmarks of Baroque art
•Exaggerated emotionalism.
•Manipulation of light and dark for theatrical effect (Chiaroscuro)
•A dynamic sense of movement that extends beyond the
artwork.
•A heightened sense of realism.
• Iconography was direct, simple, obvious, and theatrical.

68. Spanish mysticism is characterized by
•Austerity and Asceticism
•Emotive content
•Religious devotion (particularly images of martyrdom)
Spanish mysticism is characterized by
•Austerity and Asceticism
•Emotive content
•Religious devotion (particularly images of martyrdom)

69. Spanish mysticism is characterized by
•Austerity and Asceticism
•Emotive content
•Religious devotion (particularly images of
martyrdom)
Spanish mysticism is characterized by
•Austerity and Asceticism
•Emotive content
•Religious devotion (particularly images of
martyrdom)

70. V E L Á Z Q U E Z

71. Characteristics:
Claroscuro (light and shade)
Dark chromatic range
Tenebrismo (tenebrism effects).
Drawing control and
verism/realism in mundane scenes.
DIEGO RODRÍGUEZ DE SILVA Y VELÁZQUEZ
(1599-1660)

72.  Born in Seville
 Burguesía
 At 12 study under Francisco de
Herrera and Francisco Pacheco.
 Amusing type scenes
•Early period (1617-1629)
• Tenebrism, shadows and lights
• Ochres, browns,
• Simple composition

73. Still-life and Naturalism.
Realistis objects
Tenebrism

74.  Simple composition
 Realism
 “Empty” backgrounds
 Elegance and stylishness
 Static portraits (full body, busts or ¾)
 Buffoons and dwarfs in Felipe’s court and
portraits of the king
Philip IV
In Madrid

75. First italian visit
(1629-1631)
1629 - 1631 he saw renaissance
paintings of Roman and Venetian
painters (Tiziano).

76. Agustina Sarmiento
(Menina)
Infanta
Margarita
Marcela de Ulloa
(Guardadamas)
Isabel de Velasco
(Menina)
Maribárbola
Nicolás de
Portosanto
Don Diego Ruiz de
Arcona (servant)

77. VELÁZQUEZ
Los Reyes:
Mariana de
Austria y
Felipe IV
D. José Nieto?
Aposentador de
la Reina

78. TWO SPACES
“INSIDE” and “OUTSIDE”
SPACE
INTERIOR
EXTERIOR

79. A space outside
the scene
The space
Continues
trough the door

80. VAN EYCK:
ARNOLFINI,
SIGLO XV
LAS MENINAS,
SIGLO XVII

82. The light creates the
space

83. …and the aerial
perspective
creates the
space…

84. Dynamism:
Psycologic effect
They’re
looking at us…

85. COLOUR STRUCTURES THE
COMPOSITION AS WELL…
SEE THE RED SPOTS…

86. NEOCLASSICISM
 XVIII changes:
 Population growth.
 Industrial Revolution.
 Middle classes growth.
 Enlightment (Age of Reason)and its ideas.

87. Enlightment :
 Science and intellectual interchange
vs
 Superstition, intolerance and abuses by church
and state
 Art must have a social and moral purpose.
 Against the excess of Baroque (art for the
church and royalty)

88.  Public buildings
 Museums
 Libraries.
 Theaters.
 Political buildings: Parliaments, Arches of Triumph

89. ROMANTICISM
 EMOTION the authentic source of aesthetic
experience.
 Untamed nature
 Classical ruins
 A revived medievalism gothic
 Landscape paintings


90. Francisco de Goya y Lucientes

91. • He designed about 42
patterns; many of them were
used to decorate and insulate
the stone walls of El Escorial
and the Palacio Real del
Pardo.
Tapestries

92. His portraits are notable because he did not worry to flatter, and in the case
of Carlos IV of Spain and His Family, the lack of visual diplomacy is
remarkable

93. PATRIOTIC PAINTINGS
El dos de Mayo
1808

94. Los fusilamientos del 3 de mayo

95. Disasters of War (1810-1820)

96. Saturn eating his children
BLACK PAINTINGS

97. Aquelarre (1821-1823).
La romería de San Isidro (1821-1823)

99. Middle of the 19th century, France
•The Académie des Beaux-Arts dominated
French art
•Historical subjects, religious themes, and
portraits were valued (landscape and still
life were not)
•The Académie preferred carefully finished
images that looked realistic when examined
closely.
•Color was somber and conservative.
•Traces of brush strokes were suppressed.
Middle of the 19th century, France
•The Académie des Beaux-Arts dominated
French art
•Historical subjects, religious themes, and
portraits were valued (landscape and still
life were not)
•The Académie preferred carefully finished
images that looked realistic when examined
closely.
•Color was somber and conservative.
•Traces of brush strokes were suppressed.

101. Violating the rules of academic painting:
•Freely brushed colors that took precedence over lines and contours.
•Realistic scenes of modern life.
•Often painted outdoors (a plen air). Previously, still lifes and portraits as
well as landscapes were usually painted in a studio.
•They portrayed overall visual effects instead of details.
•They used short "broken" brush strokes of mixed and pure unmixed color—
not blended smoothly or shaded, as was customary—to achieve an effect of
intense color vibration.
•Pure impressionism avoids the use of black paint (they use the
complementary colors to get greys)
•An art of immediacy and movement, of candid poses and compositions, of
the play of light.

102. Claude Monet,
Woman with a Parasol

103. Sorolla

104.  His style is a special kind of impressionism: “Luminismo” (bright light)
 Besides Sundays, he would work six to nine hours a day, often standing in
the full glare of the sun dressed in a suit.
 Sorolla painted very, very fast. "I could not paint at all if I had to paint
slowly," he once said. "Every effect is so transient, it must be rapidly
painted.“
 Most of his pictures were painted in from four to six mornings, many in one
or two.
SOROLLA the artist

105. “The return from fishing”
Salon du Paris

106. “The fishing nets”

109. MODERNISMEMODERNISME

110. MODERNISME
 Barcelona, Catalonia late 19th c. And early 20th c.
 Architectural style, which also involves other arts (painting and
sculpture), and especially the design and decorative arts
 Part of a general trend that emerges in Europe (known in each
country as modernism, art nouveau, etc.)
 Modernisme is basically derived from the English Arts and Crafts
movement and the Gothic revival

111. MODERNISME
Predominance of the
curve and the dynamic
shapes over the
straight line

112. MODERNISME
Rich decoration
and detail

113. MODERNISME
Frequent use of
vegetal and other
organic motifs

114. MODERNISME
Asymmetry

115. MODERNISME
Use of “industrial” materials, like iron forgery, ceramics and
stained glass

116.  In the context of a spectacular urban and industrial
development
 It is a style for the Catalan industrial bourgeoisie, whoIt is a style for the Catalan industrial bourgeoisie, who
built industrial buildings and summer residencesbuilt industrial buildings and summer residences
(families like the(families like the GüellGüell,, BatllóBatlló oror MiláMilá)
Modernisme

117.  His big passions in life: architecture, nature, religion.
an organic style inspired by nature
He rarely drew detailed plans of his works, instead
preferring to create them as three-dimensional scale
models and molding the details as he was conceiving
them.
ANTONI GAUDÍ

118. • First years under the influence of neo-Gothic art and
Oriental styles

119. • Güell was a wealthy industrialist and
entrepeneur
• He was so impressed with his first
works that he wanted to meet Gaudí
• They became friends and Güell
became Gaudí's main patron and
sponsor

120. Originally part of a commercially unsuccessful housing site
The focal point of the park is the main terrace, surrounded
by a long bench in the form of a sea serpent.

121. To design the curvature of the bench surface Gaudí used the
shape of buttocks left by a naked workman sitting in wet clay

122. New techniques in the treatment of materials,
Trencadís, made of waste ceramic pieces

123. La Sagrada
Familia

124. • It has a cruciform plan, with a five-aisled nave, a transept of
three aisles, and an apse with seven chapels
• It has three facades dedicated to the birth, passion and
glory of Jesus

125. INTERIOR

126. PICASSO

127. “The old fisherman” 1895

128. “The first Communion” 1895

129. • Picasso made his first trip to Paris, the art capital of Europe at
that time.
• These were times of severe poverty, cold, and desperation. Much
of his work was burned to keep his small room warm!

130. Blue Period 1901 - 1904
•Monochromatic paintings in shades of blue and
blue-green, only occasionally warmed by other
colors.
•Influenced by a journey through Spain and by the
suicide of his friend Carlos Casagemas, in 1901.

131. The old guitarist

132. Rose Period 1904 - 1906
•Picasso's painting used cheerful orange and
pink colors in contrast to the cool, somber
tones of the previous Blue Period.
•Picasso was happy in his relationship with
Fernandine Olivier and she was one of the
reasons for him to change his style of
painting.
•The Rose Period has been considered French
influenced, while the Blue Period more
Spanish influenced.
•Picasso often painted clowns, harlequins
and circus performers.

133. On May 5, 2004 the painting was sold for US$ 104,168,000
at Sotheby's auction in New York City, breaking the record for the amount paid
for an auctioned painting.
Garçon a la Pipe, 1904

134. Black Period 1907–1909
•African influenced period.
•African artifacts were being brought back to Paris museums in consequence of the
expansion of the French empire into Africa.
•In 1907, Picasso experienced a "revelation" while viewing African art at the
ethnographic museum in Paris.

135. CUBISM
•Objects are analyzed, broken up and reassembled in an abstracted form—
instead of depicting objects from one viewpoint, the artist depicts the subject
from a multitude of viewpoints to represent the subject in a greater context.
•In 1907 Picasso painted “The Ladies of Avignon” considered the origins of
Cubism

136. Classicism & Surrealism
•In the period following the disorder of World War I, Picasso produced work in
a neoclassical style.

137. “Classicism”

138. Surrealism

139. The Guernica
• Created in response to the bombing of Guernica by German and Italian warplanes during
the Spanish Civil War.
• The Spanish Republican government commissioned Picasso to create a large mural for
the Spanish display at the Paris International Exposition at the 1937 World's Fair in Paris.
• Shows the tragedies of war and the suffering it inflicts upon individuals, particularly
innocent civilians.
• It’s now an anti-war symbol.

140. Salvador DalíSalvador Dalí
Surrealism: unreal worlds through real images

141. In 1924 he was expelled from the
School of Fine Arts for saying that
no one on the faculty of the school
was competent to test him.
Also in 1924 he made his first visit
to Paris and met Pablo Picasso,
whom he admired and was
influenced by.
He mixed classical and modern
techniques, sometimes in the
same painting, which confused
critics and art patrons.
THE BASKET OF BREAD (1926)

142. THE FIRST DAYS OF SPRING (1929)
In 1929, he met a russian
woman named Gala, who
would become his wife,
model and inspiration for
much of his work.
He joined a group of artists
from the Montparnasse area
of Paris who were
surrealists. The subject
matter of his paintings
became very dreamlike,
dealing with images from
the subconscious.

143. The Persistence of Memory (1931)
His most famous painting, challenges the idea that time is rigid. It is also said to be
an interpretation of Einstein’s theory of relativity–the warping of space & time by
gravity.

144. Lobster Telephone (1936)
(yes, it worked)
Aside from painting, Dalí
created sculptures and other
objects, dabbled in theater,
fashion and photography. He
was hired by a wealthy art
patron to create these two
works of art for his mansion:
Lobster Telephone and Mae
West Lips Sofa.
Mae West Lips Sofa (1936)
(Mae West was a famous actress whose lips
Dalí found interesting)

145. The Metamorphosis of Narcissus (1937)
While most of the
surrealists were radical
in their political beliefs,
Dalí refused to discuss
politics. Other artists
accused him of being
interested only in the
money he could make
through his art. He was
eventually “disowned”
by the surrealists.
When World War II
started in Europe, Dalí
and Gala fled to the
United States.

146. Sleep (1937)
Said to depict a monster help up by the crutches of reality

147. He worked on several films with famous
directors, such as Alfred Hitchcock
(spellbound). In 1946, he began work on an
animated film for Walt Disney called Destino.
Dalí created dreamlike images of odd figures
flying and walking around for a film that told
the story of a mythological god who falls in
love with a mortal woman. The project ran
out of money and was never completed. In
2003, it was found and shown in limited
release.
Destino (1946/2003)

148. The Dali Atomicus, photo by Philippe Halsman (1948)
After World War II
ended, he returned to
Spain. He had become
interested in optical
illusions as a way of
creating false reality. If
you look closely at this
photo, you can see the
wires holding up the
objects (something we
can do now with
computers!) Dalí
himself is the man in
mid air in the center of
the photo.

149. Blood Sweeter Than Honey - 1926

150. Apparatus & Hand 1927

151. First Day Of Spring - 1929

152. Bleeding Roses - 1930

153. The Royal Heart (1959)
Between 1941 and 1970, Dalí created a set of 39
jewels. His most famous, the Royal Heart, was
made of gold and encrusted with 46 rubies, 42
diamonds and 4 emeralds. It’s a moving sculpture:
the center “beats” like a real human heart. These
jewels are all on display at the Dalí museum in
Catalonia, Spain (pictured below).
Note the giant eggs along the
roofline of the museum!

154. Dalí was very unique in his appearance, always
wearing a long cape, carrying a walking stick,
and having a huge, waxed mustache. When he
signed autographs, he always kept peoples
pens.
When he appeared on the Tonight show, he
brought a leather Rhinoceros and refused to sit
on anything but it during the TV interview.

155. As his health deteriorated in the 1980s, he
was unable to continue working. In 1982,
King Juan Carlos of Spain bestowed upon
him a title, making him the Marquis of Dalí
de Púbol.The king visited Dalí in the hospital
shortly before he died of heart failure on
January 23, 1989. He is buried at the Dalí
theatre and Museum in Figueres, Spain.