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Bot: Añadir enlaces internos: Yale University Press
En Alemania o Inglaterra, los denominados [[nazarenos (arte)|"nazarenos"]] y "[[prerrafaelismo|pre-rafaelitas]]" buscaban la pureza (a la vez artística y religiosa) en el retorno a un momento pasado de la historia del arte, que imaginaban ingenuo y desprovisto de artificios tanto barrocos como academicistas.
{{cita|''[[The Light of the World]]'' ("la [[Luz del Mundo]]") was celebrated as a genuinely English religious painting which owed little to the Catholic traditions of the European masters and employed a visual equivalent of the verbal language of English Protestantism. Its emotive effect on Victorian viewers, since decried as sentimentality, seems to have been profound. In rejecting the religious iconography of earlier painters promoted by the [[Royal Academy]], [[William Holman Hunt|Hunt]], [[Madox Brown]] and [[John Everett Millais|Millais]] had carried out one part of the Pre-Raphaelite programme in the field of religious painting. It seemed as if they effected a kind of visual Reformation, replacing the Catholic with the Protestant, the old faith of replicating the Old Masters with the new creed of 'truth to nature'. But how could Pre-Raphaelite naturalism be achieved in a figurative, religious art, without creating the kind of uncomfortable juxtaposition of real and symbolic we have noted in [[William Dyce|Dyce]]'s later ''[[The Man of Sorrows]]'' ("[[Varón de dolores]]") and in ''[[The Light of the World]]''?<ref>T. J. Barringer, [http://books.google.es/books?id=ACQj18c-VogC&pg=PA119&dq=%22juxtaposition+of+real+and+symbolic%22&hl=es&sa=X&ei=-5zoT-q6AcmnhAfs37HeCQ&ved=0CDQQ6AEwAA#v=onepage&q=%22juxtaposition%20of%20real%20and%20symbolic%22&f=false ''Reading the Pre-Raphaelites''], [[Yale University Press]], 1998, ISBN 0-300-07787-4, pg. 118-119</ref>}}
==== Impresionismo, postimpresionismo y modernismo ====
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