Humanities Chapters 31, 32, 33
Chapter 31 1. No. He stated, “ ‘Progress’ is merely a modern idea, that is, a false ideal. The European of today is vastly inferior in value to the European of the Renaissance: further development is altogether not according to any necessity in the direction of elevation, enhancement, or strength.
2. A.) Paul Verlaine, Arthur Rimbaud, Charles Baudelaire, Stephane Mallarme, & Maurice Maeterlinck.
B.) To find a language that embraced the mystical, the erotic, and the ineffable world of the senses.
3. A faun is part man, part beast. A nymph is a beautiful forest maiden. They have an erotic encounter.
4. They preserved the romantic fascination with nature and the Realist preoccupation with daily life. They idealized nature. They were interested in sensation and the sensory experience. They tried to record an instantaneous vision of their world, sacrificing the details of perceived objects in order to capture the effects of light and atmosphere. Some painted canvases that offered a glimpse into the pleasures of 19th century urban life.
5. Bergson viewed life as a vital impulse that evolved creatively, much like a work of art. True to Bergson’s theory of duration, experience becomes a stream of sensations in which past and present merge.
6. Reliquaries, masks, and freestanding sculptures were among the power objects used to channel the spirits of ancestors, celebrate rites of passage, and ensure the well-being of the community. Beadwork using seed beads and wood carving with hammered brass were unique features.
7. Post-Impressionist paintings were a broad reaction against Impressionism. The works continued to use the bright Impressionist palette, but rejected the Impressionism’s emphasis on the spontaneous recording of light and color. Post-Impressionists sought to create art with a greater degree of formal order and structure. The new styles they created, Georges Seurat’s divisionist technique and Vincent van Gogh’s
2. A.) Paul Verlaine, Arthur Rimbaud, Charles Baudelaire, Stephane Mallarme, & Maurice Maeterlinck.
B.) To find a language that embraced the mystical, the erotic, and the ineffable world of the senses.
3. A faun is part man, part beast. A nymph is a beautiful forest maiden. They have an erotic encounter.
4. They preserved the romantic fascination with nature and the Realist preoccupation with daily life. They idealized nature. They were interested in sensation and the sensory experience. They tried to record an instantaneous vision of their world, sacrificing the details of perceived objects in order to capture the effects of light and atmosphere. Some painted canvases that offered a glimpse into the pleasures of 19th century urban life.
5. Bergson viewed life as a vital impulse that evolved creatively, much like a work of art. True to Bergson’s theory of duration, experience becomes a stream of sensations in which past and present merge.
6. Reliquaries, masks, and freestanding sculptures were among the power objects used to channel the spirits of ancestors, celebrate rites of passage, and ensure the well-being of the community. Beadwork using seed beads and wood carving with hammered brass were unique features.
7. Post-Impressionist paintings were a broad reaction against Impressionism. The works continued to use the bright Impressionist palette, but rejected the Impressionism’s emphasis on the spontaneous recording of light and color. Post-Impressionists sought to create art with a greater degree of formal order and structure. The new styles they created, Georges Seurat’s divisionist technique and Vincent van Gogh’s