The Romantic tendencies continued throughout the century: both idealized landscape painting and Naturalism have their seeds in Romanticism: both Gustave Courbet and the Barbizon school are logical developments, as is too the late 19th century Symbolism of such painters at Gustave Moreau (the professor of Matisse and Rouault) or Odilon Redon.
Sharp, who is returning to his roots, after scripting Hollywood classics such as Ulzana's Raid and Night Moves, has married the narrative complexity of the classic Western and film noir, to an earthy Scottish naturalism.
There he came into contact with the leading figures of the Lombard school of naturalism and shared a studio on Via Solferino with Paolo Troubetzkoy.
He was exposed to the writings of the French author Émile Zola, who used the philosophy of Positivism and the literary current of Naturalism to try to change the terrible conditions of French coal miners.
This is a larger and more evoluted work than that in Arezzo, with traces of naturalism perhaps inspired by Nicola Pisano's works.
Even if certain articles by the author of Les affaires sont les affaires (Business is business) bestow praise on Émile Zola, toward whom Mirbeau was not otherwise so kindly disposed, and on Edmond de Goncourt, they evidence an esthetic that is overtly hostile to naturalism, considered by Mirbeau to be one of the century’s gravest errors in matters of art.
The transcendental naturalism of some of Colin McGinn's work, which construes the mind-body connection (the `world knot') as a natural feature of homo sapiens but `cognitively closed' to our epistemic horizons, is a philosophical analog of this outlook.
Deciding what characterizes a work in Counter-Mannerist style may not be straightforward; in the single brief passage mentioning the term in John Shearman's Mannerism (1967), he picks Santi di Tito's Vision of St Thomas Aquinas (1593, illustrated here, as in both books) as an example of it, but Freedberg excludes Santo's classicising naturalism from the style, though noting his similarities to it.
Painted for the Arquebusiers' guild, the Descent from the Cross triptych (1611–14; Cathedral of Our Lady, Antwerp)—with side wings depicting the Visitation and Presentation in the Temple, and exterior panels showing St. Christopher and the Hermit—is an important reflection of Counter-Reformation ideas about art combined with Baroque naturalism, dynamism and monumentality.
A similar approach to light was used by his contemporaries such as Bernardo Daddi, their attention to naturalism was encouraged by the subjects commissioned for 14th-century Franciscan and Dominican churches, and was to influence Florentine painters in the following centuries.
After an early encounter with the French Symbolists, he took an interest in the Italian Renaissance period before turning to the more relaxed style of Naturalism in Skagen and Civita d'Antino.
Here, he presents his friend Simarro as a man of science who transmits his wisdom investigating and, in addition, it is the triumph of naturalism, as it recreates the indoor environment of the laboratory, catching the luminous atmosphere produced by the artificial reddish-yellow light of a gas burner that contrasts with the weak mauvish afternoon light that shines through the window.
Johannes Schlaf (June 21, 1862 in Querfurt – February 2, 1941 in Querfurt) was a German playwright, author, and translator and an important exponent of Naturalism.
It is written with the intention of belonging to the Realism movement leaning towards Naturalism, much like Flaubert's Madame Bovary.
Vincent van Gogh had suggested a portrait exchange among the small group of artists (also including Émile Bernard) gathered at Pont-Aven in order to create a greater sense of community, a tradition known as Freundschaftsbild. By rendering them all in new artistic styles, the collective announced their abandonment of naturalism and adoption of Symbolism.
In a comparative examination of the thematic content of Goethe’s Faust, Nietzsche’s Zarathustra, and Wagner’s Ring, Seung elucidates how the understanding of Spinoza’s pantheistic naturalism, its inspirational background and influences on European philosophy and literature, is indispensable for the understanding of the development and conditions of modern times.
Examples of this abound, from the expressive naturalism and inventive compositions of the 15th century Netherlandish Schools to the Manhattan motifs and burly colors of the Ashcan School 500 years later.