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Hay Stacks by Giovanni Fattori, a leading artist in the Macchiaioli movement. The Macchiaioli were a group of Italian painters from Tuscany, active in the second half of the 19th century, who, breaking with the antiquated conventions taught by the Italian academies of art, painted outdoors in order to capture natural light, shade, and colour.
French Baroque architecture, usually called French classicism, was a style of architecture during the reigns of Louis XIII (1610–1643), Louis XIV (1643–1715) and Louis XV (1715–1774). It was preceded by French Renaissance architecture and Mannerism and was followed in the second half of the 18th century by French Neoclassical architecture .
Neoclassical architecture ( Dutch: Neoclassicistische architectuur, French: Architecture néo-classique) appeared in Belgium during the period of Austrian occupation in the mid-18th century and enjoyed considerable longevity in the country, surviving through periods of French and Dutch occupation, and the birth of Independent Belgium, surviving ...
Jacques-François Blondel (8 January 1705 – 9 January 1774) was an 18th-century French architect and teacher. After running his own highly successful school of architecture for many years, he was appointed Professor of Architecture at the Académie Royale d'Architecture in 1762, and his Cours d'architecture ("Course of Architecture", 1771–1777) largely superseded a similarly titled book ...
Marie-Gabrielle Capet. Marie-Gabrielle Capet (6 September 1761 – 1 November 1818) was a French Neoclassical painter. She was born in Lyon on 6 September 1761. Capet came from a modest background and her previous background and artistic training is unknown, but in 1781 she became the pupil of the French painter Adélaïde Labille-Guiard in Paris.
Master Ataíde: Ascension of Jesus, 1827. Rococo painting represents the expression in painting of an aesthetic movement that flourished in Europe between the early and late 18th century, migrating to America and surviving in some regions until the mid-19th century. The painting of this movement is divided into two sharply differentiated camps.
16th-century French theatre followed the same patterns of evolution as the other literary genres of the period. For the first decades of the century, public theatre remained largely tied to its long medieval heritage of mystery plays, morality plays, farces, and soties, although the miracle play was no longer in vogue.
