Thanks to these writings, there was enthusiasm in Italy with regard to Antiquity. This resulted in an increase in archaeological excavations, with the hope of finding ever more ancient works. When the statue of Laocoon, so often mentioned in Roman writings, emerged from the ground, the event took on European proportions.
 
All of these sculptures were considered to be harmonious and balanced, or, put simply, perfect! They were therefore a must as models for modern artists, who certainly did not hold back on this.
 
 

Artistic subjects that had been forgotten for centuries, suddenly came back into favour: a (renewed) welcome was extended to nudes and portraits!

Near the end of the 15th century, there was also movement in the intellectual sphere. A new school of thought emerged: humanism.

There were two aspects to this:

• Firstly, pride of place was given to human beings. A human being is intelligent and curious, and always in search of the truth.
• Secondly, ancient Christian texts were again considered a source of inspiration for this.

He had enormous influence in the world of art. In architecture, for example, the ancient treaty of Vitruvius would inspire all the builders of the time.

This “oil” painting was all the rage throughout Europe, and with it, colours were brighter and more transparent.

Modifications and highly detailed work became possible.

At the same time, painting underwent a minor revolution, with the arrival of geometrical perspective!

Practically speaking, this meant that it was possible to create an impression of depth on a two- dimensional medium, thanks to “lines” that all seemed to end at the same place, called the “vanishing point”.

In the end, all the painters adopted this technique, which broke away from what was practiced during the Middle Ages. This marked the end of the idealized, symbolic art of this era! Artists now wanted to portray scenes with realistic landscapes and characters, experiencing real emotions.

It was no accident that Florence wanted to create such a gigantic dome. In the 15th century, Italy  looked quite different from the Italy of today. The country was divided into numerous  independent city states.

The rivalry that existed  between them was expressed through either military action or the arts. This motivated each of their ruling families to attract the best scholars, painters, sculptors and architects to contribute to their city’s prestige.

In previous episodes, the names of Koons, Eliasson, Richter or Soulages have been mentioned. Although we can always define movements within contemporary art, exceptional individual characters stand out, who often pursue their own journey. Damien Hirst should be added to these “atypical” artists.

To pay for his studies, he worked at the morgue. This was where he developed a fascination for death, which would emerge in a great many of his works.

Through this platinum skull decorated with 8601 diamonds, which received the most media attention of all his creations, Hirst showed that death is a product like any other, which may be bought and sold.

However, during the same year, 2007, he created this skull out of dead black flies. This is repulsive death, doubtless a way of reminding us that, in all things,  a multitude of points of view are possible.

After video, artists took an interest in photography, seeking how to re-invent it through different treatments before and after taking the photograph. This is what we call “fine art photography”.

In the middle of the 1970s, Cindy Sherman became one of the vital figures of this art. Throughout her career, she was the only, or almost the only model for her photographic art. Through the use of accessories, prostheses and makeup, she represented many different characters to become a deformed reflection of our society.

The German artist Joseph Beuys was one of the first artists to make his life the main material for his art. He also played on the difference between fiction and reality, creating what he calls his “individual mythology”.

He tells the story of how he crashed in a fighter plane in Crimea, in 1940. Tartars are said to have brought him back to life by covering him with grease and wrapping him up in felt blankets. Grease and felt thereby became regular features of his works.

This “rebirth” was like a shamanist magic rite (to communicate with spirits). Beuys would sometimes do artistic actions in public, known as performances, in which he himself appeared as a Shaman communicating with the forces of nature.