"Stubborn" And "compromise"

In western painting history, Angel and Bouguereau were recognized as representatives inthe19century’s painting history. People regard their paintings as models for art. The two bothare followers of classicism, but they differ a lot in painting expression. Angel’s painting usuallypresent a luxury and elegant picture, which bring us a feeling of tranquility far away from thehubbub, making his painting get external glory of new classicis. While Bouguereau, havingsimilar passion and sensitivity for art, was good at picking inspiration from real life, chasing forthe true, the good and the beautiful of humanity. People could get refined and aesthetic intimacyfrom his paintings. He is the last master that sticks to classicism in western field. They bothfollow rational rules with superb techniqus that exquisitely combine sketch and color together,searching inner inspiration from the most ordinary things which present both wonderful andprofound visual impression for viewers.The thesis follows the rationalism in classic paintings. Chapter one describes thedeveopment frame of clssscism by analyzing the rational concept in western eaesthetics. Chaptertwo respectively introduces artistic pursuit, aesthetic value and drawing techniques of Angel andBouguereau. Chapter three tells similarities and difference of the two classicism pursuers inpainting style and charateristics, choice of figure theme, creation concept and employment ofmeans of artistic expression. Chapter four reveals the “form of aesthetic” in classic painting art isof no uniqueness, and the external aim of it is to present the essence of beauty. Chapter two andchapter three are the focus of the thesis.The thesis analyzes differences between Angel and Bouguereau’s paintings by the methodof comparison, providing us a better platform for further understanding the rational innotation ofclassicism paintings in the end of18th century and the middle and later periods of the19thcentury. It goes into the significant point of general development tendency in western art history,which is a bridge for us to understand the beauty in form of paintings in the19th century.Moreover, it reflects on the phenomonon that modern paintings tend to blindly pursuing fornovelty form on the surface but fail to imply inner thought.