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The quantity and diversity of artistic works during the period do not fit easily into categories for interpretation, but some loose generalizations may be drawn.

At the opening of the century, baroque forms were still popular, as they would be at the end. They were partially supplanted, however, by a general lightening in the rococo motifs of the early s.

This was followed, after the middle of the century, by the formalism and balance of neoclassicism, with its resurrection of Greek and Roman models.

Although the end of the century saw a slight romantic turn, the era's characteristic accent on reason found its best expression in neoclassicism.

In painting, rococo emphasized the airy grace and refined pleasures of the salon and the boudoir, of delicate jewelry and porcelains, of wooded scenes, artful dances, and women, particularly women in the nude.

Rococo painters also specialized in portraiture, showing aristocratic subjects in their finery, idealized and beautified on canvas. The rococo painting of Antoine Watteau blended fantasy with acute observations of nature, conveying the ease and luxury of French court life.

Italian painters, such a Giovanni Tiepoloalso displayed rococo influences.

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English painting lacked the characteristic rococo frivolity, but the style affected works by Sir Joshua Reynolds and Thomas Gainsboroughwhose portraits tended to flatter their aristocratic subjects.

Eighteenth-century neoclassicism in painting is difficult to separate from some works in the era of Louis XIV. Both Charles Le Brun and Nicolas Poussin had earlier projected order and balance, often in grandiose scenes from antiquity or mythology.

Jean Chardin carried some of this over into the s. The neoclassic approach, however, often expressed powerful dissatisfaction and criticism of the existing order, sometimes in stark realism and sometimes in colossal allegory.

The most typical representative of this approach was Jacques Louis Davidwhose most famous work, Death of Socrates illustrates his respect for Greco-Roman tradition. His sketch of Marie Antoinette enroute to the guillotine clearly represents his revolutionary sympathies.

The best examples of pure realism and social criticism are the London street scenes by the English painter William Hogarth and the Spanish court portraits of Francisco Goya The number of women painters increased during the eighteenth century, but they were so limited by traditions and so dependent upon public favor that they could hardly maintain consistent styles.

Very few were admitted to academies, where their work might be shown; in France, they were not permitted to work with nude models.

The result was their practical restriction to still-life and portraiture. Among rococo painters, the two best-known were Rachel Ruyscha court painter of flowers in Dusseldorf, and Rosalba Carrieraa follower of Watteau, who was admitted to the French Academy in If possible, they were overshadowed by Angelica Kaufmanna Swiss-born artist who painted in England and Italy.For those new to Wait But Why, blue circle footnotes (like this one) are good to click on—they’re for fun facts, extra thoughts, extraneous quotes from my conversations with Musk, and further explanation.↩.

Leaders and Followers essays My parents always told me to be a leader, not a follower. They were basically telling me not follow other people into trouble. Everyone cannot be a leader but can be good followers for something, in a positive way. They cannot be leaders because they lack the skills.

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Acct Leader Or Follower Essay LEADER-FOLLOWER DEVELOPMENT PROCESSES _____ A Paper Submitted to Dr.

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In this guide, we’ll explore what servant leadership is through the context of history and modernity. We’ll examine the different elements of the concept and consider the characteristics a good servant leader needs to possess.

Finally, we’ll examine the advantages and disadvantages of servant leadership and explore a few examples of servant leaders and organizations.