Eclecticism
From Wikipedia, the free encyclopedia
Eclecticism is a conceptual approach that does not hold rigidly to a single paradigm or set of assumptions, but instead draws upon multiple theories, styles, or ideas to gain complementary insights into a subject, or applies different theories in particular cases. It can sometimes seem inelegant or lacking in simplicity, and eclectics are sometimes criticized for lack of consistency in their thinking. It is, however, common in many fields of study. For example, most psychologists accept certain aspects ofbehaviorism, but do not attempt to use the theory to explain all aspects of human behavior. A statistician may use frequentisttechniques on one occasion and Bayesian ones on another.
Eclecticism in art
From Wikipedia, the free encyclopedia
For the 19th century art movement known as eclecticism, see academic art.
Eclecticism is a kind of mixed style in the fine arts: "the borrowing of a variety of styles from different sources
and combining them" (Hume 1998, 5). Significantly, Eclecticism hardly ever constituted a specific style in art:
it is characterized by the fact that it was not a particular style. In general, the term describes the
combination in a single work of a variety of influences — mainly of elements from different historical styles
in architecture, painting, and the graphic and decorative arts. In music the term used may be either eclecticism,
The process of the synthesis and/or entropy of arts.[vague] A mixing and gelling of existing artistic elements
which then create a new genre; thereby increasing the total pool of existing sources of influence on future
perspectives.[citation needed]
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In the visual arts
The term eclectic was first used by Johann Joachim Winckelmann to characterize the art of the Carracci,
who incorporated in their paintings elements from the Renaissance and classicaltraditions. Indeed, Agostino,
Annibale and Lodovico Carracci had tried to combine in their art Michelangelo's line, Titian's color, Correggio's chiaroscuro,
and Raphael's symmetry and grace.
who incorporated in their paintings elements from the Renaissance and classicaltraditions. Indeed, Agostino,
Annibale and Lodovico Carracci had tried to combine in their art Michelangelo's line, Titian's color, Correggio's chiaroscuro,
and Raphael's symmetry and grace.
In the 18th century, Sir Joshua Reynolds, head of the Royal Academy of Arts in London, was one of the most influential
advocates of eclecticism. In the sixth of his famous academicalDiscourses (1774), he wrote that the painter may use the work
of the ancients as a "magazine of common property, always open to the public, whence every man has a right to take what materials
he pleases" (Reynolds 1775,[page needed] In 19th-century England, John Ruskin also pleaded for eclecticism.[citation needed]
advocates of eclecticism. In the sixth of his famous academicalDiscourses (1774), he wrote that the painter may use the work
of the ancients as a "magazine of common property, always open to the public, whence every man has a right to take what materials
he pleases" (Reynolds 1775,[page needed] In 19th-century England, John Ruskin also pleaded for eclecticism.[citation needed]
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