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12 Cards in this Set
- Front
- Back
Medieval
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--Byzantine style dominates
--religious scenes with stiff, one-demensional figures associated with preistly functions of the church --backgrounds generally in gold to provide illumination in the church --values: religious, transcendental, otherwordly |
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Renaissance
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--art of line and edges
--figures from the bible --classical history/mythology --comissioned portraits --use of perspective, chiaroscuro to achieve rounded effects --secular backgrounds and material splendor --values: secularism, individualism, virtu, balance, order, passivity and calm |
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Baroque (Counter-Reformation)
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--florid, more colorful, richer in texture and decoration
--more light and shade (apparently less control) --scense embody mystery and drama/violence and spectacle, suggesting a deliberate striving after effect --commissioned by Catholic church to stir religious emotions and win back defectors --values: sensualism,dynamism, emotion |
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Northen Realism (17th cent.)
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--everyday scenes exhibit mathematical and geometric values of 17th cent. science
--middle-class Dutch patrons commissioned secular works (portraits, still-lifes, etc.) --landscapes/genre paintings --values: quiet opulence, comfortable domesticity, realism |
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Rococco (18th cent.)
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--art of French aristocracy
--portrayal of nobility in sylvan settings or ornate interiors --Venuses and Cupids abound --ladies in silk finery alongside similarly dressed cavaliers --"candy box" art: saccharine, frivolous, delicate --values: ornamentation, elegance, sweetness |
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Neoclassicism (18th cent.)
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--return to classical antiquity for inspiration
--scenes are historical and mythological --figures appear to be sculpted --appeal is to the intellect, not the heart --emotions are restrained --balance is achieved --values: reason, order, balance, reverence for antiquity |
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Romanticism (19th cent.)
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--reaction against the "cold and unfeeling" reason of the Enlightenment
--against the destruction of nature resulting from the Industrial Rev. --stress on light, color and self-expression --opposition to the emphasis on line and firm modeling typical in neoclassical art --values: emotion, feeling, morbidity, exoticism, mystery |
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Impressionism (19th cent.)
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--attempt to portray the fleeting and transitory world of sense impressions based on scientific studies of light
--forms bathed in light and atmosphere --colors juxtaposed for the ey to fuse from a distance --short, choppy brush strokes to catch the vibrating quality of light --values: the immediate, accidental and transitory |
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Expressionism (19th and 20th cent.)
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--indebted to Freud
--tries to penetrate the facade of bourgeois superficiality and probe the psyche (that which lurks beneath an individual's calm and artificial posture) --values: subliminal anxiety, dissonance in color and perspective, pictorial violence (manifest and latent) |
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Surrealism (19th and 20th cent.)
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--indebted to Freud
--explores the dream world (world w/o logic, reason or meaning) --fascination with mystery, the strange encounters between objects and incongruity --subjects often indecipherable in their strangeness --beautiful is the quality of chance association --values: the dream sequence, illogic, fantasy |
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Cubism (20th cent.)
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--no single point of view
--no continuity or simultaneity of image contour --all possible views of the subject are compressed into one synthesized view of top, sides, front and back --picture becomes a multifaceted view of objects with angular, interlocking planes --values: a new way of seeing (a view of the world as a mosaic of multiple relationships), reality as interaction |
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Abstract Expressionism (20th cent.)
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--nonrepresentational art
--no climaxes --flattened-out planes and values --the real appearence of forms in nature is subordinated to an aesthetic concept of form composed of shapes, lines and colors --values: personal and subjective interpretation |