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12 Cards in this Set

  • Front
  • Back
--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
--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
Baroque (Counter-Reformation)
--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
Northen Realism (17th cent.)
--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
Rococco (18th cent.)
--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
Neoclassicism (18th cent.)
--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
Romanticism (19th cent.)
--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
Impressionism (19th cent.)
--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
Expressionism (19th and 20th cent.)
--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)
Surrealism (19th and 20th cent.)
--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
Cubism (20th cent.)
--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
Abstract Expressionism (20th cent.)
--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