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32 Cards in this Set
- Front
- Back
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Ch 30 Enlightenment |
Humans are not superstitious beings ruled by God or the aristocracy All men should have equal rights |
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Ch 30 Picturesque |
To be beautiful and nice to look at and idealized |
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Ch 30 Fete Galante |
A subject in painting depicting well-dressed people at leisure in a park or country setting. It is most often associated with eighteenth century French Rococo painting |
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Ch 30 Veduta |
A highly detailed, usually large painting or print of a cityscape or some other vista |
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Ch 30 Odalisque |
A female slave/concubine in a harem |
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Ch 30 Grand Tour |
Grand Tour was the traditional trip of Europe undertaken by mainly upper-class European young men of means |
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Ch 30 Pastel |
Dry pigment, chalk, and gum in stick or crayon form. Also: a work of art made with pastels |
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Ch 30 Salon |
A large room for social and intellectual gatherings Also: a hall or gallery for exhibiting works of art |
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Ch 30 Capriccio |
An imaginary landscape or cityscape in which the artist mixed actual structures, such as famous ruins, with imaginary ones |
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Ch 30 Sublime |
Something that instills fascination mixed with fear, in the presence of something far larger than ourselves transcends normal feelings |
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Ch 31 Historicism |
styles that draw their inspiration from recreating historic styles or artisans (Wikipedia) |
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Ch 31 Avante-Garde |
Trend setting in art |
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Ch 31 Salon des Refuses |
Art exhibition of artwork rejected by the French art academy |
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Ch 31 Divisionism/Pointillism |
Juxtaposed small strokes of color would merge in the viewer’s eye to produce the impression of other colors |
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Ch 31 En plein air |
Tthe Impressionist practice of painting outdoors so artists could have direct access to the fleeting effects of light and atmosphere while working. |
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Ch 31 Japonisme |
A style in French and American nineteenth-century art that was highly influenced by Japanese art, especially prints |
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Ch 31 Simultaneous contrast |
"Adjacent colors affect each other and enhance each other's contrast" (Tate 2016) |
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Ch 32 Primitivism |
A style that borrows visual forms from non-Western or prehistoric peoples |
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Ch 32 Assemblage |
A sculptural collage,A work composed of separate elements pasted together |
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Ch 32 Readymade |
Transformed ordinary, often manufactured objects into works of art |
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Rococo |
18th century artistic movement in France, hazy with light colors and features aristocratic people having fun in nature settings (ex: The swing) Also pertaining to interior design with asymmetrical, flowing, trim. |
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Romanticism |
18th Century art movement focused on very dramatized scenes and focused on the individual |
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Neoclassicism |
No brushstrokes, depicted classical scenes and individuals in traditional classical garb (ex: The Oath of Horatii) |
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Realism |
A commitment to paint the modern world honestly, without turning away from the brutal truths of life for all people |
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Impressionism |
Fast, open brushstrokes and an unfinished appearance that attempts to capture a fleeting moment in time. Often depicts upper-middle class people enjoying nature like Rococo |
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Post-Impressionism |
A reaction against Impressionist concern for the naturalistic depiction of light and color Broad emphasis on abstract qualities or symbolic content (Wikipedia) |
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Cubism |
Objects are analyzed, broken up and reassembled The artist depicts the subject from multiple viewpoints |
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German Expressionism |
A protest movement as a result of urbanization and industrialization in Germany The Bridge combined tribal and Fauvist coloring The Blue Rider to inject art with spiritual values, using color |
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Futurism |
Emphasized speed, technology, youth, and violence, and objects such as the car, the airplane, and the industrial city (Wikipedia) |
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Dada |
Essentially anti-art. Blurring the boundaries of what can be called art. Ready-mades |
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Fauvism |
characterized by wild brush work and crazy colors Subject matter was simple and abstract (Tate 2007) |
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Suprematism |
Russian art movement focusing on geometric shapes and using a restricted range of colors. Malevich Designed so that anyone could receive an emotional response from a piece of art |
