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51 Cards in this Set
- Front
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Post-Impressionism
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The term used to describe the stylistically heterogeneous work of the group of late-19th-century painters in France, including van Gogh, Gauguin, Seurat, and Cézanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did.
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Pointillism
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A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer’s eyes optically blend the pigment dots. Sometimes referred to as divisionism.
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Cubism
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An early-20th-century art movement that rejected naturalistic depictions, preferring compositions of shapes and forms abstracted from the conventionally perceived world. See also Analytic Cubism and Synthetic Cubism
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Symbolism
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A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact.
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Dada
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An early-20th-century art movement prompted by a revulsion against the horror of World War I. Dada embraced political anarchy, the irrational, and the intuitive. A disdain for convention, often enlivened by humor or whimsy, is characteristic of the art the Dadaists produced.
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De Stijl
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Dutch, “the style.” An early-20th-century art movement (and magazine), founded by Piet Mondrian and Theo van Doesburg, whose members promoted utopian ideals and developed a simplified geometric style.
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Der Blaue Reiter
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German, “the blue rider.” An early-20th-century German Expressionist art movement founded by Vassily Kandinsky and Franz Marc. The artists selected the whimsical name because of their mutual interest in the color blue and horses.
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Die Bruecke
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German, “the bridge.” An early-20th-century German Expressionist art movement under the leadership of Ernst Ludwig Kirchner. The group thought of itself as the bridge between the old age and the new.
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Expressionism
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Twentieth-century art that is the result of the artist’s unique inner or personal vision and that often has an emotional dimension. Expressionism contrasts with art focused on visually describing the empirical world.
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Fauvism
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An early-20th-century art movement led by Henri Matisse. For the Fauves, color became the formal element most responsible for pictorial coherence and the primary conveyor of meaning.
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Futurism
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An early-20th-century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology.
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mobile
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A kind of sculpture, invented by Alexander Calder, combining nonobjective organic forms and motion in balanced structures hanging from rods, wires, and colored, organically shaped plates.
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Naturalistic Surrealism
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A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists, notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
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Analytic Cubism
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The first phase of Cubism, developed jointly by Pablo Picasso and Georges Braque, in which the artists analyzed form from every possible vantage point to combine the various views into one pictorial whole.
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Art Deco
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Descended from Art Nouveau, this movement of the 1920s and 1930s sought to upgrade industrial design in competition with “fine art” and to work new materials into decorative patterns that could be either machined or handcrafted. Characterized by streamlined, elongated, and symmetrical design.
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automatism
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In painting, the process of yielding oneself to instinctive motions of the hands after establishing a set of conditions (such as size of paper or medium) within which a work is to be carried out.
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Bauhaus
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A school of architecture in Germany in the 1920s under the aegis of Walter Gropius, who emphasized the unity of art, architecture, and design.
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Biomorphic Surrealism
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A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists, notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
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Expressionism
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Twentieth-century art that is the result of the artist’s unique inner or personal vision and that often has an emotional dimension. Expressionism contrasts with art focused on visually describing the empirical world.
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Fauvism
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An early-20th-century art movement led by Henri Matisse. For the Fauves, color became the formal element most responsible for pictorial coherence and the primary conveyor of meaning.
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Futurism
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An early-20th-century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology.
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Neue Sachlichkeit
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German, “new objectivity.” An art movement that grew directly out of the World War I experiences of a group of German artists who sought to show the horrors of the war and its effects.
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Regionalism
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A 20th-century American art movement that portrayed American rural life in a clearly readable, realist style. Major Regionalists include Grant Wood and Thomas Hart Benton.
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Surrealism
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A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists, notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
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Art Nouveau
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French, “new art.” A late-19th- and early-20th-century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. The movement had other names in other countries: Jugendstil in Austria and Germany, Modernismo in Spain, and Floreale in Italy.
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complementary colors
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Those pairs of colors, such as red and green, that together embrace the entire spectrum. The complement of one of the three primary colors is a mixture of the other two.
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primary colors
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Red, yellow, and bluethe colors from which all other colors may be derived.
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simultaneous contrasts
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The phenomenon that juxtaposed colors affect the eye’s reception of each, as when a painter places dark green next to light green, making the former appear even darker and the latter even lighter. See also successive contrasts.
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successive contrasts
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The phenomenon of colored afterimages. When a person looks intently at a color (green, for example) and then shifts to a white area, the fatigued eye momentarily perceives the complementary color (red). See also simultaneous contrasts.
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Symbolism
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A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact.
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action painting
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Also called gestural abstraction. The kind of Abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist’s gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.
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Fluxus
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A group of American, European, and Japanese artists of the 1960s who created Performance art. Their performances, or Events, often focused on single actions, such as turning a light on and off or watching falling snow, and were more theatrical than Happenings.
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impasto
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A layer of thickly applied pigment.
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installation
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An artwork that creates an artistic environment in a room or gallery.
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Superrealism
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A school of painting and sculpture of the 1960s and 1970s that emphasized producing artworks based on scrupulous fidelity to optical fact. The Superrealist painters were also called Photorealists because many used photographs as sources for their imagery.
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Founder of Surrealism
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Andre Breton
Manifesto of Surrealism |
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Duchamp, Fountain
what did he want |
elevating common objects to the status of art
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Bauhaus
Walter Gropius motto |
unity of art and craft
unity of art and technology |
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what does "Fauves" mean (Fauvists)
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it means "wild beasts"
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name some Fauvists
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Matisse
Derain |
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What was the first abstract piece of art EVER?
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Kandinsky's Improvisation 28
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What was the intention of Kandinsky in his art?
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Kandinsky wanted it to seen as an UNIVERSAL art
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Kandinsky associated colors with _____
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TASTE (sanastasia)
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Futurism came from _____ and was _____ motivated
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Italy
politically |
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Futurism
- artists |
Umberto Boccioni (Unique Forms of Continuity in Space)
Carlo Carrà Giacomo Balla Gino Severini and the composer Luigi Russolo. |
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__________ paved the way for Cubism
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Cezanne
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Cezanne
Van Gogh Gaugin how do they use color, form? |
Cezanne studied FORMS
Van Gogh uses color to express emotions Gaugin uses color in a decorative aspect |
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Surrealism
artists influenced by |
Andre Breton
Chirico Dali Magritte Oppenheim Miro influenced by Freud |
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2 components of Surrealism
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1) Dream Imagery (Dali)
2) Automatism (Miro) |
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frottage
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the artists rubs over a surface to create texture
Max Ernst: 2 children threatened by a nightingale |
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_________ is the artist connected with ACTION PAINTING
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Jackson Pollock
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