AHIS 1- Test 1

Impressionism (654)

A late-19th-century art movement that sought to capture a fleeting moment, thereby conveying the illusiveness and impermanence of images and conditions. • Sketchy quality • The Impressionists strove to capture fleeting moments and transient effects of light and climate on canvas. • Focus on recording contemporary urban scene in Paris • Complementing the Impressionists' sketchy, seemingly spontaneous brush strokes are the compositions of their paintings. Reflecting the influence of Japanese prints and photography, Impressionist works often have arbitrarily cut-off figures and settings seen at sharply oblique angles.

Synthetic Cubism

A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject, in order to engage the viewer with pictorial issues, such as figuration, realism, and abstraction.

Realism

A movement that emerged in mid- 19th-century France. Realist artists represented the subject matter of every day life (especially subjects that had previously been considered inappropriate for depiction) in a relatively naturalistic mode. • Gustave Courbet - paintings of menial labor and ordinary people exemplify his belief that painters should depict only their own time and place • Honoré Daumier boldly confronted authority with his satirical lithographs commenting on the plight of the working classes • Édouard Manet shocked the public with his paintings featuring promiscuous women and rough brush strokes, which emphasized the flatness of the painting surface, paving the way for modern abstract art.

Surrealism

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. • Natural Surrealists aimed for "concrete irrationality" in their naturalistic paintings of dreamlike scenes • Biomorphic Surrealists experimented with automatism and employed abstract imagery

Der Blaue Reiter (The Blue Rider) (691)

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. • Produced paintings that captured their feelings in visual form while also eliciting intense visceral responses from viewers

Die Brüke (The Bridge) (689)

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. • Modeled themselves on their ideas of medieval craft guilds by living together and practicing all the arts equally. • Protested the hypocrisy and materialistic decadence of those in power → Detrimental effects of industrialization

Post-Impressionism (663)

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. • Post-Impressionism is not a unified style. The term refers to the group of late-19th-century artists who followed the Impressionists and took painting in new directions. → More systematic examining of the properties and expressive qualities of line, pattern, form and color → The art had roots in Impressionist precepts and methods, but is not stylistically homogenous • George Seurat refined the Impressionist approach to color and light into pointillism - the disciplined application of pure color in tiny daubs that become recognizable forms only when seen from a distance. • Vincent van Gough explored the capabilities of colors and distorted forms to express emotions, as in his dramatic depiction of the sky in "Starry Night." • Paul Gauguin, another admirer of Japanese prints, moved away from Impressionism in favor of large areas of flat color bounded by firm lines. • Paul Cézanne replaced transitory visual effects of the Impressionists with a rigorous analysis of the lines, planes, and colors that make up landscapes and still lifes.

German Expressionism (689)

• Immediacy and boldness of Fauvism • Although color plays a prominent role in contemporaneous German painting, the expressiveness of the German images is due as much to wrenching distortions of form, ragged outline, and agitated brush strokes.

Dadaism (704)

• Prompted by a revulsion against the horror of World War I. • 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.

Cubism (694)

• Radically challenged prevailing artistic conventions • Artists dissect forms and place them in interaction with the space around them Cubism • Rejected naturalistic depictions, preferring compositions of shapes and forms abstracted from the conventionally perceived world. • Pursued analysis of form central to Cézanne's artistic explorations • Subdued hues in order to focus the viewer's attention on form