A102 Final Exam

Neoclassicism

A style of art and architecture that emerged in the late 18th century as part of a general revival of interest in classical cultures. Neoclassical artists adopted themes and styles from ancient Greece and Rome.

Romanticism (616)

A Western cultural phenomenon, beginning around 1750 and ending about 1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800 to 1840.

Neue Sachlichkeit

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. • "New Objectivity" • Depicted the horrors of war and explored the themes of death and transfiguration.

Analytic Cubism

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.

Jean-Jacques Rousseau

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Pop Art (757)

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Social Contract (1762)

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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.

Symbolism

A late-19th-century movement based on the idea that the artists 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. • Symbolists disdained Realism as trivial and sought to depict a reality beyond that of the everyday world. They rejected materialism, and celebrated fantasy and imagination. Their subjects were often mysterious, exotic, and sensuous.

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.

Superrealism

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.

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

Suprematism (724)

A type of art formulated by Kazimir Malevich to convey his belief that the supreme reality in the world is pure feeling, which attaches to no object and thus calls for new, nonobjective forms in art - shapes not related to objects in the visible world.

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

Futurism (702)

An early-20th-century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology. • Focused on motion in time and space in their effort to create paintings and sculptures that captured the dynamic quality of modern life.

Constructivism (724)

An early-20th-century Russian art movement formulated by Naum Gabo, who built up his sculptures piece by piece in space instead of carving or modeling them. In this way the sculptor worked with "volume of mass" and "volume of space" as different materials. • Used nonobjective forms to suggest the nature of space-time.

Fauvism (687)

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. • One of the first movements to tap into the pervasive desire for expression • Fauves = Wild beasts • Driven by the desire to develop an art having the directness of Impressionism but also embracing intense color juxtapositions and their emotional capabilities • Demonstrated color's structural, expressive, and aesthetic capabilities • Used bold colors as the primary means of conveying feeling • Color does not describe local tones of objects but expresses the picture's content

De Stijl (724)

Dutch, "the style." An early-20th-century art movement, founded by Piet Mondrian and Theo van Doesburg, whose members promoted utopian ideals and developed a simplified geometric style. • Employed simple geometric forms in their search for "pure plastic art."

Pittura Metafisica

Italian, "metaphysical painting." An early-20th-century Italian art movement led by Giorgio de Chirico, whose work conveys an eerie mood and visionary quality.

Modernism (654)

Sought to capture the images and sensibilities of the age. Modernist art goes beyond simply dealing with the present and involves the artist's critical examination of the premises of art itself.

The Enlightenment

The Western philosophy based on empirical evidence that dominated the 18th century. The Enlightenment was a new way of thinking critically about the world and about human kind, independently of religion, myth, or tradition. • Promoted scientific questioning of all assertions and embraced the doctrine of progress.

Abstract Expressionism (748)

The first major American avant-garde movement. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines: gestural abstraction and chromatic abstraction.

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.

Purism (702)

• Embraced the "machine aesthetic" and sought purity of form in the clean functional lines of industrial machinery. • Opposed Synthetic Cubism on the grounds that it was becoming merely an esoteric, decorative art out of touch with the machine age. • Purists maintained that machinery's clean functional lines and the pure forms of its parts should direct the artist's experiments in design.

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.

Primitivism and Cubism (694)

• Radically challenged prevailing artistic conventions • Artists dissect forms and place them in interaction with the space around them • Primitivism: The incorporation in early-20th-century Western art of stylistic elements from the artifacts of Africa, Oceania, and the native peoples of the Americas. 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 • Analytic Cubism → First phase of cubism → Involves analyzing the structure of forms → Radically disrupts expectations about the representation of time and space • Synthetic Cubism →