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| the early phase of Cubism (1909-1912) during which objects were dissected or analyzed in a visual information-gathering process and then reconstructed on the canvas |
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| an outgrowth of automatic writing in which the artist attempts to derive the outlines of images from the unconscious mind through free association. |
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| the leaders in new, unconventional movements; the van guard (from French, "advance guard") |
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| a 17th century European style characterized by ornamentation, curved lines, irregularity of form, dramatic lighting and color, and exaggerated genstures |
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| an anticommercial movement begun in the 1960s in which works of art are conceived and executed in the mind of the artist. The commercial or communal aspects of the "wrok" is often set of instructions as to how to create that which exists in the artist's mind |
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| space that is depicted as conceptualized by the artist rather than in realistic perspective |
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| all that is contained in a work or art: the visual elements, subject matter, and underlying meaning or themes |
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| a 20th century style developed by Picasso and Braque that emphasizes the two-dimensionality of the canvas, characterized by multiple views of an object and the reduction of form to cube-like essentials |
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| a post-World War I movement that sought to use art to destroy art, thereby underscoring the paradoxes and absurdities of modern life |
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| the combination of the visual elements of art according to such priciples as balance and unity |
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| the Futurist view that force or energy is the basic priciple that underlies all events, including everything we see. Objects are depicted as if in constant motion, appearing and disappearing before our eyes |
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| a modern school of art in which an emotional impact is acheived through agitated brushwork, intense coloration, and violent, hallucinatory imagery |
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| An early 20th century style of art characterized by the juxtaposition of arears of bright colors that are often unrelated to the object they represent, and by distorted liniar perspective (from the French for "wild beast") |
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| an early 20th century style that portrayed modern machines and the dynamic character of modern life and science |
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| a system of belief in which humankind is viewed as the standard by which all things are measured |
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| a late 19th century style characterized by the attempt to capture the fleeting effects of light by painting in short strokes of pure color |
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| a 20th century style of nonobjective art in which a minimal number of visual elements are arranged in a simple fashion |
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| a style of architecture that rejects classical models, deemphasizes ornamentation, and frequently uses strong, recently developed materials |
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| representation that strives to imitate nature rather than to express intellectual theory |
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| a violent, figurative style of the second half of the 20th century that sought to reconcile abstraction and representation through the use of simplified images to convey the grandeur of abstract shapes wihtout dominating visual elements such as color and texture |
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| a style of art dating from the 1960s that creates the illusion of vibrations through afterimages, disorienting perspective, and the juxtaposition of contrasting colors. also called "optical art" or "optical painting" |
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| a systematic method of applying minute dots of unmixed pigment to the canvas; the dots are inteded to be "mised" by the eye when viewed. also called "divisionism" |
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| an art style originating in the 1960s that uses commercial and popular images and themes as its subject matter |
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| a late 19th century style that relies on the gains made by impressionsits in terms of the color and spontaneous brushwork but that employs these elements as expressive devices. The postimpressionists however rejected the essentially decorative aspects of impressionist subject matter |
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| a contemporary style that arose as a reastion to modernism and that returns to ornamentation drawn from Classical and historical sources |
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| the belief that ethical onduct is determined by reason |
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| a styel caracterized by accurate and truthful portrayal of subject matter; a 19th century style that portrayed subject matter in this manner |
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| a 19th century movement that rebelled against academic Neo-classicism by seeking extremes of emotion as enhanced by vituoso brushwork and a brilliant palatte |
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| a 20th century art style whose imagery is believed to stem from unconscious, irrational sources and that therefore takes on fantastic forms. Although the imagery is fantastic, it is often rendered with extraordinary realism |
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| Gauguin's theory of art, which advocated the use of broad areas of unnatural color and primitive or symbolic subject matter |
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| an assemblage of two-dimensional object to creat an immage; work of art in which materials such as paper, cloth, and wood are pasted to a two-dimensional surface, such as a wooden panel or canvas (from coller, French for "to paste") |
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| a photograph made from a silver coated coper plate, named after Louis Daguerre, the inovater of the method |
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