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| The RA and FSA are well known for the influence of their photography program, 1935-1944. Photographers and writers were hired to report and document the plight of poor farmers. The Information Division of the FSA was responsible for providing educational materials and press information to the public. Under Roy Stryker, the Information Division of the FSA adopted a goal of "introducing America to Americans." Many of the most famous Depression-era photographers were fostered by the FSA project. Walker Evans, Dorothea Lange, and Gordon Parks were three of the most famous FSA alumni. The FSA was also cited in Gordon Parks' autobiographical novel, " A Choice of Weapons" - russell lee, jung, shahn, rosskam, rothstein |
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| was an international design movement that flourished between 1860 and 1910, especially in the second half of that period,[1] continuing its influence until the 1930s.[2] It was led by the artist and writer William Morris (1834–1896) and the architect Charles Voysey (1857–1941) during the 1860s,[1] and was inspired by the writings of John Ruskin (1819–1900) and Augustus Pugin (1812–1852). It developed first and most fully in the British Isles,[2] but spread to Europe and North America.[3] It was largely a reaction against the impoverished state of the decorative arts at the time and the conditions in which they were produced.[4] It stood for traditional craftsmanship using simple forms and often applied medieval, romantic or folk styles of decoration. It advocated economic and social reform and has been said to be essentially anti-industrial |
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| was a group of Indiana Impressionist painters working in the late 19th and early 20th centuries. They are primarily known for their renditions of the Indiana landscape. Artists considered members of this group include T. C. Steele, Richard Gruelle, William Forsyth, J. Ottis Adams, and Otto Stark. While works by these artists are found in private and public collections around the United States, a number of collections, primarily in Indiana include the works of all five artists. These include the Indianapolis Museum of Art, Indiana State Museum, and the Columbia Club, Indianapolis; Indiana University Art Museum, Bloomington; the Richmond Art Museum, Richmond; Ball State University Museum of Art, Muncie; the Swope Art Museum, Terre Haute; and DePauw University, Greencastle. |
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| (French: École de Pont-Aven) encompasses works of art influenced by Pont-Aven and its surroundings. Originally the term applied to works created in the artists' colony at Pont-Aven which started to emerge in the 1850s and lasted until the beginning of the 20th century. Many of the artists were inspired by the works of Paul Gauguin who spent extended periods in the area in the late 1880s and early 1890s. Their work is frequently characterised by the bold use of pure colour and their Symbolist choice of subject matter. Pont-Aven is a commune of the Finistère département, in Brittany, France, some distance inland from where the River Aven meets the Atlantic Ocean. From the 1850s painters began to frequent the village of Pont-Aven, wanting to spend their summers away from the city, on a low budget in a picturesque place not yet spoilt by tourism. Gauguin first worked in Pont-Aven in 1886. When he returned in 1888, the situation had changed: Pont-Aven was already crowded, and Gauguin looked for an alternative place to work which he found, in 1889, in Le Pouldu (today part of the community of Clohars-Carnoët), some miles off to the East at the mouth of the river Laïta, traditionally the border of the Morbihan département. There, Gauguin, accompanied by Meijer de Haan, Filiger and for a while by Sérusier, spent the winter of 1889/1890 and several months afterwards. |
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| (German: Sezession) refers to a number of modernist artist groups that separated from the support of official academic art and its administrations in the late 19th and early 20th century. The best-known secession movement was the Vienna Secession formed in 1897, and included Gustav Klimt, who favoured the ornate Art Nouveau style over the prevailing styles of the time. The style of these artists, as practiced in Austria is known as Sezessionstil, or "Secession style". |
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is a style of painting and sculpture produced under the influence of European academies of art. Specifically, academic art is the art and artists influenced by the standards of the French Académie des Beaux-Arts, which practiced under the movements of Neoclassicism and Romanticism, and the art that followed these two movements in the attempt to synthesize both of their styles, and which is best reflected by the paintings of William-Adolphe Bouguereau, Thomas Couture, and Hans Makart. In this context it is often called "academism", "academicism", "L'art pompier", and "eclecticism", and sometimes linked with "historicism" and "syncretism".
The art influenced by academies in general is also called "academic art". In this context as new styles are embraced by academics, the new styles come to be considered academic, thus what was at one time a rebellion against academic art becomes academic art. The first academy of art was founded in Florence in Italy by Cosimo I de' Medici, on 13 January 1563, under the influence of the architect Giorgio Vasari who called it the Accademia e Compagnia delle Arti del Disegno (Academy and Company for the Arts of Drawing) as it was divided in two different operative branches. |
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| is a term used by art historians, literary and cultural studies scholars for the imitation or depiction of aspects of Middle Eastern, and East Asian cultures (Eastern cultures) by American and European writers, designers and artists. In particular, Orientalist painting, depicting more specifically "the Middle East",[1] was one of the many specialisms of 19th century Academic art. Since the publication of Edward Said's Orientalism, the term has arguably acquired a negative connotation. "Orientalism" refers to the Orient or East,[2] in contrast to the Occident or West. "Orientalism" is widely used in art, to refer to the works of the many 19th century artists, who specialized in "Oriental" subjects, often drawing on their travels to Western Asia. |
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| also known as the West and the Occident (from Latin: occidens "sunset, West"; as contrasted with the Orient), is a term referring to different nations depending on the context. There is no agreed upon definition about what all these nations have in common. Though the term originally had a literal geographic meaning and contrasted Europe with the cultures of the Orient or Asia, today the term West does not imply geographic location, as most of Europe and Oceania, major components of the West, lie in the Eastern Hemisphere. The concept of the Western part of the earth has its roots in Greco-Roman civilization in Europe, with the advent of Christianity. In the modern era, Western culture has been heavily influenced by the traditions of The Renaissance, The Protestant Reformation, The Enlightenment, and shaped by the expansive colonialism of the 16th-19th centuries. Its political usage was temporarily informed by a mutual antagonism with the Soviet bloc during the Cold War in the mid-to-late 20th Century (1945–1991). In the contemporary cultural meaning, the Western World includes many countries of Europe as well as many countries of European colonial origin in the Americas and Oceania, such as the United States of America, Brazil, Mexico, Canada, Australia, Argentina, etc |
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| (or simply the Enlightenment or Age of Reason) was a cultural movement of intellectuals in 18th century Europe, in order to reform society and advance knowledge. It promoted science and intellectual interchange and opposed superstition,[1] intolerance and abuses in church and state. Originating about 1650 to 1700, it was sparked by philosophers Baruch Spinoza (1632–1677), John Locke (1632–1704), Pierre Bayle (1647–1706), physicist Isaac Newton (1643–1727), and historian Voltaire (1694–1778). The wide distribution of the printing press, invented in Europe in 1440, made possible the rapid dispersion of knowledge and ideas which precipitated the Enlightenment. Ruling princes often endorsed and fostered figures and even attempted to apply their ideas of government in what was known as Enlightened Despotism. The Enlightenment flourished until about 1790–1800, after which the emphasis on reason gave way to Romanticism's emphasis on emotion and a Counter-Enlightenment gained force |
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| is a region centered on the islands of the tropical Pacific Ocean.[1] Opinions of what constitutes Oceania range from the coral atolls and volcanic islands of the South Pacific (ethnologically divided into the subregions of Melanesia, Micronesia, and Polynesia[2]) to the entire insular region between Asia and the Americas, including Australasia and the Malay Archipelago.[3] The term is sometimes used more specifically to denote a continent comprising Australia and proximate islands,[3][4][5][6][7] or biogeographically as a synonym for either the Australasian ecozone (Wallacea and Australasia) or the Pacific ecozone (Melanesia, Polynesia, and Micronesia apart either from New Zealand[8] or from mainland New Guinea[9]). |
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| ] was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. The paintings for which the movement is named depict the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and the White Mountains; eventually works by the second generation of artists associated with the school expanded to include other locales. (thomas cole -founder, asher durand) |
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| Düsseldorf school of painting |
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| refers to a group of painters who taught or studied at the Düsseldorf Academy (now the Staatliche Kunstakademie Düsseldorf or Düsseldorf State Art Academy) in the 1830s and 1840s, when the Academy was directed by the painter Wilhelm von Schadow. The work of the Düsseldorf School is characterized by finely detailed yet still fanciful landscapes, often with religious or allegorical stories set in the landscapes. Leading members of the Düsseldorf School advocated "plein air painting", and tended to use a palette with relatively subdued and even colors. The Düsseldorf School grew out of and was a part of the German Romantic movement. Prominent members of the Düsselorf School included von Schadow, Karl Friedrich Lessing, Johann Wilhelm Schirmer, Andreas Achenbach, Hans Fredrik Gude, Oswald Achenbach, and Adolf Schrödter |
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of painters were part of an art movement towards realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, near Fontainebleau Forest, where the artists gathered. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form.The leaders of the Barbizon school were Jean-Baptiste Camille Corot, Théodore Rousseau, Jean-François Millet and Charles-François Daubigny; other members included Jules Dupré, Constant Troyon, Charles Jacque, Narcisse Virgilio Diaz, Pierre Emmanuel Damoye, Charles Olivier de Penne, Henri Harpignies, Gabriel-Hippolyte Lebas (1812–1880), Albert Charpin, Félix Ziem, François-Louis Français, Emile van Marcke and Alexandre Defaux.
would do rural paintings |
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| beginning in 1725 was the official art exhibition of the Académie des Beaux-Arts in Paris, France. Between 1748–1890 it was the greatest annual or biannual art event in the Western world. From 1881 onward, it has been organized by the Société des Artistes Français |
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| is a French learned society. It is one of the five academies of the Institut de France. (painting, sculpture, architecture, etching, photography) |
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| is above all the cumulative product of two-and-a-half centuries of instruction under the authority, first, of the Académie royale d'architecture (1671–1793), then, following the French Revolution of the late 18th century, of the Architecture section of the Académie des Beaux-Arts (1795— ). |
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| works progress administration |
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| (renamed during 1939 as the Works Project Administration; WPA) was the largest and most ambitious New Deal agency, employing millions of unskilled workers to carry out public works projects,[1] including the construction of public buildings and roads, and operated large arts, drama, media, and literacy projects |
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| Federal Art Project (FAP) |
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was the visual arts arm of the Great Depression-era New Deal Works Progress Administration Federal One program in the United States. It operated from August 29, 1935, until June 30, 1943. Reputed to have created more than 200,000 separate works, FAP artists created posters, murals and paintings. Some works still stand among the most-significant pieces of public art in the country.
The program made no distinction between representational and nonrepresentational art. Abstraction had not yet gained favor in the 1930s and 1940s and, thus, was virtually unsalable. As a result, the program supported such iconic artists as Jackson Pollock before their work could earn them income.[2]
The FAP's primary goals were to employ out-of-work artists and to provide art for non-federal government buildings: schools, hospitals, libraries, etc. The work was divided into art production, art instruction and art research. The primary output of the art-research group was the Index of American Design, a mammoth and comprehensive study of American material culture. |
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| the public works of art project |
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| was a program to employ artists, as part of the New Deal, during the Great Depression. It was the first such program, running from December 1933 to June 1934. It was headed by Edward Bruce, under the United States Treasury Department and paid for by the Civil Works |
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is a major architectural style that emerged in the 1920s and 1930s, the formative decades of Modern architecture. The term originated from the name of a book by Henry-Russell Hitchcock and Philip Johnson, The International Style. The book was written to record the International Exhibition of Modern Architecture held at the Museum of Modern Art in New York City in 1932 and it identified, categorized and expanded upon characteristics common to Modernism across the world and its stylistic aspects. The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, and they did this by the inclusion of specific architects.
The authors identified three principles: the expression of volume rather than mass, the emphasis on balance rather than preconceived symmetry, and the expulsion of applied ornament. All the works in the exhibition were carefully selected, only displaying those that strictly followed these rules.[1] Previous uses of the term in the same context can be attributed to Walter Gropius in Internationale Architektur, and Ludwig Hilberseimer in Internationale neue Baukunst. |
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| (a translation of the German Neue Sachlichkeit, sometimes also translated as New Sobriety) is a name often given to the Modern architecture that emerged in Europe, primarily German-speaking Europe, in the 1920s and 30s. It is also frequently called Neues Bauen (New Building). The New Objectivity remodeled many German cities in this period. Examples of this include Walter Gropius and Adolf Meyer's 1911 Fagus Factory or Hans Poelzig's 1912 department store in Wrocław. later on to pioneering Expressionist architecture—particularly through the secret Glass Chain group. |
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| Glass Chain or Crystal Chain |
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sometimes known as the "Utopian Correspondence" (German: Die Gläserne Kette) was a chain letter that took place between November 1919 and December 1920. It was a correspondence of architects that formed a basis of expressionist architecture in Germany. It was initiated by Bruno Taut.
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| was a union of architects, painters, sculptors and art writers, who were based in Berlin from 1918 to 1921. It developed as a response to the Workers and Soldiers councils and was dedicated to the goal of bringing the current developments and tendencies in architecture and art to a broader population. Many members were important founders of the Bauhaus. |
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was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. It operated from 1919 to 1933. At that time the German term Bauhaus, literally "house of construction" (help·info) stood for "School of Building".
The Bauhaus school was founded by Walter Gropius in Weimar. In spite of its name, and the fact that its founder was an architect, the Bauhaus did not have an architecture department during the first years of its existence. Nonetheless it was founded with the idea of creating a 'total' work of art in which all arts, including architecture would eventually be brought together. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.[1] The Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. he school existed in three German cities (Weimar from 1919 to 1925, Dessau from 1925 to 1932 and Berlin from 1932 to 1933), under three different architect-directors: Walter Gropius from 1919 to 1928, Hannes Meyer from 1928 to 1930 and Ludwig Mies van der Rohe from 1930 until 1933, when the school was closed by its own leadership under pressure from the Nazi regime. |
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| (Hochschule für Gestaltung) was a college of design based in Ulm, Germany. Founded in 1953 by Inge Aicher-Scholl, Otl Aicher and Max Bill, the latter being first Rector of the school and a former student at the Bauhaus. The HfG quickly gained international recognition and is now viewed as being second only to the Bauhaus as the most influential school of design. The HfG was one of the most progressive educational institutions of design in the decades of the 50s and 60s and a pioneer in the study of semiotics. |
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| After a spell in London, Bauhaus master Moholy-Nagy, at the invitation of Chicago's Association of Art and Industry, moved to Chicago in 1937 to start a new design school, which he named the New Bauhaus. The philosophy of the school was basically unchanged from that of the original, and its first headquarters was the Prairie Avenue mansion that architect Richard Morris Hunt, designed for department store magnate Marshall Field. |
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| Expressionist architecture |
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was an architectural movement that developed in Europe during the first decades of the 20th century in parallel with the expressionist visual and performing arts.
The term "Expressionist architecture" initially described the activity of the German, Dutch, Austrian, Czech and Danish avant garde from 1910 until 1930. Subsequent redefinitions extended the term backwards to 1905 and also widened it to encompass the rest of Europe. Today the meaning has broadened even further to refer to architecture of any date or location that exhibits some of the qualities of the original movement such as; distortion, fragmentation or the communication of violent or overstressed emotion |
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| Constructivist architecture |
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| was a form of modern architecture that flourished in the Soviet Union in the 1920s and early 1930s. It combined advanced technology and engineering with an avowedly Communist social purpose. Although it was divided into several competing factions, the movement produced many pioneering projects and finished buildings, before falling out of favour around 1932. Constructivist architecture emerged from the wider constructivist art movement, which grew out of Russian Futurism. Constructivist art had attempted to apply a three-dimensional cubist vision to wholly abstract non-objective 'constructions' with a kinetic element |
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| the industrial revolution |
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| was a period from 1750 to 1850 where changes in agriculture, manufacturing, mining, transportation, and technology had a profound effect on the social, economic and cultural conditions of the times. It began in the United Kingdom, then subsequently spread throughout Western Europe, North America, Japan, and eventually the rest of the world. A machine for making a continuous sheet of paper on a loop of wire fabric was patented in 1798 by Nicholas Louis Robert who worked for Saint-Léger Didot family in France. |
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| was the period of Catholic revival beginning with the Council of Trent (1545–1563) and ending at the close of the Thirty Years' War, 1648 as a response to the Protestant Reformation. The Last Judgment, a fresco in the Sistine Chapel by Michelangelo (1534–41), came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon. Italian painting after 1520, with the notable exception of the art of Venice, developed into Mannerism, a highly sophisticated style, striving for effect, that concerned many churchmen as lacking appeal for the mass of the population. Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art. Previous Catholic councils had rarely felt the need to pronounce on these matters, unlike Orthodox ones which have often ruled on specific types of images. |
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| was the 16th-century Ecumenical Council of the Roman Catholic Church. It is considered to be one of the Church's most important[1] councils. It convened in Trent (then capital of the Prince-Bishopric of Trent of the Holy Roman Empire, in Italy) between December 13, 1545, and December 4, 1563 in twenty-five sessions for three periods. The council issued condemnations on what it defined as Protestant heresies and defined Church teachings in the areas of Scripture and Tradition, Original Sin, Justification, Sacraments, the Eucharist in Holy Mass and the veneration of saints. It issued numerous reform decrees. |
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| was the 16th-century schism within Western Christianity initiated by Martin Luther, John Calvin and other early Protestants sparked by the 1517 posting of Luther's Ninety-five theses. The efforts of the self-described "reformers", who objected to ("protested") the doctrines, rituals, and ecclesiastical structure of the Roman Catholic Church, led to the creation of new national Protestant churches. The Reformation was precipitated by earlier events within Europe, such as the Black Death and the Western Schism—in which, over the course of almost a century, there were at times three men claiming to be Pope simultaneously—which eroded people's faith in the Catholic Church and the Papacy which governed it. This, as well as many other factors, such as the mid 15th-century invention of the printing press, the fall of the Eastern Roman Empire, the end of the Middle Ages, and the beginning of the modern era, contributed to the creation of Protestantism. The Catholic Church responded with a Counter-Reformation put in to motion by the Council of Trent. The Protestant Reformation began on 31 October 1517, in Wittenberg, Saxony, where Martin Luther nailed his Ninety-Five Thesis on the Power and Efficacy of Indulgences to the door of the Castle Church, in Wittenberg.[4] The theses debated and criticized the Church and the Pope, but concentrated upon the selling of indulgences and doctrinal policies about purgatory, particular judgment, Catholic devotion to Mary, "The Mother of God", the intercession of and devotion to the saints, most of the sacraments, the mandatory clerical celibacy, including monasticism, and the authority of the Pope. In the event, other religious reformers, such as Ulrich Zwingli, soon followed Martin Luther’s example. |
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| was an Australian art movement of the late 19th century. The movement has latterly been described as Australian Impressionism. The term was coined in July 1891 by local art critic Sidney Dickenson, reviewing the works of Melbourne-based artists Arthur Streeton and Walter Withers. The School's artists were clearly influenced by the international Impressionist movement, and took up many of the concepts of the group. They regularly painted plein air landscapes, as well as using art to depict daily life. |
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covers the period of creative production in Denmark, especially during the first half of the 19th century. Although Copenhagen had suffered from fires, bombardment and national bankruptcy, the arts took on a new period of creativity catalysed by Romanticism from Germany. The period is probably most commonly associated with the Golden Age of Danish Painting from 1800 to around 1850 which encompasses the work of Christoffer Wilhelm Eckersberg and his students. It also saw the development of Danish architecture in the Neoclassical style. Copenhagen, in particular, acquired a new look, with buildings designed by Christian Frederik Hansen and by Michael Gottlieb Bindesbøll. Around the beginning of the 19th century, the Golden Age of Danish Painting emerged to form a distinct national style for the first time since the Middle Ages; the period lasted until the middle of the century. It has a style drawing on Dutch Golden Age painting, especially its landscape painting,[6] and depicting northern light that is soft but allows strong contrasts of colour. The treatment of scenes is typically an idealized version of reality, but unpretentiously so, appearing more realist than is actually the case. Interior scenes, often small portrait groups, are also common, with a similar treatment of humble domestic objects and furniture, often of the artist's circle of friends. Little Danish art was seen outside the country (indeed it mostly remains there to this day) although the Danish-trained leader of German Romantic painting Caspar David Friedrich was important in spreading its influence in Germany.
A crucial figure was Christoffer Wilhelm Eckersberg, who had studied in Paris with Jacques-Louis David and was further influenced towards Neo-Classicism by the sculptor Bertel Thorvaldsen. Bertel Thorvaldsen, strongly influenced by his lengthy stay in Rome from 1797, created many internationally recognized works in his pure Neoclassical style. His breakthrough was Jason with the Golden Fleece which was highly praised by Antonio Canova. During the Golden Age, Copenhagen in particular acquired a new look as architects inspired by neo-classicism-Christian Frederik Hansen who developed a rather severe style with clean, simple forms and large, unbroken surfaces inspired by the architecture of ancient Greece and Rome. |
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| Society of American Artists |
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| was an American artists group. It was formed in 1877 by artists who felt the National Academy of Design did not adequately meet their needs, and was too conservative. Some of the first members included sculptor Augustus Saint-Gaudens, whose work had been rejected from a National Academy exhibition in 1877; painters Walter Shirlaw, Robert Swain Gifford, Albert Pinkham Ryder, John LaFarge, Julian Alden Weir, John Henry Twachtman, and Alexander Helwig Wyant; and designer and artist Louis Comfort Tiffany. Eventually most of the best-known artists of the day joined the group, and many held dual membership with the National Academy. |
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| The National Academy Museum and Schoo |
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| founded in New York City as the National Academy of Design – known simply as the "National Academy" – is an honorary association of American artists founded in 1825 by Samuel F. B. Morse, Asher B. Durand, Thomas Cole, Martin E. Thompson, and others "to promote the fine arts in America through instruction and exhibition." Its museum houses a public collection of over 7,000 works of American art from the 19th, 20th, and 21st centuries. Members of the National Academy may be identified using the post-nominal "NA" (National Academician). One cannot apply for membership- close, leWitt, maya lin, jasper johns, winslow homer, |
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| Art Students League of New York |
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| is an art school located on West 57th Street in New York City. The League has historically been known for its broad appeal to both amateurs and professional artists, and has maintained for over 130 years a tradition of offering reasonably priced classes on a flexible schedule to accommodate students from all walks of life. Although artists may study full-time, there have never been any degree programs or grades, and this informal attitude pervades the culture of the school. From the 19th century to the present, the League has counted among its attendees and instructors many historically important artists, and contributed to numerous influential schools and movements in the art world. |
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| The Ten American Painters |
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| generally known as The Ten, resigned from the Society of American Artists in late 1897 to protest the commercialism of that group's exhibitions, and their circus-like atmosphere. The Society had broken away from the National Academy of Design in New York City twenty years earlier, in a progressive movement led by Thomas Eakins, Mary Cassatt, John Singer Sargent, James McNeill Whistler, and Winslow Homer. All of The Ten were active in either New York City or Boston. They were generally considered exponents of Impressionism and established in their careers. |
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| is the name given by at the time, and by art historians, to the renaissance of etching as an original form of printmaking during a period of time stretching approximately from 1850 to 1930. During the century after Rembrandt's death the techniques of etching and drypoint brought to their highest point by him gradually declined. By the late eighteenth century, with brilliant exceptions like Piranesi and Tiepolo , most etchings were reproductive or illustrative. However, in the 1840s and 50's in France, a number of artists did produce some landscape etchings which seemed to recapture some of the spirit of the old master print. Daubigny, Millet and especially Charles Jacque produced etchings that were different from those heavily worked reproductive plates of the previous century. |
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| is a modern art movement. The term was introduced in Italy during the period of upheaval at the end of the 1960s, when artists were taking a radical stance. Artists began attacking the values of established institutions of government, industry, and culture, and even questioning whether art as the private expression of the individual still had an ethical reason to exist. Italian art critic Germano Celant organized two exhibitions in 1967 and 1968, followed by an influential book published by Electa in 1985 called Arte Povera Storie e protagonisti/Arte Povera. Histories and Protagonists, promoting the notion of a revolutionary art, free of convention, the power of structure, and the market place. Although Celant attempted to encompass the radical elements of the entire international scene, the term properly centered on a group of Italian artists who attacked the corporate mentality with an art of unconventional materials and style. They often used found objects in their works. Other early exponents of radical change in the visual arts include proto Arte Povera artists: Antoni Tàpies and the Dau al Set movement, Alberto Burri, Piero Manzoni, and Lucio Fontana and Spatialism. |
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was an avant-garde filmmaking movement started in 1995 by the Danish directors Lars von Trier and Thomas Vinterberg, who created the "Dogme 95 Manifesto" and the "Vow of Chastity". These were rules to create filmmaking based on the traditional values of story, acting, and theme, and excluding the use of elaborate special effects or technology.[1] They were later joined by fellow Danish directors Kristian Levring and Søren Kragh-Jacobsen, forming the Dogme 95 Collective or the Dogme Brethren. Dogme is the Danish word for dogma.
The genre gained international appeal partly because of its accessibility. It sparked an interest in unknown filmmakers by suggesting that one can make a recognised film of a quality to gain recognition, without being dependent on commissions or huge Hollywood budgets. The directors used European government subsidies and television station funding instead. |
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| is an art movement that was a reaction against the nonobjectivity of abstract expressionism.[1] Known as an anti establishment movement, Funk art began to paint subject matter again rather than playing with the non-figurative, abstract forms that abstract expressionists such as Jackson Pollock and Mark Rothko were depicting. The movement’s name was derived from the jazz musical term ‘funky’, describing the passionate, sensuous, and quirky. During the 1920's, Jazz was thought of as very basic, unsophisticated music, and many people believed Funk was an unrefined style of art as well.[2] The term funk also had negative connotations because the word had an association with a foul odor.[3] Throughout the 1960s and 1970s, Funk was a popular art form, mainly in the Bay Area of California in the United States. Although discussed as a cohesive movement, Funk artists did not feel as if they belonged to a collective art style or group.[4] This is because Funk consisted of artists who shared the same attitudes and created similar works, but were not necessarily working in the same art schools |
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is a term used by post-Impressionist artists like Paul Gauguin, Émile Bernard and Louis Anquetin to distinguish their work from Impressionism. Earlier, Synthetism has been connected to the term Cloisonnism, and later to Symbolism. Paul Gauguin, Émile Bernard, Louis Anquetin, and others pioneered the style during the late 1880s and early 1890s.
Synthetist artists aimed to synthesize three features:
The outward appearance of natural forms.
The artist’s feelings about their subject.
The purity of the aesthetic considerations of line, colour and form.
The term was first used in 1877 to distinguish between scientific and naturalistic impressionism, and in 1889 when Gauguin and Emile Schuffenecker organized an Exposition de peintures du groupe impressioniste et synthétiste in the Café Volpini at the Exposition Universelle in Paris. The confusing title has been mistakenly associated with impressionism. Synthetism emphasized two-dimensional flat patterns, thus differing from impressionist art and theory. |
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was an artistic style that emerged in the 1880s when American artists began to paint landscape forms with an overall tone of colored atmosphere or mist. Between 1880 and 1915, dark, neutral hues such as gray, brown or blue, often dominated compositions by artists associated with the style. During the late 1890s, American art critics began to use the term "tonal" to describe these works. Two of the leading associated painters were George Inness and James McNeill Whistler.
Tonalism is sometimes used to describe American landscapes derived from the French Barbizon style,[1] which emphasized mood and shadow.[2] Tonalism was eventually eclipsed by Impressionism and European modernism. |
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| Concrete art and design or concretism |
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| is an abstractionist movement that evolved in the 1930s out of the work of De Stijl, futurism and Kandinsky around the Swiss painter Max Bill. The term "concrete art" was first introduced by Theo van Doesburg in his "Manifesto of Concrete Art" (1930). In his understanding, this form of abstractionism must be free of any symbolical association with reality, arguing that lines and colors are concrete by themselves. Max Bill further promoted this idea, organizing the first international exhibition in 1944. The movement came to fruition in Northern Italy and France in the 1940s and 1950s through the work of the groups Movimento d'arte concreta (MAC) and Espace.In 1960 Max Bill organized a large exhibition of Concrete Art in Zürich illustrating 50 years of its development |
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| Precisionism, also known as Cubist Realism |
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| was an artistic movement that emerged in the United States after World War I and was at its height during the inter-War period. The term itself was first coined in the early 1920s. influenced strongly by Cubism and Futurism, its main themes included industrialization and the modernization of the American landscape, which were depicted in precise, sharply defined, geometrical forms. The themes originated from the streamlined architecture and machinery of the early 1900s.[2] Precision artists considered themselves strictly American and tried to avoid European artistic influences. Elsie Driggs, Francis Criss, Charles Demuth, Edward Hopper, Charles Sheeler, Herman Trunk and Georgia O'Keeffe were prominent Precisionists |
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| is an American realist modern art movement that was popular during the 1930s. The artistic focus was from artists who shunned city life, and rapidly developing technological advances, to create scenes of rural life. Regionalist style was at its height from 1930 to 1935, and is best-known through the so-called "Regionalist Triumvirate" of Grant Wood in Iowa, Thomas Hart Benton in Missouri, and John Steuart Curry in Kansas. During the Great Depression of the 1930s, Regionalist art was widely appreciated for its reassuring images of the American heartland. |
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| also known as Socio-Realism, is an artistic movement, expressed in the visual and other realist arts, which depicts social and racial injustice, economic hardship, through unvarnished pictures of life's struggles; often depicting working class activities as heroic.[1] The movement is a style of painting in which the scenes depicted typically convey a message of social or political protest edged with satire.[2] This is not to be confused with Socialist Realism, the official USSR art form that was institutionalized by Joseph Stalin in 1934 and later allied Communist parties worldwide |
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| is a style of realistic art which was developed in the Soviet Union and became a dominant style in other communist countries. Socialist realism is a teleologically-oriented style having its purpose the furtherance of the goals of socialism and communism. Although related, it should not be confused with social realism, a type of art that realistically depicts subjects of social concern. Unlike social realism, socialist realism often glorifies the roles of the poor. |
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| refers to a naturalist style of painting and other works of art of the 1920s through the 1950s in the United States. American scene painting is also known as Regionalism. After World War I many American artists rejected the modern trends emanating from the Armory Show and European influences such as those from the School of Paris. Instead they chose to adopt academic realism in depicting American urban and rural scenes. Much of American scene painting conveys a sense of nationalism and romanticism in depictions of everyday American life. During the 1930s, these artists documented and depicted American cities, small towns, and rural landscapes; some did so as a way to return to a simpler time away from industrialization whereas others sought to make a political statement and lent their art to revolutionary and radical causes.[1] Representative artists include Thomas Hart Benton, John Rogers Cox, Grant Wood, and John Steuart Curry |
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| is a French style of abstract painting popular in the 1940s and 1950s. It is often considered to be the European equivalent to abstract expressionism.[1] It was part of a larger postwar movement known as Art Informel (or Informel),[2] which abandoned geometric abstraction in favour of a more intuitive form of expression, similar to action painting. Another name for Tachism is Abstraction lyrique (related to American Lyrical Abstraction). COBRA is also related to Tachisme, as is Japan's Gutai group. |
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| (or CoBrA) was a European avant-garde movement active from 1948 to 1951. The name was coined in 1948 by Christian Dotremont from the initials of the members' home cities: Copenhagen (Co), Brussels (Br), Amsterdam (A). Formed with a unifying doctrine of complete freedom of colour and form, as well as antipathy towards Surrealism, the artists also shared an interest in Marxism as well as modernism. Their working method was based on spontaneity and experiment, and they drew their inspiration in particular from children’s drawings, from primitive art forms and from the work of Paul Klee and Joan Miró |
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| is painting in which abrupt transitions are found between color areas. Color areas are often of one unvarying color. The Hard-edge painting style is related to Geometric abstraction, Op Art, Post-painterly Abstraction, and Color Field painting. adopted a knowingly impersonal paint application and delineated areas of color with particular sharpness and clarity. This approach to abstract painting became widespread in the 1960s, though California was its creative center. |
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| is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, while many of its notable early proponents were among the pioneering Abstract Expressionists. Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself." |
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| is art which enters a situation and attempts to change the existing conditions there. Intervention art may attempt to change economic or political situations, or may attempt to make people aware of a condition that they previously had no knowledge of. Since these goals mean that intervention art necessarily addresses and engages with the public, some artists call their work "public interventions". For example, Alfredo Jaar is one of the most famous artists who uses the strategies of intervention in his work. |
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| Intentist artists work in numerous ways, but at present there appears to be three areas that are of particular interest. Firstly, Intentists often celebrate the artist's intentions in the work by including the entire process of creating art in the final piece. Consequently, elements of every editing decision is left in.[16] Intentists call this process Palimpsestism and the Intentional Trail.[17] Secondly, since authorial irony can only be understood by comparing what is said (the work), and what is meant (author intent), it is a common subject for Intentist artists. An example here would be Luciano Pelosi’s Big Breakfast. Thirdly, much art theory finds its origin in Literary theory.Most paintings and sculptures are anarrative as viewers can approach the work in multiple orders. Therefore, this basis for ignoring the artist’s intentions is not relevant. An example of an Intentist artist creating work to demonstrate these anarrative properties is Govinda Sah |
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| also spelled pseudo-realism, is a term used in a variety of discourses (often pejoratively) connoting any artistic and dramatic technique, or work of art, film and literature perceived as superficial, not-real or non-realistic.[1] The term is often used to describe artistic methods deviating from what's commonly referred to as an accurate representation of reality. |
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| Relational art or relational aesthetics |
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| is a mode or tendency in fine art practice originally observed and highlighted by French art critic Nicolas Bourriaud. Bourriaud defined the approach simply as, "a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space." The artwork creates a social environment in which people come together to participate in a shared activity. Bourriaud claims "the role of artworks is no longer to form imaginary and utopian realities, but to actually be ways of living and models of action within the existing real, whatever scale chosen by the artist." In Relational art, the audience is envisaged as a community. Rather than the artwork being an encounter between a viewer and an object, relational art produces intersubjective encounters. Through these encounters, meaning is elaborated collectively, rather than in the space of individual consumption. |
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| refers to art forms that aim to transgress; i.e. to outrage or violate basic mores and sensibilities. The term transgressive was first used by American filmmaker Nick Zedd and his Cinema of Transgression in 1985. From a collegiate perspective, many traces of transgression can be found in any art which by some is considered offensive because of its shock value; from the French Salon des Refusés artists to Dada and surrealism. |
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| is almost, but not entirely, synonymous to computer art and digital art.[1] The latter two terms, and especially the term computer-generated art are mostly used for visual artworks generated by computers. However, electronic art has a much broader connotation, referring to artworks that include any type of electronic component , such as works in music, dance, architecture and performance.[2] It is an interdisciplinary field and so artists often collaborate with scientists and engineers when creating their works |
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| is a genre that encompasses artworks created with new media technologies, including digital art, computer graphics, computer animation, virtual art, Internet art, interactive art, computer robotics, and art as biotechnology. The term differentiates itself by its resulting cultural objects and social events, which can be seen in opposition to those deriving from old visual arts (i.e. traditional painting, sculpture, etc.). This concern with medium is a key feature of much contemporary art and indeed many art schools and major Universities now offer majors in "New Genres" or "New Media"[1] and a growing number of graduate programs have emerged internationally.[2] New Media Art often involves interaction between artist and observer or between observers and the artwork, which responds to them. |
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is a general term for a range of artistic works and practices that use digital technology as an essential part of the creative and/or presentation process. Since the 1970s, various names have been used to describe the process including computer art and multimedia art, and digital art is itself placed under the larger umbrella term new media art.[1][2]
The impact of digital technology has transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as net art, digital installation art, and virtual reality, have become recognized artistic practices.[3] More generally the term digital artist is used to describe an artist who makes use of digital technologies in the production of art. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass production or digital media. |
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are graphics created using computers and, more generally, the representation and manipulation of image data by a computer with help from specialized software and hardware.
The development of computer graphics has made computers easier to interact with, and better for understanding and interpreting many types of data. Developments in computer graphics have had a profound impact on many types of media and have revolutionized animation, movies and the video game industry. |
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| is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, videogame, web site, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is by its nature evolutionary since changes in technology and software directly affect what is possible. Notable artists in this vein include James Faure Walker, Manfred Mohr, Ronald Davis, Joseph Nechvatal, Matthias Groebel, George Grie, Olga Kisseleva, John Lansdown, Perry Welman, and Jean-Pierre Hébert. |
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| also known as algorithm art, is art, mostly visual art, of which the design is generated by an algorithm. Algorithmic artists are sometimes called algorists.. (In mathematics and computer science, an algorithm is a step-by-step procedure for calculations.) Algorithmic art is a subset of generative art, and is practically always executed by a computer. If executed by a computer, it is also classified as computer-generated art, but in much computer-generated art the role of the computer is confined to the execution.(the technique or style with which an artistic work is produced or carried out) In contrast, in algorithmic art the creative design is the result of an algorithmic process, usually using a random or pseudo-random process to produce variability. Algorithmic art is also related to systems art. It is usually digital art, although a number of artists work with plotters. Fractal art is an example of algorithmic art |
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| refers to art that in whole or in part has been created with the use of an autonomous system. An autonomous system in this context is one that is non-human and can independently determine features of an artwork that would otherwise require decisions made directly by the artist. In casual use "generative art" is often used to refer to computer generated artwork that is algorithmically determined. But generative art can also be made using systems of chemistry, biology, mechanics and robotics, smart materials, manual randomization, mathematics, data mapping, symmetry and tiling, and more. "condensation cube" |
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| is a form of algorithmic art created by calculating fractal objects and representing the calculation results as still images, animations, and media. Fractal art developed from the mid 1980s onwards.[1] It is a genre of computer art and digital art which are part of new media art. The Julia set and Mandlebrot sets can be considered as icons of fractal art. |
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| An art movement of the 1960’s and 1970’s characterized by art mixed with social and political activism. |
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| Fluxus was an international avant-garde movement that aimed to spurn existing art theories and aesthetics. Fluxists often gravitated toward performance art, or aktions; and incorporated social activism into their works. |
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| Picassos painting of Gertrude Stein |
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| Picasso's painting of Gertrude Stein is one of the most famous portraits of the twentieth century. Stein, an American expatriate, maintained a salon in Paris that became a haven for some of the leading artists of the day, including Picasso, Georges Braque, and Henri Matisse(virginia woolf, willa cather, mary cassett) |
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