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| a French military and political leader who rose to prominence during the latter stages of the French Revolution and its associated wars in Europe. As Napoleon I, he was Emperor of the French from 1804 to 1815. |
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| A concept/thing/state of exceptional and awe-inspiring beauty and moral/intellectual expression. |
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| A term describing the taste for the familiar, the pleasant, and the pretty, popular in 18th and 19th century Europe. When contrasted with the sublime, it stood for all that was ordinary, but pleasant. |
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| A female slave or concubine in a harem |
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| a style of art associated with a group of 19th-century artists who were fond of depicting harem girls, sheikhs and Middle-Eastern scenery |
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| credited with coining the term "modernity" (modernité) to designate the fleeting, ephemeral experience of life in an urban metropolis, and the responsibility art has to capture that experience; "The more a man cultivates the arts, the less randy he becomes... Only the brute is good at coupling, and copulation is the lyricism of the masses. To copulate is to enter into another–and the artist never emerges from himself." |
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| An institutional group established for the training of artists. |
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| A French term meaning 'in the open air,' describing the Impressionist practice of painting outdoors so artists could have direct access to the fleeting effects of light and atmosphere while working. |
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| The name given to the movement of French interest in Japan and its arts. |
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| The architect who created new roads, public parks, public monuments, as well as installing new sewers and changing the architectural façade of Paris. Historian Robert Herbert says that "the impressionist movement depicted this loss of connection in such paintings as Manet's Bar at Folies." The subject of the painting is talking to a man, seen in the mirror behind her, but seems unengaged. According to Herbert, this is a symptom of living in Paris at this time: the citizens became detached from one another. "The continuous destruction of physical Paris led to a destruction of social Paris as well." |
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| a genre of French painting characterized by bright flat shapes and symbolic treatments of abstract ideas |
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| A technique of 'scientific' painting developed by George Seurat in which the paint is applied in small dots of pure color, based on the belief that when colors are mixed in the eye, the resulting picture will be more luminous; the theory or practice in art of applying small strokes or dots of color to a surface so that from a distance they blend together |
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| In painting, the practice of separating colour into individual dots or strokes of pigment. It formed the technical basis for Neo-Impressionism. Following the rules of contemporary colour theory, Neo-Impressionist artists such as Georges Seurat and Paul Signac applied contrasting dots of colour side by side so that, when seen from a distance, these dots would blend and be perceived by the retina as a luminous whole |
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| Period in which Picasso paints mainly in different tones of blue. Why did he do this? Maybe because blue was the cheapest color, maybe because blue is a spiritual color and associated with feelings of melancholy. |
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| Period in which Picasso starts to paint more narrative works. |
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| early patron of the Picasso and Braque; raised the profile of modern art by organizing salon shows; was considered a cubist writer |
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| the early phase of cubism, chiefly characterized by a pronounced use of geometric shapes and by a tendency toward a monochromatic use of color |
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| the late phase of cubism, characterized chiefly by an increased use of color and the imitation or introduction of a wide range of textures and material into painting |
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| a term used by Italian Futurist artists to describe an object's motion, both intrinsic and relative to its environment |
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| Russian Revolution of 1917 |
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| Attempt at communism-an experiment that doesn’t work out very well. Innovation in the arts because of overwhelming idealism |
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| a short-lived development of Cubism that attempted to enliven the original approach by subordinating the geometrical forms and using unmixed bright colors; more lyrical and expressive: from 'Orpheus'- refers to musical qualities |
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| major event for art viewing audiences; survey of modern European art show was a big hit; major introduction to European modern art for American audiences |
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| group of 12 artists in New York who tried to display the urban landscape, wanted to create something with a mass appeal; egalitarian attitude toward art; loose painterly brushstrokes inspired by the Impressionists but with a more neutral palette; use of dark palette developed to reflect the urban experience of living in NY |
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| Alfred Stieglitz opened his studio up as this gallery and expanded beyond photography; documented Duchamp’s original 'Fountain' |
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| a realist modern American art movement wherein artists shunned the city and rapidly developing technological advances to focus on scenes of rural life |
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| Works Progress Administration |
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| Part of ‘The New Deal’; Social Security, Farm Aid: Also gives rise to The Federal Arts Project, which was designed to give artists government money to make art, public murals and photographing the Depression: Lange is probably the best known artist that received WPA money, (Migrant Mother, Nipomo, CA, 1936.) |
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| art happening in Harlem in the 1920s and 30s |
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| The name of a nightclub in Zurich, Switzerland, founded by Hugo Ball, with his companion Emmy Hennings in 1916 as a cabaret for artistic and political purposes. Events at the cabaret proved pivotal in the founding of the anti-rational, anti-aesthetic, anti-art movement known as Dada. An ironic name because Dada is founded on a rejection of reason. |
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| American egalitarian approach to art exhibitions, conservative tastes at the time: Duchamp was testing them to see if they would accept something that wasn’t considered art. It was not exhibited; There was a response: The American Society of Independent Artists claimed they could not exhibit it because it was obscene and plagiarism: Duchamp had planned ahead for this and wrote a letter to the editor in a fake newspaper; he said the artist chose it and therefore created a new thought for that object so he is implying that the physical object are not important (what is important is the idea) = the birth of conceptual art: Duchamp has an utter disregard for aesthetics and the object is not important at all. |
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| An object from popular or material culture presented without further manipulation as an artwork by the artist. |
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| Andre Breton-leader of the official Surrealist group-was inspired by the Dada embrace of nonsense and readings of him on the workings of the subconscious mind & tried to create art inspired by subconscious thoughts. |
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| the idea of creating a visually believable scene where irrationally juxtaposed images are seamlessly fused; painting something in a way that appears believable visually, but is actually very irrational (experience is similar to dreaming) |
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| A process of making mechanically, randomly, or by unconscious free association (rather than under the control of a conscious artist), after establishing a set of conditions (such as types of materials, etc.) within which a work is to be carried out. Also called automatic drawing, painting, sculpture, or writing. |
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| A Swiss psychiatrist who believed that archetypes are models of people, behaviors or personalities; suggested that the psyche was composed of three components: the ego, the personal unconscious and the collective unconscious. |
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| refers to a segment of the deepest unconscious mind. As opposed to the personal unconscious, which is composed of long-forgotten memories and experiences, the collective unconscious consists of archetypes that represent an inherited set of beliefs and understandings. These archetypes exist to varying degrees in all humans. Many believe that over time, the collective unconscious evolves and changes to incorporate new information that is globally recognized and accepted. |
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| coined the term action painter; "painting is the record of a performance" |
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| Argued that Modern Art, beginning with Realist paintings, charted the progressive elimination of narrative, figuration, and pictorial space from painting because art itself was undergoing a 'process of self-purification' in reaction to a deteriorating civilization. |
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| photographed Pollock at work in his studio in 1950 |
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| Group formed in 1952 by a few members of London's Institute of Contemporary Art |
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| describes the state of having many valid contemporary styles available at the same time to artists. |
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| Fancy word for 'copying'; An artist's incorporation of a preexisting image into a new creation. |
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| Latest wave of Feminism. Kruger, and Sherman are good examples of this. |
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