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Definition
Rousseau, Munch, Redon
-international movement
-"mere fact" of Realism - trivial
fact must be transformed into a symbol of the inner experience of that fact
-see far deeper than superficial appearance/deeper more mysterious reality
-artist's mystical vision important |
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Definition
-acute desire to express inner emotions and personal visions
-jarring images, often powerful angular shapes |
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Matisse, Derrain, Rouault
-"wild beasts"
-south to achieve more dramatic statements with their use of exaggerated shapes and vivid, garish color |
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Kirshner
-"The Bridge" to a more perfect future - Dresden
-formed brotherhood, worked together
-admired German medieval art
-subjects: women, nature, prehistoric primitive feel - wanted to avoid Western canon of beauty
-flattened shapes, distorted figures, crude, pure color
-sense of urban world as hostile and corrupt
=opposition to materialism and decadence of modernity
-wished to revitalize society, art redemptive and spiritual |
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Definition
Van Gogh, Cezanne, Gauguin, Seurat
-diverse group of artists who pushed the boundaries of Impressionism
-they thought it should be more solid, stable, permanent
-each develops a unique style
Intellectual Response: Form more exact, precise use of color
Emotional Response: art should be more expressive |
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Term
| Der Blaue Reiter (1911-1914) |
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Definition
Kandinsky, Marc
-nine artists shared interest in power of color - diverse in style
-blue is color of male spirituality
-color symbolism to awaken spectators and initiate new spiritual epoch
-first full abstraction to communicate in universal language of color |
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Term
| Analytical Cubism (1907-1914) |
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Definition
Picasso, Braque
-analyzed forms of objects, shattered into fragments and recombined
-dismantling of Renaissance language of art
-multiple perspectives - negating recession - shattered surface
-monochromatic - flatness of surface
-objects depicted from shifting points of view |
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Term
| Synthetic Cubism (1907-1914) |
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Definition
Picasso, Gris
-bringing objects from different contexts in collage
-depth in overlapping pieces
-more color than analytical |
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Term
| Futurism: A reaction to Cubism |
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Definition
Boccioni, Duchamp, Balla
-rejection of traditions and institutions
-militant groups of Italian poets and artists
-strong political overtones (glorification of war and destruction, aimed to change society through anarchy and disruption)
-art expressed movement and dynamism
-celebration of speed, mechanical and technical power |
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Term
| Suprematism: A reaction to Cubism |
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Definition
Malevich
-Russian Movement
-art entirely abstract in order to be rational
-supreme reality is pure feeling which is attached to no object
-used straight lines and geometric forms which are ideas not copied from nature
-purity and simplification |
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Definition
Hunt
-borrowed from historical styles such as Classical, Gothic, Renaissance
-reflects prosperous turn of the century in US
-eclectic combinations of historic styles |
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Definition
Sullivan, Wainwright, Gilbert
-first generation "tall buildings" Chicago School
-depended on development of metal beams and girders for support system
-also needed ventilation systems, passenger elevators, central heating and air conditioning, fireproofing materials
-"form follows function" -Sullivan |
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Term
| Prairie School of Architecture |
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Definition
Frank Lloyd Wright
-horizontal elements that echo the landscape - architecture as an organic part of the landscape - harmony with site
-overhanging eaves
-simple geometric shapes, long low emphasis
-organic spaces - interiors
-contrasting textures |
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Term
| Prairie School of Architecture |
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Definition
Frank Lloyd Wright
-horizontal elements that echo the landscape - architecture as an organic part of the landscape - harmony with site
-overhanging eaves
-simple geometric shapes, long low emphasis
-organic spaces - interiors
-contrasting textures |
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Term
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Definition
Horta, Gaudi, Eiffel
-called for end to historicism
-roots in English Arts and Crafts movement
-long graceful organic curves, refined decorative line
-arabesques, intertwined floral motifs |
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Term
| Dutch Rationalism and De Stijl (1917-1931) |
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Definition
Mondrian, Van Doesburg
-magazine "De Stijl" (The Style)
-primary colors and primary values
-horizontal and vertical lines
-thought WWI roots in excessive individualism - only recourse was to strive for order and harmony (dynamic equilibrium) through pure geometry
-art is universal language
-influenced Bauhaus |
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Definition
Leger
-similar to De Stijl
-called for the return to order
-new and improved Cubism |
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Gropius
-German Movement
-goal to unite all arts and crafts
-clean, simple, functional often geometric designs |
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Duchamp
-anti art, nonsense
-"ready mades" - found objects
-reaction to WWI, bourgeois culture responsible for war, should be destroyed
-use of randomness, hatred of order, science, reason
-deliberately irrational, absurd, nonsensical, humorous |
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Dali, Magritte
-influenced by Freud
-grows out of Dada movement
-sought to release the subconscious mind, nightmares
-illogical juxtaposition of unlikely subjects
-wish for artistic freedom and self-expression through exploration of subconscious
-two main tracks: automatism and Chance & illusionism - creating dreamlike reality |
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Term
| Ashcan School (1908-1950) |
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Definition
Henri
-The Eight
-break from Impressionism
-painted aspects of urban life - rejected pleasant subjects |
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Term
| American Scene Painting: Social Realism |
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Definition
Shahn, Lawrence
-exalted struggles of the working class
-used to highlight injustices and motivate reform
-semi-realistic style, that exaggerated features, color, and scale for emotional impact |
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Term
| American Scene Painting: Social Realism |
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Definition
Shahn, Lawrence
-exalted struggles of the working class
-used to highlight injustices and motivate reform
-semi-realistic style, that exaggerated features, color, and scale for emotional impact |
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Term
| American Scene Painting: Reginalism (1930-1940) |
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Definition
Wood, Benton
-reflects inward focus of the Depression
-Federal Arts Project, Works Progress Administration
-sought to portray the rural side of American life, particularly the South, Midwest and West
-rejection of avant garde, abstraction, European modernism
-attempt to create national school of pure American art based on traditional values, preindustrial scenes, hard work, piety, community important |
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