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Characterized by renewed enthusiasm for subjects and motifs from classical antiquity; this style is characterized by clarity, balance, and restraint; line is more important than color, and the intellect is valued over the emotions ("the head rules the heart")
David-The Death of Marat |
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emotions, drama/imagination, and color play the dominant roles in this style ("the heart rules the head")
Geicault-Raft of the Medusa
Turner-The Slave Ship(Slavers Throwing Overboard the Dead and Dying) |
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a movement in the 19th century(especially in France) where artists represented subject matter from everyday life (which had previously been considered an inappropriate subject) [note: it does not refer to a particularly precise handling of the subject matter (there is no uniform style/ technique)]
Courbet-Burial at Ornans
Manet- Le Dejeuner sur l'herbe(Luncheon on the Grass)
Rodin-Burghers of Calais |
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| an annual juried art exhibition of painting and sculpture in France, dating back from the early 17th c. through the 19th c. and characterized by tradition and conformance to rules; it was a giant exhibition that could make or break an artist's reputation [ David's Death of Marat is an example of an artwork admired by the Salon] |
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| an alternative Salon of rejected artworks promoted by Napoleon III; it is often said to herald the beginning of modern art. |
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19th c. French movement that relied heavily on color and the ever-changing effects of light to capture a given moment in time; sought to create the illusion of forms bathed in light and atmosphere
Monet-Rouen Cathedral (series)
Cassatt-The Bath |
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| the actual color of an object, which "appears" to change when the object is seen under different light and atmospheric conditions |
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| a fleeting moment in time involving weatehr conditions or candid, unguarded moments, this concept arises from the rapidly changing, impermanent quality of modern life- reality at any given moment will be changed in character from the moment that came before[thus, the Impressionists sought to capture what the eye can register in a single mom-or instant-of seeing , accounting for the sketchy, unfinished look of many of their paintings.] |
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| separate patches of color that are visible and often lok somewhat sloppy |
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a movement whose followers rejected the importance given to Naturalism and the depiction of the momentary effects in Impressionism; these artists never rejected the bright color palette of Impressionism, however.
Seurat- Sunday Afternoon on the Island of La Grande Jatte
Van Gogh- The Starry Night |
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| a technique based on the scientific juxtaposition of pure dabs of color; the brain blends these colors together automatically in the involuntary process of optical mixing; technically, pointillism differs in that it is pure dots of color distributed more systematically on a white ground. |
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| thick, heavy application of paint, where the strokes of the brush or palette knife are very pronounces, leaving the paint to stand up in relief. |
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| a small-scale model for a sculpture |
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| a movement characterized by distortion, emotion, spontaneity, energy, and visible, often aggressive, brushwork |
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| Fauvism(from fauves-meaning wild beasts) |
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an early 20th c. art movement where color became the element of most responsible for conveying meanign and pictorial coherence, and characterized by intense contrasts of color, sweeping brushstrokes, and bold patterns
Matisse-Red Room (Harmony in Red) |
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| artists often achieve things they do not intend and do not always succeed in communicating things they do; what artists say about their works may not be the same thing that critics and/or others see in them-and that's okay [this phenomenon is itself justification for us to assume responsibility for finding meanings that seem right to us] |
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early 20th c. art movement that rejected naturalistic depictions, preferring compositions of often geometric shapes and forms abstracted from the conventionally perceived world
Picasso-Les Desmoiselles d'Avignon |
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an idea of time inspired partly by the desire to express the space-time qualities of reality newly revealed by scientist like Einstein.
Picasso-Les Demoiselles d'Avignon? |
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architectural style characterized by long, sweeping ground lines, unconfined by abrupt limits of the wall, and which seemed to reach out towards and express the great flat-lands of the Mid-West
Wright-Prairie Style |
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a horizontal projection supported by a downward force behind a fulcrum; it is without external embracing and therefore appears to be self-supporting
Wright- Prairie Style? |
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movement that took an “antirational” stance reflecting cynicism engendered by World War I in improvised, sarcastic expressions of intuition and irrationality [comes from the French dada, meaning rocking horse]
Duchamp-Bicycle Wheel |
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mass-produced objects selected by the artists and sometimes “rectified,”modified, or combined with another object; such objects are taken out of their ordinary environment
Duchamp-Bicycle Wheel |
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sculpture that emphasizes through its form the natural or organic through soft, curved, and/or ovoid shapes
brancusi-bird in space |
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| abstract art/ abstraction— |
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| art that desires to represent the idea, the essence, of a thing, rather than the exact appearance of the object in the real world; the artist bases his work on something in nature, but distorts it in some way |
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respect for the medium –using the medium’s properties to their full potential (e.g. polished, shiny, bronze)
Organic Sculpture-Brancusi |
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a simplified, abstract art inspired by living organisms and/or organs of the body
O'Keeffe- Jack in the Pulpit IV |
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a movement in the 20th c. that sought to examine the reality behind appearances, especially in a psychological sense, drawing heavily on theories involving dreams, the unconscious, irrationality, sexuality, and fantasy
Dali-The Persistence of Memory |
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| to place together objects that don’t ordinarily belong side by side |
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| nonobjective/nonrepresentational |
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| art that has no discernible reference to the external appearance of the physical world; or art without recognizable subject matter where all identifiable subject matter has been eliminated |
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a movement that is an extension of Cubism, in which the action of color and forms are reduced to utter simplicity by strict adherence to simple geometric shapes
Mondrian-Composition with Red, Blue, and Yellow |
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photography that captures a reflection of reality, but that also must be read through the lens of cultural conditioning
Lange- Migrant Mother, Nipomo Valley |
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a movement characterized by distortion, emotion, spontaneity, energy, and visible, often aggressive, brushwork
Pollock-Number 1 (Lavendar Mist) |
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principle method in American Abstract Expressionism where painting is revealed through the brush gesture and the signature left by the fall and touch of the paint
Pollock- Number 1 (Lavender Mist) |
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governed by unconscious free association, the artist works with uncontrolled movements of the hand
Pollock-Number 1 (Lavender Mist) |
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Pop is short for popular); challenges the tradition of fine arts by insisting that common culture and mass media are legitimate inspirations; often deals with the expendable object
Warhol- Marilyn Diptych |
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a method of producing a stencil in which a photograph is imposed upon a screen of silk; ink is then pulled across the stencil and forced onto the printing surface
Warhol-Marilyn Diptych |
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using the human body and the ground/earth as a component of the artwork; often involving issues of spirituality
Mendieta-Flowers on Body |
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| earth/environmental/site art |
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takes art outside the museum and involves the community, raising the population’s awareness of their surroundings
Christo and Jeanne-Claude |
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came into vogue in the 1970’s; sometimes refers to outdoor sculptural ensembles, but usually characterizes indoor, site-specific painting, sculpture, or mixed media works
Piper-Cornered |
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includes the use of new technology, such as computers and video cameras/recorders, in the quest for fresh avenues of artistic expression; this art reflects the avant-garde artists’ continued questioning of the status quo
Piper-Cornered |
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