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BAROQUE
The traditional blanket designation for European art from 1600 to 1750. The stylistic term
Baroque, which describes art that features dramatic theatricality and elaborate ornamentation in
contrast to the simplicity and orderly rationality of Renaissance art, is most appropriately applied
to Italian art of this period. The term derives from barroco.
ARTISTS:
PETER PAUL RUBENS (1577 – 1640)
NICOLAS POUSSIN (1594 – 1665)
HEINRICH WOLFLIN (1864 – 1945)
DIEGO VELAZQUES (1599 – 1660)
FRANCISCO DE ZURBARAN (1598 – 1664)
JUSEPE DE RIBERA (1591 – 1652)
HYACINTHE RIGAUD (1659 – 1743)
ROCOCO
A style, primarily of interior design, that appeared in France around 1700. Rococo interiors
featured lavish decoration, including small sculptures, ornamental mirrors, easel paintings,
tapestries, reliefs, wall paintings, and elegant furniture. The term Rococo derived from the
French word rocal (“shell”) and referred to the small stones and shells used to decorate grotto
interiors.
• King Louie XIV started this movement by changing the elaborate designs into more
naturalistic and swirly designs – typifies the rule of Louis XV
• Marks a break in the Baroque grandeur to an intimate space
• Favours asymmetry and organic elements
• Idiosyncratic pieces
• Art focused on the pleasure of individuals
• Delicacy
• Informal and graceful
• Less oppressive
• Architecture brought down to a human scale
• Woman became powerful in this time period
• France
SO WHAT?
In France, King Louie XV came into power and changed the thinking about art. The Rococo
period only lasted during his lifetime.
ARTISTS:
GERMAIN BOFFRAND (1667 – 1754)
JEAN-ANTOINE WATTEAU (1684 – 1721)
FRANCOIS BOUCHARD (1703 – 1770)
JEAN-HONORE FRAGONARD (1732 – 1806)
ENLIGHTENMENT Art History Study Guide Winter 2010
ENLIGHTENMENT
The Western philosophy based on empirical evidence that dominated the 18th century. The
enlightenment was a new way of thinking critically about the world and about humankind,
critically about the world and about humankind, independently of religion, my, or tradition.
• Industrial revolution
• Belief in progress and in the power of reason
• Logic and lucidity
• Through the acquisition of knowledge and the application of reason, social,
intellectual and moral reforms could be effects
• Through reliance on reason progress was possible (empiricism)
• Change and progress would improve society
• The scientific stuff of nature implied that man and society could also be the object of
scientific study (religion became illogical)
• Human perfectibility through education and unlimited progress
• Convinced that nature was orderly and fundamentally good
• Enlightenment was essentially a product of French culture, life and Paris was its
capital
• Turned to the civilization of Republican Rome for inspiration
• Rejects the efficiency of prayer
• From brutal to urban reality
• Middle class began to rise that begins to challenge the hierarchy
• The idea that all people are created equal, everyone has a right to participate in
government
SO WHAT?
The Age of Enlightenment: belief in progress over religion.
ARTISTS:
JOSEPH WRIGHT OF DERBY (1734 – 1798)
NEOCLASSICISM Art History Study Guide Winter 2010
NEOCLASSICISM
Renewed admiration for classical antiquity. Incorporated the subjects and styles of ancient art.
The movement included painting, sculpture and architecture. There was a fascination with Greek
and Roman culture. Enlightenments emphasis on rationality explains this classical focus.
Geometric harmony of classical art embodied enlightenment ideals. Cultures focused on
traditions of liberty, civic virtue, morality and scarification. Neoclassicism was appealing during
the French and American Revolutions.
• Reaction against both the Baroque and Rococo art due to the Enlightenment
• Aesthetic attitudes and principals based upon the culture of ancient Greece and Rome
• Return to the classical ideal
• Simplicity, clarity, directness
• Emphasis on form, proportion, retain emotion
• Dominance of line (form defined by line)
• Conservatism
• Presentation of the idea-didactic
• Classicism refers to art proceeded in antiquity, or, inspired by antiquity
SO WHAT?
The Age of Enlightenment: belief in progress over religion. Wanted to reject the ways of both
Baroque and Rococo thinking.
ARTISTS:
JAQUES-LOUIS DAVID (1748 – 1825)
• Put his art in the service of the new French republic
• He lived the end of his life in exile in Bruges
• Drew faithfully from the antiques
• Ration synthesis of the read and the ideal
• Became the Neoclassic ideologist of the French Revolution
• Followed the Rococo painter style
• Rebelled against Rococo style as artificial taste and exhausted the perfect form of Greek
art
ROMANTICISM
Rousseau contributed to the idea of Romanticism. “Man is born free, but is everywhere in
chains.” -Rousseau. It was believed that freedom of thought, action, speech, and political was the
right and property of all. It was achieved through imagination and feeling rather than reason and
thinking. Took place in the 18th century. Transition from Neoclassicism to Romanticism
represented changed from reason to feeling. The Romantic imagination stretched its perception
of the Middle Ages into all the worlds of fantasy open to it (nightmarish, ghoulish, the terrible,
sadistic and everything that comes out when reason sleeps). Feelings of awe mixed with terror.
• Emotion over reason
• Senses over intellect, imagination
• Heightened examination of human personality
• Stressed individual viewpoint not the norm
• Irrational, spontaneous
• Concern with love, death, emotion
• Romantics dissatisfied with here and now; dream of distant places or the past
• Freedom from classical correctness
• Creative spirits is more important than strict adherence to formal rules
• Marie Shelly’s Frankenstein typifies this movement
• Gothic revival
SO WHAT?
The age of enlightenment was almost over. The period was a revolt against aristocratic social and
political norms of the Age of Enlightenment and a reaction against the scientific rationalization
of nature.
ARTISTS:
THEODORE GERICAULT (1791 – 1824)
• French painter
• Violent action, powerful emotion
• Retained interest in the heroic and epic
• Well trained in classical drawing
• Produced works and captured the viewer with the drama, visual complexity and
emotional force
EUGENE DELACROIX (1798 – 1863)
• Innovative in terms of his treatment
• Emotional qualities of colour (experiments with colour)
• Painterliness (evident brushstrokes)
• Swayed by the scientific developments of the time and reflects that in his art
• Range of subjects
• Romantic colourist
• works were products of his view that the artists’ power of imagination that would capture
and inflame the viewers imagination
• first to embrace Etching and Quatiny
• most significant print maker since Rembrandt
• because a court painter in 1800
SUBLIME
An awesome majestic power of nature, earthquakes, floods and storms. A mystical images of
“supreme beauty”. A dynamic and powerful source (thunderstorm). This presents the sublime as
a overpowering – whether fear-driven or spiritual which this became and accepted part of
aesthetic experience.
• Awesome majestic power of earthquakes, floors and storms
• Mystic images of “supreme beauty”
• A dynamic and powerful force
• This presents the sublime as an over powering experience based on fear (Blake saw it as
divinely inspires)
• The notion stimulated an interest in the overpowering-whether fear driven or spiritual –
which this became an accepted part of aesthetic experiences
• Leans towards either natural or religious phenomenon
SO WHAT?
Continues and pushes the idea of Romanticism to the point of awe-inspiring either using nature
or religious contexts.
ARTISTS:
JOSEPH MALLORD WILLIAM TURNER (1775 – 1851)
• His early work is akin to constable, in the emphasis on the rural
• Later in his career he gets into the interplay of colour
• Known for his oil paintings
• Motive power of his colour usage
• Used a monochromatic pallet
PRE-RAPHAELITE BROTHERHOOD Art History Study Guide Winter 2010
PRE-RAPHAELITE BROTHERHOOD
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics founded in
1848. Influenced by John Ruskin. They agreed with his distaste for material and the
contemporary industrialized world.
• White priming on the canvas instead of gray
• Used the idea of painting outdoors
SO WHAT?
Continued the retaliation of Romanticism and Sublime movements and wanted to focus on
nature and the awe-inspiring instead of progress and the urban life that the Enlightenment
entailed.
ARTISTS:
WILLIAM HOLMAN HUNT (1827 – 1910)
• Does a very sentimental art
• Painting almost photographic in the way that they are rendered
• Notable for a great attention to detail vivid colour and elaborate symbolism
SCHOOLS
THE BARBIZON SCHOOL
• French school that picked up on the idea of painting outdoors
• Not every corner opens up to a marvousely picturesque vistas
• Unemotional, unsentimental
• Embraced the theme of truthfulness
• Not like baroque landscapes
REALISM Art History Study Guide Winter 2010
REALISM
A movement that emerged in the mid-19th-century France. Realist artists represented the subject
matter of everyday life (especially subjects that previously had been considered inappropriate for
depiction) in a relatively naturalistic mode.
• Movement that developed midcentury against backdrop of an increasing emphasis on
science
• Realist artists argued that only the things of ones own time was "real" much like
empiricism (search for knowledge based on observation) and positivism (science =minds
brightest achievement)
• Focused attention on the experiences and sights of everyday contemporary life
• Advances in industrial technology during the early 19th cent reinforced the
enlightenment's foundation of rationalism
SO WHAT?
Realism is a movement of art that was against Romanticism in France due to the industrial
revolution and the commercial revolution.
ARTISTS:
GUSTAVE COURBET (1819 – 1877)
• Leading figure of the realist movement of the 19th century
• First antiestablishment artist
• Typifies realism as a movement
• Comes after the 1848 revolution
• Created a real taste of democracy among a lot of people
• Realism is an impartial reality
• Realism is an impartial reality
• Reality could be perceived without distortion of embellishment
• A revolutionary socialist who challenged the masses
• He’s said “I can’t paint an angel because I’ve never seen an angel”
• Self taught artist by copying old artist in the Louvre
• Think application of paint
• Refused to follow the rules of the school
• Leading figure of the realist movement in 19th century
• Painted figures shunned by society like the mundane and trivial working-class laborers
and peasants
• Revolutionary socialist which challenged polished conver
IMPRESSIONISM
A late 19th-century art movement that sought to capture a fleeting moment, thereby conveying
the illusiveness and impermanence of images and conditions.
• Landscapes would have been painted outside
• It was really the Barbizon school that practiced this but impressionist painters
followed this
• Impulsive brushwork
• Summarized the shape of nature
• Visual impression of a scene; more about the mood than the subject
• Impressionism became popular in the 1890s
• First avant-garde artist came from the impressionist movement
• 1860 – 70: formation of the nucleus of the group
• The first exhibition they had 30 artist participate
• At first the word impressionism was used negatively
• Impressionism was coined by Lewis Leroy in a satiric review in Le Charivari for
Monet’s piece Impressionism, Sunrise
• Born from photography (based on the individual version of the artist) because the
photograph takes over realism
SO WHAT?
At the time, realism was all over France. With Emperor Napoleon III coming into power in
France, times were changing. A group of artists, whose works kept getting rejected by the Salon,
formed and created impressionism and created their own shows.
ARTISTS:
EDOUARD MANET (1832 – 1883)
• Central figure of the impressionist group
• First person to really deal with the subjects that Baudelaire brought up
• His father wanted him to be a lawyer but he never fulfilled his fathers wishes
• Forced into consideration of paint on a canvas
• The way he puts the paint on the canvas is more important than the subject he is painting
• He rejects the notion that the salon should be accepting only certain paintings
• He paints contemporary subjects and he never joined the impressionist group no matter
how much they asked; he simply wanted to change the ideas of the salon, not create a
group against them
• He wanted to collapse the time frame in which he is viewing the subject, what is the
essential information about a certain scene and what is superficial, in that way he was not
exactly an impressionist painting
• Rejects the notion of illusionism, he doesn’t think of it as a window into reality, but
simply a canvas
• Artist who depicted Parisian nightlife
• Career bridged realism and impressionism
SCHOOLS
SALON OF THE FRENCH ACADEMY
• Art gallery
• In the 1700s it opened up to the public
• Conservative art
• Annual exhibitions
• A million viewers (more than any blockbuster movies)
• Artists strived to have their art accepted into the academy
• Bribery was used to have their art accepted by the academy
• If an art buyer went to buy a piece of art they would check the back to see if the painting
had been accepted or rejected by the academy
CEMETERY OF REFUSE
• In the late 1800s people began to get tired with how many paintings were being rejected
• In 1863, an exhibition of paintings that were rejected by the academy was created
POST-IMPRESSIONISM Art History Study Guide Winter 2010
POST-IMPRESSIONISM
The term used to describe the stylistically heterogeneous work of the group of late-19th-century
painters in France. The artist more systematically examined the properties and expressive
qualities of line, pattern, form, and colour than the Impressionists did.
• No longer crude and unfinished contemporary images
• Images in impressionism were neglecting tradition elements in attempt to capture
momentary sensations of light and colour
• So they began systematically examining expressive qualities of line, pattern, form and
colour – expressive capabilities of formal elements
• Roots in Impressionist precepts and methods, but is not stylistically homogenous
SO WHAT?
A group of artists felt that Impressionism was too traditional in it’s elements and decided to
change the ideals and values and create a new form of art.
ARTISTS:
PAUL CEZANNE (1839 – 1906)
“Treat nature by its basic forms: cylinder, sphere and cone; address in: volume, mass, weight.”
• Father of modern art
• Laid the basis for cubism
• Not popular until after his death
• He regarded himself as a dismal failure; that he never met his own expectations
• The reason he created his own particular style is because he couldn’t master the formulaic
method of the salon
• He took a weakness and turned it into a strength
• Amir Zola was a friend of Cezanne
• Pissarro helped him with his brush strokes
• He never got into school for art
• His art was rejected at the salon until 1862
• He did a lot of still lives
• A harmony running parallel of nature
• Early career he was an impressionist – first accepted their colour theories but learned that
impressionism lacks form and structure
• Declared he wanted “make of impressionism something solid and durable like the art of
the museums”
• Unique way of studying nature
• Studied the effect of every kind of linear direction
SO WHAT?
The movement was to support manual laborers because they were being alienated by the
industrial capitalism. This it brought out the important in high quality artisanship and honest
labour.
ARTISTS:
WILLIAM MORRIS (1834 – 1896)
ART NOUVEAU Art History Study Guide Winter 2010
ART NOUVEAU
French, “New Art.” A late-19th-and-early-20th-century art movement whose proponents tried to
synthesize all the arts in an effort to create art based on natural forms that could be mass
produced by technologies of the industrial age. The movement had other names in other
countries: Jugendstil in Austria and Germany Modernismo in Spain, and Floreale in Italy.
• Set apart of historical style, modern form
• Rejection of ornamentation
SO WHAT?
The movement tried to create art based on natural forms that could be mass-produced for a large
audience.
ARTISTS:
HECTOR GUIMARD (1867 – 1942)
VICTOR HORTA (1861 – 1947)
ANTONIO GAUDI (1852 – 1926)
CHARLES RENNIE MACKINTOSH (1868 – 1928)
AUBREY BEARDSLEY (1872 – 1898)
GUSTAV KILMT (1862 – 1918)
SYMBOLISM
A late-19th-century movement based on the idea that the artist was not an imitator of nature but a
creator who transformed the facts of nature into a symbol of the inner experience of the fact.
• Be the end of the 19th century representation of nature became subjective and artist no
longer created free from interpretations of it via expressing their spirit
• Forms conjured in free imagination with no reference to thinking conventionally seen
• Colour, line and shape because personal emotions in response to the world (spoke in
signs and symbols)
• To see through things to a significance and reality far deeper than what superficial
appearance gave
• “art for arts sake”
SO WHAT?
They wanted to stand against the materialism and conventional mores of industrial and middle-
class society and to purge literature and art of anything utilitarian.
ARTISTS:
EDVARD MUNCH (1863 – 1944)
• Paintings reflect the mood of the time
• He said he were born dying
• Illness, death and adultery
• Tense relationship with his father
• Believed humans were powerless before the great emotions of death and love were
associated with them
• Jealously, loneliness and fear became the theme of most of his art
• His goal was to describe the condition of “modern psychic life”
• Realist and impressionist techniques were used
• Both paintings and prints were highly emotionally charged
EXPRESSIONISM
20th-century art that is the result of the artist’s unique inner or personal version and that often has
an emotional dimension. Expressionism contrasts with art focused on visually describing the
empirical world.
• Exaggerated imagery
• Meant to reflect the artists state of mind rather than any realistic portrayal of the real
world
• Destruction of trust between people and the world
• The intent is to make things visible
• Removes us from reality
SO WHAT?
Began just before World War I. It was a movement that began in Germany. It was the age of
psychiatry with the interpretation of dreams being introduced by Freud.
ARTISTS:
ERNST LUDWIG KIRCHNER (1880 – 1938)
• Had a deep admiration for German medieval art
• Part of the first group of German artists to explore expressionist ideas
• These artist protested hypocrisy and materialistic corruption of those in power
• Artist focused his attention on detrimental effect of industrialization such as alienation of
individuals and cities
FUTURISM
An early-20th-century Italian art movement that championed war as a cleansing agent and that
celebrated the speed and dynamism of modern technology.
• Futurist Manifesto: 20th February 1909
o Printed on the front page of Le Figaro
o The futurists were interested in the future
o Universal dynamism: we are all connected between physical time and space
o Motion displaces space
o They interpret reality as something that’s always changing
o They had no definite style
SO WHAT?
The period was around pre-World War I. It looks at motion and how it is important in space.
This was inspired by speed and modern technology.
ARTISTS:
GIACOMO BALLA (1871 – 1958)
• Divisionalist technique
• Signed the Futurist manifesto
• Designed
CONSTRUCTIVISM
An early-20th-century Russian art movement formulated by Naum Gabo, who built up his
sculptures piece by piece in space instead of carving of modeling them. In this way the sculptor
worked with “volume mass” and “volume of space” as different materials.
• Link art to industry
• The idea of a classless world
• Learn the purpose of art
• Rejected the idea “art for art’s sake”
SO WHAT?
In Russia during the 1920s, volume mass and volume of space was important. Just before the
depression where progress and materialistic goods were vital. Therefore, they created a product
for a use rather than “just because”.
ARTISTS:
EL LISSITZKY (1890 – 1941)
• More of an engineer than an artist
• He travelled a lot and brought utopian social
ABSTRACT
Devoid of reference. There are two approaches – geometrical (supermisitm) and emotional
(inspiration and vision). Reducing the world down to geometric form in order to understand them
better.
• Devoid of reference
• Two approaches: geometrical (supermisitm) and emotions (inspiration and vision)
• Reducing the world down to geometric form in order to understand it better
SO WHAT?
During the depression, people looked back to their roots. They focused on more what was
important in life and wanted to create art that was inspired by the roots of the objects (geometric
shapes).
ARTISTS:
VISILY KANDINSKY (1866 – 1944)
• Sinistesia: had had an unusual sensitivity to sound, he could hear colours
• Horses take a great importance to Kandinsky
• His art has the power to uplift the human soul in a very non intellectual way
• Part of the 2nd major German expressionist group (the Blue Rider)
• One of the first artist to explore complete abstraction
• When he moved in Munich in 1896, developed a spontaneous and advent guard
expressive style
• Illumination of representational elements
• Convinced that material objects have no real substance
SCHOOLS
BAUHAUS SCHOOL
DADA Art History Study Guide Winter 2010
DADA
An early-20th-century art movement prompted by a revolution against the horror of World War I.
Dada embraced political anarchy, the irrational, and the intuitive. A disdain for convention, often
enlivened by humor or whimsy, is characteristic of the art the Dadaists produced.
• Began independently in New York but spread
• Dada was a state of mind or style more so than a style
• Attempted to undermine cherished notions and assumptions about art
• By attacking convention and logic, they unlocked new avenues for creative invention,
and fostered more serious examination of the basic premises of art
SO WHAT?
People thought reason and logic were to be help responsible for global warfare. They emerged in
reaction to what many of these artists saw an insane spectacle of collective homicide (World War
II). Only way to salvation was through political anarchy, the irrational, and the intuitive. These
views were parallel to Freud and Jung.
ARTISTS:
KURT SCHWITTERS (1887 – 1948)
• Inspired by Cubist collage but worked non-objectively
• Visual poetry in the cast-off junk of modern society and scavenged in garbage for
materials
• Collages still resonate with the meaning of the fragmented pieces they contain
• Objects acquire new meaning through new uses and locations
• Characters of Dad art due to: contradiction, paradox, irony, and even blasphemy
SURREALISM
A successor of Dada, Surrealism incorporated the improvisational nature of its predecessor into
its exploration of the ways to express in art the world of dreams and the unconscious.
Biomorphic Surrealists, such as Joan Miro, produced largely abstract compositions. Naturalistic
Surrealists, notably Salvador Dali, presented recognizable scenes transformed into a dream or
nightmare image.
• 1924, the first surrealist manifesto was published
• Exploration of how to express in art the world of dreams and the unconscious, inner
psyche and realm and realm of fantasy
• Main motivation was to bring the aspects of inner and outer reality together in a
single position
• Naturalistic surrealism artists present recognizable scenes that seem to have
metamorphosed into a dream or nightmare image
• Biomorphic Surrealism was predominated by automatism (the creation of art without
a conscious control)
SO WHAT?
Influenced by Freud and Jung. After World War I – people started to think differently and a lot
of manifesto’s were being created.
ARTISTS:
GIORGIO DE CHIRICO (1888 – 1978)
• Ambiguous works that position him as a precursor of surrealism
• Paintings of cityscapes and shop windows were part of a movement called Pittura
Metafisica (Metaphysical Painting)
• Images that transcend their physical appearances
• Influenced both Dadaists – because of incongruities in his work and Surrealists (because
they portrayed world of dreams)
SO WHAT?
The Nazis were trying to control the population by using art as propaganda for their beliefs.
ARTISTS:
ARNO BREKER (1900 – 1991)
ABSTRACT EXPRESSIONIST Art History Study Guide Winter 2010
ABSTRACT EXPRESSIONIST
The first major American avant-garde movement, Abstract Expressionism emerged in New York
City in the 1940s. The artists produced abstract paintings that expressed their state of mind and
that they hoped would strike emotional chords in viewers. The movement developed along two
lines: gestural abstraction and chromatic abstraction.
• Abstract but express the artist's state of mind with the goal also of striking emotional
chords in the viewer
• Resulting works convey rough spontaneity and palpable energy
• A state free from structured feeling, and images whose realities are self evident
• Gestural abstraction relied on the expressiveness of energetically applied pigment, and
chromatic abstraction focused on color's emotional resonance
SO WHAT?
In the 1940s, the centre of the Western art world shifted from Paris to New York because of the
devastation of World War II inflicted across Europe. American artists then picked up the
European advent-guard’s energy, which started movements which Cubism and Dada had
fostered. Modernism increasingly became anonymous with a strict formalism (emphasis on an
artwork’s visual elements rather than subject).
ARTISTS:
JACKSON POLLOCK (1912 – 1956)
• Worked best exemplifies gestural abstraction
• Works consist of rhythmic drips, splatter, and dribbles of painting
• Responded to image as it was developing, he created art that was both spontaneous and
choreographed
• Technique highlights avant-garde aspects of gestural abstraction
• Emphasis on the creative process
• Improvisation was linked to the collective unconsciousness
POP ART
A term coined by British art critic Lawrence Alloway to refer to art, first appearing in the 1950s,
that incorporated elements from consumer culture, the mass media, and popular culture, such as
images from motion pictures and advertising.
• Moved away from individual excellence to a plurality
• Created art using every-day objects that were available to everyone
• The birth of mass culture (film, comic books, advertising)
• Aimed at images that were popular rather then cultural
SO WHAT?
The 1950s in Britain and the United States were the birth of mass culture. It’s when advertising
was at its prime and mass production was at its best. When families moved out to suburbs with
“white picked fences and 2 ½ children”. Artist took everyday items, celebrities and anything that
was “popular” at the time to create art. Sometimes, they copied it and others they made fun of
how society was changing.
ARTISTS:
JASPER JOHNS (b. 1930)
• A dealer that was going over to Rauschenberg house and saw Japer John’s work who was
his roommate and became interested in his stuff
• MOMA purchased 3 pieces of his work
• The readymade: found objects can be presented as finished works of art
• Interested in the issue and the medium chosen to execute it
• Social political issues of the time frame
FLUXUS
• Goal was to find aesthetic potential in the nontraditional and commonplace
• Expand to include Japanese and European artists
• Coin term “events” to describe their work
• These Events focused on single action “the theatre of the single event”
• Usually took place on stage separated from the audience, but dressed without added décor
• Events followed a compositional score, which gave the restricted nature of these
performances was short
DEFINITIONS Art History Study Guide Winter 2010
DEFINITIONS
ASTETITHISM: idea that art has to do with aesthetic beauty. Looked at in the Art Nouveau
period.
CLOISONNE: the technique favoured by the early medieval “treasure givers”, it documented at
least as early as New Kingdom in Egypt. It’s French for “partitions.” It is the crocs between
mosaic and stained glass.
CRONOPHOTOGRAPHY: Etienne Jules Marey’s strategy used a single camera with multiple
shutters, which allowed him to capture multiple exposures on one real film. He did this by
having a black background and a person dressed in white. It was linked to industrialization, and
ergonomics – a scientific push to find a way to do things by using the least amount of energy. He
dud this with a bird – a bird stays in flight by making a slow figure 8 with the wings. Later he
began dressing the people in black and put one tape connecting the joints so that was all that was
seen.
DER BLAUER REITER (THE BLUE RIDER): It was akin with expressionism in the early
1930s. The bold expressionist landscape painting paint their feelings and visions from a scene in
front of them. The western society is discredited at this time. It depicts escapism. Theya re trying
to make a spiritual link between the artist and the viewer. The viewer is playing an important part
in the meaning of the piece.
DIE BRUCKE: In expressionism, the bridge to the future, centers around four architectural
students Erich Heckel, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, and Fritz Bleyl. Emil
Nolde joined later.
DIVISIONISM: involves carefully observing color and separating it into its component parts
Art pieces: A Sunday on La Grande Jatte by Georges Seurat
POINTILLISM: involves observing colour and separating it into parts then applying pure
colour to the canvas in tiny dots cause shapes, figures and space to be only compressible from a
distance.
Art pieces: A Sunday on La Grande Jatte by Georges Seurat
PHOTOMONTAGE: allows the artist to make something that looks abstract and real at the
same time without painting
Art pieces: U.S.S.R. Russian Exhibition (USSR Russische Ausstellung) by El Lissitzky
SUPREMATISM: In symboilism, the notion of art can be done by everyone is coming into play
at this time. Art becomes constructed rather than created. Art should serve the goals of society.
Art has to be accessible to everyone.