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Art History Final Exam
Terms in this set (37)
painting with scenes from every day life
painting of inanimate object
an exaggerated and theatrical type of chiaroscuro where selected forms emerge strongly highlighted from a pervasively dark background
movement characterized by delicately curving forms, dainty figures, pastel colors, and lightheartedness.
paintings of elegant outdoor entertainment
movement rooted in stylistic sources from ancient Greek or Roman art, is defined by heroic nudity in sculpture and sometimes painting, by Classical orders in architecture, by the dominance of drawing over painterly effects in the visual arts, and by generous emphasis on what were perceived to be noble and serious modes of expression that often manifested themselves in subjects highlighting moral incorruptibility, patriotism, and courage. The discovery of Pompeii was the birthplace of this movement.
movement that features loose, fluid brushwork, strong colors, dramatic contrasts of light and dark, complex compositions, and expressive poses and gestures, all reminiscent of the more dramatic aspects of Baroque. Paintings and sculptures were often based on literary fantasies set in remote times or exotic places and infused with a sense of sensationalism or melancholy. Challenges The Enlightenment's faith in reason or empirical knowledge.
Style where public buildings were decorated inside and out with motifs drawn from historical models.
A fascination with Middle Eastern cultures that inspired eclectic nineteenth century European fantasies of exotic life that often formed the subjects of these paintings
Style that sought to recreate art of the middle ages and early Renaissance, namely for the gentle beauty, descriptive naturalism, and moralizing spirituality they found lacking in their own time.
Movement that sought to promote art as a means to pure visual delight. Rejected the values of modern industrial society and sought new aesthetic forms that would recapture a pre-industrial sense of beauty, creating a stylistic vision that permeated European art in many media at the end of the nineteenth century. Fluid linear arabesques and stylized organic forms.
Movement that challenged neoclassicism and romanticism. Attempted to showcase the "unvarnished truth." Often included faceless figures, mostly in everyday environments.
en plein air
open-air painting made possible by the invention of tin tubes for oil paint in 1841
Movements in which the characteristics include relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles.
Movement that emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and color. Continued to use bright color palette of impressionism, but sought to create art with a greater degree of formal order and structure. Often these artists saw art as a force for social commentary and a way to promote social change
Art used as social commentary or to promote social change.
Western art based on Japanese-style art
German counterpoint to fauvism that exaggerates aspects of form to evoke subjective emotions rather than a reasoned response.
Non-representational abstraction; emphasis on the physical process of making art
Movement that used impulsive brushwork and forceful colors to convey a new intensity of visual experience. Spontaneous, often subjective response to nature was expressed in bold, undisguised brushstrokes and high-keyed, vibrant colors directly from the tube.
der blaue reiter
German expressionist group that sought to depict spiritual truths through art (loved the color blue and depicting music through visual art)
movement whose paintings reduced subjects to essential colors and basic geometric shapes, flattened pictorial space, incorporating multiple perspectives within a single picture plane, fracturing form.
took elements of cubism, added fauvist color to celebrate the modern city and modern technology (matching car and coat Delaunay-Terk)
attacked everything old, dull, and feminine, trying to embrace the exhilarating and masculine, futuristic, and a dangerous world based on thrill, speed, and the power of modern urban life
Russian art movement which took aspects of cubism and futurism and combined them
in the haze of WWI and the countless killings at the hand of modern warfare technology, this movement was a manifestation of the disillusioned mood of this time. This movement mocked the senselessness of rational thought, and even the foundations of modern society
Russian art movement that supported the Russian Revolution of 1917; committed to the notion that artists should leave the studio and "go into the factory, where the real body of life was made"; politically engaged art that was devoted to creating useful objects and promoting the aims of a collective society; PROUNS- paintings, prints, or installations
Artists using this style attempted to eliminate representational elements because of their subjective associations and curves because of their sensual appeal.
Just as much an architectural style as a painting style. Sought a higher, rational, "universal" beauty; PRIMARY COLORS and STRAIGHT LINES
Le Corbusier- concrete, steel, sharp lines "machine for living"
German counterpart to de Stijl and Le Corbusier; wanted to recreate medieval guilds to create modern buildings and craft
intellectual successor to Dada; avant-garde movement in art and literature that sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images; The aim was to "resolve the previously contradictory conditions of dream and reality." Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.
a post-World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris; surrealism is an important predecessor
combining disparate elements to create a work of art
presented a challenge to traditions of fine art by including imagery from popular culture such as advertising, news, etc.
merged in New York in the early 1960s among artists who were self-consciously renouncing recent art they thought had become stale and academic: its originality was depleted. A wave of new influences and rediscovered styles led younger artists to question conventional boundaries between various media; Painters and sculptors avoided overt symbolism and emotional content, but instead called attention to the materiality of the works.
is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic and material concerns.
using materials from the surrounding natural environment to create sculpture specific to a certain place
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