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an extended tour of cultural
sites in France and Italy intended to finish the education
of a young upper-class person primarily from Britain or
North America. |
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A painting or print of a fantastic,
imaginary landscape/cityscape, usually with architecture. |
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"view";Paintings,
drawings, or prints often of expansive city scenes or of
harbors. |
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| neo= "new"; European art movement tried to recreate the art of Greece and Rome by imitating the ancient classics both in style and subject matter. Celebrates the universal. |
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| movement that believed an exploration of emotions, the imagination, and intuition could lead to a better understanding of the world. Celebrates the individual. |
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describes the taste for
the familiar, the pleasant, and the agreeable; Originally used to describe the picture like qualities of some landscape scenes. |
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a fine-grained, unglazed, colored
pottery developed by Josiah Wedgwood |
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| A place of study; e.g. Academy of fine arts |
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| (based on historical, mythological, or biblical narratives and generally conveying a high moral or intellectual idea |
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a concept, thing, or state of greatness or vastness with high spiritual, moral,
intellectual or emotional value; or something awe-inspiring |
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| making a print from a design drawn on a flat stone block with greasy crayon. Ink is applied to the wet stone and adheres only to the greasy areas of the design |
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the fascination with Middle
Eastern cultures. |
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| "light writing"; a medium that involves the rendering of optical images on light-sensitive surfaces. |
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| "dark chamber"; An early camera-like device used in the Renaissance and later for recording images; A darkened room or box with a lens through which light passes, projecting onto the opposite wall an upside-down image of the scene, which an artist can then trace |
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| early photographic process that makes a positive print on a light-sensitized copperplate; |
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The first photographic process
utilizing negatives and paper positives. |
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"advance guard; artists or concepts
of a strikingly new, experimental, or radical nature for their time. |
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Late 19th-century French school dedicated to defining transitory visual impressions painted directly from nature, with light and color of primary importance
e.g. Monet, Degas, Pissaro |
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led away from a naturalistic approach and sought to evoke emotion through colour and line.
Cezanne, Gauguin, Seurat Van Gogh |
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A style in French and American
nineteenth-century art that was highly influenced by Japanese art, especially prints. |
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| The borrowing of subjects or forms usually from non-European or prehistoric sources [colonized cultures] by Western artists. |
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| turning away from painting by observation to transforming fact into a symbol of inner experience. e.g. Gauguin |
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deliberate departure from tradition; interest in new types of paints and other materials, in expressing feelings and ideas, in creating abstractions and fantasies, rather than representing what is real
e.g. Cezanne and Manet |
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“wild beasts"; group of early 20th-century French painters whose work was characterized by distortion and violent colors
e.g. Matisse and Rouault |
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Early 20th-century French movement marked by a revolutionary departure from representational art; stressed basic abstract geometric forms that presented the object from many angles simultaneously
e.g. Picasso and Braque |
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A 20th-century European art movement that stresses the expression of emotion and the inner vision of the artist.Distorted lines and shapes and exaggerated colors are used for emotional impact.
e.g. Van Gogh |
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A composition made of cut and pasted scraps of materials, sometimes with lines or forms
added by the artist. |
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| Artwork created by gathering and manipulating two- and/or three-dimensional found objects. |
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Any art that does not
represent observed aspects of nature or transforms visible
forms into a stylized image |
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A product of the turbulent and cynical post-World War I period, this anti-art movement extolled the irrational, the absurd, the nihilistic, and the nonsensical.
e.g. Hoch, Duchamp |
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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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| further development of Collage, Cubism, and Dada, this 20th-century movement stresses the weird, the fantastic, and the dreamworld of the subconscious. |
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| called for greater social and political activism among African Americans |
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American art movement of the 1940s that emphasized form and color within a nonrepresentational framework
e.g. Jackson Pollock |
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| An artwork based on a live, sometimes theatrical performance by the artist |
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| Contemporary art created for a specific site, especially a gallery or outdoor area, that creates a complete and controlled environment. |
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| return to representational art and to the world of tangible objects in a reaction against abstraction. Materials are drawn from the everyday world of popular culture—comic strips, canned goods, and science fiction |
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| technique of printing in which paint or ink is pressed through a stencil and specially prepared cloth to produce a previously designed image. |
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Usually very large scale, site-specific
outdoor artwork that is produced by altering the natural environment. |
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o characterise a move away from the ‘highbrow’ seriousness of modernism, preferring a more eclectic and populist approach to creativity
e.g. Beuys |
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