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| Sharp contrast of light and shadow, spot lit figures against dark backgrounds |
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| Art featuring everyday scenes |
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| Pinhole camera, projects onto a surface. |
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| poussins formula 1. Great subjects 2. Avoid Minute details 3. Good judgement |
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| 18th century critical thinking about the world and environment |
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| annual juried art exhibition in france, dating back to the 17th - 19th centuries |
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| Characterized by renewed enthusiasm for motifs and subjects from classical antiquity, characterized by clarity balance and restraint |
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| a movement in the 19th century france representing art work with subject matter from every day life |
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| Emotions drama/imagination & color play dominant roles |
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| Rejected works by nepolean, hearalds the beginning of modern art |
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| Impressionism—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 |
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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 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 moment—or instant—of seeing.
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| separate patches of color that are visible and often look 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 |
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| thick, heavy application of paint, where the strokes of the brush or palette knife are very pronounced, leaving the paint to stand up in relief. |
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- (Comes from fauves—meaning wild beasts.)an early 20th-c. art movement where color became the element most responsible for conveying meaning and pictorial coherence. Characterized by intense contrasts of color, sweeping brushstrokes, and bold patterns.
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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.
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- architectural style characterized by long, sweeping ground lines, unconfined by abrupt limits of the wall (which seemed to reach out towards and express the great flat-lands of the Mid-West).
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- a horizontal architectural projection supported by a downward force behind a fulcrum. It is without external embracing and therefore appears to be self-supporting.
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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. Taking the utilitarian object and rendering it useless.
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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.
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- to place together objects that don’t ordinarily belong side by side.
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- Nonobjective/Nonrepresentational art
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- art that has no discernible reference to the external appearance of the physical world; or art without recognizable subject matter (all identifiable subject matter has been eliminated)
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- a new (neo) physical (plastic) reality. A movement in which color and forms are reduced to utter simplicity by strict adherence to simple geometric shapes.
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- a movement characterized by emotion, spontaneity, energy, and visible (often aggressive) brushwork.
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- principle method in American Abstract Expressionism where painting is revealed through the brush gesture and the fall and touch of the paint.
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- governed by unconscious free association, the artist works with uncontrolled movements of the hand.
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- (short for popular); challenges the tradition of fine arts by insisting that common culture and mass media are legitimate inspirations; deals with the expendable object.
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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 |
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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
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- movement that in its simplicity rejected space, texture, subject matter, and atmosphere, relying instead on simple, geometric form, flat color, and the power of the artwork’s presence for effect; this movement can refer to paintings or (often monumental) sculpture.
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