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| Intense colors/patternization; illogical space and scale |
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| fragmented forms (comprised of geometric shapes) presented with "multiple perspectives"; Strange spacin, abstracted narratives, and allusion to other cultures (in some cases) |
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| Breaking into little cubes and a colorless palette |
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| building up subject matter with larger forms/shapes with more color |
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German energetic use of line, color, texture, etc. for emotional purposes |
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| connecting traditional with avan-garde artistic forms |
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| another group that uses line, color, texture, etc. totally abstractly and for spiritual/mystical reasons. |
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Italian artistic portrayal of speed, energy, and social progress. Ex: Boccioni's States Of Mine 1: Farewells |
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Russian "supremacy of feeling"; non-objective squares, shapes, and lines pointing to cosmic unity, mystical connections to the universe Ex: Black Square |
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| Child-like fairy tales of Chagall or eeriness of empty buildings of DiChirico |
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"hobby horse" absure, nihilistic art work that attacks conventional art/values and faith in technology |
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Freudian dream imagery, hallucinations, nightmares, erotic imagery Ex: Dali's Persistence of Memory |
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abstract or organic forms suggestive of powerful universal forces... usually form and material are harmoniously integrated EX: Moore's Reclining Figure |
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Russian abstracted, 3-demensional constructions of geometric shapes in wood, metal, glass |
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| Geometric forms which correspond to the structure of the universe or |
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| Elevated the machine; concentrated on architectural elements which were fuctional beautiful works bases on geometric, machine-age look |
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| Decrotive style with machinek-age geometric patterns; shiny surfaces/ materials, colors, angularity, and movement. |
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The harlem renaissance (new negro movement) |
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| proliferation of black writers, thinkers, artists, musicians, etc. dealing with forms that highlight racial identity and themes |
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American High concentration on social ills, poverty, migrant workers, racism, alienation due to urbanization and industrilization |
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| tries to fit in with the enviornment, or is sometimes made for a specific enviornment. |
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The Idea is more important than form or style it's more focused on how the work is built |
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| Moves and responds to enviornmental conditions |
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