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| 17th to early 18th centuries. Originated in Rome in the Catholic Church. Dramatic use of light, bold colors, value contrasts, emotionism, tendency to push into viewer's space and theatricality. Often diagonal. |
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| Popular in Europe from 1700-1775. Emphasized ornate but small-scale decoration; curvilinear forms, pastel colors, playful, lighthearted, romantic; aristocrats being leisurely. |
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| Western movement in painting, sculpture and architecture of the late 18th century and early 19th century; inspired by ancient Greece and Rome. Emphasized order, clarity and restraint. |
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| movement in western art in the late 19th century, assumed to be in opposition to Neoclassicism. Emphasize intense colors, turbulent emotions, complex composition, soft outlines, and sometimes heroic or exotic subject matter. |
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| any art in which the goal is to portray forms in the natural world in a highly faithful manner. From the mid 19th century, and it was thought that everyday people and events are fit subjects for important art. |
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| originated in France in the 1860s. Portrayed real life, especially leisurely activities of the middle class. Outdoor paintings, so landscape was popular. Favored alla prima painting technique to capture changing natural and urban scene. |
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| French artists from 1885 to 1905. Rejected the relative absence of form characteristic in impression. Vincent Van Gogh, Paul Cezanne, Paul Gaugin, and Georges Seurat. |
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| Short-lived, but influential art movement in France in the early 20th century that emphasized bold, arbitrary, expressive color. |
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| art movement in the early 20th century, especially prevalent in Germany, which claimed the right to distort visual appearances to express psychological or emotional states, especially the artist's own personal feelings. |
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| Die Brucke - "The Bridge" |
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| Impressionist group founded in 1905. The bridge these artists had in mind was one they would build through their art to a better, enlightened future. |
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| Der Blaue Reiters - "The Blue Rider" |
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| expressionist group formed in 1911 by Russian painter Wassily Kandinsky |
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| movement developed during the early 20th century by Pablo Picasso and Georges Braque. Abstracted the forms of the visual world into fragments drawn from multiple points of view, then constructed an image from which had its own internal logic. Limited color palette, short & distinct brush strokes. |
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| art movement founded in Italy in 1909 and lasting only a few years. Concentrated on dynamic quality of modern technological life, emphasizing speed and movement. |
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| Emerged during WWI (1914-18). Society was seen as gone mad, so this movement refused to make sense. Created anti-art that emphasized absurdity, irrationality, whimsy and childishness. |
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| movement in the early 20th century that emphasized imagery from dreams and fantasies. |
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| European art movement touched by constructivist ideas. Vertical and horizontal lines, and the primary colors. |
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| painters associated with the first major postwar art movement. Abstract impressionsists like Jackson Pollock and Willem de Kooning. Influenced by surrealism. Emphasized scale. |
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| Style of the 1960s, deriving its imagery from popular, mass-produced culture. Deliberately mundane, focused on overfamilar objects of daily life. |
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| 1960s and 1970s movement toward simple, primary forms. Favor industrial materials, and sculptures tended to be to be attached to the floor rather than on a pedestal. |
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| created according to the belief that the essence of art resides in a motivating idea, and that the physical aspect of the art is secondary. Arose in the 1960s and tried to move away from objects that could bought and sold. |
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| Originally formed around equal rights and pay. Images are powerful and persuasive. |
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| Features broad fields of color. Arose in the 1950s after abstract impressionism. |
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| Physical act of applying paint to a support in bold, spontaneous gestures supplies the excessive content. First used to describe the work of certain Abstract Expressionism painters. |
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| boundaries we perceive of 3D forms |
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| parallel lines that curve over an object's surface in a vertical or horizontal manner and reveal the item's surface characteristics |
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| 2D form, occupies area with identifiable boundaries |
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| 3D form, occupies a volume of space |
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| shades of lights and darks created with hatching, cross-hatching and stippling |
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| mixing primary and secondary colors |
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| dotted line, where dots are so close together that our mind connects them |
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| famous earthwork by Robert Smithson |
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| forms of the visible world are purposefully simplified |
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| descriptive of a work that depicts forms int he natural world |
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| does not represent the visible world itself |
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| thin, translucent layer of color, generally applied over another color |
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| Italian for "paste"; thick application of paint |
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| coloring material made from various organic or chemical substances. Mixes with a binder to create a drawing or painting medium. |
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| painting medium in which the binder is wax, which is headed to render paint's fluid |
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| pigment is compounded with an aqueous vehicle (i.e. egg yolk) |
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| Human form in motion invented by Muybridge |
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| rubbing a piece of paper on a rough surface such as wood or stone to capture the texture for use in artworks |
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| Daguerreotype - Louis Jacques, 1839 |
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| First type of photograph ever, and who invented it |
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| Vincent Van Gogh, George Seurat, Paul Gaugin, Paul Cezanne |
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| 20th century psychologist that influenced surrealism |
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| new and unusual experimental ideas |
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| way to determine proper exposure and adjust the contrast of the final print |
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| Who invented the Zone system? |
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| ceramic vessles; jars; bowls |
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| Who painted the Sistine Chapel? |
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| large, round chambers, underground or roofed; used for religious purposes |
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| when the world was created by ancestors |
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