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| the early phase of cubism, chiefly characterized by a pronounced use of geometric shapes and by a tendency toward a monochromatic use of color. |
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| the late phase of cubism, characterized chiefly by an increased use of color and the imitation or introduction of a wide range of textures and material into painting. |
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| a technique of composing a work of art by pasting on a single surface various materials not normally associated with one another, as newspaper clippings, parts of photographs, theater tickets, and fragments of an envelope. |
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| a group of German expressionist artists, express extreme emotion through high-keyed color |
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| Munich artists who incorporated poetry and music in their expressionistic art |
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| rejected politics of the day, dissenters in society |
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| objects found and modified then called art |
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| It emphasized and glorified themes associated with contemporary concepts of the future, including speed, technology, youth and violence, and objects such as the car, the airplane and the industrial city. |
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| any of various theories or philosophical systems that seek to explain phenomena of nature by the action of force. |
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| It was characterized by flat geometric shapes on plain backgrounds and emphasized the spiritual qualities of pure form. |
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| reduction to the essentials of form and color |
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| a style of art and literature developed principally in the 20th century, stressing the subconscious or nonrational significance of imagery arrived at by automatism or the exploitation of chance effects, unexpected juxtapositions, etc. |
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| the action or condition of being automatic; mechanical or involuntary action. |
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| freedom of technique, a preference for dramatically large canvases, and a desire to give spontaneous expression to the unconscious. |
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| a minor art movement chiefly of the 1960s reviving some of the objectives of dada but placing emphasis on the importance of the work of art produced rather than on the concept generating the work. |
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| a chiefly American style in painting and sculpture that developed in the 1960s largely in reaction against abstract expressionism, shunning illusion, decorativeness, and emotional subjectivity in favor of impersonality, simplification of form, and the use of often massive, industrially produced materials for sculpture, and extended its influence to architecture, design, dance, theater, and music. |
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| the artistic genre consisting of earthworks. |
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| a collaborative art form originating in the 1970s as a fusion of several artistic media, as painting, film, video, music, drama, and dance, and deriving in part from the 1960s performance happenings. |
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| art in which emphasis is placed on the means and processes of producing art objects rather than on the objects themselves and in which the various tools and techniques, as photographs, photocopies, video records, and the construction of environments and earthworks, are used to convey the message to the spectator. |
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| any of a number of trends or movements in the arts and literature developing in the 1970s in reaction to or rejection of the dogma, principles, or practices of established modernism, especially a movement in architecture and the decorative arts running counter to the practice and influence of the International Style and encouraging the use of elements from historical vernacular styles and often playful illusion, decoration, and complexity. |
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| It used the images and techniques of mass media, advertising, and popular culture, often in an ironic way. Works of Warhol, Lichtenstein, and Oldenburg exemplify this style. |
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