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| A western cultural phenomenon, begining around 1750 and ending around 1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800 to 1840 |
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| The sublime has to do with this shift from humanism (the idea of the human being the center of the universe) to the the Sublime where humans were nothing in comparison to nature and God's creation which can overcome anything man has achieved. It's this idea becoming exalted at the realization of all mans fate (tragic counsciousness) in the presence of something greater than man. Its a personal spiritual experience. |
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| the belief or doctrine, held chiefly in the middle and latter part of the 19th century, that it was the destiny of the U.S. to expand its territory over the whole of North America and to extend and enhance its political, social, and economic influences. |
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| A movement that emerged in mid 19th century France. Realist artists represented the subject matter of everyday life (especially subjects that previously had been considered inappropriate for depiction) in a relatively naturalistic mode |
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| In opposition to Realism, artists who refused to be limited to the contemporary scenes strict Realists portrayed. These artists instead chose to represent fictional, historical, and fanciful subjects but with a certain degree of convincing illusion. |
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| An architectural style of the late 19th and early 20th centuries in France. Based on ideas taught at the Ecole des Beaux-Arts in Paris, the style incorporated classical principles, such as symmetry in design, and included extensive exterior ornamentation. |
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| A late-19th century art movement that sought to capture a fleeting moment, thereby conveying the elusiveness and impermanence of images and conditions |
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| An approach to painting much popular among the impressionists, in which an artist sketches outdoors to achieve a quick impression of light, air and color. The artist then takes the sketches to the studio for reworking into more finished works of art. |
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| A system of painting devised by the 19th century French painter Georges Seurat. The artists separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewers eye's optically blend the pigment dots. |
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| a late 19th century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact |
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| French "new art". A late 19th and early 20th century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. |
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| An early 20th century art movement led by Henri Matisse. For the Fauves, color became the formal element most responsible for pictorial coherence and the primary conveyor of meaning |
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| Color plays a prominent role in contemporaneous German painting, however, the expressiveness of the German images is due as much to wrenching distortions of form, ragged outline, and agitated brush strokes. |
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| The first phase of Cubism, developed jointly by Pablo Picasso and Georges Braque, in which artists analyzed form from every possible vantage point to combine the various views into one pictorial whole. |
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| An early 20th century Italian art movement that championed war as a cleansing agent and that celebrated the speed and dynamism of modern technology |
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| early 20th century movement prompted by a revulsion against the horror of World War I. Dada embraced political anarchy, the irrational and the intuitive. A disdain for convention, often enlivend by humor or whimsy is characteristic of the art dadaists produced |
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| Unconscious and inner drives (of which people are largely unaware of) control human behavior. |
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| the unconscious is composed of two facets, a personal unconscious and a collective unconscious |
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| Incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Naturalistic Surrealists, notable Salvador Dali, represented recognizable scenes transformed into a dream or nightmare image. |
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| painting or drawing from pure subconscious artistic instincts. |
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| stresses the individual's unique position as a self-determining agent responsible for the authenticity of his or her choices. |
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| The first major American avant-garde movement, emerged in NYC in the 1940s. The artist produced abstract paintings that expressed their state of mmind and that they hoped would strike emotional chords in viewers. |
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| emphasis was on the creation process, the artists gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation |
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| A term coined by British art critic Lawrence Alloway to refer to art, first appearing in the 1950s that incorporated elements from consumer culture, the mass media, and popular culture, such as images from motion pictures and advertising |
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| A school of painting and sculpture of the 1960s and 70s that emphasized producing artworks based on scrupulous fidelity to optical fact. |
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| feminist movement that focused public attention on the history of women and their place in society. |
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| A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject, in order to engage the viewer with pictorial issues, such as figuration, realism and abstraction |
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