Expressionism: This movement was launched in the early 20th century and it used exaggeration, alteration and "primitivism" (www.ibiblio.org). Expressionism alludes to art works that "emphasize the extreme expressive properties of pictorial form," according to the Guggenheim Museum. Expressionism departed from the "appearance of reality" and promoted idealistic values that oppose the "constricting forces and repressive materialism of bourgeois society" (Guggenheim). The example used is "Paris Society" by Max Beckmann: given that this painting was finished on the eve of the Third Reich, all the people appear foreboding and depressed (perhaps for good reason); it's a black-tie party but people are exaggeratedly solemn. This could be a response to materialism as party-goers are supposed to be gay and enthusiastic. Symbolism: This movement actually began as a literary concept, but came to be a part of the style of younger painters as well, who, like the writers, rejected "…the conventions of Naturalism" (Metropolitan Museum of Art). Art should not necessarily represent objectivity in the natural world, the painters in this genre insisted; art should represent emotions and ideas, and sometimes present them in "…imaginary...
The work of art is Pandora, by Odilon Redon, a French painter. It is a kind of dream world and Pandora was sent to earth by Jupiter with flowers surrounding her suggesting innocence. She holds the box that, should it be opened, will "unleash all the evils destined to plague mankind," which would end the Golden Age (www.metmuseum.org).
Art The Painting Techniques of the Impressionists, Cubists, and Fauvists During the late nineteenth and early twentieth centuries art styles were changing rapidly in France. Impressionism, Cubism, and Fauvism were three of the styles developed during this time. The painters involved were using new techniques with oil paint to change what was accepted as fine art. Their new techniques reflected societal changes happening all around them. The Age of Industrialization, economic fears,
Art One-Point Linear Perspective in the Renaissance One-Point Linear Perspective in the Renaissance In the context of art, perspective is generally defined as "… the technique an artist uses to create the illusion of three dimensions on a flat surface" (Essak). Perspective is in essence an illusion of depth and realism in the work of art. It is also an intrinsic part of human evolutionary makeup. As Edgerton ( 2006) states, " Every
The perspective might seem extreme. In this sense, it is important to understand that Van Gogh was trying to break free from the limitations of the perspective frame which imposed realistic perspectives and proportions. Moreover, towards the end of his life, at the peak of his artistic maturity, he rebelled against the muted colors that Dutch painters were using at the time. Stylistically, the task of understanding Van Gogh's paintings
To be sure, under the label Art Nouveau, there resides a long list of diverse artistic styles, from two dimensional arts to constructive and geometrical arts. Art Nouveau was an important architectural movement, inspired by the inherent patterns of nature. For example, C.F.A. Voysey's textile prints showcase plant forms in free curves, while Christopher Dresser's design philosophy stemmed from his knowledge of botany. Aubrey Beardsley (1872-98) is famous for his
According to Schmutlzer, "The buildings of Horta reveal the full importance of architectural initiative" (114). In his book, a History of Modern Architecture, Joedicke (1959) reports that, "In the nineteenth century a circle of adventurous artists, known as 'Les XX,' had already appeared in Brussels, who were strongly influenced by William Morris and his followers. In 1893 Victor Horta, who belonged to this group, built the house in the Rue
Bauhaus After World War I, the nation state of Germany under the direction of architect Walter Gropius created a "consulting art center for industry and the trades" (Bayer 12). Called Bauhaus, "house for building," the school combined the role of artisans and craftspeople and included everything from architecture to theater to typography. When the school was forced to close during the Nazi regime in 1932, many of its artists moved to
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