Art

Movements
GED108 | Art Appreciation
 Table of Contents
Greek 4
Roman 8
Renaissance 11
Baroque 16
Gothic 22
Romanesque 24
Byzantine 26
Realism 29
Art Noveau 33
Modernism 35
Impressionism 36
Post-Impressionism 38
Fauvism 40
Expressionism 41
Cubism 43
Futurism 47
Dadaism 48
Surrealism 53
Pop Art 54
Post-Modernism 55

This document is a compilation of the presentations prepared by Prof. Marilou Evangelista and students of AR3 (Batch 2018).
An art movement is a tendency or style in art with a specific
common philosophy or goal, followed by a group of artists
during a restricted period of time, or at least, with the
heyday of the movement defined within a number of years.
(Wikipedia)
 GREEK
Ancient Greek Art | 750-300BC

o Stands out among that of other ancient cultures for its development of naturalistic but idealized
depictions of the human body, in which largely nude male figures were generally the focus of
innovation.

Greek art is divided in four periods:

o Geometric
- The Geometric age is usually dated from about 1000 BC, although, little is known about art in
Greece during the preceding 200 years, traditionally known as the Greek Dark Ages.
- The beginning of Greek art is found in painted pottery and small-scale sculpture.
- Artists established different categories of shapes of ceramic vessels.

o Archaic
- lasting from the eighth century BC to the second Persian invasion of Greece in 480 BC, following
the Greek Dark Ages and succeeded by the Classical period.
- Motifs were introduced – palmette and lotus compositions, animal hunts, and beasts such as
griffins (part bird, part lion), sphinxes (part woman, part winged lion), and sirens (part woman,
part bird).
- Black-figure pottery dominated the export market throughout the Mediterranean region
providing a wealth of iconography.
- Greek artists made increasingly naturalistic representations of human figure.
- 2 types of freestanding, large-scale sculptures predominated:
 Kouros – male; standing nude youth; revealed Egyptian influence in both its pose and
proportions.
 Kore – female; standing draped maiden

o Classical
- a period of around 200 years (5th and 4th centuries BCE) in Greek culture.
- This period saw the annexation of much of modern-day Greece by the Persian Empire and its
subsequent independence.
- There was more interest in art, imagination and buildings.
- The Classical Greek art style represents a quest that the Greeks had for perfection and
balance.
- The art glorified beauty of the body.
- Characteristics:
 A joyous freedom of movement
 A celebration of mankind as an independent individual.
 Artist’s quests for ideal beauty leads to their depicting the human figure in a naturalistic
manner.

o Hellenistic
- generally taken to begin with the death of Alexander the Great in 323 BC and end with
the conquest of the Greek world by the Romans
- Hellenistic art is richly diverse in subject matter and in stylistic development.
- It was created during an age characterized by a strong sense of history.
- For the first time, there were museums and great libraries.
- Representations of Greek gods took on new forms.
- There are representations of unorthodox subjects, such as grotesques (dwarf), and of
more conventional inhabitants, such as children and elderly people.
- The most avid collectors of Greek art were the Romans, who decorated their own town
houses and country villas with Greek sculptures.

Interest in Greek art and culture, it had remained strong during the Roman Imperial period.

CHARACTERISTICS
 Flowering of an aesthetic idealism that seek to represent an idyllic vision of beauty.
 Representation of proportionality and balance in the works of art that contribute to highlight the
concept of aesthetic perfection.
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  It is not of practical and realistic character, but decorative. Seeking the joy of the spirit.
 Concern to represent an ideal vision of the beauty of the human body.
 Representation of nature and the surrounding world with an idealized and sweetened vision of
this.
 Greek art is not looking for being an instrument of propaganda, only as an aesthetic pleasure
vehicle.

ARTWORKS

o PARTHENON
- A former temple on the Athenian Acropolis, dedicated to the goddess Athena.
- The Athenians began the construction of a building that was burned by the Persians while it was
still under construction in 480 BCE.
- Not much is known about this temple, and whether or not it was still under construction when it
was destroyed has been disputed.
 INCTINUS
- An ancient Greek architect, active in Athens during the rule of Pericles, circa -440.
- Acted as the architect of the Parthenon, according to Plutarch.
- He worked on several other temples throughout Greece, including the Telesterion at
Eleusis and the Temple of Apollo at Bassai.
- Associated with Greek contemporaries Callicrates and Phidias, who are also credited in the
creation of the Parthenon.

 CALLICRATES
- Architect in ancient Greece
- Acted much as Iktinos's contractor, his technical director of works.
- Worked mainly in Athens during the great building program inspired by Perikles.
- Might have been the official city architect of Athens, and that he was more concerned
with the technical and managerial aspects of architecture than with formal design.
- With the supervision of building work but would not have been responsible for aesthetic
features.

 PHIDIAS
- most famous artist of his time
- Acted as supervisor of all architectural and artistic works for the Acropolis in Athens.
- All of the exterior sculpture was produced under his direction, and the enormous statue of
Athena which resided within the temple was his work alone.

o APHRODITE OF MILOS
- Mistakenly known as the Venus de Milo
- An ancient Greek statue and one of the most famous works of ancient Greek sculpture.
- This graceful statue of a goddess has intrigued and fascinated art lovers for almost two
centuries, ever since its discovery on the island, in 1820, on the small Greek Island of Melos
in the Aegean.

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 - An armless marble statue of Aphrodite - the Greek goddess of love and beauty - which was
sculpted during the Hellenistic period between about 130 and 100 BCE.

 ALEXANDROS OF ANTIOCH
- Appears to have been a wandering artist who worked on commission.
- He was a winner in contests for composing and singing.
- He is known from several ancient inscriptions including one from a now-missing plinth
that was a part of the Venus de Milo but was removed and "lost" due to museum politics and
national pride at the Louvre Museum in the 1820s.

o WINGED VICTORY OF SAMOTHRACE

- also called the Nike of Samothrace
- A marble Hellenistic sculpture of Nike (the Greek goddess of victory), that was created
about the 2nd century BC.
- Since 1884, it has been prominently displayed at the Louvre and is one of the most
celebrated sculptures in the world.
- Described it as "the greatest masterpiece of Hellenistic sculpture", and it is one of a
small number of major Hellenistic statues surviving in the original, rather than Roman copies.

 PYTHACRITUS
- Credited with the Nike of Samothrace, considered an original sculpture of the Rhodes school
of the second century BC, since it was integrated with the name of Pitocrito a fragment of
artist's signature, found on the place where the statue was found.

o ARTEMISION BRONZE
- represents either Zeus, the ancient Greek king of the gods of Mount Olympus or possibly
Poseidon, the God of the Sea
- It is a rare, ancient Greek bronze sculpture that was recovered from the sea of Cape
Artemision, Greece.
- Created in the early “Classical Period of Greek sculpture”, about 460 BC, this
masterpiece is the embodiment of beauty, control, and strength.
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 - UNKNOWN ARTIST

o ACHILLES SLAYING PENTHESILEA AMPHORA

- Depicts is Achilles slaying Penthesilea Queen of the Amazons.
- Both the warriors from the Greek myth are shown in attic black figure.
- This type of painting was a popular art style in classical Greek civilization.
- Normally these women warriors of Greek myth would fight Greek heroes. Strong and
independent, they were not glorified as role models as the male heroes.
- Achilles killing Penthesilea in this amphora could be a subconscious warning or threat for
women not to challenge the patriarchal status quo.
- Athenians were in particular stricter in terms of women’s freedom and legal rights.
 EXEKIAS
- An ancient Greek vase-painter and potter who was active in Athens between roughly 545
BC and 530 BC.
- Worked mainly in the black-figure technique, which involved the painting of scenes using
a clay slip that fired to black, with details created through incision.
- Regarded by art historians as an artistic visionary whose masterful use of incision and
psychologically sensitive compositions mark him as one of the greatest of all Attic vase
painters.

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 ROMAN Rome | 750 BCE

o Rome was found far back in 750 BCE, it led a precarious existence for several centuries.
o Initially, it was ruled by Etruscan kings who commissioned a variety of Etruscan art (murals,
sculptures and metalwork) for their tombs as well as their palaces, and to celebrate their military
victories.
o the Romans started coming into contact with the flourishing Greek cities.
o they fell under the influence of Greek art - a process known as Hellenization. Soon many Greek
works of art were being taken to Rome as booty, and many Greek artists followed to pursue
their careers under Roman patronage.
o the arts were still not a priority for Roman leaders who were more concerned about survival
and military affairs.
o 200 BCE after it won the first Punic War against Hannibal and the Carthaginians, that Rome felt
secure enough to develop its culture.
o the absence of an independent cultural tradition of its own meant that most ancient art of Rome
imitated Greek works.
o Rome was unique among the powers of the ancient world in developing only a limited artistic
language of its own.

CHARACTERISTICS
 It is practical and utilitarian
 It is commemorative and propagandistic
 Strong desire for realism
 Themes of power and might
 Domestic topics in mosaics and paintings
 Advanced engineering and grand architecture
 Imitation of Greek sculptures and paintings.

ARTWORKS

 ARCH OF TITUS
- a 1st-century AD honorific arch, located on the Via Sacra, Rome
- It was constructed in c. AD 82 by the Emperor Domitian shortly after the death of his older
brother Titus to commemorate Titus's victories
- The arch has provided the general model for many triumphal arches erected since the 16th
century
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  DOMITIAN
- He was the younger brother of Titus and the son of Vespasian, his two predecessors
on the throne, and the last member of the Flavian dynasty.
- As emperor, Domitian strengthened the economy by revaluing the Roman coinage,
expanded the border defenses of the empire, and initiated a massive building program to
restore the damaged city of Rome.

 ALEXANDER MOSAIC
- a Roman floor mosaic originally from the House of the Faun in Pompeii
- It depicts a battle between the armies of Alexander the Great and Darius III of Persia
- The mosaic is believed to be a copy of an early 3rd-century BC Hellenistic painting.
- The mosaic is an unusually detailed work for a private residence and was likely
commissioned by a wealthy person or family.
- Roman leaders followed after Alexander's image, Roman civilians also aspired to emulate the
power he represented.
 UNKNOWN ARTIST

 TRAJAN’S COLUMN
- is a Roman triumphal column in Rome, Italy
- it commemorates Roman emperor Trajan's victory in the Dacian Wars.
- It was probably constructed under the supervision of the architect Apollodorus of Damascus
at the order of the Roman Senate.
- It is located in Trajan's Forum
- Completed in AD 113, the freestanding column is most famous for its spiral bas relief, which
artistically represents the wars between the Romans and Dacians
- Its design has inspired numerous victory columns, both ancient and modern.
 APOLLODORUS OF DAMASCUS
- a Syrian-Greek engineer, architect, designer and sculptor from Damascus, Roman
Syria
- a favourite of Trajan, for whom he constructed Trajan's Bridge over the Danubein
Dacia, designed Trajan's Forum, the Temple of Trajan, and Trajan's Column within
the city of Rome, beside several smaller projects.

 AUGUSTUS OF PRIMA PORTA

- one of the most significant emperors of Ancient Rome (Augustus Caesar)
- Discovered on April 20, 1863 in the Villa of Livia at Prima Porta, near Rome.
- Augustus is shown in this role of "Imperator", the commander of the army
- the statue should form part of a commemorative monument to his latest victories
- It is also contested that this was possibly a gift from Tiberius Caesar to his mother Livia
(since it was found in her villa) after Augustus' death and in honor of the woman who had
campaigned so long for him to become the next Caesar.
- This would explain the divine references to Augustus in the piece, notably his being barefoot,
the standard representation of gods or heroes in classical iconography.
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  UNKNOWN ARTIST

 COLOSSEUM
- also known as the Flavian Amphitheatre
- an oval amphitheatre in the centre of the city of Rome, Italy.
- it is the largest amphitheatre ever built.
- Construction began under the emperor Vespasian in AD 72, and was completed in AD 80
under his successor and heir Titus. Further modifications were made during the reign of
Domitian (81–96)
- These three emperors are known as the Flavian dynasty, and the amphitheatre was named in
Latin for its association with their family name (Flavius)
- it was used for gladiatorial contests and public spectacles

 VESPASIAN
- He was a Roman emperor from CE 69 to CE 79, the fourth, and last, in the Year of
the Four Emperors.
- He founded the Flavian dynasty that ruled the Empire for 27 years.
- he fulfilled the standard succession of public offices and held the consulship in CE
51, Vespasian's renown came from his military success

 TITUS
- He was a Roman emperor from 79 to 81.
- A member of the Flavian dynasty, Titus succeeded his father Vespasian upon his
death
- The first Roman emperor to come to the throne after his own biological father.
- Prior to becoming emperor, Titus gained renown as a military commander
- ruled to great acclaim following the death of Vespasian in 79, and was considered a
good emperor
- As emperor, he is best known for completing the Colosseum and for his generosity
in relieving the suffering caused by two disasters, the eruption of Mount Vesuvius in AD
79 and a fire in Rome in 80.

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 RENAISSANCE Italy | 15th century

o Initially in a literary revival Renaissance was determined to move away from the religion-dominated
Middle Ages and to turn its attention to the plight of the individual man in society.
o individual expression and worldly experience became two of the main themes of Renaissance art.
o Combined influences of an increased awareness of nature, a revival of classical learning, and a more
individualistic view of man.
o Main focus is on Humanism or the glorification of man and his works
o The movement owed a lot to the increasing sophistication of society, characterized by political
stability, economic growth and cosmopolitanism.
o Education blossomed at this time, with libraries and academies allowing more thorough research to
be conducted into the culture of the antique world.
o The arts benefited from the patronage of such influential groups as the Medici family of Florence, the
Sforza family of Milan and Popes Julius II and Leo X
o Baroque art and architecture emerged in late sixteenth-century Europe after the Renaissance, and
lasted into the eighteenth century. In contrast to the clarity and order of earlier art, it stressed
theatrical atmosphere, dynamic flourishes, and myriad colors and textures.
o The Early Renaissance is also known as the Quattrocento, derived from the Italian mille
quattrocento, meaning 1400, and refers primarily to the period dominating the 15th century in Italian
art.
o The High Renaissance, the epitome of Italian art before the modern era was the exemplified in the
works of Leonardo da Vinci, Michelangelo, and Raphael - among others
o Mannerism is an artistic style which developed in the Late Renaissance which exaggerated
emphasis on proportion, balance, and ideal beauty.

CHARACTERISTICS
1. Classicism

The following of traditional and long-established theories or styles

● Mythological themes
● Idealized beauty (proportion)
● Classical architectural elements

2. Emphasis on human figure

● Artists rediscovered beauty of nature and the human body.
● Beauty is achieved by proportion and symmetry

3. Realism of expression
● Subjects give more emotional qualities and expression

4. Evolution of radically fresh artistic techniques

● Departing from the flat-planed and two-dimensional icon artworks that were popular prior.
● Introduction of revolutionary methods such as one-point linear perspective, derived from an
understanding of math and architecture new style of shallow carving to create atmospheric

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 effect, foreshortening, naturalistic and anatomical detail, proportion, and the use of
chiaroscuro and trompe l'oeil to create illusionary realities.

5. New subject matter evolved beyond the traditional religious stories that had historically dominated art.
● Battle scenes
● Portraits
● Depiction of ordinary people

6. Art was no longer a way to solely elevate the devotional, but became a way to document the people
and events of contemporary times, alongside the historical.
● Early Renaissance artists were highly influenced by the Humanist philosophy that
emphasized that man's relationship with the world, the universe, and God was no longer the
exclusive province of the Church
● This led to a more intimate way for viewers to experience art.
● A new standard of patronage in the arts arose during this time, separate from the church or
monarchy, the most notable of which was supported by the prominent Medici family

ARTWORKS

Michaelangelo
Sistine Chapel, c. 1508-1512

● One of the famous painted interiors in the world

● Centered around several scenes from the Old Testament, begins with the
Creation of the World and ends with the story of Noah and Flood.
● The Sistine Chapel ceiling, painted by Michelangelo between 1508 and
1512, is a cornerstone work of High Renaissance art.
● The ceiling is that of the Sistine Chapel, the large papal chapel built within
the Vatican between 1477 and 1480 by Pope Sixtus IV, for whom the
chapel is named.
● It was painted at the commission of Pope Julius II. The chapel is the
location for papal conclaves and many other important services.
● The ceiling's various painted elements form part of a larger scheme of
decoration within the Chapel, which includes the large fresco The Last
Judgment on the sanctuary wall, also by Michelangelo, wall paintings by several leading painters of the late 15th century
including Sandro Botticelli, Domenico Ghirlandaio and Pietro Perugino, and a set of large tapestries by Raphael, the whole
illustrating much of the doctrine of the Catholic Church.
● Pope Julius II believed Michelangelo could do anything and ordered him to decorate the ceiling of the chapel.
“But I’m not a painter,” Michelangelo protested, “I’m a sculptor. I’ve hardly done anything with a brush and you want me to
paint 2000 square feet on a curved ceiling!”
“You’ll do a great job,” said Julius. “I’ll have my architect Bramante set up the scaffolding for you.”
Michelangelo went home in despair. He was ambitious but the Pope was asking him to work a miracle. If he failed, all his
errors would be on perpetual display. Yet how was he going to paint better than the painters?
To paint on a wall old-time artist used a technique called fresco. They mixed sand and lime and spread the mix over the wall. Next,
they applied their colors but had to do it fast, while the wall was still wet or fresh. When it dried, the colors fused chemically with the
lime and became permanent.

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 Michaelangelo
The Pieta, c. 1498–1499

Housed in St. Peter's Basilica, Vatican City.

The statue was commissioned for the French Cardinal Jean de
Bilhères, who was a representative in Rome.
The sculpture, in Carrara marble, was made for the cardinal's funeral
monument, but was moved to its current location, the first chapel on
the right as one enters the basilica, in the 18th century.
Michelangelo's interpretation of the Pietà is unprecedented in Italian
sculpture. It is an important work as it balances the Renaissance
ideals of classical beauty with naturalism.
It is the only piece Michelangelo ever signed. (found- Mary’s Chest)

Michelangelo
The Statue of David, c. 1504
One of the most renowned works of the Renaissance.

Sandro Botticelli
Birth of Venus, c. 1485
Oil on Canvas

The triumphant Goddess of Love and Beauty

commissioned by the Florentine Medici Family,
Lorenzo di Pierfrancesco
One of the masterpieces of the Italian
Renaissance

Leonardo Da Vinci
Mona Lisa, c. 1503
Oil on poplar panel

A half-length portrait painting

"the best known, the most visited, the most written about, the most sung about, the
most parodied work of art in the world”
Optical effects are created by the positioning of young woman's eyes and her
enigmatic smile
The Mona Lisa or "la Gioconda", the laughing one.
In the present era it is arguably the most famous painting in the world.
Its fame rests, in particular, on the elusive smile on the woman's face, its
mysterious quality brought about perhaps by the fact that the artist has subtly
shadowed the corners of the mouth and eyes so that the exact nature of the smile
cannot be determined.
The shadowy quality for which the work is renowned came to be called "sfumato or
Leonardo's smoke”

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 Leonardo Da Vinci (other artworks)
Canon of Proportions, c. 1487
Pen and Ink on Paper

Created by Leonardo da Vinci around the year 1487.

It is accompanied by notes based on the work of the famed architect,
Vitruvius Pollio.
The drawing depicts a male figure in two superimposed positions
with his arms and legs apart and simultaneously inscribed in a circle
and square.
The drawing and text are sometimes called the Canon of
Proportions or, less often, Proportions of Man. It is stored in the
Gallerie dell'Accademia in Venice, Italy, and, like most works on
paper, is displayed only occasionally.

Leonardo Da Vinci (other artworks)

The Last Supper, c. 1490s

● Painted for the refectory of the Convent of

Santa Maria della Grazie in Milan. The
painting represents the last meal shared by
Jesus with his disciples before his capture and
death
● When finished, the painting was acclaimed as
a masterpiece of design and characterization.
● Used tempera over a ground that was mainly
gesso, resulting in a surface subject to mould
and to flaking

Raphael
The Marriage of the Virgin, c. 1504
also known as Lo Sposolizio
for the Franciscan Church, San Francesco depicts the marriage of
Mary and Joseph

Raphael
The School of Athens

● Representing Philosophy
● The picture has long been seen as
"Raphael's masterpiece and the perfect
embodiment of the classical spirit of the
Renaissance"

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 ARTISTS
Michaelangelo Buonarroti
(Marso 6, 1475 - Pebrero 18, 1564)
● Michelangelo di Lodovico Buonarroti Simoni
● Italian sculptor, painter, architect and poet
● Born in Caprese, Italy, the second of five sons
● His artistic mastery has endured for centuries, and his name has
become synonymous with the best of the Italian Renaissance.

Sandro Botticelli
(c. 1445- May 17, 1510)
● Alessandro di Mariano di Vanni Filipepi
● Italian painter of the Early Renaissance
● His works represents the linear grace of Early Renaissance painting
● "an outsider in the mainstream of Italian painting"

Leonardo Da Vinci
● Painter, architect, inventor,
● His natural genius crossed so many disciplines that he epitomized the term
“Renaissance man.”
● Remains best known for his art, including two paintings that remain among the world’s
most famous and admired, Mona Lisa and The Last Supper.
● Art, da Vinci believed, was indisputably connected with science and nature.
● He has been variously called the father of paleontology, ichnology, and architecture,
and is widely considered one of the greatest painters of all time.
● Sometimes credited with the inventions of the parachute, helicopter and tank, he
epitomized the Renaissance humanist ideal.

Raphael
● Raffaello Sanzio da Urbino
● An Italian painter and architect of the High Renaissance.
● His work is admired for its clarity of form, ease of composition, and visual achievement
of the Neoplatonic ideal of human grandeur.
● Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity
of great masters of that period
● Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms
were the central, and the largest, work of his career.
● The best known work is The School of Athens in the Vatican Stanza della Segnatura

Michelangelo Raphael Leonardo da Vinci

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o
BAROQUE
In fine art, the term Baroque (derived from the Portuguese 'barocco' meaning, 'irregular pearl or stone')
o originated in Rome, which flowered during the period c.1590-1720, and which embraced painting, and
sculpture as well as architecture
o Baroque art above all reflected the religious tensions of the age - notably the desire of the Catholic
Church in Rome to reassert itself in the wake of the Protestant Reformation. Thus, it is almost
synonymous with Catholic Counter Reformation Art of the period.
o The earliest manifestations, which occurred in Italy, date from the latter decades of the 16th century,
while in some regions, notably Germany and colonial South America, certain culminating achievements of
Baroque did not occur until the 18th century.
o The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general,
however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways,
underlies its manifestations.
o Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness,
drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between
the various arts.
o In art criticism the word Baroque came to be used to describe anything irregular, bizarre, or otherwise
departing from established rules and proportions.
This biased view of 17th-century art styles was held with few modifications by critics from Johann
Winckelmann to John Ruskin and Jacob Burckhardt, and until the late 19th century the term
always carried the implication of odd, grotesque, exaggerated, and over decorated.
o It was only with Heinrich Wölfflin’s pioneer study Renaissance und Barock (1888) that the term Baroque
was used as a stylistic designation rather than as a term of thinly veiled abuse, and a systematic
formulation of the characteristics of Baroque style was achieved.

CHARACTERISTICS
Baroque painting
Illustrated key elements of Catholic dogma, either directly in Biblical works or indirectly in
mythological or allegorical compositions. Along with this monumental, high-minded approach,
painters typically portrayed a strong sense of movement, using swirling spirals and upward
diagonals, and strong sumptuous colour schemes, in order to dazzle and surprise.

Baroque sculpture

Typically, larger-than-life size, is marked by a similar sense of dynamic movement, along with an
active use of space.
Baroque architecture

Designed to create spectacle and illusion. Thus, the straight lines of the Renaissance were replaced
with flowing curves, while domes/roofs were enlarged, and interiors carefully constructed to produce
spectacular effects of light and shade. It was an emotional style, which, wherever possible, exploited
the theatrical potential of the urban landscape

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 ARTIST AND ARTWORKS
Michelangelo Merisi da Caravaggio

Bacchus

(c. 1596)

Supper at Emmaus

(c. 1601)

Medusa

The Calling of St Matthew

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Rembrandt Harmenszoon van Rijn

The Night Watch (c. 1642)

Artemisia (c. 1634)

David and Uriah (c. 1665)

The Storm on the Sea of Galilee (c. 1633)

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Gian Lorenzo Bernini

Ecstasy of Saint Teresa

(c. 1647-1652)

Apollo and Daphne

(c. 1622-5)

Aeneas, Anchises,
and Ascanius

(c. 1618-9)

Neptune and Triton

(c. 1622-3)

Sir Peter Paul

Rubens

The Elevation
of the Cross

(c. 1610)

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 Assumption of the Virgin Mary

(c. 1626)

Diego Rodríguez de Silva y Velázquez

Las Meninas

(c. 1656)

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The Nun Jerónima de la Fuente

(c. 1620)

Infanta Margarita Teresa in a Pink Dress

(c. 1660)

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 GOTHIC
o The term "Gothic style" refers to the style of European architecture, sculpture which linked medieval
Romanesque art with the Early Renaissance.
o The period is divided into Early Gothic (1150-1250), High Gothic (1250-1375), and International Gothic
(1375-1450).
o Primarily a public form of Christian art flourished initially in the Ile de France and surrounding region in the
period 1150-1250, and then spread throughout northern Europe.
o Its main form of expression was architecture - exemplified by the great Gothic cathedrals of Northern
France.
o In Gothic design, the planar forms of the previous Romanesque idiom were replaced by a new focus
online. And its arches permitted the opening up of walls for new huge windows of stained glass filled with
inspirational images of Biblical art, surpassing anything that wall painting or mosaic art had to offer.
o During the late 14th century, a more secular Gothic style emerged, known as International Gothic, which
spread across Burgundy, Bohemia and northern Italy.
o Gothic art, being exclusively religious art, lent powerful tangible weight to the growing power of the
Church in Rome. This not only inspired the public, as well as its secular leaders but also it firmly
established the connection between religion and art, which was one of the foundations of the Italian
Renaissance (1400-1530). Among famous medieval artists in the Gothic style were Giovanni Pisano and
Simone Martini of the Sienese School of painting.

CHARACTERISTICS
Gothic Sculpture

Early Gothic Sculptures

 The best Gothic sculptors were employed on architectural decoration.

 The most important examples of stone sculpture to survive are on portals which combined features
that remained common throughout the Gothic period
 A carved tympanum, carved figures arranged in wedge-shaped pieces and more figurative carvings
attached to the sides.

High Gothic Sculptures

 In general, this period saw a decline in architectural sculpture. Due to the focus placed on geometric
patterning by Rayonnant Gothic architecture.
 They included the tomb chest, typically decorated with small figures in niches - figures known as
weepers, since they usually represented members of the family who were in mourning.
Gothic Painting

 Despite the establishment of Romanesque painting on church walls and in gospel manuscripts,
Europe was still not ready for painting as a major public art form.
 Tapestry art was still popular as a decorative wall covering, while most Gothic cathedrals, with their
lack of wall-space, had less need than Romanesque churches for wall paintings.
 Instead, for colour effects, Gothic architects relied on stained-glass windows, which had now become
very much larger than in the Romanesque period.
 In other painting genres the new style had a significant impact: thus, altarpiece art and illuminated
manuscripts were all revitalized by the Gothic idiom.
Gothic Painting in France
 Early Gothic painting moved away from Byzantine art towards greater naturalism, taking the form of a
softer, more realistic style, whose general characteristics endured until the middle of the 13th century.
 In France, the idiom is especially noticeable in a series of magnificent Bibles Moralisees - biblical
manuscripts containing excerpts from the Bible accompanied by moral interpretations and illustrations
arranged like stained glass windows.
 In England the style can be seen in numerous manuscripts
 In Germany Gothic artists avoided graceful style, preferring a twisted, angular style called the
Zackenstil. Gothic Book Painting
Gothic Book Painting
 To appreciate Gothic book illustration one must study the illuminated manuscripts that poured out
from the scriptoria of the various monasteries from the beginning of the thirteenth century.
 As the type develops it becomes more restless. Intricate decorative backgrounds, borders of ivy
leaves made even more spiky than nature had designed them, later on, landscape backgrounds, with
clumps of elaborate flowers in the foreground, scenes from contemporary life, sports and pastimes,
feasting, travelling, cooking can be found everywhere.

22
  By the end of the 13th century, Italian painters were beginning to use light to model their figures. They
also made sudden advances in the manipulation of linear perspective to optimize spatial design in
their painting. More than this, the best artists developed a keen ability to create figures that really
seemed to be communicating with each other, by gesture or expression.
 By about 1350, Italian painters had achieved a unique position in Europe.
 Their improvements in the depiction of reality were not easily ignored, and northern painters made
strenuous efforts to adapt Italian naturalism to northern purposes.

ARTIST AND ARTWORKS

Giotto di Bondone

The Flight into Egypt

\Adoration of the Magi
St Francis of Assisi receiving the stigmata
Madonna in Glory
Nativity: Birth of Jesus

Carlo Crivelli

The Crucifixion
Madonna with Child

Ambrogio Lorenzetti

Presentation at the Temple

Stories of St. Nicholas
The Presentation in the Temple
Saint-Nicolas Miraculously Filling the Holds of the Ships with Grain
Annunciation

Giusto de' Menabuoi

Giusto de' Menabuoi (c. 1320–1391) was an Italian painter of the early Renaissance. He was born in
Florence.
Probably, but not confirmed as, a pupil of Giotto, de' Menabuoi was notable for his use of bright colour and
became a painter at the court of Da Carrara. Pursuing his own archaic style, far removed from Gothic style
and realism of his contemporaries Altichiero and Jacopo d'Avanzi, he was to leave no trace in the
development of subsequent Venetian painting.
In Lombardy he executed a fresco of the Last Judgement in the Abbey of Viboldone, Milan. He then moved to
Padua where he completed frescos in the Church of the Eremitani, the Basilica of Saint Anthony of Padua
and most notably at the Baptistery of the Padua Duomo.
Between 1375 and 1378 he executed the fresco decoration of the Baptistery of the Padua Duomo,
commissioned by Fina Buzzaccarini, wife of Francesco I da Carrara, who intended to use the building as the
family mausoleum. Compared with his earlier work, the frescoes show Romanesque and Byzantine
orderliness, such as in the great Paradise of the dome, where the scene is organized around a Christ
Pantocrator, surrounded by a hypnotic geometric pattern of angels and saints whose halos, arranged in neat
rows, appear from below as some kind of magnificent jewellery

23
 o
ROMANESQUE
Art, architecture, sculpture, and painting characteristic of the first of two great international artistic
eras that flourished in Europe during the Middle Ages.
o Romanesque architecture emerged about 1000 and lasted until about 1150, by which time it had
evolved into Gothic. The Romanesque was at its height between 1075 and 1125 in France, Italy,
Britain, and the German lands.
o The name Romanesque refers to the fusion of Roman, Carolingian and Ottonian, Byzantine, and
local Germanic traditions that make up the mature style.
o Although perhaps the most striking advances in Romanesque art were made in France, the style was
current in all parts of Europe except those areas in eastern Europe that preserved a full-fledged
Byzantine tradition.
o Much of the monumental painting of the Romanesque period covered the interior walls of churches

CHARACTERISTICS
Romanesque Architecture

 To fulfill these functions, Romanesque churches evolved the extensive use of a semicircular
“Roman” arch for windows, doors, and arcades; a barrel vault or groin vaults (formed by the
intersection of two arches) to support the roof of the nave.
 Massive piers and walls (with few windows) to contain the extremely forceful outward thrust of the
arched vaults.

ARTISTS AND ARTWORKS

Nicholas of Verdun

ARTWORKS

Klosterneuburg Altar (1181)

Shrine of Our Lady St Mary, Tournai Cathedral (1205)

The Shrine of the Three Kings (c. 1400s)

24
  The largest and most significant reliquary in the western world located at the Cologne Cathedral,
Germany.
 It resembles a basilica
 Believed to contain the bones of the Biblical Magi or the Three Wise Men or the Three Kings

Master of Taüll

 Considered as the best Romanesque mural painter of the 12th century in Catalonia, Spain
 Main work is Sant Climent de Taüll, a Roman Catholic church in Catalonia, Spain

ARTWORKS

The Hand of God

Arch of the Apocalyptic Lamb
Prickly Man
Registration of Consecration

Christ Pantocrator (c. 1123)

 Also known as San Clemente de Taüll Apse
 Shows combined elements from varying Biblical visions that Presents Christ of the
Judgement Day
 The work inspired 20th century artists like Francis Picabia and Picasso

25
 BYZANTINE c. 330-1553

o Produced in the Middle Ages in the Byzantine Empire

o Almost entirely concerned with religious expression
o More specifically, with the impersonal translation of carefully controlled church theology into artistic
terms.
o The result was a sophistication of style and a spirituality of expression rarely paralleled in western art.

Byzantine’s Three Distinct Periods

Early Byzantine (c. 330–750)

o Emperor Justinian Mosaic, San Vitale, Ravenna, c. 546-56

o Virgin (Theotokos) and Child between Saints Theodore and George

Middle Byzantine (c. 850–1204)

Late Byzantine (c. 1261–1453

CHARACTERISTICS
Byzantine Architecture

 Its forms of architecture and painting grew out of these concerns and remained uniform and
anonymous, perfected within a rigid tradition rather than varied according to personal whim; the result
was a sophistication of style and a spirituality of expression rarely paralleled in Western art.

Why weren’t the Byzantines interested in showing depth in their paintings?

 The style in which these mosaics and frescoes were executed reflected their function as static,
symbolic images of the Divine and the Absolute.
 Was based on the dynamic of lines and flat areas of colour rather than form.
 Figures were flattened, and draperies were reduced to patterns of swirling lines
 “The total effect was one of disembodiment, the threedimensional representation of an individual
human figure
 replaced by a spiritual presence the force of which depended upon vigour of line and brilliance of
colour.

ARTISTS AND ARTWORKS

Guido of Siena

 Known as Guido Di Graziano, an Italian Byzantine style painter

Artworks

Saint Peter Enthroned

Madonna and Four Saints

Saint Dominic

26
 Virgin and Child Enthroned (c.1221)

 It is the only work attributed to Guido by all authorities

 It is used to honor thevirgin and Laudesi
 It is used as a focal point of their collective act of
singing

Theophanes the Greek

 A Byzantine Artist
 One of the greatest icon painters of Muscovite Russia
 The teacher and mentor of the great Andrei Rublev
 He decorated more than 40 churches

Artworks

Our Lady of the Don

Dormition of the Virgin Mary

The Virgin Mary

John the Baptist

Christ Pantocrator

Transfiguration of Jesus

 An event reported in the New Testament when Jesus is

transfigured and becomes radiant in glory upon a
mountain
 The arresting geometry and brilliance of the figure of
Christ

27
Angelos Akotantos

 A byzantine icon painter and hagiographer

 He was called “Dominic Theotokopoulus of the 15th century
 He was the most important painter in the first half of the 15th century when the center of Byzantine
art was transferred from the capital of Eastern Roman Empire and Constantinople to Heraklion
 He was the first hagiographer to sign his name on his icons by writing in Greek

Artworks

The Congregation of the Archangels

Saint Peter and Paul

Deisis

Saint Phanourios Killing the Dragon

Virgin Eleousa

 The artwork is known as the Virgin of Tenderness

characterized by touching cheeks of mother and child on
a loving moment

Eulalios

 His name was noted by several writers of the time who also described his
paintings such as Nicephorus Callistus and Nicholas Mesarites

Christ Pantocrator

Exhibits an image of the God man Christ looking down, as it were, from the rim of heaven towards the floor
of the church and everything that is in it.

Lazarus Zographos

 A Byzantine Christian Saint

 Known as Lazarus the Painter and Lazarus the Iconographer
 Lazarus is the first saint to be canonized specifically as an iconographer

Artworks

Large fresco of Saint John at the Phoberos Monastery

Mosaic decoration of the apse of Hagia Sophia

28
 REALISM
France | mid to late 19th-century (circa 1850s)

o To create objective representations of the external world based on the impartial observation of
contemporary life.
o Centered on the work of GUSTAVE COURBET, who used the word REALISME as the title for a
manifesto that accompanied an exhibition of his works in 1855.
o Realists rejected Romanticism
o Depictions of 'real' life and closely associated with the beginning of Naturalism
o Common laborers, and ordinary people in ordinary surroundings engaged in real activities are the
subjects.
o Artists sought to resist the more romantic notions represented in art and also to depict the realities of
the Industrial Revolution that began during this time period
o French artists initially used realism to sarcastically depict political issues and problems.

CHARACTERISTICS
1. Gives importance to details

● Shadows, light reflecting off of surfaces, depth perception and perspective need to be
considered carefully to create a work that looks like a viewer could reach out and touch it.
● Both still life and live compositions, this meant capturing the subjects with complete clarity

2. The use of colors

● Incorporate warmer hues and color palettes in their works (early painters)
● Modern-day realists still use warm palettes, but play more with cooler color combinations to
create startling effects.

3. Presents the works of the peasants or working class

4. Style of art that depicts what the eyes can see
5. Photographic Accuracy
● Capture everyday life in photographic accuracy, down to the correct clothing, setting and
quality of light.
6. Absolute Objectivity
● Portrays true to life subjects to create unadorned and honest artwork
7. Timing and lighting
● Artists use source lighting to recreate a scene’s natural lighting and time of day.
● Reinforced the principles of realistic accuracy and demonstrate this aesthetic by using
designs and materials that accurately reflect a certain time.
8. Emphasis on the everyday
● Captures common things and experiences that are accurately happening.

29
 ARTWORKS

Gustave Courbet
Le Désespéré, c. 1845
Oil on Canvas

The Desperate Man, a self-portrait,

is among the earliest works of
Gustave Courbet that he completed
in 1845. It was displayed in the
Musée d'Orsay's 2007 Courbet
exhibition.

With his eyes wide-open, Courbet is

staring straight at you and tearing his
hair. The portrait was concerned with
expressing emotional and
psychological states of the individual.

Jean-Fraçois Mille
The Sower, c. 1850
Oil on Canvas

Executed in 1847-1848, this is a preliminary version of

the painting of a peasant sowing with which Millet made
his name at the Salon of 1850-1851. Here the sower is a
faltering figure enveloped by his surroundings, his seed
threatened by hungry birds. On the horizon are two
grazing cattle. The steep landscape is that of Millet’s
native Cherbourg peninsula. The portrait is made when
Millet was going through political upheavals.

Édouard Manet
Luncheon on the Grass, c. 1863

Originally Le Bain (The Bath)

Exhibited in Salon des Refusés
The concept sparked a controversy

30
 Ilya Repin
Ivan the Terrible and his son Ivan on
November 16, 1581, c. 1885
Oil on Canvas

One of the most psychologically intense paintings.

Dedidcated to Tsar Alexander II

In 1851, Ivan beat his pregnant daughter-in-law for wearing
immodest clothing, causing a miscarriage. His son, also
named Ivan, upon learning of this, engaged in a heated
argument with his father resulting with Ivan striking his son in
the head with his pointed staff, causing his son’s accidental
death.

Edward
Hopper
Nighthawks, c.
1942
Oil on Canvas

Inspired by the Greenwich Village

One of Hopper's most famous works and most recognizable painting in American art
Sold to the Art Institute of Chicago

ARTISTS
Gustave Courbet
(10 June 1819 – 31 December 1877)

Jean Desire Gustave Courbet

French Painter
Led the Realism movement in the 19th century French painting
His paintings of the late 1840s and early 1850s brought him his first
recognition

31
 Jean-François Millet

French painter
Known for his paintings of peasants toiling in rural landscapes, and the
religious subtexts

- Édouard Manet

French painter
The first one to paint modern life, and a pivotal figure in the transition from
Realism to Impressionism

Ilya Repin
Ilya Efimovich Repin
A Russian painter and sculptor
His works expressed great psychological depth
He was greatly influenced by Christiakov’s work

Edward Hopper
An American realist painter
Also, a great watercolorist and a printmaker in etching
His work demonstrates that realism is not merely a literal or photographic
copying of what we see, but an interpretive rendering

Ref erences
https://www.slideshare.net/rociobautista/renaissance-art34355686ww.brunch.com
https://ourpastimes.com/what-are-the-basic-characteristics-of-realism12248457.html http://www.gustave-
courbet.com https://curiator.com/art/gustave-courbet/le-desespere-the-desperate-man-selfportrait
https://www.jeanmillet.org https://en.wikipedia.org/wiki/Édouard_Manet References
https://en.wikipedia.org/wiki/Le_Déjeuner_sur_l’herbe https://www.ilyarepin.org https://musings-on-
art.org/ilya-repin https://www.edwardhopper.net https://en.wikipedia.org/wiki/Edward_Hopper
https://www.biography.com/people/michelangelo-9407628 http://www.italianrenaissance.org/a-closer-look-
michelangelos-painting-of-thesistine-chapel-ceiling/ https://en.wikipedia.org/wiki/Sandro_Botticelli
http://lovefromtuscany.com/art/botticelli-the-birth-of-venus/ https://www.britannica.com/biography/Petrus-
Christus#ref19463 https://en.wikipedia.org/wiki/The_Marriage_of_the_Virgin_(Raphael)

32
o
ART NOVEAU
The term “ Art Nouveau” was stemmed from the name of the Parisian art gallery called "La Maison de
l'Art Nouveau”
 America: Tiffany Style
 Spain: Arte Joven (Young Art)
 Netherlands: Nieuwe Kunst (Both, New Art)
 Germany: Jugendstil (Youth-Style)
 Italy: Le Style Nouille" (Noodle Style)
 Austria: Sezessionstil (Every Art, Its Freedom)

CHARACTERISTICS
 Use of ornamentals and organic forms Inspired by
 Lines and shapes of nature
 Use of curved, flowy and twisting lines
 Use of gentle female image
 Use of motifs from different culture
o Example: Japanese prints

ARTWORKS AND ARTISTS

Clara Driscoll

Wisteria Lamp, c. 1901-1905

 The base resembles lower trunk and roots of a tree

 The shade/frame appears to be a petal

Gustav Klint

The Kiss, c. 1907-1908

 Couple embracing in a field of flowers

 In terms of ornamentation
 The male figure has square and rectangular forms
 The female has soft lines and floral patterns

33
 Alphonse Mucha

Byzantine Head the Brunette, c. 1897

The hair jewelry was inspired by nature (flowers)

 The hair depicts flowy lines

 The subject is a girl

Gustav Klint

University of Vienna, c. 1907

 Girl as a subject
 Shows flowy lines and organic shapes

Gustav Klint

Water Snakes, c.
1907

Theme: sensual
woman

34
o
MODERNISM
To understand how "modern art" began, a little historical background is useful. The 19th century was
a time of significant and rapidly increasing change. Because of the Industrial Revolution (c.1760-
1860) enormous changes in manufacturing, transport, and technology began to affect how people
lived, worked, and travelled, throughout Europe and America. In turn, this led to: more demand for
urban architecture; more demand for applied art and design - see, for instance the Bauhaus School -
and the emergence of a new class of wealthy entrepreneurs who became art collectors and patrons.
Many of the world's best art museums were founded by these 19th century tycoons.
o The beginnings of modern painting can be located earlier. The date perhaps most commonly
identified as marking the birth of modern art is 1863, the year that Édouard Manet showed his
painting Le déjeuner sur l'herbe in the Salon des Refusés in Paris.
o Some of the characteristics of Modernism include: Diversity, Ideology, Less ties with religion, and
Real subjects

Modern Art Movements:

 Impressionism
 Post-Impressionism
 Fauvism
 Expressionism
 Cubism
 Dadaism
 Surrealism
 Pop Art

35
o
IMPRESSIONISM
Modern art is arts that which created sometime between 1860s and the late 1960s. The works
produced during this time showcase artists' interest in re-imagining, reinterpreting, and even rejecting
traditional aesthetic values of preceding styles
o Impressionist art is a style in which the artist captures the image of an object as someone would see
it if they just caught a glimpse of it. They paint the pictures with a lot of color and most of their pictures
are outdoor scenes. Their pictures are very bright and vibrant. The artists like to capture their images
without detail but with bold colors
o First distinctly modern movement in painting. Developed in Paris France in the year 1860s to 1880s.
Impressionism is exemplified by the landscape paintings of Claude Monet.

CHARACTERISTICS
 Brush Strokes. Short, thick strokes of paint are used to quickly capture the essence of the subject,
rather than its details. The paint is often applied impasto.
 Lines. The lines are often blurry, which do not clearly define one object from another in a painting.
Such lines create a foggy effect, adding to the dreamy and abstract mood of the painting.
Impressionist painters often combined different stokes like visible, sharp, soft, etc., together to give a
light and shadow effect to the paintings.
 Focus on Light. Many Impressionist artists (most notably, Claude Monet) had a penchant for
painting en plein air, or outside. With this approach, artists were able to closely study the light and its
effects on landscapes, buildings, and other outdoor sights. The play of natural light is emphasized.
Close attention is paid to the reflection of colours from object to object in the painting.
 Color. The colors used look more vibrant due to the rapid painting technique to catch an ephemeral
quality of the subject. Impressionist paintings often feature neutral color schemes with vivid pops of
red that both draw in the eye and add balance to compositions
 Everyday Subjects. Another avant-garde aspect of Impressionism is the everyday nature of its
subjects. Typical content portrayed in Impressionist paintings includes still life depictions, landscapes,
portraits of friends and family, and modern city scenes.
 Creative Cropping. Inspired by photography—a new and pioneering practice at the time—
Impressionists produced paintings that acted as authentic snapshots of specific moments in time.
With this muse in mind, artists began framing their scenes in more ‘natural' ways, resulting in
asymmetrical compositions cropped like candid photographs.

ARTIST AND ARTWORKS

Claud Monet

The leader of impressionism movement. He devoted his

entire life to the study of naturalism and the capture of light
and its momentary effects on nature. His main interest was
in landscape painting, particularly outdoor plein-air painting,
even though he excelled in all the genres, including
portraiture, genre-painting and still life.

36
 Claud Monet

The Japanese Bridge, c. 1897-1899

Claude Monet

Haystacks, End of
Summer, c. 1871

Edgar Degas

The Rehearsal Onstage, c. (1974)

Pierre-Auguste Renoir

Jeanne Samary portrait, c. 1877

37
 POST-IMPRESSIONISM
Predominantly French art movement that developed roughly between 1886 and 1905.

o The term Post-Impressionism was first used by art critic Roger Fry in 1906.
o Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic
depiction of light and colour. Due to its broad emphasis on abstract qualities or symbolic content.
o Post-Impressionism encompasses Neo-Impressionism, Symbolism, Cloisonnism, Pont-Aven School,
and Synthetism, along with some later Impressionists' work.

ARTIST AND ARTWORKS

Georges Seurat

Sunday Afternoon on the Island of La Grande Jatte, c. 1884-1866

Alfred Sisley

Fog, Voisins

38
 Claude Monet

Vetheuil in the Fog

Edgar Degas

L’Absinthe

39
o
FAUVISM
Fauvism has its roots in the post-impressionist paintings of Paul Gauguin. It was his use of symbolic
color that pushed art towards the style of Fauvism. Gauguin proposed that color had a symbolic
vocabulary which could be used to visually translate a range of emotions. In 'Vision after the Sermon'
where Gauguin depicts Jacob wrestling with an angel, he paints the background a flat red to
emphasize the mood and subject of the sermon: Jacob's spiritual battle fought in a blood red field of
combat. Gauguin believed that color had a mystical quality that could express our feelings about a
subject rather than simply describe a scene. By breaking the established descriptive role that color
had in painting, he inspired the younger artists of his day to experiment with new possibilities for color
in art.

CHARACTERISTICS
 Bound by no rules
 Use of colour for its own sake, as a viable end in art
 Rich surface texture, with awareness of the paint.
 Use of clashing (primary) colours, playing with values and intensities.
 Varied subject matter – picking out elements of genre scenes, landscapes, inside studios, etc.
 The colour and the object painted was the real subject, whether still life, landscape, etc.

ARTWORKS AND ARTISTS

Henry Matisse

Along with Pablo Picasso and Marcel Duchamp, Henri Matisse is considered
one of the figures who laid the foundations of 20th century modern art.
Matisse worked in a variety of media including sculpture and paper cut-
outs but is most famous for the masterpieces he created as a painter. He is
considered the greatest colorist of the 20th century and was the leading
figure of the art movement Fauvism, which was characterized by vivid
expressionistic and non-naturalistic use of color. Matisse had a lifelong rivalry
and friendship with Pablo Picasso. Their works were a source of inspiration to
each other and they excelled on each other’s brilliance. Matisse invented a
new medium famous as the paper cut-out, in which he cut forms from colored
paper and arranged them as collages. He worked solely in this new medium
during his later years and these works are considered his final artistic triumph

La Danse, c.1910

40
 EXPRESSIONISM Germany | Early 20th Century
o Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at
the beginning of the 20th century. Its typical trait is to present the world solely from a subjective
perspective, distorting it radically for emotional effect in order to evoke moods or ideas.
o One of the main currents of art in the later 19th and the 20th centuries
o The roots of the German Expressionist school lay in the works of Vincent van Gogh, Edvard Munch,
and James Ensor, each of whom in the period 1885–1900 evolved a highly personal painting style

Goals of Expressionism

o The artist seeks to depict not objective reality but rather the subjective emotions and responses that
objects and events arouse within a person aim through distortion, exaggeration, primitivism, and
fantasy and through the vivid, jarring, violent, or dynamic application of formal elements.

CHARACTERISTICS
Expressionist art tried to convey emotion and meaning rather than reality. Each artist had their own unique
way of "expressing" their emotions in their art. In order to express emotion, the subjects are often distorted or
exaggerated.

At the same time colors are often vivid and shocking, harshness, boldness, and visual intensity
They used jagged, distorted lines; crude, rapid brushwork; and jarring colors to depict urban street scenes
and other contemporary subjects in crowded, agitated compositions notable for their instability and their
emotionally charged atmosphere.

ARTIST AND ARTWORKS

Van Gogh

The 19th century European society of Van Gogh's time was not ready to
accept his truthful and emotionally morbid way of depicting his art
subjects. His internal turbulence is clearly seen in most of his paintings,
which set the stage for the direction of a new style of painting called
Expressionism. It is characterized by the use of symbols and a style that
expresses the artist's inner feelings about his subject

Van Gogh

Starry Night

41
 Edvard Munch

The Scream

Oskar Kokoschka

Hanz Tietze and

Erica Tietze-Conrat

References
http://www.visual-arts-cork.com/famous-artists/monet.htm
https://mymodernmet.com/what-is-impressionism-definition/
https://mymodernmet.com/what-is-modern-art-definition/
http://www.visual-arts-cork.com/modern-art.htm
http://www.artmovements.co.uk/impressionism.htm
https://www.saylor.org/site/wp-content/uploads/2011/05/Impressionism.pdf
https://www.theartstory.org/movement-impressionism.htm
https://www.britannica.com/art/Impressionism-art
https://arthearty.com/characteristics-of-impressionist-art
https://en.wikipedia.org/wiki/Post-Impressionism
http://www.arthistoryarchive.com/arthistory/expressionism/Vincent-Van-Gogh.html
https://www.britannica.com/art/Expressionism
https://en.wikipedia.org/wiki/Expressionism
42
 o
CUBISM
First abstract style of modern art evolved in the beginning of 20th century
o Revolutionary style of modern art developed by Pablo Picasso and George Braque in Paris from 1907
to 1914
o The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in
connection with a painting by Braque in 1908, and that the term was published twice by the critic
Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic,
Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay

CHARACTERISTICS
 Rejects that art should copy nature.
 Rejects the use of traditional techniques
 Emphasize two-dimensionality.
 Multiple contrasting vanishing points
 Overlapping planes
 Exploration of the fourth dimension.

Phases of Cubism

Analytical

1908 to 1912
Concentrates on geometrical forms using subdued colours.
It was practiced in Braque.
Analyzes the subject from many different viewpoints (simultaneity)

Synthetic

After 1912
More variety in elements.
It was then that artists such as Picasso and Braque started to Use
pieces of cut-up newspaper in their paintings.
Interchanging of elements.

43
Sculptures

Pablo Picasso
Head of a Woman, c. 1909

African Fan Masks

Architecture

44
Pharmaceutical Sciences Building, UBC
British Columbia, CA

ARTWORKS AND ARTISTS

Pablo Picasso

His style boasts brighter colors,

less abstracted, most are Still-Life
or Self-Portraits

Pablo Picasso Self-Portraits

45
 Guernica, c.
1937

Girl with Mandolin, c. 1910

Georges Braque

His works are not very abstracted, and he uses mostly earthy colors in his
works.

El Viaducto de L’Estaque, c. 1907

46
 o
FUTURISM
Founded in Italy by Filippo Marinetti to capture modernity and aesthetics of speed, movement &
industrial development

CHARACTERISTICS
 Impression of speed, noise, and machines
 Expresses energetic and dynamic quality of life
 Implies motion

ARTWORKS AND ARTISTS

Natalia Goncharova

The Cyclist, c. 1913

The multiplication of legs indicates speed and motion

Umberto Boccioni

The City Rises, c. 1910

The war scene and the blurred figures

resembles rapid movement

Gino Severini

Dancer at Pigalle, c. 1912

The swirling of the girl and its dress conveys movement

References
http://www.visual-arts-cork.com/history-of-art/art-nouveau.htm
https://www.theartstory.org/movement-futurism-artworks.htm#pnt_2
https://www.theartstory.org/movement-futurism.htm

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o
DADAISM
Dadaism is a Post World War I Cultural Movement. It served as a protest against the barbarism of
the war.
o Dadaists believed it was an oppressive intellectual rigidity of both art, and everyday society.
o 1916 at Zurich, Switzerland. Founded by Richard Huelsenbeck and Hugo Ball.
o “dada”
 French: “hobby horse”
 Greece: “There, there” ( baby talks)

CHARACTERISTICS
 Irrational  Chance
 Social Critique  Nonsense
 Anti-art  “Ready-made” objects
 Shock Value  Irony

ARTWORKS AND ARTISTS

Marcel Duchamp

Avant-Garde Artist

He was considered as one of the most famous artists of

the 20th century.

Marcel Duchamp, as all the other representatives of the

Dada current, managed to completely change the vision
on art.
“I have forced myself to contradict myself in order to avoid
conforming to my own taste.” – Marcel Duchamp

L.H.O.O.Q., c. 1919

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 Fountain, c. 1917

Max Ernst

Painter, Sculptor, Graphic Artist, Poet

He founded a Dada group in Cologne in 1919.

His paintings are characterized by spontaneity and they are very
abstract

“Art has nothing to do with characterized by taste. Art is not there

to be spontaneity and they are tasted.” - Max Ernst

The Elephant of Celebes, c. 1921

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 Francis Picabia

Painter, Avant-Garde Artist

He formed a group for the supporters of Dadaism in Barcelona

“Dada talks with you, it is everything, it includes everything, it

belongs to all religions, can be neither victory nor defeat, it
lives in space and not in time.” - Francis Picabia

Amorous Parade, c. 1917

Sans Titre, c. 1922

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Jean Arp

German/French sculptor, painter, poet

A founding member of Dadaism

“Dada aimed to destroy the reasonable deceptions of man and

recover the natural and unreasonable order” - Jean Arp

Shirt Front and Fork, c. 1922

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References:

Cubism
http://abicontextualstudies.blogspot.com/2013/01/cubism-dada-surrealism.html
https://thecriticalspace.wordpress.com/2017/04/30/bridge-between-impressionism-and-expressionism-paul-
cezanne/
https://www.tate.org.uk/art/art-terms/c/cubism
https://pixel77.com/influence-art-history-cubism/
https://www.britannica.com/art/Cubism
https://mymodernmet.com/what-is-cubism-art/
https://www.theartstory.org/movement-cubism.htm
http://www.artyfactory.com/art_appreciation/art_movements/cubism.htm
http://emptyeasel.com/2007/10/17/what-is-cubism-an-introduction-to-the-cubist-art-movement-and-cubist-
painters/
https://en.wikipedia.org/wiki/Cubism
http://www.artmovements.co.uk/cubism.htm
https://www.slideshare.net/daviesmichelle/cubism-powerpoint-12586314

Dadaism
https://www.slideshare.net/ashhowes/dada-powerpoint
https://www.theartstory.org/movement-dada.htm
https://www.slideshare.net/ashhowes/dada-powerpoint?next_slideshow=1
https://www.slideshare.net/lrebamonte/dadaism-17760882
http://www.artyfactory.com/art_appreciation/art_movements/dadaism.htm

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o
SURREALISM
Surrealism was the 20th century art movement that explored the hidden depths of the 'unconscious
mind'. The Surrealists rejected the rational world as 'it only allows for the consideration of those facts
relevant to our experience'. They sought a new kind of reality, a heightened reality that they called
'surreality', which was found in the world of images drawn from their dreams and imagination.
o Surrealism was founded in Paris where many of the Dadaists had settled after the Great War. It was
originally a literary movement but its unusual imagery was more suited to the visual arts and to those
artists who were searching for a more consistent approach to art as an antidote to the chaos of Dada.

CHARACTERISTICS
 Automatic writing (Writing what comes to mind)
 Juxtaposition of imagery (Comparing to completely different things)
 Irrational
 Dreams and Fantasies

ARTWORKS AND ARTISTS

Salvador Dalí

Salvador Dali created the most famous masterpieces of Surrealist art.

His contribution to Surrealist painting include the paranoiac-critical
method; in which the artist attempts to tap into his subconscious
through systematic irrational thought and a self-induced paranoid state.
Best known for his striking and bizarre images, Dali used extensive
symbolism in his work. Recurring images in his paintings include
elephants with brittle legs which evoke weightlessness; ants, thought to
be his symbol for decay and death; and melting watches, perhaps
symbolic of non-linear human perception of time. Salvador Dali was
the most renowned Surrealist painter and he is regarded as one of the
most influential figures in modern art.

The Persistence of Memory, c.

1931

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o
POP ART
The term Pop-Art was invented by British curator Lawrence Alloway in 1955, to describe a new form
of "Popular" art - a movement characterized by the imagery of consumerism and popular culture.
Pop-Art emerged in both New York and London during the mid-1950s and became the dominant
avant-garde style until the late 1960s. Characterized by bold, simple, everyday imagery, and vibrant
block colours, it was interesting to look at and had a modern "hip" feel.

CHARACTERISTICS
 Bright Colors
 Flat Imagery
 Recognizable
 Uses images associated with famous people, everyday items and comic books

ARTWORKS AND ARTISTS

Andy Warhol

Andy Warhol was the best known and most influential artist of the Pop
Art movement to the extent that he is known as the “Pope of Pop”.
The non-painterly style and the commercial aspects of his paintings
initially caused offense as it affronted the technique and philosophy of
Abstract Expressionism, the then dominant style in the United States.
His works created an uproar in the American art world and the resulting
controversy made Warhol a household name. Warhol was a prolific
artist and he explored a wide variety of media including painting, silk
screening, photography, film and sculpture. His paintings are among
the most expensive ever sold. Though many still doubt the merit of his
work, Andy Warhol is without doubt the most famous American
artist and a leading figure of 20th century modern art.

Marilyn Diptych, c. 1962

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 o
POST-MODERNISM
Postmodernism is a broad movement that developed in the mid- to late-20th century across
philosophy, the arts, architecture, and criticism and that marked a departure from modernism,
technically speaking, "postmodern art" means "after modern". The term has also more generally been
applied to the historical era following modernity and the tendencies of this era.
o World War II and the Jewish Holocaust turned everything upside down. Paris was abruptly replaced
by New York as the capital of world art. In the wake of Auschwitz, all representational art -
except Holocaust art - appeared suddenly irrelevant, so modern painters turned instead to abstract
art (albeit packed with emotion, symbolism or animation) in order to express themselves. Amazingly,
during the 1950s, the New York School - featuring paintings as well as the calmer Color Field painting
of Mark Rothko - spearheaded a temporary recovery of art on both sides of the Atlantic. These avant-
garde painters succeeded in redefining the envelope for abstract paintings, but they remained within
the confines of modernism. They believed in creating authentic, finished works of art with important
content.

CHARACTERISTICS
 Mixed Medium
 Subjectivity
 Influence of Pop Culture
 Movements
o Conceptual art
o Installation Art
o Performance Art
o Digital Art
o Multi-Media

Architecture
 Complexity and Contradiction
 Color
 Humor
 Fragmentation
 Camp (function)

 1960s
 Caused by the lack of variety and formality during the modern architecture
 Introduced by Denise Scott Brown (Lakofski) and Robert Venturi in their book “Learning from Las
Vegas” and “Less is a Bore”.
 Complexity and Contradictory: “hybrid rather than pure”, “Compromising rather than clean”, “black
AND white. Rather than black OR white”. AND not OR.

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