Assignment

In
Humanities
Submitted by:
Adic, Rodnie N.

Submitted to:
Mrs. Emily Escobido
Cave Art

Cave art, generally, the numerous paintings and engravings found in European caves and shelters
dating back to the Ice Age (Upper Paleolithic), roughly between 40,000 and 14,000 years ago.
See also rock art.

The first painted cave acknowledged as being Paleolithic, meaning from the Stone Age, was
Altamira in Spain. The art discovered there was deemed by experts to be the work of modern
humans (Homo sapiens). Most examples of cave art have been found in France and in Spain, but
a few are also known in Portugal, England, Italy, Romania, Germany, and Russia. The total
number of known decorated sites is about 400.

Most cave art consists of paintings made with either red or black pigment. The reds were made
with iron oxides (hematite), whereas manganese dioxide and charcoal were used for the blacks.
Sculptures have been discovered as well, such as the clay statues of bison in the Tuc
d’Audoubert cave in 1912 and a statue of a bear in the Montespan cave in 1923, both located in
the French Pyrenees. Carved walls were discovered in the shelters of Roc-aux-Sorciers (1950) in
Vienne and of Cap Blanc (1909) in Dordogne. Engravings were made with fingers on soft walls
or with flint tools on hard surfaces in a number of other caves and shelters.
Egyptian Art

Egyptian art refers to paintings, sculptures, architecture, and other arts produced in ancient Egypt
between the 31st century BC and the 4th century AD. It is very conservative, and Egyptian styles
changed remarkably little over time. Much of the surviving art comes from tombs and
monuments, which have given more insight on the Egyptians' belief of the afterlife. This has
caused a greater focus on preserving the knowledge of the past. Wall art was not produced for
people to look at but it had a purpose in the afterlife and in rituals.

Ancient Egyptian art included paintings, sculptures in wood, stone and ceramics, drawings on
papyrus, faience, jewelry, ivories, and other art media. It displays a vivid representation of the
ancient Egyptian's socioeconomic status and belief systems.

The Ancient Egyptian language had no word for "art," rather, art served an essentially functional
purpose that was bound with religion and ideology. To render a subject in art was to give it
permanence. Hence, ancient Egyptian art portrayed an idealized, unrealistic view of the world.
There was no tradition of individual artistic expression since art served a wider and cosmic
purpose of maintaining order.
Greek Art

Greek art began in the Cycladic and Minoan civilization, and gave birth to Western classical art
in the subsequent Geometric, Archaic and Classical periods (with further developments during
the Hellenistic Period). It absorbed influences of Eastern civilizations, of Roman art and its
patrons, and the new religion of Orthodox Christianity in the Byzantine era and absorbed Italian
and European ideas during the period of Romanticism (with the invigoration of the Greek
Revolution), until the Modernist and Postmodernist. Greek art is mainly five forms: architecture,
sculpture, painting, pottery and jewelry making.

The Stag Hunt Mosaic at the Archaeological Museum of Pella (3rd BC)
Roman Art

Roman art refers to the visual arts made in Ancient Rome and in the territories of the Roman
Empire. Roman art includes architecture, painting, sculpture and mosaic work. Luxury objects in
metal-work, gem engraving, ivory carvings, and glass are sometimes considered in modern terms
to be minor forms of Roman art,[1] although this would not necessarily have been the case for
contemporaries. Sculpture was perhaps considered as the highest form of art by Romans, but
figure painting was also very highly regarded. The two forms have had very contrasting rates of
survival, with a very large body of sculpture surviving from about the 1st century BC onward,
though very little from before, but very little painting at all remains, and probably nothing that a
contemporary would have considered to be of the highest quality.

Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra
sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in
society with stylish objects at what was evidently an affordable price. Roman coins were an
important means of propaganda, and have survived in enormous numbers.

Augustus of Prima Porta, statue of the emperor Augustus, 1st century AD, Vatican Museums
Medieval Art

The medieval art of the Western world covers a vast scope of time and place, over 1000 years of
art in Europe, and at times the Middle East and North Africa. It includes major art movements
and periods, national and regional art, genres, revivals, the artists' crafts, and the artists
themselves.

Art historians attempt to classify medieval art into major periods and styles, often with some
difficulty. A generally accepted scheme includes the later phases of Early Christian art,
Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic
art, as well as many other periods within these central styles. In addition each region, mostly
during the period in the process of becoming nations or cultures, had its own distinct artistic
style, such as Anglo-Saxon art or Viking art.

Medieval art was produced in many media, and works survive in large numbers in sculpture,
illuminated manuscripts, stained glass, metalwork and mosaics, all of which have had a higher
survival rate than other media such as fresco wall-paintings, work in precious metals or textiles,
including tapestry. Especially in the early part of the period, works in the so-called "minor arts"
or decorative arts, such as metalwork, ivory carving, enamel and embroidery using precious
metals, were probably more highly valued than paintings or monumental sculpture.

Byzantine monumental Church mosaics are one of the great achievements of medieval art. These
are from Monreale in Sicily from the late 12th century.
Chinese Art

Chinese art is visual art that, whether ancient or modern, originated in or is practiced in China or
by Chinese artists. The Chinese art in the Republic of China (Taiwan) and that of overseas
Chinese can also be considered part of Chinese art where it is based in or draws on Chinese
heritage and Chinese culture. Early "stone age art" dates back to 10,000 BC, mostly consisting of
simple pottery and sculptures. After this early period Chinese art, like Chinese history, is
typically classified by the succession of ruling dynasties of Chinese emperors, most of which
lasted several hundred years.

Chinese art has arguably the oldest continuous tradition in the world, and is marked by an
unusual degree of continuity within, and consciousness of, that tradition, lacking an equivalent to
the Western collapse and gradual recovery of classical styles. The media that have usually been
classified in the West since the Renaissance as the decorative arts are extremely important in
Chinese art, and much of the finest work was produced in large workshops or factories by
essentially unknown artists, especially in Chinese ceramics.

Chinese jade ornament, with dragon and phoenix design, of the late Spring and Autumn period
(722–482 BC).
Ukiyo-e (Japanese Art)

Ukiyo-e is a genre of Japanese art which flourished from the 17th through 19th centuries. Its
artists produced woodblock prints and paintings of such subjects as female beauties; kabuki
actors and sumo wrestlers; scenes from history and folk tales; travel scenes and landscapes; flora
and fauna; and erotica. The term ukiyo-e (浮世絵) translates as "picture[s] of the floating world".

Edo (modern Tokyo) became the seat of government for the military dictatorship in the early
17th century. The merchant class at the bottom of the social order benefited most from the city's
rapid economic growth. Many indulged in the entertainments of kabuki theatre, courtesans, and
geisha of the pleasure districts. The term ukiyo ("floating world") came to describe this
hedonistic lifestyle. Printed or painted ukiyo-e images of this environment emerged in the late
17th century and were popular with the merchant class, who had become wealthy enough to
afford to decorate their homes with them.

Feminine Wave Hokusai, mid-19th century

Renaissance Art

Renaissance art, painting, sculpture, architecture, music, and literature produced during the 14th,
15th, and 16th centuries in Europe under the combined influences of an increased awareness of
nature, a revival of classical learning, and a more individualistic view of man. Scholars no longer
believe that the Renaissance marked an abrupt break with medieval values, as is suggested by the
French word renaissance, literally “rebirth.” Rather, historical sources suggest that interest in
nature, humanistic learning, and individualism were already present in the late medieval period
and became dominant in 15th- and 16th-century Italy concurrently with social and economic
changes such as the secularization of daily life, the rise of a rational money-credit economy, and
greatly increased social mobility.

Sandro Botticelli, The Birth of Venus, c. 1485. Uffizi, Florence

Mannerism Art

Mannerism, also known as Late Renaissance, is a style in European art that emerged in the later
years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until
about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern
Mannerism continued into the early 17th century.

Stylistically, Mannerism encompasses a variety of approaches influenced by, and reacting to, the
harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, and early
Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty,
Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or
unnaturally elegant. The style is notable for its intellectual sophistication as well as its artificial
(as opposed to naturalistic) qualities. This artistic style privileges compositional tension and
instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in
literature and music is notable for its highly florid style and intellectual sophistication.

The definition of Mannerism and the phases within it continues to be a subject of debate among
art historians. For example, some scholars have applied the label to certain early modern forms
of literature (especially poetry) and music of the 16th and 17th centuries. The term is also used to
refer to some late Gothic painters working in northern Europe from about 1500 to 1530,
especially the Antwerp Mannerists—a group unrelated to the Italian movement. Mannerism has
also been applied by analogy to the Silver Age of Latin literature.

In Parmigianino's Madonna with the Long Neck (1534–40), Mannerism makes itself known by
elongated proportions, highly stylized poses, and lack of clear perspective.
Baroque Art

The Baroque (UK: /bəˈrɒk/, US: /bəˈroʊk/) is a highly ornate and often extravagant style of
architecture, music, dance, painting, sculpture and other arts that flourished in Europe from the
early 17th until the mid-18th century. It followed the Renaissance style and preceded the Rococo
(in the past often referred to as "late Baroque") and Neoclassical styles. It was encouraged by the
Catholic Church as a means to counter the simplicity and austerity of Protestant architecture, art
and music, though Lutheran Baroque art developed in parts of Europe as well.

The Baroque style used contrast, movement, exuberant detail, deep colour, grandeur and surprise
to achieve a sense of awe. The style began at the start of the 17th century in Rome, then spread
rapidly to France, northern Italy, Spain and Portugal, then to Austria and southern Germany. By
the 1730s, it had evolved into an even more flamboyant style, called rocaille or Rococo, which
appeared in France and Central Europe until the mid to late 18th century.

Saint Ignatius, Rome (1626–1650)

Rococo Art

Rococo (/rəˈkoʊkoʊ/ or /roʊkəˈkoʊ/), less commonly roccoco, or "Late Baroque", is an

exceptionally ornamental and theatrical style of architecture, art and decoration which combines
asymmetry, scrolling curves, gilding, white and pastel colors, sculpted molding, and trompe l'oeil
frescoes to create the illusions of surprise, motion and drama. It first appeared in France and Italy
in the 1730s and spread to Central Europe in the 1750s and 1760s. It is often described as the
final expression of the Baroque movement.

The Rococo style began in France in the first part of the 18th century in the reign of Louis XV as
a reaction against the more formal and geometric Style Louis XIV. It was known as the style
rocaille, or rocaille style. It soon spread to other parts of Europe, particularly northern Italy,
Bavaria, Austria, other parts of Germany, and Russia. It also came to influence the other arts,
particularly sculpture, furniture, silverware and glassware, painting, music, and theatre.

Charles Cressent, Chest of drawers, c. 1730 at Waddesdon Manor

Neo-classicism Art

Neoclassicism (also spelled Neo-classicism; from Greek νέος nèos, "new" and Greek κλασικός
klasikόs, "of the highest rank")[1] is the name given to Western movements in the decorative and
visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical"
art and culture of classical antiquity. Neoclassicism was born largely thanks to the writings of
Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but
its popularity spread all over Europe as a generation of European art students finished their
Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-
Roman ideals.[2][3] The main Neoclassical movement coincided with the 18th-century Age of
Enlightenment, and continued into the early 19th century, laterally competing with Romanticism.
In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant
Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry;
Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen
as virtues of the arts of Rome and Ancient Greece, and were more immediately drawn from 16th-
century Renaissance Classicism. Each "neo"-classicism selects some models among the range of
possible classics that are available to it, and ignores others. The Neoclassical writers and talkers,
patrons and collectors, artists and sculptors of 1765–1830 paid homage to an idea of the
generation of Phidias, but the sculpture examples they actually embraced were more likely to be
Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of
Late Antiquity. The "Rococo" art of ancient Palmyra came as a revelation, through engravings in
Wood's The Ruins of Palmyra. Even Greece was all-but-unvisited, a rough backwater of the
Ottoman Empire, dangerous to explore, so Neoclassicists' appreciation of Greek architecture was
mediated through drawings and engravings, which subtly smoothed and regularized, "corrected"
and "restored" the monuments of Greece, not always consciously.

Antonio Canova's Psyche Revived by Love's Kiss, Louvre, 1787.

Romantic Art

Romanticism (also known as the Romantic era) was an artistic, literary, musical and intellectual
movement that originated in Europe toward the end of the 18th century, and in most areas was at
its peak in the approximate period from 1800 to 1850. Romanticism was characterized by its
emphasis on emotion and individualism as well as glorification of all the past and nature,
preferring the medieval rather than the classical. It was partly a reaction to the Industrial
Revolution, the aristocratic social and political norms of the Age of Enlightenment, and the
scientific rationalization of nature—all components of modernity. It was embodied most strongly
in the visual arts, music, and literature, but had a major impact on historiography, education, the
social sciences, and the natural sciences.[5][not in citation given] It had a significant and
complex effect on politics, with romantic thinkers influencing liberalism, radicalism,
conservatism and nationalism.

The movement emphasized intense emotion as an authentic source of aesthetic experience,

placing new emphasis on such emotions as apprehension, horror and terror, and awe—especially
that experienced in confronting the new aesthetic categories of the sublimity and beauty of
nature. It elevated folk art and ancient custom to something noble, but also spontaneity as a
desirable characteristic (as in the musical impromptu). In contrast to the Rationalism and
Classicism of the Enlightenment, Romanticism revived medievalism and elements of art and
narrative perceived as authentically medieval in an attempt to escape population growth, early
urban sprawl, and industrialism.

Eugène Delacroix, Death of Sardanapalus, 1827, taking its Orientalist subject from a play by
Lord Byron
Realism Art

Realism, sometimes called naturalism, in the arts is generally the attempt to represent subject
matter truthfully, without artificiality and avoiding artistic conventions, or implausible, exotic,
and supernatural elements. Realism has been prevalent in the arts at many periods, and can be in
large part a matter of technique and training, and the avoidance of stylization.

In the visual arts, illusionistic realism is the accurate depiction of lifeforms, perspective, and the
details of light and colour. But realist or naturalist works of art may, as well or instead of
illusionist realism, be "realist" in their subject-matter, and emphasize the mundane, ugly or
sordid. This is typical of the 19th-century Realist movement that began in France in the 1850s,
after the 1848 Revolution, and also social realism, regionalism, or kitchen sink realism. The
Realist painters rejected Romanticism, which had come to dominate French literature and art,
with roots in the late 18th century.

There have been various movements invoking realism in the other arts, such as the opera style of
verismo, literary realism, theatrical realism, and Italian neorealist cinema.

Bonjour, Monsieur Courbet, 1854. A Realist painting by Gustave Courbet

Impressionism Art

Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible
brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities
(often accentuating the effects of the passage of time), ordinary subject matter, inclusion of
movement as a crucial element of human perception and experience, and unusual visual angles.
Impressionism originated with a group of Paris-based artists whose independent exhibitions
brought them to prominence during the 1870s and 1880s.

The Impressionists faced harsh opposition from the conventional art community in France. The
name of the style derives from the title of a Claude Monet work, Impression, soleil levant
(Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical
review published in the Parisian newspaper Le Charivari.

The development of Impressionism in the visual arts was soon followed by analogous styles in
other media that became known as impressionist music and impressionist literature.

Claude Monet, Impression, soleil levant (Impression, Sunrise), 1872, oil on canvas, Musée
Marmottan Monet, Paris. This painting became the source of the movement's name, after Louis
Leroy's article The Exhibition of the Impressionists satirically implied that the painting was at
most, a sketch.
Post Impressionism

Post-Impressionism (also spelled Postimpressionism) is a predominantly French art movement

that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the
birth of Fauvism. 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, Post-Impressionism encompasses Les Nabis Neo-Impressionism, Symbolism,
Cloisonnism, Pont-Aven School, and Synthetism, along with some later Impressionists' work.
The movement was led by Paul Cézanne (known as father of Post-impressionism), Paul
Gauguin, Vincent van Gogh, and Georges Seurat

The term Post-Impressionism was first used by art critic Roger Fry in 1906. Critic Frank Rutter
in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon
Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-
Impressionists of France.Three weeks later, Roger Fry used the term again when he organized
the 1910 exhibition, Manet and the Post-Impressionists, defining it as the development of French
art since Manet.

Post-Impressionists extended Impressionism while rejecting its limitations: they continued using
vivid colours, often thick application of paint, and real-life subject matter, but were more
inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or
arbitrary colour.

Henri de Toulouse-Lautrec, Portrait of Émile Bernard, 1886, Tate Gallery London

Neo-Impressionism

Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art
movement founded by Georges Seurat. Seurat's most renowned masterpiece, A Sunday
Afternoon on the Island of La Grande Jatte, marked the beginning of this movement when it first
made its appearance at an exhibition of the Société des Artistes Indépendants (Salon des
Indépendants) in Paris. Around this time, the peak of France's modern era emerged and many
painters were in search of new methods. Followers of Neo-Impressionism, in particular, were
drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation
of lines and colors influenced Neo-Impressionists' characterization of their own contemporary
art. The Pointillist and Divisionist techniques are often mentioned in this context, because it was
the dominant technique in the beginning of the Neo-impressionist movement.

Some argue that Neo-Impressionism became the first true avant-garde movement in painting.
The Neo-Impressionists were able to create a movement very quickly in the 19th century,
partially due to its strong connection to anarchism, which set a pace for later artistic
manifestations. The movement and the style were an attempt to drive "harmonious" vision from
modern science, anarchist theory, and late 19th-century debate around the value of academic art.
The artists of the movement "promised to employ optical and psycho-biological theories in
pursuit of a grand synthesis of the ideal and the real, the fugitive and the essential, science and
temperament.

Georges Seurat - A Sunday on La Grande Jatte -- 1884 - Google Art Project

Symbolism

Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in
poetry and other arts.

In literature, the style originates with the 1857 publication of Charles Baudelaire's Les Fleurs du
mal. The works of Edgar Allan Poe, which Baudelaire admired greatly and translated into
French, were a significant influence and the source of many stock tropes and images. The
aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s.
In the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of
writers. The term "symbolist" was first applied by the critic Jean Moréas, who invented the term
to distinguish the Symbolists from the related Decadents of literature and of art.

Distinct from, but related to, the style of literature, symbolism in art is related to the gothic
component of Romanticism and Impressionism.

Death and the Grave Digger (La Mort et le Fossoyeur) (c. 1895) by Carlos Schwabe is a visual
compendium of symbolist motifs. The angel of Death, pristine snow, and the dramatic poses of
the characters all express symbolist longings for transfiguration "anywhere, out of the world".
Art nouveau

Art Nouveau (/ˌɑːrt nuːˈvoʊ, ˌɑːr/; French: [aʁ nuvo]) is an international style of art, architecture
and applied art, especially the decorative arts. It was most popular between 1890 and 1910. A
reaction to the academic art of the 19th century, it was inspired by natural forms and structures,
particularly the curved lines of plants and flowers.

English uses the French name Art Nouveau (new art). The style is related to, but not identical
with, styles that emerged in many countries in Europe at about the same time: in Austria it is
known as Secessionsstil after Wiener Secession; in Spanish Modernismo; in Catalan
Modernisme; in Czech Secese; in Danish Skønvirke or Jugendstil; in German Jugendstil, Art
Nouveau or Reformstil; in Hungarian Szecesszió; in Italian Art Nouveau, Stile Liberty or Stile
floreale; in Latvian Jūgendstils; in Lithuanian Modernas; in Norwegian Jugendstil; in Polish
Secesja; in Slovak Secesia; in Azerbaijanian, Kazakh, Russian and Ukrainian Модерн (Modern);
in Swedish and Finnish Jugend.

Art Nouveau is a total art style: It embraces a wide range of fine and decorative arts, including
architecture, painting, graphic art, interior design, jewelry, furniture, textiles, ceramics, glass art,
and metal work.

By 1910, Art Nouveau's influence had faded. It was replaced as the dominant European
architectural and decorative style first by Art Deco and then by Modernism.

Each year, since 2013, the World Art Nouveau Day is celebrated.

Sagrada Família basilica in Barcelona by Antoni Gaudí (1883–)

Fauvism

Fauvism is the style of les Fauves (French for "the wild beasts"), a group of early twentieth-
century modern artists whose works emphasized painterly qualities and strong color over the
representational or realistic values retained by Impressionism. While Fauvism as a style began
around 1904 and continued beyond 1910, the movement as such lasted only a few years, 1905–
1908, and had three exhibitions. The leaders of the movement were André Derain and Henri
Matisse.

Henri Matisse. Woman with a Hat, 1905. San Francisco Museum of Modern Art
Expressionism

Expressionism is 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. Expressionist artists have sought to express the meaning of emotional experience rather
than physical reality.

Expressionism developed as an avant-garde style before the First World War. It remained
popular during the Weimar Republic, particularly in Berlin. The style extended to a wide range
of the arts, including expressionist architecture, painting, literature, theatre, dance, film and
music.

The term is sometimes suggestive of angst. In a historical sense, much older painters such as
Matthias Grünewald and El Greco are sometimes termed expressionist, though the term is
applied mainly to 20th-century works. The Expressionist emphasis on individual and subjective
perspective has been characterized as a reaction to positivism and other artistic styles such as
Naturalism and Impressionism.

Edvard Munch, The Scream, 1893, oil, tempera and pastel on cardboard, 91 x 73 cm, National
Gallery of Norway, inspired 20th-century Expressionists
Cubism

Cubism is an early-20th-century avant-garde art movement that revolutionized European

painting and sculpture, and inspired related movements in music, literature and architecture.
Cubism has been considered the most influential art movement of the 20th century. The term is
broadly used in association with a wide variety of art produced in Paris (Montmartre,
Montparnasse, and Puteaux) during the 1910s and throughout the 1920s.

The movement was pioneered by Pablo Picasso and Georges Braque, joined by Jean Metzinger,
Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, and Fernand Léger. One primary
influence that led to Cubism was the representation of three-dimensional form in the late works
of Paul Cézanne. A retrospective of Cézanne's paintings had been held at the Salon d'Automne of
1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two
commemorative retrospectives after his death in 1907.[5] In Cubist artwork, objects are
analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a
single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the
subject in a greater context.

In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. The
impact of Cubism was far-reaching and wide-ranging. In other countries Futurism, Suprematism,
Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Early Futurist
paintings hold in common with Cubism the fusing of the past and the present, the representation
of different views of the subject pictured at the same time, also called multiple perspective,
simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of
constructing sculpture from separate elements. Other common threads between these disparate
movements include the faceting or simplification of geometric forms, and the association of
mechanization and modern life.

Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Futurism

Futurism (Italian: Futurismo) was an artistic and social movement that originated in Italy in the
early 20th century. It emphasised speed, technology, youth, violence, and objects such as the car,
the airplane, and the industrial city. Its key figures were the Italians Filippo Tommaso Marinetti,
Umberto Boccioni, Carlo Carrà, Gino Severini, Giacomo Balla, and Luigi Russolo. It glorified
modernity and aimed to liberate Italy from the weight of its past. Cubism contributed to the
formation of Italian Futurism's artistic style. Important Futurist works included Marinetti's
Manifesto of Futurism, Boccioni's sculpture Unique Forms of Continuity in Space, Balla's
painting Abstract Speed + Sound, and Russolo's The Art of Noises.

Although it was largely an Italian phenomenon, there were parallel movements in Russia,
England, Belgium and elsewhere. The Futurists practiced in every medium of art, including
painting, sculpture, ceramics, graphic design, industrial design, interior design, urban design,
theatre, film, fashion, textiles, literature, music, architecture, and even cooking. To some extent
Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a
greater degree Precisionism, Rayonism, and Vorticism.

Umberto Boccioni, 1912, Elasticity (Elasticità), oil on canvas, 100 x 100 cm, Museo del
Novecento
Abstract (non-objecfive)

Quite often, non-objective art is used as a synonym for abstract art. However, it is a style within
the category of abstract work and the subcategory of non-representational art.

Representational art is designed to represent real life, and non-representational art is the
opposite. It is not meant to depict anything found in nature, instead relying on shape, line, and
form with no particular subject. Abstract art can include abstractions of real-life objects such as
trees, or it can be non-representational.

Non-objective art takes non-representational to another level. Most of the time, it includes
geometric shapes in flat planes to create clean and straightforward compositions. Many people
use the term "pure" to describe it.

Non-objective art can go by many names, including concrete art, geometric abstraction, and
minimalism. However, minimalism can be used in other contexts as well.

Other styles of art are related or similar to non-objective art. Among these are Bauhaus,
Constructivism, Cubism, Futurism, and Op Art. Some of these, such as Cubism, tend to be more
representational than others.

Composition VIII Poster Print by Wassily Kandinsky

Dadaism

Dadaism was an art movement of the European avant-garde in the early 20th century, with early
centers in Zürich, Switzerland, at the Cabaret Voltaire (circa 1916); New York Dada began circa
1915, and after 1920 Dada flourished in Paris. Developed in reaction to World War I, the Dada
movement consisted of artists who rejected the logic, reason, and aestheticism of modern
capitalist society, instead expressing nonsense, irrationality, and anti-bourgeois protest in their
works. The art of the movement spanned visual, literary, and sound media, including collage,
sound poetry, cut-up writing, and sculpture. Dadaist artists expressed their discontent with
violence, war, and nationalism, and maintained political affinities with the radical far-left.

Cover of the first edition of the publication Dada, Tristan Tzara; Zürich, 1917.
There is no consensus on the origin of the movement's name; a common story is that the German
artist Richard Huelsenbeck slid a paper knife (letter-opener) at random into a dictionary, where it
landed on "dada", a colloquial French term for a hobby horse. Others note that it suggests the
first words of a child, evoking a childishness and absurdity that appealed to the group. Still
others speculate that the word might have been chosen to evoke a similar meaning (or no
meaning at all) in any language, reflecting the movement's internationalism.

Cut with a Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany
(1919)
Surrealism

Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual
artworks and writings. Artists painted unnerving, illogical scenes with photographic precision,
created strange creatures from everyday objects, and developed painting techniques that allowed
the unconscious to express itself. Its aim was to "resolve the previously contradictory conditions
of dream and reality into an absolute reality, a super-reality".

Works of surrealism feature the element of surprise, unexpected juxtapositions and non sequitur;
however, many surrealist artists and writers regard their work as an expression of the
philosophical movement first and foremost, with the works being an artifact. Leader André
Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement.

Surrealism developed out of the Dada activities during World War I and the most important
center of the movement was Paris. From the 1920s onward, the movement spread around the
globe, eventually affecting the visual arts, literature, film, and music of many countries and
languages, as well as political thought and practice, philosophy, and social theory.

Image of Ernst's 1921 painting, "The Elephant Celebes"

Constructivism

Constructivism was an artistic and architectural philosophy that originated in Russia beginning in
1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art. He wanted 'to
construct' art. The movement was in favour of art as a practice for social purposes.
Constructivism had a great effect on modern art movements of the 20th century, influencing
major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with
major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance,
fashion and, to some extent, music.

Proun Vrashchenia' by El Lissitzky, 1919

De Still

Dutch art movement founded in 1917 in Leiden. De Stijl consisted of artists and architects. In a
narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in
the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a
reduction to the essentials of form and colour; they simplified visual compositions to vertical and
horizontal, using only black, white and primary colors.

De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer,
and critic Theo van Doesburg that served to propagate the group's theories. Along with van
Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszár, Bart
van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J. J. P. Oud. The artistic
philosophy that formed a basis for the group's work is known as Neoplasticism—the new plastic
art (or Nieuwe Beelding in Dutch).

According to Theo van Doesburg in the introduction of the magazine "De Stijl" 1917 no.1, the
"De Stijl"-movement was a reaction to the "Modern Baroque" of the Amsterdam School
movement (Dutch expressionist architecture) with the magazine "Wendingen" (1918-1931).

Theo van Doesburg, Composition VII (the three graces) 1917

Abstract (expressionism)

Abstract expressionism is a post–World War II art movement in American painting, developed in

New York in the 1940s. It was the first specifically American movement to achieve international
influence and put New York City at the center of the western art world, a role formerly filled by
Paris. Although the term "abstract expressionism" was first applied to American art in 1946 by
the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der
Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use
this term in 1929 in relation to works by Wassily Kandinsky.

Wassily Kandinsky - Untitled (First Abstract Watercolor), 1910, Watercolor and Indian ink and
pencil on paper, 19.5 × 25.5 in, Paris, Centre Georges Pompidou
Optical Arts

Op art, short for optical art, is a style of visual art that uses optical illusions.

Op art works are abstract, with many better known pieces created in black and white. Typically,
they give the viewer the impression of movement, hidden images, flashing and vibrating
patterns, or of swelling or warping.

Movement in Squares, by Bridget Riley 1961

Pop Art

Pop art is an art movement that emerged in the United Kingdom and the United States during the
mid- to late-1950s. The movement presented a challenge to traditions of fine art by including
imagery from popular and mass culture, such as advertising, comic books and mundane cultural
objects. One of its aims is to use images of popular (as opposed to elitist) culture in art,
emphasizing the banal or kitschy elements of any culture, most often through the use of irony.It
is also associated with the artists' use of mechanical means of reproduction or rendering
techniques. In pop art, material is sometimes visually removed from its known context, isolated,
or combined with unrelated material.

Among the early artists that shaped the pop art movement were Eduardo Paolozzi and Richard
Hamilton in Britain, and Larry Rivers, Robert Rauschenberg and Jasper Johns among others in
the United States. Pop art is widely interpreted as a reaction to the then-dominant ideas of
abstract expressionism, as well as an expansion of those ideas. Due to its utilization of found
objects and images, it is similar to Dada. Pop art and minimalism are considered to be art
movements that precede postmodern art, or are some of the earliest examples of postmodern art
themselves.

Pop art often takes imagery that is currently in use in advertising. Product labeling and logos
figure prominently in the imagery chosen by pop artists, seen in the labels of Campbell's Soup
Cans, by Andy Warhol. Even the labeling on the outside of a shipping box containing food items
for retail has been used as subject matter in pop art, as demonstrated by Warhol's Campbell's
Tomato Juice Box, 1964 (pictured).

Eduardo Paolozzi, I was a Rich Man's Plaything (1947). Part of his Bunk! series, this is
considered the initial bearer of "pop art" and the first to display the word "pop".
Minimalism Art

Minimalism emerged in the late 1950s when artists such as Frank Stella, whose Black Paintings
were exhibited at the Museum of Modern Art in New York in 1959, began to turn away from the
gestural art of the previous generation. It flourished in the 1960s and 1970s with Carl Andre, Dan
Flavin, Donald Judd, Sol LeWitt, Agnes Martin and Robert Morris becoming the movement’s
most important innovators.

The development of minimalism is linked to that of conceptual art (which also flourished in the
1960s and 1970s). Both movements challenged the existing structures for making, disseminating
and viewing art and argued that the importance given to the art object is misplaced and leads to a
rigid and elitist art world which only the privileged few can afford to enjoy

Kazimir Malevich, Black Square, 1915, oil on canvas, 79.5 x 79.5 cm, Tretyakov Gallery,
Moscow
Conceptual Art

Conceptual art can be – and can look like – almost anything. This is because, unlike a painter or
sculptor who will think about how best they can express their idea using paint or sculptural
materials and techniques, a conceptual artist uses whatever materials and whatever form is most
appropriate to putting their idea across – this could be anything from a performance to a written
description. Although there is no one style or form used by conceptual artists, from the late
1960s certain trends emerged.

Read the captions in the artworks below to find out about some of the main ways conceptual
artists explored and expressed their ideas.

Bruce McLean
Pose Work for Plinths I 1971
Tate
© Bruce McLean
Body art: Originally conceived as a performance, McLean’s poses are an ironic and humorous
commentary on what he considered to be the pompous monumentality of traditional large plinth-
based sculptures. The artist later had himself photographed, repeating the poses.
Photo Realism

Photorealism is a genre of art that encompasses painting, drawing and other graphic media, in
which an artist studies a photograph and then attempts to reproduce the image as realistically as
possible in another medium. Although the term can be used broadly to describe artworks in many
different media, it is also used to refer specifically to a group of paintings and painters of the
American art movement that began in the late 1960s and early 1970s.

John's Diner with John's Chevelle, 2007 John Baeder, oil on canvas, 30×48 inches.
Installation Art ( Body Art, Land And Earth)

Installation art can be either temporary or permanent. Installation artworks have been constructed
in exhibition spaces such as museums and galleries, as well as public and private spaces. The
genre incorporates a broad range of everyday and natural materials, which are often chosen for
their "evocative" qualities, as well as new media such as video, sound, performance, immersive
virtual reality and the internet. Many installations are site-specific in that they are designed to
exist only in the space for which they were created, appealing to qualities evident in a three-
dimensional immersive medium. Artistic collectives such as the Exhibition Lab at New York's
American Museum of Natural History created environments to showcase the natural world in as
realistic a medium as possible. Likewise, Walt Disney Imagineering employed a similar
philosophy when designing the multiple immersive spaces for Disneyland in 1955. Since its
acceptance as a separate discipline, a number of institutions focusing on Installation art were
created. These included the Mattress Factory, Pittsburgh, the Museum of Installation in London,
and the Fairy Doors of Ann Arbor, MI, among others.

An installation art of Mad crab created with waste plastics and similar non-biodegradable wastes
at Fort Kochi.
Performing Art

Performing arts are a form of art in which artists use their voices, bodies or inanimate objects to
convey artistic expression. It is different from visual arts, which is when artists use paint, canvas
or various materials to create physical or static art objects. Performing arts include a range of
disciplines which are performed in front of a live audience.

Theatre, music, dance and object manipulation, and other kinds of performances are present in
all human cultures. The history of music and dance date to pre-historic times whereas circus
skills date to at least Ancient Egypt. Many performing arts are performed professionally.
Performance can be in purpose built buildings, such as theatres and opera houses, on open air
stages at festivals, on stages in tents such as circuses and on the street.

Live performances before an audience are a form of entertainment. The development of audio
and video recording has allowed for private consumption of the performing arts.

The performing arts often aim to express one's emotions and feelings.

Dance is a type of performance art practiced all over the world.

Body Tattoo Art

A tattoo is a form of body modification where a design is made by inserting ink, dyes and
pigments, either indelible or temporary, into the dermis layer of the skin to change the pigment.
The art of making tattoos is tattooing.

Tattoos fall into three broad categories: purely decorative (with no specific meaning); symbolic
(with a specific meaning pertinent to the wearer); pictorial (a depiction of a specific person or
item). In addition, tattoos can be used for identification such as ear tattoos on livestock as a form
of branding.

Mrs. M. Stevens Wagner with arms and chest covered in tattoos