Week 9: The Modern Aesthetic & Realism to Expressionism Flashcards
Abstract
art imagery that departs from recognizable images of the natural world (See Chapter 3.8, page 501)
Abstraction
the degree to which an image is altered from an easily recognizable subject (See Chapter 3.8, page 518)
Art Nouveau
French for “new art,” a visual style of the late nineteenth and early twentieth century, characterized by organic flowing lines, simulating forms in nature and involving decorative pattern (See Chapter 3.8, page 521)
Asymmetry
a type of design in which balance is achieved by elements that contrast and complement one another without being the same on either side of an axis (See Chapter 3.8, page 509)
Atmospheric perspective
use of shades of color and clarity to create the illusion of depth. Closer objects have warmer tones and clear outlines, while objects set further away are cooler and become hazy (See Chapter 3.8, page 502)
Avant-garde
early twentieth-century emphasis on artistic innovation, which challenged accepted values, traditions, and techniques (See Chapter 3.8, page 521)
Baroque
European artistic and architectural style of the late sixteenth to early eighteenth century, characterized by extravagance and emotional intensity (See Chapter 3.8, page 519)
Bird’s-eye view
an artistic technique in which a scene or subject is presented from some point above it (See Chapter 3.8, page 511)
Cartoon
full-scale drawing (See Chapter 3.8, page 521)
Composition
the overall design or organization of a work (See Chapter 3.8, page 502)
Cropping
trimming the edges of an image, or composing it so that part of the subject matter is cut off (See Chapter 3.8, page 509)
Der Blaue Reiter
(“The Blue Rider”); German Expressionist movement (1911–14) in Munich; used abstract forms to suggest spiritual content as a contrast to the corruption and materialism of the times (See Chapter 3.8, page 521)
Die Brücke
(“The Bridge”) German Expressionist movement of painters and printmakers formed in Dresden (1905–13) with the aim of defying anything Classical and using art as a bridge between the past, present, and a utopian future (See Chapter 3.8, page 522)
En plein air
French for “in the open air”; used to describe painting out of doors from start to finish rather than working in a studio for all or part of the process (See Chapter 3.8, page 508)
Foreshortening
a perspective technique that depicts a form—often distorting or reducing it—at an angle that is not parallel to the picture plane, in order to convey the illusion of depth (See Chapter 3.8, page 513)
Hue
general classification of a color; the distinctive characteristics of a color as seen in the visible spectrum, such as green or red (See Chapter 3.8, page 508)
Idealism
elevating depictions of nature to achieve more beautiful, harmonious, and perfect depictions (See Chapter 3.8, page 503)
Illusionism, Illusionistic
the artistic skill or trick of making something look real (See Chapter 3.8, page 502)
Impasto
paint applied in thick layers (See Chapter 3.8, page 515)
Impressionism
a late nineteenth-century painting style conveying the impression of the effects of light; Impressionists were painters working in this style (See Chapter 3.8, page 501)
Linear perspective
a system using converging imaginary sight lines to create the illusion of depth (See Chapter 3.8, page 513)
Modeling
the representation of three-dimensional objects in two dimensions so that they appear solid (See Chapter 3.8, page 510)
Modernist, Modernism
a radically new twentieth-century art and architectural movement that embraced modern industrial materials and a machine aesthetic (See Chapter 3.8, page 501)
Mosaic
a picture or pattern created by fixing together small pieces of stone, glass, tile, etc. (See Chapter 3.8, page 521)
Neoclassicism
European style that flourished during the late eighteenth and early nineteenth centuries, characterized by an extreme interest in the Classical world, strictly ordered scenes, and heroic subjects (See Chapter 3.8, page 504)
Non-objective, non-objectivity
art that does not depict a recognizable subject (See Chapter 3.8, page 521)
Optical mixture
when the eye blends two colors that are placed near one another, creating a new color (See Chapter 3.8, page 509)
Organic
having irregular forms and shapes, as though derived from living organisms (See Chapter 3.8, page 521)
Outline
the outermost line or implied line of an object or figure, by which it is defined or bounded (See Chapter 3.8, page 503)
Palette
a smooth slab or board used for mixing paints or cosmetics (See Chapter 3.8, page 508)
Patron
an organization or individual who sponsors the creation of works of art (See Chapter 3.8, page 507)
Photomontage
a single photographic image that combines (digitally or using multiple film exposures) several separate images (See Chapter 3.8, page 529)
Picture plane
the surface of a painting or drawing (See Chapter 3.8, page 511)
Post-Impressionists
artists either from or living in France, c. 1885–1905, who moved away from the Impressionist style—notably Cézanne, Gauguin, Seurat, and Van Gogh (See Chapter 3.8, page 501)
Pre-Raphaelite Brotherhood
English art movement formed in 1848 by painters who rejected the academic rules of art, and often painted medieval subjects in a naïve style (See Chapter 3.8, page 505)
Renaissance
a period of culture and artistic change in Europe from the fourteenth to the seventeenth century (See Chapter 3.8, page 505)
Representational
art that depicts figures and objects so that we recognize what is represented (See Chapter 3.8, page 501)
Rhythm
the regular or ordered repetition of elements in the work (See Chapter 3.8, page 509)
Romantic/Romanticism
movement in nineteenth-century European culture, concerned with the power of the imagination and greatly valuing intense feeling (See Chapter 3.8, page 504)
Salon
an official annual exhibition of French painting, first held in 1667 (See Chapter 3.8, page 501)
Space
the distance between identifiable points or planes (See Chapter 3.8, page 502)
Symbolist
artist or artistic style belonging to the movement in European art and literature, c. 1885–1910, that conveyed meaning by the use of powerful yet ambiguous symbols (See Chapter 3.8, page 501)
Value
the lightness or darkness of a plane or area (See Chapter 3.8, page 503)
Volume
the space filled or enclosed by a three-dimensional figure or object (See Chapter 3.8, page 502)
Woodblock
a relief print process where the image is carved into a block of wood (See Chapter 3.8, page 509)
