1. Artistic Percep- tion 2. Creative Expres- sion 3. Historical and Cultural Context 4. Aesthetic Valu- ing 5. Connections, Re- lationships,
... [Show More] Ap- plications processing, analyzing, and responding to sensory infor- mation through the use of language and skills unique to dance, music, theater, and visual arts. creating a work, performing, and participating in the arts disciplines. Students apply process and skills in com- posing, arranging, performing a work and use variety of means to communicate meaning and intent in their own original formal and informal works. the work students do toward understanding the historical contributions and cultural dimensions of an arts discipline. Students analyze roles, functions, development in the dis- cipline, and human diversity as it relates to that discipline. They also closely examine musicians, composers, artists, etc. analyzing and critiquing works of dance, music, theater, and visual arts. Students apply process and skills to productions and performances. Also critically asses and derive meaning from the work of a discipline, including their own, and from performances and original works based on the elements and principles of an arts discipline, aesthetic qualities, and human responses. connecting an applying what is learned in one arts dis- cipline and comparing it to learning in the other arts, other subject areas, and careers. Students develop com- petencies and creative skills in problem solving, commu- nication, and time management that contribute to lifelong learning, including career skills. 6. Fine Art art created for its beauty and not for its usefulness. Orig- inally, the fine arts were painting, sculpture, architecture, and engraving. Today, it includes music, dance, theater, architecture, photography, etc. 7. Applied Art (handicrafts) art intended to be used. Industrial design and interior de- sign are considered applied arts. Handicrafts are intended 8. Support Educa- tion Code In- struction in the Arts 9. Visual and Per- forming Arts Content Stan- dards as the Ba- sis Curriculum 10. Comprehensive Program Strands 11. Alignment of Stan- dards-Based Curriculum to provide comprehensive, Coherent Structure for VPA. 12. Assessment of Student Work as Essential 13. Using New Me- dia and Electron- ic Tech in the Arts to be used as a regular part of life, and not generally considered to be arts and crafts, which are viewed as a hobby. Examples of handicrafts: pottery, stained glass, crochet, mosaic, and cabinet making. required adopted course of study must include visual and performing arts, except P.E., but schools are required to provide arts instruction to all students. serve as guideposts for teachers and provide clear-cut curriculum goals for all learners. Requires active learning through study, practice, creation, or performance of works of art. follow the strands: artistic perception, creative expres- sion, historical and cultural context, aesthetic valuing, and connections, relationships, applications. This prepares students to meet new visual and perform- ing arts requirement for freshman admission to UC's and CSU's. helps students learn more about what they know and can do, provides teachers w/info for improving curriculum and instruction, gives school districts the data. Portfolios, projects, exhibitions, and reflections are inherent in the arts. it reaches back over the past 200 years to photography and film and includes the most recent developments in computer technology and electronic, audio, and digital media. 14. Inclusion of All Learners 15. Broad View of Culture 16. Recognition of the Role Arts Play for Careers 17. Usefulness to teachers, arts professionals, etc. of the Arts 18. Subject-cen- tered Instruction 19. Instruction con- necting the arts disciplines to each other 20. Instruction con- necting the arts and other core subjects should provide avenues in which each student can work at a personalized pace to learn and develop self-expres- sion and self-confidence. Instruction may need to be mod- ified to encourage participation of students w/disabilities or have special interest in the arts. use five component strands w/American culture and worldwide perspective. provides direct training for jobs in the flourishing arts industry in CA. the VPA framework is a tool for teachers and a guide for publishers and those who develop educational materials. covers basic knowledge, skills, and vocabulary of each discipline that is necessary for competence in the arts. It promotes the instrinsic value of the arts-the creativity, thinking skills, and sheer joy they engender. helps students see the connections among the arts. For example, a musical theater production incorporates skills and knowledge from theater, dance, music, and visual arts. helps students connect the critical thinking skills and infor- mation they learn in the arts to such subjects as literature, science, history, and social science. 21. Special Needs theater for the deaf, wheelchair for dance, music by touch. Students w/limited English proficiency use sense to process information. 22. Principles of art: balance balance is a sense of visual stability in a composition. It is the harmonious arrangement of elements in order (symmetri- cal/asymmetri- cal) 23. Asymmetrical painting 24. Principles of art: contrast 25. Principles of art: emphasis 26. 26. to create a feeling of equilibrium. When a composition is symmetrical, gives the feeling of weight is equally distrib- uted (formal balance). Asymmetrical composition there is a visual emphasis, or pull, to one side of the composition (informal balance). represents two things that are opposite. Artists use con- trast to help a composition depict two dramatic differ- ences, to make objects become apparent to the viewer. Contrasts can be heavy or light, curved or straight, or positive and negative. draws your eye to a visual focal point. Artists use empha- sis to help an object stand out. One element of an artwork stands out more than another. Principles of art: pattern 27. Principles of art: unity 28. Principles of art: Perspective (lin- ear) 29. Principles of art: Perspective (at- mospheric or aerial) objects in a composition that are repeated. Regular pat- terns appear as predicted designs w/easily identifiable features so that the viewer can visually recognize what may appear next. When there is no predicted pattern, but the viewer can generally predict what may appear next, the artist is using random patterns. the sense that all components of a composition belong together. The elements of art such as shape, line, and color appear fit together as the viewer gazes upon the piece of art, w/nothing left to complete, delete, or change. It creates a sense of harmony and wholeness. linear perspective is a technique for representing 3-D objects on a flat surface. During the Renaissance, artists invented this technique based on math principles to give paintings a realistic appearance. The technique shows that when converging lines meet at single, vanishing point, the human eye perceives objects at a distance. Larger object appear closer while smaller ones appear further. atmospheric perspective is used to create depth and di- mension. Artists use overlapping, color, size, and contrast to reproduce the effects of distant objects. 30. Elements of art: color is a visible light reflected off objects. Used to create a symbolic representation of mood and emotion. Ex: colors red, orange, yellow are warm colors people feel their body temperature rise. Cool colors, green, blue, and purple evoke relaxed, calm, peaceful feelings. 31. Hue way we distinguish one color from another. Hue colors are in sequenced order. 32. Primary colors red, yellow, and blue. They are founded on the color wheel and are the only colors that can be mixed to create secondary colors. 33. Secondary col- ors orange, green, and violet. They are created when mixing two primary colors. 34. Tertiary colors created by mixing secondary colors. The secondary col- ors tend to be muted or grayish to provide a variation of the secondary color. 35. Complementary colors are pairs of colors that sit opposite one another on the col- or wheel and do not share any common characteristics. Ex: purple is directly opposite from yellow, making them complimentary. 36. Value describes lightness or darkness of a color. Artists use this to create mood. Pretty much like the aerial or atmospheric perspective. 37. Intensity describes brilliance or dullness of color. 38. Elements of art: line a continuous mark that change direction, length, and width. Lines joined together form a shape. It can also create outline, silhouette, or contour. Artists often use line to define the edges of a form to lead your eye in a certain direction. 39. horizontal line gives a sense of space, a state of rest, continuity, and stability since objects that are parallel to the earth are often at rest. 40. vertical line communicate a sense of strength, rigidity, or height. Artists often use vertical lines to suggest spirituality, or reaching toward the sky. 41. curve line communicate a sensual or softening quality. 42. diagonal line communicate an opposition or movement. 43. Elements of art: shape (form and contour) 44. Elements of art: texture 45. Elements of art: space 46. Classical (400 B.C. - 400 A.D.) 47. Architecture (An- cient Greece) help define objects on a piece of art. Shapes are often defined by continuous line that meets to create a closed shape. Artists contour line to create dimension. Shapes have 2 dimensions, height, and width; form has three dimensions, height, weight, and depth. used to describe the way a composition might actually feel, or they it might appear to feel with your eyes. 3-D texture has a tactile quality that can be physically touched while 2-D gives you a sense of how an object might feel when touched, but you cannot physically touch the object. it is referred within the boundaries of the composition. Space helps the composition look like it has form and gives the artwork a feeling of depth. Negative space is the space between or around the object. Ancient Greece and Rome; art encompassed architec- ture (e.g., parthenon, coliseum, aqueducts, vaults, and domes); sculpture (ideal form, beauty); pottery (black on white, Greek and Roman life); painting (murals, portrai- ture); frescoes (pigment w/water). Key characteristics: physical beauty, mathematical, definite proportion, cele- brated great events. after invasion of Persians, the Athenians rebuilt the city center, the acropolis, on top of a hill in the middle of the city. On this site, the Greeks built some of the greatest temples, including Parthenon. Parthenon was the crown- ing moment of the previous centuries of architectural development. 48. Sculpture (An- cient Greece) one of the main focuses of this era. Initially, Greek statues of humans were stiff and rigid, w/little emotion. The statue of seer however, was one of the earliest classical statues that had a face w/emotion. 49. Contrapposto a stance of realistic shift of weight; how humans actually rest their weight became a major breakthrough in realistic sculpture. 50. Polykleitos an artist that developed a theory that artistic beauty was a result of geometric harmony, which changed art. The ideal form of beauty reflected in Greek statues set the basis for Western art. 51. Late classical pe- riod after the Peloponnesian War, it brought Athens crashing down, architects in this period developed a new style of temple (Corinthian). In sculpture, Greek artists backed away from idealized forms of early classical era (heroes and gods) and presented more emotional and imperfect figures (e.g., Hercules). 52. Pottery (Ancient Greece) 53. Sculptures (An- cient Rome) initially were just lines, swirls, squiggles (protogeometric); then added animals and humans (orientalizing); drawings of silhouettes came in, painting w/fire (black figure); and then red-orange clay that led figures to be painted in greater detail and add more colors (red figure). created ancestral images, they were more of a record of a person's existence than work of art. As Rome grew wealthy it gained access to Greek sculptures and made these portraits from stone instead of wax. Roman sculp- ture are more realistic than Greeks. Portraiture depicted communal goals of the Republic (veristic): hard work, age, wisdom, community leader and soldier. However, after the fall of the Roman Empire, ancestral images were reduced and Roman emperors gained popularity. Imperial art went back to early classical art then shifted away to late an- tiquity The first emperor to be sculpted was Augustus. Sculptures were also used to depict emperor's exploits. 54. Late antiquity stiffness of pose and drapery, deeply drilled lines, less naturalism. Important figures are often slightly larger or placed above the rest of the crowd to denote importance. 55. Frescoes Italian word for "fresh" because painters did fresco paint- ing on fresh wet plaster walls. 56. Byzantine Eastern Roman Empire based on Constantinople; key (400-1400) characteristics: religious imagery, mosaics (flat, 2-D), icons, elongated bodies, stylized background, gold leaf (mosaics were decked w/gold leaf and glass tiles); mo- saics decorated churches, triptych (three panels). 57. Byzantine art Roman Empire was slowly collapsing, Rome had no politi- cal power and its authority was purely religious. Other half of empire, Byzantine, in contrast, had it together. Chris- tian art was expressed in Byzantine art, like mosaics. Very little of Byzantine art survived this present day. It went through periods of iconoclasm. A clear distinction between Early Christian and Byzantine art is the imperial propaganda into religious images. 58. Mosaics Early Christians built their mosaics out of colored glass to look brightly colored and translucent, glittery effect. 59. Triptych altarpieces of ivory. (E.g., Harbaville Triptych). 60. Iconoclasm destruction of religious images, including countless mo- saics and paintings (based on the Ten Commandments) Emperor Leo III started this movement. Even those that were saved, were later destroyed or covered up by the Turks because their religious faith forbade any image of man or animal. 61. Justinian Byzantine emperor, who financed the propaganda im- ages. He had church and political power which gave him authority over art and architecture. He constructed new churches all over his empire and decorated them w/religious symbols and imperial power/propaganda. Ex: Church of San Vitale in Ravenna. This conveyed political authority and religious meaning, whereas Early Christian art were purely religious. 62. Middle Byzantine Art (843-1204 CE) 63. Early Byzantine Art (527-726 CE) It began w/ art lovers against iconoclasts by Roman Pope Gregory II, opposing art in religion and ended w/invasion of Constantinople by Western European Crusaders. Mo- saics were popular, Virgin Mary, and replaced (by copies) destroyed original mosaics. This was the era of recovering anti-art sentiment and making more copies of original de- stroyed mosaics and other religious art. Small altarpieces of ivory were gaining popularity (triptychs). Their art also appeared in frescoes. occurred after the fall of Roman empire; and emperor Jus- tinian too over. architectures were huge and impressive, (e.g., the Hagia Sophia). Greek cross were used, huge domes and arches existed. Its art was stylistically intricate but flat, w/bold lines and backgrounds that showed real- istic spatial depth. 64. Late Byzantine focused around religious themes, churches were painted Art (13th centu- w/frescoes. They embraced illusionistic depth and realis- ry) tic backgrounds of Western Art. Icons returned as major art form, churches were collecting them and displayed them on high screens. Most icons were made in Con- statinople and spreaded throughout Greece and Russia. Icons reflected changes in the late period of Byzantiene Art. 65. Early Middle Greco-Roman influence; influence of religion, sacred art, Ages (500-1000) spatially flat, illustrated "Book of Kells" Romanesque architectural style: heavy walls, round, ribbed arches; transept and nave; grand. 66. Early Medieval created relief sculptures, 3-D carvings. They sculpted in- Art tricate designs on panels, book covers, caskets, devo- tional items, and doors. Their subject matter was Chris- tian and depicted Jesus' life, scenes from Old Testament. Also worked w/frescoes and mosaics (colored stone and glass), artwork typically portray Christian saints and scenes. In architectures, looked similar to Roman ele- ments, like columns, arches, and floor plans. But they added new features such as towers, ceiling vaults, burial chambers (crypts). Under the rule of Charlemagne, he introduced "westwork". Early medieval artists did metal- working, illuminated manuscripts and high cross sculp- tures. 67. Westwork tall section of western facade of a church that included two symmetrical towers and many arched doors and win- dows on the outside. 68. Illuminated man- uscript 69. High cross sculptures 70. Later Middle hand-letter copies of the gospels, and other books, of the bible made from animal skins, using ink and paint by Christian monks. This introduced the "Book of Kells". The manuscripts were intended to be gigantic, three monks had to carry it. Islamic communities copied classic works of ancient Greece and Rome, and also wrote illuminated manuscripts and sold them to Europeans. marked important Christian sites and graves and encour- aged wayfarers to meditate on their Christian faith. The crosses were covered in reliefs, in abstract patterns or Christian scenes. originated in France around 1144, when Abbot Suger Ages (1000-1400) completed the first Gothic Church at the Abbey in St. De- : Gothic Art nis, then spread across Europe. Stained glass windows became the main form of interior church decoration. Goth- ic painting becomes more realistic, natural poses. Gothic artists were trying to recapture classical art. In Gothic art there was enclosed space; and foreground, midground and background. Over the next 30 years, Italian artists improved on their handle on perspectives. It was very religious; spatially flat; shape of a human body was used to communicate emotions; manuscript illumination. Fres- coes was a tempera painting, with egg tempera as a binder, illuminated manuscripts w/vegetable oils. 71. The Effects of Good Govern- ment 72. The Birth of the Virgin 73. Later Middle By Ambrogio Lorenzetti, we see several layers of back- ground and foreground, w/figures of appropriate size to gauge the depth. Even though layers are a bit flat, their order and distance are clear. By Pietro Lorenzetti, has a read command of depth and each figure seems to fully occupy this 3-D space Influenced by Christianity; age of Chivalry; rapid growth Ages (1000-1400) of commerce; majestic cathedrals; Gothic window; flying : Gothic Archi- tecture buttress towering monuments of God. Suger was not con- tent w/Romanesque architecture, he wanted his church to be graceful expression of geometric harmony. striving to- ward heaven. Gothic churches are tall and elegant, bright and inspiring. Suger called his church 'modern'. Several years ago, Gothic referred to Goths, a group of Germanic barbarians who invaded Western Roman Empire, it was meant as unrefined, barbaric, and non-Roman. Three things that defined Gothic architecture: pointed arches; ribbed vault; & flying buttress. 74. Renaissance (1400-1600) Originated in Italy; people at this period were taking inter- est in the learning of earlier times, especially from ancient Greece and Rome. This was known as the rebirth of classical times. Humanism (individuality and self-worth) was the heart of Renaissance art. As well as religion. New technology was part of it: printing press, use of oils-lasting (egg tempera used previously); landscapes. Drawings were of Michelangelo's studies; influence of Northern Europe/Flemish: surface details, realistic light, religious; portraits. Works of art became centered around the human individual and the Earthly experience rather than the heavenly realms. A second theme was the imita- tion or rebirth of ancient Greek and Roman cultures. 75. Early Renaissance (1400-1479) Artists learned by trying to emulate classical artists focus- ing on symmetry and creating the perfect form. This era featured artists like Giotto, Masaccio, and Donatello. 76. High Renaissance (1475-1525) A rising interest in perspective and space gave the art even more realism. Great artists such as Michelangelo, Leonardo da Vinci, and Rafael flourished during this pe- riod. 77. Sistine Chapel a Vatican chapel that showcases the best Renaissance art. It serves as an important function of the Catholic Church. It was first constructed in 1470's, and in 1481 the first frescoes were painted. Scenes from the old and new testament were painted on the chapel walls. 78. Renaissance Portraits 79. Renaissance Sculptures 80. Renaissance Painting paintings or images of other people. They were made from wealthy individuals or showed images of God or events in the Bible. The famous Renaissance portrait is the "The Mona Lisa" by Leonardo da Vinci. were created to represent biblical figures and events. These were often placed in and around churches. A fa- mous sculpture is Michelangelo's sculpture of David. "School of Athens" painting made by Rafael, focused on Greek history than religious ideology. It featured Plato, Aristotle, and Socrates. Another example of humanism art. 81. Renaissance Ar- chitecture 82. Northern Renais- sance 83. Baroque (1600-1750) architects began to look back at the Romans and Greeks for inspiration. Filippo Brunelleschi was the first one to start the movement after building a dome above the Cathedral of Florence. Distinct features of Renaissance architectures: square or rectangle symmetrical shapes, front or facade of buildings were around vertical axis, columns were influenced by Roman, arches & domes were again influenced by Roman and Greek, and ceilings were generally flat, before ceilings were left open. Renaissance art, architecture, and philosophy that oc- curred outside of Italy, such as France, Dutch, German, and England Renaissance. foundations in Italy and Germany but w/regional differ- ences influenced scientific revolution (Newton; Galileo); Age of Enlightenment; Counter-Reformation (against Protestantism-paintings of faith/martyrdom); Age of Ab- solute Monarchs (Louis XIV). Characteristics: (diversified stylistically but often very grand) complex life; appeal to senses/spectator involvement/drama; strong emotion; emphasis on depth and space; genre scenes (landscapes w/out people); movement w/grandeur. 84. Baroque Art started in Italy and moved to other areas of Europe and the world. It began w/the Catholic church, because it wanted its paintings to be more emotional and dramatic. In Baroque art, there was generally action and movement, like angels flew; saints rose from the heavens; people fought; etc. Baroque sculptures were often made of rich material like colorful marble, bronze, and gold. 85. Protestant Refor- mation 86. Age of Enlighten- ment 87. Absolute Monar- chy 88. Rococo (1750's-1800's) Baroque art was a response to Protestant Reformation. intellectual movement emphasizing reason, humanism, individualism, science, and skepticism between 17th-19th centuries. It was primarily a European trend that ulti- mately spread throughout the Americas. Enlightenment philosophers were anti-church and embraced reason, logic, and science. Humanism, individualism, and the Sci- entific Revolution, and Protestant Reformation emerged. ultimate divine authority to run a state was in the hands of a king who ruled by divine right. King Louis XIV was the best example of 'absolutism' he referred to himself as the 'sun king' an allusion to him as a source of light to his subjects. influenced by the French Revolution and Industrial Revolution (drastic social changes); Salons; carefree lifestyle/high fashion; moved away from Baroque heroic subjects and dark color; moved to more delicate/pale colors; theme of romantic love. Rococo art originated in France and is known as the "late baroque art" period. It was used for interior design and gardening, but painters adopted the style. Rococo art was feminine, graceful, florid and ornate. It reflected the wealthy, high fashion. Religion and politics were not the core of Rococo art, but love, romance, and landscapes. It has received criticism by art historians throughout history for being over-the-top, superficial, and frivolous. Famous Rococo artists are Boucher, Watteau, Fragonard, among others. 89. Revolt against Rococo movement toward naturalism and romanticism (1850's) beauty of nature-senses over intellect; love of ruins and exotic cultures; new sense of nationalism; uniqueness, not conformity (Goya, ex). 90. Rococo artists used loosed brush strokes, pastel colors, and flowing lines and forms regardless of subject matter. Rococo paintings are asymmetrical (design is off-center) which creates a sense of playfulness and motion in the painting. Mythological scenes were often used. 91. Jean-Antoine Watteau 92. Francois Bouch- er 93. Impressionism (1860's-1900's) Origin of Modern Art created festival paintings or 'fete galante'. For instance, 'The Pilgrimage to Cythera' is a famous example of fete galante painting. It depicts several couples who have journeyed together to Cythera, the idyllic place of love and eternal youth. A statue of Aphrodite, Greek Goddess of love, emphasizes paintings amorous subject matter. 'Saint Peter Attempting to Walk on Water' illustrates the story from Matthew 14:22-34 where Peter attempts to meet Jesus in the middle of the sea, but fails the moment he doubts Jesus. The asymmetrical composition helps the viewer's eye to continually end up at the figure of Jesus. Boucher's use of pastels and delicate brushwork balance the physical tension we see in the disciples, who are behind Peter, and the calm gaze between Peter and Jesus. began in France when a group of young and talented artists decided to rebel against the established art critics, "Salon" in France, name of an art exhibition. Impression- ists wanted to capture a moment in time. Critics said that their work was merely "impressions" of reality and the name stuck. Impressionists were more concerned with the light and color of the moment than the details of 94. Pierre-Augus- tine Renoir objects painted. They often painted outdoors and worked quickly to capture the light before it changed. They used rapid brush strokes and often used unmixed primary col- ors to save time, but sometimes mixed it w/black or white; they preferred to allow colors to blend in the eye of the viewer instead. They also used unusual visual angles and common everyday subjects. Impressionist paintings tend to show ordinary people engaged in the ordinary activities of daily life. Artists captured scenes from cafes, theaters, beaches, and resorts. They depicted dancers rehearsing, people enjoying lunch, a family boating on a lake, etc. painted the "Dance at Le moulin de la Galette" which depicts an outdoor scene of a dance on Sunday afternoon in Paris. The painting captures a moment in time. It is one of the most famous impressionist paintings of all time. 95. Mary Cassatt An american painter who lived most of her life in France, she painted mostly women and their children. 96. Edgar Degas famous for painting pictures of ballet dancers, because he wanted to capture their energy and grace, and hard work and effort. He would often sketch them live then paint them later. 97. Edouard Manet a realist painter for much of his career, his artwork was bridged between realism and impressionism. Started off his career as a realist because he wanted to be accepted by the Salon until his artwork ('The Absinthe Thinker') was rejected. He also enjoyed painting cafe scenes. 98. Claude Monet founder of the Impressionist movement; painted many series of objects in different lighting. It was his painting, 'Impression: Sunrise' that gave birth to the name impres- sionism. 99. Auguste Rodin a French sculpture, his sculptures are known for realism and sense of motion. 'Walking Man' is an extremely re- alistic sense of movement, it looked as if Rodin simply sketched someone halfway through a step and then cast it in bronze. He was a rebel against perfect body type, like the sculpture of 'David'. 100. Neo-impression- ism (pointillism) 1880's-1890's part of post-impressionist movement; primarily invented by painters Georges Seurat & Paul Signac. Pointillism used small dots of pure color to compose entire painting. It had nothing to do w/subject matter, painting is entirely made up of small dots. It used the science of optics to create colors from many small dots close together that they would blur into an image to the eye (like pixels in computer screens). 101. Georges Seurat 'A Sunday afternoon on the Island of La Grande Jatte' is the most famous paintings of pointillism. Every bit of the painting is done with tiny little dots of pure color. 102. Post-Impression- ism (1885-1910) 103. Vincent Van Gogh wanted to continue expressing boundaries that the Im- pressionists established; they also added new subjects, techniques, perspectives, and shapes to express their emotions and thoughts in art. Paint was indoors or out- doors, emotions were through the use of color/swirling color. Moved away from the narrow spectrum. Watercolor (transparent) and over painting became popular. 'Starry Night' the painting shows a small town (Saint-Remy) under a night sky of swirling stars. There is a large dark cypress tree to the left. Van Gogh painted this while being in an insane asylum (1889). 104. Paul Gaugin close friend of van Gogh; he used strong outlines and childlike figures. However, his art did not become popular. 105. Paul Cezanne he used small repetitive brush strokes and studied his subjects intensely. His unique style gave rise to cubism. 106. 20th Century: Fauvism (1905) 107. Henri Matisse painting #1 108. Henri Matisse painting #2 'Fauve' is French term for "wild beasts" which named the critics who viewed their work. Not many people liked this type of art, but wealthy people kept buying them, so the movement continued. Fauvism moved away from optical realism, created by impressionalists, and started a loosely associated painters who sought to bring per- sonal expression into their paintings. It had radical (ex- aggerated) use of unnatural colors that separated colors from its usual representational and realistic role-giving a new emotional meaning to colors. Subject in painting took a back seat. Created a strong, unified work that appears flat on canvas; it showed individual expression than typical standards of what art 'should' look like; it had bold brush strokes using paint straight from the tube instead of mixing. This is also considered non-Western art theme. Maurice de Vlaminck, Albert Marquet also joined the movement. 'Woman with a Hat' created paintings of fauvism style. For ex, 'The Dance' 109. 20th centu- ry: Cubism (1908-1920's) 110. Analytical cu- bism 111. Synthetic cu- bism originated by Pablo Picasso and Georges Braque. Artists began to look at subjects in new ways in an effort to depict 3-D on flat canvas. They would break up the subject into many different shapes and then repaint them from different angles. There are 2 types of cubism: analytical cubism & synthetic cubism. In cubism, the subject matter portrayed overlapping geometric forms. It was influenced by African tribal arts, and was a move toward abstract art. first cubism movement; artists would analyze the sub- ject and break it into different blocks. They would look at blocks at different angles and would reconstruct the subject. idea of adding in other materials in a collage. Artists would use colored paper, newspapers, and other materials to represent the different blocks of the subject. This stage introduced brighter colors and lighter mood of art. 112. Pablo Picasso 'Three Musicians' was one of his later works of cubism. It looks like the picture is made out of cut up pieces of colored paper but it is an actual painting. It is also difficult to tell where one musician begins and ends, which repre- sents the harmony of music the musicians play together. 113. Georges Braque 'Violin and Candlestick' is an analytical cubism painting where you see broken pieces of the violin and candle- stick. Many different angles and blocks of the objects are represented to the viewer. 114. 20th century: Surrealism (mid 1920's) metaphysical painting; a philosophical movement that said the way to find truth in the world through the subcon- scious mind and dreams, than logical thought. Began in France and was born out of an earlier movement called 'Dadaism' from Switz (it was a reaction against WWI and commonplace). Surrealism images explored the subcon- scious areas of the mind. Artwork was to depict dreams or random thoughts, and most often didn't make sense. Symbols were often used to tell a story, collage that used images to not associate with each other, dream imagery to show workings of the mind, and mediums to show how the art form takes either though painting, photography, literature, etc. 115. Andre Brenton founder of the surrealist movement; Although Surrealism is defined by visual art, the movement originated with more focus on cultural thinking involving literary, political, and music elements. 116. Giorgio de Chiri- co 'The Song of Love' is an early example of surrealist art, it was painted before movement began. He was trying to explain his feelings for the ridiculousness of WWI through his painting. 117. Salvador Dali 'The Persistence of Memory' famous surrealist painting; it gives you a sense that you are dreaming and that time is irrelevant. 118. 20th century: Ab- stract Impres- sionism (1950's) type of abstract painting where small brushstrokes or application with palette knife build and structure large surface areas. The artist's focus on emotions and in- ner energy, and sometimes contemplation, creative ex- pressive, lyrical, and thoughtful qualities in the paintings. Brushstrokes are similar to impressionists, except toward abstraction. It was influenced by Navajo sand paintings. 119. Jackson Pollock created paintings w/out brushstrokes and later was called action painting. He was famous for his large paintings made w/dribbles and splashes of paint. 120. Wassily Kadin- sky 121. abstract expressionism (1940's-1960's) considered father of abstract painting. began in New York after WWII; had no interest in creating recognizable images of the world we see around us; it was also called "New York School" because after the war, Paris was no longer the center of the art world. It is 2-D surface on canvas; the artist job was to express the truth of human condition-even if it was not pretty; it depicted conflicts w/the Great Depression, and other uncertainties. Also contains 'action painting'. Action painters, their art was motivated by the subconscious, revealing a deep, intimate, and personal portrait of the psyche, using colors and lines to create a work of pure, raw emotion. 122. Edward Munch used line and color to express emotion. 123. 20th centu- ry: Pop Art (1950'-1960's) made up of commercial items and cultural icons such as product labels, advertisements, and movie stars. It was a reaction towards the seriousness of abstract expres- sionism. Pop art was meant to be fun. Started in the UK then in New York City. Pop art uses images and icons that are popular in the modern world. It also used acrylics. Also represented simple, bold images of everyday items, such as soup cans, painted in bright colors. Artists were trying to be new and different and were inspired by the store-bought products and celebrities they painted. 124. Andy Warhol 'Eight Elvises' The repeating pictures get closer together as they move toward the right and overlap each other giving the picture a feeling of infinity. Warhol is the most famous Pop artist. 125. Roy Lichtenstein 'Drowning Girl' made to look like a scene from a comic book. Artist even painted w/dots that are often seen in comic books. 126. 20th centu- ry: American Regional Art (1930's-1940's) rural art; included paintings, murals, lithographs, and illus- trations depicting realistic scenes of rural and small-town America primarily in the Midwest and Deep South. It arose in the 1930's as a response to the Great Depression, and ended in the 1940's due to the end of World War II and a lack of development within the movement. 127. Grant Wood 'American Gothic' (1930). [Show Less]