References from wikipedia and Peter and Linda Murray, Dictionary of art & Artists (Penguin books).

THE HISTORY OF ART FROM 17300 YEARS OLD...

FROM FRANCE, LASCAUX CAVES, FAMOUS FOR ITS PALEOLITHIC PAINTINGS. THESE PAINTINGS ARE ESTIMATED TO BE 17300 YEARS OLD. THESE PAINTINGS ARE FROM THE CONTEMPORARY ART.


NOW I WILL START FROM OUR CIVILISATION, ABOUT 1200 AFTER JC.

GOTHIC ART 12th century to 16th century    (From Peter and Linda Murray)
GOTHIC IS A TERME NORMALLY USED TO DESCRIBE THE ARCHITECTURAL STYLE OF N. EUROPE FROM THE EARLY 12th CENTURY UNTIL THE 16th, AND, AS SUCH, HAS NO PLACE IN THIS DICTIONARY. IT IS, HOWEVER, OFTEN USED TO DESCRIBE THE OTHER ARTS OF THE SAME PERIOD, PARTICULARLY WHEN EMPHASIZING THEIR TRANSCENDENTAL QUALITIES IN CONTRADISTINCTION TO RENAISSANCE ART. THE PHRASE "LATE GOTHIC" IS USEFUL IN THIS CONNECXION, SINCE IT MEANS THAT ARTISTS SUCH AS NOTKE, HOLBEIN THE ELDER, AND EVEN GRUNE-WALD CONTINUED TO PRACTISE A STYLE WHICH WAS NOT AFFECTED BY RENAISSANCE IDEAS, AS LATE AS THE END OF THE 15th CENTURY AND INTO THE 16th. THE GENUINE GOTHIC ART OF FRANCE IN THE 14th CENTURY INFLUENCED SOME ITALIANS, NOTABLY SIMONE MARTINI, AND THE RESULT OF THIS WAS THE STYLISTIC OFFSHOOT KNOWN AS INTERNATIONAL GOTHIC.

ILLUSIONISM (TROMPE L'OEIL) 1474    (from Peter and Linda Murray)
IS THE VIRTUOSO USE OF PICTORIAL TECHNIQUES SUCH AS PERSPECTIVE AND FORESHORTENING TO DECEIVE THE EYE INTO TAKING THAT WHICH IS PAINTED FOR THAT WHICH IS REAL. THE PRINCIPAL MOMENTS WHEN THIS WAS PRACTISED WERE THE LATE ANTIQUE PERIODE (AT POMPEI AND ELSE-WHERE) AND THE ITALIAN BAROQUE, WHEN IT WAS COMMON TO USE SCULTURAL AND ARCHITECTURAL MEANS TO HEIGHTEN THE IMPRESSION OF ACTUALITY,E.G. BY USING PLASTER FIGURES IN THREE DIMENSIONS ATTACHED TO A FRAME SO THAT THE PAINTED AND CARVED FIGURES ARE INDISTINGUISHABLE. ONE OF THE FIRST PIECES OF ILLUSIONISM IS, HOWEVER, THE CAMERA DEGLI SPOSI AT MANTUA BY MANTEGNA, COMPLETED IN 1474. WHEN SUCH TECHNICAL SKILL IS LAVISHED ON THINGS LIKE A FLY PAINTED ON A FRAME OR A VIEW THROUGH A NON-EXISTENT WINDOW THE FRENCH TERM TROMPE-L'OEIL IS OFTEN USED, WHILE THE ITALIAN WORD QUADRATURISTA IS SOMETIMES USED FOR THE PROFESSIONAL PAINTER OF ILLUSIONIST DECORATIONS (QUADRATURE).

MANNERISM 1520-1600 (Peter and Linda Murray)
IS A TERM DEVELOPED IN THE PRESENT CENTURY TO DESCRIBE THE ARTISTIC MANIFESTATIONS, PRINCIPALLY ITALIAN, OF THE PERIOD 1500-1600. DURING THESE YEARS MANY MAJOR WORKS WERE PRODUCED WHICH CANNOT BE CALLED RENAISSANCE OR BAROQUE WITHOUT RENDERING THESE TERMS MEANINGLESS. THE WORLD MANIERA, FROM WHICH MANNERISM IS DERIVED,WAS USED BY VASARI (HIMSELF A NOTORIOUS PRACTITIONER) TO DESCRIBE THE SCHEMATIC QUALITY OF MUCH OF THE WORK PRODUCED, BASED ON INTELLECTUAL PRECONCEPTIONS RATHER THAN DIRECT VISUAL PERCEPTIONS. THERE ARE WORKS IN ANTWERP, BERLIN, BIRMINGHAM (GALL, AND BARBER INST.), BOSTON (GARDNER MUS.), CAMBRIDGE (FITZWM), CAMBRIDGE MASS. (FOGG), LENINGRAD, LONDON (COURTAULD INST.), NAPLES, NEW HAVEN CONN. (JARVES COLL.), NEW YORK (MET. MUS.) ORVIETO (CATH.), OTTAWA, PARIS (LOUVRE), SIENA (S. AGOSTINO), THE VATICAN, WASHINGTON (NG), AND ELSEWHERE.

BAROQUE 1630-1680 (Peter and Linda Murray)
THIS IS THE STYLE THAT SUCCEEDED MANNERISM AND LASTED, THOUGH WITH PROFOUND MODIFICATIONS, UNTIL WELL INTO THE 18th CENTURY. THE STYLE IS SEEN AT ITS PUREST IN THE SO-CALLED "HIGH BAROQUE", WHICH IS VIRTUALLY CINFINED TO ITALY (TO ROME EVEN) AND TO THE PERIOD COVERED BY THE YEARS 1630-1680, THAT IS, ROOUGHLY THE MATURITY OF ITS GREATEST EXPONENT, BERNINI. THE HIGH BAROQUE, AT ITS BEST FULLEST, IS A UNION OF ARTS OF ARCHITECTURE, PAINTING, AND SCULPTURE, ACTING IN CONCERT ON THE EMOTIONS OF THE SPECTATOR; INVITING HIM, FOR EXAMPLE, TO PARTICIPATE IN THE AGONIE AND ECSTASIES OF THE SAINTS. ITS BLEND OF ILLUSIONISM, LIGHT AND COLOUR, AND NOVEMENT IS CALCULATED TO OVERWHELM THE SPECTATOR BY A DIRECT EMOTIONAL APPEAL. EVEN RUBENS, THE GREATEST NORTHERN BAROQUE ARTIST, SOMETIMES ALLOWED HIMSELF TO BE USED IN THIS WAY. LATE BAROQUE MERGES ALMOST IMPERCEPTIBLY INTO THE ROCOCO AND THE AGE OF REASON FINALLY REJECTED BOTH AND PRODUCED NEOCLASSICISM.

NEOCLASSICISM 1603-77 (Peter and Linda Murray)
IS THE NAME GIVEN TO THE MOVEMENT WHICH ORIGINATED IN ROME IN THE MIDDLE OF THE 18th CENTURY AND SPREAD RAPIDLY OVER THE CIVILIZED WORLD. IT AROSE PARTLY IN REACTION AGAINST THE 'EXCESSES' OF BAROQUE AND ROCOCO-THE FORMER OF WHICH WAS ALSO LARGELY A ROMAN MOVEMENT-AND PARTLY FROM A GENUINE DESIRE TO RECREATE THE ART OF GREECE AND ROME, A DESIRE MUCH STIMULATED BY THE CHIEF PROPHET OF THE MOVEMENT, WINCKELMANN. FROM 1748 THE DISCOVERIES AT HERCULANEUM AND POMPEII GAVE IMPETUS TO THE MOVEMENT-IT HAS BEEN RAGUED THAT CREATED IT-BUT, EVEN MORE IMPORTANT THEY PROVIDED SOME EVIDENCE OF WHAT ANCIENT ART ACTUALLY LIKE. SOME OF THE PRINCIPAL EXPONENTS OF VARIOUS FORMS OF NEOCLASSICISM WERE BARRY, CANOVA, FLAXMAN, HAMILTON, MENGS, PIRANESI, THORWALDSEN, VIEN, AND WEST.

ROCOCO 1730 (Peter and Linda Murray )
IMMEDIATELY AFTER THE DEATH OF LOIS XIV OF FRANCE IN 1715 THERE WAS A REACTION OF RELIEF AGAINST THE EXCESSIVE SPLENDOURS AND POMPS OF VERSAILLES AND THE WHOLE CEREMONIAL ROI SOLEIL WAY OF LIFE. ONE OF THE RESULTS WAS TO TRANSFER THE CENTRE OF FRENCH LIFE BACK TO PARIS AND TO BUILD NEW TOWN HOUSES WHICH WERE BOTH SMALLER AND MUCH MORE COMFORTABLE THAN THE BAROQUE PALACES. ROCOCO-WHICH COMES FROM A FRENCH WORD ROCAILLE, MEANING ROCK-WORK- IS BASICALLY A STYLE OF INTERIOR DECORATION, AND CONCISTS PRINCIPALLY IN THE USE OF C SCROLLS AND COUNTER-CURVES, AND, IN ITS FULLEST FORM AROUND 1730, ASYMMETRICAL ARRANGEMENTS OF CURVES IN PANELLING AND ELSEWHERE. PORCELAIN, AND GOLD AND SILVERSMITHS' WORK OF THE FIRST HALF OF THE 18th CENTURY EXEMPLIFY THE TENDENCIES ADMIRABLY. THE CHARACTERISTICS OF SMALL CURVES, PRETTINESS, AND GAIETY CAN ALSO BE FOUND IN PAINTING AND SCULPTURE OF THE PERIOD - WATTEAU AND BOUCHER, AND EVEN, IN A VERY MODIFIED FORM, IN HOGARTH, NEVERTHELESS, ENGLAND DID NOT TAKE TO ROCOCO AND IN FRANCE IT FELL OUT OF FASHION IN THE 1740s TO BE DECISIVELY SUPERSEDED BY THE EARNEST IDEALS AND REPUBLICAN ROMAN VIRTUE OF NEOCLASSICISM, WHICH WAS LARGELY PROPAGATED BY GERMANS. YET THE ONE COUNTRY IN WHICH THE ROCOCO PRODUCED NUMEROUS GREAT WORKS OF ART (AND NOT MERELY AMUSING INTERIORS) WAS GERMANY, OR RATHER, GERMANY AND AUSTRIA. THERE, IN THE CATHOLIC SOUTH, THE STYLE PRODUCED SCORES OF ABSURDLY BEAUTIFUL CHURCHES AND STATUES, BY ARTISTS LIKE IGNAZ GUNTHER, WHICH ARE ELEGANT, MODISH, AND DEEPLY MOVING. TIEPOLO, AND GOYA ALL PRODUCED MASTERPIECES, BUT ROCOCO HAD LITTLE CURRENCY IN ITALY AND SPAIN.

HISTORY PAINTING LATE 18th CENTURY (Peter and Linda Murray)
IN FULLY DEVELOPED ACADEMIC THEORY, IS THE NOBLEST FORM OF ART AND CONSISTS OF GENERALIZED REPRESENTATIONS OF THE PASSIONS AND INTELLECT AS SYMBOLIZED IN CLASSICAL HISTORY OR MYTHOLOGY OR IN SUBJECTS TAKEN FROM CHRISTIAN ICONOGRAPHY. THE WORD "HISTOTY" WAS USUALLY MEANT TO REFER TO ANCIENT HISTORY AND MYTHOLOGY, BUT THE CHRISTIAN STORY WAS ADMITTED AS CONFORMABLE TO THE HIGHEST FLIGHTS OF IMAGINATIVE ART. MODERN HISTORY, AND PARTICULARY SUBJECTS WHICH INVOLVED MODERN DRESS INSTEAD OF NONDESCRIPT DRAPERY, WAS ADMITTED ONLY IN THE LATE 18th CENTURY IN ENGLAND (WEST'S DEATH OF WOLFE IS ONE OF THE CLASSIC EXAMPLES) AND EVEN LATER ELSEWHERE. THE THEORY OF HISTORY PAINTING WAS PUSHED TO EXTREMES BY MEN LIKE HAYDON, WHO DIED OF IT, BUT IT WAS ALSO TRULY RESPONSIBLE FOR SOME OF THE GREATEST WORKS OF SUCH MASTERS AS RAPHAEL AND POUSSIN.

REALISM ART (Wikipedia)
OR NATURALISM. IN THE ARTS IS THE ATTEMPT TO REPRESENT SUBJECT MATTER TRUTHFULLY, WITHOUT ARTIFICIALITY AND AVOIDING ARTISTIC CONVENTIONS, IMPLAUSIBLE, EXOTIC AND SUPERNATURAL ELEMENTS. FOR EG, THE PAINTING OF GUSTAVE COUBERT 



AVANT-GARDE ART 1825 (Wikipedia)
STARTED IN 1825, ARE PEOPLE OR WORKS THAT ARE EXPERIMENTAL OR INNOVATIVE, PARTICULARY WITH RESPECT TO ART, CULTURE AND POLITICS. THE AVANT-GARDE PUSHES THE BOOUNDARIES OF WHAT IS ACCEPTED AS THE NORM, PRIMARILY IN THE CULTURAL REALM.

FOR EG, PICASSO.


IMPRESSIONISM 1872 (Peter and Linda Murray)
WAS  THE DERISIVE NAME GIVEN TO THE MOST IMPORTANT ARTISTIC PHENOMENON OF THE 19th CENTURY AND THE FIRST OF THE MODERN MOVEMENTS. THE NAME WAS DERIVED FROM A PICTURE BY MONET, IMPRESSION, SUNRISE (1872: PARIS, MUSEE MARMOTTAN), WHICH REPRESENTS THE PLAY OF LIGHT ON WATER, WITH THE SPECTATOR LOOKING STRAIGHT INTO THE RISING SUN. THE OCCASION OF THE DERISION WAS THE FIRST IMPRESSIONIST EXHIBITION, HELD IN 1874, WHEN MONET, RENOIR, SISLEY, PISSARRO, CEZANNE, DEGAS, GUILLAUMIN, BOUDIN, BERTHE MORISOT, AND OTHERS HELD AN INDEPENDENT EXHIBITION. IN FACT, THE TRUE AIM OF IMPRESSIONISM WAS TO ACHIEVE EVER GREATER NATURALISM, BY EXACT ANALYSIS OF TONE AND COLOUR AND BY TRYING TO RENDER THE PLAY OF LIGHT ON THE SURFACE OF OBJECTS. THIS IS A FORM A SENSUALISM IN WHICH TRADITIONAL IDEAS OF COMPOSITION AND DRAWING-THAT IS, PUTTING A LINE ROUND A CONCEPT-WERE BOUND TO SUFFER, IMPRESSIONIST INTEREST IN COLOUR AND LIGHT WAS LAST PARTLY DUE TO THE RESEARCHES INTO THE  PHYSICS OF COLOUR CARRIED OUT BY SCIENTISTS LIKE CHEVREUL; AND THE IDEA THAT AN OBJECT OF ANY GIVEN COLOUR CAST A SHADOW TINGED WITH ITS COMPLEMENTARY WAS (THOUGH KNOWN ALREADY TO DELACROIX) ONE OF THE PRINCIPAL WAYS IN WHICH THEY ANIMATED THE SURFACE OF THEIR CANVASES. IN THE COURSE OF TIME THESE TECHNICAL DEVICES BECAME PETRIFIED INTO A QUASI-SCIENTIFIC METHOD OF APPLYING PAINT ( NEO-IMPRESSIONISM) WHICH WAS SUPPOSED TO GIVE THE MAXIMUM OF TRUTH-OPTICAL TRUTH-TO NATURE; IT ALSO LED NATURALLY TO POST-IMPRESSIONISM; THAT IS, TO A PURELY ARTISTIC AND ANTI-NATURALISTIC MOVEMENT. THE GREAT DECADE OF IMPRESSIONISM WAS 1870-1880, BUT MOST OF THE MAJOR FIGURES, SUCH AS MONET, PISSARRO, AND SISLEY, CONTINUED TO PRODUCE MASTERPIECE IN A MORE OR LESS IMPRESSIONIST STYLE FOR MANY MORE YEARS. DEGAS, RENOIR, AND CEZANNE WERE ONLY DUBIOUSLY IMPRESSIONISTS EVEN IN THE 70s (MANY OF THE ORIGINAL GROUP FELT THAT CEZANNE WAS MORE THAN THEY COULD SWALLOW) AND THEY VERY SOON MOVED AWAY FROM IT. 

NEO-IMPRESSIONISM
1884 (Peter and Linda Murray)
HAS, PROPERLY SPEAKING, LITTLE TO DO WITH IMPRESSIONISM. IN ITS PUREST FORM, AS IT IS FOUND IN SEURAT, IT INVOLVES THE USE OF DIVISIONISM AND TOO CONSCIOUSLY APPLIED BY THE ARTIST TO HAVE MUCH RELATION TO THE FLEETING COLOUR EFFECTS AND THE ACCIDENTAL, 'SNAPSHOT' COMPOSITION OF IMPRESSIONISM. NEO-IMPRESSIONISM WAS FIRST SEEN IN AN EXHIBITION HELD IN 1884 IN PARIS BY THE SALON DES ARTISTES INDEPENDANTS, WHERE SEURAT EXHIBITED THE BATHERS AT ASNIERES (LONDON,TATE), AND IN 1886 SEURAT, SIGNAC, AND PISSARRO ALL SHOWED WORKS BASED ON SEURAT'S THEORIES AT THE LAST IMPRESSIONIST EXHIBITION, HENCE THE TENDENCY TO REGARD THE MOVEMENT AS AN OFFSHOOT OF IMPRESSIONISM. ACCORDING TO SIGNAC IT GUARANTEED ALL THE BENEFITS OF LUMINOSITY, COLOUR, AND HARMONY BY THE OPTICAL MIXTURE OF PURE PIGMENTS (ALL THE COLOURS OF THE PRISM AND ALL THEIR TONES); BY THE SEPARATION OF DIFFERING ELEMENTS (LOCAL COLOUR, THE COLOUR OF THE LIGHT, AND THEIR INTERACTIONS); BY THE BALANCING OF THESE ELEMENTS AND THEIR PROPORTIONS (ACCORDING TO THE LAWS OF CONTRAST, OF GRADATION, AND IRRADIATION); BY THE SELECTION OF A SIZE OF TOUCH PROPORTIONATE TO THE SIZE OF THE PICTURE. THE THEORY HAD A STRONG BUT PASSING EFFECT ON VAN GOGH DURING HIS YEARS IN PARIS (1886-8), ON GAUGUIN 1886, ON TOULOUSE-LAUTREC 1887, AND ON SEGANTINI 1891; OTHER ADHERENTS INCLUDE MAXIMILIEN LUCE 1858-1941, HENRI-EDMOND CROSS 1856-1910, CHARLES ANGRAND 1854-1926, ALBERT DUBOIS-PILLET 1846-1890. AND THEO VAN RYSSELBERGHE 1862-1926.

EXPRESSIONISM 20th CENTURY (Peter and Linda Murray)
THE SEARCH FOR EXPRESSIVENESS OF STYLE BY MEANS OF EXAGGERATIONS AND DISTORTIONS OF LINE AND COLOUR; A DELIBERATE ABANDON OF THE NATURALISM IMPLICIT IN IMPRESSIONISM IN FAVOOUR OF A SIMPLIFIED STYLE WHICH SHOULD CARRY FAR GREATER EMOTIONAL IMPACT. IN THIS GENERAL SENSE OF EMOTIONAL FORCE EXPRESSIONISM IS A FEATURE OF NON-MEDITERRANEAN ART IN GENERAL, GRUNEWALD BEING THE STANDARD EXAMPLE. IN THE MORE LIMITED CONTEXT OF MODERN ART, THE EXPRESSIONISM MOVEMENT MAY BE SAID TO SPRING FROM VAN GOGH'S USE OF DRASTICALLY SIMPLIFIED OUTLINE AND VERY STRONG COLOUR. IN FRANCE THIS HAS CLEAR AFFINITIES WITH FAUVISM, BUT THE PRINCIPAL EXPONENTS, APART FROM TOULOUSE-LAUTREC, WERE MOSTLY GERMAN (OR AT LEAST ''NORDIC", LIKE THE NORWEGIAN MUNCH, WHOSE HYSTERICAL ART IS ONE OF THE FOUNDATIONS OF THE MOVEMENT). THE TENDENCY TO A SENTIMENTAL HYSTERIA AND THE CLEAR DERIVATION FROM NEGRO ART ARE TWO OF THE FACTORS WHICH EXPLAIN HITLER'S DENUNCIATION OF "DEGENERATE ART" AND THE ESTEEM IT NOW ENJOYS. THE BRUCKE AND THE BLAUE REITER ARE TWO OF THE PRINCIPAL SUB-GROUPS, WHILE SOME OF THE MAJOR INDIVIDUAL ARTISTS ARE BECKMANN, ENSOR, NOLDE, KOKOSCHKA, ROUAULT, AND SOUTINE. THE NATURE OF THEIR SUBJECT-MATTER AND THE EMPHASIS PLACED ON OUTLINE ARE TWO REASONS FOR THE IMPORTANT PART PLAYED BY EXPRESSIONISM GRAPHIC ART.

ART NOUVEAU 1890s (Peter and Linda Murray)
WAS A "NEW ART" WHICH SPREAD ACROSS EUROPE AND AMERICA IN THE 1890s. IT WAS MAINLY A STYLE OF ARCHITECTURE AND INTERIOR DECORATION (HORTA, VAN DE VELDE) AND FLOURISHED IN BELGIUM AND BRITAIN ESPECIALLY, USING FLAT PATTERNS OF WRITHING VEGETABLE FORMS BASED ON A NATURALISTIC CONCEPTION OF PLANTS RATHER THAN A FORMALIZED TYPE OF DECORATION. CAST-IRON LILIES AND COPPER TENDRILS ARE STILL WITH US, AS IS FURNITURE WITH HEART-SHAPED HOLES IN IT. ENSOR WAS ASSOCIATED WITH THE CREATORS OF THE MOVEMENT IN BELGIUM, BUT HE IS MUCH LESS TYPICAL THAN MORRIS, WHOSE ARTS AND CRAFTS MOVEMENT MAY BE THE PROGENITOR OF ART NOUVEAU, OR BETTER STILL, BEARDSLEY, WHOSE DRAWINGS APPEARED IN THE FIRST ISSUE OF "THE STUDIO" 1893, A PERIODICAL WHICH HELPED TO SPREAD THE STYLE. IN GERMANY THE MOVEMENT WAS CALLED JUGENDSTIL, AFTER A MAGAZINE "JUGEND" (YOUTH), WHICH WAS FIRST PUBLISHED IN 1896.

CONTEMPORARY ART 1910 (Wikipedia)
THE CONTEMPORARY ART PRODUCED AT THE PRESENT PERIODE IN TIME. CONTEMPORARY ART INCLUDES, AND DEVELOPS FROM, POST MODERN ART, WHICH IS ITSELF A SUCCESSOR TO MODERN ART. THE CLASSIFICATION OF CONTEMPORARY ART AS A SPECIAL TYPE OF ART, RATHER THAN A GENERAL ADJECTIVAL PHRASE, GOES BACK TO THE BEGINNINGS OF MODERNISM IN THE ENGLISH SPEAKING WORLD. IN LONDON, THE CONTEMPORARY ART SOCIETY WAS FOUNDED IN 1910 BY THE CRITIC ROGER FRY.
FOR EG, PALEOLITHIC PAINTING FROM LASCAUX CAVES-17300 YEARS OLD. (from Wikipedia)



FUTURISM ART 1910 (Wikipedia)
WAS AN ARTISTIC AND SOCIAL MOVEMENT THAT ORIGINATED IN ITALY IN THE 20th CENTURY. IT EMPHASIZED AND GLORIFIED THEMES ASSOCIATED WITH CONTEMPORARY CONCEPTS OF THE FUTUR, INCLUDING SPEED, TECHNOLOGY, YOUTH AND VIOLENCE, AND OBJECTS SUCH AS THE CAR, AEROPLANE, INDUSTRIAL CITY. THE FUTURISM PRACTISED IN EVERY MEDIUM OF ART.
FOR EG, GIACOMO BALLA (1913).



ABSTRACT EXPRESSIONISM ART 1919 (Wikipedia)
THE TERM ABSTRACT EXPRESSIONISM WAS FIRST APPLIED IN GERMANY IN 1919 IN THE MAGAZINE DER STURM, REGARDING GERMAN EXPRESSIONISM. ABSTRACT EXPRESSIONISM HAS MANY STYLISTIC SIMILARITIES TO THE RUSSIAN ARTISTS OF THE EARLY 20th CENTURY SUCH AS WASSILY KANDINSKY. ABSTRACT ART CLEARLY IMPLIED  EXPRESSION OF IDEAS CONCERNING THE SPIRITUAL, THE UNCONSCIOUS AND THE MIND.

FOR A EG, JACKSON POLLOCK 1948 (from Wikipedia) 



CUBISM ART 1900/1920 (Wikipedia)
IN THE EARLY 20th- CENTURY ART MOVEMENT PIONEERED BY GEORGES BRAQUE, FERNAND LEGER, PABLO PICASSO. THAT REVOLUTIONIZED EUROPEAN PAINTING AND SCULPTURE. A PRIMARY INFLUENCE THAT LED TO CUBISM WAS THE REPRESENTATION OF THREE DIMENTIONAL FORM IN THE LATE WORK OF PASCAL CEZANNE. IN CUBIST ART WORK, OBJECTS ARE ANALYSED, BROKEN UP AND REASSEMBLED IN AN ABSTRACTED FORM.

FOR EG, GEORGES BRAQUE (VIOLIN AND CANDLESTICK-1910).



SURREALISM ART 1920 (Wikipedia)
SURREALISM IS A CULTURAL MOVEMENT THAT BEGAN IN THE EARLY 1920s. SURREALISM ART WAS THE MUST FANTASTIC MOVEMENT IN 20th CENTURY. FROM (MERRIAM WEBSTER): THE PRINCIPLES, IDEALS, OR PRACTICE OF PRODUCING FANTASTIC OR INCONGRUOUS IMAGERY OR EFFECTS IN ART, LITERATURE, FILM OR THEATER BY MEANS OF UNNATURAL 0R IRRATIONAL JUXTAPOSITIONS AND COMBINATIONS.
EG, DALI



POP ART 1950 (Wikipedia)
IS AN ART MOVEMENT THAT EMERGED IN THE MID 1950s IN BRITAIN AND IN THE LATE 1950s IN THE USA. POP ART PRESENTED A CHALLENGE TO TRADITIONS OF FINE ART BY INCLUDING IMAGERY FROM POPULAR CULTURE SUCH AS ADVERTISING, NEWS ETC. POP ART AND MINIMALISM ARE CONSIDERED TO BE ART MOVEMENTS THAT PRECEDE POSTMODERN ART.
EG, RICHARD HAMILTON'S COLLAGE-1956.



PHOTOREALISM ART 1970 (Wikipedia)
IS THE GENRE OF PAINTING BASED ON USING THE CAMERA AND PHOTOGRAPHS TO GATHER INFORMATION AND THEN FROM THIS INFORMATION, CREATING A PAINTING THAT APPEARS TO BE VERY REALISTIC LIKE A PHOTOGRAPH. PHOTOREALISM EVOLUED FROM POP ART AND AS A COUNTER TO ABSTRACT EXPRESSIONISM.
EG, JOHN BAEDER (JOHN'S DINER 2007).



OUTSIDER ART 1972 (Wikipedia)
THE TERM OUTSIDER ART WAS COINED BY ART CRITIC ROGER CARDINAL IN 1972 AS AN ENGLISH SYNONYM FOR ART BRUT (RAW ART). A LABEL CREATED BY FRENCH ARTIST JEAN DUBUFFET TO DESCRIBE ART OUTSIDE THE BOUNDARIES OF OFFICIAL CULTURE.
EG, JEAN DUBUFFET.




It is not always possible to identify your work from a definition. That why I decided to design a definition that will represent the type of work I, and others do, principally for this new category: Avant-garde/Surrealism.

AVANT-GARDE/SURREALISM (1996)
ARE PEOPLE OR WORKS THAT ARE EXPERIMENTAL OR INNOVATIVE. PURE PSYCHIC AUTOMATISM, BY WHICH IT IS INTENTED TO EXPRESS VERBALLY, IN WRITING OR IN ANY OTHER WAY, THE PROCESS OF THOUGT (from Apollinaire 1917), AND TO INTENT TO EXTRACT IMAGES OR MESSAGES FROM PERSONAL STRUCTURE OF DNA (from drj mathieu 1996).

 


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