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Q1 Arts 10 Module 2.pptx
- 1. Characteristics of Artsfrom the Various Art Movements Arts 10 Module 2
- 2. • I. IMPRESSIONISM INSPIRATIONTECHNIQUE COLOR ORIGIN/ARTISTS Effects of experience upon the consciousness of the artist and the audience Vividness (clear, bright)and immediacy (important, interesting) of nature and life Short brisk strokes of bright colors Glowing colors Light and color to the picture than with subject matter developed in Europe in the mid-1800 French Art/ Claude Monet Auguste Renoir Paul Cezanne Vincent Van Gogh Impressionism
- 3. •Post-Impressionism, represented bothan extension of impressionism and a rejection of that styles’ inherent limitations. The European artists who were the forefront of this movement continued using the basic qualities of the impressionism such as the vivid colors, heavy brush strokes, and true- to-life subjects. However, they expanded with bold new ways like using geometric approach, fragmenting objects, and distorting people’s faces and body parts, and applying colors that were not necessarily realistic or natural.
- 4. II. EXPRESSIONISM Natural formsand colors are distorted and exaggerated. Heavy black lines, strong colors
- 5. INSPIRATION TECHNIQUE COLORORIGIN/ARTISTS Subjective (based on feelings or opinions) treatment of thematic materials Gives visual form to inner sensations or emotions: morbidity (incidence of disease), violence, chaos, tragedy and defeat) Natural forms and colors are distorted and exaggerated Heavy black lines, strong colors that define form, sharply contrasting Developed in Europe early 1900s Franz Marc Pablo Picasso Henri Matisse Edward Munch
- 6. SUB-MOVEMENTS OF EXPRESSIONISM NEOPRIMITIVISM was anart style that incorporated elements from the native arts of the South Sea Islanders and the wood carvings of African tribes which suddenly became popular at that time. Among the Western artists who adapted these elements was Amedeo Modigliani, who used the oval faces and elongated shapes of African art in both his sculptures and paintings A Russian art which fuses the elements of cubism and futurism with body modification
- 7. Head • Amedeo Modigliani,c. 1913 • Stone
- 8. •FAUVISM was astyle that used bold, vibrant colors and visual distortions. Its name was derived from les fauves (“wild beasts”), referring to the group of French expressionist painters who painted in this style. Perhaps the most known among them was Henri Matisse •Highly fashionable, bold use of color, play use of lines and colors.
- 9. Blue Window • HenriMatisse, 1911 • Oil on canvas
- 10. DADAISM was astyle characterized by dream fantasies, memory images, and visual tricks and surprises—as in the paintings of Marc Chagall and Giorgio de Chirico below. Anti-art, anti-war, had political affinities with the radical left and was also anti-bourgeois (capitalist).
- 12. SURREALISM It was astyle that depicted an illogical, subconscious dream world beyond the logical, conscious, physical one. Its name came from the term “super realism,” with its artworks clearly expressing a departure from reality—as though the artists were dreaming, seeing illusions, or experiencing an altered mental state. 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.
- 13. Persistence of Memory •Salvador Dali, 1931 • Oil on canvas
- 14. SOCIAL REALISM • expressedthe artist’s role in social reform. Here, artists used their works to protest against the injustices, inequalities, immorality, and ugliness of the human condition. In different periods of history, social realists have addressed different issues: war, poverty, corruption, industrial and environmental hazards, and more—in the hope of raising people’s awareness and pushing society to seek reforms. • Draw attention to the everyday conditions of the working classes and the poor, and who are critical of the social structures that maintain these conditions
- 16. III. ABSTRACTIONISM • Alsocalled non-objective art or non-representational art, painting, sculpture, or graphic art in which the portrayal of things from the visible world plays no part. All arts consist largely of elements that can be called abstract—elements of form, color, line, tone, and texture. Prior to the 20th century, these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.
- 17. INSPIRATION TECHNIQUE COLORORIGIN/ARTISTS Conceived apart from realities or specific objects Extension of cubism with its fragmentation of the object. Emphasizing lines, colors and geometric forms Distortion of shapes Arbitrary or random (done without concern) use of color Piet Mondrian, Dutch Wassily Kandinsky, Russian
- 18. SUB-MOVEMENTS OF ABSTRACTIONISM • CUBISMhighly influential visual arts style of the 20th century that was created principally by the artists Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat, two- dimensional surface of the picture plane, rejecting the traditional techniques of perspective, foreshortening, modelling, and chiaroscuro and refuting time- honored theories that art should imitate nature. Cubist painters were not bound to copying form, texture, color, and space. Instead, they presented a new reality in paintings that depicted radically fragmented objects.
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- 20. FUTURISM FUTURISM Italian Futurismo,Russian Futurism, early 20th-century artistic movement centered in Italy that emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and restlessness of modern life. During the second decade of the 20th century, the movement’s influence radiated outward across most of Europe, most significantly to the Russian avant-garde. The most-significant results of the movement were in the visual arts and poetry.
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- 22. MECHANICAL STYLE • MECHANICALSTYLE the result of futurist movement. In this style, basic forms such as planes, cones, spheres and cylinders all fit together perfectly and precisely with neatness in their appointed places.
- 23. The City Fernand Léger,1919 Oil on canvas
- 24. • NONOBJECTIVISM Thelogical geometrical conclusion of abstractionism came in the style known as non-objectivism. • From the very term “non-object,” works in this style did not make use of figures or even representations of figures. They did not refer to recognizable objects or forms in the outside world. • Lines, shapes, and colors were used in a cool, impersonal approach that aimed for balance, unity, and stability. Colors were mainly black, white, and the primaries (red, yellow, and blue).Foremost among the non- • objectivists was Dutch painter Piet Mondrian.
- 25. New York City •Piet Mondrian, 1942 •Oil on canvas
- 26. IV. ABSTRACT EXPRESSIONISM • Despitethis variety, Abstract Expressionist paintings share several broad characteristics. They often use degrees of abstraction; i.e., they depict forms unrealistically or, at the extreme end, forms not drawn from the visible world (non-objective). They emphasize free, spontaneous, and personal emotional expression and they exercise considerable freedom of technique and execution to attain this goal, with a particular emphasis laid on the exploitation of the variable physical character of paint to evoke expressive qualities (e.g., sensuousness, dynamism, violence, mystery, and lyricism).
- 27. •Uses visual languageof shape, form, color and line to create a composition. •
- 28. SUB MOVEMENT OF ABSTRACT EXPRESSIONISM POPART • - art in which common place objects (such as comic strips, soup cans, road signs, and hamburgers) were used as subject matter and were often physically incorporated into the work.
- 29. INSPIRATION TECHNIQUE COLORSORIGIN/ARTIST Taken from mass culture impact on commercial, graphic, and fashion design. images reflected the materialism and vulgarity of modern mass culture, they sought to provide a perception of reality Materials of modern technology, such as plastic, urethane foam, and acrylic paint, often figured prominently 1950-60’ United States and Britain
- 30. OPTICACAL (OP) ART • alsocalled optical art, branch of mid-20th-century geometric abstract art that deals with optical illusion. Achieved through the systematic and precise manipulation of shapes and colors, the effects of Op art can be based either on perspective illusion or on chromatic tension; in painting, the dominant medium of Op art, the surface tension is usually maximized to the point at which an actual pulsation or flickering is perceived by the human eye
- 31. INSPIRATION TECHNIQUE COLORSORIGIN/ARTIST Works are abstract Hidden images, flashing and vibrating patterns, or of swelling or warping. Style of visual art that uses optical illusions they give the viewer the impression of movement Black and white (dominant) traced back to Neoimpressionism, cubism, futurism and constructivism and Dadaism
- 33. V. CONTEMPORARY ARTFORM • A. INSTALLATION ART has joined the larger sculptural repertoire, and outdoor settings— both in open natural spaces and in urban environments—attracted much interest. Pasyon at Rebolusyon Santiago Bose, 1989 Mixed media installation
- 34. INSPIRATION TECHNIQUE ORIGIN/ARTIST Thehanging of pictures or the arrangement of objects in an exhibition. Installation is a sitespecific artwork. . Uses scrap, metals, plastic or any recyclable materials Installations generally are exhibited for a relatively brief period and then dismantled, leaving only documentation Pop art–era of the late 1950s and 60s. The most notable are Allan Kaprow’s
- 35. PERFORMANCE ART • Performance artis a form of modern art in which the actions of an individual or a group at a particular place and in a particular time constitute the work. • The performance venue may range from an art gallery or museum to a theatre, café, bar, or street corner. The performance itself rarely follows a traditional •story line or plot. It might be a series of intimate gestures, a grand theatrical act, or the performer remaining totally still. It may last for just a few minutes or extend for several hours. It may be based on a written script or spontaneously improvised as the performance unfolds.
- 37. INSPIRATION TECHNIQUE ORIGIN/ARTIST Presentedto an audience, may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Postmodernist traditions in Western culture.
- 38. Activity 1 • Giveyour impressions about these great masterpieces
- 39. Activity 2 • OBSERVATIONTHINK SHEET
- 40. Directions: Closely observethe modern artwork and give your thoughts. • What kind of things do you see in the artwork? How would you describe them? What information can you get from it? • What elements and/or principles did the artist use? Where do you notice them? What makes you notice them first?
- 41. Additional Activity These aremy masterpieces! Paint at least one from each movement: a. Sub- movement of expressionism b. Sub-movement of abstractionism c. Sub-movement of abstract expressionism