ARTISTS

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Symbolism (arts) Distinct from, but related to, the style of literature, symbolism of art is related to the gothic component of Romanticism. The term "symbolism" is derived from the word "symbol" which derives from the Latin symbolum, a symbol of faith, and symbolus, a sign of recognition, in turn from classical Greek συμβόλον symbolon, an object cut in half constituting a sign of recognition when the carriers were able to reassemble the two halves. In ancient Greece, the symbolon, was a shard of pottery which was inscribed and then broken into two pieces which were given to the ambassadors from two allied city states as a record of the alliance. The symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. Symbolism (arts)
Children's literature A mother reads to her children, depicted by Jessie Willcox Smith in a cover illustration of a volume of fairy tales written in the mid to late 19th century. Children's literature or juvenile literature includes stories, books, and poems that are enjoyed by children. Modern children's literature is classified in two different ways: genre or the intended age of the reader. Children's literature
Walter Crane

Digital art Digital art Wade GuytonUntitled (2008) Epson UltraChrome inkjet prints on linen 84 x 587 inches still from Jeremy Blake's Winchester Redux, a 5 min. digital video with sound, continuous loop (2004) Maurizio Bolognini, Programmed Machines (Nice, France, 1992-97).
Graham Johnson

Folk art Darrel Mortimer holding 8' tattooed bamboo chillum; photograph by Sally Larsen, 2009 Detail of 17th century calendar stick carved with national coat of arms, a common motif in Norwegian folk art. Folk art encompasses art produced from an indigenous culture or by peasants or other laboring tradespeople. In contrast to fine art, folk art is primarily utilitarian and decorative rather than purely aesthetic.[1] Folk Art is characterized by a naive style, in which traditional rules of proportion and perspective are not employed. Closely related terms are Outsider Art, Self-Taught Art and Naïve art.[2] Folk art
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Era[edit] The European Renaissance began in Tuscany (Central Italy), and centred in the cities of Florence and Siena. It later spread to Venice, where the remains of ancient Greek culture were brought together, providing humanist scholars with new texts. The Renaissance later had a significant effect on Rome, which was ornamented with some structures in the new all'antico mode, then was largely rebuilt by humanist sixteenth-century popes. Italian Renaissance Italian Renaissance
Overview[edit] Since the late eighteenth century, the High Renaissance has been taken to refer to a short (c. 30-year) period of exceptional artistic production in the Italian states, principally Rome, capital of the Papal States, under Pope Julius II. Assertions about where and when the period begins and ends vary, but in general the best-known exponents of painting of the High Renaissance, include Leonardo da Vinci, early Michelangelo and Raphael. High Renaissance High Renaissance
Leonardo da Vinci Leonardo da Vinci Leonardo di ser Piero da Vinci (Italian pronunciation: [leoˈnardo da vˈvintʃi] Leonardo is revered for his technological ingenuity. He conceptualised flying machines, a tank, concentrated solar power, an adding machine,[6] and the double hull, also outlining a rudimentary theory of plate tectonics.
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Michelangelo Michelangelo di Lodovico Buonarroti Simoni (6 March 1475 – 18 February 1564), commonly known as Michelangelo (Italian pronunciation: [mikeˈlandʒelo]), was an Italian sculptor, painter, architect, poet, and engineer of the High Renaissance who exerted an unparalleled influence on the development of Western art.[1] Despite making few forays beyond the arts, his versatility in the disciplines he took up was of such a high order that he is often considered a contender for the title of the archetypal Renaissance man, along with his fellow Italian Leonardo da Vinci. Michelangelo
Raffaello Sanzio da Urbino[2] (April 6 or March 28, 1483 – April 6, 1520[3]), better known simply as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form and ease of composition and for its visual achievement of the Neoplatonic ideal of human grandeur. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.[4] Raphael was enormously productive, running an unusually large workshop and, despite his death at 37, leaving a large body of work. Raphael Raphael
Robert Delaunay, 1912-13, Le Premier Disque, 134 cm (52.7 in.), Private collection. Abstract art, nonfigurative art, nonobjective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning. Both geometric abstraction and lyrical abstraction are often totally abstract. Among the very numerous art movements that embody partial abstraction would be for instance fauvism in which color is conspicuously and deliberately altered vis-a-vis reality, and cubism, which blatantly alters the forms of the real life entities depicted.[3][4] Abstract art
Romanticism Defining Romanticism[edit] Basic characteristics[edit] Defining the nature of Romanticism may be approached from the starting point of the primary importance of the free expression of the feelings of the artist.
Art of Europe The art of Europe encompasses the history of visual art in Europe. European prehistoric art started as mobile rock, and cave painting art, and was characteristic of the period between the Paleolithic and the Iron Age.[1] Written histories of European art often begin with the art of the Ancient Middle East, and the Ancient Aegean civilisations, dating from the 3rd millennium BC. Parallel with these significant cultures, art of one form or another existed all over Europe, wherever there were people, leaving signs such as carvings, decorated artifacts and huge standing stones. However a consistent pattern of artistic development within Europe becomes clear only with the art of Ancient Greece, adopted and transformed by Rome and carried; with the Empire, across much of Europe, North Africa and the Middle East.
Post-Impressionism Post-Impressionism (also spelled Postimpressionism[1]) is the term coined by the British artist and art critic Roger Fry in 1910 to describe the development of French art since Manet. Fry used the term when he organized the 1910 exhibition Manet and the Post-Impressionists. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, often thick application of paint, and real-life subject matter, but they were more inclined to emphasize geometric forms, to distort form for expressive effect, and to use unnatural or arbitrary colour. Overview[edit] The Post-Impressionists were dissatisfied with the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the systematic use of tiny dots of colour.
Expressionism was 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.[1][2] Expressionist artists sought to express meaning[3] or emotional experience rather than physical reality.[3][4] Origin of the term[edit] Expressionism
Impressionism
Classicism
Art history
Renaissance
Edwardian era
Pre-Raphaelite Brotherhood
John Singer Sargent

Great Scans of Great Art
History painting
Joseph Stella

Gustave Dore

Caravaggio

Gustav Klimt

John William Waterhouse

George Wesley Bellows

Jasper Johns

Johyn Everett Millais

Mark Rothko

Millet

Tintoretto

John Baptist Medina

Rosa Bonheur

Emanuel Leutze

Joan Miro

Edouard Manet

William Blake

Edgar Degas

Maud Lewis

John Collier

Theophile Steinlen

Precisionism
Spanish Renaissance
El Greco