Mannerism Artistic style in Europe and colonies, c. 1550–1600 Mannerism encompasses a variety of approaches influenced by, and reacting to, the harmonious ideals associated with artists such as Leonardo da Vinci, Raphael, Vasari,[2] and early Michelangelo. Where High Renaissance art emphasizes proportion, balance, and ideal beauty, Mannerism exaggerates such qualities, often resulting in compositions that are asymmetrical or unnaturally elegant.[3] Notable for its artificial (as opposed to naturalistic) qualities,[4] this artistic style privileges compositional tension and instability rather than the balance and clarity of earlier Renaissance painting. Mannerism in literature and music is notable for its highly florid style and intellectual sophistication.[5] The definition of Mannerism and the phases within it continue to be a subject of debate among art historians. Nomenclature[edit] The word "Mannerism" derives from the Italian maniera, meaning "style" or "manner". Origin and development[edit]
Naïve art Unlike folk art, naïve art does not necessarily derive from a distinct popular cultural context or tradition;[1] indeed, at least in the advanced economies and since the Printing Revolution, awareness of the local fine art tradition has been inescapable, as it diffused through popular prints and other media. Naïve artists are aware of "fine art" conventions such as graphical perspective and compositional conventions, but are unable to fully use them, or choose not to. By contrast, outsider art (art brut) denotes works from a similar context but which have only minimal contact with the mainstream art world. The definition of the term, and its "borders" with neighbouring terms such as folk art and outsider art, has been a matter of some controversy. Characteristics[edit] Naïve art[7] is often seen as outsider art that is by someone without formal (or little) training or degree. The results are: Simplicity rather than subtlety are all supposed markers of naïve art. Movements[edit]
Neoclassicism Henry Fuseli, The artist moved to despair at the grandeur of antique fragments, 1778–79 Neoclassicism (from Greek νέος nèos and κλασσικός klassikòs classicus)[1] is the name given to Western movements in the decorative and visual arts, literature, theatre, music, and architecture that draw inspiration from the "classical" art and culture of Ancient Greece or Ancient Rome. The main Neoclassical movement coincided with the 18th century Age of Enlightenment, and continued into the early 19th century, latterly competing with Romanticism. In architecture, the style continued throughout the 19th and 20th centuries and into the 21st. Overview[edit] With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe.[9] "Neoclassicism" in each art implies a particular canon of a "classical" model. Johann Joachim Winckelmann, often called "the father of archeaology"[10] Sculpture[edit]
Op art Art movement Op art, short for optical art, is a style of visual art that uses optical illusions.[1] Op art works are abstract, with many better known pieces created in black and white. Typically, they give the viewer the impression of movement, hidden images, flashing and vibrating patterns, or of swelling or warping. History[edit] Francis Picabia, c. 1921–22, Optophone I, encre, aquarelle et mine de plomb sur papier, 72 × 60 cm. Op artists thus managed to exploit various phenomena," writes Popper, "the after-image and consecutive movement; line interference; the effect of dazzle; ambiguous figures and reversible perspective; successive colour contrasts and chromatic vibration; and in three-dimensional works different viewpoints and the superimposition of elements in space.[2] Some members of the group Nouvelle tendance (1961–1965) in Europe also were engaged in op art as Almir Mavignier and Gerhard von Graevenitz, mainly with their serigraphics. The Responsive Eye[edit] Color[edit]
Impressionism 19th-century art movement Claude Monet, Impression, soleil levant (Impression, Sunrise), 1872, oil on canvas, Musée Marmottan Monet, Paris. This painting became the source of the movement's name, after Louis Leroy's article The Exhibition of the Impressionists satirically implied that the painting was at most, a sketch. The Impressionists faced harsh opposition from the conventional art community in France. Overview[edit] Radicals in their time, early Impressionists violated the rules of academic painting. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, and Winslow Homer in the United States, were also exploring plein-air painting. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. Beginnings[edit] The critical response was mixed. Women Impressionists[edit]
Photorealism John's Diner with John's Chevelle, 2007John Baeder, oil on canvas, 30×48 inches. History[edit] Origins[edit] As a full-fledged art movement, Photorealism evolved from Pop Art[1][2][3] and as a counter to Abstract Expressionism[2][3] as well as Minimalist art movements[2][3][4][5] in the late 1960s and early 1970s in the United States.[5] Photorealists use a photograph or several photographs to gather the information to create their paintings and it can be argued that the use of a camera and photographs is an acceptance of Modernism.[6] However, the admittance to the use of photographs in Photorealism was met with intense criticism when the movement began to gain momentum in the late 1960s,[7] despite the fact that visual devices had been used since the fifteenth century to aid artists with their work.[8] Louis K. Definition[edit] Louis K. Styles[edit] Artists[edit] In the UK, photorealist approaches were favoured by many artists including Mike Gorman and Eric Scott. Since 2000[edit]
Pointillism Technique of painting with small, distinct dots Pointillism (, )[1] is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term "Pointillism" was coined by art critics in the late 1880s to ridicule the works of these artists, but is now used without its earlier pejorative connotation.[2] The movement Seurat began with this technique is known as Neo-impressionism. The Divisionists used a similar technique of patterns to form images, though with larger cube-like brushstrokes.[3] Technique[edit] The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a fuller range of tones. M. Practice[edit] The majority of Pointillism is done in oil paint. Music[edit] Pointillism also refers to a style of 20th-century music composition. Notable artists[edit] Notable paintings[edit] Gallery[edit] See also[edit]
Graffiti Drawings and paintings on walls Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities.[4] Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system in the early 1970s to the rest of the United States and Europe and other world regions.[5] Etymology "Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched").[6][1][2] The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. History Figure graffito, similar to a relief, at the Castellania, in Valletta Modern-style graffiti Quisquis amat. veniat. Advocates
Pop art Art movement Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.[1][2] The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane mass-produced objects. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of irony.[3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated material.[2][3] Pop art often takes imagery that is currently in use in advertising. Origins[edit] By contrast, the origins of pop art in post-War Britain, while employing irony and parody, were more academic. Proto-pop[edit] United Kingdom: the Independent Group[edit] United States[edit] France[edit] Spain[edit]
Post-Impressionism Predominantly French art movement that developed roughly between 1886 and 1905 The term Post-Impressionism was first used by art critic Roger Fry in 1906.[2][3] Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-Impressionists of France.[4] Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet and the Post-Impressionists, defining it as the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colours, often thick application of paint, and real-life subject matter, but were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or arbitrary colour. Overview[edit] Defining Post-Impressionism[edit] Most of the artists in Fry's exhibition were younger than the Impressionists.
Pre-Raphaelite Brotherhood The Pre-Raphaelite Brotherhood (also known as the Pre-Raphaelites) was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member "brotherhood". The group's intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". Beginnings[edit] Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850