EXAM 3 REVIEW

StudyBlue printing of EXAM 3 REVIEW html, body, div, span, applet, object, iframe, h1, h2, h3, h4, h5, h6, p, blockquote, pre, a, abbr, acronym, address, big, cite, code, del, dfn, em, font, img, ins, kbd, q, s, samp, small, strike, strong, sub, sup, tt, var, b, u, i, center, fieldset, form, label, legend, table, caption, tbody, tfoot, thead, tr, th, td { margin: 0; padding: 0; border: 0; outline: 0; font-size: 100%; background: transparent; } body { line-height: 1; } blockquote, q { quotes: none; } blockquote:before, blockquote:after, q:before, q:after { content: ''; content: none; } /* remember to define focus styles! */ :focus { outline: 0; } /* remember to highlight inserts somehow! */ ins { text-decoration: none; } del { text-decoration: line-through; } /* tables still need 'cellspacing="0"' in the markup */ table { border-collapse: collapse; border-spacing: 0; } /* end RESET */ .header { min-width:800px; } .logo { padding:6px 20px 2px 20px; margin:0; font-size:25px; font-weight:bold; color:#808285; position:relative; border-bottom: 1px solid #c5c5c5; } .logo-blue { color:#70adc4; } .logo-desc { font-weight:normal; font-size:19px; color:#cccccc; margin-top:50px; position:absolute; display: none; } .back-button { position:absolute; top:20px; right:20px; font-size:13px; line-height:25px; color:rgb(0,175,225); font-weight:normal; } .back-button a { color:rgb(0,175,225); } .instructions { padding:0; margin:0; width:100%; position:relative; color:rgb(100,100,100); } .step-holder { border-left:1px solid #ededed; margin-left:20px; } .steps { padding:15px 0; float:left; width:24%; border-right:1px solid #ededed; text-align:center; } .steps-01 { } .steps-02 { } .steps-03 { } .steps-04 { } .label { padding:5px 10px; } .print-button { } .print-button a { background-color:rgb(0,175,225); color:white; line-height: 19px; padding:9px 8px 5px 30px; font-size:14px; text-decoration:none; background-image: url(images/printer.png); background-repeat: no-repeat; background-position: 7px 50%; -moz-border-radius: 5px; -webkit-border-radius: 5px; } .print-button a:hover { background-color:black; } .theNote .content { width: 8.0in !important; margin: 5px auto; padding:20px; background-color:white; } .theNote .header { border-bottom: 1px dashed #C8C8C8; font-size: 17px; padding: 0 0 10px; line-height: 19px; color: #00ADE1; min-width:500px; } .theNote .body { font-size: 14px; line-height: 19px; padding: 10px 0; } .theNote{ padding:6px 0; clear:both; background-color: rgb(200,200,200); } .theNote h3{ color: rgb(100,100,100); } .theNote h1, .theNote h3{ background-color:white; padding:2px 20px; width:8.0in !important; margin: 0 auto; font-size: 15px; } .theNote h1{ padding-top: 10px; font-size: 15px; } .theNote h1:first-child{ font-size: 20px; } .theNote h3 { font-size: 14px; font-weight: normal; } #options { border: 3px double #ccc; padding: 5px 12px; margin: 10px 50px 10px 20px; float: left; } #info { border-top: 1px solid #ccc; padding-top: 5px; font-style: italic; } li { margin: 5px 10px 5px 25px; } ul li { list-style: disc; } ol li { list-style: decimal; } img { border: 0; } table { clear: both; width: 100%; border: 1px solid #c5c5c5; border-width: 1px 0; margin: 0; page-break-after: always; } table#page { page-break-after: auto; } td { text-align: center; font-size: 12px; border-bottom: 1px dashed #c5c5c5; height: 1.75in; width: 50%; padding-left: 15px; } .leftside { border-right: 1px solid #cccccc; padding: 0 15px 0 0; } .bottom td { border-bottom: none; } .clearfix { clear:both; line-height:1px; height:1px; } img { max-width:80%; max-height:150px; margin:20px; } @media print {.header { display: none; } .content .header{ display:inherit; } table { border: 1px dashed #bbb; border-width: 1px 0; } .theNote{ background-color:white; } } IMPRESSIONISM (1865-1875) : Manet, Whistler, Monet, Renoir, Morisot, Degas, Caillebotte, & Rodin (sculpture) -Artists rejected by the Salon • subject matter: turns away from Renaissance tradition – uninterested in religion, mythology & history; instead, looks to contemporary life – leisure, transportation & down-and-outs • ridiculed style; disgusted by aesthetic; compared to scribblings of a naïve child »negation of elementary rules of drawing and painting » disdained “impasto” brushwork » seems casual to the point of careless » distinguished from Renaissance style that used flat, smooth paint surface » dabs of “broken” color » destroys form » leads to loss of solidity, structure & composition POST-IMPRESSIONISM (1890) : Seurat, Toulouse-Lautrec, Gauguin, Van Gogh, Cezanne, Redon, Rousseau, Ensor, Munch, Klimt – artists dissatisfied w/ limitations of Impressionist style. Avant Garde didn't like impressionism, but they still wanted to make an epic out of everyday life. – characteristics: • bright color • visible, distinctive brushwork – trends: • more emphasis on composition and form • greater psychological depth – impact: set the stage for major directions of early 20th century art EXPRESSIONISM (1900-25) -> German or French (Fauvism) : Matisse, Derain, Kandinsky, Marc, Kirchner, Nolde, Beckmann CUBISM (1900-25) : Picasso, Archipenko, Gonzales, Lipchitz, Brancusi, Delaunay, Leger FUTURISM (1900-25) : Boccioni, Balla, Severini DE STIJL (1900-25) : Mondrian SUPREMATISM (1900-25) : Malevich • leaders: developed by Pablo Picasso and Georges Braque (c. 1907) • definition: “The art of painting original arrangements composed of elements taken from conceived rather than perceived reality.” • significance: marks a rupture w/ European traditions traceable to Renaissance of pictorial illusionism and organization of compositional space in terms of linear perspective • technique: breaks down subjects into geometric facets, showing several different aspects of one object simultaneously • context: physics – Einstein’s Theory of Special Relativity (1905) • reinterprets classical principle of relativity • idea that we can formulate rules of nature which do not depend on our particular observing situation • quantities such as length and time must change from one observer to another DADAISM (1900-25) : Duchamp, Arp • aim: destruction of bourgeois values in art and society • credo: “Everything the artist spits is art” • significance: first art movement to turn avant-garde weapons of confrontation & contradiction against itself • • aesthetic: nihilistic & iconoclastic – no formal aesthetic – no use for the person of “sensibility” to take refuge in beauty – to attack the icons of the old culture – • methods: a kind of “anti-art” – iconoclastic attitude toward tradition – exalts commonplace objects, by taking them out of context – incorporates effects of randomness & chance – playful & experimental (e.g., doodling, automatic writing) – historically unacceptable techniques & materials SURREALISM (1925-50) : de Chirico, Ernst, Dali, Magritte • context: Freudian psychology (c. 1895) – Surrealists preoccupied w/ Freud • distinguishes different levels of consciousness, including the unconscious which is manifested in dreams : – repository for traumatic repressed memories; – source of anxiety-provoking drives socially or ethically unacceptable to the individual – relation to painting: “sublimation” • energy invested in sexual impulses shifts to pursuit of socially valuable achievements