Art styles

1. ART STYLES Joey Richard Dio B S Accountancy 2

2. Expressionism

3. Expressionism A style derived from the crises of modern times s o called because of the primacy of feeling, often strong and violent, always intensely personal in the work of art

4. Expressionism Vincent Van Gogh a Dutch artist who spent most of his life in France, is named a worthy predecessor of the movement, with his gnarled and tortured shapes, and his strong rhythms

5. Expressionism Starry Night Road with Cypress

6. Expressionism James Ensor He made numerous paintings of people as skeletons.

7. Expressionism His prints eloquently expressed the emotional dislocation of society caught in the toils of war. Edvard Munch

8. Expressionism The Scream (1892) Edvard Munch

9. Expressionism The Scream (1892) A skull-like figure howling on a bridge, is the image of contemporary neurosis Edvard Munch

10. Expressionism The style, however, is directly related to 2 groups: The earlier, of a strong Germanic character and founded in Dresden in 1905, was the “Bridge” (Die Brucke ) , and the second of a more international character, founded in Munich in 1911, was the “Blue Rider” ( Blaue Reiter).

11. Expressionism In expressionism, nature and everyday objects, such as flowers, become highly expressive of a mood or an emotional state. Expressionist artists used bright, screaming colors , disregarding the natural colors of the object, in order to express emotion powerfully

12. Expressionism “Bridge” Their harsh style, with a strong linear emphasis, lent itself well to the graphic arts, especially woodcut. They became the artist of a s ick society caught between two wars.

13. Expressionism Kirchner Schmidt- Rottluff

14. Expressionism B. “Blue Rider” This grouped developed into abstraction. Franz Marc is known for his powerful paintings of blue horses in an indeterminate setting, which partake of a primitive symbolic quality.

15. Expressionism Vassily Kandinsky Franz Marc Kandinsky

16. dadaism

17. Dadaism In 1916, during the period of World War I, a group of young intellects in Zurich, Switzerland, headed by Tristan Tzara , founded the movement which came to be known as D adaism. Tristan Tzara

18. Dadaism From the French Dada , meaning “hobby horse,” or from the German meaning “childish gabble” Iconoclastic and contemptuous of convention, the dadaists ridiculed the bourgeois concept of art as commodity.

19. Marcel Duchamp Frances Picabia Dadaism

20. These two dadaists did a completely unprecedented and startling act: to Da Vinci’s revered painting, Mona Lisa , known for her enigmatic smile, they added a beard and a moustache. Dadaism

21. Dadaism

22. surrealism

23. Surrealism Surrealism centered around the theory that man’s conscious activity was but a small and limited area compared to the vast realm of the unconscious of which dreams are only the symbols

24. Surrealism 2 ways of realizing the objectives: Autistic Surrealism that took the form of the uncontrolled meanderings of the automatic writing which would reveal clues to the contents of the unconscious.

25. Surrealism Joan Miro Paul Klee “taking a line for a walk”

26. Surrealism 2 ways of realizing the objectives : Veristic Surrealism, with its realistic technique allied with the starting juxtaposition of objects in painting , thus becoming a kind of visual equivalent of the free association method.

27. Surrealism Comte de Lautreamont Expressed that the work of art could be “beautiful as the chance meeting upon a dissecting table of a sewing machine with an umbrella”

28. Surrealism Salvador Dali The Persistence of Memory

29. Surrealism shows melting clocks on a desolate and barren shore The Persistence of Memory

30. Surrealism Giorgio de Chirico Melancholy and Mystery of a Street

31. Surrealism shows brooding shadows and dark corners that menace a young girl playing with a hoop Melancholy and Mystery of a Street

32. Surrealism Yves Tanguy curious, bonelike structures, fossils of a submerged continent

33. Surrealism w orks with literal juxtapositions, as when clouds from a saxophone and a Chari, or his trompe l’oeil landscapes that confuse illusion with reality Rene Magritte

34. Surrealism Rene Magritte

35. Surrealism Max Ernst composed collages made of old engravings assembles and pasted together to produce unusual effects.

36. Surrealism He also invented decalcomania in which two wet paintings are brought together and then taken apart, with the artist creating on the suggested possibilities of the chance forms.

37. Surrealism

38. Surrealism The contribution of Surrealism lies in revealing hitherto unexplored artistic resources and in affirming as valid subjects of art those which were formerly regarded suspicious or without value.

39. Social realism MEXICO and UNITED STATES

40. Social Realism IN MEXICO Mexican art, because of its relevance to its times and because of its encompassing view of the social nature of man, was particularly suited to the large format of the mural.

41. Social Realism Jose Clemente Orozco Gods of the Modern World

42. Social Realism it was done in a bold expressionistic style dramatizing the social conflicts of his time . Gods of the Modern World

43. Social Realism David Alfaro Siquieros Echo of Scream

44. Social Realism it shows a small boy whose cry reverberates in a desert of bones and wreckage Echo of Scream

45. Social Realism Diego Rivera Night of the Rich, Night of the Poor

46. Social Realism In order to communicate their social message on a wider scale, the Mexican artists also turned to the graphic arts and produced prints of great visual power.

47. Social Realism IN THE UNITED STATES Realism allied with social consciousness also characterized a considerable portion of the art of the United States from the 1930’s to the 1950’s.

48. Social Realism IN THE UNITED STATES Literature and other arts dealt with the following:

49. Social Realism Problems of urbanism, alienation, and lack of social integration Edward Hopper Nighthawks

50. Social Realism Bureaucracy and the dehumanization of the person George Tooker The Subway (1950)

51. Social Realism The conflict between the interior and exterior world Andrew Wyeth Cristina’s World (1948)

52. Social Realism Material greed and corruption, or pervading decadence and decay Ivan Albright Into the World There Come a Soul Called Ida

53. Social Realism This paintings in which form and content unite to make a moving human message are works of artists as highly sensitive people feeling and living with their society and finding in art a vehicle for communicating significant human experience and for shaping the human values essential to a truly humane society.

54. Experimentation with Form

55. IMPRESSIONISM

56. Impressionism As Maurice Denis said, as early as 1890, “Remember that a picture – before being a battle-horse, a nude woman, or an anecdote – is essentially a plane surface covered with colors and assembled in a certain order.”

57. This statement became the rallying point of the moderns beginning with the French impressionists. Impressionism

58. Impressionism They derived their name from a paint by Claude Monet entitled Impressionism: Sunrise, exhibited in 1874. Impressionism: Sunrise

59. Impressionism The word impressionism was caught up by the sneering critics and it has stuck to their style since then. Impressionism: Sunrise

60. Impressionism Impressionism was a rebel movement against classicism and the French Academy with its ideals of permanence, stability, and the intention of capturing the eternal, absolute qualities of the subject, such as in a portrait, for the benefit of posterity He sought to capture the fleeting, elusive effects of atmosphere and light on the subject.

61. Impressionism Impressionism felt the influence of Bergson’s philosophy that reality is a continual process of development and change, like an unending stream . The style was also influence by photography and its light and dark effects, its angle of vision, as well as by the “snapshot” or “candid” effect.

62. Impressionism One of the foremost impressionist as the truest to the style was Claude Monet. Claude Monet

63. Impressionism He is best known for his many versions of the Rouen Cathedral as seen at different times of the day. Claude Monet

64. Impressionism Rouen Cathedral (1894) Claude Monet

65. Impressionism He also painted a series of water lilies in a pond ( Nympheas ) as they changed with the changing light from season to season. Claude Monet

66. Impressionism He also painted a series of water lilies in a pond ( Nympheas ) as they changed with the changing light from season to season. Nympheas

67. Impressionism Another outstanding impressionist is Auguste Renoir, known especially for his delicate portraits of women and children. Auguste Renoir

68. Impressionism Auguste Renoir

69. FAUVISM

70. Fauvism The impressionists’ use of bright colors was the principal aspect of Fauvism The group of Fauvist painters included striking, bold use of colors , which were no longer confined within definite planes but spilled over freely, which caused a disagreeing critic to call them Fauves , the French word for “wild beasts.”

71. Fauvism Group of Fauvist painters: S. Bonnard Andre Derain Henri Matisse S. Bonnard

72. Fauvism Henri Matisse S. Bonnard

73. Fauvism Henri Matisse Andre Derain

74. Fauvism Henri Matisse He consistently worked produced paintings of colorful patterns and designs.

75. Fauvism Henri Matisse Woman with Hat

76. Fauvism Henri Matisse Large Red Interior

77. Fauvism Paul Gauguin An artist who is often associated with the Fauves, but who worked in a highly individual style. He escaped from the stifling urbanism of Europe to a primitive idyllic life in the South Pacific, particularly Tahiti.

78. Fauvism Paul Gauguin For his subject matter of bronze-skinned women basking in the sun amid lush vegetation, he is associated, too, with the style known as primitivism . His bright colors are intensified by tropical sunlight.

79. Fauvism Hail Mary Nevermore

80. POINTILLISM

81. Pointillism Another branch of impressionism which is sometimes called divisionism The obvious characteristic of this style is the application of tiny dots of pure color side by side on the canvas to create a luminous effect

82. Pointillism Georges Seurat Sunday Afternoon at Grand Jatte

83. Pointillism Georges Seurat It shows very careful planning and organization

84. Pointillism Georges Seurat He differed from the impressionists in his concern with structure and solidity of form, for the impressionist painter usually sacrificed much of substance and solidity to the effects of light and atmosphere.

85. CUBISM

86. Cubism The movement to regain structure in painting was initiated by Cezanne , who is known as the “ Father of Cubism .”

87. Cubism He advised painters to “treat nature by the cylinder, the sphere, the cone, everything in proper perspective, so that each side of an object or a plane is directed toward a central point .”

88. Cubism The concern for structure is basically classical in origin, and the classicism of Cezanne lies in his search for permanent and underlying structure.

89. Cubism Mont St. Victoire

90. Cubism Mont St. Victoire t rees, houses, and other details are reduced to simple, rectangular shapes.

91. Cubism Cubism was further developed by Picasso and Braque in the decade of the 20 th century, when it was modified by the influence of African primitive sculpture with its tendency to abstraction.

92. Cubism Demoiselles d’ Avignom (1907)

93. Cubism Demoiselles d’ Avignom (1907) This painting has 5 female figures, showing varied treatments of the human figure.

94. Cubism Demoiselles d’ Avignom (1907) While some of them are of classical derivation in stance and physical type, two of them are mask-headed, indicating the initiation of primitive mystery and ritual into Occidental painting.

95. Cubism Demoiselles d’ Avignom (1907) This painting has been described as marking the end of Western chauvinism, for painters then began to turn to Asian and African sources for inspiration and artistic renewal.

96. Cubism In subsequent paintings, Picasso and Braque further expanded the possibilities of cubism. Linear perspective was negated and the canvas was reaffirmed as 2-dimensional surface. Point of view was continually shifting, shapes were exaggerated and simplified, while color emphasized formal structure.

97. Cubism Analytic Cubism (1910 - 1912 ) Analytical cubist paintings have the appearance of great complexity, as the subject is fragmented into its numerous aspects on the two-dimensional surface .

98. Cubism Analytic Cubism (1910 - 1912 ) The subject loses its recognizable appearance, except for a few clues to its identity, such as eyes, part of a guitar, or the neck of a bottle. Color is generally limited to tones of gray and brown.

99. Cubism B. Synthetic Cubism (1912 - 1916 ) The picture plane loses its earlier complexity and the monochrome coloring is replaced by brighter hues .

100. Cubism B. Synthetic Cubism (1912 - 1916 ) A new emphasis is given to texture, especially with the cubist technique of collage which consists of adding and pasting bits of colored paper, newsprint, or other materials on the surface to reinforce its flatness, to create textural effects, and to serve as points of reference.

101. Cubism Picasso Braque

102. Cubism Juan Gris Fernand Leger

103. FUTURISM

104. Futurism Futurism as a style in painting strove to analyze visually the various stages of an action. It deals with the process of becoming , not of being , or with the unfolding of an action so that the painting may seem to correspond in photography to a series of multiple exposures of one action on a single film.

105. Futurism Marcel Duchamp Nude Descending a Staircase

106. Futurism A number of Italian artists took up the style in the period preceding World War I to glorify modern speed, industrial mechanization, and militarism.

107. Futurism Gino Severini Armored Train

108. Futurism Giacomo Balla Automobile and Noise

109. Futurism Giacomo Balla Dog on a Leash

110. ABSTRACT ART

111. Abstract Art Abstract art is a logical extension of cubism with its fragmentation of the object. Two artists, Kandinsky and Mondrian, launched abstraction in painting which, proclaiming the independence of the artist from the representation of the object, must have constituted a most daring step.

112. Abstract Art As early as 1910, Kandinsky began work on paintings in which no recognizable objects appear. V assily Kandinsky

113. Abstract Art He tried to show the relationship of the musical elements of melody and rhythm to painting and in his treatise, Concerning the Spiritual in Art, he expressed his desire to transcend the material world and arrive at the realm of the spirit in art V assily Kandinsky

114. Abstract Art His paintings may be largely grouped into 2 kinds: The Strict Geometrical Compositions – shows high intellectual precision The Free Improvisations – sought to express, by means of brilliant color and swirling lines, intuitive and emotional states. V assily Kandinsky

115. Abstract Art Piet Mondrian a Dutch artist who was the leader of the De Stijl group. d eveloped geometric abstraction with his mathematically precise paintings based on right angles, squares and rectangles. l imited himself to the primary colors with the addition of black and white .

116. Abstract Art so precise and exquisitely balanced are his paintings that the slightest modification would disturb the relationship of the lines, colors , and shapes.

117. Abstract Art Broadway Boogie Woogie

118. Abstract Art His work influenced a group of Russian artists known as suprematists , such as Kasimir Malevich.

119. Abstract Art His work influenced a group of Russian artists known as suprematists , such as Kasimir Malevich. Kasimir Malevich

120. Abstract Art White on White Kasimir Malevich

121. Abstract Art He aimed to achieve “pure painting” freed from any allusions to the external world. Kasimir Malevich

122. Abstract Art Later, suprematism branched out into constructivism, which with the Russian artists Tatlin , Moholy-Nagy, Pevsner, and Gabo, experimented with the interpenetration and transparency of planes and opted for the integration of art and life, especially in the fields of industry and technology.

123. Abstract Art Vladimir Tatlin Laszlo Moholy-Nagy

124. Abstract Art Antoine Pevsner Naum Gabo

125. Abstract Art IN UNITED STATES: Abstract Art, deriving from Kandinsky’s free forms, developed into abstract expressionism or action painting .

126. Abstract Art IN UNITED STATES: The major exponent of the style is Jackson Pollock, whose technique, consisting of splattering or spraying the canvas with paint, brings the element of chance into play (Convergence) .

127. Abstract Art Mark Rothoko In the work of Mark Rothoko , much depends on the striking combinations of luminous colors in large bands, creating a hypnotic effect.

128. Abstract Art Mark Rothoko White and Green on Blue

129. Abstract Art Other artists, such as Mark Tobey, have worked in calligraphic style, partly as exploration of the possibilities of the written character, and as a new version of automatic writing or doodling.

130. Abstract Art Op (optical) art based on the fascination with optical illusion created through ingenious and precise combinations of line and color . requires great precision and planning, as well as scrupulous draftmanship

131. Abstract Art Victor Vasarely Bridget Riley

132. Abstract Art 2. Pop (popular) art draws its subject from mass-produced items that flood the consumer market: cola bottles, tin cans, photographs of film stars, and comic strips.

133. Abstract Art The artist may make a colorful bigger-than-life blow-up of Campbell soup cans as a half-playful, half-ironic comment on contemporary urban society, or he may multiply an image into rows and rows of the same, such as Andy Warhol has done with a dollar bill or with Marilyn Monroe’s photograph as a visual satire on mass production.

134. Abstract Art Roy Lichtenstein has taken his subjects from comic strips which when blown up acquire a strange, ominous, if not absurd character.

135. Abstract Art Step on Can with Leg (1961)

136. Abstract Art Claes Oldenburg has taken familiar objects, such as the hamburger sandwich, and made it into a startling piece of naturalistic sculpture.

137. Abstract Art 3. Psychedelic art f ound its vogue in the late 1960’s s ought to capture in art the weird, whirling shapes and luminous colors supposedly visualized under the influence of stimulants, especially drugs.

138. Abstract Art Some newer developments in contemporary art are the shaped canvases, box constructions, and empaquetage , or wrapping. In recent times, the artist has turned away from fixed, traditional types, to discover new forms and techniques, thus extending art into modern technology and the domain of the computer.

139. THAT’S ALL! Thank you from participating…