2. • I. IMPRESSIONISM
INSPIRATION TECHNIQUE 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 both an
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.
5. INSPIRATION TECHNIQUE COLOR ORIGIN/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 an art 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
8. •FAUVISM was a style 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.
10. DADAISM was a style 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).
11.
12. SURREALISM
It was a style 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.
14. SOCIAL REALISM
• expressed the 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
15.
16. III. ABSTRACTIONISM
• Also called 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 COLOR ORIGIN/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
• CUBISM highly 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.
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.
22. MECHANICAL STYLE
• MECHANICAL STYLE 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.
24. • NONOBJECTIVISM The logical 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.
26. IV. ABSTRACT
EXPRESSIONISM
• Despite this 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).
28. SUB MOVEMENT OF
ABSTRACT
EXPRESSIONISM
POP ART
• - 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 COLORS ORIGIN/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
• also called 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 COLORS ORIGIN/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
32.
33. V. CONTEMPORARY ART FORM
• 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
The hanging 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 art is 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.
36.
37. INSPIRATION TECHNIQUE ORIGIN/ARTIST
Presented to 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.
40. Directions: Closely observe the 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 are my masterpieces!
Paint at least one from each movement:
a. Sub- movement of expressionism
b. Sub-movement of abstractionism
c. Sub-movement of abstract expressionism
