Level 5 Art History PDF

ART HISTORY Level 5 Dr Nahla Rashwan What is Art? Art is a diverse range of human activity, and resulting product, that involves creative talent expressing proficiency, beauty, emotional power, or conceptual ideas. Art, also called visual art, a visual object or e...

ART HISTORY Level 5 Dr Nahla Rashwan What is Art? Art is a diverse range of human activity, and resulting product, that involves creative talent expressing proficiency, beauty, emotional power, or conceptual ideas. Art, also called visual art, a visual object or experience created through an expression of skill or imagination. The term art includes diverse media such as painting, sculpture, printmaking, drawing, deco rative arts, photography, and installation. What is Art History? Art history, also called art historiography, historical study of the visual arts, being concerned with identifying, classifying, describing, evaluating, interpreting, and understanding the art products and historic development of the fields of painting, sculpture, architecture, the decorative arts, drawing, printmaking, photography, interior design, etc. Art history is the study of aesthetic objects and visual expression in historical context by different cultures around the world and throughout history that convey meaning or serve usefulness through visual representations. Why do I study Art? Art history provides a means by which we can understand our human past and its relationship to our present because the act of making art is one of humanity’s most worldwide activities. By Art History you will train your eyes and brain in the skills of critical looking. Neuroscientists have shown that those who study art history see the world differently. As art reflects and helps to create a culture’s vision. Studying the art of the past teaches us how people have seen themselves and their world, and how they want to show this to others.  Reasons Why You Should Study Art History 1. It Gives an In-Depth Look at the World: By studying art history, you’ve given yourself an education in the humanities, in history and politics. 2. Art History Allows Us to make a Connection With the Past. When you look at art in a context that’s closer to the one in which the painting was created, you make a connection with the past in a much different way than just reading about that art in a book. 3. It Helps Us Orient Ourselves in the Present. By studying art history, you’ll understand how art tools intersect with society. You’ll learn how images make up society and learn how you can contribute to your society. 4. It Teaches You How to Integrate Information. when you study art history, you learn the context in which that piece was created. You also learn about the technologies of the day. You gain an understanding of the sciences, literature and more. 5. You Develop a Love for Beauty (give me an example about your self). Renaissance Art: (14th -16th century): The Renaissance was a period of great social and cultural changes in Europe. From the fourteenth century to the end of the sixteenth century, artists explored new techniques to create a realistic style of painting known today as Renaissance art. Though we often use the term “renaissance” to refer to the general revival of something, the Renaissance refers specifically to the period when the ideas and culture of ancient Greece and Rome were merged into contemporary European culture. The Renaissance period differed from the Middle Ages in many ways. The term renaissance comes from the Italian word rinascita, which literally means rebirth. The word was used in the sixteenth century to refer to the general revival of classical culture that dominated Europe from the late thirteenth century to the late sixteenth century. This era of art history is often broken into three distinctive periods. Periods of Renaissance : (Proto-Renaissance- Early Renaissance- High Renaissance) Proto-Renaissance (late thirteenth–early fourteenth century): Artists like Giotto, Cimabue, and Duccio are often considered part of what art historians call the Late Gothic or Proto-Renaissance period. These artists distinguished themselves from other medieval artists by displaying human emotions in their subjects. Their work often showed groups of figures from different points of view: profile, three- quarter view, and from the back. Due to plague and civil war during the fourteenth century, there was a break between the Proto- Renaissance and the Early Renaissance. Periods of Renaissance : (Proto-Renaissance- Early Renaissance- High Renaissance) Early Renaissance (1401–1490): During the fifteenth century, merchant families like the Medicis of Florence amassed significant wealth through banking and international trade. Art patronage became a way for them to display their power to all. The artists of the Early Renaissance period, such as Masaccio, Sandro Botticelli, Domenico Ghirlandaio, Donatello, Fra Angelico, and Fra Filippo Lippi, situated religious figures like the Mary in earthly settings, creating the illusion of depth by incorporating landscape into the backgrounds of their paintings. Their figures appeared naturalistically three- dimensional. Periods of Renaissance : (Proto-Renaissance- Early Renaissance- High Renaissance) High Renaissance (1490s–1527): The High Renaissance is characterized by the art of Michelangelo and Leonardo da Vinci, who possessed an expert understanding of the proportions and the musculature of human anatomy. The figures in paintings and frescoes from the High Renaissance often move gracefully and elegantly through space, or take on complex poses that display the beauty of the human form. These artists fully incorporated the illusionistic tools of linear and atmospheric perspective into their artistic practice so that their elegant figures frequently appear in a perfectly accurate and convincingly deep space to create formally and compositionally perfect images. Their influence led to the development of Mannerism, a style that incorporated Renaissance techniques but rejected naturalism in favor of exaggeration. By 1600, Mannerist painting gave way to Baroque art. Features of Renaissance Art : During the Renaissance, art and science merged which allowed artists to use mathematics to master linear perspective. This allowed them to create more 3D images, something never explored in art before. This led artists to try to render the most realistic images and sculptures they possibly could, an art movement now known as Naturalism. Features of Renaissance Art : an interest in capturing the essential elements of classical art, particularly the form and proportions of the human body. an interest in the history of contemporary art and forging a continuous path of development. a blending of pagan and religious iconography but with humanity as its focus. a tendency towards monumentality and dramatic postures. an interest in creating an emotional response from the viewer. the development of precise mathematical perspective. an interest in hyperrealistic and detailed portraits, scenes, and landscapes. an interest in the use of bright colours, shade, and capturing the effects of light. the development in use of oil paints and fine prints. the use of subtle shapes and everyday objects to give extra meaning. an increase in the prestige of artists as superior craftworkers who combined intellectual studies with practical skills. Techniques of Renaissance: 1. Chiaroscuro: Chiaroscuro is a painting technique developed during the Renaissance that contrasts light and dark. In depicting the fall of light and shadow, figures look as if they have a mass and volume. 2. Study of anatomy: The study of anatomy and drawing the human figure using live models became an important part of artistic training during the Renaissance. 3. Linear perspective: In order to create the appearance of deep space on a two-dimensional surface, Renaissance artists used the geometric tools of linear perspective, such as foreshortening, orthogonal lines, and vanishing points. 4. Diminishing scale: The idea that the farther we are from an object, the smaller it looks was first incorporated into painting during the Renaissance. 5. Atmospheric perspective: Renaissance artists created depth by painting far-away objects in lighter, less intense colors. 6. Sfumato: This technique, popularized by Leonardo da Vinci and his followers, involves blurring the edges of subjects or objects to mimic the natural blurring of the eyes that humans experience when staring for long periods. Renaissance artists: 1. Giotto (d.1137): Giotto is often credited as the artist whose work made the most impact during the Late Gothic period in Italy. His frescoes in Florence and Padua, Italy are the first to accurately use modeling to create an image of the human form. 2. Jan van Eyck (1390–1441): One of the greatest painters working north of the Alps during the Early Renaissance, Jan van Eyck’s masterful work in oil paint exemplifies the aesthetics of the Early Renaissance as it took hold in Northern Europe. (Oil painting would not become popular in Italy, where tempera reigned, until the 1470s.) 3. Sandro Botticelli (d.1510): One of the best painters working in Florence during the Early Renaissance period, Botticelli is best known for his paintings The Birth of Venus and Primavera. 4. Leonardo da Vinci (1452–1519): Leonardo was the Renaissance man, with interests in science, engineering, anatomy, philosophy, and astronomy. He is most famous for his Mona Lisa and The Last Supper, and for his drawings. 5. Raphael (1483–1520): High Renaissance painter Raphael is known for his frescoes in the Vatican, including The School of Athens, and for his rivalry with Michelangelo. 6. Albrecht Dürer (1471–1528): German High Renaissance painter Albrecht Dürer is best known for his portraits and religious altarpiece. 7. Hans Holbein (d.1534): This German-born artist became one of the most notable portrait painters in England during the reign of Henry VIII. 8. Michelangelo (1475–1574): One of the most virtuosic artists of the sixteenth century, Michelangelo is most famous for his monumental sculpture David and for painting the frescoes on the ceiling of the Sistine Chapel. 9. Titian (d.1576): Titian was considered one of the best painters in Venice during the sixteenth century. His mastery of oil paint was highly influential. The Mona Lisa (c. 1503–19) by Leonardo da Vinci The Last Supper (c. 1503–19) by Leonardo da Vinci The Last Judgment is a fresco by the Italian Renaissance painter Michelangelo covering the whole altar wall of the Sistine Chapel in Vatican City by Michelangelo School of Athens, fresco (1508–11) painted by artist Raphael, in the Stanza della Segnatura, a room in Pope Julius II’s private apartments in the Vatican. It is perhaps the most famous of all of Raphael’s paintings and one of the most significant artworks of the Renaissance. Renaissance Sculpture: Renaissance sculpture took as its basis and model the works of classical work and its mythology, with a new vision of humanism. As in Greek sculpture, the naturalistic representation of the naked human body with a highly perfected technique, thanks to the study of human anatomy. The human body represented absolute Beauty, whose mathematical correspondence between the parts was well defined, the reliefs were made with the rules of perspective, and the characters were shown with dramatic expressions that led to the sensation of great feelings. Renaissance Sculpture Charactristics: 1. Naturalism and Humanism: Realistic Depictions, Humanism 2. Classical Influence: Greek and Roman Ideals 3.Technical Mastery: Anatomical Accuracy 4.Emotional Depth: Expressive Faces, Dramatic Narratives 5. Architectural Integration: Decorative Sculptures, Architectural Themes Renaissance ( Iconic painting & Sculpture): 1. Gates of Paradise by Lorenzo Ghiberti (1425–1452). This pair of bronze doors is one of the greatest examples of a relief sculpture created with bronze during the period. Created for the Baptistry of the Florence Cathedral, the gates depict significant scenes from the Old Testament and demonstrate the masterful integration of linear perspective. 2. The Birth of Venus by Sandro Botticelli (1485–1486). The Birth of Venus is one of the most famous paintings of a female nude from the Renaissance period. The image depicts the ideals of feminine beauty during the fifteenth century in Italy while also telling the story of an ancient mythological goddess. 3. The Last Supper by Leonardo da Vinci (1495–1498). Leonardo’s Last Supper is one of the best examples from the Renaissance of a painter incorporating the tools of linear perspective to create a highly rendered illusion of deep space on a two-dimensional surface. Renaissance ( Iconic painting & Sculpture): 4. David by Michelangelo (1501–1504). Michelangelo’s sculpture of the Biblical David is one of the most monumental sculptures ever carved from a single block of marble. 5. Sistine Chapel ceiling frescoes by Michelangelo (1508–1512): Commissioned by Pope Julius II, this is perhaps the most ambitious cycle of frescoes created for a religious space during the sixteenth century. The Sistine Chapel holds great significance within the Vatican complex and the Basilica of St. Peter, and the images on the ceiling, depicting scenes including the Creation of Adam, embody the values and aesthetics of art during the High Renaissance in Italy. 6. The School of Athens by Raphael (1509–1511): The School of Athens depicts all of the great Greek philosophers debating in the topics that are most associated with humanism and ancient philosophy, and highlights the philosophical and educational values of the Renaissance period. The fresco famously includes portraits of notable Renaissance artists and philosophers that Raphael casts as ancient philosophers. This is just one image in a grand cycle of frescoes that Raphael created for the Pope’s private apartments in the Vatican palace. Gates of Paradise, Italian Porta del Paradiso, the pair of gilded bronze doors (1425–52) designed by the sculptor Lorenzo Ghiberti for the north entrance of the Baptistery of San Giovanni in Florence. Upon their completion, they were installed at the east entrance. David is a masterpiece of Renaissance sculpture, created between 1501 and 1504 by the Italian artist Michelangelo. Moses (1513) by Michelangelo for the Tomb of Pope Julius II Pietà (c. 1498-1499) by Michelangelo Renaissance Architecture: (15th -16th century): Renaissance architecture is a style of architecture that emerged in early 15th-century Florence, Italy. Ushering in a revival of ancient Greek and Roman classical architectural forms, it supplanted the prevailing Gothic medieval aesthetic. It's characterized by precise symmetry and proportion as exhibited by the grandeur of St. Peter's Basilica in Rome, which is the most well-known example of this architectural style. Renaissance architecture refers to the influential style of building that emerged in Italy around 1400 and spread throughout Europe over the next two centuries. Marked by a revival of ancient Classical forms, this important architectural movement produced some of the world’s most treasured monuments. Renaissance Architecture: (15th -16th century): Renaissance architecture developed as part of the rebirth of classicism in Florence, Italy, circa 1400. It evolved over the next 200 years as it spread throughout Italy and then Europe. Renaissance architecture is generally broken down into three main periods. It started with the Early Renaissance which began around 1400 when architects looked to antiquity for inspiration. They reintroduced classical Roman and Greek elements, such as arches, columns, and domes into buildings. Early Renaissance buildings had symmetrical facades and clear, streamlined volumes that marked a change from the more complex Gothic proportions that preceded them. Starting around 1500, the High Renaissance was a period in which the use of classical elements adapted to contemporary 16th-century building styles was in full bloom. Then, during the Late Renaissance starting around 1520 (also called Mannerism), the use of decorative and ornamental classical elements, such as domes and cupolas, became more widespread. Renaissance Architecture: (15th -16th century): Key Characteristics of Renaissance Architecture: 1- Symmetry and Proportion Renaissance architecture focused on the classical notions of beauty based on proportion and symmetry. It also incorporated geometry, and many building plans were symmetrical squares. 2- Ashlar Masonry The exteriors typically featured ashlar masonry, a style of masonry in which stones are cut uniformly in a square or rectangle and then laid horizontally with minimal mortar. 3- Classical Elements Renaissance architecture used many classical elements, including domes, columns, pilasters (rectangular columns), lintels (a type of beam), arches, and pediments (triangular gables) in an orderly and repetitive fashion. 4- Air and Light Early Renaissance buildings focused on bringing in air and light to the space. This was a nod to the dawning of Renaissance ideals and thought. Renaissance Architecture: (15th -16th century): Notable Examples of Renaissance Architecture Cathedral of Santa Maria del Fiore in Florence, Italy Considered the first Renaissance architect, Filippo Brunelleschi (1377- 1446) is the early Renaissance pioneer responsible for the famous red brick Duomo at the Cathedral of Santa Maria del Fiore in Florence, Italy. Construction of the cathedral began in the Gothic period in 1296 and was completed in 1436. The majestic dome is not only the building’s crowning feature, but it is also a feat of engineering that was ahead of its time. And it influenced many religious buildings in Italy and around the world. Saint Peter's Basilica in Vatican City, Italy Biblioteca Marciana in Venice, Italy Palazzo Medici in Florence, Italy Baroque Art (late in 16th- 18th century): The term Baroque, derived from the Portuguese ‘barocco’ meaning ‘irregular pearl or stone’, refers to a cultural and art movement that characterized Europe. Baroque emphasizes dramatic, exaggerated motion and clear, easily interpreted, detail. Baroque art has often been defined as being weird and uneven. Started: 1584 and Ended: 1723 Baroque art and architecture, the visual arts and building design and construction produced during the era in the history of Western art. The earliest marks which occurred in Italy, date from the latter decades of the 16th century, and in Germany and colonial South America, and achievements of Baroque did not occur until the 18th century. The Baroque style is complex, even contrasting. In general, the desire to move emotional states by attracting the senses in dramatic ways. Baroque characteristics are greatness, sensuous richness, drama, vitality, movement, tension. Baroque Art (late in 16th- 18th century): The Baroque era was very much defined by the influences of the major art movement which came before it, the Renaissance. So much so that many art history scholars have argued that Baroque art was simply the end of the Renaissance and never existed as a cultural or historical phenomenon. Artists: Gian Lorenzo Bernini, Francesco Borromini, Annibale Carracci, Michelangelo Merisi da Caravaggio, Sebastian Bach, Pierre Puget, Rembrandt van Rijn, Peter Paul Rubens, Domenikos Theotokopoulos (El Greco), Johannes Vermeer, van Delft, Antonio Vivaldi. Baroque Art characteristics: Generally, the main features of Baroque painting manifestations are drama, deep colors, dramatic light, sharp shadows and dark backgrounds. While Renaissance art aimed to highlight calmness and rationality, Baroque artists emphasized stark contrasts, passion, and tension, often choosing to depict the moment preceding an event instead of its occurrence. Baroque Art (late in 16th- 18th century): Baroque painting: Most Baroque painters originated from the Netherlands, Italy, and Spain. Generally, they were concerned with human subjects or subjects and depicted similar scenes. The Renaissance power still dominated the art directions of their cultures, and, accordingly, most of the subjects were portraits of royals, religious scenes, and depictions of royal life and society. However, with the Baroque era came a rise in history and landscape paintings, as well as, portraits, genre scenes, and still lives. Girl with a Pearl Earring (1665) – Johannes Vermeer The Nightwatch (1642) – Rembrandt The Calling of St Matthew (1600) – Caravaggio The Milkmaid (1658) – Johannes Vermeer Supper at Emmaus (1601) – Caravaggio Baroque Art (late in 16th- 18th century): Baroque Sculpture: Many great Baroque artists were architects as well as sculptors, and common traits can be seen in their oeuvre. A key similarity is the rejection of straight lines, resulting in increasingly pictorial sculptures where movement and expression are emphasized. These sculptures realistically reflected the physical features and movements of the human body. They did not seek to idealise, only to offer intensity, vitality, and movement to complex sculptures, in which the characters represented are interlinked. These statues were inspired by everyday life and the religious imaginary. The baroque sculpture was primarily concerned with the representation of Biblical scenes and other beliefs of the sculptors themselves. Be it scenes from the old or new testaments, the desire of most Baroque sculptors was to depict pathos, as well as movement. The leading figure of Baroque sculpture was certainly Italian artist Gian Lorenzo Bernini. Gian Lorenzo Bernini, The Ecstasy of Saint Teresa Angel with a Lance (1667- 1669) Sant Angelo Bridge, Rome, by Gian Lorenzo Bernini. Baroque Architecture (late in 16th- 18th century): The era of baroque architecture began in Rome. A new architectural style— one characterized by the inspiring influence of classicism and Renaissance architecture rather than cold severity—was developed. These Italian baroque buildings—including Carlo Maderno’s famed St. Peter’s Basilica, Francesco Borromini’s San Carlo alle Quattro Fontane, and Gian Lorenzo Bernini’s Sant’Andrea al Quirinale—were mainly religious in nature, the Baroque architecture characterized by: 1. Mannerism: Mannerism was a school of artistic thought stretching from sculpture to visual art, but its impact on architecture foregrounded the importance of using optical illusion and a spirit of experimentation to create a sense of wonder. 2. Frescoes: A fresco is a painting done on a ceiling or wall—think Michelangelo’s Sistine Chapel. 3. Ornate roofing and entryways: Architects of the period hoped to evoke a sense of reverence starting with their exteriors. 4. Trompe l’oeil: Trompe l’oeil (French for “deceives the eye”) was a common technique of the period by which the many frescoes adorning these buildings were given a sense of three-dimensionality. St. Peter's Square, Vatican The St. Peter’s Square and its imposing colonnades with 140 statues of saints are the work of Gian Lorenzo Bernini (1598-1680) who was next to Francesco Borromini one of the most prominent architects of the Baroque era. He also built the left fountain largely following the design of the earlier Carlo Maderno’s fountain (on the right) to create symmetry. In the center of the square stands an ancient Egyptian obelisk which was erected on its current site in 1586 by Domenico Fontana. Rococo Art (1702- 1780): Rococo art is a style of painting developed in early eighteenth-century France known for its elaborate detail, warm pastel colors, playful scenes, and pastoral settings. The paintings often depict gatherings or outdoor parties featuring wealthy aristocrats or erotic depictions of mythological figures. The French rococo movement was a reaction against the darker styles of baroque art and extended to many parts of Europe, Bavaria, Germany, Austria, and Russia. The term “rococo” comes from the French word rocaille, meaning rock or rubble, and refers to the rocky grottoes and uneven stonework or stucco of rococo architecture and interior design Rococo Art Development: (1702- 1780): The Venetian School (1470–1580): The Venetian School painters in Venice, Italy, used bright colors, erotic subjects, and landscapes that would influence the rococo style years later. Transition from late baroque to rococo (1715–1730): In the early eighteenth century, the death of Louis XIV shifted power from his Versailles-based monarchy to the aristocracy, who began to enjoy the luxuries and leisures that came with their wealth and power. This attitude influenced French painters to shift away from the darker, more geometric baroque style to the warmer, less symmetrical styles of the rococo period. The height of the rococo style (1730–1760): introduced paintings of mythological figures and full-body nude portraiture, right, playful scenes of erotic fantasy. The decline of the rococo style (1760–1870): artists to study the classical styles of Italy. This shifted favor toward neoclassicis Rococo Art : Painting (1702- 1780): characteristics: Asymmetrical designs: The landscapes, architecture, figures, and objects. Playful scenes and themes: Depictions of promiscuity, frivolity, flirtations between aristocrats, and lighthearted playfulness and humor are common in the rococo subject matter. Nature and marine motifs Warm pastel colors: Rococo artists used soft pastel colors, including light blues, pinks, creams, and whites. Ornate details: Paintings typically had exquisite detail and attention to architecture, landscapes, clothing, and the human figure The Blue Boy (1770)  The Embarkation for Cythera The Marriage of the Emperor Frederick and Beatrice of Burgundy (1751) The Swing (1767)  Rococo Art : Sculpture Characteristics: (1702- 1780): : Rococo sculpture is characterized by its intimate scale, naturalism, and varied surface effects. It often depicts mythological or pastoral scenes with graceful figures and intricate details. The style is known for its lightness, elegance, and exuberant use of curving natural forms in ornamentation. Intimate scale: Rococo sculptures are often smaller and more intimate than Baroque sculptures, reflecting the domestic focus of the Rococo style. Naturalism: Rococo sculptures feature naturalistic figures with soft, flowing lines and delicate features. Varied surface effects: Rococo sculptors often used a variety of materials and techniques to create intricate surface effects, such as marble, bronze, wood, and porcelain. Mythological and pastoral themes: Rococo sculptures often depict mythological or pastoral scenes, such as nymphs, satyrs, and shepherds. Graceful figures: Rococo figures are typically graceful and poised, with flowing drapery and delicate gestures. Intricate details: Rococo sculptures are often highly detailed, with intricate ornamentation and decorative elements. Lightness and elegance: The overall effect of Rococo sculpture is one of lightness and elegance, reflecting the playful and sophisticated spirit of the Rococo style. The "Veiled Dame (Puritas) by Antonio Corradini (1722) Cupid by Edmé Bouchardon, National Gallery of Art (1744) Rococo Art : Architecture Characteristics: (1702- 1780): Rococo architecture, a style that flourished in Europe from the early to late 18th century, is characterized by its elegance, playfulness, and emphasis on ornamentation, characteristics: 1.Curvilinear Forms: Rococo architecture is defined by its use of flowing, asymmetrical curves. These curves can be found in everything from the overall shape of a building to the intricate details of its ornamentation. Common motifs include S-curves, C-curves, and shell shapes. 2. Ornate Decoration: Rococo buildings are heavily decorated with intricate details. Common decorative elements include: Gilding and metallic finishes, Elaborate stuccowork, Ornate moldings, Painted ceilings with mythological scenes and Mirrors and decorative panels. 3. Light and Airy Spaces: Rococo architects aimed to create spaces that were light, airy, and inviting. This was achieved through the use of large windows, light colors, and open floor plans. Rococo Art : Architecture Characteristics: (1702- 1780): 4. Asymmetrical Design: Unlike the symmetrical balance of Baroque architecture, Rococo embraces asymmetry. This can be seen in the placement of windows, doors, and decorative elements. 5. Playful and Whimsical Themes: Rococo architecture often incorporates playful and whimsical themes. These can include: Mythological creatures, Floral motifs and Pastoral scenes 6. Emphasis on Interior Design: Rococo architects placed a strong emphasis on interior design. This included the creation of elaborate and ornate interiors, often with custom-made furniture and artwork. 7. Use of Pastel Colors: Rococo interiors often feature soft, pastel colors such as pale pink, blue, and green. These colors create a sense of lightness and elegance. Rococo Art : Architecture Characteristics: (1702- 1780): The Amalienburg Pavilion, located in the Nymphenburg Palace complex in Munich, Germany, is a stunning example of Rococo architecture. Designed by François de Cuvilliés, it embodies the characteristics of the Rococo style style. Neoclassicism (mid-1700s) Established in the mid-1700s first in in France and USA , the Neoclassical movement is defined by an interest in classical (i.e. Roman and Ancient Greece) aesthetics, principles, and subject matter. The Neoclassical style had a major influence on painting, sculpture, architecture, and interior design. Two of the most famous artists who came to embody the ideals of this style were French painter Jacques- Louis David and Italian sculptor Antonio Canova. Neoclassical art shared several characteristics, all of which are built on Roman and Greek views on science, math, philosophy, and art. The characteristics are minimal use of color; emphasis on symmetry, straight lines, and geometric shapes; precise definition of forms and figures; and Classical subject matter. Jacques-Louis David, “The Oath of the Horatii,” 1784–1785 Neoclassicism (mid-1700s): sculpture: Idealized figures: Sculptures often depicted idealized figures with perfect proportions and features, embodying timeless beauty and strength. Emphasis on line and form: Neoclassical sculptors focused on clear contours and well-defined forms, creating a sense of order and clarity in their works. Historical and mythological themes: Many sculptures drew inspiration from historical events and mythological figures, conveying narratives and moral lessons. Emotional restraint: Neoclassical works often emphasized restraint and control in their expression of emotions, reflecting the values of reason and order. Antonio Canova, “Psyche Revived by Cupid’s Kiss,” 1887 Neoclassicism (mid-1700s): Architecture: Emphasis on order and proportion: Neoclassical architects sought to create harmonious and balanced structures through the use of clear geometric forms, symmetry, and mathematical proportions. Use of classical orders: The three classical orders (Doric, Ionic, and Corinthian) were extensively used in Neoclassical architecture to adorn columns, pilasters, and entablatures. Simple and restrained ornamentation: Neoclassical buildings often featured simple and restrained ornamentation, avoiding the elaborate and decorative elements of the Baroque and Rococo styles. Monumentality and grandeur: Neoclassical architects aimed to create buildings that were impressive in scale and conveyed a sense of power and authority. Panthéon in Paris, France Neoclassicism (mid-1700s) In painting : the artists followed the same characteristics of the school. In sculpture: Artists of this style created sculptures inspired by classical and mythological subject matter. They produced idealized figures with smooth contouring, resembling the statues from Athens and Rome, oftentimes on a life-size scale. In architecture: Neoclassical architecture wanted to create impressive, large-scale buildings without the ornate elements of the Rococo and Baroque style. It utilized Ancient Greek and Roman details, impressive columns, geometric forms, and domed or flat roofs. The Panthéon in Paris—which was constructed between 1758 and 1790—is a hallmark of Neoclassical architecture and embodies all of these characteristics. The transition towards modernity Romanticism (mid-1800s) Romanticism spread throughout Europe in the 19th century and developed as an artistic, literary and intellectual movement that embraced various arts such as literature, painting, music and history. Romanticism is the 19th century movement that developed in Europe in response to the Industrial revolution. Romanticism shown after the 1789, the year of the French Revolution that caused a relevant social change in Europe. Based on the same ideals of liberty and legality this new movement was born, aiming to highlight the emotions and the irrational world of the artist and of the nature as opposed to Rationality during Neoclassicism, as artists` passion and personal feelings which should be favored, These values promoted by artists are an attempt to opposite of the coldness of Neoclassicism. Romanticism (mid-1800s): Painting: Romanticism is one of the most impactful turns in art history, and a social, artistic, and literary life. Romanticism has manifested slightly differently across Europe. In England, the artists at the head of the Romantic movement are Caspar David Friedrich, William Turner, and John Constable. Their works are mainly landscapes, surreal and chaotic at the same time. Turner’s landscapes show his experimentation with light and colors. Turner blurs the boundaries between the different parts of his canvas. This offers an impression of his subject matter between dream and reality (he is actually often considered an intro to Impressionism!). Romanticism is characterized by Only certain shapes that can be distinguished, the rest is left to our imagination and to share the way they feel about their subject matter, rather than its reality. (La Liberté guidant le peuple)Eugène Delacroix - 1830 Le Radeau de La Méduse (1819) Théodore Géricault (1791-1824) Romanticism (mid-1800s): Architecture: Romanticism was also expressed in architecture through the imitation of older architectural styles. In Germany and England the medieval Gothic architecture was also influenced by the fantasy and style of the movement and this renewed interest led to the Gothic Revival. The Palace of Westminster, also known as the Houses of Parliament or Westminster Palace, is the meeting place of the two houses of the Parliament of the United Kingdom— the House of Lords and the House of Commons. The Palace of Westminster Romanticism (mid-1800s): Sculpture: Romanticism Sculpture embodies the raw emotion that was expressed physical and emotional art during this movement. Although it seems common to us today that artist’s use emotion in art, back in the Romantic period, this was revolutionary.  Ugolino and his Sons by Carpeaux is a marble sculpture of in Paris during the 1860s In the story, the Pisan count Ugolino is sentenced to die in a tower prison with his children and grandchildren. Carpeaux shows Ugolino at the moment where he considers cannibalism. The work is symbol to the Romantic style's heightened physical and emotional states. Barbizon school (1830 -1870): Painting: The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, on the edge of the Forest of Fontainebleau, where many of the artists gathered. Most of their works were landscape painting, but several of them also painted landscapes with farmworkers, and genre scenes of village life. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form. The leaders of the Barbizon school were: Théodore Rousseau, Charles- François Daubigny and Jean-François Millet who lived in Barbizon from 1849, but his interest in figures with a landscape backdrop sets him rather apart from the others. Other artists associated with the school. Théodore Rousseau, Becquigny, Somme, c. 1857 Corot, scene in the Forest of Fontainebleau, 1846 The Gleaners. Jean-François Millet. 1857. Musée d'Orsay, Paris. Realism (1840): ( Beginning of the Modern Art): Realism was an artistic movement that emerged in France in the 1840s, around the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the early 19th century. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead of that, they portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant aspects of life. The movement aimed to focus on unidealized subjects and events that were previously rejected in art work. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes brought by the Industrial and Commercial Revolutions. Realism (1840): painting: Gloomy earth toned palettes were used to ignore beauty and idealization that was typically found in art and unprettified detail depicting the existence of ordinary contemporary life. Realism is widely regarded as the beginning of the modern art movement due to the push to incorporate modern life and art together. Classical idealism and Romantic emotionalism and drama were avoided equally. Social realism emphasizes the depiction of the working class and treating them with the same seriousness as other classes in art, but realism, as the avoidance of artificiality, in the treatment of human relations and emotions was also an aim of Realism. Treatments of subjects in a heroic or sentimental manner were rejected. Realism as an art movement was led by Gustave Courbet in France. It spread across Europe and was influential for the rest of the century. Bonjour, Monsieur Courbet, 1854. A Realist painting by Gustave Courbet. Gustave Courbet, After Dinner at Ornans, 1849 Modern Art Modern art : includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the styles and philosophies of the art produced during that era. The term is usually associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with fresh ideas about the nature of materials and functions of art. A tendency away from the narrative, toward abstraction is characteristic of much modern art. More recent artistic production is often called contemporary art or postmodern art. Modern art: an artistic period in visual art, music, theatre, and literature that began around the turn of the twentieth century. Although modern art varies greatly by time period, region, and individual artist, most works push beyond the realist, narrative art that was popular in Western culture prior to the mid-nineteenth century. What is the Main Characteristic of Modern Art? What we call "Modern Art" lasted for an entire century and involved dozens of different art movements, embracing almost everything from pure abstraction to hyperrealism; from anti-art schools like Dada to classical painting and sculpture; from Art Nouveau to Bauhaus and Pop Art. So great was the diversity that it is difficult to think of any unifying characteristic which defines the era. But if there is anything that separates modern artists from both the earlier traditionalists and later postmodernists, it is their belief that art mattered To them, art had real value.  In What Ways was Modern Art Different? (Characteristics) 1) New Types of Art:(collage art, forms of assemblage, a variety of kinetic art, performance art and etc). (2) Use of New Materials: affixed objects to their canvases (fragments of newspaper and other items), Sculptors (readymades ), Assemblages were created out of the most ordinary everyday items, like: (cars, clocks, suitcases, wooden boxes and other items). (3) Expressive Use of Colour: Movements of modern art like Fauvism, Expressionism and Colour Field painting were the first to use colour in a major way. (4) New Techniques: Pop artists introduced "Benday dots", and silkscreen printing into fine art and etc. What were the Origins of Modern Art? As a result of the Industrial Revolution (c.1760-1860) enormous changes in manufacturing, transport, and technology began to affect how people lived, worked, and travelled, throughout Europe and America. These industry-inspired social changes led to greater prosperity but also cramped and crowded living conditions for most workers. So artists began to make art about people, places, or ideas that interested them, Other subjects were the villages and holiday spots served by the new rail networks, which would inspire new forms of landscape painting. When Did Modern Art Begin? The date most commonly cited as marking the birth of "modern art" is 1863 - the year that Edouard Manet (1832-1983) exhibited his shocking painting Le Dejeuner sur l'herbe in the Salon des Refuses in Paris. But this was merely a symbol of wider changes that were taking place in various types of art, both in France and elsewhere in Europe. A new generation of "Modern Artists" were fed up with following the traditional academic art forms of the 18th and early 19th century, and were starting to create a range of "Modern Paintings" based on new themes, new materials, and bold new methods. Sculpture and architecture were also affected - and in time their changes would be even more revolutionary - but fine art painting proved to be the first field was affected. Le Déjeuner sur l'herbe Le Déjeuner sur l'herbe (The Lunch on the Grass) is a large oil on canvas painting by Édouard Manet created in 1862 and 1863. It depicts a female nude and other dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet took advantage of the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés, where the painting sparked public controversy. Beginning of Impressionism: The Académie had an annual, judged art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, and Frédéric Bazille—met while studying under the academic artist Charles Gleyre. They discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice—pioneered by artists such as the Englishman John Constable—that had become increasingly popular by mid- century, they often ventured into the countryside together to paint in the open air. Their purpose was not to make sketches to be developed into carefully finished works in the studio, as was the usual custom, but to complete their paintings out-of-doors. By painting in sunlight directly from nature, and making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon school. A favourite meeting place for the artists was the Café Guerbois in Paris, where the discussions were often led by Édouard Manet. Le Déjeuner sur l'herbe Le Déjeuner sur l'herbe (The Lunch on the Grass) is a large oil on canvas painting by Édouard Manet created in 1862 and 1863. It depicts a female nude and other dressed female bather on a picnic with two fully dressed men in a rural setting. Rejected by the Salon jury of 1863, Manet took advantage of the opportunity to exhibit this and two other paintings in the 1863 Salon des Refusés, where the painting sparked public controversy. After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, and the Salon des Refusés (Salon of the Refused) was organized. While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visitors than the regular Salon. Impressionism Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris- based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration. Impressionism is a precursor of various painting styles, including Post- Impressionism, Fauvism, and Cubism. Impressionism techniques: 1) Short, thick strokes of paint quickly capture the essence of the subject, rather than its details. 2) Colours are applied side by side with as little mixing as possible, a technique that exploits the principle of contrast to make the colour appear more vivid to the viewer. 3) Greys and dark tones are produced by mixing complementary colours. Pure impressionism avoids the use of black paint. 4) Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and intermingling of colour. 5) The impressionist painting surface is typically opaque. 6) The paint is applied to a white or light-coloured ground. Previously, painters often used dark grey or strongly coloured grounds. 7) The play of natural light is emphasized. Close attention is paid to the reflection of colours from object to object. Painters often worked in the evening to produce the shadowy effects of evening or twilight. 8) In paintings made in open air (outdoors), shadows are boldly painted with the blue of the sky as it is reflected onto surfaces, giving a sense of freshness previously not represented in painting. Impressionism development: The development of Impressionism can be considered partly as a reaction by artists to the challenge presented by photography, which seemed to devalue the artist's skill in reproducing reality. In spite of this, photography actually inspired artists to pursue other means of creative expression, and rather than compete with photography to emulate reality, artists focused on expressing their perceptions of nature, rather than creating exact representations. Post-Impressionism (1886-1905) Post-Impressionism was a French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and colour. Its broad emphasis on abstract qualities or symbolic content , along with some later Impressionists' work. The movement's principal artists were Paul Cézanne (known as the father of Post-Impressionism), Paul Gauguin, Vincent van Gogh and Georges Seurat. Post-Impressionism (1886-1905) The Post-Impressionists were dissatisfied with what they felt was the subject did not 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. Paul Cézanne set out to restore a sense of order and structure to painting, to "make of Impressionism something solid and durable, like the art of the museums". He achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo- Impressionist ideas between the mid-1880s and the early 1890s. Discontented with what he referred to as romantic Impressionism, he investigated pointillism, which he called scientific Impressionism, before returning to a purer Impressionism in the last decade of his life. Vincent van Gogh often used vibrant colours and brushstrokes to convey his feelings and his state of mind. Post-Impressionism artist : Paul Gauguin( 1848- 1903 ) Paul Gauguin is one of the most significant French artists to be initially schooled in Impressionism, but who broke away from impressionism with a new style Symbolism. Gauguin experimented with new color theories and semi-decorative approaches to painting. He famously worked one summer in an intensely colorful style alongside Vincent Van Gogh in the south of France, before turning his back entirely on Western society. He began traveling regularly to the south Pacific in the early 1890s, where he developed a new style observation with symbolism, a style strongly influenced by the popular, so-called "primitive" arts of Africa, Asia, and French Polynesia. Impressionism & Post-Impressionism (artists and painting): Most famous impressionist paintings contains three entries from Manet, three from Monet, and one each from Pissarro, Renoir, Cezanne and Degas. 1. Dejeuner sur l'Herbe (Eduarde Manet, 1862-3) 2. Olympia (Eduarde Manet, 1863) 3. Impression Sunrise (Claude Monet, 1871) 4. The Dance Class (Degas, 1870-1874) 5. Gare Saint-Lazare (Monet, 1877) 6. Luncheon at the Boating Lake (Renoir, 1880-1) 7. Bar at the Folies-Bergere (Manet, 1882) 8. The Card Players (Cezanne, 1890) 9. Boulevard Montmartre (Pissarro, 1897) 10. Water Lilies (Monet, 1895-1926) 11- Rocks at Port-Goulphar, Belle-Île by Claude Monet (1886) Impression Sunrise (Monet, 1871) The Dance Class (Degas, 1870-1874) Lunch on the Boating Lake (Renoir, 1880-1) The Card Players (Cezanne, 1890) Boulevard Montmartre (Pissarro, 1897) Boulevard Montmartre (Pissarro, 1897) Rocks at Port-Goulphar, Belle-Île by Claude Monet, 1886, via Art Institute Chicago Expressionism (the beginning of the 20th century) Expressionism is a modernist movement, around the beginning of the 20th century. Expressionist artists expressed the meaning of emotional experience rather than physical reality. Expressionism developed as a style before the First World War, particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film, and music. The Expressionist emphasis on individual and subjective perspective has been characterized as a reaction to other artistic styles such as Naturalism and Impressionism. Their art is characterized by an abstract style of painting, in which the artists used broad, expressive brushstrokes and bold pops of color. Expressionism is notoriously difficult to define, in part because it "overlapped with other major of the modernist period: with Futurism, Vorticism, Cubism, Surrealism and Dadaism.  Expressionism (artists): Vincent van Gogh (1853 – 1890) was a Dutch painter who became one of the most famous and influential artists in Western art history after his death. He was a very influential post-Impressionist artist who was also an important pioneer of expressionistic art. Van Gogh has become known by the world as the classic tortured artist, mostly because of his published letters. He struggled with mental illness and in despair, eventually committed suicide. The subjects that van Gogh painted were landscapes, still lifes, and figures, all of which relate to the countryside and the hard life that peasant folk experienced. Self-Portrait (1889) by Vincent van Gogh Expressionism: Iconic Paintings & Their Artists 1- The Scream (1893) by Edvard Munch 2- The Blue Rider (1903) by Wassily Kandinsky 3- Dance Around the Golden Calf (1910) by Emil Nolde 4- The Large Blue Horses (1911) by Franz Marc 5- Self-Portrait with Chinese Lantern Plant (1912) by Egon Schiele 6- Street, Berlin (1913) by Ernst Ludwig Kirchner 7- The Night (1918-19) by Max Beckmann 8- Portrait of a Man (1919) by Erich Heckel 9- Castle and Sun (1928) by Paul Klee The Starry Night (1889) by Vincent van Gogh The Scream (1893) by Edvard Munch Self-Portrait with Chinese Lantern Plant (1912) by Egon Schiele Street, Berlin (1913) by Ernst Ludwig Kirchner Expressionism in Germany: At the start of the twentieth century, Expressionism emerged as an international tendency and art movement, spanning art, literature, music, theatre, film, and architecture. The artists’ aim was to express their emotional experiences, instead of focusing on portraying physical reality. Germany, along with France, Austria, and Norway, was an important center of the development of Expressionism. German Expressionism was divided into two main groups of artists: Die Brücke (the bridge), led by Ernst Ludwig Kirchner, and Der Blue Reiter (The Blue Rider), led by Franz Marc and Wassily Kandinsky. German Expressionist artists found inspiration in mysticism, the Middle Ages, and primitivism. These artists were concerned with using bright colors and rough brushstrokes, simplified approach to form. Expressionists had in common was their depiction of inner worlds, emotions, psychology, and spirituality, as well as a spontaneous and intense use of color and brushstrokes to convey their intuitive messages. Expressionism in Germany: The bridge: The bridge was a collective of artists formed in Dresden in 1905, who were opposed to the bourgeois social order of Germany. The founding members were Ernst Ludwig Kirchner, Fritz Bleyl, Erich Heckel and Karl Schmidt- Rottluff. They, wanted to convey their wish to bridge the past and the present. The Blue Rider: In 1911, the blue rider derives its name from the recurring theme of a rider on horseback, which appeared in Kandinsky’s painting at the time. Kandinsky and Marc also shared a love of the color blue, which they considered a spiritual color. Other artists associated with the movement were Paul Klee, Gabriele Münter, Alexej von Jawlensky, Marianne von Werefkin, and August Macke. Der Blaue Reiter did not last very long and dissolved at the start of WWI in 1914 since Franz Marc was killed in combat and Wassily Kandinsky was forced to move back to Russia. The Blue Rider (1903) by Wassily Kandinsky The Large Blue Horses (1911) by Franz Marc August Macke, Lady in a Green Jacket, 1913. Conrad Veidt from director Robert Wiene’s 1920 silent film The Cabinet of Dr. Caligari Fauvism (beginning of the 20th century): Fauvism is an art movement and style that was established the beginning of the 20th century. Pioneered by of Henri Matisse and André Derain. Fauvism, was initially inspired by the examples of Vincent van Gogh, Paul Gauguin, Georges Seurat, and Paul Cézanne, Henri Matisse, Albert Marquet, and Georges Rouault. Matisse emerged as the leader of the group, whose members shared the use of intense color for describing light and space, and who redefined pure color and form as means of communicating the artist's emotional state. Fauvism proved to be an important intro to Cubism as well as of abstraction. Fauvism (beginning of the 20th century): Fauvist art is characterised by its bold colours, textured brushwork and non-naturalistic depictions, Fauvism was known for bold, vibrant colours. The artists of Fauvism were experimenting with the ways in which colour could be liberated from the subject matter like a sky could be red, or a woman’s face green, allowing for colour to convey specific meaning outside of its connection to the object depicted, simply fauvism was individual expression, the artist's direct experience of his subjects, his emotional response to nature. Another of Fauvism's central artistic concerns was the overall balance of the composition, each element played a specific role. The immediate visual impression of the work is to be strong and unified. Characteristics of Fauvism art: Vibrant Colors: Fauvist artists used intense, non-naturalistic colors to create emotional impact and convey the artist's subjective experience rather than realistic representation. They utilized vivid hues straight from the tube, often applied in bold, non-blended brushstrokes. Simplified Forms: Fauvist artists simplified and distorted forms, often reducing them to basic geometric shapes. This simplification aimed to emphasize the expressive potential of color and form rather than achieving accurate representation. Expressive Brushwork: Fauvist artists employed energetic and spontaneous brushwork, visible in their paintings. Brushstrokes were often bold, thick, and visible, conveying a sense of immediacy and emotional intensity. Subjective Expression: Fauvist art prioritized the artist's subjective experience and emotion over representing objective reality. The emphasis was on capturing the artist's personal response to the subject matter and evoking an emotional response in the viewer. Characteristics of Fauvism art: Non-Naturalistic Color: Fauvist artists often used color independently of its natural appearance, employing arbitrary and exaggerated color choices to evoke emotion and create visual impact. Colors were frequently used in nonrepresentational ways, such as painting a face with a vibrant blue or green. Spatial Ambiguity: Fauvist works often exhibited a flattening of space, with little concern for conventional perspective. Forms and figures could coexist in a compressed and ambiguous space, challenging traditional notions of depth and spatial relationships. Influences from Primitive and Naïve Art: Fauvism drew inspiration from non-Western art forms, including African masks and Oceanic sculptures, as well as the simplicity and directness found in naïve or childlike art. Prominent Fauvist artists include Henri Matisse, André Derain, Raoul Dufy, and Maurice de Vlaminck. Fauvism's bold use of color and expressive freedom laid the groundwork for subsequent modern art movements. Henri Matisse: Luxe, Calme et Volupte (1904) The River Seine at Chatou - Maurice de Vlaminck (1906) Pinède à Cassis - André Derain (1907) Portrait of Madame Matisse - Henri Matisse (1905) Cubism (1907-1914) Cubism is a Western modern art movement that began around 1907 in Paris, France and started to decline in 1914 with the start of the First World War. Although the original Cubist movement changed dramatically during this time, its influence lived on in art movements like Futurism, Constructivism, Abstract Expressionism, and others. Cubism was led by artists Pablo Picasso and Georges Braque, who experimented with form and perspective. Picasso and Braque’s many experiments achieved Cubism’s. Picasso and Braque established the two main phases of Cubism, Analytic Cubism and Synthetic Cubism, which reached their peak between 1907-1912 and 1912-1914. French Post-Impressionist artist Paul Cézanne (1839-1906) primarily influenced the Cubist movement, other art styles, such as African art, also inspired Cubism. Cubism (1907-1914) After world war I, many Cubist artists continued to paint, which led to an evolution in the Cubist movement. Cubism began to be more interested in abstract style. main characteristics, including a fragmented, flat, and layered composition, multiple perspectives represented in a single picture plane, they were analyzing the appearance of their subjects and combining multiple viewpoints into a single form and a limited colour palette (a monochromatic colour palette). Cubism refused that art should imitate nature. Cube and other geometric forms like cones, spheres and cylinders appear consistently throughout the Cubist movement. Early Cubist painters favored muted gray, black and ochre tones over bold colors such as green or pink. Later in the Synthetic phase of Cubism, they used bright colors. Phases of Cubism (1907-1914): Cubism consisted of two major phases: Analytic Cubism and Synthetic Cubism. Analytic Cubism is the first major phase of Cubism that occurred between 1907 and 1912. Synthetic Cubism is the later phase of Cubism between 1912 and 1914, and Initially, the Cubism art movement was not divided into Analytical Cubism and Synthetic Cubism. Phases of Cubism: 1- Analytic Cubism: Analytic Cubism is the early phase of the Cubism art movement that developed around 1907 and lasted until 1912. The name Analytical Cubism describes the analytical, piece-by-piece approach artists used to represent their subjects. Analytic Cubism is characterized by paintings that represent a subject from multiple overlapping viewpoints within a single picture plane. The resulting artworks have a fragmented, geometric, abstract appearance and a monochromatic color palette. Pablo Picasso and Georges Braque were the artists at the forefront of Analytic Cubism for many years, along with Juan Gris (1887-1927) Phases of Cubism: 2- Synthetic Cubism: Synthetic Cubism is the second phase of the Cubism art movement that lasted from 1912 to 1914, around the time of the first world war. Much like Analytic Cubism, Synthetic Cubism was led by artists Pablo Picasso and Georges Braque. By 1912, many more artists were working alongside Picasso and Braque in the Cubist style, including Jean Metzinger (1883-1956), Albert Gleizes (1881-1953), Robert Delaunay (1885-1941), Henri Le Fauconnier (1881-1946) Fernand Léger (1881-1955). Synthetic Cubism is characterized by flat depictions of everyday objects and subject matter, usually real objects and people, and everything got bolder, with more symbolic compositions than in Analytical Cubism, the colors used in Synthetic Cubist art are also varied and more than in palette of Analytic Cubism. Les Demoiselles d'Avignon-Pablo Picasso (1907) Houses at L'Estaque - Georges Braque (1908) Violin and Palette-Georges Braque (1909) Tea Time-Jean Metzinger (1911) Still Life with Chair Caning-Pablo Picasso (1912) Maquette for Guitar-Pablo Picasso (1912) Conquest of the Air-Roger de la Fresnaye(1913) Still Life with Open Window-Rue Ravignan (1915) Futurism: (1908 – 1944) Futurism was an Italian art movement of the early 20th century, which aimed to capture the dynamism and energy of the modern world in art. Futurists were interested in the latest developments in science and philosophy and particularly fascinated with aviation, cinematography and industry and technology, The Futurists worked across a wide range of art forms including painting, architecture, sculpture, literature, theatre and music. The key focus was to represent a dynamic vision of the future. As such, they often portrayed urban landscapes and new technologies including trains, cars and aeroplanes. They glorified speed, violence and the working classes, believing they would advance change, The Futurists influenced by many artists and art movements like by Cubism. The main elements in their painting were power of line and colors. Famous Futurist artists in visual arts were Umberto Boccioni, Giacomo Balla, Carlo Carrà, and Gino Severini. Giacomo Balla, Dynamism of a Dog on a Leash, 1912. Courtesy Albright-Knox Gallery Carlo Carrà, Funeral of the Anarchist Galli, 1910-11. Courtesy MoMA Gino Severini, Dancer at Pigalle, 1912. Courtesy MoMA Giacomo Balla, Street Light (detail), 1910-11. Courtesy Kahn Gallery Umberto Boccioni, Unique Forms of Continuity in Space (1913) Abstractionism: (1910) Abstract art was born at the beginning of the 20th century (1910). At this time the artistic landscape was predominantly made up of fauvism, cubism and figurative expressionism. This type of art is marked by its freedom of color, shapes and of course: it’s subject. So much so that little by little, the pictorial aspect was completely abandoned purely for form. Boldness and experimentation with color characterizes this period as the artists began to free themselves from the constraints of academia. This art concentrates on colors and shapes that are free from the usual subjects or objects from the outside world. Abstract art can be roughly split into two ideas: rationality and independence from external reality. Artists like Kandinsky, Kupka, and Delaunay used a diverse range of bright colors red or deep blue. Abstractionism: (1910) Abstract art was a rich movement, which quickly divided into subcategories. Kandinsky was the representative Abstraction that interesting in power of emotions and the impact of anger on the human being. Malevitch represented Suprematism, a movement where forms and colors were left to speak for themselves. The works of Malevitch were more geometric and less colorful than those of Kandinsky, full of shapes and colors, but still carefully organized. As for Piet Mondrian, with his squares of primary color and black lines, he paved the way for almost Geometric Abstract Art. This was driven by the Delaunays who used sharp colors and rounded shapes to cover the whole painitng. These different trends were almost continued and lasted until the 1930s. The characteristics of the abstraction art movement? 1. Non-representational: Unlike traditional art that depicts objects and figures from the real world, abstract art does not aim to represent anything specific. Instead, it focuses on the formal qualities of art, such as color, shape, line, texture, and space. 2. Emphasis on form: Abstract artists are deeply interested in how these formal qualities can be used to create visually interesting and engaging compositions. They may use geometric shapes, organic forms, lines, and even text to build their works. 3. Experimentation: A defining characteristic of abstract art is a constant push for innovation and exploration. Abstract artists readily experiment with different materials, techniques, and styles, breaking away from traditional conventions. 4. Emotion and expression: While abstract art doesn't depict objects, it can be highly emotional and expressive. Artists use color, shape, texture, and composition to convey their feelings, ideas, and experiences. 5. Subjectivity: Unlike representational art that often has a clear subject matter, abstract art is open to interpretation. There is no right or wrong way to look at it, and each viewer will bring their own meaning and understanding to the work. Frantisek Kupka, Compliment (1912) Vassily Kandinsky, First abstract watercolor (1910) Kasimir Malevitch, Carré noir sur fond blanc (1915) Piet Mondrian: No. VI / Composition No. II, 1920 Dadaism: (1916-1924): Dadaism is one of the revolutionary art movements from the early 20th century, predating surrealism and with its roots in a number of major European artistic capitals. Developed in response to the horrors of WW1 the dada movement rejected reason, rationality, and order of the emerging capitalist society, instead favoring chaos, nonsense. The most Dada artists are Marcel Duchamp, Francis Picabia, and Man Ray in Paris, George Grosz, Otto Dix, John Heartfield, Hannah Höch, Max Ernst, and Kurt Schwitters in Germany, and Tristan Tzara, Richard Huelsenbeck, Marcel Janco and Jean Arp in Zurich. A Dadaism is often characterized by humour and weirdness, tending towards the nonsense. This kind attitude was used to attack the social and political systems, and WWI, It essentially declared war against war. Dadaism: (1916-1924): Reacting against the rise of capitalist culture, the war, and the concurrent degradation of art, artists in the early 1910s began to explore new art, or “anti-art”, as described by Marcel Duchamp. They wanted to think about the definition of art, and to do so they experimented with the laws of chance and with the found object. The Dadaists were asking a very serious question about the role of art in the modern age. This question became even main question in Dada art spread – by 1915, its ideals had been adopted by artists in New York, Paris, and beyond. Dadasim was mainly in Switzerland, Paris, New York Dadaism: (1916-1924): The Readymade: One of the most iconic forms of Dadaist expression was the readymade, a sculptural form perfected by Marcel Duchamp. These were works in which Duchamp reused found or factory-made objects into installations. In Advance a Broken Arm (1964), for instance, involved the suspension of a snow shovel from a gallery mount; Fountain (1917), arguably Duchamp’s most recognizable readymade, incorporated a mass-produced ceramic urinal. Different modes of Dadaism: As Duchamp’s readymades exemplify, the Dadaists did not shy away from experimenting with new media. For example, Jean Arp – a sculptor who pioneered dadaism – explored the art of collage. Man Ray also toyed with the arts of photography. Beyond these artistic media, the Dadaists also probed the literary and performance arts. Dadaism Characteristics : (1916-1924): 1. Anti-art and irrationality: Dadaists rejected traditional notions of art and beauty, often employing nonsensical imagery, collages of everyday objects, and chance procedures to challenge the status quo. 2. Spontaneity and chance: Improvisation and spontaneity were central to Dadaist practice. They often employed techniques like automatic drawing and found-object assemblage to create art that was unpredictable and open to chance. 3. Playfulness and humor: Dadaists used humor and satire to undermine authority and conventional thinking. They often employed puns, wordplay, and visual gags to poke fun at everything from politics and religion to art itself. 4. Collage and assemblage: Dadaists heavily utilized collage and assemblage, incorporating found objects, newspaper clippings, and other materials into their art. This allowed them to create visually interesting and provocative works that challenged traditional notions of artistic medium. 5. Global influence: Dadaism wasn't confined to Zurich. It quickly spread to other European cities like Berlin and Paris, and eventually reached the United States, influencing artists like Man Ray and Marcel Duchamp. 6. Political engagement: Although Dadaists rejected traditional political ideologies, they were often deeply engaged in social and political issues. Their art often critiqued the horrors of war, the rise of fascism, and the dehumanizing effects of modern capitalism.  1. Marcel Duchamp’s Fountain (1917) In 1917, Marcel Duchamp submitted a urinal to the Society of Independent Artists. The Society refused Fountain because they believed it could not be considered a work of art. Duchamp’s Fountain raised countless important questions about what makes art and is considered a major landmark in 20th-century art. Marcel Duchamp, In Advance of the Broken Arm, 1915  Marcel Duchamp’s Bicycle Wheel (1913) “In 1913, I had the happy idea to fasten a bicycle wheel to a kitchen stool and watch it turn,” said Marcel Duchamp about his famous work Bicycle Wheel. Bicycle Wheel is the first of Duchamp’s readymade objects. Readymades were individual objects that Duchamp repositioned or signed and called art. He called Bicycle Wheel an “assisted readymade,” made by combining more than one utilitarian item to form a work of art.  Raoul Hausmann’s Mechanical Head (The Spirit of our Time) (1920) Raoul Hausmann was a poet, collagist, and performance artist, who is best known for his sculpture entitled Mechanical Head (The Spirit of Our Time). The manikin head made from a solid wooden block is a reversal of Hegel’s assertion that “everything is mind.” For Hausmann, man is empty-headed “with no more capabilities than that which chance has glued to the outside of his skull.” By raising these topics, Hausmann wanted to compose an image that would shatter the mainstream Western conventions that the head is the seat of reason. Surrealism: 1924 – 1966 The art movement, which blossomed in the 1920s with André Breton the poet , rejected the society’s oppressive rationality. Instead, the movement’s followers explored the irrational and the subconscious mind, which they considered to be superior to rationality. Breton was also influenced by the psychoanalytical writings of Sigmund Freud that the unconscious mind (which expressed itself, for example, through dreams) was the source of creativity. Surrealist artists deployed automatic drawing or writing to unlock ideas from their subconscious, often depicting elements from their dreamscapes. The surrealism artists : André Breton, Salvador Dalí, André Masson, Rene Magritte, Joan Miró, Yves Tanguy, Max Ernst, Frida Kahlo, Diego Rivera, Meret Oppenheim, Jean Arp, Man Ray, Wifredo Lam.  “Surrealism: Psychic automatism in its pure state, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought, in the absence of any control exercised by reason, exempt from any aesthetic or moral concern.” – André Breton, Surrealist Manifesto. Nature, is the most frequent imagery: Max Ernst was obsessed with birds and had a bird alter ego, Salvador Dalí's works often include ants or eggs, and Joan Miró relied strongly on vague biomorphic imagery. Surrealism has no unified style, but, in painting, one can distinguish a range of possibilities falling between two extremes. The viewer see a depicted world but that makes no rational sense: realistically painted images are removed from their normal contexts and reassembled within an ambiguous, paradoxical, or shocking framework. Surrealism Charactristics: 1924 – 1966 1. Dreamlike Imagery: Surrealists masterfully employed the technique of juxtaposing disparate objects and ideas, creating dreamlike and often illogical scenes. Think melting clocks draped over barren landscapes (Salvador Dalí's "The Persistence of Memory") or bowler hats perched atop chimneys (René Magritte's "The Treachery of Images"). 2. Exploration of the Unconscious: Inspired by psychoanalysis and theories of the subconscious mind, surrealists used their art to explore the inner world of dreams, desires, and fears. Automatic drawing, free association, and dream analysis techniques were often employed to tap into this realm. 3. Symbolism and Archetypes: Surrealists frequently used symbolic imagery to convey deeper meanings and archetypal concepts. Everyday objects like clocks, eyes, and mirrors could take on new, symbolic meanings, inviting viewers to interpret their personal significance. 4. Biomorphism and Organic Forms: Fluid, organic shapes and forms heavily influenced surrealist art. Inspired by nature and the human body, these forms often evoked a sense of fluidity and the interconnectedness of all things. 5. Political and Social Commentary: Although not explicitly political, surrealism often contained veiled critiques of societal norms, oppression, and the horrors of war. Artists like Salvador Dalí and Max Ernst used their art to express their disillusionment with the world and challenge established ideologies. 6. Collaboration and Experimentation: Surrealists were a collaborative group, readily exchanging ideas and techniques. Exquisite corpse, a collaborative drawing game, and automatic writing exercises fostered a sense of collective exploration and pushed the boundaries of artistic expression. 7. Influence beyond Visual Arts: Surrealism's influence extended beyond painting and sculpture, impacting film, photography, literature, and even music. Artists like Luis Buñuel and Salvador Dalí explored the dreamlike potential of film, while musicians like John Cage experimented with aleatory music, inspired by surrealist concepts. The iconic view on melting watches is the central motif of the world famous Dalí painting – The Persistence of Memory, which is widely recognized and still actual in modern pop culture. Somewhere in the abstract surreal dreamworld of desires based on Catalan landscape and profound meditation on the theme of the space-time continuum, the self-portrait with the large nose from The Great Masturbator from 1929 is present as self-referencing figure. This painting was of great importance for Surrealism movement and for the artist himself, since Dalí has returned to the theme in various media, style and variations - The Disintegration of the Persistence of Memory, Persistence of Memory, The Nobility of Time, The Profile of Time and The Three Dancing Watches. The Persistence of Memory- Salivador Dali- 1930  Frida Kahlo’s The Wounded Deer (1946) This iconic painting depicts Frida Kahlo as a wounded deer, punctured by multiple arrows. She painted the painting after an unsuccessful spinal surgery in New York in 1946. By presenting this self-portrait of herself as a hunted half-stag, half-human, she shares her suffering with the viewer. Her choice to represent herself as a stag, a male deer. The Tilled Field is the first of the Joan Miró’s surrealist paintings, after his period of Fauvism. As one of the most important surrealist painters, Miro's vision and vivid colorful imagination unite Catalan landscapes with its history and at the same time reflects the current political situation in Spain during 1920s. The mind of a spectator is overwhelmed with a strong symbolic language that subversively represents a continuity of free spirit ideals of present and past in order to confront the strong dictatorship of Spanish government that neglects the Catalan long lasting autonomous thought and local complexity and surreal landscape. Golconda-René Magritte -1953 Joan Miro, Harlequin’s carnival, 1924 Pop Art : (mid-1950s): Pop Art first emerged in the mid-1950s in both America and Britain. It was in part a reaction against the emotional seriousness and introspection of Abstract Expressionism, which had been affected by the experience of the Second World War. The term ‘Pop Art’ was imagery produced by a mass culture that ‘high’ art had begun to pick up and use: flags, jukeboxes, badges, advertising logos, comic strips and magazines. After the intensity of Abstract Expressionism, Pop Art favoured irony and impersonal techniques in the creation of art works, as well as a return to figurative painting. Pop Art's refreshing reintroduction of identifiable imagery, drawn from media and popular culture, was a major shift for the direction of modernism. With roots in Neo-Dada and other movements that questioned the very definition of “art” itself, Pop was birthed in the United Kingdom in the 1950s amidst a post war socio-political climate where artists turned toward celebrating commonplace objects and elevating the everyday to the level of fine art. Pop Art : (mid-1950s): American artists Andy Warhol, Roy Lichtenstein, James Rosenquist and others would soon follow suit to become the most famous champions of the movement in their own rejection of traditional historic artistic subject matter in lieu of contemporary society’s ever- present infiltration of mass manufactured products and images that dominated the visual realm. Perhaps owing to the incorporation of commercial images, Pop Art has become one of the most recognizable styles of modern art. Pop artists seemingly embraced the post-World War II manufacturing and media boom.  Characteristics of Pop Art: A merging of high art and culture/fine art and low art A belief that everything subject can be used in art Incorporated popular culture Celebrity references to rock stars, movie stars and politicians Images of American consumerism Mass production of consumer products Everyday images of people, consumer goods, home appliances Bold colors from the primary and secondary colors Hard edges Monumental images Ben-Day dots just like comic books used Pulp culture: Pulp culture or artwork that takes on the style of another medium was well represented in the Pop art movement as comic books were presented in pop art. Incorporation of signage and logos Geographical reference through depiction of surf boards and motorcycles Use of new mediums such automobile paint Generally devoid of emotion/ viewer is just an observer Appropriation: Many pop artists took images either from photography or print and incorporated them directly into their works. Repetition: Pop artists like Andy Warhol used repetition as a recurring theme within their Pop art artwork. Using silkscreen, he could quickly reproduce images and therefore the quantity of art. Different Types and Styles of Pop Art: Painting using different mediums that were not generally associated with fine art Collage using new and vintage photography, images from magazines and newspapers Screen print to mass produce images Sculpture including objects made with fabric Paper maches Plaster models Soft form fabrics Pop Art Artsits: 1- Roy Lichtenstein 2- Keith Haring 3- Robert Rauschenberg 4- Richard Hamilton 5- Andy Warhol 6- David Hockney 7- Robert Indiana 8- James Rosenquist 1. Everyday Imagery: Orange Marilyn. 1962. Andy Warhol. 2. A Merging of Fine Art and Popular Culture: On the Balcony. (1955–1957) Peter Blake. Tate Gallery, London 3. A Criticism Of Consumerism: Just what is it that makes today's homes so different? 1992, digital print on paper by Richard Hamilton (1922–2011) 4. Bold Colors: M-Maybe.1965. Roy Lichtenstein. Museum Ludwig, Cologne, Germany. 5. Pulp Culture- 6. Humor Whaam! 1963 by Roy Lichtenstein 1923-1997 7. Appropriation: Look Mickey.1961. Roy Lichtenstein. National Gallery of Art, Washington 8. Repetition 9. Monumental Imagery: Rosenquist began the painting F-111 in 1964, in the middle of the Vietnam War. Op Art (late 1950s and 1960s): Op art is a form of abstract visual art that uses geometric forms to create optical illusions. The term “Op Art” is short for optical art. With the formal movement beginning in the 1960s, op artists explore theories of optics, perception and colour theory by creating geometric patterns that create optical illusions and often give the viewer the impression that the artwork is somehow in motion. Op Art is an abbreviation of optical art, a form of geometric abstract art, that explores optical sensations through the use of visual effects such as recurring simple forms and rhythmic patterns, vibrating colour- combinations, moiré patterns and foreground-background confusion. Formally, all Op Art paintings and works employ tricks of visual perception like manipulating rules of perspective to give the illusion of three- dimensional space, mixing colours to create the impression of light and shadow. The roots of Op Art, in terms of graphic and colour effects, can be traced back to Impressionism, Cubism, Futurism and Dada, but the movement perhaps more closely derives from the constructivist practices of the Bauhaus. Op Art (late 1950s and 1960s): Typically, Op artists used only black and white in order to produce the greatest contrast in their designs, since this contrast causes the greatest confusion for the eye, which struggles to discern which element of the composition is in the foreground and which in the background. But color was also a focus of attention at times. The peak of the Op Art movement’s success was 1965, when the Museum of Modern Art embraced the style with the exhibition The Responsive Eye, which showcased paintings and sculptures by artists such as Victor Vasarely, Bridget Riley, Frank Stella, Carlos Cruz-Diez, Jesús Rafael Soto, and Josef Albers. Op Art profoundly influenced advertising, fashion, and interior design as well, before fading in the early 1970s. Artists: Victor Vasarely, Bridget Riley, Richard Anuskiewicz, François Morellet, Jesús Rafael Soto, Julio Le Parc, Gianni Colombo, Peter Kogler. Bridget Riley Hesitate (1964)  Julio Le Parc Continual Mobile, Continual Light (1963) Vega, 1956 by Vector Vasarely Szem, 1970 by Vector Vasarely Renault logo, 1972, by Victor Vasarely and Yvaral Gestalt-Pir by VICTOR VASARELY 1969 Shift by Bridget Riley 1963 Minimalism (1960s and 1970s): The Minimalism art movement is one of the most influential of the 1960s, emerging in New York City among a number of young artists who were moving away from Abstract Expressionism and favored a geometric aesthetic instead. These artists wanted to create art that referred only to itself, allowing the viewer an immediate, purely visual response. Minimalism characterized by extreme simplicity of form and a literal, objective approach that offers a highly purified form of beauty. It can also be seen as representing such qualities as truth (because it does not pretend to be anything other than what it is), order, simplicity and harmony. Artists: Donald Judd, Dan Flavin, Carl Andre, Sol Lewitt, Frank Stella, Agnes Martin, Robert Morris. Robert Morris (1965, reconstructed 1971) Donald Judd (1969) Carl Andre, 144 Magnesium Square (1969) Sol LeWitt, Two Open Modular Cubes/Half-Off (1972) Conceptual art (1960s - 1970s) : Conceptual art most commonly refers to the art movement between the 1960s and 1970s that emerged in the United States, then Soviet Union, Japan, Latin America, Europe. Conceptualism refers to the Anglo-American art movement that blossomed in the 1960s and 1970s. The idea, planning and production process of the artwork were seen as more important than the actual result. Conceptualism often revolves around the concept. In Conceptualism, the idea or concept behind the work of art became more important than the actual technical skill or aesthetic. Conceptual artists used whichever materials and forms were most appropriate to get their ideas across. This resulted in vastly different types of artworks that could look like almost anything – from performance to writing to everyday objects. Artists: Sol LeWitt, Joseph Kosuth, Mel Bochner, Hanne Darboven, Jan Dibbets, Hans Haacke, On Kawara, Lawrence Weiner, Ian Burn, Mel Ramsen, Yoko Ono, John Baldessari, Art & Language group, Marina Abramović Conceptual art (1960s - 1970s) : The origins of Conceptual Art : Although Conceptual art was first defined in the 1960s, its origins trace back to 1917, when Marcel Duchamp famously bought a urinal from a plumber’s shop and submitted it as a sculpture in an open sculpture exhibition in New York, for which he was on the selection committee. The jury rejected the work, deeming it immoral, and refusing to accept it as art. Duchamp’s questioning of where the boundaries of art lie and his critique of the art establishment paved the way for Conceptual art. Marcel Duchamp, Fountain Conceptual art (1960s - 1970s) : Influences: Fluxus: In the early 1960s, the term ‘concept art’ was already in use by members of the Fluxus movement like Henry Flynt. Fluxus was a group that embraced artists from Asia, Europe and the United States. The movement was all about creating an open attitude towards art, far removed from modernism’s exclusivity. Fluxus artists were interested in broadening the range of reference of the aesthetic towards anything, from an object to a sound or an action. Famous Fluxus artists include Yoko Ono, who was active in a wide range of Fluxus activities in both New York and her native Japan, and Joseph Beuys in Germany. Conceptual art (1960s - 1970s) : Frank Stella’s Black Paintings In the late 1950s and early 1960s, Frank Stella created his series of Black Paintings, which marked a crucial point of fracture between Modernism and Counter-Modernist practices. This series of works would lead to the emergence of Minimalist and Conceptual art. The point of these works was to literally emphasise and echo the shape of the canvas, getting the work off the wall and into three-dimensional space. The work of art became about actions and ideas. Frank Stella’s Black Paintings Joseph Kosuth, Four Colours Four Words (Blue, Red, Yellow, Green), 1966. Six Years by Lucy R. Lippard Daniel Buren, Ask for a price Contemporary Art: Digital Art Street Art Land Art Installation Art Neon Art Modern Art & Post Modernism & Contemporary Art : Modern art is that which was created sometime between the 1860s (some say the 1880s) and the late 1960s (some say only through the 1950s) with numerous movements: Impressionism, Cubism, Surrealism, and Abstract Expressionism, … etc, Art made thereafter (e.g., conceptual, minimalist, postmodern, feminist) is considered contemporary. Postmodern art refers to a style of contemporary art created from about 1970 onwards. It’s best understood by looking at the traditional values and conservative point of view of the modern artists who were active between 1870-1970. Postmodern art rejected the traditional values of modernism, and instead embraced experimentation with new media and art forms including intermedia, installation art, conceptual art, multimedia, performance art, and identity politics. Using these new forms, postmodernist artists have stretched the definition of art to embrace the idea that “anything can be art”.  ‫الفن الحديث في مصر‪:‬‬ ‫محمود مختار‬ ‫ محمود مختار (‪ 10‬مايو ‪ 28 - 1891‬مارس ‪ ،)1934‬أحد الفنانين الرواد القالئل في فن‬ ‫النحت وصاحب تمثال نهضة مصر الشهير وله متحف باسمه قائم إلى اآلن‪ ،‬متحف الفنان‬ ‫محمود مختار الذي يعد قبلة لدارسي الفنون في مصر وشاهد على فترة تاريخية وسياسية‬ ‫هام‪.‬‬ ‫ ساهم محمود مختار في إنشاء مدرسة الفنون الجميلة العليا وكما شارك في إيفاد البعثات‬ ‫الفنية للخارج‪ ،‬كما اشترك في عدة معارض خارجية بأعمال فنية القت نجاحا عظيما وأقام‬ ‫معرضا خاصا ألعماله في باريس عام ‪ 1930‬وكان ذلك المعرض سبباً في التعريف‬ ‫بالمدرسة المصرية الحديثة في الفن وسجلت مولدها أمام نقاد الفن العالميين‪.‬‬  ‫ يوسف كامل‬ ‫ اتخذ يوسف كامل من المدرسة التأثرية أسلوبًا للتعبير‪ ،‬غير أنه لم يلتزم حرفيًا بأسلوب‬ ‫الفن التأثري األوروبي الذي يحتم عدم استخدام اللون األسود أو البني في الرسم‪ ،‬فقد‬ ‫جعلهما من بين ألوانه واكتفي من الفن التأثري باللمسات المتجاورة غير المندمجة كل‬ ‫لمسة مستقلة الي جانب األخري وتقوم عين المشاهد بمزجها عند النظر الي اللوحة من‬ ‫بعيد‪.‬‬ ‫ كان يوسف كامل من أغزر الفنانين المصريين إنتا ًجا؛ إذ وصل عدد اللوحات التي رسمها‬ ‫إلى أكثر من ألفي لوحة‪ ،‬كانت موضوعاتها من البيئة المصرية والريف المصري وأسواق‬ ‫القاهرة القديمة وأحيائها‪ ،‬وكان يستهويه رسم الطيور والحيوانات األليفة‪.‬تحفظ إبداعاته‬ ‫في متحف الفن الحديث بالقاهرة‪.‬ومن أهم أعماله (لوحة االحياء القديمة‪-‬صورة لمشايخ‬ ‫الحسين‪-‬علي شط الترعة‪-‬تأثيرات لونية)‬  ‫أحمد صبري‬ ‫مواليد‬ ‫من‬ ‫كبير‬ ‫مصرى‬ ‫ أحمد صبرى' ‪ ،‬رسام‬ ‫محافظة القاهره سنة ‪.1889‬‬ ‫ هو من أبرز رواد الفن التشكيلي فى مصر‪.‬و خاصة فن البورتريه‪.‬‬ ‫ اعتبره كثير من النقاد ابو التأثيرية المصرية ‪.‬‬ ‫ رشح لبعثة دراسية فى فرنسا على نفقة األمير يوسف كمال ولكن‬ ‫ظروف الحرب العالمية األولى حالت دون ذلك ‪ -.‬أوفدته وزارة‬ ‫األشغال فى بعثة دراسية إلى باريس بناء على قرار من البرلمان الذى‬ ‫اعتمد ميزانية خاصة للبعثات الفنية ‪ 1924‬وتتلمذ على يد ` بول‬ ‫ألبير`‪ ` ،‬إيمانويل فوجيرا `‪.‬‬ ‫عازفة العود‪.‬زيت على توال‬ ‫تأمالت‪.‬تعرف كمان بالراهبة‬ ‫بعد المطالعة‪.‬زيت على قماش ‪.1926‬احمد صبري‬  ‫راغب عياد‬ ‫ راغب عياد (‪ )1982 - 1882‬هو‬ ‫فنان تشكيلي مصري ولد في فبراير‬ ‫عام ‪ ، 1882‬التحق بأول معهد للفنون‬ ‫الجميلة ‪ 1908‬عمل مدرساً للتربية‬ ‫الفنية بعد التخرج ‪ ،‬أُوفد في بعثة إلى‬ ‫إيطاليا عام ‪ ، 1925‬وصار أميناً‬ ‫للمتحف القبطي عام ‪ ، 1942‬ثم مديراً‬ ‫أميناً لمتحف الفن الحديث عام ‪1950‬‬ ‫وحصل على جائزة الدولة التقديرية‬ ‫عام ‪ ، 1965‬وحصل أيضاً على وسام‬ ‫من الحكومة اإليطالية ‪ ،‬وتوفي عام‬ ‫‪.1982‬‬  ‫متحف الفن الحديث بدار األوبرا المصرية‬ ‫ قع المتحف داخل حرم ساحة دار األوبرا المصرية‪ ،‬ويُعد من أهم وأبرز المتاحف فى مصر‪ ،‬ويضم أعما ًالً فنية متميزة من‬ ‫مختلف األجيال والحقب الزمنية‪.‬‬ ‫ ‬ ‫ وظهرت الحاجة إلى متحف الفن المصري الحديث في مطلع القرن الماضي إذ كانت تعيش مصر نهضة فنية كبيرة كان السبب‬ ‫فيها هو إنشاء مدرسة الفنون الجميلة بالقاهرة والتي أصبح اسمها فيما بعد كلية الفنون الجميلة والكائن مبناها حاليا بجزيرة‬ ‫الزمالك ‪ -‬القاهرة في عام ‪1908‬م وبعد أربع سنوات أي في عام ‪ 1911‬تخرجت من المدرسة دفعتها األولى‪.‬‬ ‫ ‬ ‫ وشهدت هذه الدفعة العديد من األسماء الذين شكلوا اإلرهاصات األولى للفن المصري الحديث ومن ضمنهم المثال محمود‬ ‫مختار وكذلك الفنان راغب عيادو كمال أمين ويوسف كامل وأحمد صبري والعديد من األسماء الالمعة‪.‬وعلى إثر ذلك انتشرت‬ ‫الً ومن ثم وعبر‬ ‫القاعات الفنية والمعارض وازدهر الفن التشكيلي بصفة عامة وشهدت هذه الحقبة وما تالها زخما فنيًا ً هائ ً‬ ‫قرن كامل كان لزاما أن يوجد متحف كي يكون شاهدا على هذه الفترة‪.‬‬ ‫ ‬ ‫ ويضم متحف الفن الحديث‪ ،‬لوحات تمثل المدرسة الواقعية والتجريدية وا?