Abstract  Expressionism-­‐  is  also  referred  to  as  Gestural  Abstraction,  because  its  brush  stokes  revealed  the  artist's  process.  This  process  is  the  subject  of  the  art  itself.    There  are  two  factions  of  AbEx  including  Action  Painting  and  Color  Field.      

 Baroque-­‐  was  primarily  associated  with  the  religious  tensions  within  Western  Christianity:  division  on  Roman  Catholicism  and  Protestantism.      Revolutionary  technique  of  dramatic,  selective  illumination  of  figures  out  of  deep  shadow  is  a  hallmark  of  Baroque  paintings.  Contrary  to  the  traditional  idealized  interpretation  of  religious  subjects,  Baroque  realistically  presents  models  from  the  streets.  

   Pop  Art-­‐  challenged  tradition  by  asserting  that  an  artist's  use  of  the  mass-­‐produced  visual  commodities  of  popular  culture  is  contiguous  with  the  perspective  of  fine  art.    The  aim  is  to  use  popular  images  and  found  objects  rather  than  elite  art  imagery.      

 Post  Impressionism-­‐  most  began  as  Impressionist  painters  but  each  of  them  

abandoned  the  style,  however,  to  form  his  own  highly  personal  art.  The  Post-­‐Impressionists  rejected  this  limited  aim  in  favor  of  more  ambitious  expression,  admitting  their  debt,  however,  to  the  pure,  brilliant  colors  of  Impressionism,  its  freedom  from  traditional  subject  matter,  and  its  technique  of  defining  form  with  short  brushstrokes  of  broken  color.  

 Impressionism-­‐  is  characterized  chiefly  by  concentration  on  the  general  impression  produced  by  a  scene  or  object  and  the  use  of  unmixed  primary  colors  and  small  strokes  to  simulate  actual  reflected  light.  The  most  conspicuous  characteristic  of  Impressionism  was  an  attempt  to  accurately  and  objectively  

record  visual  reality  in  terms  of  transient  effects  of  light  and  color.    Gothic-­‐  developed  in  France  out  of  Romanesque  art  in  the  mid-­‐12th  century.    Christian  art  was  often  typological  in  nature  showing  the  stories  of  the  New  Testament  and  the  Old  Testament  side  by  side.  Saints’  lives  and  the  virgin  Mary  were  typical  topics.        

Renaissance-­‐  it  encompassed  a  resurgence  of  learning  based  on  classical  sources,  the  development  of  linear  perspective  in  painting,  and  gradual  but  widespread  educational  reform.  Traditionally,  this  intellectual  transformation  has  resulted  in  the  Renaissance  being  viewed  as  a  bridge  between  the  Middle  Ages  and  the  Modern  era.  

 Expressionism-­‐  is  more  of  an  attitude  or  philosophy  of  art  rather  than  a  style.    The  artists  were  not  interested  in  naturalism.    They  wanted  to  express  emotional  states  in  their  work  as  well  as  to  portray  the  many  stress  of  the  modern  world.      

 Cubism-­‐  the  subject  matter  is  broken  up,  analyzed,  and  reassembled  in  an  abstracted  form.  Picasso  and  Braque  initiated  the  movement  when  they  followed  the  advice  of  Paul  Cézanne,  who  in  1904  said  artists  should  treat  nature  "in  terms  of  the  cylinder,  the  sphere  and  the  cone.    

 Dada-­‐  was,  officially,  not  a  movement,  its  artists  not  artists  and  its  art  not  art.  Writers  and  artists  used  any  public  forum  they  could  find  to  (metaphorically)  spit  on  nationalism,  rationalism,  materialism  and  any  other  -­‐ism  which  they  felt  had  contributed  to  a  senseless  war.        

Surrealism-­‐  Surrealism  was  a  means  of  reuniting  conscious  and  unconscious  realms  of  experience  so  completely,  that  the  world  of  dream  and  fantasy  would  be  joined  to  the  everyday  rational  world  in  "an  absolute  reality,  a  surreality."  Drawing  heavily  on  theories  adapted  from  Sigmund  Freud,  Breton  saw  the  unconscious  as  the  wellspring  of  the  imagination.  

 Romanticism-­‐  emerged  in  the  wake  of  the  French  Revolution  as  a  reaction  against  the  restrained  academic  art  of  the  arts  establishment.  The  tenets  of  romanticism  included:  a  return  to  nature  -­‐  exemplified  by  an  emphasis  on  spontaneous  plein-­‐air  painting  -­‐  a  belief  in  the  goodness  of  humanity,  the  promotion  of  

justice  for  all,  and  a  strong  belief  in  the  senses  and  emotions,  rather  than  reason  and  intellect.    

Fauvism-­‐  a  short-­‐lived  movement  involving  bold  distortion,  violent  colors  and  vigorous  brushstrokes.    Fauve  translates  into  wild  beasts.