IMPRESSIONISM
A style of painting developed in the last third of the 19th century, characterized chiefly by short brush
strokes of bright colors in immediate juxtaposition to represent the effect of light on objects.
A manner of painting in which the forms, colors, or tones of an object are lightly and rapidly indicated.
A manner of sculpture in which volumes are partially modeled and surfaces roughened to reflect light
unevenly.
A theory and practice in literature that emphasizes immediate aspects of objects or actions without attention
to details.
A late-19th-century and early-20th century style of musical composition in which lush harmonies, subtle
rhythms, and unusual tonal colors are used to evoke moods and impressions. Edgar Degas, Edouard
Manet, Claude Monet, and Pierre Auguste Renoir. Impressionist painting seeks to re-create the artist's
or viewer's general impression of a scene. It is characterized by indistinct outlines and by small
brushstrokes of different colors, which the eye blends at a distance. Soft, pastel colors appear frequently in
impressionist paintings.
FAUVISM
Fauvism, style of painting that flourished in France around the turn of the 20th century. Fauve artists used
pure, brilliant colour aggressively applied straight from the paint tubes to create a sense of an explosion on
the canvas. The Fauves painted directly from nature, as the Impressionists had before them, but Fauvist
works were invested with a strong expressive reaction to the subjects portrayed. First formally exhibited in
Paris in 1905, Fauvist paintings shocked visitors to the annual Salon d’Automne; one of these visitors was
the critic Louis Vauxcelles, who, because of the violence of their works, dubbed the painters fauves (“wild
beasts”).
CUBISM
Cubism, highly influential visual arts style of the 20th century that was created principally by the artists
Pablo Picasso and Georges Braque in Paris between 1907 and 1914. The Cubist style emphasized the flat,
two-dimensional surface of the picture plane, rejecting the traditional techniques of perspective,
foreshortening, modeling, and chiaroscuro, and refuting time-honoured theories that art should imitate
nature. Cubist painters were not bound to copying form, texture, colour, and space; instead, they presented
a new reality in paintings that depicted radically fragmented objects.
FUTURISM
Futurism, Italian Futurismo, Russian Futurizm, early 20th-century artistic movement centred in Italy that
emphasized the dynamism, speed, energy, and power of the machine and the vitality, change, and
restlessness of modern life. During the second decade of the 20th century, the movement’s influence
radiated outward across most of Europe, most significantly to the Russian avant-garde. The most-
significant results of the movement were in the visual arts and poetry.
DADAISM
Dadaism or Dada is a post-World War I cultural movement in visual art as well as literature (mainly
poetry), theatre and graphic design. The movement was, among other things, a protest against the barbarism
of the War and what Dadaists believed was an oppressive intellectual rigidity in both art and everyday
society; its works were characterized by a deliberate irrationality and the rejection of the prevailing
standards of art. It influenced later movements including Surrealism.
Dada, nihilistic and anti-aesthetic movement in the arts that flourished primarily in Zürich, Switzerland;
New York City; Berlin, Cologne, and Hannover, Germany; and Paris in the early 20th century.
SURREALISM
Surrealism, movement in visual art and literature, flourishing in Europe between World Wars I and II.
Surrealism grew principally out of the earlier Dada movement, which before World War I produced works
of anti-art that deliberately defied reason; but Surrealism’s emphasis was not on negation but on positive
expression. The movement represented a reaction against what its members saw as the destruction wrought
by the “rationalism” that had guided European culture and politics in the past and that had culminated in
the horrors of World War I. According to the major spokesman of the movement, the poet and critic André
Breton, who published The Surrealist Manifesto in 1924, 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. He defined genius
in terms of accessibility to this normally untapped realm, which, he believed, could be attained by poets
and painters alike.
POP ART
Pop art is an art movement that emerged in Britain and the United States during the mid- to late-1950s.[1][2] The
movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such
as advertising, comic books and mundane cultural objects. One of its aims is to use images of popular (as opposed to
elitist) culture in art, emphasizing the banal or kitschy elements of any culture, most often through the use of
irony.[3] It is also associated with the artists' use of mechanical means of reproduction or rendering techniques. In
pop art, material is sometimes visually removed from its known context, isolated, or combined with unrelated
material.
DIGITAL ART
Digital art is a general term for a range of artistic works and practices that use digital technology as an
essential part of the creative and/or presentation process. Since the 1970s, various names have been used to
describe the process including computer art and multimedia art, and digital art is itself placed under the
larger umbrella term new media art. After some initial resistance, the impact of digital technology has
transformed activities such as painting, drawing, sculpture and music/sound art, while new forms, such as
net art, digital installation art, and virtual reality, have become recognized artistic practices. More generally
the term digital artist is used to describe an artist who makes use of digital technologies in the production of
art. In an expanded sense, "digital art" is a term applied to contemporary art that uses the methods of mass
production or digital media.
GRAFFITI
Graffiti, form of visual communication, usually illegal, involving the unauthorized marking of public space
by an individual or group. Although the common image of graffiti is a stylistic symbol or phrase spray-
painted on a wall by a member of a street gang, some graffiti is not gang-related. Graffiti can be understood
as antisocial behaviour performed in order to gain attention or as a form of thrill seeking, but it also can be
understood as an expressive art form.
Derived from the Italian word graffio (“scratch”), graffiti (“incised inscriptions,” plural but often used as
singular) has a long history. For example, markings have been found in ancient Roman ruins, in the
remains of the Mayan city of Tikal in Central America, on rocks in Spain dating to the 16th century, and in
medieval English churches.
LAND ART
Land art is a style of art which uses elements found in nature to build a sculpture that works in harmony
with a given location. The process is to work totally within the environment which means the work
ultimately becomes subject to the forces that will alter or destroy it.
Through photography we try to capture a moment in time. Video captures the progression of time in a
linear fashion. Painting represents our reality of the moment (or our distortion of it). Sculpture creates a
concrete reality of an idea or a representation of a form. Land art doesn't offer a reflection of a moment in
time but the unfolding progression of time (the time the work is viewed) .through time lapse photography,
it offers the viewer a way of seeing the processes that are going on all around them and even how their own
physical form moves through time.
Mankind has a perception that the world is in a sense only a backdrop to the importance of our individual
social lives. However the intricacies and subtle forms of communication in the natural world are far
superior to anything humans have created or ever could create. As an artist, if you can work with this
intelligence and show it to people through a medium that is instinctually familiar to them, then the work
needs no signature or explanation - it just is what it is until it disappears.
PROLETARIAN ART
The proletarian arts movement was an international politico-arts movement that flourished in the 1920s and 1930s.
Like other modernist movements, the proletarian arts movement sought to redefine the form and function of
literature and art; and like other modernist movements, it held that capitalism was fundamentally changing the ways
that people related to each other and to the world in which they lived. But, in contrast, the proletarian arts
movement—no matter how much writers disagreed over the details—held that class-based struggle was necessary
because capital was controlled by the few at the expense of the many. The essays in this volume remind us of the
anguish and optimism that made proletarianism seem not only possible but crucial. As the important Korean literary
critic Yoon-shik Kim writes in his essay in this volume, “Literature was no longer to be a sentimental pastime, but
an active participant in the development of society and the unfolding of history.”
Philippine
Contemporary
Art
Submitted by:
Ma. Filipina Catalla
Submitted to:
Mrs. Jasmine Beth S. Presas
Grade12-Stalwart
Fauvism
Cubism
Futurism
Dadaism
Surrealism
Pop Art
Digital Art
Graffiti
Land Art
Proletarian Art
