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Art Periods
| Question | Answer |
|---|---|
| Ancient Greece and revived during the Renaissance and again in the 18th and early 19th Century. Emphasis on harmony, proportion, balance; inspiration from the art and culture of Ancient Greece and Rome; idealized beauty; focus on the human body. | Classicism |
| 1300 – 1600 Emphasis on humanism, revival of classical learning and wisdom, realistic representation of the human figure, use of perspective, and exploration from both Christianity and classical mythology. Da Vinci, Michelangelo, Raphael, Botticelli | Renaissance |
| 1490 – 1527 Harmonious composition, idealized forms, rational space using linear perspective, chiaroscuro and sfumato techniques, classical references, and humanistic themes. Da Vinci, Michelangelo, Raphael, Titian | High Renaissance |
| 1520s – 1580s Elongated figures, exaggerated poses, unnatural lighting, vibrant colors, complex compositions, a departure from the ideal proportions of the High Renaissance, focus on style and technique Jacopo Pontormo, Rosso Fiorentino, El Greco. | Mannerism |
| 1600 – 1750 Dramatic use of light and shadow, intense emotions, movement, rich color palettes, elaborate decorations, and the integration of the arts (painting, sculpture, architecture). Popular Artists: Caravaggio, Bernini, Rembrandt, P Paul Rubens. | Baroque |
| 1700 – 1775 Ornate and elaborate style, light and pastel colors, asymmetrical designs, themes of love, nature, and light-heartedness, use of curves and natural forms, decorative and intricate details. Jean-Antoine Watteau, François Boucher | Rococo |
| 1760 – 1830 Inspired by the art and culture of ancient Greece and Rome, emphasis on harmony, simplicity, and proportion, use of classical themes and subjects, and a focus on idealized forms. Jacques-Louis David, Jean Ingres, Antonio Canova. | Neoclassicism |
| 1860 – 1900 Emphasis on beauty and aesthetic experience over practical, moral, or narrative considerations; often featuring sensuous imagery, refined elegance, and ornamental style. James McNeill Whistler, Aubrey Beardsley, Dante Gabriel Rossetti. | Aestheticism |
| 1825 – 1875 Emphasis on natural landscapes, particularly of the where they're from including the American West; detailed, panoramic views; romantic quality with a focus on light and atmosphere; Thomas Cole, Frederic Edwin Church, Asher B. Durand. | Hudson River School |
| 1840 – 1880 Depiction of everyday life and subjects, accurate and unembellished portrayal, rejection of romanticism, focus on the working class and ordinary scenes. Popular Artists: Gustave Courbet, Jean-François Millet, Honoré Daumier, Édouard Manet. | Realism |
| 1840 – 1880 Depiction of everyday life and subjects, accurate and unembellished portrayal, rejection of romanticism, focus on the working class and ordinary scenes. Popular Artists: Gustave Courbet, Jean-François Millet, Honoré Daumier, Édouard Manet. | Academic Art |
| 1800 – 1850 Emphasis on emotion and individualism, glorification of the past and nature, fascination with the exotic, supernatural, and mystical, and a focus on intense, dramatic expression. Francisco Goya, J.M.W. Turner, Eugène Delacroix. | Romanticism |
| 1830 – 1870 Direct nature study, plein air painting, subdued color palette, emphasis on light and atmosphere, rural and forested landscapes. Popular Artists: Jean-François Millet, Théodore Rousseau, Charles-François Daubigny, Camille Corot. | The Barbizon School |
| 1860s – 1880s Emphasis on accurate depiction of light, ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, visible brush strokes, and open composition. Claude Monet, Edgar Degas, Pierre-Auguste Renoir. | Impressionism |
| 1880s – 1905 Use of vivid colors, thick application of paint, distinctive brush strokes, real-life subject matter, emphasis on geometric forms, and abstract qualities. Popular Artists: Vincent van Gogh, Paul Gauguin, Georges Seurat, Paul Cézanne. | Post-Impressionism |
| 1886 – 1906 Use of small, distinct dots of color applied in patterns to form an image, scientific approach to color and light, interest in optical effects and brightness. Georges Seurat, Paul Signac, Henri-Edmond Cross, Maximilien Luce. | Neo-Impressionism (Pointillism) |
| 1890 – 1910 Use of organic and flowing lines, inspiration from natural forms, emphasis on decorative arts, incorporation of new materials and techniques. Popular Artists: Alphonse Mucha, Gustav Klimt, Antoni Gaudí, Louis Comfort Tiffany. | Art Nouveau |
| 1880 – 1910 Emphasis on emotions, ideas, meanings rather than realistic representation; themes of love, fear, anguish, death, sexual awakening mythological and dream imagery; the mystical and the subconscious. Gustave Moreau, Edvard Munch, Gustav Klimt. | Symbolism |
| 1909 – 1944 Emphasis on speed, technology, and modernity; dynamic movement and energy; rejection of the past; use of modern materials and techniques. Popular Artists: Filippo Tommaso Marinetti, Umberto Boccioni, Giacomo Balla, Gino Severini. | Futurism |
| 1905 – 1910 Bold, vibrant, and unmodulated colors, simplified forms, strong brushwork, and a focus on painterly qualities and strong color over representational or realistic values. Henri Matisse, André Derain, Maurice de Vlaminck, Raoul Dufy. | Fauvism |
| 1905-1930s Emotional intensity, distortion of forms for emotional effect, bold color usage, dramatic or dynamic brushwork, subjective perspective. Popular Artists: Edvard Munch, Wassily Kandinsky, Egon Schiele, Ernst Ludwig Kirchner. The Scream | Expressionism |
| 1907-1920s Characteristics: Abstracted forms, geometric shapes, multiple viewpoints, fragmentation, and reassembling of objects in a two-dimensional plane. Popular Artists: Pablo Picasso, Georges Braque, Juan Gris, Fernand Léger. | Cubism |
| 1910s – 1930s Celebration of African American culture, racial pride, integration of African American themes and aesthetics, across various art forms (literature, music, visual arts). Aaron Douglas, Palmer Hayden, Archibald Motley, Augusta Savage. | Harlem Renaissance |
| 1916 – 1924 Characteristics: Absurdity, irony, anti-war politics, rejection of conventional art aesthetics, use of ready-mades, and collage. Popular Artists: Marcel Duchamp, Hugo Ball, Hans Arp, Tristan Tzara. Emerged during WW1, anarchist. | Dada |
| 1915 – 1930s Focus on basic geometric forms, such as circles, squares, lines, and rectangles; use of a limited color palette primarily featuring black, white, and primary colors; exploration of pure artistic. Kazimir Malevich, El Lissitzky | Suprematism |
| 1915 – 1930sAbstraction, functionalism, use of industrial materials, integration of art and technology, emphasis on construction, rejection of traditional art forms for social purposes. Vladimir Tatlin, Alexander Rodchenko. After Bolshevick Revolution. | Constructivism |
| 1920s – 1950s Characteristics: The unconscious mind, dream-like scenes, illogical sequences, juxtaposition of unlikely elements, and symbolic imagery. Drawing Sigmond Fruead. Popular Artists: Salvador Dalí, René Magritte, Max Ernst, Joan Miró. | Surrealism |
| 1920s – 1930s Emphasis on clean lines, geometric forms, smooth surfaces; depiction of industrial and urban landscapes, modern American life; influenced by Cubism and Futurism. Charles Sheeler, Charles Demuth, Georgia O’Keeffe, Ralston Crawford. | Precisionism |
| 1920s – 1940s Characteristics: Geometric shapes, streamlined forms, symmetry, use of metallic colors and luxurious materials, influence from modern art movements. Popular Artists: Tamara de Lempicka, Erte (Romain de Tirtoff), Jean Dunand. | Art Deco |
| 1930s – 1940s Characteristics: Representation of rural American themes, narrative painting, rejection of modern European trends, focus on everyday life and landscapes. Popular Artists: Grant Wood, Thomas Hart Benton, John Steuart Curry. | Regionalism |
| 1940s – 1960s Spontaneous, automatic, or subconscious creation, emphasis on the act of painting itself, large-scale works, an interest in texture and surface, non-representational imagery. Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman. | Abstract Expressionism |
| 1940s – 1960s Spontaneous, automatic, or subconscious creation, emphasis on the act of painting itself, large-scale works, an interest in texture and surface, non-representational imagery. Jackson Pollock, Mark Rothko, Willem de Kooning, Barnett Newman. | Abstract Expressionism |
| 1950s – 1970s Use of popular and commercial culture imagery, bold colors, incorporation of mass production techniques, irony and parody, and blending of high and low culture. Andy Warhol, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg. | Pop |
| 1960s – 1970s Simplicity of form and content, emphasis on geometric shapes, repetition, monochromatic color schemes, reduction to essential elements, focus on the physical space and materials. Donald Judd, Carl Andre, Sol LeWitt, Robert Morris. | Minimalism |
| 1970s – 1980s Intense subjectivity and raw emotionality, often with aggressive, dynamic brushwork and vivid colors; reaction against conceptual and minimalist art.Jean-Michel Basquiat, Anselm Kiefer, Julian Schnabel, Georg Baselitz. | Neo-Expressionism |
| 1970s – Present Eclecticism, skepticism towards grand narratives, blending of high and low culture, use of pastiche, irony, and paradox, questioning of artistic authority and conventions. Jeff Koons, Cindy Sherman, Jean-Michel Basquiat, Damien Hirst. | Post-Modern |
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