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avant garde
| Question | Answer |
|---|---|
| Abstraction | A style that simplifies or distorts forms rather than depicting them realistically. It focuses on shapes colors, and composition to express ideas or emotions rather than external appearances |
| Analytic Cubism | Developed by Picasso and Braque around 1908–1912, this phase of Cubism breaks objects into fragmented geometric forms. It often uses muted colors and multiple perspectives to analyze structure |
| Art Nouveau | An ornamental style popular at the turn of the 20th century, characterized by flowing lines and organic motifs. It sought to unify the decorative and fine arts in architecture, design, and painting. |
| Avant-garde | Refers to artists or movements that push boundaries and challenge artistic conventions. Avant-garde art often seeks to innovate and provoke cultural or political change |
| Cloisonnism | A style used by Gauguin and others that features bold outlines and flat areas of color, similar to stained glass or enamelwork. It emphasizes decorative surface and emotional expression. |
| Constructivism | An early 20th-century Russian movement that combined art with modern technology and engineering. It emphasized functional design, abstraction, and the use of industrial materials. |
| Dada | An anti-art movement that emerged during World War I in response to the absurdity of war and modern society. Dada artists used chance, humor, and irrationality to challenge artistic and political norms. |
| Decorative | : Art that emphasizes beauty, pattern, and design over realism or narrative. In modernism, it sometimes suggested a tension between fine art and applied or ornamental art. |
| De Stijl | A Dutch movement led by Mondrian that promoted pure abstraction using straight lines, right angles, and primary colors. It aimed for universal harmony and order through simplified geometric forms. |
| Expressionism | An early 20th-century movement that emphasized emotional intensity and subjective experience. Artists distorted form and color to convey psychological or spiritual states. |
| Fauvism | : A French movement from the early 1900s known for its wild use of color and expressive brushwork. Henri Matisse was its leading figure, focusing on emotion over realism. |
| Femme Fatale | A recurring figure in late 19th- and early 20th-century art representing a seductive but dangerous woman. She often symbolized male anxieties about sexuality and modernity |
| Futurism | An Italian movement celebrating speed, technology, and modern life. Futurist artists sought to depict motion and dynamism through fragmented, energetic forms. |
| Modernism | A broad movement in art and culture that broke from traditional forms to embrace innovation and self-reflection. Modernists believed art should reflect the experience of modern life. |
| Pointillism | A technique developed by Seurat using small dots of color placed close together to create optical mixing. It is a scientific approach to color and light derived from Impressionism. |
| Post-Impressionism | A term for diverse artists like van Gogh, Gauguin, and Cézanne who built on Impressionism but sought more structure, emotion, or symbolism. It marks the transition toward modern art. |
| Primitive (Primitivism | A Western artistic fascination with non-European or ‘tribal’ art seen as more authentic or pure. It influenced modernists like Gauguin and Picasso, though it often reflected colonialist attitudes. |
| Suprematism | : A Russian abstract movement founded by Malevich focusing on pure geometric shapes and color. It sought spiritual transcendence through simplicity and abstraction |
| Symbolism | A late 19th-century movement that used myth, dream imagery, and emotion to express inner realities. It rejected realism in favor of suggestion and mood. |
| Synthetism | Coined by Gauguin, this style combined flat areas of color, bold outlines, and personal symbolism. It aimed to synthesize subject, form, and artist’s emotion into a unified whole. |
| Synthetic Cubism | The later phase of Cubism (c. 1912–1914) that introduced collage and brighter colors. It reassembled fragments into more decorative, abstract compositions. |
| Vienna Secession | An Austrian movement founded in 1897 by artists like Klimt who sought independence from traditional art institutions. It embraced Symbolism, Art Nouveau, and experimentation with form and ornament |
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