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| A movement beginning in 15th-century Italy to recapture the harmony, symmetry, and rationality of Classical works, with an elaboration of linear perspective. |
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| The years between roughly 1490 and 1520 in Italy, productive of some of th world's greatest art, informed by but not bound to Classical traditions. |
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| Softly graded tones in an oil painting, giving a hazy atmospheric effect, highly developed in the work of Leonardo da Vinci. |
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| An artistic style in Italy from approximately 1525 to 1600 in which artists developed a more subjective, emotional, theatrical approach than in the preceding High Renaissance period. |
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| Seventeenth-century artistc styles in Europe, characterized by swirling composition, sensulity, emotionality, and exuberant sculptural and architectural ornamentation. |
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| The late Baroque period, particularly in France, southern Germany, and Austria, characterized by extremely ornat, cuvilinear forms in architectural decoration and dlicacy the looseness in painting. |
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| The tendency to emphasize emotion and imagination rather than logic, occurring at many times in the history of Western Art, including the first half of the nineteenth century. |
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| The late eighteenth-and early nineteenth-century return to Classical aesthetics in Europe. |
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| The attempt in art to capture the appearance of life as it is, as opposed to stylized or Romanticized portrayals. In mid-nineteenth-century France, the artistic movement of this name concentrated on subjects from everyday, and often working-class life. |
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| A style of art that seeks to represent accurately and faithfully the actual apperance of things. |
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| An art movement originating in the late 18th and early 19th century France, in which the artist attempts to capture what the eye actually sees before the brain interprets the image. This may be a surface broken by fragmented lights or an ephemeral moment in time. |
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| Transcendence of perceved limitations of Impressionism by mid-19th and early 20th century artist such as Cezanne Seurat, Gauguin, and van Gogh. |
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| A technique of painting using dots of primary and secondary hues in close juxtaposition to make them mix in the viewer's perception to make them mix in the viewer's perception. Also called divisionism. |
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| An art movement particularly strong in Germany before World War I, in which artist reports inner feelings rather than outer realities. |
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| An art movement of the early 20th century, dominated by Picasso and Braque and distinguished by its experiments with analyzing forms into planes seen from many sides at once and by the liberation of art from representational depictions. |
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| An art movement of the first decade of the 20th century, using color boldly to express the inner qualities rather than superficial appearance of things. |
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| A movement initiated in Italy in 1909 to sweep asideall artistic convention and capture the qualities of modern industrialized life. |
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| The post-World War II movement centered in New York in which paint was freely applied to a large canvas, expressing the energy and feelings of the artist nonobjectively, usually with no emphasize on focal point. |
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| Referring to art that does not represent any known object. |
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| An anti-rational, anti-aesthetic art movement begun in 1916. |
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| Art based on dreamlike images from the subconscious, appearing as a recognized movement beginning in the 1920s. |
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| Referring to the essence rather than the surface of an object, often by stripping away all nonessential characteristics. |
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| A style of painting, mostly notably practiced by Jackson Pollock, in which paint is dribbled and splashed onto the support with broad gestural movements. |
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| A term used chiefly in referring to 20th-century paintings in which clean, sharp edges are formed where areas of differnt colors meet. |
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| Paintings that produce visual phenomena in the preception of the viewer that do not actually exist on the canvas. |
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| A movement from the beginning in the mid-20th century that uses objects and images from the commerical culture. |
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| Use of highly simplified form devoid of representation or expressive content. |
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| Art that deals with ideas and experience rather than permanent form. |
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| A large-scale sculpture in which the surface of the earth is the medium. |
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| Art which the medium of expression is the artist's own body and its covering. |
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| An installation designed for a particular location. |
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| Art that is as repesentational as a photograph, but created by other media, also called super-realism. |
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| A contemporary art movement in which painting is used to express the artist's feelings, projected as distorted images from the exterior world. |
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| Unique works created by untrained people who do not fit into any aesthetic tradition. |
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| Works created by aesthetically untrained artists working somewhat within a community tradition. |
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