Art History 106, Spring 2014 Crossword
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1) (with a small e —the more general sense) An attitude conveyed by the set of a person's facial features. Also, a quality of inner experience, the emotions of the artist communicated through emphasis and distortion, which can be found in works of art of any period.4) A group of German artists based in Munich from 1911 to 1914, mostly expressionist painters, but their works ranged from pure abstraction to romantic imagery, attempting to express spiritual truths. Common to the group was a philosophical spirit and certain approaches to technique. The name was taken from the name of a painting by Wassily Kandinsky (1866-1944), and was also the title of the almanac and the exhibition on which he collaboration with others. Some of the important members of the group were Alexei Jawlensky (Russian, 1864-1941; worked in Germany and Switzerland), Gabrielle Münter (1877-1962), Franz Marc (1880-1916), Paul Klee (1879-1940), and August Macke (1887-1914). 5) This was the first large exhibition of modern art in America. It was held in the 69th Regiment Armory building in New York City in 1913. Although the show was soundly criticized by the public and the press, it had a great impact on American artists who were influenced by the works of modern European artists. Its major organizers were American painters Walt Kuhn (1877-1949) and Arthur B. Davies (1862-1928), along with the painter-critic Walter Pach. Among the art exhibited were examples of Symbolism, Impressionism, Post-Impressionism, Neo-Impressionism, and Cubism, along with works by numerous American artists, including members of the Ten, the Eight, Marsden Hartley, Charles Sheeler, Among those artists whose work was seen in the US for the first time were Wassily Kandinsky (Russian, 1866-1944), Pablo Picasso (Spanish, 1881-1973), and Marcel Duchamp (French, 1887-1968).
6) An early twentieth century art movement and style of painting in France.It is French for "Wild Beasts," was given to artists adhering to this style because it was felt that they used intense colors in a violent, uncontrolled way. The leader was Henri Matisse (French, 1869-1954).8) One of the most influential art movements (1907-1914) of the twentieth century, this art begun by Pablo Picasso (Spanish, 1882-1973) and Georges Braque (French, 1882-1963) in 1907. They were greatly inspired by African sculpture, by painters Paul Cézanne (French, 1839-1906) and Georges Seurat (French, 1859-1891), and by the Fauves.In this art 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." The break with homogeneous form was completed the following year. Braque and Picasso's similar compositions are broken into planes with open edges, sliding into each other while denying all depth. Color is reduced to a gray-tan cameo, applied uniformly in small brushstrokes creating vibrations of light. The interpenetration of the forms lends these paintings a previously unknown aspect of continuity and density. Withdrawing before the abstract and hermetic character of this new space, Braque and Picasso brought recognizable illusionistic features back into their paintings during their stay in Céret, from 1911 to 1913. They used letters, fragments of words, musical notes, then significant material elements: sand or sawdust which create relief, and tend to make the picture more physically an object.Color returned in force in 1912, in parallel to the creation of the "papiers collés" — collages. Creating a simple geometric armature and pieces of glued paper with trompe l'oeil patterns imitating wood, marble or newsprint, then introducing "already made" elements (musical scores, tobacco packets or playing cards), the "papiers collés" definitively dissociate color and form. Picasso, then Henri Laurens would create construction pieces from ordinary materials, cut out and assembled into colored geometric planes, where empty and full spaces combine to sketch out the forms.Although the war of 1914-19 ended Picasso and Braque's collaboration, the core group remained active until the 1920s, through the explorations of Braque, Matisse, Laurens, Lipchitz and Fernand Léger, whose geometric world and abstractly organized canvases with their contrasting, dynamic forms owe almost everything to the pioneering breakthroughs of Cézanne, Braque and Picasso.
9) An early twentieth century art movement which ridiculed contemporary culture and traditional art forms. The movement was formed to prove the bankruptcy of existing style of artistic expression rather than to promote a particular style itself.It was born as a consequence of the collapse during World War I of social and moral values which had developed to that time. The artists produced works which were nihilistic or reflected a cynical attitude toward social values, and, at the same time, irrational — absurd and playful, emotive and intuitive, and often cryptic. Less a style than a zeitgeist.They typically produced art objects in unconventional forms produced by unconventional methods. Several artists employed the chance results of accident as a means of production, for instance. Literally, the word dada means several things in several languages: it's French for "hobbyhorse" and Slavic for "yes yes." Many artists associated with this movement later became associated with Surrealism. |
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2) French for "The New Art." An international art movement and style of decoration and architecture of the late nineteenth and early twentieth centuries, characterized particularly by the curvilinear depiction of leaves and flowers, often in the form of vines. These might also be described as foliate forms, with sinuous lines, and non-geometric, "whiplash" curves. Gustav Klimt (Austrian, 1862-1918), Alphonse Mucha (Czechoslovakian, 1860-1939), Henri de Toulouse-Lautrec (French, 1861-1901), Aubrey Beardsley (English, 1872-1898), Antonio Gaudí (Spanish, 1852-1926), and Hector Guimard (French, 1867-1942) were among the most prominent artists associated with this style. The roots of Art Nouveau go back to Romanticism,Symbolism, the English Arts and Crafts Movement and William Morris (English, 1834-1896). In America, it inspired, among others, Louis Comfort Tiffany (1848-1933). The name is derived from "La Maison de l'Art Nouveau," a gallery for interior design that opened in Paris in 1896. Art Nouveau is known in Germany as Jugenstil and in England as Yellow Book Style, and epitomizes what is sometimes called fin de siècle style. It reached the peak of its popularity around 1900, only to be gradually overtaken by art deco and other modernist styles. 3) A method of painting developed in France in the 1880s in which tiny dots of color are applied to the canvas. When viewed from a distance, the points of color appear to blend together to make other colors and to form shapes and outlines. Georges Seurat (French, 1859-1891) was its leading exponent. His most famous painting is A Sunday Afternoon on the Island of La Grande Jatte (Un dimanche après-midi à l'Ile de la Grande Jatte), 1884-1886, oil on canvas, 81 x 120 inches, Art Institute of Chicago. Occasionally used synonyms for pointillism have been "divisionism" and "confetti-ism." See other examples at Neo-Impressionism. 7) 10) A twentieth century avant-garde art movement that originated in the nihilistic ideas of the Dadaist and French literary figures, especially those of its founder, French writer André Breton (1896-1966). At first a Dadaist, he wrote three manifestos about it — in 1924, 1930, and 1934, and opened a studio for "its research."Influenced by the theories of the pioneer of psychoanalysis, Sigmund Freud (German, 1856-1939), the images found in the works are as confusing and startling as those of dreams. It works can have a realistic, though irrational style, precisely describing dreamlike fantasies, as in the works of René Magritte (Belgian, 1898-1967), Salvador Dalí (Spanish, 1904-1988), Yves Tanguy (French, 1900-1955), and Alfred Pellan (Canadian, 1906-1988). These artists were partly inspired by Symbolism, and partly the Metaphysical Painting of Giorgio de Chirico (Italian, 1888-1978). Or, it could have a more abstract style, as in the works of Joan Miró (Spanish, 1893-1983), Max Ernst (German, 1891-1976), and André Masson (French, 1896-1987), who invented spontaneous techniques, modeled upon the psychotherapeutic procedure of "free association" as a means to eliminate conscious control in order to express the workings of the unconscious mind, such as exquisite corpse.11) A modern art movement originating among Italian artists in 1909, when Filippo Marinetti's first manifesto of futurism appeared, until the end of World War I. It was a celebration of the machine age, glorifying war and favoring the growth of fascism. The painting and sculpture were especially concerned with expressing movement and the dynamics of natural and man-made forms.Some of these ideas, including the use of modern materials and technique, were taken up later by Marcel Duchamp (French, 1887-1968), the cubists, and the constructivists.12) An art movement which rejected the purely visual realism of the Impressionists, and the rationality of the Industrial Age, in order to depict the symbols of ideas. Influenced by Romanticism and the Pre-Raphaelite Brotherhood, it thrived in France in the late nineteenth century, its influence spreading throughout much of Europe. Rather than the precise equivalents of ideas or emotions, its symbols were meant to be more mysterious, ambiguous suggestions of meanings. The work of one group, including Piérre Puvis de Chavannes (French, 1824-1898), Gustave Moreau (French, 1826-1898), and Odilon Redon(French, 1840-1916), took a literary approach, employing some of the imagery of the writers, including such icons as severed heads, monsters and glowing or smoky spirits, synthesized from elements of Bible stories and ancient myths. Later, the imaginative incongruities in these works were to influence the Surrealists. Another group, taking a formal approach, in which linear stylizations and innovative uses of color produced emotional effects, included Paul Gauguin (French, 1848-1903), Vincent van Gogh (Dutch, 1853-1890) and the Nabis. |
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