The work of a group of Australian artists, among them Erich Bramer, Ernst Fuchs and Rudolph Hausner, who came together in the 1940s. It combines Surrealism with elements borrowed from late mediecal fantastic art and 19th-c. academicism.
Dada (1916's)
'Hydrometric demonstration of how to kill by temperature' Artist Max Ernst 1920 Collage and gouache on paper
Image from http://members.peak.org/~dadaist/Art/hydrometric.jpg
Artistic movement started in Zurich in 1916 by a group, mostly painters and poets, who went to Switzerland to take refuge from World War I and who gathered at the Cabaret Voltaire, a ‘literary nightclub’ organized by Hugo Ball. Other members included Emmy Hennings, H. Richter and Richard Huelsenbeck from Germany, H. Arp from Alsace, M. Janco and T. Tzara from Rumania. Under F. Picabia’s influence, man and wrote the Dada manifesto (1918). D. works are nihilistic gestures and provocations. Tzara, encouraged by A. Breton and other members of the Parisian Litterature group (L. Aragon, Philippe Soupault and others), went to Paris in 1920 to launch the movement which prepared the way for Surrealism. In the meantime, other Dadaists moved to other European centres: Arp joined M. Ernst and Johannes Baargeld in Cologne in 1919, but it was primarily in Berlin, after the war, that D. became identified with political radicalism. The Berlin Club D. included among its members J. Baader, G.Grosz, R. Hausmann, J. Heartfield, Wieland Herzfelde, Hannah Hoch and Huelsenback. K. Schwitters, although rejected by the Berlin group, became associated with Arp’s and Picabia’s branch of Dadaism. D. in Paris collapsed in 1922; most members of the French group formed the Surrealist group in 1924 when Breton published the 1st Surrealist Manifesto.
Op Art (1960’s)
Movement in Squares, 1961. Tempera on hardboard, by Bridget Riley.
Image from: Riley,_Movement_in_Squares.jpg
Term which gained currency in the 1960’s for a style of abstract painting deriving from the work of such painters as J. Albers and V. Vasarely. O. a. concerns itself with purely visual sensations, relying for its effects upon optical illusions; often canvases are a mass of small shapes, lines or vivid colours constantly shifting under the eye. The best works are black-and-white. Some of the most inventive works are by B. Riley.
Symbolism (c. 1885-c. 1910)
Image from: http://en.wikipedia.org/wiki/File:Buddha-Footprint.jpeg
A movement in European literature and the visual arts c. 1885-c. 1910, based on the notion that the prime concern of art was not to depict, but that ideas were to be suggested by symbols, thus rejecting objectivity in favour of the subjective. It combined religious mysticism with an interest in the decadent and the erotic. Among the artists associated with the movement were Redon, G. Moreau and Puvis de Chabannes in France, F. Khnopff in Belgium, J. Toorop in Holland, F. Hodler in Switzerland. G. Klimt in Austria and G. Segantini in Italy.
Conceptual art (
Photograph of Bits & Pieces Put Together to Present a Semblance of a Whole, by Lawrence Weiner, laser-cut aluminum typography on brick.
Image from: http://en.wikipedia.org/wiki/File:WeinerText.JPG
Art form and theory evolved in the later 1960’s, the logical development from Minimal art. It questions the whole idea of ‘art’, e.g. whether it has reference outside itself, and especially the validity of the traditional art object, and uses concepts as its ‘materials’. Since physical form is not essential in the presentation of concepts, and as a concept is usually the starting point of a work of art, conceptual artist purpose that traditional media and physical manifestations (objects) are unnecessary. Ideas and information are thereby presented as, and conveyed by, written proposals, photographs, documents, charts, maps, film and video, and above all by language itself. The U.S. artists D. Huebler, J. Kosuth and L. Weiner, and the British based Art & Language group have been the main exponents.)
Minimal art (
Image from: minimal Art www.moca.org/.../archive/exhibition/detail/3015
Art movement or style of the 1960s, especially pertaining to 3-dimensional objects, originating in the U.S.A. In sculpture, modular, spatial, grid, assembled structures which attempt to re-define ideas about space, shape, scale, enclosure, are typical; expressiveness or illusion are totally antithetical to Minimalist principles. M. a. leading practitioners, who have often written on it, are C. Andre, D. Flavin, D. Judd and R. Morris. M.a. uses a rationally evolved, conveptual method of composition which consists of simple arrangements of identical and interchangeable units, often modular, mathematically derived. Or working out geometrical permutations, grids or repetitions which can be continued or extended indefinitely.
Color Field painting (1940's and 1950's)
Image from: http://en.wikipedia.org/wiki/Color_Field
Style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, while many of its notable early proponents were among the pioneering Abstract Expressionists. Color Field painting is characterized primarily by large fields of flat, solid color spread across or stained into the canvas; creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of an overall consistency of form and process.
During the late 1950s and 1960s, Color field painters emerged in Great Britain, Canada, Washington, DC. and the West Coast of the United States using formats of stripes, targets, simple geometric patterns and references to landscape imagery and to nature.
Baroque
Image from: http://photos.igougo.com/images/p341264-Innsbruck-BaroqueRoccoco_organ.jpg
Baroque (perhaps from Portuguese barroco: a misshapen pearl). A term, at first of abuse, applied to European architecture and painting of the period approximately 1600 to 1750. B. architecture was at its height in Rome under Bernini and Borromini (c. 1630-80) and in S. Germany (c. 1700-50) under Balthazar Neumann and Fischer con Erlach. The building was planned round a series of geometrically controlled spaces- circles, squares and ellipses, within, imposed upon, adjoining one another, rhythms of convex against concave curves, exterior lines contrasted or harmonized. The actual structure forced to conform to these patterns was heavily decorated with relief and stucco-work and free-standing sculpture, which burst in upon and receded from the interior space.
Pop art (
Image from :http://en.wikipedia.org/wiki/File:Hockney,_A_Bigger_Splash.jpg
Movement originating in the mid-1950s with the Independent Group who met at the Institute of Contemporary Art, London. Prominent figures were the critic Lawrence Alloway, who coined the term, the architects P. and H. Smithson, the architectural historian Reyner Banham, and the artists E. Paolozzi and R. Hamilton. The basic concept was that of mass popular urban culture as the vernacular culture shared by all. Irrespective of professional skills. Films, advertising, science fiction, pop music etc. and American mass-produced consumer goods were taken as the materials of the new art and a new aesthetic of expendability proposed. Similar ideas were being explored in the U.S.A. independently at about the same time. P. a. in all its manifestations was given its greatest impetus in the U.S.A. during the 1960s, where it came as a reaction to Abstract Expressionism and in fresh responses to Dadaist notions. The most important artists in the establishment of American Pop art were R. Rauschenberg and J. Johns. Other U.S. artists specifically associated with Pop art are J. Dine, R. Indiana, R. Lichtensten, C. Oldenburg, J. Rosenquist, A. Warhol and T. Wesselmann. Artists working in Britain were P. Blake, D. Boshier, D. Hockney, A. Jones and P. Phillips.
New Objectivity(
Image from:logs.warwick.ac.uk/.../
Term coined in 1923 by G. F. Hartlaub, director of the Kunsthalle, Mannheim, to describe the paintings of Max Beckman, Otto Dix and George Grosz. The term ‘magic realism’ was also used to describe the work of this artist. Clear, detailed, highly realistic, sometimes grotesque, satirical paintings and drawings, which express disillusionment and are a form of social realism, are characteristic of these artists, who reacted against the violent distortion of other Expressionists. An exhibition under this name was held in 1925.
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Bibliography
Book: Dictionary of Art and Artist By: The Thames and Hudson )
Internet:
en.wikipedia.org/
www.moca.org/.../archive/exhibition/detail/3015
http://en.wikipedia.org/wiki
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