This section covers movements, styles, etc. in art.
| First Impressionist exhibition – Paris |
 |
13 November 1874 |
| First Surrealist exhibition – Paris |
|
1925 |
| Phrase coined in 1952 by critic Harold Rosenberg to describe the works of Jackson Pollock and others |
|
Action painting |
| Decorative style of the 1920s and 30s, characterised by geometric design and bright metallic surfaces; typified
by Radio City Music Hall and the Chrysler Building, both in New York. The name comes from the title of an exposition held in Paris in 1925,
but wasn't actually coined until 1968 (by art historian Bevis Hillier) |
|
Art Deco |
| 1890s: movement associated with Aubrey Beardsley, Charles Rennie Mackintosh, Antoni Gaudi, Gustav Klimt,
et al |
|
Art Nouveau |
| Realist movement of the mid–nineteenth century, as a reaction to the Romantic movement; named after a
village near the Forest of Fontainebleau, just outside Paris; Théodore Rousseau and Jean–François Millet were two
of its leaders |
|
Barbizon school |
| Elaborately ornamented style that dominated European art and architecture from about 1600 to 1750 |
|
Baroque |
| German school or movement, combining crafts and the fine arts: founded in the city of Weimar by architect
Walter Gropius, and operational from 1919 to 1933 |
|
Bauhaus |
| The Virgin Mary is traditionally represented wearing (colour) |
|
Blue |
| Picasso, 1901–4: sombre paintings, often of mothers with children, prostitutes and beggars |
|
Blue Period |
| Expressionist school formed Dresden 1905 |
|
Die Brucke (The Bridge) |
| English post–impressionist group, 1911–3, led by Walter Sickert |
|
Camden Town Group |
| Founded in 1948 and named from the initial letters of its members' home cities (Copenhagen, Brussels, Amsterdam) |
|
COBRA |
| Early 20th century movement founded by Pablo Picasso and Georges Braque; aimed to show that a work of art existed
in its own right and not as a representation of the world. Pioneered semi–abstract forms, showing objects as they were known to be and not as
they appeared at a particular moment. Has been classified by critics into "analytical" and "synthetic" phases |
|
Cubism |
| "Anti–art" movement: began in Zurich during WWI, with the publication of its Manifesto by the German
poet Hugo Ball; peaked between 1916 and 1922; led in the USA by Marcel Duchamp (a French refugee) and Man Ray; origin of the name is unclear,
but in French it is a child's name for a hobby–horse |
|
Dada(ism) |
| German modern art movement formed as a reaction to Impressionism, divided into 'Blue Rider' and 'The Bridge' |
|
Expressionism |
| 1905 movement that included Matisse, Maurice de Vlaminck and (briefly) Andre Derain and Georges Rouault |
|
Fauvism (les fauves – the wild animals) |
| Decadent French style of the late 19th century |
|
Fin de siecle |
| School founded by Hubert and Jan Van Eyck |
|
Flemish |
| School of US artists including Samuel Morse |
|
Hudson River School |
| Japanese style of comics or graphic novels, developed in the late 19th century: name means either "whimsical
(or impromptu) pictures", or "pictures run riot" |
|
Manga |
| Term coined by Marcel Duchamp in 1931 to describe the early, mechanised creations of American sculptor Alexander
Calder (1898–1976) |
| Mobiles |
| Term coined by French critic Félix Fénéon, to characterise the late–19th century
movement led by Georges Seurat and Paul Dignac |
|
Neo–impressionism |
| Cornish fishing village: associated with a late–19th century school of landscape artists, and the collectable
repoussé copper–work produced by local fishermen during a slump in the fishing trade (in a class set up by master craftsman
John Drew MacKenzie, c. 1890–1920) |
|
Newlyn |
| Founded in 1803 by John Sell Cotman and John Crome |
|
Norwich School |
| Style described as "concerning the
interaction between illusion and picture plane, between understanding and seeing"; Bridget Riley (born London 1931) and Victor
Vasarely (born Hungary 1906, died Paris 1997) are two of its foremost exponents |
|
Optical art (Op art for short) |
| Picasso 1904–6, following the Blue Period: a more cheerful style, often featuring circus artistes,
acrobats and harlequins (known in France as saltimbanques) |
|
Pink (Rose) Period |
| Technique of using small distinct points (dots) of primary colours, to give an impression of secondary colours
– developed by Georges Seurat, with help from Paul Signac |
|
Pointillism |
| 1950s / 60s reaction to elitism in art: early exponents in Britain were Richard Hamilton, Peter Blake, Eduardo
Paolozzi, and in the US Jasper Johns, Jim Dine, Andy Warhol, Roy Lichtenstein, Claes Oldenburg |
|
Pop art |
| Movement led by Gauguin, Van Gogh, Cezanne and Seurat: name coined by English painter and critic Roger Fry –
a member of the Bloomsbury Group – in 1906, and used in the title of an exhibition that he organised in London in 1910 |
|
Post–Impressionism |
| Founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rosetti (later joined by William
Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner) |
|
Pre–Raphaelite Brotherhood |
| Developed the 'broken colour' technique |
|
Renoir |
| Style that emerged in France in the early 18th century as a continuation of Baroque; characterized by opulence, grace,
playfulness, and lightness |
|
Rococo |
| Dutch movement, founded in 1917, also known as "neoplasticism", seeking "to express a new utopian ideal of
spiritual harmony and order"; Piet Mondrian was a leading member |
|
De Stijl (The Style) |
| Founded in 1999 by Billy Childish and Charles Thomson, in opposition to the Charles Saatchi–patronised
"Young British Artists" and promoting figurative painting as opposed to conceptual art. Famously protests outside
Tate Britain against the Turner Prize |
|
Stuckism |
| Movement inspired by the exploration of the subconscious; name used originally for literature, coined in 1903 by
the French writer Guillaume Apollinaire (the French poet André Breton and the Alsatian poet Yvan Goll both claimed to lead the movement);
first applied to painting in 1924 by Joan Miró and André Masson; leading exponents included Salvador Dali, Max Ernst and René
Magritte; first exhibition held in Paris in 1925 |
|
Surrealism |
