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However as soon as the viewer moves their head even slightly the three dimensional surface that supports the perspective view accentuates the depth of the image and accelerates the shifting perspective far more than the brain normally allows. This provides a powerful and often disorienting impression of depth and movement.
Abstract expressionism in the United States emerged as a distinct art movement in the immediate aftermath of World War II and gained mainstream acceptance in the 1950s, a shift from the American social realism of the 1930s influenced by the Great Depression and Mexican muralists.
Nochlin challenges the myth of the Great Artist as 'Genius' as an inherently problematic construct. 'Genius' “is thought of as an atemporal and mysterious power somehow embedded in the person of the Great Artist.” [2] This ‘god-like’ conception of the artist's role is due to "the entire romantic, elitist, individual-glorifying, and monograph-producing substructure upon which the ...
Art movements were especially important in modern art, when each consecutive movement was considered a new avant-garde movement. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality ( figurative art ).
The New York School of American Abstract Expressionism (1940s-50s) is also seen as closely linked to the movement. [3] The term was coined by the American critic Harold Rosenberg in 1952, [4] in his essay "The American Action Painters", [5] and signaled a major shift in the aesthetic perspective of New York School painters and critics.
Impressionism was a 19th-century art movement characterized by visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience.
The Art of Richard Diebenkorn, with essays by John Elderfield, Ruth E. Fine, and Jane Livingston. The Whitney Museum of American Art, 1997, ISBN 0-520-21257-6; De Antonio, Emile and Tuchman, Mitchell. Painters Painting A Candid History of The Modern Art Scene, 1940–1970, Abbeville Press 1984, ISBN 0-89659-418-1
The New Objectivity (in German: Neue Sachlichkeit) was a movement in German art that arose during the 1920s as a reaction against expressionism. The term was coined by Gustav Friedrich Hartlaub , the director of the Kunsthalle in Mannheim , who used it as the title of an art exhibition staged in 1925 to showcase artists who were working in a ...