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Totem poles, a type of Northwest Coast art. Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.
Marine art or maritime art is a form of figurative art (that is, painting, drawing, printmaking and sculpture) that portrays or draws its main inspiration from the sea. Maritime painting is a genre that depicts ships and the sea—a genre particularly strong from the 17th to 19th centuries. [ 1 ]
The term was attributed to Los Angeles art critic Arthur Millier, [1] [2] [3] and it referred to watercolors, oil paintings and mosaics of landscapes and scenes of everyday life, [3] [4] such as mountain and coastal scenery, pastoral agricultural valleys, and dynamic cities and highways.
As interest in the American Arts and Crafts Movement increased and historic preservation became popular, young curators, art historians and art dealers began to mount exhibitions and write about the California Impressionists. By the 1980s, there was a broad interest in California Impressionism.
The Midnight Ride of Paul Revere (1931) by Grant Wood, Metropolitan Museum of Art, New York City, NY. American Regionalism is an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting realistic scenes of rural and small-town America primarily in the Midwest.
Coined by Bill Holm in his 1965 book Northwest Coast Indian Art: An Analysis of Form, [1] [2] the "formline is the primary design element on which Northwest Coast art depends, and by the turn of the 20th century, its use spread to the southern regions as well. It is the positive delineating force of the painting, relief and engraving.
Our English Coasts, also known as Strayed Sheep, is an oil-on-canvas painting by William Holman Hunt, completed in 1852. [1] It has been held by the Tate Gallery since 1946, acquired through The Art Fund .
Castiglioncello: the Macchiaioli art-movement had one focus in the "school of Castiglioncello" (Etruscan Coast). The Macchiaioli's group believed that areas of light and shadow, or "macchie" (literally patches or spots) were the chief components of a work of art. Indeed, their revolution primarily consists in juxtaposing spots of different ...