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An art movement is a tendency or style in art with a specific art philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years.
A central element of post-irony is the obfuscation, ambiguity, watering-down, degradation, or simple lack of meaning and intent in statements and artwork, and whether the creator or disseminator intends this to be celebrated, decried, or met apathetically can itself be part of this uncertainty.
It was popular between 1890 and 1910 during the Belle Époque period, [3] and was a reaction against the academicism, eclecticism and historicism of 19th century architecture and decorative art. One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts.
One of the most powerful aspects of the film, she said, was to show how “art can change people, and witnessing people who have never changed their lives to be profoundly affected by seeing a ...
Dadaism preceded Surrealism, where the theories of Freudian psychology led to the depiction of the dream and the unconscious in art in work by Salvador Dalí. Kandinsky's introduction of non-representational art preceded the 1950s American Abstract Expressionist school, including Jackson Pollock, who dripped paint onto the canvas, and Mark Rothko, who created large areas of flat colour.
Some Marxist historians prefer to describe the Renaissance in material terms, holding the view that the changes in art, literature, and philosophy were part of a general economic trend from feudalism toward capitalism, resulting in a bourgeois class with leisure time to devote to the arts.
The initial core set of terms was derived from authority lists and the literature of art and architectural history; this core set was reviewed, approved and added to by an advisory team made up scholars from all relevant disciplines, including art and architectural historians, architects, librarians, visual resource curators, archivists, museum personnel, and specialists in thesaurus construction.
See Part II of the above book for a full discussion of Mannerist characteristics in the commedia dell'arte. The study is largely iconographic, presenting a pictorial evidence that many of the artists who painted or printed commedia images were in fact, coming from the workshops of the day, heavily ensconced in the maniera tradition.