ImpastoImpasto is a technique used in painting, where paint is laid on an area of the surface thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas. When dry, impasto provides texture; the paint appears to be coming out of the canvas. The word impasto is Italian in origin; in which it means "dough" or "mixture"; related to the verb impastare, "to knead", or "to paste". Italian usage of impasto includes both a painting and a potting technique.
History of paintingThe history of painting reaches back in time to artifacts and artwork created by pre-historic artists, and spans all cultures. It represents a continuous, though periodically disrupted, tradition from Antiquity. Across cultures, continents, and millennia, the history of painting consists of an ongoing river of creativity that continues into the 21st century. Until the early 20th century it relied primarily on representational, religious and classical motifs, after which time more purely abstract and conceptual approaches gained favor.
DivisionismDivisionism, also called chromoluminarism, is the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches that interact optically. By requiring the viewer to combine the colors optically instead of physically mixing pigments, Divisionists believed that they were achieving the maximum luminosity scientifically possible. Georges Seurat founded the style around 1884 as chromoluminarism, drawing from his understanding of the scientific theories of Michel Eugène Chevreul, Ogden Rood and Charles Blanc, among others.
Cultural movementA cultural movement is a change in the way a number of different disciplines approach their work. This embodies all art forms, the sciences, and philosophies. Historically, different nations or regions of the world have gone through their own independent sequence of movements in culture, but as world communications have accelerated this geographical distinction has become less distinct. When cultural movements go through revolutions from one to the next, genres tend to get attacked and mixed up, and often new genres are generated and old ones fade.
Proto-CubismProto-Cubism (also referred to as Protocubism, Early Cubism, and Pre-Cubism or Précubisme) is an intermediary transition phase in the history of art chronologically extending from 1906 to 1910. Evidence suggests that the production of proto-Cubist paintings resulted from a wide-ranging series of experiments, circumstances, influences and conditions, rather than from one isolated static event, trajectory, artist or discourse.
PointillismPointillism (ˈpwæ̃tᵻlɪzəm, USˈpwɑːn-,_ˈpɔɪn-) is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism. The term "Pointillism" was coined by art critics in the late 1880s to ridicule the works of these artists, but is now used without its earlier pejorative connotation. The movement Seurat began with this technique is known as Neo-impressionism.
SuprematismSuprematism (супремати́зм) is an early twentieth-century art movement focused on the fundamentals of geometry (circles, squares, rectangles), painted in a limited range of colors. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects. Founded by Russian artist Kazimir Malevich in 1913, Supremus (Russian: Супремус) conceived of the artist as liberated from everything that pre-determined the ideal structure of life and art.
Joseph CsakyJoseph Csaky (also written Josef Csàky, Csáky József, József Csáky and Joseph Alexandre Czaky) (18 March 1888 – 1 May 1971) was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation in the Cubist movement as a sculptor. Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art. A pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century.
Cubo-FuturismCubo-Futurism (also, Kubo-Futurizm) was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term ‘Cubo-Futurism’ first came to describe works from members of the poetry group ‘Hylaeans’, as they moved away from poetic Symbolism towards Futurism and zaum, the experimental “visual and sound poetry of Kruchenykh and Khlebninkov”.
French artFrench art consists of the visual and plastic arts (including French architecture, woodwork, textiles, and ceramics) originating from the geographical area of France. Modern France was the main centre for the European art of the Upper Paleolithic, then left many megalithic monuments, and in the Iron Age many of the most impressive finds of early Celtic art. The Gallo-Roman period left a distinctive provincial style of sculpture, and the region around the modern Franco-German border led the empire in the mass production of finely decorated Ancient Roman pottery, which was exported to Italy and elsewhere on a large scale.
