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art survey


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1904-08, France, intense color, distorted forms, vigorous brushstrokes, flat patterns (Matissem Vlaminick)
1908-14 (pure), “little cubes”, inventive, analytical…fragmented, shattered; synthetic…collage, dismantled/ reassembled, added curves, representation/abstraction (Picasso, Braque)
1909-18, Italy, forceful lines, aggressive, celebrate “beauty of speed” (Balla, Russolo)
1913-32, Russia, geometric, reflected technology, new way of thinking, stripping or of elitism (Tatlin, Popova)
1915-30, US, sleek urban forms (Dermuth, O’Keefe)
1905-30,Germany & Russia, expressed feelings instead of real world images, subjective, Die Brüke (bridge)⬦intense, anguish, distorted forms, clashing colors, graphic arts (Kirchner, Kollwitz); Der Blaue Reiter (color alone)⬦abandoned reference to reality, lacks recognizable objects, patches of color, (Kandinsky, Klee)
1910’s. Germany (to France & US), derived from nonsense, protested war, overthrow authority and cultivate absurdity, awakened imagination (Duchamp, Arp)
1920-30’s, Europe & America, creating without concious control, dreamlike, grotesque, fantasy (Miró, Ernst, Dali)
Social Realism
1920-30’s, America, includes Ashcan School & Harlem Renaissance, urban subjects, realistic (Lukes, Bearden, Wood)
Abstract Expressionism
1940-50’s, New York expression of inner life through art, free application of paint, visual reality not important, all about the process (Pollock, de Kooning, Kline)
Figural Expressionism
outsider art, work expresses a “truth” beyond the surface, figure (people, animals) always present (Debuffet, Kahlo)
Color Field
1940-50’s, New York, focused on “fields” of color, huge canvases, sometimes monochromatic, sometimes blurred bars, stripes, or large organic shapes of color (Rothko, Newman)

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