ART

MOVEMENTS IN
ART HISTORY
Soriano, Angielyn
Elevado, Jorie May
Galera, Mhea
Adorable, Lisah Mae
MANNERISM
 Mannerism comes from the Italian word “maniera” which means “stylishness.”
 Originated from Florence, Italy refers to a stylized, exaggerated approach in painting and
sculpture.
 Mannerist artist stressed the individual way of painting, the personal vision and pictorial
understanding of things which is a concept of individualism.
 Subjects were portrayed artificial and less naturalistic because Mannerists put high value on
the portrayal of human body that are gracefully, yet oddly positioned.
 Elongated limbs and stylized facial features were common motifs.
 Mannerist art tends to look flat in perspective.
MANNERISM

Deposition from the Cross

Artist: Jacopo Da Pontormo
BAROQUE
 Baroque comes from the Portuguese word “barocco” which means “irregular pearl or
stone.”
 The theme of its paintings and sculptures are still religious, however, more of the elements of
the Catholic dogma.
 Baroque art is characterized by drama, movement, energy, and restlessness.
 Chiaroscuro, a new technique developed in this period achieved by contrasting light and
shade in painting and management of shadow to create an illusion of depth.
 When it comes to architecture, Baroque buildings are highly ornamented which create
spectacle and illusion. Churches, mainly, were adorned with statues to accentuate their glory.
Domes and roofs were enlarged.
BAROQUE

The taking of the Christ Santa Susana

Caravaggio
ROCOCO
 Rococo comes from the word rocaille meaning “shell.”
 Artists would mix seashells, pebbles, and other organic elements to create a naturalistic
inspired work.
 The paintings were detail-oriented, ornate, and elaborately decorative and in pastel tone.
 Jean Antoine Watteau is considered the father of Rococo Art.
 Rococo architecture is mainly a style of ornament and interior design.
 Color harmonies based on gold,white, pink, blue, green, and white are used to generate sunny,
light-hearted feeling.
 The furniture and architecture are focused on secular, asymmetrical designs and maintained
the decorative style of the Baroque.
ROCOCO

Pilgrimage to Cythera by Jean-Antoine Watteau

ROMANTICISM
 The Romantic Movement came about because of the renewed interest in Medieval stories of
heroism and emotion. It originated in Europe in 18th century as a rebellion against the
intellectualization brought about by Neo-classicism.
 Romantic art stressed the individuality and creativity of the artist.
 Romantics valued originality, inspiration, and imagination to promote a variety of style in
their artworks.
 The common Romantic subjects are nature, the past, and the inner world of human nature.
 Romantic architecture draws inspiration and is influenced by Greek, Gothic, Renaissance and
Baroque.
 Like other Romantic artforms, the sculptures are also inspired by ancient Greek, Medieval
times, and Michelangelo.
ROMANTICISM

Psyche Revived by Cupid's Kiss By

Taj Mahal
Antonio Canova
IMPRESSIONISM
 Just like Mannerists, impressionist art is characterized using vibrant and fresh colors and
favors spontaneity.
 Artist paint more outdoor scenes to capture the natural color and light. They are concerned
with the effect of light on objects because they see the light as an important element that
affects the richness and dullness or the darkness and lightness of colors.
 Artists tend to work quickly to capture what they see in the moment so they go away from
precise details of lines, rather use brush strokes that favor the quickest way to create
impressions of objects when painting is seen from afar.
 A common subject of impressionist art is outdoor scenes, nature, and contemporary
everyday life.
 Claude Monet (father of Impressionism).
IMPRESSIONISM

Woman with a Parasol - Madame

Monet and Her Son
By Claude Monet
ART NOUVEAU
 It includes great variety of fine and decorative arts, like painting, graphic art, interior
design, jewelry and furniture, textiles, ceramics, glass art and metal work.
 Despite of its translation “new art,” its style was already in circulation a decade before it
gained a specific recognition.
 In the mid-1890’s Siegfred Bing, a German-born art dealer, critic and entrepreneur established
a store and showroom called “La Maison del Art Nouveau” (The House of New Art).
 First, its early proponents found were inspired by natural forms for their complexity and
irregularity—particularly curved lines of plants and flowers.
 The artist would take a lot of time to perfect very minute details to impress the audience with
its precise details.
 ART NOUVEAU

FIRMIN BOUISSET (1859-1925) LU LU BISCUITS /

LEFÈVRE - UTILE. 1897.
CONSTRUCTIVISM
 Constructivism, as an artistic philosophy, was started In Russia in 1913 by Vladimir Tatlin
who rejected the idea of autonomous art.
 It is a practice for social purposes.
 Constructivism had greatly influenced modern art movements of the 20th century, as
manifested in major trends such as the Bauhaus and De Stijl.
 Its influence was widespread, with major impacts on architecture, sculpture, graphic design,
industrial design, theatre, film, dance, fashion, and to some extent, music.
 Constructivist ideology was largely anti-aesthetic, reflecting Marx’s contention that the mode
of production of material life determines social, political, and intellectual processes.
CONSTRUCTIVISM

Vladimir Tatlin’s Tatlin’s
Tower (1919)
DE STIJL (THE STYLE)
 Having passed through Impressionism and Symbolism, and was familiar with the Cubists in
Europe, particularly those in France.
 Mondrian wrote that reality is obscured when particular forms and natural colors cause
subjective feelings.
 Natural forms must be reduced to constant elements of form and natural colors to primary
color to plastically produced reality.
 Stijl artists advocated pure abstraction and universality by a reduction to the essentials of form
and color; they simplified visual compositions to vertical and horizontal, using black, white,
and primary colors.
DE STIJL (THE STYLE)

Mechano-Dancer
Artist: Vilmos Huszar
OPTICAL ART
 Op art or optical art is an artistic movement that flourished during the 1960’s that

practiced more overt exploitation of the physiology of seeing.

 In optical art, the recognizable object is eliminated in favor or geometric abstraction and the
experience is primarily visual.
 Optical artists produce moving or motion effect by using an arrangement of elements like:
 color, lines, shapes, or combinations of these elements. Adams (1994) cited that when an
 Artist makes creative use of elements, optical arts may be utilized to make metaphors of
human emotions and experiences
 OPTICAL ART

Peter Sedgley – Bringing Art to

Life with Light and Kinetics
POP ART
 . In contrast to the nonfigurative and seemingly subjective character of Abstract
Expressionism, Pop Art took the form of a return to the object.
 Though it became popular in the US in the 1960s, its origins are to be traced from England in
the 1950s. Its imagery was derived from commercial sources, mass, and everyday life
(Adams, 1994).
 The objective of Pop Art is to use images of popular culture in art, emphasizing the common
elements of any culture through sarcasm or irony.
 It uses unrelated materials visually removed from its known context, isolated, or combined
with materials to create its intended message.
POP ART

I WAS A RICH MAN’S PLAYTHING

Artist: Eduardo Paolozzi
MINIMALISM
 Minimalism is an artistic movement in painting and sculpture where any sense of the artist’s
role in the work is kept to an apparent minimum, to give it a “completely literal presence.”
 This results in an extremely simple and pure form, reducing the art to a state intrinsic to its
medium with a deliberate lack of expressive content.
 Minimalism emerged as an art movement in the 1960s as a reaction to Abstract Expressionism
which minimalist find to be too personal, pretentious, and insubstantial.
 Minimalist opposed the idea that art should reflect the personal expression of its creator.
 Rather, they advanced the principle of eliminating all sense of the artist’s role in the work,
leaving only the medium for viewers to contemplate in its absence of narrative and content
beyond the medium itself (Adams, 1994).
 MINIMALISM

Robert Morris, Untitled

(mirrored cubes) (1965/71)
CONCEPTUALISM
 Conceptualism is an art which emerges out of the growing investigation into Western art and
the political and economic institutions that support it.
 It advances the notion that the concepts or ideas involved in the work take precedence over
traditional aesthetic, technical and material concerns.
 In conceptual art, the idea or concept is the most important aspect of the work. When an artist
uses a conceptual form or art, it means that all of the planning and decisions are made
beforehand, and the execution is a perfunctory affair.
 However, one weakness continues to haunt conceptualism. That is, it lacks the strategic
methodology to determine the success of its anti-formalist position. Honour (2009) lamented
that because of this, it became very difficult to come to terms with what was significant in
Conceptualist work.
 CONCEPTUALISM

Collection of One Hundred

Plaster Surrogates by Allan
McCollum (1982–1990)
INSTALLATION ART
 In Installation Art, which is also considered as conceptual art, an exhibit may just be
 mounted by anyone by simply following a set of written instructions. This method justifies
 American artist Sol LeWitt’s definition of Conceptual art, “one of the first to appear in print.”
INSTALLATION ART

Kurt Schwitters, The Hannover Merzbau.

THANKYOU!