EXPRESSIONISM

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EXPRESSIONISM

A Western Art world movement where artists


created artworks with more emotional force
rather than realistic or natural images. To achieve
this, they distorted outlines, applied strong
colors, and exaggerated forms.
Neoprimitivism
an art style that incorporated elements from the native
arts of the South Sea Islanders and the wood carvings of
African tribes. Western artists used the oval faces and
elongated shapes of African art in both sculptures and
paintings.
Yellow Sweater,
Amedeo Modigliani, 1919

Head,
Amedeo Modigliani, 1913
Fauvism
Fauvism was a style that used bold, vibrant
colors and visual distortions. Its name was
derived from les fauves (“wild beasts”),
referring to the group of French
expressionist painters who painted in this
style.
Blue Window
Henri Matisse, 1911

Woman with Hat


Henri Matisse, 1905
Dadaism
a style characterized by dream fantasies,
memory images, and visual tricks and
surprises. They chose the child’s term for
hobbyhorse, dada, to refer to their new “non-
style.”
Melancholy and Mystery
of a Street
Giorgio de Chirico, 1914

I and the Village


Marc Chagall, 1911
Surrealism
a style that depicted an illogical,
subconscious dream world beyond the
logical, conscious, physical one. Its name
came from the term “super realism,” with its
artworks clearly expressing a departure from
reality.
Personages with Star,
Joan Miro, 1933

Persistence of memory
Salvador Dali, 1931
Social Realism
expressed the artist’s role in social reform.
Artists used their works to protest against the
injustices, inequalities, immorality, and
ugliness of the human condition.
Miners’ Wives
Ben Shahn, 1948
• spoke out against the
hazardous conditions
faced by coal miners,
after a tragic accident
killed 111 workers in
Illinois in 1947, leaving
their wives and children in
mourning.
Guernica was Picasso’s outcry against the German air raid of the
town of Guernica. It has been recognized as the most monumental and
comprehensive statement of social realism against the brutality of war.

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