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| (counter reformation) art style that is florid, more colorful, richer in texture, richer in texture and decoration, more light and shade- apparently less control. Scenes embody mystery and drama, violence and spectacle, suggesting a deliberate striving after effect; the catholic church commissions artists to stir religious emotions and win back defectors, values: sensualism, dynamism, emotion. |
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| Byzantine Style dominates, religious scenes with still 1D figures associated w/ priestly functions o/ the church. Values : Religious, transcendental, otherworldy |
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| An art of line and edges, figures from bible, classical history, mythology. Commissioned portraits, use of perspective, chiaroscuro (light and dark) to achieve a rounded effect, secular backgrounds, material splendor. Values: Secularism, individualism, "virtu," balance, order, passivity, and calm |
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| 1600s genre or everyday scenes exhibit mathematical and geometric values of seventeenth century science. Middle class dutch patrons comissioned secular works: portraits, still lifes; landscapes, and genre paintings. values: quiet opulence, comfortable domesticity, realism. |
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| 1700s, art of the french aristocracy, portraying nobility in sylvian settings or ornate interiors, venuses and cupids, candybox art values :ornamentation, elegance, sweetness. |
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| 1700s, a return to classic antiquity for inspiration; scenes are historical and mytholigical, figures appear to be scultped, the appeal is to the intellect, not the heart. emotions are restrained and balance is achieved. values: reason, order, balance, reverence for antiquity. |
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| 1800s, A reaction against the "cold unfeeling" reason of the enlightenment and against the distruction of nature resulting from the Industrial revolution. Stress is on light, color, and self expression, in opposition to the emphasis on line and firm modeling typical of neoclassicism, Values: emotion, feeling, morbidity, exoticism, mystery |
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| 1800s, An attempt to portray the fleeting and transitory world of sense impressions based on scientific studies of light, forms are bathed in light and atmostphere, colors are juxtopposed or the eye to fuse from a distance, short, choppy brush strokes to catch the vibrating quality of light. Values : the immediate, accidental, and transitory |
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| 1800s-1900s, Indebted to freud, art tries to penetrate the facade of bourgeois superficiality and probe the psiche, that which lurks beneath the individual's calm and artificial posture. Values: subliminal anxiety, dissonance in color and perspective, pictoral violence-manifest and latent. |
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| 1900s, Also freud indebted, explores the dream world, world w/o logic, reason or meaning, fascinated w/ mystery, strange encounters, incongruity, and idescipherable in strangeness. values: the dream sequence, illogic, fantasy |
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| 1900s, no single point of view, no continuity or simultaneity of image contour, all possible views of the subject are compressed into one synthesized view of the picture which then becomes multifaceted. Values: a new way of seeing things, a view of the world as a mosaic of multiple relationships, reality as interaction. |
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| 1900s, nonrepresentational art, no climaxes, flattented out planes ad vales, the real appearance of forms in nature is subordinated to an aesthetic concept of form composed of shapes, lines, and colors. Value: personal and subjective interpretation |
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