Answer all three of the following questions. Cite at least one example in your response for each question. Use additional sources, you must cite them.
Your answers should be in essay format, be a minimum of three-five
sentences each, and include at least three terms from the glossary for
each question. Glossary is below questions. How did the subject matter of Symbolist art diverge radically from Realism?What types of behavior and interests does fin-de-siècle describe?What did Art Nouveau try to synthesize?Glossary:Art Nouveau French, “new art.”
A late-19th- and early-20th-century art movement whose proponents tried
to synthesize all the arts in an effort to create art based on natural
forms that could be mass produced by technologies of the industrial age.
The movement had other names in other countries: Jugendstil in Austria
and Germany, Modernism in Spain, and Floreale in Italy. Color The
value or tonality of a color is the degree of its lightness or
darkness. The intensity or saturation of a color is its purity, its
brightness or dullness. See also primary, secondary, and complementary
colors. Complementary colors Those
pairs of colors, such as red and green that together embrace the entire
spectrum. The complement of one of the three primary colors is a
mixture of the other two. Divisionism A
system of painting devised by the 19th-century French painter Georges
Seurat. The artist separates color into its component parts and then
applies the component colors to the canvas in tiny dots (points). The
image becomes comprehensible only from a distance, when the viewer’s
eyes optically blend the pigment dots. Sometimes referred to as
divisionism. Impressionism A
late-19th-century art movement that sought to capture a fleeting
moment, thereby conveying the illusiveness and impermanence of images
and conditions. Japonisme The French fascination with all things Japanese. Japonisme emerged in the second half of the 19th century. Modernism A
movement in Western art that developed in the second half of the 19th
century and sought to capture the images and sensibilities of the age.
Modernist art goes beyond simply dealing with the present and involves
the artist’s critical examination of the premises of art itself. Optical mixture The visual effect of juxtaposed complementary colors. Plein air An
approach to painting much popular among the Impressionists, in which an
artist sketches outdoors to achieve a quick impression of light, air,
and color. The artist then takes the sketches to the studio for
reworking into more finished works of art. Pointillism A
system of painting devised by the 19th-century French painter Georges
Seurat. The artist separates color into its component parts and then
applies the component colors to the canvas in tiny dots (points). The
image becomes comprehensible only from a distance, when the viewer’s
eyes optically blend the pigment dots. Sometimes referred to as
divisionism. Post-Impressionism The
term used to describe the stylistically heterogeneous work of the group
of late-19th-century painters in France, including van Gogh, Gauguin,
Seurat, and Cézanne, who more systematically examined the properties and
expressive qualities of line, pattern, form, and color than the
Impressionists did. Primary colors Red, yellow, and blue the colors from which all other colors may be derived. Simultaneous contrasts The
phenomenon that juxtaposed colors affect the eye’s reception of each,
as when a painter places dark green next to light green, making the
former appear even darker and the latter even lighter. See also
successive contrasts. Successive contrasts The
phenomenon of colored afterimages. When a person looks intently at a
color (green, for example) and then shifts to a white area, the fatigued
eye momentarily perceives the complementary color (red). See also
simultaneous contrasts. Symbolism A
late-19th-century movement based on the idea that the artist was not an
imitator of nature but a creator who transformed the facts of nature
into a symbol of the inner experience of that fact. Value The
value or tonality of a color is the degree of its lightness or
darkness. The intensity or saturation of a color is its purity, its
brightness or dullness. See also primary, secondary, and complementary
colors.
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