Expressionism was an early 20th century art style characterized by intense emotions and distortions. It focused on conveying feelings over realistic representations. Vincent van Gogh and Edvard Munch were early expressionist artists known for expressive, emotionally charged works. Later expressionist groups included Die Brücke and Der Blaue Reiter in Germany. Dadaism emerged during WWI as a rejection of reason and logic through absurd, nonsensical works by artists like Marcel Duchamp and Francis Picabia. Surrealism aimed to access the unconscious through automatism and dreamlike juxtapositions in the works of artists such as Salvador Dali, Joan Miró, and René Magritte. Social real

1. ART STYLES
Joey Richard Dio
B S Accountancy 2

2. EXPRESSIONISM

3. Expressionism
• A style derived from the crises of modern
times
• so called because of the primacy of feeling,
often strong and violent, always intensely
personal in the work of art

4. Expressionism
Vincent Van Gogh
a Dutch artist who spent
most of his life in France,
is named a worthy
predecessor of the
movement, with his
gnarled and tortured
shapes, and his strong
rhythms

5. Expressionism
Starry Night Road with Cypress

6. Expressionism
James Ensor
He made numerous
paintings of people as
skeletons.

7. Expressionism
Edvard Munch
His prints eloquently
expressed the emotional
dislocation of society
caught in the toils of war.

8. Expressionism
The Scream (1892) Edvard Munch

9. Expressionism
The Scream (1892) Edvard Munch
A skull-like figure howling
on a bridge, is the image
of contemporary neurosis

10. Expressionism
The style, however, is directly related to 2
groups:
The earlier, of a strong Germanic character and
founded in Dresden in 1905, was the “Bridge”
(Die Brucke), and the second of a more
international character, founded in Munich in
1911, was the “Blue Rider” (Blaue Reiter).

11. Expressionism
• In expressionism, nature and everyday
objects, such as flowers, become highly
expressive of a mood or an emotional state.
• Expressionist artists used bright, screaming
colors, disregarding the natural colors of the
object, in order to express emotion powerfully

12. Expressionism
A. “Bridge”
Their harsh style, with a strong linear
emphasis, lent itself well to the graphic
arts, especially woodcut. They became the artist
of a sick society caught between two wars.

13. Expressionism
Kirchner Schmidt-Rottluff

14. Expressionism
B. “Blue Rider”
This grouped developed into abstraction.
Franz Marc is known for his powerful paintings
of blue horses in an indeterminate
setting, which partake of a primitive symbolic
quality.

15. Expressionism
Vassily Kandinsky Franz Marc Kandinsky

16. DADAISM

17. Dadaism
Tristan Tzara
In 1916, during the period
of World War I, a group of
young intellects in
Zurich, Switzerland, heade
d by Tristan
Tzara, founded the
movement which came to
be known as Dadaism.

18. Dadaism
• From the French Dada, meaning “hobby
horse,” or from the German meaning “childish
gabble”
• Iconoclastic and contemptuous of convention,
the dadaists ridiculed the bourgeois concept
of art as commodity.

19. Dadaism
Marcel Duchamp Frances Picabia

20. Dadaism
These two dadaists did a
completely
unprecedented and
startling act:
to Da Vinci’s revered
painting, Mona Lisa,
known for her enigmatic
smile, they added a beard
and a moustache.

21. Dadaism

22. SURREALISM

23. Surrealism
Surrealism centered around the theory
that man’s conscious activity was but a small
and limited area compared to the vast realm of
the unconscious of which dreams are only the
symbols

24. Surrealism
2 ways of realizing the objectives:
A. Autistic Surrealism that took the form of
the uncontrolled meanderings of the
automatic writing which would reveal
clues to the contents of the unconscious.

25. Surrealism
Joan Miro Paul Klee
“taking a line for a walk”

26. Surrealism
2 ways of realizing the objectives:
B. Veristic Surrealism, with its realistic
technique allied with the starting
juxtaposition of objects in painting , thus
becoming a kind of visual equivalent of the
free association method.

27. Surrealism
Comte de Lautreamont
Expressed that the work
of art could be “beautiful
as the chance meeting
upon a dissecting table of
a sewing machine with an
umbrella”

28. Surrealism
Salvador Dali The Persistence of
Memory

29. Surrealism
The Persistence of
Memory
shows melting clocks on a
desolate and barren shore

30. Surrealism
Giorgio de Chirico Melancholy and Mystery
of a Street

31. Surrealism
Melancholy and Mystery
of a Street
shows brooding shadows
and dark corners that
menace a young girl
playing with a hoop

32. Surrealism
Yves Tanguy
curious, bonelike
structures, fossils of a
submerged continent

33. Surrealism
Rene Magritte
works with literal
juxtapositions, as when
clouds from a saxophone
and a Chari, or his trompe
l’oeil landscapes that
confuse illusion with
reality

34. Surrealism
Rene Magritte

35. Surrealism
Max Ernst composed
collages made of old
engravings assembles and
pasted together to
produce unusual effects.

36. Surrealism
He also invented
decalcomania in which
two wet paintings are
brought together and
then taken apart, with the
artist creating on the
suggested possibilities of
the chance forms.

37. Surrealism

38. Surrealism
The contribution of Surrealism lies in
revealing hitherto unexplored artistic resources
and in affirming as valid subjects of art those
which were formerly regarded suspicious or
without value.

39. MEXICO and UNITED STATES
SOCIAL REALISM

40. Social Realism
A. IN MEXICO
Mexican art, because of its relevance to its
times and because of its encompassing view
of the social nature of man, was particularly
suited to the large format of the mural.

41. Social Realism
Jose Clemente Orozco Gods of the Modern World

42. Social Realism
Gods of the Modern World
it was done in a bold
expressionistic style
dramatizing the social
conflicts of his time.

43. Social Realism
David Alfaro Siquieros Echo of Scream

44. Social Realism
Echo of Scream
it shows a small boy
whose cry reverberates in
a desert of bones and
wreckage

45. Social Realism
Diego Rivera Night of the Rich, Night of
the Poor

46. Social Realism
In order to communicate their social
message on a wider scale, the Mexican artists
also turned to the graphic arts and produced
prints of great visual power.

47. Social Realism
B. IN THE UNITED STATES
Realism allied with social consciousness
also characterized a considerable portion of
the art of the United States from the 1930’s
to the 1950’s.

48. Social Realism
B. IN THE UNITED STATES
Literature and other arts dealt with the
following:

49. Social Realism
• Problems of Nighthawks
urbanism, alienation, an
d lack of social
integration
Edward Hopper

50. Social Realism
• Bureaucracy and the The Subway (1950)
dehumanization of the
person
George Tooker

51. Social Realism
• The conflict between Cristina’s World (1948)
the interior and exterior
world
Andrew Wyeth

52. Social Realism
• Material greed and Into the World There
corruption, or Come a Soul Called Ida
pervading decadence
and decay
Ivan Albright

53. Social Realism
This paintings in which form and content unite to
make a moving human message are works of artists as
highly sensitive people feeling and living with their
society and finding in art a vehicle for communicating
significant human experience and for shaping the
human values essential to a truly humane society.

54. Experimentation with Form

55. IMPRESSIONISM

56. Impressionism
As Maurice Denis
said, as early as
1890, “Remember that a
picture – before being a
battle-horse, a nude
woman, or an anecdote
– is essentially a plane
surface covered with
colors and assembled in
a certain order.”

57. Impressionism
This statement became
the rallying point of
the moderns beginning
with the French
impressionists.

58. Impressionism
Impressionism: Sunrise
They derived their name
from a paint by Claude
Monet entitled
Impressionism:
Sunrise, exhibited in
1874.

59. Impressionism
Impressionism: Sunrise
The word impressionism
was caught up by the
sneering critics and it
has stuck to their style
since then.

60. Impressionism
• Impressionism was a rebel movement against
classicism and the French Academy with its
ideals of permanence, stability, and the
intention of capturing the eternal, absolute
qualities of the subject, such as in a portrait, for
the benefit of posterity
• He sought to capture the fleeting, elusive
effects of atmosphere and light on the subject.

61. Impressionism
• Impressionism felt the influence of Bergson’s
philosophy that reality is a continual process of
development and change, like an unending
stream.
• The style was also influence by photography
and its light and dark effects, its angle of
vision, as well as by the “snapshot” or “candid”
effect.

62. Impressionism
Claude Monet
One of the foremost
impressionist as the truest
to the style was Claude
Monet.

63. Impressionism
Claude Monet
He is best known for his
many versions of the
Rouen Cathedral as seen
at different times of the
day.

64. Impressionism
Rouen Cathedral (1894) Claude Monet

65. Impressionism
Claude Monet
He also painted a
series of water lilies in
a pond (Nympheas) as
they changed with the
changing light from
season to season.

66. Impressionism
Nympheas
He also painted a
series of water lilies in
a pond (Nympheas) as
they changed with the
changing light from
season to season.

67. Impressionism
Auguste Renoir
Another outstanding
impressionist is
Auguste Renoir, known
especially for his
delicate portraits of
women and children.

68. Impressionism
Auguste Renoir

69. FAUVISM

70. Fauvism
• The impressionists’ use of bright colors was
the principal aspect of Fauvism
• The group of Fauvist painters included
striking, bold use of colors, which were no
longer confined within definite planes but
spilled over freely, which caused a disagreeing
critic to call them Fauves, the French word for
“wild beasts.”

71. Fauvism
Group of Fauvist S. Bonnard
painters:
• S. Bonnard
• Andre Derain
• Henri Matisse

72. Fauvism
Henri Matisse S. Bonnard

73. Fauvism
Henri Matisse Andre Derain

74. Fauvism
Henri Matisse
He consistently worked
produced paintings of
colorful patterns and
designs.

75. Fauvism
Henri Matisse Woman with Hat

76. Fauvism
Henri Matisse Large Red Interior

77. Fauvism
Paul Gauguin
An artist who is often
associated with the
Fauves, but who worked
in a highly individual
style.
He escaped from the
stifling urbanism of
Europe to a primitive
idyllic life in the South
Pacific, particularly Tahiti.

78. Fauvism
Paul Gauguin
For his subject matter of
bronze-skinned women
basking in the sun amid
lush vegetation, he is
associated, too, with the
style known as
primitivism.
His bright colors are
intensified by tropical
sunlight.

79. Fauvism
Hail Mary Nevermore

80. POINTILLISM

81. Pointillism
• Another branch of impressionism which is
sometimes called divisionism
• The obvious characteristic of this style is the
application of tiny dots of pure color side by
side on the canvas to create a luminous effect

82. Pointillism
Georges Seurat Sunday Afternoon at
Grand Jatte

83. Pointillism
Georges Seurat
It shows very careful
planning and organization

84. Pointillism
Georges Seurat
He differed from the
impressionists in his
concern with structure
and solidity of form, for
the impressionist painter
usually sacrificed much of
substance and solidity to
the effects of light and
atmosphere.

85. CUBISM

86. Cubism
The movement to regain
structure in painting was
initiated by Cezanne, who
is known as the “Father of
Cubism.”

87. Cubism
He advised painters to
“treat nature by the
cylinder, the sphere, the
cone, everything in proper
perspective, so that each
side of an object or a
plane is directed toward a
central point.”

88. Cubism
The concern for structure
is basically classical in
origin, and the classicism
of Cezanne lies in his
search for permanent and
underlying structure.

89. Cubism
Mont St. Victoire

90. Cubism
Mont St. Victoire
trees, houses, and other
details are reduced to
simple, rectangular
shapes.

91. Cubism
Cubism was further developed by Picasso
and Braque in the decade of the 20th
century, when it was modified by the influence
of African primitive sculpture with its tendency
to abstraction.

92. Cubism
Demoiselles d’ Avignom
(1907)

93. Cubism
Demoiselles d’ Avignom
(1907)
This painting has 5 female
figures, showing varied
treatments of the human
figure.

94. Cubism
Demoiselles d’ Avignom
(1907) While some of them are
of classical derivation in
stance and physical type,
two of them are mask-
headed, indicating the
initiation of primitive
mystery and ritual into
Occidental painting.

95. Cubism
Demoiselles d’ Avignom
(1907) This painting has been
described as marking the
end of Western
chauvinism, for painters
then began to turn to
Asian and African sources
for inspiration and artistic
renewal.

96. Cubism
In subsequent paintings, Picasso and Braque
further expanded the possibilities of cubism.
Linear perspective was negated and the
canvas was reaffirmed as 2-dimensional surface.
Point of view was continually shifting, shapes
were exaggerated and simplified, while color
emphasized formal structure.

97. Cubism
A. Analytic Cubism (1910 - 1912)
Analytical cubist paintings have the
appearance of great complexity, as the subject is
fragmented into its numerous aspects on the two-
dimensional surface.

98. Cubism
A. Analytic Cubism (1910 - 1912)
The subject loses its recognizable
appearance, except for a few clues to its
identity, such as eyes, part of a guitar, or the neck of
a bottle.
Color is generally limited to tones of gray and
brown.

99. Cubism
B. Synthetic Cubism (1912 - 1916)
The picture plane loses its earlier complexity
and the monochrome coloring is replaced by
brighter hues.

100. Cubism
B. Synthetic Cubism (1912 - 1916)
A new emphasis is given to texture, especially
with the cubist technique of collage which consists
of adding and pasting bits of colored paper,
newsprint, or other materials on the surface to
reinforce its flatness, to create textural effects, and
to serve as points of reference.

101. Cubism
Picasso Braque

102. Cubism
Juan Gris Fernand Leger

103. FUTURISM

104. Futurism
• Futurism as a style in painting strove to
analyze visually the various stages of an
action.
• It deals with the process of becoming, not of
being, or with the unfolding of an action so
that the painting may seem to correspond in
photography to a series of multiple exposures
of one action on a single film.

105. Futurism
Marcel Duchamp Nude Descending a
Staircase

106. Futurism
A number of Italian artists took up the
style in the period preceding World War I to
glorify modern speed, industrial
mechanization, and militarism.

107. Futurism
Gino Severini Armored Train

108. Futurism
Giacomo Balla Automobile and Noise

109. Futurism
Giacomo Balla Dog on a Leash

110. ABSTRACT ART

111. Abstract Art
• Abstract art is a logical extension of cubism
with its fragmentation of the object.
• Two artists, Kandinsky and
Mondrian, launched abstraction in painting
which, proclaiming the independence of the
artist from the representation of the
object, must have constituted a most daring
step.

112. Abstract Art
Vassily Kandinsky
As early as 1910,
Kandinsky began work on
paintings in which no
recognizable objects
appear.

113. Abstract Art
He tried to show the Vassily Kandinsky
relationship of the musical
elements of melody and
rhythm to painting and in
his treatise, Concerning
the Spiritual in Art, he
expressed his desire to
transcend the material
world and arrive at the
realm of the spirit in art

114. Abstract Art
His paintings may be largely Vassily Kandinsky
grouped into 2 kinds:
1. The Strict Geometrical
Compositions – shows
high intellectual
precision
2. The Free Improvisations
– sought to express, by
means of brilliant color
and swirling
lines, intuitive and
emotional states.

115. Abstract Art
Piet Mondrian
—a Dutch artist who was
the leader of the De Stijl
group.
—developed geometric
abstraction with his
mathematically precise
paintings based on right
angles, squares and
rectangles.
—limited himself to the
primary colors with the
addition of black and
white.

116. Abstract Art
so precise and exquisitely
balanced are his
paintings that the
slightest modification
would disturb the
relationship of the lines,
colors, and shapes.

117. Abstract Art
Broadway Boogie Woogie

118. Abstract Art
His work influenced a
group of Russian artists
known as suprematists,
such as Kasimir Malevich.

119. Abstract Art
Kasimir Malevich
His work influenced a
group of Russian artists
known as
suprematists, such as
Kasimir Malevich.

120. Abstract Art
White on White Kasimir Malevich

121. Abstract Art
Kasimir Malevich
He aimed to achieve “pure
painting” freed from any
allusions to the external
world.

122. Abstract Art
• Later, suprematism branched out into
constructivism, which with the Russian artists
Tatlin, Moholy-Nagy, Pevsner, and Gabo,
experimented with the interpenetration and
transparency of planes and opted for the
integration of art and life, especially in the
fields of industry and technology.

123. Abstract Art
Vladimir Tatlin Laszlo Moholy-Nagy

124. Abstract Art
Antoine Pevsner Naum Gabo

125. Abstract Art
IN UNITED STATES:
Abstract Art, deriving from Kandinsky’s
free forms, developed into abstract
expressionism or action painting.

126. Abstract Art
IN UNITED STATES:
The major exponent of the style is Jackson
Pollock, whose technique, consisting of
splattering or spraying the canvas with paint,
brings the element of chance into play
(Convergence).

127. Abstract Art
Mark Rothoko
In the work of Mark
Rothoko, much depends
on the striking
combinations of luminous
colors in large bands,
creating a hypnotic effect.

128. Abstract Art
Mark Rothoko White and Green on Blue

129. Abstract Art
Other artists, such as
Mark Tobey, have worked
in calligraphic style, partly
as exploration of the
possibilities of the written
character, and as a new
version of automatic
writing or doodling.

130. Abstract Art
1. Op (optical) art
 based on the
fascination with optical
illusion created
through ingenious and
precise combinations
of line and color.
 requires great precision
and planning, as well as
scrupulous
draftmanship

131. Abstract Art
Victor Vasarely Bridget Riley

132. Abstract Art
2. Pop (popular) art
 draws its subject from
mass-produced items
that flood the consumer
market: cola bottles, tin
cans, photographs of
film stars, and comic
strips.

133. Abstract Art
The artist may make a colorful bigger-than-
life blow-up of Campbell soup cans as a half-
playful, half-ironic comment on contemporary
urban society, or he may multiply an image into
rows and rows of the same, such as Andy
Warhol has done with a dollar bill or with
Marilyn Monroe’s photograph as a visual satire
on mass production.

134. Abstract Art
Roy Lichtenstein has
taken his subjects from
comic strips which when
blown up acquire a
strange, ominous, if not
absurd character.

135. Abstract Art
Step on Can with Leg
(1961)

136. Abstract Art
Claes Oldenburg has
taken familiar objects,
such as the hamburger
sandwich, and made it
into a startling piece of
naturalistic sculpture.

137. Abstract Art
3. Psychedelic art
 found its vogue in the
late 1960’s
 sought to capture in art
the weird, whirling
shapes and luminous
colors supposedly
visualized under the
influence of
stimulants, especially
drugs.

138. Abstract Art
• Some newer developments in contemporary
art are the shaped canvases, box
constructions, and empaquetage, or
wrapping.
• In recent times, the artist has turned away
from fixed, traditional types, to discover new
forms and techniques, thus extending art into
modern technology and the domain of the
computer.

139. Thank you from participating…