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Description |
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Byzantine |
400 |
1453 |
Religious art relating to the eastern Roman Empire established in the fourth century, characterized by massive domes, rounded arches, and mosaics. |
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Ancient Art |
-3000 |
-331 |
Premodern art often favored drawing over color. Much surviving work was recently discovered in tombs, such as Egyptian frescoes, pottery and metalwork. |
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Early Medieval |
200 |
1400 |
A highly religious art from the period beginning in the fifth century in western Europe. Characterized by iconography and paintings illustrating scenes from the Bible. |
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Post-Modernist |
1980 |
1990 |
Late-twentieth-century artists challenged traditional notions of what art actually is with a variety of different works; they are always experimental and innovative. |
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Op Art |
1964 |
1970 |
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Modern Realist |
1960 |
1965 |
This late-twentieth century American and British movement was influenced by consumerism, often reproducing photograph-like techniques of everyday scenes in a glamorous way. |
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Pop Art |
1955 |
1970 |
A movement of the 1950s inspired by advertising and consumer society. Artists such as Andy Warhol and Richard Hamilton produced works reminiscent of comics and advertising. |
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Abstract Expressionist |
1940 |
1955 |
An American movement of the 1940s and 1950s. Its most famous proponents were Pollock, de Kooning, and Rothko. With roots in Surrealism, it attempted to break from Europe and tradition. |
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Surrealist |
1920 |
1940 |
Dadaists were disillusioned and reacted against the destruction of the First World War, creating absurd anti-art Surrealism developed from this in 1924, representing dreams and pure thought inspired by the writing of Freud. |
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Bauhaus |
1919 |
1933 |
German school founded in 1919 to raise the profile crafts to that of the fine arts. It established a relationship between design and industry and influenced the teaching of art. |
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Cubist |
1907 |
1914 |
An abstract form of art. developed in Europe in the l900s by Picasso and Braque. It abandoned realistic representation of perspective and subject and concentrated on solidity and volume. |
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Bloomsbury Group |
1905 |
1915 |
Meeting in the Bloomsbury area of London in the early twentieth century this group of artists and writers was an intellectual elite reacting against the restrictions of Victorian Britain. |
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Expressionist |
1900 |
1920 |
Movement of the early twentieth centruy that concentrated on painting emotions instead of physical reality. Bright colors and strange forms are typical in such works. |
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Fauvist |
1900 |
1920 |
From the French for "wild beast," this early-twentieth-century style is characterized by strong colors and expressive brushwork which convey an emotional and fantastical depth. |
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Nabis |
1890 |
1900 |
Inspired by Gauguin’s use of color, this group of Parisian artists was active in the 1890s.They were unconcerned with depicting reality, preferring the emotional use of color and distortion. |
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Post-impressionist |
1880 |
1900 |
A late nineteenth-century reaction to Impressionism, this group explored a symbolic use of strong colors and form rather than concerning itself with naturalism. |
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Art Nouveau |
1880 |
1914 |
A European and American applied art movement of the late nineteenth and early twentieth century. It is characterized by sinuous lilacs and stylized natural forms. Famous artists include Gaudi, Mucha, and Charles Rennie Mackintosh. |
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Impressionist |
1870 |
1890 |
Named after Monet’s depiction of the effect of light on the French countryside in the 1860s, this group of artists was concerned with representing contemporary experience rather than historical events or the imagination. |
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Symbolist |
1860 |
1890 |
Interested in dreamscape and emotional, often exotic, scenes, this late-nineteenth-century movement war inspired by literature. The works often use color and line to suggest and evoke. |
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Pre-Raphaelite |
1848 |
1854 |
A British artistic group formed in 1848 that emulated Renaissance painters. The subject matter was often historical or literary, and concerned itself with morality. |
