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Art History

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Submitted By lakers
Words 3417
Pages 14
AP History of Art; Dr. Schiller, April 15, 2011
Realism through and including first half of 20th century Art Note Packet
Realism Paintings and Photography (mid 1800s):
Define this art movement:

Gardner plate 29-3 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-5 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-8 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-12 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Impressionism (late 1800s):
Define this art movement:

Gardner plate 29-23 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-28 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-30 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made:

10.Anything else unusual or that we should know about this work:
Gardner plate 29-31 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Post-Impressionism (late 1800s):
Define this art movement:

Gardner plate 29-34 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-38 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Symbolism (mid 1800s):
Define this art movement:

Gardner plate 29-44 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:
Gardner plate 29-45 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made:

10.Anything else unusual or that we should know about this work:

19th c. sculpture and architecture:
Define this art movement:

Gardner plate 29-49 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:
Gardner plate 29-57 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-59 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Art Nouveau (late 1800s - early 1900s):
Define this art movement:

Gardner plate 29-53 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 29-54 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Fauvism (early 1900s):
Define this art movement:

Gardner plate 33-1 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-2 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

German Expressionism: Die Brucke (early 1900s):
Define this art movement:

Gardner plate 33-6 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

German Expressionism: Der Blaue Reiter (Blue Rider) (early 1900s):
Define this art movement:

Gardner plate 33-7 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Early Expressionist Sculpture (early 1900s):
Define this art movement:

Gardner plate 33-9 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Abstraction (early 1900s):
Define this art movement:

Gardner plate 33-11 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Analytic Cubism (early 1900s):
Define this art movement:

Gardner plate 33-12 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Synthetic Cubism (early 1900s):
Define this art movement:

Gardner plate 33-14 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Cubist sculpture (early 1900s):
Define this art movement:

Gardner plate 33-17 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Purism (1910s-1920s):
Define this art movement:

Gardner plate 33-20 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Futurism (early 1900s):
Define this art movement:

Gardner plate 33-22 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Dada (WWI and 1920s):
Define this art movement:

Gardner plate 33-25 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Avante-Garde (including 1913 Armory Show):
Define this art movement:

Gardner plate 33-29 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:
Gardner plate 33-30 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Precisionism (1920s):
Define this art movement:

Barron’s AP Review Book 25.12 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Neue Sachlichkeit (New Objectivity) (Post-WWI):
Define this art movement:

Gardner plate 33-39 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-41 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Metaphyscial Painting (Post War Years):
Define this art movement:

Gardner plate 33-44 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Surrealism (Post war years):
Define this art movement:

Gardner plate 33-46 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-47 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made:

10.Anything else unusual or that we should know about this work:

Gardner plate 33-50 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:
Gardner plate 33-52 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Suprematism and Constructionism (early 1900s):
Define this art movement:

Gardner plate 33-53 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-55 1. Artist:

2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made:

10.Anything else unusual or that we should know about this work:

De Stijl (Post war years):
Define this art movement:

Gardner plate 33-56 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-57 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

The Bauhaus (Post war years):
Define this art movement:

Gardner plate 33-60 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-63 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

International Style (early 1900s):
Define this art movement:

Gardner plate 33-65 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Art Deco (Post war years):
Define this art movement:

Gardner plate 33-66 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Organic Architecture and Sculpture (early 1900s):
Define this art movement:

Gardner plate 33-69 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-70 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-73 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Art as Political Statement in the 1930s:
Define this art movement:

Gardner plate 33-74 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-75 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Gardner plate 33-77 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

Mexican Muralists (Post war years):
Define this art movement:

Gardner plate 33-80 1. Artist: 2. Name: 3. Date: 4. Medium: 5. What period of art: 6. Was there a patron: 7. Subject of the work: 8. Describe its form, color, and composition:: 9. How does it reflect the period in which it was made: 10.Anything else unusual or that we should know about this work:

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...AMERICAN UNIVERSITY OF CENTRAL ASIA FALL SEMESTER 2014 History of Art Dr Raymond-Josef Hoffmann Description: This course is an introduction to art as the embodiment of cultural, social, and political values, ranging from ancient civilizations to the modern period. The class examines painting, sculpture, and architecture , and both domestic and ornamental artifacts of Near Eastern, Mediterranean and Western civilisations. Various historical periods will be considered through an examination of creative practices, themes, and visual forms. Examples of the work of representative artists and movements, from Praxiteles in ancient Greece to recent artists will be explored. The course will also consider cultural and artistic exchanges between societies of Europe, the Americas, Asia (including central Asia), and Africa, when appropriate. Human beings have been culture-makers and illustrators from the beginning: the history of our species on earth can be traced from early cave drawings and implements for eating and hunting to decorative arts, gothic cathedrals, skyscrapers to non-cognitive forms of expression that defy interpretation. This course is an exploration of an essential aspect of our attempts to shape the world and to create an environment in which self-expression, pleasure, ideology and aspiration can thrive. 1. Structure: The course comprises two 80 minute discussion/seminars based on specific works of art each week. The topics and readings are given in the schedule...

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History of Art

...[pic] “Did the development of a middle-class ‘public sphere’ significantly alter artistic practice during the seventeenth and eighteenth centuries?” In The Structural transformation of the Public Sphere[1], Jürgen Habermas describes how this area in social life, both separated from the “private sphere” and the “sphere of public authority”, where people can get together and freely discuss and identify societal problems and trough that even influence political action, has not always existed. Its creation was part of a long process that had its peak at the turn of the eighteenth century. He also explains how, although this phenomenon concerns the whole of the European society, the British case stands out. The genesis of the public sphere is first of all associated to an economical factor. As a result from the modernization of the economy, based upon a systematic use of public credit and the free circulation of goods and capital, it is especially the city of London that expanded at a remarkable speed with the sudden and fast development of merchant banking and insurance, as well as warehousing and trading. This new horizon of possibilities on terms of wealth and independence unfolds simultaneously to important shifts in the political arena. After years of blood spill trough civil war, which ended with the execution of King Charles I, a constitutional monarchy was finally established. The idea of a freer, more horizontal conception of social relations started...

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Art History

...AP Art History - SnapShot Summer Trees - Song Su Nam 1983 CE Ink on Paper Funky(Focus): The viewers eye lands on a variety of ink brushstrokes. Each brushstroke is relatively broad and lie parallel to each other. Some are darker than the others revealing the time of application, as some were applied when the paper was dry and some when the paper was wet. These brushstrokes can be identified as trees by the tiny extension of a line under each one. The brushstrokes suggest a mastery of control over the use of ink to paint. Caravaggio(content) : The subject of this work is the abstract, formal qualities of the work. The artwork isn't a realistic depiction of trees but the brushstrokes stand for trees. Song Su Nam addresses modern art, but focuses on the traditional aspect of his artwork. The work fits under the themes of the individual and society as well as knowledge and belief, as Su Nam is addressing art in the modern world by making reference to strong traditional cultural value. Flips(Function): Summer trees is an abstract modern work that explores the modern art world through its roots in traditional Korean culture. The material used is traditional ink on paper, and the artist created this work in Korea but it has become an example of modern contemporary art in todays day. To(Tradition): There are no rituals affiliated with the artwork, however the artwork is deeply rooted in tradition. Ink painting is an old Korean tradition that Su Nam chose...

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Art History

...Art History 1 June 3, 2013 Art and the Consciousness of Early Man The paintings carried out on rock surfaces, which constitute parietal art, caused the curiosity of lots of scientists. These paintings are present in many places of the world; the oldest can have more than 40,000 years. The dating of the prehistoric traces was difficult, as well the interpretation and reasons of the paintings, from anthropomorphic figures to abstract forms of signs. These paintings on the caves represent a universal artistic expression because it was found at various periods on our five continents. They used many techniques to express art, but one of them was painting with the brush. The brush could be manufactured with the hair of animals and even of vegetable materials. Paintings were monochromatic or polychromatic (Cave of Lascaux). Another technique was painting with the finger, which were made with the finger coated painting (Cave of Covalanas). At that time, when the first arts were created, they already made use of some technique to trace contours (punctuated horses of the Cave of Pech Merle), to fill a surface (Cave of Lascaux), or to make prints of negative hands (Caves of Gargas) by puffing up on paintings. Beyond the techniques of analysis and study, parietal art poses to the researcher the insoluble enigma of understanding. Prints of hands with mutilated fingers (or deformed by the disease?) found in” Cueva de Las Manos” in Argentina, is an example of problematic interpretation...

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Art and History

...83-98 83 Abstracts/Résumés pp. xv-xxi We Practice What We Preach: A Local History of a Community-Based, Student/Faculty Art Exhibition (2002-09) Elizabeth Auger Ashworth Nipissing University Daniel H. Jarvis Nipissing University Purpose of the Exhibitions Student-organized exhibitions hold the potential to greatly enhance the visual arts school curriculum. Burton (2004, 2001), for example, contends that there are a number of multi-faceted benefits for art students, art teachers, and for the art education program in general through the implementation of student-organized exhibitions. In Exhibiting Student Art (2004), he concludes: The key to successful student art exhibitions rests in the knowledge and skills students learn from doing it firsthand. . . . They need to immerse themselves in various aspects of art exhibition, from preparing and presenting art to other people to exploring alternatives of scale, venue, theme, and purpose. . . . When exhibitions of student art are presented well, parents, teachers, and administrators recognize and appreciate the value and meaning of art in the school curriculum. Exhibitions of student art convey a continuous message that the quality of ideas, the depth of issues, and the magnitude of expression are © 2009 CRAE - RCÉA & AUTHORS/AUTEURS 84 Elizabeth Auger Ashworth & Daniel H. Jarvis displayed along with and through art. (p. 46) Student art exhibition events can address socio-economic issues (Russell-Bowie, 2005), function...

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Art and History

...A History of Human Art and Body Painting If the impulse to create art is a defining sign of humanity, the body may well have been the first canvas. Alongside paintings on cave walls visited by early people over 30,000 years ago, we find handprints, ochre deposits, and ornaments. And because the dead were often buried with valuable possessions and provisions for the afterlife, ancient burials reveal that people have been tattooing, piercing, painting, and shaping their bodies for millennia. All of the major forms of body art known today appear in the ancient world, and there is no evidence indicating a single place of origin for particular techniques. Like people today, ancient peoples used body art to express identification with certain people and distinction from others. Through body art, members of a group could define the ideal person and highlight differences between individuals and groups. In the past, as today, body art may have been a way of communicating ideas about the afterlife and about the place of the individual in the universe. A variety of objects demonstrate the use of body art in ancient times including an Egyptian fish-shaped make-up palette from 3650 BC to 3300 BC; a painted Greek vase from the fifth century BC depicting tattooed Thracian women; a ceramic spout bottle depicting the pierced face of a Moche warrior of Peru from AD 100-700; and ceramics of painted Nayarit women from 300 BC to 300 AD. As people from one culture encounter people from...

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Art History

...Cubism Cubism was one of the most influential visual art styles of the early twentieth century. It was created by Pablo Picasso between 1907 and 1914with some credit given to Brague. Vauxcelles called the geometric forms in the highly abstracted works "cubes.". The stylization and distortion of Picasso's ground-breaking Les Demoiselles d'Avignon (Museum of Modern Art, New York), painted in 1907, came from African art which Picasso had first seen when he visited the ethnographic museum in the Palais du Trocadéro in Paris in 1907. Cubist painters wanted to emphasize the two-dimensionality of the canvas instead of adhering to the ideas that art should copy nature or adopt the traditional techniques of perspective, modeling, and foreshortening. So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relief-like space. They also used multiple or opposing vantage points. Cubism wielded a profound influence on twentieth-century sculpture and architecture even though it was associated with painting. The major Cubist sculptors were Alexander Archipenko, Raymond Duchamp-Villon, and Jacques Lipchitz. Rewald, Sabine. "Cubism". In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/cube/hd_cube.htm (October 2004) Fauve Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century. The Fauve painters were...

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