· 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.

1. · 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

2. 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

3. 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.
·
Art
Nouveau
o
French, "new art." A late
-
19th
-
and early

4. -
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 othe
r names in other countries: Jugendstil
in Austria and Germany, Modernism in Spain, and Floreale in
Italy.
·
Color
o
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
o
Those pairs of color
s, such as red and green that together embrace the entire
spectrum. The

5. complement of one of the three primary colors is a mixture of
the other two.
·
Divisionism
o
A system of painting devised by the 19th
-
century French painter Georges Seurat. The artist
sep
arates 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
divisi
onism.
·
Impressionism
o
A late
-
19th
-
century art movement that sought to capture a fleeting moment,
thereby conveying the
illusiveness and impermanence of images and conditions.

6. ·
Japonisme
o
The French fascination with all things Japanese. Japonisme
emerged in the second half of the 19th
century.
·
Modernism
o
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
o
The visual effect of juxtaposed complementary colors.

7. ·
Plein
air
o
An approach to painting much popu
lar 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
o 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.
o 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

8. primary, secondary, and complementary
colors.
o 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.
o 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.
o A late-19th-century art movement that sought to capture a
fleeting moment, thereby conveying the
illusiveness and impermanence of images and conditions.
o The French fascination with all things Japanese. Japonisme
emerged in the second half of the 19th
century.
o 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.

9. o The visual effect of juxtaposed complementary colors.
o 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.
llism