Changes in Art For this week, answer  all three  of the following questions.  Cite at least one example  in your response for each question. You should reference your book to help you answer these questions.  If you 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 our glossary for each question. 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 Terms The following are glossary terms with which you need to become familiar and to utilize within your work this week. You do not need to utilize them all; however, you need to utilize at least three of these terms per assignment response. Please note that some terms are carried over from previous weeks as they apply. Still, you should review all terms each week. 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 reworki.

1. Changes in Art
For this week, answer
all three
of the following questions.
Cite at least one example
in your response for each question. You should reference your
book to help you answer these questions.
If you 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
our glossary for each question.
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 Terms
The following are glossary terms with which you need to
become familiar and to utilize within your work this week. You
do not need to utilize them all; however, you need to utilize at
least three of these terms per assignment response. Please note
that some terms are carried over from previous weeks as they
apply. Still, you should review all terms each week.
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

2. 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

3. 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.