In all human history, art has mirrored life in the community, society, and the world all its colors, lines, shape and forms.

3. IMPRESSIONISM
 art movement
that emerged in the
second half of the
19th century.
 a group of Paris-
based artists.

4. IMPRESSIONISM
 The name impressionism
was coined from the title
of a work by French
painter Claude Monet,
Impression, soleil levant
(in English, Impression,
Sunrise).

5. IMPRESSION SUNRISE by: CLAUDE MONET,1872, OIL IN CANVAS

6. IMPRESSIONISM
The term precisely
captured what this
group of artists sought
to represent in their
works: the viewer’s
momentary “impression”
of an image.

7. IMPRESSIONISM
 It was not intended to be
clear or precise, but more
like a fleeting fragment of
reality caught on canvas,
sometimes in mid-motion,
at other times awkwardly
positioned—just as it would
be in real life.

8. THE BARQUE OF DANTE by: EUGEBE DELACROIX ,1822, OIL IN CANVAS

9. THE INFLUENCE OF DELACROIX
 his expressive brush
stokes
his emphasis on
movement rather than on
clarity of form
and most of all his
study of the optical
effects of color.

10. When
studied
closely,
it seen
that four
different
unmixed
pigment

11. Yellow,
green,
red and
white-
create
the
image
of each

12. Drop
and its
shadow.

14. 1. COLOR AND LIGHT
2. “EVERYDAY” SUBJECT
3. PAINTING
OUTDOORS
4. OPEN COMPOSITION
5. THE INFLUENCE OF
PHOTOGRAPY
IMPRESSIONISM: A Break from
Past Painting Traditions

15. group of French Painter- Edourd
Manet, Claude Monet & Auguste Renoir

16. ARTS PRONUNCIATION
GUIDE
Cezanne – say-ZAHN
Delacroix – deh-lah-KRWAH
Manet – mah-NAY
Monet – moe-NAY
Renoir – ruhn-WAR
Van Gogh – van-GO

17. •was one of the
founders of the
impressionist
movement
•He was the most
prominent of the
group; and is
considered the most
influential figure in
the movement.
•Monet is best known
for his landscape
paintings, particularly
those depicting his
beloved flower
gardens and water
lily ponds at his home
in Giverny.

22. was one of the central
figures of the
impressionist movement.
His early works were
snapshots of real life,
full of sparkling color
and light. By the mid-
1880s, however, Renoir
broke away from the
impressionist movement
to apply a more
disciplined, formal
technique to portraits of
actual people and figure
paintings.

27. •was one of the
first 19th century
artists to depict
modern-life
subjects.
•He was a key
figure in the
transition from
realism to
impressionism,
with a number of
his works
considered as
marking the birth
of modern art.

33. POST-IMPRESSIONISM:
 Impressionism
(the vivid colors,
heavy brush
strokes, and true-
to-life subjects)

34. POST-IMPRESSIONISM:
like using a geometric
approach, fragmenting
objects and distorting
people’s faces
and body parts, and
applying colors that were
not necessarily realistic
or natural.

35.  was a French artist
and post-
impressionist painter.
 his work
exemplified the
transition from late
19th-century
impressionism to a
new and
radically different
world of art in the
20th century—paving
the way for the next
revolutionary art
movement known as
expressionism.

44.  was a post-impressionist painter
from the Netherlands.
His works were remarkable for
their strong, heavy brush strokes,
intense emotions, and colors that
appeared to almost pulsate with
energy.
Van Gogh’s striking style was to
have a far-reaching influence on
20th century art, with his works
becoming among the most
recognized in the world.

52. EXPRESSIONISM
 In the early 1900s, there
arose in the Western art world
a movement that came to be
known as expressionism.
 Expressionist artists
created works with more
emotional force, rather than
with realistic or natural
images.

53. EXPRESSIONISM
To achieve this, they
distorted outlines, applied
strong colors, and
exaggerated forms.
They worked more with
their imagination
and feelings, rather than
with what their eyes saw in
the physical world.

55.  an art style that incorporated
elements from the native arts of the
South Sea Islanders and the wood
carvings of African tribes which
suddenly became popular at that
time.
 Among the Western artists who
adapted these elements was
Amedeo Modigliani, who used the
oval faces and elongated shapes of
African art in both his sculptures
and paintings.

56. Head, Amedeo Modigliani
(1913) Stone

57. Yellow Sweater –Oil canvas
Amedeo Modigliani (1919)

59. was a style that used bold,
vibrant colors and visual
distortions.
 Its name was derived from les
fauves (“wild beasts”), referring
to the group of French
expressionist painters who
painted in this style.
 Perhaps the most known
among them was Henri Matisse.

61. Blue Window (1911)

62. Woman with Hat (1905)
Oil on canvas

64. Dadaism was a style
characterized by dream
fantasies, memory images,
and visual
tricks and surprises—as in
the paintings of Marc
Chagall and Giorgio de
Chirico.

65.  Although the works
appeared playful, the
movement arose from the
pain that a group of
European artists felt after
the suffering brought by
World War I. They chose the
child’s term for hobbyhorse,
dada, to refer to their new
“non-style.”

66. Melancholy and Mystery of a Street
Giorgio de Chirico, 1914, Oil on canvas

67. I and the Village
Marc Chagall, 1911, Oil on canvas

69.  was a style that depicted an
illogical, subconscious dream
world beyond the logical,
conscious, physical one. Its
name came from the term “super
realism,” with its artworks
clearly expressing a departure
from reality—as though the
artists were dreaming, seeing
illusions, or experiencing an
altered mental state.

76. Diana
Paul Klee, 1932 Oil on wood
Personages with Star
Joan Miro, 1933,
Oil on canvas

78.  was a style of painting
devised by the French
painter George Seurat.
He applied colors in
small dots, called
POINTILISM rather
than by means of the
usual brush strokes.

83. The movement known as
social realism expressed
the artist’s role in social
reform. Here, artists used
their works to protest
against the injustices,
inequalities, immorality,
and ugliness of the human
condition.

84.  In different periods of
history, social realists have
addressed different issues:
war, poverty, corruption,
industrial and environmental
hazards, and more—in the
hope of raising people’s
awareness and pushing
society to seek reforms.

85. Miners’ Wives
Ben Shahn,
1948
Egg tempera
on board

86. Ben Shahn’s Miners’
Wives, for example, spoke
out against the hazardous
conditions faced by coal
miners, after a tragic
accident killed 111 workers
in Illinois in 1947, leaving
their wives and children in
mourning.

87. Guernica, Pablo Picasso, 1937
Oil on canvas (Size: 11’ 5 1/2” x 25’ 5 3/4”)

88. Pablo Picasso’s Guernica
has been recognized as the
most monumental and
comprehensive statement of
social realism against the
brutality of war. Filling one wall
of the Spanish Pavilion at the
1937 World’s Fair in Paris, it
was Picasso’s outcry against
the German air raid of the town
of Guernica in his native Spain.

89. Created in the mid-1900s,
Guernica combined artistic
elements developed in the
earlier decades with those still
to come. It made use of the
exaggeration, distortion, and
shock technique of
expressionism. At the same
time, it had elements of the
emerging style that would later
be known as cubism.

92. The cubist style derived its name
from the cube, a three-
dimensional geometric figure
composed of strictly measured
lines, planes, and angles. Cubist
artworks were, therefore, a play of
planes and angles on a flat
surface. Foremost among the
cubists was Spanish
painter/sculptor Pablo Picasso

93. In earlier styles, subjects were
depicted in a three-dimensional
manner, formed by light and
shadow. In contrast, the cubists
analyzed their subjects’ basic
geometrical forms, and broke
them up into a series of planes.
Then they re-assembled these
planes, tilting and interlocking
them in different ways.

97. In addition, the art of the past
centuries had depicted a scene from a
single, stationary point of view. In
contrast, cubism took the
contemporary view that things are
actually seen hastily in fragments and
from different points of view at the
same time. This was reflected in the
depiction of objects from more than
one visual angle in the same painting
(e.g., the bull’s head in Picasso’s
Guernica

98. Human figures as well were often
represented with facial features and
body parts shown both frontally and
from a side angle at once. This gave a
sense of imbalance and misplacement
that created immediate visual impact.
It also gave cubism its characteristic
feeling of dynamism and energy. To
this day, variations of cubism
continue to appear in many
contemporary artworks.

105. The movement known as futurism began in
Italy in the early 1900s. As the name implies,
the futurists created art for a fast-paced,
machine-propelled age. They admired the
motion, force, speed, and strength of
mechanical forms. Thus, their works depicted
the dynamic sensation of all these—as can be
seen in the works of Italian painter Gino
Severini.

106. Armored Train Gino Severini, 1915
Oil on canvas

108. The City Fernand Léger, 1919 Oil on canvas

109. As a result of the futurist movement,
what became known as the
mechanical style emerged. In this
style, basic forms such as planes,
cones, spheres, and cylinders all fit
together precisely and neatly in their
appointed places

110. This can be seen in the works of
Fernand Léger. Mechanical parts such
as crankshafts, cylinder blocks, and
pistons are brightened only by the
use of primary colors. Otherwise,
they are lifeless. Even human figures
are mere outlines, rendered
purposely without expression.

112. The logical geometrical conclusion of
abstractionism came in the style
known as non objectivism. From the
very term “non-object,” works in this
style did not make use of figures or
even representations of figures. They
did not refer to recognizable objects
or forms in the outside world.

114. Lines, shapes, and colors
were used in a cool,
impersonal approach that
aimed for balance, unity,
and stability. Colors were
mainly black, white, and
the primaries (red, yellow,
and blue). Foremost among
the nonobjectivists was
Dutch painter Piet
Mondrian.
New York City Piet Mondrian, 1942 Oil on canvas