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Art Term Glossaries - Mulitple References
Glossary - 'Artist's on Art' / Dore Ashton
Dimensions - (Forms, Contexts, Perspectives)
"For all their differences, the classicists and the romantics held one conviction in common, and it was a basic one: they thought of life and the world as a mystery that could be explored to discover the reason for man's existence. Niether doubted the assumption that we are here for a reason and that our being is justified and meaningful. For both, nature--all the different facets of life, of the world--was what Delacroix called "a vocabulary" that could be used to study the mystery's solution. Classic or romantic the idealist assumes that within all the conficts and contradictions, all the ambiguities and confusions of life, somewhere there is a harmony, a discoverable truth, by which man can understand the fact that he exists . . . . Seurat and Cézanne were painters within the classical tradition by its most inclusive definition: they believed that the chaotic material of human experience could be clarified and universalized, and that the means of effecting this transmutation could be discovered through the analysis of form and structure. The fact that their forms were so innovational--especially Cézanne's--makes them no less classical. It simply demonstrates that the classical spirit need not depend for expression on images of gods and heroes foreign to the modern world, but may assume forms as original as those the gods and heroes had been when the classical Greeks invented them so long ago . . . . " (From: Canaday, John. Mainstreams of Modern Art. New York: Simon and Schustesr. 1961.)
"The wind, the color of the sky, the trees around --the building is not done only to be the most beautiful," he said. "It's done to give advantage to the surroundings. It's a dialogue." (Jean Nouvel - French Architect Wins Pritzker Prize - NYTimes 3/31/08) - The Pritzker Prize"
Current New York Times Reviews (All the Arts) . . . . . '20th c. 'Artists on Art' (Dore Ashton) . . . . . "In The Words of" (From 'Chronicles of Western Art') . . . . . "1990 Previews by 36 Creative Artists" (1989) . . . . . "The Year in the Arts / Art & Design 2005" . . . . . "'When the Art Stared Back and Other Trends' / This year in Art (2010) . . . . . "In Time"
"Three Mystical Necessities" . . . . . "Abstraction and Empathy" . . . . . "A Purified Esthetic Form" (Manifesto) . . . . . "Aesthetics of Chaosmos" . . . . . African Art - Vision of a Continent . . . . . Alberti 'On Painting' . . . . . Akkad . . . . . 'Am. Art Criticism 1910-1939' . . . . . Ambiance . . . . . American Indian Art . . . . . American Scene Painting . . . . . "An Answer to a Question" . . . . . "An Art Without Ideology" . . . . . Ancient Anatolian Weaving . . . . . Aerial Technology . . . . . 'Anatomy of Criticism' (Four Essays, Northrop Frye) . . . . . Ancient Greek Culture
Ancient Murals . . . . . "Apollo in a Democracy" . . . . . Archaic . . . . . "On Architecture" (Le Corbusier) . . . . . 'Art & Man' (C.A Thomsons) . . . . . Art Education (Notes) . . . . . "The Art of the Achaemenids" . . . . . "Art & Nature" . . . . . "Art & Technology" . . . . . "Art is Science" . . . . . "Art of Another Kind" . . . . . "Art of the New" . . . . . "Art of the Real" . . . . . Assessment . . . . . Art Re-Arranged . . . . . Assyrian Art . . . . . Attitude
Barbizon School . . . . . Barogue . . . . . "The Bauhaus Manifesto" . . . . . "Beaming up 3D Objects" . . . . . " Between Now and The Year 2000 " . . . . . 'Blake's Theory of Art' . . . . . Blaue Reiter/The Blue Rider . . . . . Bloomsbury Group . . . . . Brotherhood of Ruralists . . . . . Byzantine Art . . . . . Cabinet Painting . . . . . Caricature Carolingian Art . . . . . "Cartesian Theory/the Passions" . . . . . "Celtic Art" (Herbert Read) . . . . . Cennini's 'Il libro dell'art' . . . . . Chinese Art . . . . . Chinese Art / Mountains of the Mind . . . . . Classical Art . . . . . The Collective Conscious . . . . . Colonial Latin America . . . . . Color as Field . . . . . Concepts/Conditions . . . . . Consonantia . . . . . Constructivism . . . . . Contemplation . . . . . Contemporary Chinese Art . . . . . Convergence . . . . . Conversation - An Evolving Art Form . . . . . Coptic Art/Cultural Interchange . . . . . Corrente . . . . . "The Creative Confession" (Klee) . . . . . "The Creative Process of Self-Appraisel" . . . . . "Critical Historians" . . . . . Criticism . . . . . "Critique of Imitation" . . . . . 'Cross-Cultural Handbook' . . . . . Crowdsourcing . . . . . Cultural Context to Learning
Culture/Motivation & Achievement . . . . . 'Culture of Time & Space' . . . . . Cultures and the Impact of Globalization . . . . . Cycladic . . . . . Cypriot . . . . . Decorative Arts / Antiques . . . . . "Decorum and Verisimilitude" . . . . . Deliberate Precision . . . . . Digital Performance (David Hockney) . . . . . Drawing . . . . . "Discovering the Present" . . . . . Early Christian Art . . . . . Earthwork/Land Art . . . . . The Art of the Elamites . . . . . Elementalism . . . . . Emergent Design Group . . . . . Environment Art . . . . . Esteem . . . . . Estimate
Etruscan Art . . . . . Euston Road School . . . . . Evaluation . . . . . "Every Painting is an Answere to a Question" . . . . . "Exemptionalism/Environmentalism" . . . . . Existential . . . . . Explorers . . . . . Expression
Federal Art Project . . . . . Fète Champétre . . . . . "Fictions & Abstractions" . . . . . Field Painting . . . . . Figurative Art . . . . . Folk Art . . . . . "Forms & Symbols" (Gaudê) . . . . . Fusion . . . . . Futurism/1909 . . . . . "Futurist Manifesto" . . . . . Genre . . . . . "Geometry of The Soul" . . . . . Gestalt . . . . . Ghiselin/'The Creative Process' . . . . . Globalization - Global Cultures . . . . . Greenberg/'Art & Culture' . . . . . Group of Seven . . . . . Groupe de Recherche d'Art Visual . . . . . "Guidelines" . . . . . Gutai Group . . . . . Happening . . . . . Hard Edge Painting . . . . . Hellenistic . . . . . 'Historical Trends in Art Education' . . . . . History Painting . . . . . Art of the Hittites . . . . . Holography
"How I became a Painter" (Chagall) . . . . . Hua Shan-Shui . . . . . Hudson River School . . . . . Hyperrealism . . . . . Ideal . . . . . Illuminated Manuscripts . . . . . Imitation . . . . . Impasto . . . . . Impressionism . . . . . Independent Group . . . . . Industrial Art . . . . . "Influence in Art & Literature" . . . . . Informal Art . . . . . Installation Art . . . . . Installing the Collection / Museum Collections & Temporary Exhibits . . . . . Integritas / Proportio / Claritas . . . . . Intellectual Orientations . . . . . "Interpretations of Art" (Fishman) . . . . . "Intimate Banalities" (Jorn) . . . . . "Inventio, Dispositio, Elocutio" . . . . . Invention . . . . . 'The Art of Ancient Iran, Pre-Islamic Cultures'
'Istoria' . . . . . Italian/ancient . . . . . Jeune Peinture Belge . . . . . Junk Art . . . . . Kinesthetic . . . . . L'Art Pompier . . . . . 'L-Mode-R-Mode' (Edwards) . . . . . "La più grassa Minerva" . . . . . Laboratory Art . . . . . Land Art . . . . . "Late 80's Neo-this-n-that" . . . . . Latin American Art (2008). . . . . "Le Poétique et le Signifiant" . . . . . Limner . . . . . Little Masters . . . . . Living with Art . . . . . "The Way Things Look" . . . . . London Group . . . . . Luminism . . . . . Lyrical Abstraction
Making Art . . . . . 'The Magic Lantern of Marcel Proust' . . . . . "Magic in the Material Thing" . . . . . 'Mainstreams of Modern Art' . . . . . Making Their Own Breaks . . . . . Malraux's 'Voices of Silence' . . . . . 'The Art of the Manneans' . . . . . Mannerism . . . . . Marketing / Outsourcing the Gift Shop . . . . . Matisse's 'Jazz' . . . . . Meaning / Subject . . . . . "Medium is the Message" . . . . . The Art of the Medes . . . . . "Metaphysics of Art" . . . . . Mexican Mural Movement . . . . . Migration Period Art . . . . . Mimbre's Art (The American Southwest)
Miniatures . . . . . Minimal Art/Minimalism . . . . . Miuccia's Artists (2008). . . . . Minoan Art . . . . . Modernism . . . . . Modern Perspectives . . . . . Monochromatic . . . . . The Mongols (The Legacy of Genghis Khan) . . . . . Montage . . . . . Mudejar . . . . . Mughal Miniature Painting . . . . . Multiples . . . . . Murals . . . . . Music/Visual Arts . . . . . Mystique . . . . . Naíve Art . . . . . Narrative . . . . . "Natural Histories" . . . . . Naturalism . . . . . New England Art Colonies . . . . . "The New Realists" . . . . . New York Realists . . . . . Nouveau Réalistes . . . . . "Nuances" (Lidstone) . . . . . "Objects are Formed in the Mind" . . . . . Omega Workshops
"On Mass Communication" . . . . . "On Rationality" (Nozick) . . . . . Oriental Antiquities . . . . . "Ornament is A Crime" (Loos) . . . . . Ottonian Art . . . . . Painting Objects / In Folk & Decorative Arts . . . . . Paints . . . . . "Painting in the 20th c." . . . . . Paleolithic
The Art of the Parthians . . . . . Pastiche . . . . . Peintura à l'Essence . . . . . Peinture Claire . . . . . Pentimento . . . . . 'Performance Art Gets Its Biennia' . . . . . Phoenician & Cypriot Art . . . . . Photographic Realism . . . . . Picturesque . . . . . Place of Narrative, Mural Decoration in Italian Churches . . . . . Planar Articulation . . . . . Plein Air . . . . . 'Poets on Painters' (McClatchy) . . . . . Polychrome
'Pompeii, Ad 79' . . . . . Pop Art . . . . . 'Pre-Islamic Ancient Iran' . . . . . Primary Structures . . . . . Prospective and Art . . . . . Public Art - Risks and Rewards of Art in the Open . . . . . Purified Esthetic Form . . . . . Purism . . . . . Quattrocento . . . . . Re-hanging the Collection / New Perspectives . . . . . 'Re-Visions' (Smagula) . . . . . Realism . . . . . "The Rear End of the Avant-Garde" . . . . . Reflection . . . . . Regard . . . . . Regionalism . . . . . Renaissance . . . . . "Representation" (Monet) . . . . . Represention/Abstraction . . . . . "Rhetoric" (Jay Heinrichs) . . . . . Rigor
Rights/Responsibility . . . . . Rocky Moutain School . . . . . Romanticism . . . . . Romantic Tradition . . . . . Rosenberg/'73 . . . . . Ruskin's 'Elements of Drawing' . . . . . Sacred Art
Santayana / "Sense of Beauty" . . . . . Sasanian Art . . . . . School of Paris . . . . . "Scissors and Paper" . . . . . Scythian . . . . . "Search for the Absolute" . . . . . Section d'Or . . . . . Self-Evaluation . . . . . The Art of The Seleucids . . . . . Sense of Order/Gombrich . . . . . Serial Art . . . . . "Sign Comes Before Meaning"
Significant Form/Bell . . . . . 'Sincerity & Authenticity' (Trilling) . . . . . "Sign Comes Before Meaning" . . . . . "Situationists" . . . . . Sketch . . . . . Soft Art . . . . . Sound Art/Fontana . . . . . Spontaneous Productions (2008). . . . . Structuralism . . . . . Street Art
Style . . . . . Sublime . . . . . Support-Surface . . . . . Suprematism . . . . . Surrealism . . . . . Symbolism . . . . . Symbolist Criticism . . . . . Synthetism . . . . . Tachisme . . . . . 'Tao of Chinese Landscape Painting' . . . . . "Termperament" (music) . . . . . Test . . . . . "The Example In The Tradition" . . . . . "The Fourth Dimension" . . . . . "The Life of Forms" (Focillo) . . . . . "The Real & The Imaginary" . . . . . "The Savage Eye" . . . . . "The Search for the Absolute" . . . . . "The Spirit of Forms"
Technology / Globalization . . . . . "The Unity of Action" . . . . . User-generated Content . . . . . Thrace . . . . . "Towards Concrete Painting" . . . . . 'Tradition and Innovation' (Minoan Art) . . . . . Triptychs, etc. . . . . . 'Uncertainty of Analysis' (Reiss) . . . . . Understanding . . . . . Uniform Material Culture . . . . . Unitarian Universalism . . . . . 'Ut Pictura Poesis' (Lee) . . . . . Video Game Maker . . . . . Villanovan/geometric style . . . . . "Virtù Visiva" . . . . . Visual . . . . .
"Visualization" (Leonardo) . . . . . Visual Literacy . . . . . Wanderers/Itinerants . . . . . " What is a Landscape?" . . . . . "What is Postmodern?" . . . . . "What is Surrealism? . . . . . "Wholeness / harmony / radiance" . . . . . "Wise Choices / Apt Feelings" . . . . . "Works in Motion" . . . . . WPA/Federal Arts Project . . . . . Zero Group
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