“Ukiyo-e: (Jap., pictures of the floating world) Woodblock prints, both monochrome and colored, made as popular ephemera in Japan from the mid-17th century onward. The genres of subjects include theater stars, courtesans, caricatures, and eventually, Hokusai’s great Fuji landscape series (1823).”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“History Painting: Painting with themes from or allusions to important historical events, classical literature, and the Bible. From the Renaissance to the 19th century, it was regarded in academies as the highest, most worthwhile kind of painting. Only toward the end of the 18th century did themes from contemporary history become acceptable. Compare NARRATIVE ART.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Stencil: A simple graphic arts process in which the design is cut into a thin, flexible material (such as cardboard) and the color is brushed through the openings onto paper, fabric, wall surfaces, etc. Silk screen is a stencil process. See POCHOIR.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Japonaiserie (Fr., article of Japanese craft) In a specific sense, those items of Japanese creation that began to be imported into Europe in the 1850s and 1860s: woodblock prints, textiles, porcelain, fans, furniture, and metalwork. The influence on the painting of the Impressionists is called japonisme.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
This week’s Text is this reading on the influential Japanese artist known simply as Hokusai along with a vocabulary-building and comprehension worksheet to accompany it.
If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.
“Representational Art: In contrast with non-objective and abstract art, representational art strives to depict figures and objects as they appear to the eye.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
Posted in English Language Arts, Quotes, Reference
“Representation: Refers to that which is representational. Art historians once limited iconographical studies to art, but as a result of postmodern influences, the study and critique of many representations (e.g., visual examples drawn from popular culture, especially the mass media) have become increasingly important. The often mentioned ‘crisis of representation’ in the arts refers to current dilemmas regarding the values and biases always present in visual depictions and yet masking as accurate realities.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Regionalism: Now understood to be a movement within American scene painting. Protesting against the spread of European Modernism, the regionalists sought an authentic American style by concentrating on realistic depictions of the rural Midwest and South of the 1930s. The best-known regionalists were Grant Wood, Thomas Hart Benton, and John Steuart Curry.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
Posted in English Language Arts, Quotes, Reference, Social Sciences
“Symbolist Movement: A literary movement in France (Stephane Mallarme, Charles Baudelaire, Paul Verlaine) which got underway about 1885 in reaction to Realism and Impressionism. In painting, Gustave Moreau, Pierre Puvis de Chavannes, Odilon Redon, and Gustav Klimt produced lyrical dream fantasies, combining mystical elements with an interest in the erotic and decadent.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
“Graffiti Art: (It., scratched) Beginning in the 1970s with the availability of aerosol spray paints, illegal graffiti statements and designs began to coat New York subway cars. Whereas political art took art from inside galleries and into the streets, the graffiti are movement appropriated this element of street culture and brought it into the elite world of New York art galleries. There, untrained artists like Jean-Michel Basquiat enjoyed brief recognition, while Keith Haring’s self-conscious use of the style made him its most famous proponent. Once in the galleries, however, graffiti art lost its element of illegal performance, its power as protest, and its context. Neutralized, it became fashion and quickly went out of style.”
Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.
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