Mashdroate87

22/06/2026

10/06/2026

Expressionism
Expressionism, artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions and responses that objects and events arouse within a person. The artist accomplishes this aim through distortion, exaggeration, primitivism, and fantasy and through the vivid, jarring, violent, or dynamic application of formal elements. In a broader sense Expressionism is one of the main currents of art in the late 19th and early 20th centuries, and its qualities of highly subjective, personal, spontaneous self-expression are typical of a wide range of modern artists and art movements. Expressionism can also be seen as a permanent tendency in Germanic and Nordic art from at least the European Middle Ages, particularly in times of social change or spiritual crisis, and in this sense it forms the converse of the rationalist and classicizing tendencies of Italy and later of France.
More specifically, Expressionism as a distinct style or movement refers to a number of German artists, as well as Austrian, French, and Russian ones, who became active in the years before World War I and remained so throughout much of the interwar period.

10/06/2026

Abstract art, painting, sculpture, or graphic art in which the portrayal of things from the visible world plays little or no part. All art consists largely of elements that can be called abstract—elements of form, color, line, tone, and texture. Prior to the 20th century these abstract elements were employed by artists to describe, illustrate, or reproduce the world of nature and of human civilization—and exposition dominated over expressive function.
Abstract art in its strictest sense has its origins in the 19th century. The period characterized by so vast a body of elaborately representational art produced for the sake of illustrating anecdote also produced a number of painters who examined the mechanism of light and visual perception. The period of Romanticism had put forward ideas about art that denied classicism’s emphasis on imitation and idealization and had instead stressed the role of imagination and of the unconscious as the essential creative factors. Gradually many painters of this period began to accept the new freedom and the new responsibilities implied in the coalescence of these attitudes. Maurice Denis’s statement of 1890, “It should be remembered that a picture—before being a war-horse, a n**e, or an anecdote of some sort—is essentially a flat surface covered with colors assembled in a certain order,” summarizes the feeling among the Symbolist and Post-Impressionist artists of his time.