Rock carvings, engravings, sculptures and stone arrangements

(a)  

Use of natural pigments

(a)  

Representations of objects, rituals

(a)  

40,000–4,000 B.C.

(a)  

4,000 B.C. – 400 A.D.

(a)  

Advanced civilizations

(a)  

Tell stories, decorations, religious symbolic imagery and demonstrate social status

(a)  

Set of laws carved in a stone

(a)  

sixth king of Babylonia

(a)  

500 A.D. – 1400 A.D.

(a)  

Middle Age

(a)  

Dark Ages

(a)  

Economic and cultural deterioration due to the fall of Roman Empire

(a)  

Darkness, grotesque imagery, brutal scenery

(a)  

Centered around church

(a)  

1400 A.D. – 1600 A.D.

(a)  

Focus on nature and individualism

(a)  

Reached its peak in Florence, Italy

(a)  

wealthy merchant family who supported arts and humanism

(a)  

Creative power and ideals of emotional expression

(a)  

Realism, attention to detail, perspective and depth

(a)  

1527 A.D. – 1580 A.D.

(a)  

Emerged from the ideals of the late Renaissance artists

(a)  

Figures had grateful, elongated limbs, small heads with exaggerated details

(a)  

More complex, stylized compositions rather than classical ideals used by Renaissance artists

(a)  

1600 A.D. – 1750 A.D.

(a)  

Ornate, over-the-top visual arts and architecture

(a)  

Grandeur and richness

(a)  

Interest in broadening human intellect

(a)  

Intense contrast between light and dark

(a)  

Energetic composition with rich color palettes

(a)  

1699 A.D. – 1780 A.D.

(a)  

Decorative art, painting, architecture and sculpture

(a)  

Lightness and elegance

(a)  

Focus on natural forms, asymmetrical design and subtle colors

(a)  

1750 A.D. – 1850 A.D.

(a)  

Elements from classical antiquity

(a)  

Archeological ruins of ancient civilizations ignited passion in recreating great works of ancient art

(a)  

Focus on idealism

(a)  

Embodies painting, music and literature

(a)  

780 A.D. – 1850 A.D.

(a)  

Rejects order, harmony, and rationality

(a)  

Emphasized the individuality and imagination

(a)  

Appreciation for nature

(a)  

Passion, emotion and sensation over intellect and reason

(a)  

1848 A.D. – 1900 A.D.

(a)  

First modern art movement

(a)  

Result of anti-romanticism in Germany, rise of journalism and advent of photography

(a)  

Captures everyday life

(a)  

Life-like depictions of subject matter

(a)  

1890 A.D. – 1910 A.D.

(a)  

Translates to ‘new art’

(a)  

Influenced by applied arts, graphics, and illustration

(a)  

Focus on natural world

(a)  

Architecture, graphic, interior design, jewelry-making and painting

(a)  

Sought to capture the immediate impression of a particular moment

(a)  

Uses modern life as subject

(a)  

Short, quick brushstrokes and an unfinished sketch-like feel

(a)  

Everyday scenarios rather historical and mythological events

(a)  

1885 A.D. – 1910 A.D.

(a)  

Concentrates on subjective visions and symbolic, personal meanings

(a)  

Pointillism

(a)  

Abstract forms

(a)  

Rugged brushstrokes and dark tones

(a)  

1866 A.D. – 1906 A.D.

(a)  

Artists sought to revive original aspects of expressionism

(a)  

Creates highly textural expressive artworks

(a)  

1900 A.D. – 1935 A.D.

(a)  

Led by Henri Matisse

(a)  

First avant-garde of the 20th century

(a)  

Use of intense color, line, and brushwork

(a)  

Precursor of cubism and expressionism

(a)  

1905 A.D. – 1920 A.D.

(a)  

Complete reverse of impressionism

(a)  

Response to increasingly conflicted world views  and the loss of spirituality

(a)  

Sought to draw from within the artist

(a)  

Distortion of form and strong colors to display anxieties and raw emotions

(a)  

1907 A.D. – 1914 A.D.

(a)  

Established by Picasso and Braque

(a)  

Rejected the concept that art should copy nature

(a)  

Created radically fragmented objects through abstraction

(a)  

Flat, two-dimensional surfaces with geometric forms or “cubes”

(a)  

1916 A.D. – 1922 A.D.

(a)  

Resulted from the effects of World War I

(a)  

Capitalism, nationalism and corrupt politics

(a)  

Modern, mechanized warfare as backdrop

(a)  

Photomontage - taking photographs and pasting into new surreal formations

(a)  

1916 A.D. – 1950 A.D.

(a)  

Emerged from Dadaism

(a)  

Showcases the works of art that defied reason

(a)  

Influences from Karl Marx and and theories of Sigmund Freud

(a)  

Explores psychoanalysis and the power of imagination

(a)  

1940 A.D. – 1950 A.D.

(a)  

Shaped by the legacy of surrealism

(a)  

Emerged in New York after World War II

(a)  

Referred as New York school of action painting

(a)  

Uses spontaneity and improvisation to create abstract works of art

(a)  

1950 A.D. – 1960 A.D.

(a)  

Heightened by the advances in science and technology

(a)  

Op art

(a)  

Creates images that appeared to be moving or blurring

(a)  

Meant to confuse and excite the eye

(a)  

Used for consumerism, mass media and popular culture

(a)  

Produces vibrant compositions that establishes the movement as a cornerstone of contemporary art

(a)  

Most recognizable form of art

(a)  

Formed by group of younger artists that questions the overly expressive works of abstract expressionist artists

(a)  

Focus on the actual subject rather than draw parallels to outside realities

(a)  

Post-object art or idea art

(a)  

Creates art in the form of performances, ephemera, and other forms

(a)  

Materiality and aesthetic came secondary to the desire to convey message

(a)  

Critique society through art

(a)  

Influences from Buddhism and Shintoism

Respect for nature

(a)  

Oldest pottery and ceramic production

(a)  

Hanging dolls, folded screens, folding fans and fusima (sliding doors)

(a)  

Ukiyo-e or pictures of the floating world that depicts the cities pleasure districts during Edo period

(a)  

Reflects upon the class structure that existed at different periods

(a)  

Art must be aligned with heaven and gods’ will

(a)  

Shows social and moral function

(a)  

Believes in nature’s patterns and living by nature

(a)  

Art should be edifying and does not tolerate war, violence and nudity

(a)