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(30000 b.c - 2500 b.c)
The first art objects were created not to adorn the body or decorate the cavern but out of an attempt to control or appease natural forces. These symbols of animals and people had supernatural significance and magic powers.
The sculptures made from bone, ivory, stone or antlers.
The first paintings were cave paintings. Archeologists spec- ulate artists created the animal images to guarantee a successful hunt.

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(3100 b.c - 30 b.c)
Colossal architecture and Egyptian art existed to surround the pharaoh's spirit with eternal glory.
they stocked the tomb with every earthly delight for it to enjoy in perpetuity. Wall paintings and hieroglyphics were a form of instant replay, inventorying the deceased's life and daily activities in minute detail. Portrait statues provided an alternative dwelling place for the ka, in case the mummified corpse deteriorated and could no longer house it.

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(850 b.c - a.d 476)
For a brief Golden Age, 480-430 B.C., an explosion of creativity resulted in an unparalleled level of excellence in art, architecture, poetry, drama, phi- losophy, government, law, logic, his- tory, and mathematics.
VASE PAINTING. Vase painting told stories about gods and heroes of Greek myths as well as such contemporary subjects as warfare and drinking parties. Vase design was called the Geometric Style, because the figures and ornaments were primarily geometric shapes.
SCULPTURE. The Greeks invented the nude in art. The ideal proportions of their statues represented the perfection of both body (through athletic endeavor) and mind (through intellectual debate). The Greeks sought a synthesis of the two poles of human behavior — passion and reason — and, through their artistic portrayal of the human form (often in motion), they came close to achieving it.

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At first, awestruck Romans were overwhelmed by the Greek influence. This appetite was so intense that Greek marbles and bronzes arrived by the galleonful to ornament Roman forums.
Roman art is less idealized and intel- lectual than Classical Greek, more secular and functional. And, where the Greeks shined at innovation, the Romans' forte was administration.
ROMAN ART
PHILOSOPHY: Efficiency, organization, practicality
ART FORMS: Mosaics, realistic wall paintings, idealized civic sculpture
MOST FAMOUS BUILDING: Pantheon
SIGNATURE CITY: Rome
ROLE MODEL: Greece
MAJOR CONTRIBUTIONS: Law, engineering, cement

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(653 b.c - 1900 a.c)
In early times Chinese art often served as a means to submit to the will of heaven through ritual and sacrifice. Archaic bronze vessels were made for sacrifices to heaven and to the spirits of clan ancestors, who were believed to influence the living for good if the rites were properly and regularly performed.

Japanese art is an understanding of the natural world as a source of spiritual insight and an instructive mirror of human emotion. The interaction of the spiritual and natural world was also delightfully expressed in the many narrative scroll paintings produced in the medieval period.

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(475 a.c - 1453 a.c)

Though the Byzantine and Muslim empires rose at the same time they were extremely different in ways of having separate rulers, beliefs, and people, however, they were both greatly influenced by the Roman Empire. They both resembled in ways of their religion, art, and law.
Art became a medium of confrontation and cooperation between the two sides. The exchange and adaptation of motifs and genres became a common expression of power and individuality in the face of constantly changing relations between the two groups.
Islamic artists used Christian models for iconography. Meanwhile, Byzantine artists adapted Islamic motifs for their own use.

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(500 a.c - 1400 a.c)
The visual arts prospered during Middles Ages, which created its own aesthetic values. The wealthiest and most influential members of society commissioned cathedrals, churches, sculpture, painting, textiles, manuscripts, jewelry and ritual items from artists. Many of these commissions were religious in nature but medieval artists also produced secular art. Few names of artists survive and fewer documents record their business dealings, but they left behind an impressive legacy of art and culture.

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(1520-1590)
Artistic style that predominated in Italy from the end of the High Renaissance in the 1520s to the beginnings of the Baroque style around 1590.
Originated in Florence and Rome and spread to northern Italy and, ultimately, to much of central and northern Europe.
Was born as a reaction to the harmonious classicism and the idealized naturalism of High Renaissance art as practiced by Leonardo da Vinci, Michelangelo, and Raphael in the first two decades of the 16th century. In the portrayal of the human nude, the standards of formal complexity had been set by Michelangelo, and the norm of idealized beauty by Raphael.

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(1600-1750)
The work that distinguishes the Baroque period is stylistically complex, even contradictory. In general, however, the desire to evoke emotional states by appealing to the senses, often in dramatic ways, underlies its manifestations. Some of the qualities most frequently associated with the Baroque are grandeur, sensuous richness, drama, vitality, movement, tension, emotional exuberance, and a tendency to blur distinctions between the various arts.

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(1750 - 1850)
Neoclassical architecture is characterized by grandeur of scale, simplicity of geometric forms, Greek—especially Doric (see order)—or Roman detail, dramatic use of columns, and a preference for blank walls.
The primary Neoclassicist belief was that art should express the ideal virtues in life and could improve the viewer by imparting a moralizing message.

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(1780 - 1850)
Romanticism is the artistic movement of the eighteenth and nineteenth centuries which was concerned with the expression of the individual's feelings and emotions.
Romantic art focused on emotions, feelings, and moods of all kinds including spirituality, imagination, mystery, and fervor. The subject matter varied widely including landscapes, religion, revolution, and peaceful beauty. The brushwork for romantic art became looser and less precise.

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(1848 - 1900)
Realism insisted on the precise imitation of visual perceptions without alteration. Realism's subject matter was also totally different. Artists limited themselves to facts of the modern world as they personally experienced them; only what they could see or touch was considered real. Realism revolted against the exotic subject matter and the exaggerated emotionalism and drama of the Romantic movement. Instead, it sought to portray real and typical contemporary people and situations with truth and accuracy, not avoid unpleasant or sordid aspects of life.

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(1865 - 1885)
Impressionists rebelled against classical subject matter and embraced modernity, desiring to create works that reflected the world in which they lived.
Focus on how light could define a moment in time, with color providing definition instead of black lines. Even their painted
shadows were not gray or black (the
absence of color which they
abhorred) but composed of many
colors.

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(1885 - 1910)
Post-Impressionists were dissatisfied with Impressionism. They wanted art to be more substantial, not dedicated wholly to capturing a passing moment, which often resulted in paintings that seemed slapdash and unplanned. Was a French
phenomenon that included the French artists Seurat,
Gauguin, Cezanne, Toulouse-Lautrec and the Dutchman
van Gogh, who did his major work in France.

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(1900 - 1935)
Fauvism can also be seen as a form of expressionism in its
use of brilliant colors and spontaneous brushwork. It has
often been compared to German expressionism, which
emerged at around the same time and was also inspired by
the developments of post-impressionism.

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(1908 - 1920s)
The style got its name from Matisse's dismissal of a Cubist landscape by Georges Braque as nothing but "little cubes."
The teasing quality of all Cubist art springs from its ambivalence between representation and abstraction. On the brink of dissolving an object into its component parts, hints of it flicker in and out of consciousness.
ANALYTIC CUBISM . The first of two phases of Cubism was called "Analytic" because it analyzed the form of objects by shattering them into fragments spread out on the canvas.
Picasso's "Ambroise Vollard"
SYNTHETIC CUBISM . Braque and Picasso invented a new art form, called collage.

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(1917 - 1950)
Dada artists used collages, photomontages, assemblages or
ready-made objects. Surrealists painted illogical scenes or
strange creatures using everyday objects.
Freewheeling and anarchistic, Dada often generated a wide
range of heterogeneous artistic reactions against earlier
aesthetics. By contrast, Surrealism, headed by its so-called
“Pope” André Breton, was frequently characterized by more
unified, programmatic, or positive actions.

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(1940s - 1950s)
Abstract Expressionism was all about, encompassing as "art" not just the product of artistic creation but the active process of creating it. Also called "action painting"
and the New York School, Abstract Expressionism stressed energy, action, kineticism, and freneticism.
It used much of what had been defined as art as little more than a point of departure. Indeed, Abstract Expressionism is to conventional artistic technique what jazz is to 4/4 time.

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(1917 - 1950)
Pop art made icons of the crassest consumer items like hamburgers, toilets, lawnmowers, lip-stick tubes, mounds of orange-colored spaghetti, and celebrities like Elvis Presley. Pop artists also made art impersonal, reproducing Coke bottles or Brillo boxes in a slick, anonymous style. With playful wit, the new art popped the pomposity of
Action Painting.

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(1950S - PRESENT)
Contemporary art is the term used for the art of the present day. Usually, the artists are alive and still making work. Contemporary art is often about ideas and concerns, rather than solely the aesthetics. Artists try different ways of experimenting with ideas and materials.

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The Annotated Mona Lisa
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