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This painting has a cart man dressed up like hitler. I draw it because I was trying to do a painting where the bad things are good.So in this painting hitler represent a very good socialist líder that is coming out of his cave.This is a surrealism bases painting

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In this painting the cave and base of cartman where he live.As I explained in the last painting, in this reality the good things are inverted.You could think this place with bone human heads, blood everywhere and a scary trone is a bad place for a bad entity, but it’s all the contrary

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Futurism reflects a kind of movement

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The Impressionists used looser brushwork and lighter colors than previous artists. They abandoned traditional three-dimensional perspective and rejected the clarity of form that had previously served to distinguish the more important elements of a picture from the lesser ones. For this reason, many critics faulted Impressionist paintings for their unfinished appearance and seemingly amateurish quality.

Picking up on the ideas of Gustave Courbet, the Impressionists aimed to be painters of the real: they aimed to extend the possible subjects for paintings. Getting away from depictions of idealized forms and perfect symmetry, they concentrated on the world as they saw it, which was imperfect in a myriad of ways.

Scientific thought in the Impressionist era was beginning to recognize that what the eye perceived and what the brain understood were two different things. The Impressionists sought to capture the former - the optical effects of light - to convey the fleeting nature of the present moment, including ambient features such as changes in weather, on their canvases. Their art did not necessarily rely on realistic depictions.

Impressionism records the effects of the massive mid-19th-century renovation of Paris, led by civic planner Georges-Eugène Haussmann, which included the city's newly constructed railway stations; wide, tree-lined boulevards that replaced the formerly narrow, crowded streets; and large, deluxe apartment buildings. The works that focused on scenes of public leisure - especially scenes of cafés and cabarets - often conveyed the new sense of alienation experienced by the inhabitants of the first modern metropolis.

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One of Fauvism's major contributions to modern art was its radical goal of separating color from its descriptive, representational purpose and allowing it to exist on the canvas as an independent element. Color could project a mood and establish a structure within the work of art without having to be true to the natural world.

Another of Fauvism's central artistic concerns was the overall balance of the composition. The Fauves' simplified forms and saturated colors drew attention to the inherent flatness of the canvas or paper; within that pictorial space, each element played a specific role. The immediate visual impression of the work is to be strong and unified.

Above all, Fauvism valued individual expression. The artist's direct experience of his subjects, his emotional response to nature, and his intuition were all more important than academic theory or elevated subject matter. All elements of painting were employed in service of this goal.

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Tree

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The artists abandoned perspective, which had been used to depict space since the Renaissance, and they also turned away from the realistic modeling of figures.

Cubists explored open form, piercing figures and objects by letting the space flow through them, blending background into foreground, and showing objects from various angles. Some historians have argued that these innovations represent a response to the changing experience of space, movement, and time in the modern world. This first phase of the movement was called Analytic Cubism.

In the second phase of Cubism, Synthetic Cubismpracticioners explored the use of non-art materials as abstract signs. Their use of newspaper would lead later historians to argue that, instead of being concerned above all with form, the artists were also acutely aware of current events, particularly World War I.

Cubism paved the way for non-representational art by putting new emphasis on the unity between a depicted scene and the surface of the canvas. These experiments would be taken up by the likes of Piet Mondrian, who continued to explore their use of the grid, abstract system of signs, and shallow space.

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www.theartstory.org

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The Surrealists sought to channel the unconscious as a means to unlock the power of the imagination. Disdaining rationalism and literary realism, and powerfully influenced by psychoanalysis, the Surrealists believed the rational mind repressed the power of the imagination, weighing it down with taboos. Influenced also by Karl Marx, they hoped that the psyche had the power to reveal the contradictions in the everyday world and spur on revolution. Their emphasis on the power of personal imagination puts them in the tradition of Romanticism, but unlike their forebears, they believed that revelations could be found on the street and in everyday life. The Surrealist impulse to tap the unconscious mind, and their interests in myth and primitivism, went on to shape many later movements, and the style remains influential to this today.