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耶斯莫拉

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Pixel art is a form of digital art, created through the use of software, where images are edited on the pixel level. The aesthetic for this kind of graphics comes from 8-bit and 16-bit computers and video game consoles, in addition to other limited systems such as graphing calculators.Creating or modifying pixel art characters or objects for video games is sometimes called spriting, a term that arose from the hobbyist community.

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Pixel art is a form of digital art, created through the use of software, where images are edited on the pixel level. The aesthetic for this kind of graphics comes from 8-bit and 16-bit computers and video game consoles, in addition to other limited systems such as graphing calculators.Creating or modifying pixel art characters or objects for video games is sometimes called spriting, a term that arose from the hobbyist community.

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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.

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is a style of painting, sculpture, and architecture produced under the influence of European academies of art. Specifically, academic art is the art and artists influenced by the standards of the French Académie des Beaux-Arts, which was practiced under the movements of Neoclassicism and Romanticism, and the art that followed these two movements in the attempt to synthesize both of their styles, and which is best reflected by the paintings of William-Adolphe Bouguereau, Thomas Couture, and Hans Makart. In this context it is often called "academism", "academicism", "art pompier" (pejoratively), and "eclecticism", and sometimes linked with "historicism" and "syncretism".

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Artists of the realism movement begun the movement at 1840 and ended it in 1880. They try to capture things are activity of everyday life. They show the reality of the world

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An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde movement.

According to theories associated with modernism and the concept of postmodernism, art movements are especially important during the period of time corresponding to modern art. The period of time called "modern art" is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism and refers to that period after the "modern" period called contemporary art. The postmodern period began during late modernism (which is a contemporary continuation of modernism), and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to "modern art" each consecutive movement was often considered a new avant-garde.

Also during the period of time referred to as "modern art" each movement was seen corresponding to a somewhat grandiose rethinking of all that came before it, concerning the visual arts. Generally there was a commonality of visual style linking the works and artists included in an art movement. Verbal expression and explanation of movements has come from the artists themselves, sometimes in the form of an art manifesto, and sometimes from art critics and others who may explain their understanding of the meaning of the new art then being produced.

In the visual arts, many artists, theorists, art critics, art collectors, art dealers and others mindful of the unbroken continuation of modernism and the continuation of modern art even into the contemporary era, ascribe to and welcome new philosophies of art as they appear. Postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact; or just a passing fad.

The term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is more common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation.

As the names of many art movements use the -ism suffix (for example cubism and futurism), they are sometimes referred to as isms.

21st century

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An art movement is a tendency or style in art with a specific common philosophy or goal, followed by a group of artists during a specific period of time, (usually a few months, years or decades) or, at least, with the heyday of the movement defined within a number of years.

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This is also known as landscape art, and mainly appear in western drawings and Chinese art. This style of art is usually draw mountains，rivers and the other landscapes using the author's own idea.
https://www.google.com/search?tbm=isch&q=landscape+painting&chips=q:landscape+painting,online_chips:watercolor+landscape&sa=X&ved=0ahUKEwjnzu25qf7fAhUDWLwKHWs_AGEQ4lYIKCgC&biw=1440&bih=758&dpr=1

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In the days, weeks and years following the atomic bombing of Japan, trained and untrained artists who survived the bombings began documenting their experiences in artworks.[1] The U.S. occupation authorities controlled the release of photographs and film footage of these events, while photographers and artists on the ground continued to produce visual representations of the effects of nuclear warfare. Photographer Yōsuke Yamahata began taking photographs of Nagasaki on August 10, 1945 (the day after the bombing), however his photographs were not released to the public until 1952 when the magazine Asahi Gurafu published them
https://en.wikipedia.org/wiki/Nuclear_art
https://www.aliexpress.com/item/41-24x36-inch-Nuclear-Explosion-atomic-bomb-city-destruction-Print-On-Canvas-Art-Canvas-Wall-Poster/32319869727.html

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In the days, weeks and years following the atomic bombing of Japan, trained and untrained artists who survived the bombings began documenting their experiences in artworks.[1] The U.S. occupation authorities controlled the release of photographs and film footage of these events, while photographers and artists on the ground continued to produce visual representations of the effects of nuclear warfare. Photographer Yōsuke Yamahata began taking photographs of Nagasaki on August 10, 1945 (the day after the bombing), however his photographs were not released to the public until 1952 when the magazine Asahi Gurafu published them.[2]

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In the days, weeks and years following the atomic bombing of Japan, trained and untrained artists who survived the bombings began documenting their experiences in artworks.[1] The U.S. occupation authorities controlled the release of photographs and film footage of these events, while photographers and artists on the ground continued to produce visual representations of the effects of nuclear warfare. Photographer Yōsuke Yamahata began taking photographs of Nagasaki on August 10, 1945 (the day after the bombing), however his photographs were not released to the public until 1952 when the magazine Asahi Gurafu published them.[2]

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Concrete art is abstract art that is entirely free of any base idea, and has no point or message. The person who first came up with this idea was Theo Van Doesburg in 1930. https://www.tate.org.uk/art/art-terms/c/concrete-art

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Graffiti is a kind of art that has more freedom because you can use any kind of pen or pint and you don't need to be professional to show of your work

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Pablo Picasso is one of the famous artist of Abstract art and Cubism art. Cubism art is a art begins in 20th century . This type of art is one of the most influenced art

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Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 × 73.6 cm, Museum of Modern Art, New York

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture. In Cubist works of art, the subjects are analysed, broken up, and reassembled in an abstract form-instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term cubism is broadly associated with a variety of artworks produced in Paris ( Montmartre and Montparnasse) or near Paris ( Puteaux) during the 1910s and throughout the 1920s.

The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Léger. One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne. A retrospective of Cézanne's paintings was held at the of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne , followed by two commemorative retrospectives after his death in 1907.

In France, offshoots of Cubism developed, including Orphism, abstract art and later Purism. The impact of Cubism was far-reaching and wide-ranging. In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism. Early Futurist paintings hold in common with Cubism the fusing of the past and the present, the representation of different views of the subject pictured at the same time or successively, also called multiple perspective, simultaneity or multiplicity, while Constructivism was influenced by Picasso's technique of constructing sculpture from separate elements. Other common threads between these disparate movements include the faceting or simplification of geometric forms, and the association of mechanization and modern life.

Historians have divided the history of Cubism into phases. In one scheme, the first phase of Cubism, known as Analytic Cubism, a phrase coined by Juan Gris a posteriori, was both radical and influential as a short but highly significant art movement between 1910 and 1912 in France. A second phase, Synthetic Cubism, remained vital until around 1919, when the Surrealist movement gained popularity. English art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. According to Cooper there was "Early Cubism", (from 1906 to 1908) when the movement was initially developed in the studios of Picasso and Braque; the second phase being called "High Cubism", (from 1909 to 1914) during which time Juan Gris emerged as an important exponent (after 1911); and finally Cooper referred to "Late Cubism" (from 1914 to 1921) as the last phase of Cubism as a radical avant-garde movement. Douglas Cooper's restrictive use of these terms to distinguish the work of Braque, Picasso, Gris (from 1911) and Léger (to a lesser extent) implied an intentional value judgement.

Pablo Picasso, Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement[13]

Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 × 73 cm, Tate Modern, London

Cubism burgeoned between 1907 and 1911. Pablo Picasso's 1907 painting Les Demoiselles d'Avignon has often been considered a proto-Cubist work.

In 1908, in his review of Georges Braque's exhibition at Kahnweiler's gallery, the critic Louis Vauxcelles called Braque a daring man who despises form, "reducing everything, places and a figures and houses, to geometric schemas, to cubes".

Vauxcelles recounted how Matisse told him at the time, "Braque has just sent in [to the 1908 Salon d'Automne ] a painting made of little cubes". The critic Charles Morice relayed Matisse's words and spoke of Braque's little cubes. The motif of the viaduct at l'Estaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective.

Georges Braque's 1908 Houses at L'Estaque (and related works) prompted Vauxcelles, in Gil Blas, 25 March 1909, to refer to bizarreries cubiques (cubic oddities). Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. The first organized group exhibition by Cubists took place at the Salon des Indépendants in Paris during the spring of 1911 in a room called 'Salle 41'; it included works by Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay and Henri Le Fauconnier, yet no works by Picasso or Braque were exhibited.

By 1911 Picasso was recognized as the inventor of Cubism, while Braque's importance and precedence was argued later, with respect to his treatment of space, volume and mass in the L'Estaque landscapes. But "this view of Cubism is associated with a distinctly restrictive definition of which artists are properly to be called Cubists," wrote the art historian Christopher Green: "Marginalizing the contribution of the artists who exhibited at the Salon des Indépendants in 1911 [...]"

The assertion that the Cubist depiction of space, mass, time, and volume supports (rather than contradicts) the flatness of the canvas was made by Daniel-Henry Kahnweiler as early as 1920, but it was subject to criticism in the 1950s and 1960s, especially by Clement Greenberg.

Contemporary views of Cubism are complex, formed to some extent in response to the "Salle 41" Cubists, whose methods were too distinct from those of Picasso and Braque to be considered merely secondary to them. Alternative interpretations of Cubism have therefore developed. Wider views of Cubism include artists who were later associated with the "Salle 41" artists, e.g., Francis Picabia; the brothers Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp, who beginning in late 1911 formed the core of the Section d'Or (or the Puteaux Group); the sculptors Alexander Archipenko, Joseph Csaky and Ossip Zadkine as well as Jacques Lipchitz and Henri Laurens; and painters such as Louis Marcoussis, Roger de La Fresnaye, František Kupka, Diego Rivera, Léopold Survage, Auguste Herbin, André Lhote, Gino Severini (after 1916), María Blanchard (after 1916) and Georges Valmier (after 1918). More fundamentally, Christopher Green argues that Douglas Cooper's terms were "later undermined by interpretations of the work of Picasso, Braque, Gris and Léger that stress iconographic and ideological questions rather than methods of representation."

John Berger identifies the essence of Cubism with the mechanical diagram. "The metaphorical model of Cubism is the diagram: The diagram being a visible symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as signs not as imitations or recreations."

Albert Gleizes, L'Homme au Balcon, Man on a Balcony (Portrait of Dr. Théo Morinaud), 1912, oil on canvas, 195.6 × 114.9 cm (77 × 45 1/4 in.), Philadelphia Museum of Art. Completed the same year that Albert Gleizes co-authored the book Du "Cubisme" with Jean Metzinger. Exhibited at Salon d'Automne , Paris, 1912, Armory show, New York, Chicago, Boston, 1913.

There was a distinct difference between Kahnweiler's Cubists and the Salon Cubists. Prior to 1914, Picasso, Braque, Gris and Léger (to a lesser extent) gained the support of a single committed art dealer in Paris, Daniel-Henry Kahnweiler, who guaranteed them an annual income for the exclusive right to buy their works. Kahnweiler sold only to a small circle of connoisseurs. His support gave his artists the freedom to experiment in relative privacy. Picasso worked in Montmartre until 1912, while Braque and Gris remained there until after the First World War. Léger was based in Montparnasse.

In contrast, the Salon Cubists built their reputation primarily by exhibiting regularly at the Salon d'Automne and the Salon des Indépendants, both major non-academic Salons in Paris. They were inevitably more aware of public response and the need to communicate. Already in 1910 a group began to form which included Metzinger, Gleizes, Delaunay and Léger. They met regularly at Henri le Fauconnier's studio near the boulevard du Montparnasse. These soirées often included writers such as Guillaume Apollinaire and André Salmon. Together with other young artists, the group wanted to emphasise a research into form, in opposition to the Neo-Impressionist emphasis on color.

Louis Vauxcelles, in his review of the 26th Salon des Indépendants (1910), made a passing and imprecise reference to Metzinger, Gleizes, Delaunay, Léger and Le Fauconnier as "ignorant geometers, reducing the human body, the site, to pallid cubes." At the 1910 Salon d'Automne , a few months later, Metzinger exhibited his highly fractured Nu à la cheminée (Nude), which was subsequently reproduced in both Du "Cubisme" (1912) and Les Peintres Cubistes (1913).

The first public controversy generated by Cubism resulted from Salon showings at the Indépendants during the spring of 1911. This showing by Metzinger, Gleizes, Delaunay, le Fauconnier and Léger brought Cubism to the attention of the general public for the first time. Amongst the Cubist works presented, Robert Delaunay exhibited his Eiffel Tower, Tour Eiffel (Solomon R. Guggenheim Museum, New York).

The "Cubists" Dominate Paris' Fall Salon, The New York Times, October 8, 1911. Picasso's 1908 Seated Woman (Meditation) is reproduced along with a photograph of the artist in his studio (upper left). Metzinger's Baigneuses (1908-09) is reproduced top right. Also reproduced are works by Derain, Matisse, Friesz, Herbin, and a photo of Braque.

At the Salon d'Automne of the same year, in addition to the Indépendants group of Salle 41, were exhibited works by André Lhote, Marcel Duchamp, Jacques Villon, Roger de La Fresnaye, André Dunoyer de Segonzac and František Kupka. The exhibition was reviewed in the October 8, 1911 issue of The New York Times. This article was published a year after Gelett Burgess' The Wild Men of Paris, and two years prior to the Armory Show, which introduced astonished Americans, accustomed to realistic art, to the experimental styles of the European avant garde, including Fauvism, Cubism, and Futurism. The 1911 New York Times article portrayed works by Picasso, Matisse, Derain, Metzinger and others dated before 1909; not exhibited at the 1911 Salon. The article was titled The "Cubists" Dominate Paris' Fall Salon and subtitled Eccentric School of Painting Increases Its Vogue in the Current Art Exhibition - What Its Followers Attempt to Do.

Among all the paintings on exhibition at the Paris Fall Salon none is attracting so much attention as the extraordinary productions of the so-called "Cubist" school. In fact, dispatches from Paris suggest that these works are easily the main feature of the exhibition. [...]

In spite of the crazy nature of the "Cubist" theories the number of those professing them is fairly respectable. Georges Braque, André Derain, Picasso, Czobel, Othon Friesz, Herbin, Metzinger-these are a few of the names signed to canvases before which Paris has stood and now again stands in blank amazement.

What do they mean? Have those responsible for them taken leave of their senses? Is it art or madness? Who knows?

Salon des Indépendants

The subsequent 1912 Salon des Indépendants located in Paris (20 March to 16 May 1912) was marked by the presentation of Marcel Duchamp's Nude Descending a Staircase, No. 2, which itself caused a scandal, even amongst the Cubists. It was in fact rejected by the hanging committee, which included his brothers and other Cubists. Although the work was shown in the Salon de la Section d'Or in October 1912 and the 1913 Armory Show in New York, Duchamp never forgave his brothers and former colleagues for censoring his work. Juan Gris, a new addition to the Salon scene, exhibited his Portrait of Picasso (Art Institute of Chicago), while Metzinger's two showings included La Femme au Cheval (Woman with a horse) 1911-1912 ( National Gallery of Denmark). Delaunay's monumental La Ville de Paris (Musée d'art moderne de la Ville de Paris) and Léger's La Noce, The Wedding (Musée National d'Art Moderne, Paris), were also exhibited.

Galeries Dalmau

In 1912, Galeries Dalmau presented the first declared group exhibition of Cubism worldwide ( Exposició d'Art Cubista), with a controversial showing by Jean Metzinger, Albert Gleizes, Juan Gris, Marie Laurencin and Marcel Duchamp (Barcelona, 20 April to 10 May 1912). The Dalmau exhibition comprised 83 works by 26 artists. Jacques Nayral's association with Gleizes led him to write the Preface for the Cubist exhibition, which was fully translated and reproduced in the newspaper La Veu de Catalunya. Duchamp's Nude Descending a Staircase, No. 2 was exhibited for the first time.

Extensive media coverage (in newspapers and magazines) before, during and after the exhibition launched the Galeries Dalmau as a force in the development and propagation of modernism in Europe. While press coverage was extensive, it was not always positive. Articles were published in the newspapers Esquella de La Torratxa and El Noticiero Universal attacking the Cubists with a series of caricatures laced with derogatory text. Art historian Jaime Brihuega writes of the Dalmau show: "No doubt that the exhibition produced a strong commotion in the public, who welcomed it with a lot of suspicion.

Salon d'Automne

The Cubist contribution to the 1912 Salon d'Automne created scandal regarding the use of government owned buildings, such as the Grand Palais, to exhibit such artwork. The indignation of the politician Jean Pierre Philippe Lampué made the front page of Le Journal, 5 October 1912. The controversy spread to the Municipal Council of Paris, leading to a debate in the Chambre des Députés about the use of public funds to provide the venue for such art. The Cubists were defended by the Socialist deputy, Marcel Sembat.

It was against this background of public anger that Jean Metzinger and Albert Gleizes wrote (published by Eugène Figuière in 1912, translated to English and Russian in 1913). Among the works exhibited were Le Fauconnier's vast composition Les Montagnards attaqués par des ours (Mountaineers Attacked by Bears) now at Rhode Island School of Design Museum, Joseph Csaky's Deux Femme, Two Women (a sculpture now lost), in addition to the highly abstract paintings by Kupka, Amorpha (The National Gallery, Prague), and Picabia, La Source (The Spring) (Museum of Modern Art, New York).

Abstraction and the ready-made

Robert Delaunay, Simultaneous Windows on the City, 1912, 46 x 40 cm, Hamburger Kunsthalle, an example of Abstract Cubism

The most extreme forms of Cubism were not those practiced by Picasso and Braque, who resisted total abstraction. Other Cubists, by contrast, especially František Kupka, and those considered Orphists by Apollinaire (Delaunay, Léger, Picabia and Duchamp), accepted abstraction by removing visible subject matter entirely. Kupka's two entries at the 1912 Salon d'Automne, Amorpha-Fugue à deux couleurs and Amorpha chromatique chaude, were highly abstract (or nonrepresentational) and metaphysical in orientation. Both Duchamp in 1912 and Picabia from 1912 to 1914 developed an expressive and allusive abstraction dedicated to complex emotional and sexual themes. Beginning in 1912 Delaunay painted a series of paintings entitled Simultaneous Windows, followed by a series entitled Formes Circulaires, in which he combined planar structures with bright prismatic hues; based on the optical characteristics of juxtaposed colors his departure from reality in the depiction of imagery was quasi-complete. In 1913-14 Léger produced a series entitled Contrasts of Forms, giving a similar stress to color, line and form. His Cubism, despite its abstract qualities, was associated with themes of mechanization and modern life. Apollinaire supported these early developments of abstract Cubism in Les Peintres cubistes (1913), writing of a new "pure" painting in which the subject was vacated. But in spite of his use of the term Orphism these works were so different that they defy attempts to place them in a single category.

Also labeled an Orphist by Apollinaire, Marcel Duchamp was responsible for another extreme development inspired by Cubism. The ready-made arose from a joint consideration that the work itself is considered an object (just as a painting), and that it uses the material detritus of the world (as collage and papier collé in the Cubist construction and Assemblage). The next logical step, for Duchamp, was to present an ordinary object as a self-sufficient work of art representing only itself. In 1913 he attached a bicycle wheel to a kitchen stool and in 1914 selected a bottle-drying rack as a sculpture in its own right.

Section d'Or

The Salon d'Automne of 1912, held in Paris at the Grand Palais from 1 October to 8 November. Joseph Csaky's sculpture Groupe de femmes of 1911-12 is exhibited to the left, in front of two sculptures by Amedeo Modigliani. Other works by Section d'Or artists are shown (left to right): František Kupka, Francis Picabia, Jean Metzinger and Henri Le Fauconnier.

The Section d'Or, also known as Groupe de Puteaux, founded by some of the most conspicuous Cubists, was a collective of painters, sculptors and critics associated with Cubism and Orphism, active from 1911 through about 1914, coming to prominence in the wake of their controversial showing at the 1911 Salon des Indépendants. The Salon de la Section d'Or at the Galerie La Boétie in Paris, October 1912, was arguably the most important pre-World War I Cubist exhibition; exposing Cubism to a wide audience. Over 200 works were displayed, and the fact that many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective.

The group seems to have adopted the name Section d'Or to distinguish themselves from the narrower definition of Cubism developed in parallel by Pablo Picasso and Georges Braque in the Montmartre quarter of Paris, and to show that Cubism, rather than being an isolated art-form, represented the continuation of a grand tradition (indeed, the golden ratio had fascinated Western intellectuals of diverse interests for at least 2,400 years).

The idea of the Section d'Or originated in the course of conversations between Metzinger, Gleizes and Jacques Villon. The group's title was suggested by Villon, after reading a 1910 translation of Leonardo da Vinci's Trattato della Pittura by Joséphin Péladan.

During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian and Native American art. Artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when both artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. They became friendly rivals and competed with each other throughout their careers, perhaps leading to Picasso entering a new period in his work by 1907, marked by the influence of Greek, Iberian and African art. Picasso's paintings of 1907 have been characterized as Protocubism, as notably seen in Les Demoiselles d'Avignon, the antecedent of Cubism.

Paul Cézanne, Quarry Bibémus, 1898-1900, Museum Folkwang, Essen, Germany

The art historian Douglas Cooper states that Paul Gauguin and Paul Cézanne "were particularly influential to the formation of Cubism and especially important to the paintings of Picasso during 1906 and 1907". Cooper goes on to say: "The Demoiselles is generally referred to as the first Cubist picture. This is an exaggeration, for although it was a major first step towards Cubism it is not yet Cubist. The disruptive, expressionist element in it is even contrary to the spirit of Cubism, which looked at the world in a detached, realistic spirit. Nevertheless, the Demoiselles is the logical picture to take as the starting point for Cubism, because it marks the birth of a new pictorial idiom, because in it Picasso violently overturned established conventions and because all that followed grew out of it."

The most serious objection to regarding the Demoiselles as the origin of Cubism, with its evident influence of primitive art, is that "such deductions are unhistorical", wrote the art historian Daniel Robbins. This familiar explanation "fails to give adequate consideration to the complexities of a flourishing art that existed just before and during the period when Picasso's new painting developed." Between 1905 and 1908, a conscious search for a new style caused rapid changes in art across France, Germany, The Netherlands, Italy, and Russia. The Impressionists had used a double point of view, and both Les Nabis and the Symbolists (who also admired Cézanne) flattened the picture plane, reducing their subjects to simple geometric forms. Neo-Impressionist structure and subject matter, most notably to be seen in the works of Georges Seurat (e.g., Parade de Cirque, and ), was another important influence. There were also parallels in the development of literature and social thought.

In addition to Seurat, the roots of cubism are to be found in the two distinct tendencies of Cézanne's later work: first his breaking of the painted surface into small multifaceted areas of paint, thereby emphasizing the plural viewpoint given by binocular vision, and second his interest in the simplification of natural forms into cylinders, spheres, and cones. However, the cubists explored this concept further than Cézanne. They represented all the surfaces of depicted objects in a single picture plane, as if the objects had all their faces visible at the same time. This new kind of depiction revolutionized the way objects could be visualized in painting and art.

Jean Metzinger, 1911-12, La Femme au Cheval, Woman with a horse, Statens Museum for Kunst, National Gallery of Denmark. Exhibited at the 1912 Salon des Indépendants, and published in Apollinaire's 1913 The Cubist Painters, Aesthetic Meditations. Provenance: Jacques Nayral, Niels Bohr

The historical study of Cubism began in the late 1920s, drawing at first from sources of limited data, namely the opinions of Guillaume Apollinaire. It came to rely heavily on Daniel-Henry Kahnweiler's book Der Weg zum Kubismus (published in 1920), which centered on the developments of Picasso, Braque, Léger, and Gris. The terms "analytical" and "synthetic" which subsequently emerged have been widely accepted since the mid-1930s. Both terms are historical impositions that occurred after the facts they identify. Neither phase was designated as such at the time corresponding works were created. "If Kahnweiler considers Cubism as Picasso and Braque," wrote Daniel Robbins, "our only fault is in subjecting other Cubists' works to the rigors of that limited definition."

The traditional interpretation of "Cubism", formulated post facto as a means of understanding the works of Braque and Picasso, has affected our appreciation of other twentieth-century artists. It is difficult to apply to painters such as Jean Metzinger, Albert Gleizes, Robert Delaunay and Henri Le Fauconnier, whose fundamental differences from traditional Cubism compelled Kahnweiler to question whether to call them Cubists at all. According to Daniel Robbins, "To suggest that merely because these artists developed differently or varied from the traditional pattern they deserved to be relegated to a secondary or satellite role in Cubism is a profound mistake."

The history of the term "Cubism" usually stresses the fact that Matisse referred to "cubes" in connection with a painting by Braque in 1908, and that the term was published twice by the critic Louis Vauxcelles in a similar context. However, the word "cube" was used in 1906 by another critic, Louis Chassevent, with reference not to Picasso or Braque but rather to Metzinger and Delaunay:

"M. Metzinger is a mosaicist like M. Signac but he brings more precision to the cutting of his cubes of color which appear to have been made mechanically [...]".

The critical use of the word "cube" goes back at least to May 1901 when Jean Béral, reviewing the work of Henri-Edmond Cross at the Indépendants in Art et Littérature, commented that he "uses a large and square pointillism, giving the impression of mosaic. One even wonders why the artist has not used cubes of solid matter diversely colored: they would make pretty revetments." (Robert Herbert, 1968, p. 221)

The term Cubism did not come into general usage until 1911, mainly with reference to Metzinger, Gleizes, Delaunay, and Léger. In 1911, the poet and critic Guillaume Apollinaire accepted the term on behalf of a group of artists invited to exhibit at the Brussels Indépendants. The following year, in preparation for the Salon de la Section d'Or, Metzinger and Gleizes wrote and published in an effort to dispel the confusion raging around the word, and as a major defence of Cubism (which had caused a public scandal following the 1911 Salon des Indépendants and the 1912 Salon d'Automne in Paris). Clarifying their aims as artists, this work was the first theoretical treatise on Cubism and it still remains the clearest and most intelligible. The result, not solely a collaboration between its two authors, reflected discussions by the circle of artists who met in Puteaux and Courbevoie. It mirrored the attitudes of the "artists of Passy", which included Picabia and the Duchamp brothers, to whom sections of it were read prior to publication. The concept developed in Du "Cubisme" of observing a subject from different points in space and time simultaneously, i.e., the act of moving around an object to seize it from several successive angles fused into a single image (multiple viewpoints, mobile perspective, simultaneity or multiplicity), is a generally recognized device used by the Cubists.

The 1912 manifesto by Metzinger and Gleizes was followed in 1913 by Les Peintres Cubistes, a collection of reflections and commentaries by Guillaume Apollinaire. Apollinaire had been closely involved with Picasso beginning in 1905, and Braque beginning in 1907, but gave as much attention to artists such as Metzinger, Gleizes, Delaunay, Picabia, and Duchamp.

The fact that the 1912 exhibition had been curated to show the successive stages through which Cubism had transited, and that had been published for the occasion, indicates the artists' intention of making their work comprehensible to a wide audience (art critics, art collectors, art dealers and the general public). Undoubtedly, due to the great success of the exhibition, Cubism became avant-garde movement recognized as a genre or style in art with a specific common philosophy or goal.

Jean Metzinger, 1914-15, Soldat jouant aux échecs (Soldier at a Game of Chess, Le Soldat à la partie d'échecs), oil on canvas, 81.3 × 61 cm, Smart Museum of Art, University of Chicago

A significant modification of Cubism between 1914 and 1916 was signaled by a shift towards a strong emphasis on large overlapping geometric planes and flat surface activity. This grouping of styles of painting and sculpture, especially significant between 1917 and 1920, was practiced by several artists; particularly those under contract with the art dealer and collector Léonce Rosenberg. The tightening of the compositions, the clarity and sense of order reflected in these works, led to its being referred to by the critic Maurice Raynal as 'crystal' Cubism. Considerations manifested by Cubists prior to the outset of World War I-such as the fourth dimension, dynamism of modern life, the occult, and Henri Bergson's concept of duration -had now been vacated, replaced by a purely formal frame of reference.

Crystal Cubism, and its associative rappel à l'ordre, has been linked with an inclination-by those who served the armed forces and by those who remained in the civilian sector-to escape the realities of the Great War, both during and directly following the conflict. The purifying of Cubism from 1914 through the mid-1920s, with its cohesive unity and voluntary constraints, has been linked to a much broader ideological transformation towards conservatism in both French society and French culture.

Cubism after 1918

Pablo Picasso, Three Musicians (1921), Museum of Modern Art. Three Musicians is a classic example of synthetic cubism.[58]

Pablo Picasso, 1921, Nous autres musiciens (Three Musicians), oil on canvas, 204.5 × 188.3 cm, Philadelphia Museum of Art

The most innovative period of Cubism was before 1914.[citation needed ] After World War I, with the support given by the dealer Léonce Rosenberg, Cubism returned as a central issue for artists, and continued as such until the mid-1920s when its avant-garde status was rendered questionable by the emergence of geometric abstraction and Surrealism in Paris. Many Cubists, including Picasso, Braque, Gris, Léger, Gleizes, Metzinger and Emilio Pettoruti while developing other styles, returned periodically to Cubism, even well after 1925. Cubism reemerged during the 1920s and the 1930s in the work of the American Stuart Davis and the Englishman Ben Nicholson. In France, however, Cubism experienced a decline beginning in about 1925. Léonce Rosenberg exhibited not only the artists stranded by Kahnweiler's exile but others including Laurens, Lipchitz, Metzinger, Gleizes, Csaky, Herbin and Severini. In 1918 Rosenberg presented a series of Cubist exhibitions at his Galerie de l'Effort Moderne in Paris. Attempts were made by Louis Vauxcelles to argue that Cubism was dead, but these exhibitions, along with a well-organized Cubist show at the 1920 Salon des Indépendants and a revival of the Salon de la Section d'Or in the same year, demonstrated it was still alive.

The reemergence of Cubism coincided with the appearance from about 1917-24 of a coherent body of theoretical writing by Pierre Reverdy, Maurice Raynal and Daniel-Henry Kahnweiler and, among the artists, by Gris, Léger and Gleizes. The occasional return to classicism-figurative work either exclusively or alongside Cubist work-experienced by many artists during this period (called Neoclassicism) has been linked to the tendency to evade the realities of the war and also to the cultural dominance of a classical or Latin image of France during and immediately following the war. Cubism after 1918 can be seen as part of a wide ideological shift towards conservatism in both French society and culture. Yet, Cubism itself remained evolutionary both within the oeuvre of individual artists, such as Gris and Metzinger, and across the work of artists as different from each other as Braque, Léger and Gleizes. Cubism as a publicly debated movement became relatively unified and open to definition. Its theoretical purity made it a gauge against which such diverse tendencies as Realism or Naturalism, Dada, Surrealism and abstraction could be compared.

Diego Rivera, Portrait de Messieurs Kawashima et Foujita, 1914

Influence in Asia

Japan and China were among the first countries in Asia to be influenced by Cubism. Contact first occurred via European texts translated and published in Japanese art journals in the 1910s. In the 1920s, Japanese and Chinese artists who studied in Paris, for example those enrolled at the École nationale supérieure des Beaux-Arts, brought back with them both an understanding of modern art movements, including Cubism. Notable works exhibiting Cubist qualities were Tetsugorō Yorozu's Self Portrait with Red Eyes (1912) and Fang Ganmin's Melody in Autumn (1934).

Intentions and criticism

Juan Gris, Portrait of Pablo Picasso, 1912, oil on canvas, Art Institute of Chicago[61]

The Cubism of Picasso and Braque had more than a technical or formal significance, and the distinct attitudes and intentions of the Salon Cubists produced different kinds of Cubism, rather than a derivative of their work. "It is by no means clear, in any case," wrote Christopher Green, "to what extent these other Cubists depended on Picasso and Braque for their development of such techniques as faceting, 'passage' and multiple perspective; they could well have arrived at such practices with little knowledge of 'true' Cubism in its early stages, guided above all by their own understanding of Cézanne." The works exhibited by these Cubists at the 1911 and 1912 Salons extended beyond the conventional Cézanne-like subjects-the posed model, still-life and landscape-favored by Picasso and Braque to include large-scale modern-life subjects. Aimed at a large public, these works stressed the use of multiple perspective and complex planar faceting for expressive effect while preserving the eloquence of subjects endowed with literary and philosophical connotations.

In Du "Cubisme" Metzinger and Gleizes explicitly related the sense of time to multiple perspective, giving symbolic expression to the notion of 'duration' proposed by the philosopher Henri Bergson according to which life is subjectively experienced as a continuum, with the past flowing into the present and the present merging into the future. The Salon Cubists used the faceted treatment of solid and space and effects of multiple viewpoints to convey a physical and psychological sense of the fluidity of consciousness, blurring the distinctions between past, present and future. One of the major theoretical innovations made by the Salon Cubists, independently of Picasso and Braque, was that of simultaneity, drawing to greater or lesser extent on theories of Henri Poincaré, Ernst Mach, Charles Henry, Maurice Princet, and Henri Bergson. With simultaneity, the concept of separate spatial and temporal dimensions was comprehensively challenged. Linear perspective developed during the Renaissance was vacated. The subject matter was no longer considered from a specific point of view at a moment in time, but built following a selection of successive viewpoints, i.e., as if viewed simultaneously from numerous angles (and in multiple dimensions) with the eye free to roam from one to the other.

This technique of representing simultaneity, multiple viewpoints (or relative motion) is pushed to a high degree of complexity in Metzinger's Nu à la cheminée, exhibited at the 1910 Salon d'Automne; Gleizes' monumental Le Dépiquage des Moissons (Harvest Threshing), exhibited at the 1912 Salon de la Section d'Or; Le Fauconnier's Abundance shown at the Indépendants of 1911; and Delaunay's City of Paris, exhibited at the Indépendants in 1912. These ambitious works are some of the largest paintings in the history of Cubism. Léger's The Wedding, also shown at the Salon des Indépendants in 1912, gave form to the notion of simultaneity by presenting different motifs as occurring within a single temporal frame, where responses to the past and present interpenetrate with collective force. The conjunction of such subject matter with simultaneity aligns Salon Cubism with early Futurist paintings by Umberto Boccioni, Gino Severini and Carlo Carrà; themselves made in response to early Cubism.

Cubism and modern European art was introduced into the United States at the now legendary 1913 Armory Show in New York City, which then traveled to Chicago and Boston. In the Armory show Pablo Picasso exhibited La Femme au pot de moutarde (1910), the sculpture Head of a Woman (Fernande) (1909-10), Les Arbres (1907) amongst other cubist works. Jacques Villon exhibited seven important and large drypoints, while his brother Marcel Duchamp shocked the American public with his painting Nude Descending a Staircase, No. 2 (1912). Francis Picabia exhibited his abstractions La Danse à la source and La Procession, Seville (both of 1912). Albert Gleizes exhibited La Femme aux phlox (1910) and L'Homme au balcon (1912), two highly stylized and faceted cubist works. Georges Braque, Fernand Léger, Raymond Duchamp-Villon, Roger de La Fresnaye and Alexander Archipenko also contributed examples of their cubist works.

Just as in painting, Cubist sculpture is rooted in Paul Cézanne's reduction of painted objects into component planes and geometric solids (cubes, spheres, cylinders, and cones). And just as in painting, it became a pervasive influence and contributed fundamentally to Constructivism and Futurism.

Cubist sculpture developed in parallel to Cubist painting. During the autumn of 1909 Picasso sculpted Head of a Woman (Fernande) with positive features depicted by negative space and vice versa. According to Douglas Cooper: "The first true Cubist sculpture was Picasso's impressive Woman's Head, modeled in 1909-10, a counterpart in three dimensions to many similar analytical and faceted heads in his paintings at the time." These positive/negative reversals were ambitiously exploited by Alexander Archipenko in 1912-13, for example in Woman Walking. Joseph Csaky, after Archipenko, was the first sculptor in Paris to join the Cubists, with whom he exhibited from 1911 onwards. They were followed by Raymond Duchamp-Villon and then in 1914 by Jacques Lipchitz, Henri Laurens and Ossip Zadkine.

Indeed, Cubist construction was as influential as any pictorial Cubist innovation. It was the stimulus behind the proto-Constructivist work of both Naum Gabo and Vladimir Tatlin and thus the starting-point for the entire constructive tendency in 20th-century modernist sculpture.

Le Corbusier, Assembly building, Chandigarh, India

Cubism formed an important link between early-20th-century art and architecture. The historical, theoretical, and socio-political relationships between avant-garde practices in painting, sculpture and architecture had early ramifications in France, Germany, the Netherlands and Czechoslovakia. Though there are many points of intersection between Cubism and architecture, only a few direct links between them can be drawn. Most often the connections are made by reference to shared formal characteristics: faceting of form, spatial ambiguity, transparency, and multiplicity.

Architectural interest in Cubism centered on the dissolution and reconstitution of three-dimensional form, using simple geometric shapes, juxtaposed without the illusions of classical perspective. Diverse elements could be superimposed, made transparent or penetrate one another, while retaining their spatial relationships. Cubism had become an influential factor in the development of modern architecture from 1912 ( La Maison Cubiste, by Raymond Duchamp-Villon and André Mare) onwards, developing in parallel with architects such as Peter Behrens and Walter Gropius, with the simplification of building design, the use of materials appropriate to industrial production, and the increased use of glass.

Le Corbusier, Centre Le Corbusier (Heidi Weber Museum) in Zürich-Seefeld (Zürichhorn)

Cubism was relevant to an architecture seeking a style that needed not refer to the past. Thus, what had become a revolution in both painting and sculpture was applied as part of "a profound reorientation towards a changed world". The Cubo-Futurist ideas of Filippo Tommaso Marinetti influenced attitudes in avant-garde architecture. The influential De Stijl movement embraced the aesthetic principles of Neo-plasticism developed by Piet Mondrian under the influence of Cubism in Paris. De Stijl was also linked by Gino Severini to Cubist theory through the writings of Albert Gleizes. However, the linking of basic geometric forms with inherent beauty and ease of industrial application-which had been prefigured by Marcel Duchamp from 1914-was left to the founders of Purism, Amédée Ozenfant and Charles-Édouard Jeanneret (better known as Le Corbusier,) who exhibited paintings together in Paris and published Après le cubisme in 1918. Le Corbusier's ambition had been to translate the properties of his own style of Cubism to architecture. Between 1918 and 1922, Le Corbusier concentrated his efforts on Purist theory and painting. In 1922, Le Corbusier and his cousin Jeanneret opened a studio in Paris at 35 rue de Sèvres. His theoretical studies soon advanced into many different architectural projects.

Raymond Duchamp-Villon, 1912, Study for La Maison Cubiste, Projet d'Hotel (Cubist House). Image published in Les Peintres Cubistes, by Guillaume Apollinaire, 17 March 1913

Le Salon Bourgeois, designed by André Mare for La Maison Cubiste, in the decorative arts section of the Salon d'Automne , 1912, Paris. Metzinger's Femme à l'Éventail on the left wall

At the 1912 an architectural installation was exhibited that quickly became known as Maison Cubiste (Cubist House), with architecture by Raymond Duchamp-Villon and interior decoration by André Mare along with a group of collaborators. Metzinger and Gleizes in , written during the assemblage of the "Maison Cubiste", wrote about the autonomous nature of art, stressing the point that decorative considerations should not govern the spirit of art. Decorative work, to them, was the "antithesis of the picture". "The true picture" wrote Metzinger and Gleizes, "bears its raison d'être within itself. It can be moved from a church to a drawing-room, from a museum to a study. Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides. It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism...".

La Maison Cubiste was a fully furnished model house, with a facade, a staircase, wrought iron banisters, and two rooms: a living room-the Salon Bourgeois, where paintings by Marcel Duchamp, Metzinger ( Woman with a Fan), Gleizes, Laurencin and Léger were hung, and a bedroom. It was an example of L'art décoratif, a home within which Cubist art could be displayed in the comfort and style of modern, bourgeois life. Spectators at the Salon d'Automne passed through the plaster facade, designed by Duchamp-Villon, to the two furnished rooms. This architectural installation was subsequently exhibited at the 1913 Armory Show, New York, Chicago and Boston, listed in the catalogue of the New York exhibit as Raymond Duchamp-Villon, number 609, and entitled "Facade architectural, plaster" ( Façade architecturale).

Jacques Doucet's hôtel particulier, 33 rue Saint-James, Neuilly-sur-Seine

The furnishings, wallpaper, upholstery and carpets of the interior were designed by André Mare, and were early examples of the influence of cubism on what would become Art Deco. They were composed of very brightly colored roses and other floral patterns in stylized geometric forms.

Mare called the living room in which Cubist paintings were hung the Salon Bourgeois. Léger described this name as 'perfect'. In a letter to Mare prior to the exhibition Léger wrote: "Your idea is absolutely splendid for us, really splendid. People will see Cubism in its domestic setting, which is very important.

"Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", Christopher Green wrote, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".

In 1927, Cubists Joseph Csaky, Jacques Lipchitz, Louis Marcoussis, Henri Laurens, the sculptor Gustave Miklos, and others collaborated in the decoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architect Paul Ruaud and owned by the French fashion designer Jacques Doucet, also a collector of Post-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which he bought directly from Picasso's studio). Laurens designed the fountain, Csaky designed Doucet's staircase, Lipchitz made the fireplace mantel, and Marcoussis made a Cubist rug.

Czech Cubist architecture

House of the Black Madonna in Prague, built by Josef Gočár in 1912

The original Cubist architecture is very rare. Cubism was applied to architecture only in Bohemia (today Czech Republic) and especially in its capital, Prague. Czech architects were the first and only ones to ever design original Cubist buildings. Cubist architecture flourished for the most part between 1910 and 1914, but the Cubist or Cubism-influenced buildings were also built after World War I. After the war, the architectural style called Rondo-Cubism was developed in Prague fusing the Cubist architecture with round shapes.

Villa Kovařovic in Prague by Josef Chochol

In their theoretical rules, the Cubist architects expressed the requirement of dynamism, which would surmount the matter and calm contained in it, through a creative idea, so that the result would evoke feelings of dynamism and expressive plasticity in the viewer. This should be achieved by shapes derived from pyramids, cubes and prisms, by arrangements and compositions of oblique surfaces, mainly triangular, sculpted facades in protruding crystal-like units, reminiscent of the so-called diamond cut, or even cavernous that are reminiscent of the late Gothic architecture. In this way, the entire surfaces of the facades including even the gables and dormers are sculpted. The grilles as well as other architectural ornaments attain a three-dimensional form. Thus, new forms of windows and doors were also created, e. g. hexagonal windows. Czech Cubist architects also designed Cubist furniture.

The leading Cubist architects were Pavel Janák, Josef Gočár, Vlastislav Hofman, Emil Králíček and Josef Chochol. They worked mostly in Prague but also in other Bohemian towns. The best-known Cubist building is the House of the Black Madonna in the Old Town of Prague built in 1912 by Josef Gočár with the only Cubist café in the world, Grand Café Orient. Vlastislav Hofman built the entrance pavilions of Ďáblice Cemetery in 1912-1914, Josef Chochol designed several residential houses under Vyšehrad. A Cubist streetlamp has also been preserved near the Wenceslas Square, designed by Emil Králíček in 1912, who also built the Diamond House in the New Town of Prague around 1913.

Cubic coffee service, by Erik Magnussen, 1927, in a temporary exhibition called the "Jazz Age" at the Cleveland Museum of Art, US

The influence of Cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906-08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. In turn, Picasso was an important influence on Stein's writing. In the field of American fiction, William Faulkner's 1930 novel As I Lay Dying can be read as an interaction with the cubist mode. The novel features narratives of the diverse experiences of 15 characters which, when taken together, produce a single cohesive body.

The poets generally associated with Cubism are Guillaume Apollinaire, Blaise Cendrars, Jean Cocteau, Max Jacob, André Salmon and Pierre Reverdy. As American poet Kenneth Rexroth explains, Cubism in poetry "is the conscious, deliberate dissociation and recombination of elements into a new artistic entity made self-sufficient by its rigorous architecture. This is quite different from the free association of the Surrealists and the combination of unconscious utterance and political nihilism of Dada." Nonetheless, the Cubist poets' influence on both Cubism and the later movements of Dada and Surrealism was profound; Louis Aragon, founding member of Surrealism, said that for Breton, Soupault, Éluard and himself, Reverdy was "our immediate elder, the exemplary poet." Though not as well remembered as the Cubist painters, these poets continue to influence and inspire; American poets John Ashbery and Ron Padgett have recently produced new translations of Reverdy's work. Wallace Stevens' " Thirteen Ways of Looking at a Blackbird" is also said to demonstrate how cubism's multiple perspectives can be translated into poetry.

John Berger said: "It is almost impossible to exaggerate the importance of Cubism. It was a revolution in the visual arts as great as that which took place in the early Renaissance. Its effects on later art, on film, and on architecture are already so numerous that we hardly notice them."

Jean Metzinger, 1910-11, ( Two Nudes, Two Women), oil on canvas, 92 x 66 cm, Gothenburg Museum of Art, Sweden. Exhibited at the first Cubist manifestation, Room 41 of the 1911 Salon des Indépendants, Paris

Pablo Picasso, 1911, La Femme au Violon, oil on canvas, private collection, on long-term loan to Bavarian State Painting Collections, Pinakothek der Moderne, Munich

Francis Picabia, 1912, La Source ( The Spring), oil on canvas, 249.6 x 249.3 cm, Museum of Modern Art, New York

Pablo Picasso, 1913-14, Femme assise dans un fauteuil (Eva), Woman in an Armchair, oil on canvas, 149.9 x 99.4 cm, Leonard A. Lauder Cubist Collection

Pablo Picasso, 1918, Arlequin au violon (Harlequin with Violin), oil on canvas, 142 x 100.3 cm, The Cleveland Museum of Art, Ohio

Gino Severini, 1919, Bohémien Jouant de L'Accordéon (The Accordion Player), Museo del Novecento, Milan

Paintings by Albert Gleizes, 1910-11, Paysage, Landscape; Juan Gris (drawing); Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs. Published on the front page of El Correo Catalán, 25 April 1912

(center) Jean Metzinger, c.1913, Le Fumeur (Man with Pipe), Carnegie Museum of Art, Pittsburgh; (left) Alexander Archipenko, 1914, Danseuse du Médrano (Médrano II), (right) Archipenko, 1913, Pierrot-carrousel, Solomon R. Guggenheim Museum, New York. Published in Le Petit Comtois, 13 March 1914

Paintings by Gino Severini, 1911, La Danse du Pan-Pan, and Severini, 1913, L'autobus. Published in "Les Annales politiques et littéraires", Le Paradoxe Cubiste, 14 March 1920

Paintings by Gino Severini, 1911, Souvenirs de Voyage; Albert Gleizes, 1912, Man on a Balcony, L'Homme au balcon; Severini, 1912-13, Portrait de Mlle Jeanne Paul-Fort; Luigi Russolo, 1911-12, La Révolte. Published in "Les Annales politiques et littéraires", Le Paradoxe Cubiste (continued), n. 1916, 14 March 1920

Jean Metzinger, c.1911, Nature morte, Compotier et cruche décorée de cerfs; Juan Gris, 1911, Study for Man in a Café; Marie Laurencin, c.1911, Testa ab plechs; August Agero, sculpture, Bust; Juan Gris, 1912, Guitar and Glasses, or Banjo and Glasses. Published in Veu de Catalunya, 25 April 1912

Jean Metzinger, 1911, Le goûter (Tea Time), Philadelphia Museum of Art. Published in Le Journal, 30 September 1911

Paintings by Juan Gris, Bodegón; August Agero (sculpture); Jean Metzinger, 1910-11, Deux Nus, Two Nudes, Gothenburg Museum of Art; Marie Laurencin (acrylic); Albert Gleizes, 1911, Paysage, Landscape. Published in La Publicidad, 26 April 1912

Umberto Boccioni, 1911, La rue entre dans la maison; Luigi Russolo, 1911, Souvenir d'une nuit. Published in Les Annales politiques et littéraires, 1 December 1912

Francis Picabia, paintings published in the New York Tribune, 9 March 1913. Picabia held his first one-man show in New York, Exhibition of New York studies by Francis Picabia, at 291 art gallery (formerly Little Galleries of the Photo-Secession), March 17 - April 5, 1913

Albert Gleizes, (left) in front of his painting Jazz; Jean Crotti (center) studying his Femme à la toque rouge; Marcel Duchamp (right) at his drawing board, in front of Jacques Villon's Portrait de M. J. B. peintre, The Sun, New York, 2 January 1916

Albert Gleizes (with Chal Post, 1915); Marcel Duchamp (with his brother Jacques Villon's Portrait de M. J. B. peintre (Jacques Bon) 1914); Jean Crotti; Hugo Robus; Stanton Macdonald-Wright; and Frances Simpson Stevens (center), Every Week, Vol. 4, No. 14, April 2, 1917, p. 14

Alfred H. Barr, Jr., Cubism and Abstract Art, New York: Museum of Modern Art, 1936.

Cauman, John (2001). Inheriting Cubism: The Impact of Cubism on American Art, 1909-1936. New York: Hollis Taggart Galleries. ISBN 0-9705723-4-4.

Cooper, Douglas (1970). The Cubist Epoch. London: Phaidon in association with the Los Angeles County Museum of Art & the Metropolitan Museum of Art. ISBN 0-87587-041-4.

Paolo Vincenzo Genovese, Cubismo in architettura, Mancosu Editore, Roma, 2010. In Italian.

John Golding, Cubism: A History and an Analysis, 1907-1914, New York: Wittenborn, 1959.

Richardson, John. A Life Of Picasso, The Cubist Rebel 1907-1916. New York: Alfred A. Knopf, 1991. ISBN 978-0-307-26665-1

Mark Antliff and Patricia Leighten, A Cubism Reader, Documents and Criticism, 1906-1914, The University of Chicago Press, 2008

Christopher Green, Cubism and its Enemies, Modern Movements and Reaction in French Art, 1916-28, Yale University Press, New Haven and London, 1987

Mikhail Lifshitz, The Crisis of Ugliness: From Cubism to Pop-Art. Translated and with an Introduction by David Riff. Leiden: BRILL, 2018 (originally published in Russian by Iskusstvo, 1968)

Daniel Robbins, Sources of Cubism and Futurism, Art Journal, Vol. 41, No. 4, (Winter 1981)

Cécile Debray, Françoise Lucbert, La Section d'or, 1912-1920-1925, Musées de Châteauroux, Musée Fabre, exhibition catalogue, Éditions Cercle d'art, Paris, 2000

Ian Johnston, Preliminary Notes on Cubist Architecture in Prague, 2004

Cubism, Heilbrunn Timeline of Art History, Metropolitan Museum of Art

Cubist pioneer Diego Rivera

Cubism, Agence Photographique de la Réunion des musées nationaux et du Grand Palais des Champs-Elysées (RMN)

Czech Cubist Architecture

Cubism, Guggenheim Collection Online

Index of Historic Collectors and Dealers of Cubism, Leonard A. Lauder Research Center for Modern Art, Metropolitan Museum of Art

Elizabeth Carlson, Cubist Fashion: Mainstreaming Modernism after the Armory, Winterthur Portfolio, Vol. 48, No. 1 (Spring 2014), pp. 1-28. doi:10.1086/675687

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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related artistic movements in music, literature, and architecture. In Cubist works of art, the subjects are analysed, broken up, and reassembled in an abstract form-instead of depicting objects from a single perspective, the artist depicts the subject from multiple perspectives to represent the subject in a greater context.

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Les were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (the Académie Julian) in Paris in the late 1880s.

In 1890, they began to participate successfully in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves. By 1896, the unity of the group had already begun to break: Homage to Cézanne, painted by Maurice Denis in 1900, recollects memories of a time already gone, even before the term Nabis had been revealed to the public. Meanwhile, most members of the group, including Maurice Denis, Pierre Bonnard, and Édouard Vuillard, could stand on their own artistically. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, that had revealed to them the way to go.

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Les Nabis ( French pronunciation: ​) were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in contemporary art and literature, most of them studied at the private art school of Rodolphe Julian (the Académie Julian) in Paris in the late 1880s.

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Arabesque is a style of decoration, it originally included birds but then became highly formal after adapted by Muslim artists in 1000 AD and because of several religious reasons, human figures, birds and beats were not included anymore. Arabesque became an essential part of the decorative tradition of Islamic decoration. In Europe, starting from the Renaissance until to the early 1800s, arabesques were used for the decoration of illuminated manuscripts, walls, furniture, metalwork and pottery.

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Hanson Xiong 6N

in full Staatliches Bauhaus, school of design, architecture, and applied arts that existed in Germany from 1919 to 1933. It was based in Weimer until 1925, Dessau through 1932, and Berlin in its final months. The Bauhaus was founded by the architect Walter Gropius, who combined two schools, the Weimar Academy of Arts and the Weimar School of Arts and Crafts, into what he called the Bauhaus, or “house of building,”

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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century.[1][2] The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse, and Puteaux) during the 1910s and throughout the 1920s.
https://en.wikipedia.org/wiki/Cubism.

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Surrealism:Surrealism is the exploration of the dream and unconsciousness as a valid form of reality, inspired by Sigmund Freud's writings. A willingness to depict images of perverse sexuality, scatology, decay and violence.jrocastro09.blogspot.com/2013/05/the-key-characteristics-of-surrealism.html

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Surrealism:Surrealism is the exploration of the dream and unconsciousness as a valid form of reality, inspired by Sigmund Freud's writings. A willingness to depict images of perverse sexuality, scatology, decay and violence.jrocastro09.blogspot.com/2013/05/the-key-characteristics-of-surrealism.html

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· The exploration of the dream and unconsciousness as a valid form of reality, inspired by Sigmund Freud's writings. · ...

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Land art or earth art is art that is made directly in the landscape, sculpting the land itself into earthworks or making structures in the landscape using natural materials such as rocks or twigs. There’s also some artists that make arts in the cornfield or other places with natural materials. Some people even think that the aliens made the crop circles just because they appeared in one night.

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It was primarily invented by painters George Seurat and Paul Signac. It uses dots to make art.

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Kinetic art is art from any medium that contains movement perceivable by the viewer or depends on motion for its effect. Canvas paintings that extend the viewer's perspective of the artwork and incorporate multidimensional movement are the earliest examples of kinetic art.The moving parts are generally powered by wind, a motor  or the observer. Kinetic art encompasses a wide variety of overlapping techniques and styles.

https://en.wikipedia.org/wiki/List_of_art_movements

http://www.artda.cn/view.php?tid=1328&cid=40

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"Space art" (also "astronomical art") is the term for a genre of modern artistic expression that strives to show the wonders of the Universe. Like other genres, Space Art has many facets and encompasses realism, impressionism, hardware art, sculpture, abstract imagery, even zoological art.

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Kevin

Art Deco influenced the design of buildings, furniture, jewelry, fashion, cars, movie theatres, trains, ocean liners, and everyday objects such as radios and vacuum cleaners.

In 1930s, the art Deco style became more subdued. New materials arrived, including chrome plating, stainless steel, and plastic.

A sleeker form of the style, called Streamline Moderne, appeared in the 1930s. It featured curving forms and smooth, polished surfaces.

Art Deco is one of the first truly international styles, but its dominance ended with the beginning of World War II.

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Art Movement
Pop art is an art movement that emerged in the United Kingdom and the United State during the mid- to late-1950s.The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising , comic books and mundane cultural objects.

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Light and Space denotes a loosely affiliated art movement related to op art, minimalism and geometric abstraction originating in Southern California in the 1960s and influenced by John McLaughlin. It was characterized by a focus on perceptual phenomena, such as light, volume and scale, and the use of materials such as glass, neon, fluorescent lights, resin and cast acrylic, often forming installations conditioned by the work's surroundings. Whether by directing the flow of natural light, embedding artificial light within objects or architecture, or by playing with light through the use of transparent, translucent or reflective materials, Light and Space artists made the spectator’s experience of light and other sensory phenomena under specific conditions the focus of their work. They were incorporating into their work the latest technologies of the Southern California-based engineering and aerospace industries to their develop sensuous, light-filled objects. Turrell, who has spread the movement worldwide, summed up its philosophy in saying, "We eat light, drink it in through our skins."

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The nature of the works was reflected in the title of the exhibition at UCLA which introduced the emerging movement in 1971: "Transparency, Reflection, Light, Space: Four Artists". The show presented the work of Peter Alexander, Larry Bell, Robert Irwin, and Craig Kauffman.

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Originated in the Soviet Union in the early 1970s.

Marked by reverential depictions of workers, peasants living happily in their communes

Vitaly Komar and Alexander Melamid invented the term “Sots Art”.
According to Arthur Danto, Sots Art's attack on official styles is similar in intent to American pop art and German capitalist realism .

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Often referred to as "Soviet Pop Art", Sots Art (short for Socialist Art) originated in the Soviet Union in the early 1970s as a reaction against the official aesthetic doctrine of the state-" Socialist Realism", which was marked by reverential depictions of workers, peasants living happily in their communes, and a young, fit Joseph Stalin.

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https://en.wikipedia.org/wiki/Arts_and_Crafts_movement

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The American Barbizon School was a group of painters and style partly influenced by the French Barbizon school, who were noted for their simple, pastoral scenes painted directly from nature.[1] American Barbizon artists concentrated on painting rural landscapes often including peasants or farm animals.

William Morris Hunt was the first American to work in the Barbizon style as he directly trained with Jean-François Millet in 1851-1853. When he left France, Hunt established a studio in Boston and worked in the Barbizon manner, bringing the style to the United States of America.[2]

The Barbizon approach was generally not accepted until the 1880s and reached its pinnacle of popularity in the 1890s.[2]

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The American Barbizon School was a group of painters and style partly influenced by the French Barbizon school, who were noted for their simple, pastoral scenes painted directly from nature. American Barbizon artists concentrated on painting rural landscapes often including peasants or farm animals.

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Metaphysical art was a style of painting developed by the Italian artists Giorgio de Chirico and Carlo Carrà. The movement began in 1911 with de Chirico, whose dreamlike works with sharp contrasts of light and shadow often had a vaguely threatening, mysterious quality, "painting that which cannot be seen".[1] De Chirico, his younger brother Alberto Savinio, and Carrà formally established the school and its principles in 1917.

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Other painters who adopted the style included Giorgio Morandi around 1917-1920, Filippo de Pisis, and Mario Sironi. In the 1920s and later, the legacy of Metaphysical painting influenced the work of Felice Casorati, Max Ernst, and others. Exhibitions of Metaphysical art in Germany in 1921 and 1924 inspired the use of mannequin imagery in works by George Grosz and Oskar Schlemmer.

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Street art is visual art created in public locations, usually unsanctioned artwork executed outside of the context of traditional art vans.

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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.western had been, from the renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality, unclear kind of art

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Pixel art largely originates from classic video games, particularly classic arcade games such as Space Invaders and Pac-Man , and 8-bit consoles such as the Nintendo Entertainment System and Sega Master System.The term pixel art was first published by Adele Goldberg and Robert Flegal of Xerox Palo Alto Research Center in 1982.The concept, however, goes back about 11 years before that, for example in Richard Shoup's SuperPaint system in 1972, also at Xerox PARCSome traditional art forms, such as counted-thread embroidery and some kinds of mosaic and beadwork, are very similar to pixel art. These art forms construct pictures out of small colored units similar to the pixels of modern digital computing. A similar concept on a much bigger scale can be seen in the North Korean Arirang Festival.

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Portrait of a cat made in a 64x64 Pixel art canvas. Includes a zoomed-in window in the bottom left corner to enhance the details of the cat's face. See complete image

Pixel art is a form of digital art drawn with graphical software where images are built using pixels as the only building block. It is widely associated with the low-resolution graphics from 8-bit and 16-bit era computers, arcade machines and video game consoles, in addition to other limited systems such as LED displays and graphing calculators, which have a limited number of pixels and colors available. The art form is still employed to this day by pixel artists and game studios, even though the technological limitations have since been surpassed.

Most works of pixel art are also restrictive both in file size and the number of colors used in their color palette because of software limitations-in order to achieve a certain aesthetic or simply to reduce the perceived noise. Older forms of pixel art tend to employ smaller palettes, with some video games being made using just two colors (1-bit color depth). Because of these self-imposed limitations, pixel art presents strong similarities with many traditional restrictive art forms such as mosaics, cross-stitch and fuse beads.

The precise definition of pixel art is a subject of debate, but an artwork is usually considered as such if deliberate thought was put into each individual pixel of the image. Standard digital artworks or low-resolution photographs are also composed of pixels, but they would only be considered pixel art if the individual pixels were placed with artistic intent, even if the pixels are clearly visible or prominent ( see Definition).

The phrases " dot art" and " pixel pushing" are sometimes used as synonyms for pixel art, particularly by Japanese artists. A much more popular variation is the term spriting, which sometimes refers to the activity of making pixel art elements for video games specifically. The concept most likely originated from the word , which is used in computer graphics to describe a two-dimensional bitmap that can be used as a building block in the construction of larger scenes.

The majority of pixel artists agree that an image can only be categorized as pixel art when the pixels play an important individual role in the composition of the artwork, which usually requires deliberate control over the placement of each individual pixel. When purposefully editing in this way, changing the position of a few pixels can have a drastic effect on the image. Modern pixel art software incorporates tools that automatically place multiple pixels at once (such as fill tools, line tools, and brush tools), therefore defining pixel art as "art in which an artist has placed each individual pixel" is not accurate anymore. The following is a better way to interpret it: "The process that leads to the final artwork is less relevant than the final result. If the pixels play an important individual role in the final composition, it will be broadly regarded as a pixel art piece by most artists independently of the techniques that may have been implemented to achieve that result."[This quote needs a citation ]

A common characteristic in pixel art is the low overall colour count in the image. Pixel art as a medium mimics a lot of traits found in older video game graphics, rendered by machines which were capable of only outputting a limited number of colours at once. Additionally, many pixel artists are of the opinion that in most cases, using a large number of colours, especially when very similar to each other in value, is unnecessary, and detracts from the overall cleanliness of the image, making it look messier. Many experienced pixel artists recommend not using more colours than necessary.

As images get bigger in resolution, pixels get harder to distinguish from each other and the importance of their careful placement is diminished, to the point that the concept of pixel art falls apart. The exact point at which this occurs and the conditions for a piece to be reasonably called "pixel art" have been the source of great disagreement among professionals and enthusiasts.

In general, the construction of a pixel image can be very similar to that of a digital artwork, particularly during the early sketching phases. The part in which the biggest distinction is made is the final pixel-by-pixel polishing.

Oekaki is a form of digital art done at small resolutions that presents many similarities with pixel art. However, in Oekaki, the placement of individual pixels is not considered as important compared to the general feel of the artwork, giving it a characteristic "messy" or jagged look.

There are plenty of algorithms that have been used to facilitate the creation or editing of pixel art, such as using 3D shaders within software like Blender to generate complex effects or rotating objects, that are later imported into pixel art software.

There also exist many interpolation algorithms calibrated specifically for pixel art.

Traditional cross-stitch embroidery

Some traditional art forms, like counted-thread embroidery (including cross-stitch) and some kinds of mosaic and beadwork, are very similar to pixel art and could be considered as non-digital counterparts or predecessors. These art forms construct pictures out of small colored units similar to the pixels of modern digital computing.

Some of the earliest examples of pixel art could be found in analog electronic advertising displays, such as the ones from New York City during the early 20th century, with simple monochromatic light bulb matrix displays extant circa 1937. Pixel art as it is known today largely originates from the golden age of arcade video games, with games such as Space Invaders (1978) and (1980), and 8-bit consoles such as the Nintendo Entertainment System (1983) and Master System (1985).

The term pixel art was first published in a journal letter by Adele Goldberg and Robert Flegal of Xerox Palo Alto Research Center in 1982. The practice, however, goes back at least 11 years before that, for example in Richard Shoup's SuperPaint system in 1972, also at Xerox PARC.

Because of severe restrictions of early graphics, the first instances of pixel art in video games were relatively abstract. The low resolution of computers and game consoles forced game designers to carefully design game assets by deliberate placement of individual pixels, in order to form recognizable symbols, characters, or items. Simple function-based avatars (or player-surrogates) such as spaceships, cars, or tanks required a minimum of animation and computing power, while enemies, terrain, and power-ups were often represented by symbols or simple designs. Due to the limited hardware of the 1970s, abstraction, as in the case of Pong's relatively simple design, sometimes led to better game readability and commercial success than attempting more detailed representational art.

Although computers had been used to create art since the 1960s and microcomputers were used in the late 1970s and there are examples of digital art utilizing a more pixelated aesthetic, there is no well known tradition of pixel art from the 1970s that differentiated between the deliberate placement of pixels or the aestheticization of individual pixels in contrast to other forms of digital painting or digital art. For this reason, one could argue that pixel art was not a recognized medium or artform in the 1970s.

Maniac Mansion (1987) on Commodore 64

In what is sometimes referred to as a golden age of video games or golden age of arcade video games, the 1980s saw a period of innovation in video games, both as a new artform and form of entertainment. During the early 1980s, video game creators were mainly programmers and not graphic designers. Technological innovation led to market pressure for more representational and "realistic" graphics in games. As graphics improved, it became possible to replace hand-drawn game assets with imported pictures or 3D polygons, which contributed to pixel art developing as a separate art form.

Gradually, professional artists and graphic designers had a bigger impact in the video games industry. Sierra Entertainment released Mystery House, pixelled by Roberta Williams, and the King's Quest series; and Lucasfilm Games released games such as Maniac Mansion, Zak McKracken and the Alien Mindbenders, and Indiana Jones and the Last Crusade: The Graphic Adventure. Mark J. Ferrari, an artist at Lucasfilm Games, later said:

When I was first hired by Lucasfilm Games in 1987 to do artwork for their computer games, pixel graphics was not thought of by anyone as an 'art form'. The use of pixels was not an aesthetic choice - as it certainly is now. If anything, pixels were an unavoidable and very irksome obstacle to the creation of any 'real art' for use in the exciting but bewildering new realm of computer entertainment. There were no pixel artists then - at all! There were only traditional artists.

Laser Squad (1988) screenshot, ZX Spectrum

Nevertheless, the aesthetic of 1980s video games had a major impact on contemporary and future pixel art, both in video games, the demoscene graphics and among independent artists. As computers became more affordable in the 1980s, software such as DEGAS Elite (1986) for the Atari ST, Deluxe Paint (1985) and Deluxe Paint 2 (1986) for the Commodore Amiga, and Paint Magic for the Commodore 64, inspired many later pixel artists to create digital art by careful placement of pixels. In the case of the Commodore 64 and the Amstrad CPC, some early pixel artists used joysticks and keyboards to pixel.

With the rise of the demoscene movement in Europe in the late 1980s, artists who were proficient with creating pixel art using 8-bit computers like the Commodore 64 and ZX Spectrum or 16-bit computers like the Atari ST began to publish their pixel art as demos. Demogroups would often include coders (programmers), musicians, and graphicians, where graphicians were a common name for graphic designers and/or pixel artists. Although some graphicians worked on adding art to cracked video games ( cracktros), the demoscene contributed to artistic communities creating pixel art for its own sake as art. These were often shared via floppy disks that were handed from person to person or via the postal service. The golden age of the demoscene and its associated pixel art milieu, however, is often regarded as beginning in the early 1990s.

The Chaos Engine (1993) on SNES

Before the 1990s, display systems were mostly based on a small 4-bit palette of imposed colors (16 fixed shades innate to each system, often incompatible with one another). The coming decade greatly improved the graphics standard with the appearance of increased color depth and indexed color palettes (For example, 512 colors for the Atari ST and the Mega Drive, 4,096 for the Amiga ECS, 32,768 for the Super Nintendo, and 16,777,216 for the Amiga AGA and the VGA mode of the PCs). During the 1990s, 2D games with manually painted graphics saw increasing competition from 3D games and games using pre-rendered 3D assets. Still, pixel art games like Flashback, The Secret of Monkey Island, The Chaos Engine, Street Fighter III: 3rd Strike, and The Legend of Zelda: A Link to the Past had a major influence on future artists in the game industry, the contemporary demoscene and the aesthetic of pixel art in later decades.

In addition to pixel art influenced by video games, pixel artists (or graphicians) in the demoscene continued to make pixel art for demos and cracktros. Some demoscene pixel artists active in the 1990s have cited movies and urban graffiti as important influences for their art, particularly in designing logos. In addition to copying sprites from existing video games, demoscene pixel artists also copied the work of popular artists and illustrators such as Ian Miller and Simon Bisley. Competition gradually became an increasingly important part of demoscene gatherings, including pixel art (graphics) competitions, and as teenagers and young adults were the major demographic in these gatherings, a lot of demoscene pixel art referenced familiar fantasy, science fiction and cyberpunk tropes. Demoscene competitions had a major effect in shaping the direction of pixel art. Prominent artists would look for ways to innovate, display superior technique, overcome technical restrictions and in many cases aim for photorealism through anti-aliasing.

As the internet gradually became more available in the 1990s, pixel artists and demosceners would gradually begin to spread their pixel art via websites, instant messaging and online file sharing. While the demoscene was arguably most popular among young males, an online movement began in the late 1990s known as pixel dolls or 'dollz', which was popular among young females. The increased popularity of online chatting and personal webpages at a time before digital cameras were common led to an increased demand for personal representation through personalized avatars. These avatars often took the form of pixel dolls, being pixel art characters that could be outfitted with different clothing and accessories. As pixel dolls grew more and more common, many pixel artists gradually began to develop this as an independent artform.

Advance Wars (2001) on Game Boy Advance

The 2000s were a pivotal decade for pixel art establishing itself as an artform practiced around the world, separate from other forms of digital art. In particular, the Pixelation forum and Pixel Joint gallery are credited as the most influential English-speaking online communities, connecting pixel artists all over the world in a way that the mostly western European demoscene movement had not. Pixelation was a webforum where artists could share pixel art to give and receive feedback. Its main focus was critiquing, developing skills and understanding of pixel art, more so than simply sharing art for the sake of admiration, entertainment or competition. Pixel Joint is an online gallery where members can submit personal work and comment on other members' pixel art. It has features such as weekly challenges, a forum, a hall of fame and a monthly top 10 pixel art competition based on member voting.

Over time, the overlapping but separate communities on Pixelation and Pixel Joint were engaged in online discourse about the nature of pixel art, inspiring widely shared tutorials and arguably contributing to a new paradigm that was different to the pixel art of the 1990s. A major concern was to establish pixel art as its own medium and/or art form, separate from other types of digital art, such as oekaki. In particular, highly restricted palettes (e.g. a maximum 8 or 16 colors) were argued by some to be a defining feature of pixel art. One example is the so-called "8 colour gentlemen's club", consisting of pixel artists who celebrated pixel art with 8 colours. The use of transparent layers and smudging tools were also considered non-pixel art and unacceptable for the Pixel Joint gallery. Whereas the demoscene had, to a large degree, revolved around physical gatherings and groups of artists, musicians and programmers collaborating, pixel art communities on Pixel Joint and Pixelation were based mostly on online interaction among individual artists. On Pixel Joint, pixel art made through collaboration between artists was not accepted in the gallery, but considered a separate pursuit. The relatively strict ideas of what constituted acceptable pixel art, enforced by moderators on Pixel Joint, led to repeated conflict but also contributed to pixel art standing out as a separate medium at a time when many types of digital paintings were shared on the internet, on websites like DeviantArt. In particular, several prominent artists mention Cure's tutorials as significant for learning about pixel art as a separate art medium or art form.

After the golden age of the demoscene pixel art in the 1990s, many notable pixel artists of that milieu took a break from pixel art in the 2000s - although some made an early transition to join Pixelation and Pixel Joint, such as Gas 13 and Tomic. While activity did decline, the demoscene continued to explore pixel art on platforms from the late 1980s and early 1990s, particularly using the Commodore 64 and Atari computers.

Pixel doll communities grew rapidly during the 2000s, in large part due to the continued growth of forums, message boards and chat services. With websites like the Doll Palace, Eden Enchanted, DeviantArt, and many personal websites, pixel dolls was increasingly recognized as a new art form, with public feedback, competition, tutorials, best practices, and rules of conduct. The 2000s were arguably the height of pixel doll popularity, in part because of various online communities that made use of pixel dolls for avatars and the popularity of internet forums in an age before social media. Despite this, there was relatively little interaction between the pixel doll communities and other pixel art communities such as Pixel Joint, Pixelation, or the demoscene.

In video games for computers and consoles during the 2000s, pixel art was largely abandoned in favor of more modern graphics, particularly based on 3D. Many professional game artists who had been working with pixel art either left the industry or switched to other forms of digital art. This arguably contributed to pixel art establishing itself as an independent art form, practiced mostly by independent artists rather than game industry employees. There are a few notable exceptions, such as Habbo Hotel, which inspired a great amount of isometric pixel art, and Advance Wars, for Game Boy Advance.

Superbrothers: Sword & Sworcery EP (2011)

The popularity of pixel art accelerated during the 2010s. One major contribution to this trend was the success of several 'retro' pixel art games such as Superbrothers: Sword & Sworcery EP (2011), Fez (2012), Papers, Please (2013), Shovel Knight (2014), (2016), Stardew Valley (2016), Celeste (2018), and Octopath Traveler (2018). Many of these games combined low-resolution game assets with non-pixel art (NPA) elements such as filters, high definition UI, or special effects. The increased attention on pixel art in media and the game industry coincided with the rapid growth of pixel art communities. Owlboy's art director, Simon Andersen, explained that he wanted to show the advantages of the pixel as an art medium, pushing the potential of the artistic technique and showcase pixel art done properly, without millions of colors or 3D captures. In contrast, the heavily stylized and abstract Superbrothers: Sword & Sworcery EP made extensive use of filters and non-pixel art graphics. Superbrothers: Sword and Sworcery also allowed players to share various in-game achievements on Twitter, the #sworcery hashtag went viral, contributing to the renewed interest in pixel art in video games.

Pixel Joint and Pixelation remained important communities with a growing number of contributors, but the 2010s saw the rise of new communities on Reddit, DeviantArt, Instagram, and Twitter. While Pixelation in particular had a core of very dedicated, often professional, pixel artists, and Pixel Joint had moderators who accepted or rejected submissions to its online gallery, new pixel art communities in social media were naturally less cohesive, yet more open. Not only did social media contribute significantly to the continued growth of pixel art, and more traffic to older pixel art websites, but websites like Tumblr, Twitter, and Instagram also gave significant global attention to new pixel artists outside of the traditional pixel art communities, such as Waneella and Pixel Jeff.

Papers Please (2013)

During the 2010s, the demoscene arguably entered a silver age, as several older artists returned to their hobbies after a hiatus. In addition, the increasing popularity of pixel art in this decade also attracted new artists to the demoscene, who had not been active during the 1990s and 2000s. It is important to note that the demoscene and its graphics competitions never stopped, but the 2010s could nevertheless be considered a period of rejuvenation.

As advanced digital painting software like Photoshop became more widely available and easier to use, the pixel doll community split into a group of artists using traditional pixel art, known as pixel-shaders, and a group of artists using more advanced tools, known as tool-shaders. As internet forums lost popularity and drawn avatars were increasingly replaced by photos in internet communities, the pixel dolling community gradually became less active in this decade.

Perhaps because of the rise of pixel art in video games and in social media, pixel art was also seen in other areas of popular culture and even made its way to public museums. Ivan Dixon and Paul Robertson received international attention for making a pixel art version of The Simpsons' introduction sequence. Eboy became well known for their isometric pixel art displays, often used for advertisement or sold as independent art. The work of pixel artists such as Octavi Navarro and Gustavo Viselner was featured in major newspapers and magazines. French urban artist Invader received international attention for his urban pixel art mosaics, seen around the world. Among 1980s-inspired synthwave artists and groups, pixel art was used to make music videos, such as Valenberg's work for Pertubator and a Gunship music video by pixel artists Jason Tammemagi, Gyhyom, Mary Safro, and Waneella. In 2012, the Smithsonian Institution museum of Washington created an exhibition called The Art of Video Games, attended by almost 700,000 people.

Teenage Mutant Ninja Turtles: Shredder's Revenge (2022)

Although some commenters had predicted the decline of "retro" pixel art after a wave of pixel art games in the 2010s, pixel art has continued to remain popular in the current decade. One major contributing factor seems to have been the COVID 19 pandemic, as people around the world spent more time online, playing games, using social media and developing new hobbies. A second contributing factor seems to have been the rise of NFTs, as pixel art became an inexpensive way to produce large numbers of artworks. As the market for NFTs grew rapidly, many pixel artists embraced the new technology as a new source of income. Many notable professional artists also expressed skepticism and disapproval of NFTs, citing environmental factors, pyramid scheme claims, and money laundering as reasons for rejecting offers. One of the most profiled examples of pixel artists expressing opposition to NFTs is Castpixel, citing environmental effects and artificial scarcity. Furthermore, as is the case with other forms of digital art, pixel artists have also discovered many cases of plagiarism and fraud by actors who download pixel art without permission to sell as NFTs. Although discussion around pixel art theft is not new, the issue has certainly become more controversial with the rise of NFTs.

Perhaps linked to the increased influence and attraction of social media platforms like Twitter, Mastodon, Reddit, and Instagram, older pixel art communities on Pixelation and DeviantArt declined in the 2020s. Discord became an important platform for pixel art communities like Pixel Joint, PAD (Pixel Art Discord), Lospec, and Trigonomicon. In the early fall of 2022, Pixelation announced the closing of its webforum and a transition to Twitter.

Pixel art continued to be a popular style in games across platforms, with releases such as Eastward (2021), Teenage Mutant Ninja Turtles: Shredder's Revenge (2022), Songs of Conquest (2022), Vikings on Trampolines (2022), and (2021). Some argued that the recent wave of pixel art games, released thirty years after the release of the SNES, was largely influenced by nostalgia and freedom from publishers, responding to unoriginal stories in modern video game blockbusters and wanting to integrate contemporary themes, such as ecological concerns and representation of queer characters.

Pixel art typically involves a more careful and deliberate placement of pixels compared to other forms of digital art. Artists use different brush sizes (e.g. 1x1 or 2x2 pixels) and a variety of tools, such as free-hand / pencil, lines, and rectangles. One key difference between pixel art and other digital art is that pixel artists tend to apply a single color at a time, avoiding tools such as soft edges, smudging, and blurring. Agreeing on which tools and techniques are considered non-pixel art (NPA) is something that has caused considerable disagreement in the past. For example, applying layers with different filters that adjust hue or light values is considered a non-pixel art technique, but the resulting art may still be considered pixel art if there's a clear foundation of deliberate placement of pixels. To preserve the careful pixel placement, pixel art is preferably stored in a file format utilizing lossless data compression. The JPEG format, for example, is often avoided because of its compression, as it introduces visible artifacts in the image.

Different restrictions are central to pixel art, and these are often traced back to technical limitations of hardware such as Amiga, Commodore 64, NES, and early computers. The two most common restrictions are resolution and palette, and pixel artists often work with a significantly reduced canvas size and number of colors compared to other digital artists. (Lee, p. 276) Examples include Commodore 64 restrictions (320x200 resolution, 16 colors), original ZX Spectrum restrictions (256x192 pixels, 15 colors), and GameBoy restrictions (160x144 pixels, 4 colors).

Some artists start the process of pixelling by drawing line-art, while others begin by blocking in simple shapes and big clusters. Traditionally, pixel art was done on a single layer, similar to painting on a canvas, but modern software permits work with multiple layers, potentially adding animation or transparency to the foreground while keeping a static background.

Anti-aliasing (AA)

To deal with the various restrictions of pixel art, such as reduced resolution or colors, pixel artists have traditionally employed a number of techniques specific to the artform. One widely used technique is dithering, commonly using noise or a repeating pattern such as a checkerboard or lines to create a third color when seen from a distance. Other common techniques include anti-aliasing (AA) where strong edges are softened by manually placing pixels, and sub-pixelling, changing colors of pixels to create an illusion of movement.

Because pixel art is a flexible medium, pixel artists can often imitate styles from traditional media, such as impressionism or pointillism in oil painting or cross hatching in embroidery. Pixel art is not a style itself, but a broad artistic medium. However, there are different styles within pixel art that revolve around pixel placement. One common distinction in style is the use of clusters. A cluster is a field of connected pixels with the same exact color. The opposite of a cluster is an isolated pixel (1x1) surrounded by pixels of other colors. Cluster size has become an important marker of pixel art styles, where some pixel art uses large clusters and avoids isolated (orphan) pixels, whereas other works use clusters of all sizes in combination with isolated pixels, or even rely primarily on isolated pixels and small clusters for a more grainy, noisy texture. Styles that rely more on small clusters and isolated pixels often have similarities with pointillism and impressionism, whereas pixel art with larger clusters and geometric shapes have similarities with cubism and suprematism. Although some artists have been known for championing a particular style, there are many pixel artists who alternate between different styles in their works.

Isometric pixel art graphics in X-COM: UFO Defense (1994)

Pixel art is a flexible medium and shares traditions of figure drawing, landscapes and abstract with traditional media. However, certain genres have emerged as particularly popular. These genres often overlap, but include:

1-bit pixel art combining sprites with text

Isometric: Pixel art drawn in a near-isometric dimetric projection. Originally used in games to provide a three-dimensional view without using any real three-dimensional processing. Normally drawn with a 1:2 pixel ratio along the X and Y-axis.

Sprites: Characters and game assets typically drawn in the fashion of platformer games and fighting games such as Streets of Rage or Street Fighter II or JRPGs (Japanese Roleplaying Game) such as Final Fantasy.[3]

Pixel dolls: Also known as dollz. Sets of pixel art characters, usually with customizable appearance and sets of clothing. Often used as avatars for chatting and forums, or in dress-up games.

Mock-ups: Concepts for non-existing pixel art games, including a user interface and other game elements. Retro-style mock-ups based on modern games are called 'demakes'.[37]

Essentially all raster graphics editors can be used in some way for pixel art, some of which include features designed to make the process easier. See Comparison of raster graphics editors for a list of notable raster graphics editors. The following notable programs were designed specifically to facilitate drawing pixel art.

Aseprite features numerous tools for image and animation editing such as layers, frames, tilemaps, command-line interface, Lua scripting, among others. An open source fork called Libresprite was created before Aseprite became proprietary, which has become a popular free alternative.

Proprietary

Gratis source code, paid precompiled binaries.

Graphics Gale

Graphics Gale is a Japanese pixel art editor with animation features and a color-based transparency system which was extensively used by game artists during its early years. It was written in 2005, made freeware in 2017, and last updated in 2018.

Proprietary

Gratis

GrafX2 was released in 1996, inspired by the Amiga programs Deluxe Paint and Brilliance. Specialized in 256-color drawing, it includes a very large number of tools and effects suitable for pixel art and 2D video game graphics.

Libre

Gratis

Pro Motion NG

Pro Motion NG is primarily geared toward drawing art for video games, with features and tools for animation, spritework, and tilesets.

Proprietary

Paid (Full Edition), gratis (Free Edition)

The term was originally coined in the form 'pixel art' (spaced) in a journal letter by Adele Goldberg and Robert Flegal (main section: ^ #History). However, as time has passed the following alternative spellings have also been used to refer to the same medium:

"Pixel-art"

"Pixelart" (Compound)

"Art of pixels" in some languages, like French.

Pixelation - a forum for pixel art critique and discussion. Active 2005 - 2022. Now closed for new comments.

Pixel Joint - an online gallery with a forum, weekly challenges, awards, events and a Discord channel

Lospec - an online community with a gallery, various tutorials and other resources

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Pixel art is a form of digital art drawn with graphical software where images are built using pixels as the only building block. It is widely associated with the low-resolution graphics from 8-bit and 16-bit era computers, arcade machines and video game consoles, in addition to other limited systems such as LED displays and graphing calculators, which have a limited number of pixels and colors available.

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Digital art is an type of artistic work that uses digital technology during the process of creating the piece of artwork, like using photoshop to improve the photo's quality , or special affects from a movie.

https://en.wikipedia.org/wiki/Digital_art

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(with the duck)
Sarah song
https://www.google.com.hk/search?q=ASCII+art&safe=strict&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj4iKGzi_HfAhURZt4KHVVqChQQ_AUIDigB&biw=1366&bih=735#imgrc=dfS8w7Irwcu71M:

An art piece made by numbers, letters, marks and different symbols just like the cute little yellow duck up there. But ASCII art is usually black and write.

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Gabriel Cheng

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American regionalism is a modern art movement of American realism. They include paintings, murals, lithographs and illustrations depicting the scenes of rural and small towns in the Midwest and the South.

JESSICA WANG

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Computer art .      Ken  Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is bound to change over time since changes in technology and software directly affect what is possible.

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Computer art .      Ken  Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation. Many traditional disciplines are now integrating digital technologies and, as a result, the lines between traditional works of art and new media works created using computers has been blurred. For instance, an artist may combine traditional painting with algorithm art and other digital techniques. As a result, defining computer art by its end product can thus be difficult. Computer art is bound to change over time since changes in technology and software directly affect what is possible.

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Computer art is any art in which computers play a role in production or display of the artwork. Such art can be an image, sound, animation, video, CD-ROM, DVD-ROM, video game, website, algorithm, performance or gallery installation.

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(19th-century art movement)

°This kind of movement is created by the artist Claude Monet.

°The Impressionists faced harsh opposition from the conventional art community in France.

°After impression art there soon came impression music and impression literature, which tells how this movement impacted very wildly.
https://en.wikipedia.org/wiki/Impressionism

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Type of abstract art based on the use of geometric forms sometimes

Lucas MA

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Geometric abstraction is a form of abstract art based on the use of geometric forms sometimes, though not always, placed in non-illusionistic space and combined into non-objective (non-representational) compositions. Although the genre was popularized by avant-garde artists in the early twentieth century, similar motifs have been used in art since ancient times.

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Pop art is an art movement that emerged in the United Kingdom and the United States during the mid- to late-1950s.

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Impressionism developed in France in the nineteenth century and is based on the practice of painting out of doors and spontaneously ‘on the spot’ rather than in a studio from sketches. Main impressionist subjects were landscapes and scenes of everyday life.

Impressionism was developed by Claude Monet and other Paris-based artists from the early 1860s. (Though the process of painting on the spot can be said to have been pioneered in Britain by John Constable in around 1813–17 through his desire to paint nature in a realistic way).

CITAION
https://www.tate.org.uk/art/art-terms/i/impressionism

https://en.wikipedia.org/wiki/Impressionism#/media/File:Claude_Monet,_Impression,_soleil_levant.jpg

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Is a kind of art movement that was start in Italy in early 20 century. It emphasized speed, technology, youth, violence, and objects such as the car, the airplane, and the industrial city.
https://en.wikipedia.org/wiki/Futurism
http://exhibitions.guggenheim.org/futurism/

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Abstract art uses different shapes, form, color, and line create a shape or figure. A famous artist of Abstract Art is Pablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso.

By: Linda Zhang

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Abstract art | History, Characteristics, Artists, & Facts

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Abstract art, painting, sculpture, or graphic art in which the portrayal of things from the visible world plays little or no part. In its strictest sense, abstract art is the art made out of forms not drawn from the visible world, and it is distinct from abstracting from appearances.

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Pop art art based on modern popular culture and the mass media, especially as a critical or ironic comment on traditional fine art values.

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Pop art art based on modern popular culture and the mass media, especially as a critical or ironic comment on traditional fine art values.

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Digital art is an artistic work or practice that uses digital technology as part of the creative or presentation process. Since the 1970s, various names have been used to describe the process, including computer art and multimedia art. Digital art is itself placed under the larger umbrella term new media art.
https://www.boredpanda.com/i-discovered-digital-art-and-revived-the-artist-in-me/?utm_source=google&utm_medium=organic&utm_campaign=organic