Module 7

Topic: ABSTRACT AND NON-OBJECTIVE-DADAISM

A. Confucianism
B.
Confucianism, the way of life propagated by Confucius in the 6th–5th century bce and
followed by the Chinese people for more than two millennia. Although transformed over time,
it is still the substance of learning, the source of values, and the social code of the Chinese.
Its influence has also extended to other countries, particularly Korea, Japan, and Vietnam.

Confucianism, a Western term that has no counterpart in Chinese, is a worldview, a social

ethic, a political ideology, a scholarly tradition, and a way of life. Sometimes viewed as a
philosophy and sometimes as a religion, Confucianism may be understood as an all-
encompassing way of thinking and living that entails ancestor reverence and a profound
human-centred religiousness. East Asians may profess themselves to be Shintōists, Daoists,
Buddhists, Muslims, or Christians, but, by announcing their religious affiliations, seldom do
they cease to be Confucians.
C.
Prehistoric Art (~40,000–4,000 B.C.)
The origins of art history can be traced back to the Prehistoric era, before written records
were kept. The earliest artifacts come from the Paleolithic era, or the Old Stone Age, in the
form of rock carvings, engravings, pictorial imagery, sculptures, and stone arrangements.
Ancient Art (4,000 B.C.–A.D. 400)
Ancient art was produced by advanced civilizations, which in this case refers to those with
an established written language. These civilizations included Mesopotamia, Egypt, Greece,
and those of the Americas.
Medieval Art (500–1400)
The Middle Ages, often referred to as the “Dark Ages,” marked a period of economic and
cultural deterioration following the fall of the Roman Empire in 476 A.D. Much of the artwork
produced in the early years of the period reflects that darkness, characterized by grotesque
imagery and brutal scenery.
Mannerism (1527–1580)
Mannerist artists emerged from the ideals of Michelangelo, Raphael, and other Late
Renaissance artists, but their focus on style and technique outweighed the meaning of the
subject matter.
Baroque (1600–1750)
The Baroque period that followed Mannerism yielded ornate, over-the-top visual arts and
architecture. It was characterized by grandeur and richness, punctuated by an interest in
broadening human intellect and global discovery. Baroque artists were stylistically complex.
Rococo (1699–1780)
Rococo originated in Paris, encompassing decorative art, painting, architecture, and
sculpture. The aesthetic offered a softer style of decorative art compared to Baroque’s
exuberance. Rococo is characterized by lightness and elegance, focusing on the use of
natural forms, asymmetrical design, and subtle colors.
Neoclassicism (1750–1850)
As its name suggests, the Neoclassical period drew upon elements from classical antiquity.
Archaeological ruins of ancient civilizations in Athens and Naples that were discovered at
the time reignited a passion for all things past, and artists strove to recreate the great works
of ancient art. This translated to a renewed interest in classical ideals of harmony, simplicity,
and proportion.
Romanticism (1780–1850)
Romanticism embodies a broad range of disciplines, from painting to music to literature. The
ideals present in each of these art forms reject order, harmony, and rationality, which were
embraced in both classical art and Neoclassicism. Instead, Romantic artists emphasized the
individual and imagination. Another defining Romantic ideal was an appreciation for nature,
with many turning to plein air painting, which brought artists out of dark interiors and
enabled them to paint outside.
Realism (1848–1900)
Arguably the first modern art movement, Realism, began in France in the 1840s. Realism was
a result of multiple events: the anti-Romantic movement in Germany, the rise of journalism,
and the advent of photography.
Art Nouveau (1890–1910)
Art Nouveau, which translates to “New Art,” attempted to create an entirely authentic
movement free from any imitation of styles that preceded it. This movement heavily
influenced applied arts, graphics, and illustration. It focused on the natural world,
characterized by long, sinuous lines and curves.
Impressionism (1865–1885)
Impressionist painters sought to capture the immediate impression of a particular moment.
This was characterized by short, quick brushstrokes and an unfinished, sketch-like feel.
Impressionist artists used modern life as their subject matter, painting situations like dance
halls and sailboat regattas rather than historical and mythological events.
Cubism (1907–1914)
Cubism was established by Pablo Picasso and Georges Braque, who rejected the concept
that art should copy nature. They moved away from traditional techniques and perspectives;
instead, they created radically fragmented objects through abstraction.
Surrealism (1916–1950)
Surrealism emerged from the Dada art movement in 1916, showcasing works of art that
defied reason. Surrealists denounced the rationalist mindset. They blamed this thought
process on events like World War I and believed it to repress imaginative thoughts.
Surrealists were influenced by Karl Marx and theories developed by Sigmund Freud, who
explored psychoanalysis and the power of imagination.
Abstract Expressionism (1940s–1950s)
Shaped by the legacy of Surrealism, Abstract Expressionism emerged in New York after
WWII. It’s often referred to as the New York School or action painting. These painters and
abstract sculptors broke away from what was considered conventional, and instead used
spontaneity and improvisation to create abstract works of art. This included colossally-
scaled works whose size could no longer be accommodated by an easel. Instead, canvases
would be placed directly upon the floor.
Op Art (1950s–1960s)
Heightened by advances in science and technology as well as an interest in optical effects
and illusions, the Op art (short for “optical” art) movement launched with Le Mouvement, a
group exhibition at Galerie Denise Rene in 1955. Artists active in this style used shapes, colors,
and patterns to create images that appeared to be moving or blurring, often produced in
black and white for maximum contrast. These abstract patterns were meant to both confuse
and excite the eye.
Pop Art (1950s–1960s)
Pop art is one of the most recognizable artistic developments of the 20th century. The
movement transitioned away from methods used in Abstract Expressionism, and instead
used everyday, mundane objects to create innovative works of art that challenged
consumerism and mass media. This introduction to identifiable imagery was a shift from the
direction of modernism.
Arte Povera (1960s)
Translating literally to “poor art,” Arte Povera challenged modernist, contemporary systems
by infusing commonplace materials into creations. Artists used soil, rocks, paper, rope, and
other earthen elements to evoke a pre-industrial sentiment. As a result, many of the notable
works during this movement are sculptural.
Minimalism (1960s–1970s)
The Minimalist movement emerged in New York as a group of younger artists began to
question the overly expressive works of Abstract Expressionist artists. Minimalist art instead
focused on anonymity, calling attention to the materiality of works. Artists urged viewers to
focus on precisely what was in front of them, rather than draw parallels to outside realities
and emotive thoughts through the use of purified forms, order, simplicity, and harmony.
Contemporary Art (1970–present)
The 1970s marked the beginning of contemporary art, which extends through present day.
This period is dominated by various schools and smaller movements that emerged.

D.
Characteristic of artwork are lines, colors, values, shapes, textures, space, and movement.
To describe them, you must think beyond straight or curved, red or orange, light or dark,
round or square, striped or polka dot, shallow or deep, and small or large.