Fechar
_____ brought experimentation and a break from the traditional notions of art. Postmodernism arose from this movement and served as a return to art's more traditional materials and forms
_____ veered away from trying to capture a realistic likeness and instead embraced vivid colors, bold textures, and heavy, distorted lines to convey emotions
_____ abandoned the idea of single-point perspective and depicted objects from several viewpoints at the same time
_____, an Italian movement, hailed advanced technology and celebrated modernity and machines
_____ rose as a backlash against World War I. It mocked and challenged classical notions of people’s behavior and values, particularly those who were materialists and nationalists
_____—art that eschews realism and uses shapes, colors, and brushstrokes to convey feelings and ideas—grew in popularity in the early twentieth century
_____ primarily focused not on expressing the artist’s outlook but on analyzing materials and forms of art and promoted the design of functional objects
_____ emerged, like other movements mentioned, as a response to World War I. Art was viewed as utopian and transformative and consisted of precise shapes and primary colors
_____ developed into a major style in the 1930s and concerned decorative art and architecture that was modern, sophisticated, and elegant
_____ was inspired by Sigmund Freud and popularized by Salvador Dalí. Surrealist imagery often resembles that of an uncanny dream world, rife with sexuality and violence
The _____ school in Germany included several experimental artists from different disciplines who changed the face of graphic design, architecture, product, and furniture design. When the Nazis closed the Bauhaus in 1933, many artists fled to America, changing the face of American art and design
