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Across
  1. 1. French, "wild beasts." See Fauvism.
  2. 5. Patterns or pictures made by embedding small pieces (tesserae) of stone or glass in cement on surfaces such as walls and floors; also, the technique of making such works.
  3. 9. mixture The visual effect of juxtaposed complementary colors.
  4. 11. A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism.
  5. 12. A movement in Western art that developed in the second half of the 19th century and sought to capture the images and sensibilities of the age. Modernist art goes beyond simply dealing with the present and involves the artist's critical examination of the premises of art itself.
  6. 15. A type of art formulated by Kazimir Malevich to convey his belief that the supreme reality in the world is pure feeling, which attaches to no object and thus calls for new, nonobjective forms in artshapes not related to objects in the visible world.
  7. 17. Greek, "cubes." Tiny stones or pieces of glass cut to desired shape and size to form a mosaic.
  8. 19. Brücke German, "the bridge." An early-20th-century German Expressionist art movement under the leadership of Ernst Ludwig Kirchner. The group thought of itself as the bridge between the old age and the new.
  9. 21. l'oeil French, "fools the eye." A form of illusionistic painting that aims to deceive viewers into believing that they are seeing real objects rather than a representation of those objects.
  10. 23. A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic Surrealists, such as Joan Miró, produced largely abstract compositions. Naturalistic Surrealists, notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.
  11. 26. A technique in which the artist rubs a crayon or another medium across a sheet of paper placed over a surface with a strong textural pattern.
  12. 28. The name of a color. See primary colors, secondary colors, and complementary colors.
  13. 29. Paneling on the lower part of interior walls.
  14. 30. Nouveau French, "new art." A late-19th- and early-20th-century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. The movement had other names in other countries: Jugendstil in Austria and Germany, Modernismo in Spain, and Floreale in Italy.
  15. 31. A kind of sculpture, invented by Alexander Calder, combining nonobjective organic forms and motion in balanced structures hanging from rods, wires, and colored, organically shaped plates.
  16. 32. German, "the blue rider." An early-20th-century German Expressionist art movement founded by Vassily Kandinsky and Franz Marc. The artists selected the whimsical name because of their mutual interest in the color blue and horses.
  17. 34. colors Orange, green, and purple, obtained by mixing pairs of primary colors (red, yellow, blue).
  18. 36. In sculpture, figures projecting from a background of which they are part. The degree of relief is designated high, low (bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself. See also repoussé.
  19. 37. (adj. Expressionist) Twentieth-century art that is the result of the artist's unique inner or personal vision and that often has an emotional dimension. Expressionism contrasts with art focused on visually describing the empirical world.
  20. 39. The incorporation in early-20th-century Western art of stylistic elements from the artifacts of Africa, Oceania, and the native peoples of the Americas.
  21. 40. contrasts The phenomenon that juxtaposed colors affect the eye's reception of each, as when a painter places dark green next to light green, making the former appear even darker and the latter even lighter. See also successive contrasts.
  22. 42. contrasts The phenomenon of colored afterimages. When a person looks intently at a color (green, for example) and then shifts to a white area, the fatigued eye momentarily perceives the complementary color (red). See also simultaneous contrasts.
  23. 44. In sculpture, figures projecting from a background of which they are part. The degree of relief is designated high, low (bas), or sunken. In the last, the artist cuts the design into the surface so that the highest projecting parts of the image are no higher than the surface itself. See also repoussé.
  24. 45. A powdery paste of pigment and gum used for making crayons; also the pastel crayons themselves.
  25. 46. The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors.
Down
  1. 2. In painting, the process of yielding oneself to instinctive motions of the hands after establishing a set of conditions (such as size of paper or medium) within which a work is to be carried out.
  2. 3. A system of painting devised by the 19th-century French painter Georges Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots (points). The image becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots. Sometimes referred to as divisionism.
  3. 4. color An object's actual color in white light.
  4. 6. The French fascination with all things Japanese. Japonisme emerged in the second half of the 19th century.
  5. 7. A late-19th-century movement based on the idea that the artist was not an imitator of nature but a creator who transformed the facts of nature into a symbol of the inner experience of that fact.
  6. 8. French, "new art." A late-19th- and early-20th-century art movement whose proponents tried to synthesize all the arts in an effort to create art based on natural forms that could be mass produced by technologies of the industrial age. The movement had other names in other countries: Jugendstil in Austria and Germany, Modernismo in Spain, and Floreale in Italy.
  7. 10. An approach to painting much popular among the Impressionists, in which an artist sketch outdoors to achieve a quick impression of light, air, and color. The artist then takes the sketches to the studio for reworking into more finished works of art.
  8. 13. An early-20th-century art movement that rejected naturalistic depictions, preferring compositions of shapes and forms abstracted from the conventionally perceived world. See also Analytic Cubism and Synthetic Cubism.
  9. 14. French, "end of the century." A period in Western cultural history from the end of the 19th century until just before World War I, when decadence and indulgence masked anxiety about an uncertain future.
  10. 16. A decorative metalwork technique employing cloisons; also, decorative brickwork in later Byzantine architecture.
  11. 18. French, "advance guard" (in a platoon). Late-19th- and 20th-century artists who emphasized innovation and challenged established convention in their work. Also used as an adjective.
  12. 20. A form of Cubism developed by the French painter Robert Delaunay in which color plays an important role.
  13. 22. The term used to describe the stylistically heterogeneous work of the group of late-19th-century painters in France, including van Gogh, Gauguin, Seurat, and Cézanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than the Impressionists did.
  14. 23. The value or tonality of a color is the degree of its lightness or darkness. The intensity or saturation of a color is its purity, its brightness or dullness. See also primary, secondary, and complementary colors.
  15. 24. Cubism A later phase of Cubism, in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject, in order to engage the viewer with pictorial issues, such as figuration, realism, and abstraction.
  16. 25. A 20th-century American art movement that portrayed American rural life in a clearly readable, realist style. Major Regionalists include Grant Wood and Thomas Hart Benton.
  17. 27. A middle-class citizen.
  18. 33. A late-19th-century art movement that sought to capture a fleeting moment, thereby conveying the illusiveness and impermanence of images and conditions.
  19. 35. Hebrew, "prophet." A group of Symbolist painters influenced by Paul Gauguin.
  20. 38. Small individual Indian paintings intended to be held in the hand and viewed by one or two individuals at one time.
  21. 41. An early-20th-century art movement led by Henri Matisse. For the Fauves, color became the formal element most responsible for pictorial coherence and the primary conveyor of meaning.
  22. 43. A composition made by combining on a flat surface various materials, such as newspaper, wallpaper, printed text and illustrations, photographs, and cloth.