Pointillism, Art Nouveau, Symbolism, and Fauvism

Invented in the late 18th century (1880s) by Georges Seurat and Paul Signac.
Aimed to capture light and color nuances more accurately than traditional blending.
Uses small, distinct dots of pure color applied in patterns to form an image.
Developed in Paris in the mid-1880s as a reaction against Impressionism.
Trains the eye and mind to blend colors into a wider chromatic range.
Succession of color dabs creates a work of art when viewed from a distance.
Georges Seurat (1859-1891) was a major figure in creating and developing pointillism.
Example: Circus Sideshow (Parade de Cirque) by George Seurat (1887), depicting a nocturnal outdoor scene with artificial light at the Circus Corvi fair in Paris.
Example: Notre-Dame-de-la-Garde by Paul Signac (1905), showcasing a less meticulous style with rectangular daubs forming a vibrant image, comparable to early Fauvism.

Invented in the 1890s.
Aims to break down the traditional distinction between fine arts (painting and sculpture) and applied arts.
Characterized by long, sinuous, organic lines.
Used in architecture, interior design, jewelry, glass design, posters, and illustration.
Flourished between 1890 and 1910 in Europe and the United States.
Objective: to break down distinctions between fine and applied arts.
Widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work.
Example: Théophile Steinlen’s 1896 poster for Le Chat Noir, considered the first cabaret, exemplifies the Art Nouveau style with stylized typography.
Example: Mackmurdo's woodcut for Wren's City Churches shows the influence of the English Arts and Crafts movement on Art Nouveau, emphasizing handcrafted quality and simplicity through the use of positive and negative space.

Began as an art movement in the 1880s.
Uses concrete objects, images, or words to represent abstract ideas, qualities, or themes.
Allows artists to convey deeper meanings and complex concepts without stating them explicitly.
Began as a literary movement in France in the 1880s during a period of change in Europe.
The term came into circulation in 1886 when Jean Moréas published his Symbolist Manifesto.
In 1891, Albert Aurier defined symbolism as the subjective vision of an artist expressed through a simplified and non-naturalistic style, hailing Paul Gauguin as its leader.
Allows artists to convey complex ideas and emotions through visual representations, inviting viewers to engage with the artwork on a deeper level.
Example: Vase with Face by Pierre-Adrien Dalpayrat and Alphons Voisin-Delacroix, features a hidden sleeping face emerging from the vase, relating to Symbolist themes associated with dreaming.
Example: Island of the Dead by Arnold Böcklin (1880), commissioned as a memorial with a draped coffin and shrouded figure in a rowboat.

Began in 1904.
Expresses emotion through the radical use of color.
Separates color from its representational function, allowing it to act as an independent force to convey the artist's inner feelings.
An ornamental, dynamic, and sensual style characterized by long, sinuous lines and asymmetrical structure, often depicting objects in nature.
Flourished between 1890 and 1910 throughout Europe and the United States.
A deliberate attempt to create a new style, free of imitative historicism.
Gained significance through the Fauve painters who broke with Impressionism.
Example: The Green Stripe (1905) by Henry Matisse, a portrait of the artist's wife, Amélie, is a masterpiece of 20th-century portraiture.
Example: Women with a Hat by Henry Matisse, exhibited at the 1905 Salon d'Automne in Paris, led to the christening of Fauvism, the first modern art movement of the 20th century.