미술 사조 연표

Beginning around 40,000 B.C., the archaeological record shows that anatomically modern humans effectively replaced Neanderthals and remained the sole hominid inhabitants across continental Europe.

Paintings and engravings found in caves along walls and ceilings are referred to as “parietal” art.

Most of the images were drawn during the first period, between 30,000 and 32,000 BP in radiocarbon years.

Lascaux (ca. 15,000 B.C.)

No vegetation or illustration of the environment is portrayed around the animals, who are represented in profile and often standing in an alert and energetic stance.

The animals are typically shown in a twisted perspective, with the heads depicted in profile but the pair of horns or antlers rendered frontally visible.

Their vitality is achieved by the broad, rhythmic outlines around areas of soft color.

At Lascaux and Chauvet, another magnificently painted cave in France, images of animals are superimposed on top of earlier depictions

3100-2686 BCE Early Dynastic Period, Dynasties 1-2

Cleopatra dies in 30 BCE and Egypt becomes a province of the Roman Empire

it was during the Old Kingdom that they developed into the forms that would characterize and influence the rest of pharaonic history.

Each object or element in a scene was rendered from its most recognizable angle, and these were then grouped together to create the whole.

This is why images of people show their face, waist, and limbs in profile, but eye and shoulders frontally.

Difference in scale was the most commonly used method for conveying hierarchy—the larger the scale of the figure, the more important they were.

Scenes were ordered in parallel lines, known as registers.

After the defeat of the Persians in 479 B.C., Athens dominated Greece politically, economically, and culturally.

Greek artists of the fifth and fourth centuries B.C. attained a manner of representation that conveys a vitality of life as well as a sense of permanence, clarity, and harmony.

Polykleitos of Argos was particularly famous for formulating a system of proportions that achieved this artistic effect and allowed others to reproduce it.

The building itself was constructed entirely of marble and richly embellished with sculpture, some of the finest examples of the high Classical style of the mid-fifth century B.C.

The history of Roman painting is essentially a history of wall paintings on plaster.

Art historians and archaeologists describe the development of Roman painting in four styles.

The First Style (ca. 200–60 B.C.) was largely an exploration of simulating marble of various colors and types on painted plaster.

during which time fresco artists imitated architectural forms purely by pictorial means

It is here that Mount Vesuvius erupted on August 24, 79 A.D., burying much of the countryside, the cities of Pompeii and Herculaneum, and nearby private residences.

In 330 A.D., the first Christian ruler of the Roman empire, Constantine the Great (r. 306–337) (26.229), transferred the ancient imperial capital from Rome to the city of Byzantion

with Constantinople taken in 1453

The term refers to the art of the Eastern Christian empire, the capital city of which was Constantinople or Byzantium, now part of Turkey and called Istanbul.

rendering highlights, for example, as an arbitrary network of gold or white lines independent of a light source.

It was thus an important influence on Western European, notably Italian, art - especially enamels and mosaic, but also painting.

The resolution of the Iconoclastic controversy in favor of the use of icons ushered in a second flowering of the empire, the Middle Byzantine period (843–1204).

Romanesque is a 19th-century term applied to the style of architecture and art which originated in Germany in the 10th century and, being imported by the Normans into England after the Conquest in 1066, spread rapidly throughout Europe.

The style endured until the 13th century, to be replaced by Gothic.

The expansion of monasticism was the main force behind the unprecedented artistic and cultural activity of the eleventh and twelfth century.

For the first time since the fall of the Roman empire, monumental sculpture covered church facades, doorways, and capitals

Round arches were carried on piers and churches were basilican in plan.

The interiors were decorated with frescoes with a similarly didactic intention.

the label is now used to characterize an art form based on the pointed arch, which emerged around Paris in the middle of the twelfth century, was practiced throughout Europe, and lingered in some regions well into the sixteenth century.

is now widely applied to the architecture and other art forms created in northern Europe between approximately the12th and16th centuries.

the vault could now be made of lighter, thinner stone and the walls opened to accommodate ever-larger windows.

In the figurative arts an elongation of the figure and a flowing linear treatment of drapery forms and of anatomy were characteristic.

French word meaning rebirth, now used in English to describe the great revival of art that took place in Italy from about 1400 under the influence of the rediscovery of classical art and culture

the earlier period coinciding approximately with the 15th century.

The term also applies generally to the more realistic style that was introduced by Masaccio and Donatello in Florence

Figures became weightier and more three-dimensional, and the space they occupied was more convincingly constructed.

The Renaissance reached its peak (known as the High Renaissance) in the short period from about 1500–1530 in the work of Michelangelo, Leonardo and Raphael.

in painting it is applied to the early decades of the 16th century, and in particular to the period which witnessed the ascendancy of Leonardo, Michelangelo, Raphael and Titian.

The work of Raphael may be seen as representing the purest form of the Renaissance style and he was held up as prime model in the art academies until the mid-nineteenth century

The period from about 1420 to 1550 was one of astonishing and almost uninterrupted artistic achievement in the Burgundian Netherlands (Low Countries).

who prized them for their remarkable qualities of verisimilitude, their technical and coloristic virtuosity, and their heightened expressive power.

Admixture in oils makes most pigments translucent, allowing artists to apply their colors in thin layers, or glazes

is sometimes used of works of the same period in Northern Europe, for example those of Robert Campin and Jan van Eyck in the Netherlands.

This term is widely used to describe a type of art of 16th-century Europe, first produced in Italy and then exported to other parts of the continent.

It is more specifically used to define art of urban and courtly sophistication, which was highly finished and self-consciously stylised.

to a great extent derived from the precedent of Michelangelo

This approach is invariably combined with unnaturalistic colour employed for decorative and expressive purposes.

Baroque was the dominant style in art and architecture of the seventeenth century

At its height in Rome from around 1630–1680, Baroque is particularly associated with the Catholic Counter-Reformation.

perhaps most usefully to describe large, usually 17th-century, works of a dramatic and exuberant nature which employ diagonal compositions and illusionistic effects in order to impress the viewer.

In the seventeenth century, the city of Rome became the consummate statement of Catholic majesty and triumph expressed in all the arts.

Light, sensuous, intensely decorative French style developed in the early eighteenth century

The term Rococo is a style label applied particularly to the painting, interior decoration and architecture popular in France during the reign of Louis XV (1715 - 1774).

The name comes from French rocaille, rock-work, based on forms of sea shells and corals.

In practice Rococo is a style of short curves, scrolls and counter curves, often elaborated with fantasy.

Neoclassicism was a particularly pure form of classicism that emerged from about 1750

The second half of the eighteenth century in Europe saw the increasing influence of classical antiquity on artistic style and the development of taste.

served as a conduit for a renewed interest in harmony, simplicity, and proportion

the publication in 1764 of a highly influential history of ancient art by German scholar Winckelmann

was at its height from about 1780 to 1830

Romanticism, first defined as an aesthetic in literary criticism around 1800, gained momentum as an artistic movement in France and Britain in the early decades of the nineteenth century and flourished until mid-century.

With its emphasis on the imagination and emotion, Romanticism emerged as a response to the disillusionment with the Enlightenment values of reason and order in the aftermath of the French Revolution of 1789.

The overall characteristic was a new emotionalism in contrast to the prevailing ideas of classical restraint.

In Romantic art, nature—with its uncontrollable power, unpredictability, and potential for cataclysmic extreme

The Realist movement in French art flourished from about 1840 until the late nineteenth century, and sought to convey a truthful and objective vision of contemporary life.

Rejecting the idealized classicism of academic art and the exotic themes of Romanticism, Realism was based on direct observation of the modern world.

In practice realist subject matter meant scenes of peasant and working-class life

The term generally implies a certain grittiness in choice of subject.

Impressionism was developed by Claude Monet and other Paris-based artists from the early 1860s.

The first group exhibition was in Paris in 1874

Seven further exhibitions were then held at intervals until 1886.

In 1874, a group of artists called the Anonymous Society of Painters, Sculptors, Printmakers, etc. organized an exhibition in Paris that launched the movement called Impressionism.

and is based on the practice of painting out of doors and spontaneously 'on the spot' rather than in a studio from sketches.

Brushwork became rapid and broken into separate dabs in order to render the fleeting quality of light.

Post-impressionism is a term which describes the changes in impressionism from about 1886,

Post-impressionism as a term was first used by British artist and art critic Roger Fry in 1910

Breaking free of the naturalism of Impressionism in the late 1880s, a group of young painters sought independent artistic styles for expressing emotions rather than simply optical impressions, concentrating on themes of deeper symbolism.

Through the use of simplified colors and definitive forms, their art was characterized by a renewed aesthetic sense as well as abstract tendencies.

Seurat believed that by placing tiny dabs of pure colors adjacent to one another

Late nineteenth-century movement that advocated the expression of an idea over the realistic description of the natural world

The term was coined in 1886 by French critic Jean Moréas to describe the poetry of Stéphane Mallarmé and Paul Verlaine.

Symbolist painters believed that art should reflect an emotion or idea rather than represent the natural world in the objective, quasi-scientific manner embodied by Realism and Impressionism.

Common themes included: love, fear, anguish, death, sexual awakening, and unrequited desire.

describing it as the subjective vision of an artist expressed through a simplified and non-naturalistic style

Art nouveau is an international style in architecture and design that emerged in the 1890s

Art nouveau flourished in the first decades of the twentieth century but was killed off by the First World War.

From the 1880s until the First World War, western Europe and the United States witnessed the development of Art Nouveau (“New Art”).

Sinuous lines and “whiplash” curves were derived, in part, from botanical studies and illustrations of deep-sea organisms

from around 1905 to 1910, which is characterised by strong colours and fierce brushwork

were made using bold, non-naturalistic colours (often applied directly from the tube), and wild loose dabs of paint.

Fauvism was the first of the avant-garde movements that flourished in France in the early years of the twentieth century.

they inspired the witty critic Louis Vauxcelles to call them fauves (“wild beasts”) in his review for the magazine Gil Blas.

Expressionist art refers to the expression of subjective emotions, inner experiences and spiritual themes

the term originates from modern artists working in Germany in the early 20th century

colours may appear intense and non-naturalistic, forms become distorted

However, following the rise to power of the German Nazi party in 1933, modern artists were persecuted for the so-called ‘degeneracy’ of their work.

It was created by Pablo Picasso (Spanish, 1881–1973) and Georges Braque (French, 1882–1963) in Paris between 1907 and 1914.

invented in around 1907–08 by artists Pablo Picasso and Georges Braque.

So they reduced and fractured objects into geometric forms, and then realigned these within a shallow, relieflike space.

They also used multiple or contrasting vantage points.

Futurism was an Italian art movement of the early twentieth century that aimed to capture in art

was launched by the Italian poet Filippo Tommaso Marinetti in 1909.

an art that celebrated the modern world of industry and technology

used elements of neo-impressionism and cubism

Dada was an art movement formed during the First World War in Zurich

In 1916 he started a satirical night-club in Zurich, the Cabaret Voltaire

The art, poetry and performance produced by dada artists is often satirical and nonsensical in nature

In addition to being anti-war, dada was also anti-bourgeois and had political affinities with the radical left.

Surrealism originated in the late 1910s and early ’20s as a literary movement that experimented with a new mode of expression called automatic writing, or automatism, which sought to release the unbridled imagination of the subconscious.

Officially consecrated in Paris in 1924 with the publication of the Manifesto of Surrealism by the poet and critic André Breton (1896–1966), Surrealism became an international intellectual and political movement.

Many surrealist artists have used automatic drawing or writing to unlock ideas and images from their unconscious minds.

Abstract expressionism is the term applied to new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s.

It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity

A new vanguard emerged in the early 1940s, primarily in New York

Their work resists stylistic categorization, but it can be clustered around two basic inclinations: an emphasis on dynamic, energetic gesture, in contrast to a reflective, cerebral focus on more open fields of color.

Emerging in the mid 1950s in Britain and late 1950s in America, pop art reached its peak in the 1960s.

Different cultures and countries contributed to the movement during the 1960s and 70s

It began as a revolt against the dominant approaches to art and culture and traditional views on what art should be.

Pop Art is: Popular (designed for a mass audience), Transient (short-term solution), Expendable (easily forgotten),

Minimalism is an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle

It flourished in the 1960s and 1970s with Carl Andre

What you see is what you see

Conceptual art is art for which the idea (or concept) behind the work is more important than the finished art object.

It emerged as an art movement in the 1960s and the term usually refers to art made from the mid-1960s to the mid-1970s.

The art forms they used were often intentionally those that do not produce a finished object

Postmodernism can be seen as a reaction against the ideas and values of modernism

The term is associated with scepticism, irony and philosophical critiques

The term was first used around 1970.

embraced complex and often contradictory layers of meaning

Murals first appeared in Goguryeo tombs around the fourth century; they continued to be produced until the collapse of the dynasty in 668.

Goguryeo produced some of the most magnificent and diverse tomb murals found in East Asia.

The mural artists typically employed the lime-plaster technique

The changes in mural themes show a gradual movement from the complex to the simple: portraits and scenes of everyday life in the early period; scenes of daily life and the Four Directional Deities in the middle period; and the Four Directional Deities alone in the late period.

Korea possesses a long tradition of landscape painting, tracing back to the tomb murals of the Goguryeo kingdom (37 B.C.–668 A.D.).

Period: Goryeo dynasty (918–1392)

Very few Korean paintings made prior to the fourteenth century survive.

Buddhist paintings of the Goryeo dynasty are renowned for their delicacy and refinement.

Most, if not all, were commissioned by members of the royal family and the aristocracy and were painted by monk-painters or professional court painters.

Some of its hallmarks are the deity’s graceful facial features and slender fingers, the red and green colors of the robe, and the sumptuously elegant gold decoration.

The establishment of the Joseon (“Fresh Dawn”) dynasty in 1392, following a revolutionary yet bloodless coup, purged the corrupt practices of the Goryeo regime, ended Mongol domination, and fueled an extraordinary cultural renaissance.

The single most important landscape painter of the fifteenth and sixteenth centuries was the court artist An Gyeon (active ca. 1440–70).

Taking inspiration from the idiom of Northern Song artist Guo Xi (ca. 1000–ca. 1090), An created a distinctive style of landscape painting that shaped the direction of that genre during the early Joseon period.

His most famous work, Dream Journey to the Peach Blossom Land, is a tour-de-force of dynamic brushwork and luminous imagery.

Painted in 1447 at the behest of his patron, Prince Anpyeong

A popular theme within this genre was the Eight Views of the Xiao and Xiang Rivers.

Perhaps the most ground-breaking and significant development to occur in landscape painting of the eighteenth century is the so-called “true-view landscape painting” (jingyeong sansuhwa).

Today the term signifies landscape painting that expresses both the actual topography of a famous site in Korea and the layers of psychological and art-historical meanings embedded in the scenery.

The preeminent artist Jeong Seon (1676–1759) is credited as the father of true-view landscape painting and, therefore, with the “Koreanization” of Joseon painting.

its cropped composition and bold, sweeping brushwork beautifully capture the moment the mountain emerges from the mist just after the rain.

Two of the most eminent artists of the late eighteenth century are Gang Sehwang (1713–1791) and Yi Inmun (1745–1821).

Album of Genre Paintings by Kim Hongdo contains twenty-five paintings of everyday life during the Joseon era

Moreover, the compilation of so many compelling works on daily life in a single album was quite rare, even in the late Joseon period, when genre paintings were popular.

Kim’s paintings typically deal with various aspects of daily life, showing ordinary people at work or at play, or capturing the subtle sentiments resonating between men and women.

Sketch-like paintings: minimal details and coloration

During the Joseon Dynasty, professional painters worked under the Royal Academy of Painting (Dohwaseo) with masters like Kim Hong-do and Shin Yun-bok.

album of genre paintings, 18th century, Joseon Dynasty

Kim views “the 1880s, when new changes first appeared, as the starting point of modern art.”

The first section, “From the Opening of Ports to Liberation,” features artworks of modern times, influenced by Japan during its occupation of Korea.

The 1894 Gabo Reform abolished the Dohwaseo, leaving court painters unemployed.

Go Hui-dong, tutored by the last Dohwaseo painter, Cho Seok-jin, became Korea’s first formal Western painting student at the Tokyo Academy of Fine Arts in 1909.

Still-life paintings of antique vessels with flowering plants and fruits emerged as a distinct Korean art form (gimyeong jeoljido) in the nineteenth century.

The leftmost panel bears the signature and seal of Jang Seungeop, the leading court artist of the time.

Tang Dynasty (618–907)

It is rightfully ranked as the classical period of Chinese art and literature, as it set the high standard to which later poets, painters, and sculptors aspired.

The vigorous brushwork of the court painter Wu Daozi (689-after 755) and the naturalist idiom of the poet and painter Wang Wei (699–759) became artistic paradigms for later generations.

By the late Tang dynasty, landscape painting had evolved into an independent genre

Northern Song Dynasty (960–1127)

The early Northern Song dynasty witnessed the flowering of one of the supreme artistic expressions of Chinese civilization: monumental landscape painting.

In their visionary landscapes, the great mountain, towering above the lesser mountains, trees, and men, was like “a ruler among his subjects, a master among servants.”

were welded together into a harmonious Song academic manner that valued a naturalistic, closely descriptive portrayal

Southern Song Dynasty (1127–1279)

the Song court reestablished itself in the south in Hangzhou

The Southern Song Imperial Painting Academy continued the stylistic direction and high technical standards established by Emperor Huizong in the early twelfth century.

reveal an increasingly narrow, concentrated vision and a commitment to the exact rendering of an object.

Yuan Dynasty (1271–1368)

Drawing on the scholar-official aesthetic of the late Northern Song, Yuan literati painters no longer took truth to nature as their goal but rather used painting as a vehicle for self-expression.

In the hands of highly educated scholar-artists, brushwork became calligraphic and assumed an autonomy that transcended its function as a means of creating representational forms.

Ming Dynasty (1368–1644)

Painters recruited by the Ming court were instructed to return to didactic and realistic representation, in emulation of the styles of the earlier Southern Song (1127–1279) Imperial Painting Academy.

While the Zhe (Zhejiang Province) School of painters carried on the descriptive, ink-wash style of the Southern Song with great technical virtuosity, the Wu (Suzhou) school explored the expressive calligraphic styles of Yuan scholar-painters emphasizing restraint and self-cultivation.

late Qing period (1644–1911)

During the early Qing period, this traditionalist theory became the foundation of a new orthodox style under the leadership of Dong’s disciple, Wang Shimin (1592–1680).

later known collectively as the Orthodox School.

Wang Hui made it his objective to integrate the descriptive landscape styles of the Song dynasty (960–1279) with the calligraphic brushwork of the Yuan dynasty (1271–1368) to achieve a “great synthesis.”

Another group of artists, later known as the “Eight Eccentrics of Yangzhou,” drew inspiration from the highly individualistic works of Shitao.

Practicing a self-expressive, calligraphic painting manner, these artists specialized in figural subjects or auspicious flower and bird images

Yamato-e is a genre of painting that first flourished during Japan’s Heian period (794–1185).

Figures are generally highly stylized, with abbreviated facial features.

Other stylistic features often associated with yamato-e include the use of bright, thick pigments, large bands of clouds that obscure and divide space, and a technique known as fukinuki yatai

Many yamato-e paintings took the format of illustrated handscrolls, known as emaki, depicting literary classics such as The Tale of Genji.

Kamakura and Nanbokucho Periods (1185–1392)

Muromachi Period (1392–1573)

Today, ink monochrome painting is the art form most closely associated with Zen Buddhism.

it became the most prominent form of Buddhism between the fourteenth and sixteenth centuries.

In general, the first Japanese artists to work in this medium were Zen monks who painted in a quick and evocative manner to express their religious views and personal convictions.

Chinese-style painting was characterized by a strong emphasis on brushwork, predominance of ink with little or no use of pigments, and preference for Chinese subjects, especially images of Zen patriarchs and landscapes.

The Kano school was the longest lived and most influential school of painting in Japanese history; its more than 300-year prominence is unique in world art history.

Momoyama Period (1573–1615)

the art of this period was characterized by a robust, opulent, and dynamic style, with gold lavishly applied to architecture, furnishings, paintings, and garments.

Motonobu’s grandson Kano Eitoku (1543–1590) introduced a new strength and dynamism to his large compositions that appealed to the warlords who dominated the Momoyama period

His series of sliding doors (fusuma) and folding screens (byōbu) painted with oversize animals, figures, and nature scenes set against scintillating gold foil well illustrated the power and energy the daimyo patrons wished to express.

The Rinpa School (which can also be pronounced Rimpa) was a key part of the Edo period revival of indigenous Japanese artistic interests described by the term yamato-e.

Paintings, textiles, ceramics, and lacquerwares were decorated by Rinpa artists with vibrant colors applied in a highly decorative and patterned manner.

Favored themes, which often contained evocative references to nature and the seasons, were drawn from Japanese literature

Rinpa is a bit of a misnomer in that the term identifies artists who worked in a particular style, occasionally together, but did not form an organized or hereditary school.

it derives its name (pa, or school, of [Ko-]rin) from Ogata Kōrin (1658–1716).

Edo period (1615–1868)

Woodblock prints of the Edo period most frequently depicted the seductive courtesans and exciting Kabuki actors (JP2822) of the urban pleasure districts.

In 1765, new technology made it possible to produce single-sheet prints in a whole range of colors.

each print required the collaboration of four experts: the designer, the engraver, the printer, and the publisher.

Edo period (1615–1868)

The term came into use during the Meiji period to distinguish indigenous painting from Western-style oil painting

Meiji period (1868–1912)

They painted on paper and silk with traditional water-soluble and mineral pigments used by earlier generations of Japanese artists, but nihonga was not simply a continuation of older painting traditions.

in some cases nihonga artists also adopted realistic Western painting techniques such as shading

The impetus for reinvigorating traditional painting by developing a more modern Japanese style came largely from art critic Okakura Kakuzō