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Expressionist architecture was individualistic and in many ways eschewed aesthetic dogma, [6] but it is still useful to develop some criteria which defines it. Though containing a great variety and differentiation, many points can be found as recurring in works of Expressionist architecture, and are evident in some degree in each of its works:
The body of art, including painting, sculpture, architecture, music and literature identified as "Renaissance art" was primarily produced during the 14th, 15th, and 16th centuries in Europe under the combined influences of an increased awareness of nature, a revival of classical learning, and a more individualistic view of man. [3]
In architecture, the four-volume work The Nature of Order by Alexander summarizes his most recent results. An alternative architectural theory based on scientific laws, as for example A Theory of Architecture is now competing with purely aesthetic theories most common in architectural academia. This entire body of work can be seen as balancing ...
Umayyad architecture – based in Damascus (c. 660–750) Abbasid architecture – based in Baghdad (c. 750–1256) Mamluk architecture – based in Cairo (c. 1256–1517) Ottoman architecture – based in Istanbul (c. 1517–1918) Regional Styles Egypt Early Islamic architecture (Rashidi + Umayyad) (641–750) Abbasid architecture (750–954)
According to Johannes Dobai, "Symbolist art tends to generalize, through images, an individual, or rather unconscious, experience of the world." [7] Symbolism was an eclectic movement, which brought together a number of artists with common concerns and sensibilities. More than a homogeneous style, it was an amalgam of styles grouped by a series ...
Migration Period art describes the art of the "barbarian" Germanic and Eastern-European peoples who were on the move, and then settling within the former Roman Empire, during the Migration Period from about 300-700; the blanket term covers a wide range of ethnic or regional styles including early Anglo-Saxon art, Visigothic art, Viking art, and ...
Primarily through the depiction of architecture, Renaissance artists were able to practice the art of three-dimensional illusion using linear perspective, which gave their works a greater sense of depth. [3] The pictures in the gallery below show the development of linear perspective in buildings and cityscapes.
In architecture it is the almost inevitable term used for San Marco, Venice, and a few other very old buildings in Venice (the Fondaco dei Turchi for example) and on the small islands of Torcello (Torcello Cathedral) and Murano in the lagoon, but is not often used for other buildings (until 19th-century revivals such as Westminster Cathedral ...