Propose a work associated with this style Propose a work associated with this style 1959-1965 Happening DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Along with Fluxus, the Happening is one of the most important forms of action art of the 1960s. A happening is an event improvised directly with the audience. One of the early forms of happening is the dé-coll/age happening. This includes throwing objects into the audience, exhibitionism, orgies of blood and paint, destroying, tearing, spoiling objects. The aim is to create a shock effect on an audience that is involved in the event through a wide variety of actions. The audience is part of the action conceived by the artist. The audience is included in the artistic actions, whereby the course of events is not fixed from the outset. Depending on the reaction of the audience, improvisation can vary (although happenings are seldom completely improvised, but rather rehearsed in advance). This also means that happenings usually do not have a fixed time frame; often the audience does not even know when the happening is over. Another characteristic of the happening is the use of different objects and their random or deliberate juxtaposition, which is also a basic principle of surrealism. The term was first used by Allan Kaprow in 1959 for an action at the Reuben Gallery in New York, which consisted of 18 happenings in six parts. There were three rooms, separated from each other by plastic sheeting, in which the events took place at the same time. However, Kaprow had already used the term in his essay "The Legacy of Jackson Pollock", published in 1958, where he sketched out a prognosis for the art of the post-Pollock generation. The aim of the Happening artists was to expand the traditional concept of art and to connect art with everyday life. In doing so, everyday actions were to be made clear to people and thereby abstracted. The boundary between Fluxus and Happening cannot be defined exactly, as some artists orientate themselves towards and participate in both forms of action. Discover Limited Edition Explore This Era DE EN 1959-1965 Happening Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1923-1933 New Objectivity DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition New Objectivity, as a style in the visual arts, developed in the German-speaking world after the First World War and represents a reaction to Expressionism. As the term already suggests, New Objectivity offered a return to reality and a concentration on the objectively perceptible. The style is therefore also referred to as the new representational painting of the Weimar Republic, which distanced itself from the more abstract, romantic or idealistic tendencies of Expressionism. It encompasses different currents. While some representatives of New Objectivity look at society from a socially critical point of view and bring the grievances of the Weimar Republic to light with their work, others are guided by classicism or develop a magical-realist variant of painting that can be understood as a bridge to Surrealism. Discover Limited Edition Explore This Era DE EN 1923-1933 New Objectivity Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1880-1910 Post-Impressionism/ Nachimpressionism DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Post-Impressionism is a collective term for various styles of painting that followed Impressionism between 1880 and 1905. Instead of Post-Impressionism, the terms Post-Impressionism and Late Impressionism are also commonly used. The main focus of development was France. Within France, Post-Impressionism was replaced by Fauvism. Post-Impressionism generally includes Pointillism (also known as Divisionism or Neo-Impressionism), Cloisonism, Synthetism, the Nabis group of artists, the Pont-Aven School, and the works of van Gogh, Gauguin, Toulouse-Lautrec and Cézanne. The term goes back to the English painter and art critic Roger Fry, who used it in 1910 on the occasion of the exhibition he organised, Manet and the Post-Impressionists, at the Grafton Galleries, London. Paintings by Paul Cézanne, Paul Gauguin and Vincent van Gogh, among others, were shown there. The distinction from Impressionism is, however, blurred. Cézanne in particular is occasionally assigned to one category or the other. Through the Impressionists, a clearly changed conception of art had become visible in the 1870s, a first step on the way to modernist art. The late Impressionists continued along this path, but developed new ideas of order to the spontaneity and virtuosity of their predecessors. The tendency was to see the picture more and more clearly as an independent art form. It was to become an object of pure presentation of colour and form, aiming at aesthetic pleasure and the transmission of subjective feelings of the artist. The viewer is thus invited to value the sensual experience of colours and lines more highly than the natural appearance of things, to which less and less importance was attached. Discover Limited Edition Explore This Era DE EN 1880-1910 Post-Impressionism/ Nachimpressionism Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1830-1960 Realism DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition In art history, realism (from Latin realis 'concerning the thing'; res: "thing, thing") refers to a new conception of art that began in Europe in the mid-19th century and turned against representations of classicism and romanticism. The appropriation of reality by the artist and its subsequent transformation into a work of art as well as its political connotation are characteristic of realism. It propagates everydayness and objectivity. Its best-known representative was the French painter Gustave Courbet (1819-1877), who appropriated the concept of realist art, which was still very vague and imprecisely defined at the time, and used it for his art because of its provocative effect. The content of his works had a formative effect on the term realism. Courbet's main concern was to create living art by drawing on his knowledge of (artistic) tradition and his own individuality. Discover Limited Edition Explore This Era DE EN 1830-1960 Realism Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1420-1610 Renaissance DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Renaissance painting began in Florence around 1420 (Early Renaissance, 1420-1500), reached its peak at the beginning of the 16th century (High Renaissance, 1500-1520) and continued to have an effect in its later period alongside Mannerism, which emerged around 1520/1530. From the turn of the 16th century, Renaissance forms were taken up by all European countries and modified according to their traditions. Artistic painting is mainly found as paintings of churches and monasteries and their altarpieces. Portraits, landscapes, everyday scenes and still lifes were added as art paintings very late in the Middle Ages and the Renaissance. Renaissance painting is the aesthetic epitome of grace and form on which much of the norms of modernity are based. Its influence on the painting of later generations was overwhelming. The main working techniques as well as the usual choice of subjects and their mode of representation matured and were developed in that age. Discover Limited Edition Explore This Era DE EN 1420-1610 Renaissance Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1920-1933 Verism DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Verism (Italian verismo, from vero 'true') originally referred to a current of Italian literature in the 19th century devoted to an exact description and with a socially critical commitment to the lives of peasants and fishermen. From this, the term became the name for a direction of Italian opera at the end of the 19th century. From the beginning of the 20th century, veristic film formed its own tradition in Italy. Since the 1920s, the term also found its way into art criticism in Germany. In 1920, Wilhelm Hausenstein used the term verism for the first time with regard to the art of Heinrich Maria Davringhausen and George Grosz, referring to post-Expressionist German art. Hausenstein defined verism as "the return of naturalism to the point of intransigence". As a result, the term verism entered the literature as a designation of a mainstream of New Objectivity and is usually applied to various artists of the Weimar Republic who were dedicated to the study and depiction of a new social reality, such as Otto Dix, George Grosz, Christian Schad, Rudolf Schlichter, Karl Hubbuch, Georg Scholz and Jeanne Mammen. The term Verismo is also used for a counter-current to Classicism in Italian sculpture around the middle of the 19th century, which is classified as Realism. The main representatives of this movement are Lorenzo Bartolini and Vincenzo Vela. Discover Limited Edition Explore This Era DE EN 1920-1933 Verism Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1904-1980 Straight photography DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Pure photography or straight photography refers to photography that attempts to depict a scene or subject in sharp focus and detail, in accordance with the qualities that distinguish photography from other visual media, particularly painting. Originating as early as 1904, the term was used by critic Sadakichi Hartmann in the magazine Camera Work, and later promoted by its editor, Alfred Stieglitz, as a more pure form of photography than Pictorialism. Once popularized by Stieglitz and other notable photographers, such as Paul Strand, it later became a hallmark of Western photographers, such as Edward Weston, Ansel Adams and others. Although taken by some to mean lack of manipulation, straight photographers in fact applied many common darkroom techniques to enhance the appearance of their prints. Rather than factual accuracy, the term came to imply a specific aesthetic typified by higher contrast and rich tonality, sharp focus, aversion to cropping, and a Modernism-inspired emphasis on the underlying abstract geometric structure of subjects. Discover Limited Edition Explore This Era DE EN 1904-1980 Straight photography Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1920-1965 Light Art DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Today, Light Art is an independent art genre alongside painting, sculpture or photography, which can be found in the superordinate categories of sculpture and installation. Contemporary light artists work primarily with artificial light as a light source. One can only speak of light art if the use of light sources serves aesthetic purposes. As a rule, this does not apply to installations whose purpose is merely to make objects visible in the dark by means of illumination, or which have a profane sign character (such as the coloured lights in traffic lights), or to commercial illuminated advertising that does not go beyond the scope of conventional design. Most works of light art require the virtual absence of natural (day) light and of competing artificial light sources in order to unfold their full effectiveness. The main works of light art include the Light-Space Modulator (1920-1930) created by Lázló Moholy-Nagy and the Diagonal of 25 May (1963), a light strip with a yellow fluorescent tube by the American Dan Flavin. Among the younger representatives of this art movement are Ólafur Elíasson, Siegfried Kärcher, Brigitte Kowanz, Mischa Kuball and Christina Kubisch with their groups of works. Discover Limited Edition Explore This Era DE EN 1920-1965 Light Art Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1848-1853 Pre-Raphaelites DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition The Pre-Raphaelite Brotherhood (later known as the Pre-Raphaelites) was a group of English painters, poets, and art critics, founded in 1848 by William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner who formed a seven-member "Brotherhood" modelled in part on the Nazarene movement. The Brotherhood was only ever a loose association and their principles were shared by other artists of the time, including Ford Madox Brown, Arthur Hughes and Marie Spartali Stillman. Later followers of the principles of the Brotherhood included Edward Burne-Jones, William Morris and John William Waterhouse. The group sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. They rejected what they regarded as the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. The Brotherhood believed the Classical poses and elegant compositions of Raphael in particular had been a corrupting influence on the academic teaching of art, hence the name "Pre-Raphaelite". In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, whom they called "Sir Sloshua". To the Pre-Raphaelites, according to William Michael Rossetti, "sloshy" meant "anything lax or scamped in the process of painting ... and hence ... any thing or person of a commonplace or conventional kind". The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background. Christian themes were abundant. The group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a reform movement, created a distinct name for their form of art, and published a periodical, The Germ, to promote their ideas. The group's debates were recorded in the Pre-Raphaelite Journal. The Brotherhood separated after almost five years. Discover Limited Edition Explore This Era DE EN 1848-1853 Pre-Raphaelites Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1904-1909 Fauvism DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition In art history, Fauvism is assigned to a style of painting. It emerged from a movement within the French avant-garde at the beginning of the 20th century. Fauvism forms the first movement of classical modernism. The main representatives of the initially reviled movement were Henri Matisse, André Derain and Maurice de Vlaminck. They were joined by Raoul Dufy, Albert Marquet, Kees van Dongen, Othon Friesz and Georges Braque. Some art historians also count Henri Manguin, Charles Camoin, Jean Puy and Louis Valtat among the Fauves, and according to more recent trends, Georges Rouault as well. In the Fauvist paintings, the colouring was no longer intended to serve the illusionistic representation of an object. The painterly statement emerged from the harmony of the colour surfaces. Typical for most of the works are their bright colours. However, considerations of the representation of space are just as essential to the composition of the picture. The roots of Fauvism stem from Impressionism, but the aim was to counteract the fleetingness of Impressionist pictures in order to give the work more duration (French durée). Fauvism did not have its own theory or manifesto. According to a more recent view, Fauvism had things in common with Expressionism. In 1907, Cubism replaced Fauvism and attracted some of its representatives. It is a legacy of the Fauves that modern artists see colour as an individual means of expression. The term "Fauvism" derives from the French word fauves "wild beasts". When a small group of painters showed their paintings in Room VII of the Salon d'Automne in 1905, the art critic Louis Vauxcelles saw a female bust in the Florentine style, created by the French sculptor Albert Marque, standing among the paintings. He exclaimed, "Tiens, Donatello au milieu des fauves." ("Look there, Donatello surrounded by wild beasts.") Alongside Henri Matisse and André Derain, Albert Marquet, Henri Manguin, Othon Friesz, Jean Puy, Louis Valtat, Maurice de Vlaminck, Charles Camoin and Kees van Dongen showed their works. Discover Limited Edition Explore This Era DE EN 1904-1909 Fauvism Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1905-1913 Bridge DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Die Brücke (The Bridge) was a group of German expressionist artists formed in Dresden in 1905. Founding members were Fritz Bleyl, Erich Heckel, Ernst Ludwig Kirchner and Karl Schmidt-Rottluff. Later members were Emil Nolde, Max Pechstein and Otto Mueller. The seminal group had a major impact on the evolution of modern art in the 20th century and the creation of expressionism. The group came to an end around 1913. The "Die Brücke Museum" in Berlin was named after the group. Die Brücke is sometimes compared to the roughly contemporary French group of the Fauves. Both movements shared interests in primitivist art and in the expressing of extreme emotion through high-keyed colors that were very often non-naturalistic. Both movements employed a drawing technique that was crude, and both groups shared an antipathy to complete abstraction. The Die Brücke artists' emotionally agitated paintings of city streets and sexually charged events transpiring in country settings made their French counterparts, the Fauves, seem tame by comparison. Discover Limited Edition Explore This Era DE EN 1905-1913 Bridge Propose a work associated with this style Propose a work associated with this style

Propose a work associated with this style Propose a work associated with this style 1946-1952 Fronte Nuovo delle Arti DE EN Welcome to Our Community! Dive into what makes us truly unique. Here, we provide a glimpse into our vibrant ecosystem, highlighting the special qualities that distinguish us. Whether it's our dedication to nurturing creativity, building connections, or showcasing extraordinary talents – we celebrate what you bring to the table. Enhance your experience with us by adding visual elements to your profile, making it even more engaging. Join us to create a space where inspiration thrives and connections grow deeper. Join the Elite Circle The Most Valuable & Expensive Works of Art in The World Be one of the owners of this limited edition and buy one of the 3333 hand signed books! Discover Limited Edition Fronte Nuovo delle Arti was an Italian artists' group. The group was founded in 1946 by the artists Bruno Cassinari, Renato Birolli, Renato Guttuso, Leoncillo Leonardi, Ennio Morlotti, Armando Pizzinato, Giuseppe Santomaso, Emilio Vedova, Alberto Viani and existed until 1952. These artists had jointly signed the Manifesto di fondazione della Nuova Secessione Artistica Italiana (For a "New Secession in Italy") on the initiative of Renato Birolli in Venice in 1946, thus founding the artists' movement Nuova Secessione Artistica Italiana as a precursor to the Fronte Nuovo delle Arti. The name Fronte Nuovo delle Arti (Italian for: "New Front of the Arts") was first used on the occasion of an exhibition of the participating artists in the "Galerie della Spiga" ("Gallery of the Ear") in Milan. The signatories and members of the Nuova Secessione Artistica Italiana were joined by the artists Antonio Corpora, Pericle Fazzini, Nino Franchina and Giulio Turcato to form the Fronte Nuovo delle Arti in Milan. The hallmark of the artists involved was Abstract Painting, which was also influenced by Orphism. The work of Pablo Picasso also had a major influence on painting, especially his prismatic structuring of pictorial elements. Renato Guttuso, Emilio Vedova and Alberto Viani were considered the main representatives of Fronte Nuovo delle Arti. In 1948, representatives of the group presented their works at the Venice Biennale. In 1952, the abstract artists left the group and, on the initiative of the art historian and art critic Lionello Venturi (1885-1961), founded the artist group Gruppo degli Otto. Renato Guttoso and Armando Pizzinato henceforth turned to expressive realism in their art. Discover Limited Edition Explore This Era DE EN 1946-1952 Fronte Nuovo delle Arti Propose a work associated with this style Propose a work associated with this style