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Ar tHi st or yTi mel i ne Pr ehi s t or i cAr t( ~40, 000–4, 000B. C. ) The or i gi ns ofar thi st or y can be t r aced back t ot he Pr ehi st or i cer a,bef or e wr i t t en r ecor dswer ekept .Theear l i estar t i f act scomef r om t hePal eol i t hi cer a,ort heOl dSt one Age,i nt hef or m ofr ockcar vi ngs,engr avi ngs,pi ct or i ali mager y ,scul pt ur es,andst one ar r angement s. ur alpi gment sandst onecar vi ngst ocr eat e Ar tf r om t hi sper i odr el i edont heuseofnat r epr esent at i onsofobj ect s,ani mal s,andr i t ual st hatgover nedaci vi l i zat i on’ sexi st ence. Oneoft hemostf amousex ampl esi st hatoft hePal eol i t hi ccav epai nt i ngsf oundi nt he compl excav esofLas cauxi nFr ance.Thoughdi scov er edi n1940,t hey ’ r eest i mat edt o beupt o20, 000y ear sol danddepi ctl ar geani mal sandv eget at i onf r om t hear ea.

Anc i entAr t( 4, 000B. C. –A. D.400) Anc i entar twaspr oducedbyadv ancedci vi l i zat i ons,whi chi nt hi s caser ef er st ot hos ewi t hanest abl i s hedwr i t t enl anguage.Thes e ,Gr eec e,andt hoseof c i v i l i z at i onsi ncl udedMesopot ami a,Egypt t heAmer i cas . Themedi um ofawor kofar tf r om t hi sper i odv ar i esdependi ng ont hec i vi l i zat i ont hatpr oducedi t ,butmos tar ts er vedsi mi l ar pur pos es :t ot el ls t or i es,decor at e ut i l i t ar i an obj ect sl i k e bowl s and weapons ,di spl ay r el i gi ous and s ymbol i ci mager y ,and demons t r at esoci als t at us .Manywor k sdepi cts t or i esofr ul er s, gods ,andgoddes ses . Oneoft hemos tf amouswor k sf r om anci entMesopot ami ai st heCode of Hammurabi. Cr eat edar ound1792B. C. ,t hepi ecebear saBabyl oni ans etofl awscar v edi nst one, ador ned by an i mage ofKi ng Hammur abi —t he si xt h Ki ng ofBaby l oni a—and t he Mesopot ami angod,Shabash.

Medi ev al Ar t( 500–1400) TheMi ddl eAges ,of t enr ef er r edt oast he“ Dar kAges , ”mar k eda per i odofeconomi candcul t ur aldet er i or at i onf ol l owi ngt hef al loft he RomanEmpi r ei n476A. D.Muchoft hear t wor kpr oduc edi nt he ear l yy ear soft he per i od r efl ect st hatdar kness,char act er i z edby gr ot esque i mager y and br ut als cener y .Ar tpr oduc ed dur i ng t hi s t i me was cent er ed ar ound t he Chur ch.As t he fir stmi l l enni um pas sed,mor es ophi s t i cat ed and el abor at el y decor at ed c hur ches emer ged;wi ndows and si l houet t es wer e ador ned wi t h bi bl i cal s ubj ect sandscenesf r om cl assi cal my t hol ogy . l l umi nat ed Thi s per i od was al so r esponsi bl e f or t he emer gence of t hei hi car chi t ect ur est yl e.Defi ni t i v eex ampl esofi nfluent i alar tf r om t hi s manuscr i ptandGot

per i od i ncl ude t he c at acombs i n Rome,Hagi a Sophi ai nI st anbul ,t heLindisfarne Gospels,one oft he bes t known ex ampl esoft he i l l umi nat ed manus cr i pt ,and Not r e Dame,aPar i si ancat hedr alandpr omi nentex ampl eofGot hi car chi t ect ur e.

Renai s s anc eAr t( 1400–1600) Thi s st yl e of pai nt i ng, s cul pt ur e, anddecor at i v e act er i z ed by a f ocus on nat ur e ar twas char andindividualism, t he t hought of man as i ndependentand s el f r el i ant .Though t hese i deal s wer e pr esent i nt he l at e Medi ev alper i od, t hey fl our i s hedi nt he15t hand16t hcent ur i es,par al l el i ng s oci alandec onomi cchangesl i k esecul ar i z at i on. The Renai s sance r eached i t s hei ghti n Fl or ence, I t al y ,due i nl ar ge par tt ot he Medi c i ,a weal t hy mer chantf ami l ywhoadamant l ys uppor t ed t hear t s andhumanism, a v ar i et y of bel i ef s and phi l os ophi es t hatpl aces emphasi s on t he human r eal m.I t al i andesi gnerFi l i ppoBr unel l eschiands cul pt orDonat el l ower ek eyi nnov at or s dur i ngt hi sper i od. TheHi gh Renai ss ance,whi ch l as t ed f r om 1490 t o 1527,pr oduced i nfluent i alar t i st s s uchasdaVi nci ,Mi chel angel o,andRaphael ,eac hofwhom br oughtcr eat i v epowerand s pear headedi deal sofemot i onalex pr essi on.Ar t wor kt hr oughoutt heRenai ssancewas c har act er i z ed by r eal i sm,at t ent i on t o det ai l ,and pr ec i se s t udy ofhuman anat omy . Ar t i st susedl i nearper spect i v eandcr eat eddept ht hr oughi nt ensel i ght i ngandshadi ng. Ar tbegan t oc hange s t y l i st i cal l ys hor t l y af t ert he Hi gh Renai ssance,when c l as hes bet weent heChr i s t i anf ai t handhumani sm gav ewayt oManner i sm.

Manner i s m( 1527–1580) Manner i star t i st semer ged f r om t hei deal sofMi c hel angel o,Raphael ,andot herLat e Renai ssance ar t i st s,butt hei rf ocus on s t yl e and t ec hni que out wei ghedt hemeani ngoft hesubj ectmat t er .Of t en,figur eshad gr acef ul ,el ongat ed l i mbs,s mal lheads,st yl i z ed f eat ur es and ex agger at ed det ai l s . Thi s yi el ded mor e compl ex , st yl i z ed composi t i ons r at her t han r el yi ng on t he c l assi cali deal s of har moni ous composi t i on and l i nearper spect i v e us ed by t hei r Renai ssancepr edeces sor s . Some oft he mostcel ebr at ed Manner i star t i st si nc l udeGi or gi o Vas ar i ,Fr ances coSal vi at i ,Domeni coBeccaf umi ,andBr onz i no, who i s wi del yc onsi der ed t o be t he mos ti mpor t antManner i st pai nt eri nFl or enc edur i nghi st i me.

Bar oque( 1600–1750) TheBar oque per i odt hat f ol l owed Manner i sm y i el ded or nat e, ov er t het op v i sual ar t s and ar chi t ect ur e.I twasc har act er i z edbygr andeurand r i chness ,punc t uat ed byan i nt er esti n br oadeni ng human i nt el l ect and gl obal di sc over y . Bar oque ar t i st s wer est yl i st i cal l ycompl ex . Bar oquepai nt i ngswer echar act er i z edbydr ama,as s een i nt hei coni cwor k sofI t al i anpai nt erCar av aggi oand Dut ch pai nt erRembr andt . Pai nt er s used an i nt ense cont r astbet weenl i ghtanddar kandhadener get i ccompos i t i onsmat c hedbyr i chcol or pal et t es .

Rococo( 1699–1780) Roc oco or i gi nat ed i n Par i s ,encompassi ng decor at i v e ar t ,pai nt i ng,ar chi t ect ur e,ands cul pt ur e.Theaest het i c offer ed a sof t erst yl e ofdecor at i v e ar tc ompar ed t o Bar oque’ s ex uber ance. Rococ oi s char act er i z ed by l i ght nessandel egance,f ocus i ngont heuseofnat ur al f or ms,as y mmet r i cal desi gn,andsubt l ecol or s. Pai nt er sl i k e Ant oi ne Wat t eau and Fr ancoi s Bouc her usedl i ght hear t edt r eat ment s,r i chbr ushwor k ,andf r es hcol or s.TheRococost yl eal s o cel ai n,andFr enc hf ur ni t ur e.Manychai r sand ar moi r es eas i l yt r ans l at ed t o si l v er ,por f eat ur edc ur v i ngf or ms ,flor aldes i gns,andanex pr es si v eus eofgi l t .

Neoc l as s i c i s m( 1750–1850) Asi t snamesuggest s ,t heNeoc l ass i calper i oddr ew uponel ement s f r om cl as si calant i qui t y .Ar chaeol ogi calr ui nsofanci entci vi l i z at i ons i nAt hensandNapl est hatwer edi s cov er edatt het i mer ei gni t eda pas si onf oral lt hi ngspast ,andar t i st ss t r ov et or ecr eat et hegr eat wor k s ofanci entar t .Thi st r ansl at ed t oar enewed i nt er esti n c l assi cal i deal sofhar mony ,s i mpl i ci t y ,andpr opor t i on. Neocl as si c alar t i st s wer ei nfluenced by cl as si calel ement s;i n par t i cul ar ,a f oc us on i deal i sm.I nev i t abl y ,t hey al so i nc l uded moder n,hi st or i cal l yr el ev antdepi c t i onsi nt hei rwor k s.Forex ampl e,

I t al i anscul pt orAnt oni oCanovadr ew uponc l ass i calel ement si nhi smar bl escul pt ur es , butav oi dedt hecol dar t i fici al i t yt hatwasr epr es ent edi nmanyoft heseear l ycr eat i ons

Romant i c i s m( 1780–1850) Romant i c i sm embodi esabr oadr angeofdi sci pl i nes ,f r om pai nt i ng t omus i ct ol i t er at ur e.Thei deal spr es enti neachoft hesear tf or ms r ej ector der ,har mony ,andr at i onal i t y ,whi chwer eembr ac edi nbot h c l assi cal ar t and Neocl as si ci sm. I nst ead, Romant i c ar t i st s emphas i z ed t he i ndi vi dual and i magi nat i on. Anot her defi ni ng Romant i ci dealwasanappr ec i at i onf ornat ur e,wi t hmanyt ur ni ng t oplein air pai nt i ng,whi c hbr oughtar t i st soutofdar ki nt er i or sand enabl ed t hem t o pai ntout si de.Ar t i st sal s of oc used on pas si on, emot i on,andsens at i onov eri nt el l ectandr eason. Pr omi nentRomant i c pai nt er si ncl ude Henr yFus el i ,who cr eat ed s t r ange,macabr e pai nt i ngs t hatex pl or ed t he dar kr ecesses of l l i am Bl ak e,whos e my s t er i ouspoems human ps y c hol ogy ,andWi andi magesconv ey edmy st i calvi si onsandhi sdi sappoi nt menti n s oci et alcons t r ai nt s

Real i s m( 1848–1900) Ar guabl yt hefir s tmoder nar tmov ement ,Real i sm,began i nFr ancei nt he1840s.Real i sm wasar es ul tofmul t i pl e ev ent s :t he ant i Romant i c mov ementi n Ger many ,t he r i s eofj our nal i sm,andt headv entofphot ogr aphy .Eac h i nspi r ed new i nt er es ti n acc ur at el yc apt ur i ng ev er yday l i f e.Thi sat t ent i ont oaccur ac yi sevi denti nar tpr oduced dur i ng t he mov ement ,whi ch f eat ur ed det ai l ed,l i f el i k e depi ct i onsofsubj ectmat t er . One of t he most i nfluent i all eader s of t he Real i s t mov ementi sGust av eCour bet ,aFr enc har t i stcommi t t edt opai nt i ngonl ywhathecoul d phy si cal l ysee

Ar tNouv eau( 1890–1910) Ar tNouv eau,whi cht r ansl at est o“ New Ar t , ”at t empt edt ocr eat ean ent i r el yaut hent i cmov ementf r eef r om anyi mi t at i onofst yl est hat pr eceded i t . Thi s mov ement heavi l yi nfl uenced appl i ed ar t s ,

gr aphi cs ,andi l l us t r at i on.I tf ocus edont henat ur alwor l d,c har act er i z edbyl ong,si nuous l i nesandc ur v es. I nfl uent i alAr tNouv eau ar t i st swor k ed i nav ar i et y ofmedi a,i nc l udi ng ar chi t ect ur e, gr aphi c and i nt er i ordes i gn,j ewel r y maki ng,and pai nt i ng.Cz echos l ovaki an gr aphi c phons e Muchai s best known f orhi st heat r i calpos t er s ofFr ench act r ess des i gnerAl Sar ahBer nhar dt .Spani s har chi t ectandscul pt orAnt oniGaudiwentbey ondf ocus i ngon l i nes t oc r eat ec ur v i ng,br i ght l y col or ed c ons t r uc t i ons l i k et hatoft he Bas i l i ca de l a Sagr adaFami l i ai nBar cel ona

I mpr es s i oni sm ( 1865–1885) I mpr es si oni stpai nt er ss ought t oc apt ur et he i mmedi at eimpression ofapar t i cul armoment . Thi s was char act er i z ed by s hor t , qui ck br us hs t r ok esandanunfini s hed,sk et chl i k ef eel . I mpr es si oni star t i st sus ed moder nl i f e ast hei r s ubj ectmat t er ,pai nt i ng s i t uat i ons l i k e dance hal l sands ai l boatr egat t asr at hert hanhi st or i cal andmyt hol ogi cal ev ent s . Cl audeMonet ,aFr enchar t i stwhospear headed t hei deaofex pr essi ngone’ sper cept i onsbef or e nat ur e,i svi r t ual l ys ynony mouswi t ht he I mpr es si oni stmov ement .Hi snot abl e wor ks i nc l udeThe Water Lily Pond ( 1899) ,Woman with a Parasol ( 1875) , andImpression, Sunrise ( 1872) ,f r om whi ch t he name oft he mov ementi t sel fi s der i v ed

Pos t I mpr ess i oni s m( 1885–1910 Post I mpr es si oni stpai nt er swor k edi ndependent l y r at hert hanasagr oup,buteac hi nfl uent i alPost I mpr es si oni stpai nt er had s i mi l ar i deal s .They concent r at edonsubj ect i v evi si onsands ymbol i c, per s onalmeani ngs r at hert han obs er vat i ons of t he out si de wor l d. Thi s was of t en achi ev ed t hr oughabs t r actf or ms. Post I mpr es si oni st pai nt er s i nc l ude Geor ges Seur at ,not ed f orhi spointillism t echni que t hat usedsmal l ,di s t i nctdot st of or m ani mage.Vi ncentv anGoghi sal s oconsi der edaPost -

I mpr es si oni stpai nt er ,sear chi ngf orper s onalex pr essi ont hr oughhi sar t ,of t ent hr ough r uggedbr ushst r ok esanddar kt ones.

Fauv i s m( 1900–1935) Led byHenr iMat i sse,Fauv i sm bui l tupon ex ampl es f r om Vi ncentv an Gogh and Geor ge Seur at .Ast he fir stav ant gar de,20t hcent ur ymov ement ,t hi ss t yl ewasc har act er i z ed byex pr es si v euse ofi nt ens e col or ,l i ne,and br us hwor k,a bol dsens eofs ur f acedesi gn,andflatcompos i t i on. As seen i n many oft he wor ks ofMat i sse hi msel f ,t he s epar at i on ofcol or f r om i t s des cr i pt i v e,r epr es ent at i onal pur pos e was one oft he cor e el ement st hatshaped t hi s mov ement .Fauv i sm wasani mpor t antpr ecur s orofCubi sm andEx pr essi oni sm.

Ex pr es si oni s m( 1905–1920) Ex pr essi oni s m emer gedasar esponset oi nc r eas i ngl yc onfli c t edwor l dv i ewsandt he l ossofspi r i t ual i t y .Ex pr essi oni s tar tsoughtt odr aw f r om wi t hi nt hear t i st ,usi ngadi st or t i onoff or m and s t r ong col or s t o di s pl ay anxi et i es and r aw emot i ons .Ex pr es si oni stpai nt er s ,i n a questf or aut hent i c i t y ,l ook ed f ori ns pi r at i onbey ond t hatof West er n ar t and f r equent ed et hnogr aphi c r i bal museumst or ev i s i tnat i v ef ol kt r adi t i onsandt ar t . The r oot s ofExpr essi oni sm can be t r ac ed t o Vi ncentv anGogh,Edv ar dMunch,andJamesEnsor .Pr omi nentgr oupsi ncl udi ngDi e Br ück e( The Br i dge)andDerBl aueRei t er( The Bl ue Ri der )f or meds o ar t i s t scoul d publ i s hwor k sandex pr esst hei ri deal scol l ect i v el y .

Cubi sm ( 1907–1914) o Pi cass oandGeor ges Cubi sm was est abl i shed byPabl ej ect edt heconceptt hatar ts houl dcopynat ur e. Br aque,whor They mov ed away f r om t r adi t i onal t echni ques and per s pect i ves ;i nst ead, t hey cr eat ed r adi cal l yf r agment ed t r act i on.ManyCubi stpai nt er s ’wor ksar e obj ect st hr oughabs

mar k edbyfl at ,t wodi mens i onals ur f aces,geomet r i cf or msor“ c ubes ”ofobj ect s ,and mul t i pl ev ant agepoi nt s .Of t en,t hei rsubj ect swer en’ tev endi s cer ni bl e.

Sur r eal i s m( 1916–1950) Sur r eal i sm emer ged f r om t heDada ar tmov ement i n 1916, s howcas i ngwor k sofar tt hatdefiedr eason.Sur r eal i st sdenounced t her at i onal i stmi ndset .Theybl amedt hi st houghtpr ocessonev ent s l i k e Wor l d WarIand bel i ev ed i tt or epr ess i magi nat i v et hought s . Sur r eal i st swer ei nfl uenc edbyKar lMar xandt heor i esdev el opedby Si gmund Fr eud,who ex pl or ed ps y choanal y si s and t he powerof i magi nat i on. I nfl uent i al Sur r eal i st ar t i s t s l i k eSal v ador Dal ít apped i nt o t he uncons ci ousmi ndt odepi ctr ev el at i onsf oundont hes t r eetandi nev er ydayl i f e.Dal í ’ s pai nt i ngsi npar t i cul arpai rvi vi dandbi zar r edr eamswi t hhi st or i calaccur ac y .

Abs t r ac tEx pr es si oni s m( 1940s –1950s ) Shapedbyt hel egacyofSur r eal i sm,Abst r actEx pr essi oni sm emer gedi nNewYor kaf t er WWI I .I t ’ sof t enr ef er r edt oast heNewYor kSc hooloraction painting.Thes epai nt er s t r actscul pt or sbr ok eawayf r om whatwasconsi der edconv ent i onal ,andi nst ead andabs used spont anei t y and i mpr ovi sat i on t oc r eat e abst r actwor k s ofar t .Thi si ncl uded col oss al l y scal edwor k swhosesi z ecoul dnol ongerbeaccommodat edbyaneasel . I ns t ead,canv aseswoul dbepl aceddi r ec t l yupont hefloor . s on Pol l ock,known f orhi s Cel ebr at ed Abst r actExpr es si oni stpai nt er si ncl udeJack uni ques t yl eofdr i ppai nt i ng,andMar kRot hk o,whosepai nt i ngsempl oy edl ar gebl ocks ofcol ort oconv eyasenseofspi r i t ual i t y .

OpAr t( 1950s –1960s ) Hei ght enedbyadv ancesi ns ci enc e andt ec hnol ogyaswel lasan i nt er esti n opt i cal effect sandi l l us i ons,t heOp ar t( s hor tf or“ opt i cal ”ar t )mov ementl aunched wi t hLe Mouvement,agr oupex hi bi t i onatGal er i eDeni seRenei n1955.Ar t i st sact i v ei nt hi s s t y l eusedshapes,col or s ,andpat t er nst ocr eat ei magest hatappear edt obemov i ngor bl ur r i ng,of t en pr oduced i n bl ack and whi t ef ormaxi mum c ont r as t .These abs t r act pat t er nswer emeantt obot hconf useandex ci t et heey e. Engl i shar t i stBr i dgetRi l eyi soneoft hemos tpr omi nentOpAr tpr act i t i oner s.Her1964 ar t wor kBlaze f eat ur esz i gzagbl ackandwhi t el i nest hatcr eat et hei l l usi onofaci r cul ar dec ent .

PopAr t( 1950s–1960s ) Popar ti soneoft hemostr ecogni z abl ear t i s t i cdev el opment s oft he 20t h cent ur y .Themov ementt r ans i t i onedawayf r om met hodsus edi nAbst r ac tEx pr es si oni sm,andi nst eadused ev er yday ,mundaneobj ect st oc r eat ei nnovat i v ewor ksofar t t hat chal l enged consumer i sm and mas s medi a. Thi s i nt r oduct i on t oi dent i fiabl ei mager y was a shi f tf r om t he di r ec t i onofmoder ni sm. holandRoyLi cht enst ei nsoughtt o Pop ar t i st sl i k eAndyWar est abl i s ht hei deat hatar tcandr awf r om anysour ceandt her e i snohi er ar c hyofcul t ur et odi sr uptt hat .Per hapst he mos t f amouspopcul t ur ewor kofar ti sWar hol ’ sCampbell’s Soup oduct i on. Cans pr

Ar t ePov er a( 1960s ) Tr ans l at i ng l i t er al l yt o“ poorar t , ”Ar t e Pov er a chal l enged moder ni st ,cont empor ar y s y st emsby i nf usi ng c ommonpl ace mat er i al si nt o cr eat i ons .Ar t i st sused s oi l ,r ock s , paper ,r ope,andot herear t henel ement st oev ok eapr ei ndus t r i alsent i ment .Asar es ul t , manyoft henot abl ewor k sdur i ngt hi smov ementar escul pt ur al . I t al i an ar t i stMar i o Mer z ,i nc onj unct i on wi t h ot herI t al i an ar t i st ss uch as Gi ov anni i ghi er oBoet t i ,cr eat edant i el i t i stwor ksbydr awi nguponmat er i al sf r om Ans el moandAl ev er ydayl i f e.Hi s1968Giap’s Igloo,oneofwhatwoul ds oonbecomehi ssi gnat ur e s er i esofi gl oos ,f ocus edonhi soccupat i onswi t ht heneces si t i esofl i f e:shel t er ,war mt h, andf ood.

Mi ni mal i s m( 1960s–1970s) TheMi ni mal i stmov ementemer gedi nNew Yor kasagr oupofy oungerar t i st sbegant o ni mal i st ques t i on t he ov er l y ex pr essi v e wor ks ofAbst r actEx pr essi oni star t i st s.Mi ar ti nst eadf oc us edonanonymi t y ,cal l i ngat t ent i ont ot hemat er i al i t yofwor k s .Ar t i st s ur gedvi ewer st of oc usonpr ec i sel ywhatwasi nf r ontoft hem,r at hert handr awpar al l el s t o out s i de r eal i t i es and emot i v et hought st hr ough t he us e ofpur i fied f or ms ,or der , s i mpl i ci t y ,andhar mony . ank St el l awas oft he ear l i estadopt er s ofMi ni mal i sm,pr oduc i ng Amer i can ar t i stFr nonr epr es ent at i onalpai nt i ngs ,as seen i n hi sBlack Paintings compl et ed bet ween 1958and1960.Eac hf eat ur esapat t er nofr ect i l i nearst r i pesofuni f or m wi dt hpr i nt edi n met al l i cbl acki nk.

Conc ept ual Ar t( 1960s–1970s )

Concept ualar tcompl et el yr ej ec t ed pr evi ousar tmov ement s ,and ar t i st spr i z ed i deas ov ervi s ualc omponent s ,cr eat i ngar ti nt hef r om ofper f or mances,ephemer a,andot her f or ms. Pol i sh per f or mance ar t i st Ewa Par t um’ sActive Poetry consi s t ed of her s cat t er i ng si ngl e al phabetl et t er sac r os sv ar i ousl ands capes .Amer i can ar t i stJoseph Kosut h ex pl or ed t he pr oduct i on and r ol e ofl anguage wi t hi n ar t ,as seen i n hi s 1965,One and Three Chairs.I ni t ,her epr esent sonechai ri nt hr eedi ffer entway st o r epr esentdi ffer entmeani ngsoft hes ameobj ec t .Becauset hi st ypeofar tf oc usedon i deasandconcept s,t her ewasnodi st i ncts t y l eorf or m.

Cont empor ar yAr t( 1970–pr es ent ) The1970smar k edt hebegi nni ngofcont empor ar yar t ,whi c hext endst hr oughpr es ent day .Thi sper i odi sdomi nat edbyv ar i ouss chool sandsmal l ermov ement st hatemer ged.    

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Postmodernism:I nr eact i on agai nstmoder ni sm,ar t i st scr eat ed wor kst hatr eflect ed skept i ci sm,i r ony ,andphi l osophi calcr i t i ques. Feminist art:Thi smov ementar osei nanat t emptt ot r ansf or ms t er eot ypesandbr eak t hemodelofamal edomi nat edar thi st or y . Neo Expressionism:Ar t i st ssoughtt or evi veor i gi nalaspect sofExpr essi oni sm and cr eat ehi ghl yt ext ur al ,expr essi ve,l ar gewor ks. Street art:Ar t i st ssuchasKei t hHar i ng,J eanMi chelBasqui at ,Bar r yMcGee,Banksy , affit i l i kear tonsur f acesi npubl i cpl acesl i kesi dewal ks,bui l di ngs,and andmor ecr eat e...