C.M.K.

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Who created the first peice of ART?

The oldest Stone Age art is dominated by a form known as " cupules " - a term coined in 1993 by the famous archeologist Robert G. Bednarik to describe the small hemispherical holes pounded into flat, sloping or vertical rock surfaces, dating from Lower Paleolithic times, which exist in every continent other than Antarctica.

Andy Warhol, Beginning out as a commercial artist, he brought the ethos of promotion into fine art, even going so far as to say, “Making money is art.” Such attitudes blew away the existential declarations of Abstract Expressionism. Although he’s recognized for captions such as Campbell’s Soup, Marilyn Monroe, and Elvis Presley, his greatest invention was himself. Pablo Picasso is implicitly synonymous with modern art, and it doesn’t hurt that he fits the generally held image of the fugitive genius whose goals are balanced by a taste for living big. He turned the field of art history with radical innovations that include college and Cubism, which destroyed the stranglehold of representational material matter on art, and set the rate for other 20th-century artists. Vincent van Gogh, Van Gogh is known for being psychologically unstable, but his arts are among the most famous and popular of all time. Van Gogh’s technique of painting with flurries of thick brushstrokes made up of vivid colors squeezed straight from the tube would inspire subsequent generations of artists. Leonardo da Vinci, The original Renaissance Man, Leonardo is known as a genius, not only for masterpieces such as the Mona Lisa, The Last Supper and The Lady with an Ermine but also for his designs of technologies (aircraft, tanks, automobile) that were five hundred years in the future. Michelangelo was a triple threat: A painter (the Sistine Ceiling), a sculptor (the David and Pietà) and architect (St. Peter’s Basilica in Rome). Make that a quadruple warning since he also wrote poetry. Aside from the aforementioned Sistine Ceiling, St. Peter’s Basilica and Pietà, there was his tomb for Pope Julian II and the design for the Laurentian Library at San Lorenzo’s Church. Henri Matisse,No artist is as intimately attached to the delights of color as Henri Matisse. His work was all about twisted curves rooted in the ideas of symbolic art and was constantly concentrated on the beguiling satisfaction of color and tone. Jackson Pollock,Hindered by addiction, self-doubt, and awkwardness as a conventional painter, Pollock transformed his faults in a short but intense period between 1947 and 1950 when he performed the drip ideas that connected his fame. Avoiding the easel to lay his paintings flat on the floor, he used house paint right from the can, throwing and dropping thin skeins of pigment that left behind a solid record of his movements. Edvard Munch,I scream, you scream we all scream for Munch’s The Scream, the Mona Lisa of anxiety. In 2012, a pastel variant of Edvard Munch’s iconic invocation of modern anxiety got a then-astronomical price of $120 million at auction. Munch’s career was more than just a single painting. Claude Monet,Perhaps the best-known artist amidst the Impressionists, Monet conquered the varying influences of light on the panorama by bright shards of color produced as quickly painted strokes. Furthermore, his many thoughts of haystacks and other subjects anticipated t

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Realism, in which the subject of the painting looks much like the real thing rather than being stylized or abstracted, is the style many people think of as "true art." Only when examined close up do what appear to be solid colors reveal themselves as a series of brushstrokes of many colors and values. Realism has been the dominant style of painting since the Renaissance. The artist uses perspective to create an illusion of space and depth, setting the composition and lighting such that the subject appears real. Leonardo da Vinci's "Mona Lisa" is a classic example of the style. The Painterly style appeared as the Industrial Revolution swept Europe in the first half of the 19th century. Liberated by the invention of the metal paint tube, which allowed artists to step outside the studio, painters began to focus on painting itself. Subjects were rendered realistically, however, painters made no effort to hide their technical work. As its name suggests, the emphasis is on the act of painting: the character of the brushwork and pigments themselves. Artists working in this style don't try to hide what was used to create the painting by smoothing out texture or marks left in the paint by a brush or other tool, such as a palette knife. The paintings of Henri Matisse are excellent examples of this style. Impressionism emerged in the 1880s in Europe, where artists such as Claude Monet sought to capture light, not through the detail of realism, but with gesture and illusion. You don't need to get too close to Monet's water lilies or Vincent Van Gogh's sunflowers to see the bold strokes of color, however, there's no doubt what you're looking at. Objects retain their realistic appearance yet have a vibrancy about them that's unique to this style. It's hard to believe that when the Impressionists were first showing their works, most critics hated and ridiculed it. What was then regarded as an unfinished and rough painting style is now beloved and revered. Expressionism and Fauvism ?are similar styles that began to appear in studios and galleries at the turn of the 20th century. Both are characterized by their use of bold, unrealistic colors chosen not to depict life as it is, but rather, as it feels or appears to the artist. The two styles differ in some ways. Expressionists, including Edvard Munch, sought to convey the grotesque and horror in everyday life, often with hyper-stylized brushwork and horrific images, such as he used to great effect in his painting "The Scream." Fauvists, despite their novel use of color, sought to create compositions that depicted life in an idealized or exotic nature. Think of Henri Matisse's frolicking dancers or George Braque's pastoral scenes. Expressionism and Fauvism ?are similar styles that began to appear in studios and galleries at the turn of the 20th century. Both are characterized by their use of bold, unrealistic colors chosen not to depict life as it is, but rather, as it feels or appears to the artist. The two style

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