Презентация, доклад по английскому языку на темуPainting Styles

then it became a style. Based on Paul Cézanne's three main ingredients - geometricity, simultaneity (multiple views) and passage - Cubism tried to describe, in visual terms, the concept of the Fourth Dimension.
Cubism is a kind of Realism. It is a conceptual approach to realism in art, which aims to depict the world as it is and not as it seems. This was the "idea." For example, pick up any ordinary cup. Chances are the mouth of the cup is round. Close your eyes and imagine the cup. The mouth is round. It is always round - whether you are looking at the cup or remembering the cup. To depict the mouth as an oval is a falsehood, a mere device to create an optical illusion. The mouth of a glass is not an oval; it is a circle. This circular form is its truth, its reality. The representation of a cup as a circle attached to the outline of its profile view communicates its concrete reality. In this respect, Cubism can be considered realism, in a conceptual, rather than perceptional way.

Surrealism

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 Andre Breton (1896 - 1966), Surrealism became an international intellectual and political movement. Breton, a trained psychiatrist, along with French poets Louis Aragon (1897 - 1982), Paul Eluard (1895 - 1952), and Philippe Soupault (1897 - 1990), were influenced by the psychological theories and dream studies of Sigmund Freud (1856 - 1939) and the political ideas of Karl Marx (1818 - 1883). Using Freudian methods of free association, their poetry and prose drew upon the private world of the mind, traditionally restricted by reason and societal limitations, to produce surprising, unexpected imagery. The cerebral and irrational tenets of Surrealism find their ancestry in the clever and whimsical disregard for tradition fostered by Dadaism a decade earlier.  Surrealist poets were at first reluctant to align themselves with visual artists because they believed that the laborious processes of painting, drawing, and sculpting were at odds with the spontaneity of uninhibited expression. However, Breton and his followers did not altogether ignore visual art. They held high regard for artists such as Giorgio de Chirico (1888 - 1978), Pablo Picasso (1881 - 1973), Francis Picabia (1879 - 1953), and Marcel Duchamp (1887 - 1968) because of the analytic, provocative, and erotic qualities of their work. For example, Duchamp's conceptually complex Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915 - 23; Philadelphia Museum of Art) was admired by Surrealists and is considered a precursor to the movement because of its bizarrely juxtaposed and erotically charged objects. In 1925, Breton substantiated his support for visual expression by reproducing the works of artists such as Picasso in the journal La Revolution Surrealiste and organizing exhibitions that prominently featured painting and drawing.