- MAY 2010 -

FCA - SOS NEWSLETTER

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NEWS FLASH- SPRING GONE- SUMMER MAY OR MAY NOT APPEAR- STAY TUNED

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Federation of Canadian Artists South Okanagan-Similkameen Chapter
113 - 437 Martin Street, Box 154
Penticton, BC V2A 5L1
http://www.fca-sos.ca

REPORT FROM THE CHAIR

Welcome to new member, Greta Kamp, Susan Mitchell and Joan Landsdell. Congratulations Greta for being juried to Active status. Congratulations to Bonnie Roberts who won the Peoples' Choice Award at the Summerland Juried show for her painting "Time".

I hope that many of you will come out for the En Pleine Air meeting on Saturday, June 5th at the Summerland Research Station. We will have a short business meeting where the invitations and posters for both the Handworks Juried show and the Leir House show will be handed out. There is a gazebo in the gardens and I suggest we meet there at 10 a.m. A note about the "opening" of For the Love of Art at Handworks in Oliver, we have arranged to host two demos prior to the opening on July 2nd. Michael Jorden will begin an oil painting of the Main Street of Oliver. He will set up on the sidewalk from 1 - 2 p.m. Meanwhile inside the gallery, Thea Haubrich will do an Encaustic demo. The demos will be free to the public, and we hope to attract a new audience who will stay for the opening at 2 p.m.. If you have friends who might be interested, please get the word out and bring them along. Remember to get your invitations in the mail, past customers love receiving news of your upcoming shows.

Last weekend I visited Gaye Adams in her Sorrento studio. Gaye is the Standards Chair for the FCA. We discussed the issue of paintings that have been "fixed" during workshops. The FCA ruling is as follows: "Works created in workshops and/or classes are not eligible for entry into JURIED shows, whether the instructor made any marks on the image or not".

Then on the painting label when we enter juried shows it says,

"I hereby certify that the above artwork is not a copy, derivative or based on the work of others, or in any way an infringement of copyright". When you sign this form you are making a serious statement. We do have a wonderful handout from the lecture George Traicheff gave on "copyright" at one of our meetings. Copies are available.

In the case of non juried shows, such as our Artists of the South Okanagan- Similkameen shows, Gaye suggested that this rule should still apply. Ethically it is not good to sign your name to a painting that has had input directly from a workshop. Rather, take the piece home and create a new one with the knowledge that you have acquired.

I would like to ask for your consideration when attending meetings and workshops, NOT to wear perfume. Some of our members have a serious perfume allergy and would appreciate your support.
See you on June 5th, happy painting.

Kate Kimberley

SHOW DATES

July 1 - 29 ~ Leir House non-juried show. Open to all FCA members, if you have not yet signed up please contact Margaret Phillips.
Title is "Harmony", the opening reception will be July 1st from 4 - 7. Sharon from PDCAC (Leir House) is getting us some Academy musicians to play on the outdoor patio.
Receiving/hanging is Wednesday, June 30th from 10 - 11 am
Closing is Thursday, July 29th with pick up at 3:00 pm
chairpersons: Margaret Phillips and Dona Smithson
margaret.phi@gmail.com and donaclair@shaw.ca

July 3 - July 31 ~ Handworks Gallery in Oliver Juried Show. Open to all Active members
Title is "For the Love of Art", the opening reception is July 2nd from 2:00 - 4:00
Receiving/hanging is Tuesday June 29th from 10 to 12
Closing July 31 with pick up at 5:00
chairpersons: Michael Jordan and Bill Hibberd
mike@jordencook.com and hibberd@telus.net

Aug. 4 - Nov. 3 ~ Lang Winery non-juried show, open to all FCA members
Title is "Originals Only"
Receiving/hanging is Tuesday, August 3 at 12:00 noon
Closing is Wednesday, Nov. 3rd with pick up at 12:00
chairpersons: Dona Smithson and Margaret Phillips
donaclair@shaw.ca and margaret.phi@gmail.com

Aug. 28 - Sept 11 ~ Tinhorn Creek Winery non-juried show
Title is "Passion for Painting", open to all FCA members
Sitters required for this show. If you enter you must sit a shift or find a replacement. A sign up sheet was circulated at the May meeting
Receiving/hanging is Friday Aug. 27th from 8:00 - 10:00
Pickup is Sunday, Sept 12th from 8:00 - 10:00 am
chairpersons: Doug Wilson
vwilson3@telus.net

NEXT MEETING JUNE 5TH

Bring your paints, sketching materials, lunch and camera to our plein
aire painting - meeting on June 5 at the Summerland Gardens. We will
meet at 10 am and will get some pointers from Ron Stacy on how to
start. Hope to see you there! This will be our last meeting until
September.
(sunshine not guaranteed .....)

MEMBER NEWS

~ local

Red Rooster Winery presents "Season's Surprises", an exhibition of local artists Dianne Korsch and Barb Hofer commencing June 1 and running until June 30/10. Dianne & Barb are active members of the Federation of Canadian Artists and the Naramata Arts Studio. The upstairs gallery at the Red Rooster Winery, 891 Naramata Road, Penticton, will display 50 original paintings in a variety of mediums and subjects. Opening reception is scheduled for Sunday, June 6/10 from 1pm - 4pm and everyone is welcome. For info, call Dianne @ 250 496-5100.

~ away

I'm getting really excited about the show. I just saw some of the printed images for the first time yesterday. They look great! So very different enlarged compared to what I've been creating on my computer monitor.

The show, titled Transcending, stems from my love of our planet and the natural world. I have a lot of images that I think highlight the beauty of our world. There are other images that encourage activities that can help us lighten our impact and shrink our ecological footprint.

Transcending is about changing our perceptions about the beauty of the world, moving to a different way of living on the earth, and blurring the boundaries between what is considered photography and fine art.

The show opens on Tuesday, May 11 at 7 pm at the Dawson Creek Art Gallery. It will be on display until June 6.

Chandra Wong

I certainly hope to sell in the course of time, but I think I shall be able to influence it most effectively by working steadily on, and that at the present moment making desperate efforts to force the work I am doing now upon the public would be pretty useless.

Vincent van Gogh

( Van Gogh's painting "Portrait of Dr.Gachet" sold originally for $82.50. in the late 1800s . It was last sold for $139,000,000.........so keep painting!!!!)

CONTRIBUTIONS

Michael Jorden

LETTERS FROM THE DESERT - ANALYSIS OF A PAINTING

Did you ever have an image that hooked you and wouldn't let you alone? In June, 1997 Western Horseman magazine featured as its cover a painting by the artist Howard Terpning. It consisted of a tableau of three soldiers, two Indians and a horse looking pensively into the distance.

The painting has always fascinated me, in part because of the enigmatic gaze of its subjects and their poses, frozen in a contemplative moment. I hope here to discern the reason it hooks me the way it does and to better understand the source of its appeal. Four of the figures - two troopers and two Indians - are seated or standing on the ground and gazing into the distance over the painter's left shoulder. The mounted soldier and the horse are looking pensively downwards and to the right. Evidently something momentous is going to happen. The Indians, in accordance with their station, are slightly separated from the soldiers. They are not in uniform and are chromatically connected with the sorrel horse in the background rather than with the troopers. The soldiers, on the other hand are connected by the dark blue of their worn uniforms and the artist has further unified them in his design by connecting them through the dark edges of their clothing to form a single oblong shape in shades of blue and separated from the other figures which are rendered in complementary shades of grayed orange. This is a great piece of composition!

Despite their social distinctions, the warriors in this tableau are united in facing a common fate. These men are advance scouts of George Armstrong Custer's 7th Cavalry; the Indians Crow or Shoshone irregulars who were willing to assist the army in the subjugation of their traditional enemies the Sioux and Cheyenne who were the intended quarry. The five men and their mounts would be dead by morning.

Custer was a brilliant military leader and hero of the civil war who remains the youngest general ever to be commissioned by the U.S. Army. Today, however he is remembered for his greatest blunder and by extension his part in the subjugation and cultural genocide of the Plains Indians. His haste and underestimation of the strength of his Indian adversaries cost him his life and the life of his troops. Ultimately, the reprisals by the army on the Sioux Nation compounded the tragedy. The cultural policies of repression and assimilation of which these men were a part lasted for nearly a hundred years. Generations of denial of the plight of the Indians and their culture followed and the repercussions - both in the United States and Canada - are still being felt today.

Terpning is one of a large number of artists who over the years have sought to portray and celebrate the earlier culture of native North Americans without glorification and without sentimentality. In this respect he and others such as Martin Grelle, Robert Griffing, Frank McCarthy and Don Crowley are the direct descendents of the documentary painters of the early American West - artists like Catlin, Moran and Remington. Unlike those who were there, however seeking only to get their images down before they disappeared, today's painters - like historians - must work retrospectively using props, historic photographs, written accounts and perhaps a bit of wishful revisionism. That there is a market for this genre of painting is not disputed: Terpning's paintings frequently exceed $1,000,000 at auction and enthusiasts often draw lots for the opportunity to be able to bid. What to me is more significant however is the worth of their efforts in human terms. These artists are producing not just collectable room decoration but a visual record of the changing consciousness of a society. They are depicting images that might have been ignored or rejected [or more likely not made at all] in the early part of the 20th century for societies that had already rejected the Indian as a worthwhile being as they had any notion of a worthwhile aboriginal culture. Such artists are in fact leading by example and producing images that have the ability to change our consciousness about the world we inhabit and the people in it.

They are reminiscent of other artistic images that have changed our awareness of our inheritance: religious iconography for example, Michelangelo's Sistine Chapel, the war artists of the two great conflicts, Picasso's "Guernica". These examples demonstrate clearly that art - like literature, like science, and like music - can change our collective world view. Art has the unique ability to capture an idea, an emotion, a trend, or an injustice, and render it visually for all to see. This and the willingness to observe and see more deeply into things is about all that makes the making of art unique among human activities. However some artists, like Robert Bateman as an example, go even further than image making and use a portion of the proceeds of their art to fund causes like conservation programs that are dear to their artistic and personal vision. Bateman began this practice in 1956 and arguably has made the greatest monetary contribution to conservation of any artist in history. In this way, art transcends the visioning process and becomes transformative - a medium of change. It is in this way that ideas gain traction in the real world.

So what's on the to-do list for today? What's our priority? Make a better painting, clean the gutters, give to the food bank, celebrate a memorable occasion with friends, save the world? All good and reasonable tasks so let us not sell ourselves short. It is not given to all of us to change the world: most of us just make art. But who knows which image will light the spark that becomes a fire that explodes in an alteration of societal consciousness. I know I don't know and I doubt if anyone else does either. Like Terpning, however we can show up at the easel today, tomorrow and the next day and practice our craft, mindful that each brush stroke represents a few letters of the story that is being written in our time.

Thea Haubrich

The "Ripoff Artists" once again rise to the challenge as they scale new heights in lifting Lawren Harris's "MOUNT LEFROY" during a week of open studio.
So-named for their annual pilfering of a famous dead artist's masterpiece, the Ripoffs, a "Group of Nine", have selected the Canadian icon who was the driving force behind the formation of the Canadian "Group of Seven".

Lawren Harris, a major leader and influential artist of this country, was pivotal in the development of a uniquely Canadian style of landscape painting. By virtue of its isolation, he felt the Canadian landscape required a different painterly approach. This insight led him to begin simplifying his palette and forms in the belief they were capable of expressing spiritual truths. "Mount Lefroy" in its symbolic blues and yellows, is an example of his dramatically designed, mystical compositions.

The collective's ringleader, fabric artist Terry Irvine, known for her functional, sometimes humorous original creations stated: "I like the simplicity of the painting, while at the same time, I'm surprised by its complexity". "It was an easy decision in picking this year's prey", said paper collage artist and member, Marion Trimble. "After imitating the likes of Vincent van Gogh, Gustav Klimt and Georgia O'Keeffe in previous years challenges, it was time to come home".

The nine artists recreating "Mount Lefroy", a Canadian rockies buttress on the B.C./ Alberta border, represent several different art forms.

Dianne Birnie and Enid Baker are both gifted members of the Double "O" Quilters and the Fabricators. Each employs a different method of quilting that always impresses. Enid in past challenges elected to paint rather than quilt so it will be a surprise to view which of her talents she employs this year.

Another surprise can be expected from multi-disciplined, fine artist JoAnn Turner. In previous challenges she painted her image on a non-traditional surface. Chosen from any one of her mediums of pottery, jewelry, basketry or clothing design, we can expect her piece to be skillfully produced.

Kurt Hutterli is a writer and artist. His imaginative 3-dimensional creations of recycled mixed media have delighted audiences in past exhibitions.

A member of several weaver's Guilds, including the Desert Sage Spinners and Weavers in Oliver, Barbara Levant, a weaver and spinner for over 35 years, enjoys the suspense of seeing fabric develop and colours interact as she weaves.

Another Ripoff participant since it's inception in 2007, is encaustic artist Thea Haubrich. An active member of the Federation of Canadian Artists, her works win awards locally and nationally. As exclusive representative for Canada of the Arts Encaustic International products, she is a well-known, dedicated promoter of her art form.

Pushing the boundaries of digital photography, Russell Work's innovative images last year were an exciting addition. Known for capturing the beauty of the Okanagan Valley landscapes, he specializes in panoramic compositions.

This year guest artist Leo Pedersen joins the gang. A member of the Oliver Sagebrushers, Leo is a self-taught painter and woodworker who learned the basics from his grandfather and father. He now carries on a family tradition, teaching his grandchildren the love of art.

In 1940 Harris moved to Vancouver where he spent the last 33 years of his life making an enormous contribution to contemporary art. He was a strong supporter of younger artists and influenced the direction taken by the Vancouver Art Gallery. Harris was the driving force that brought together the varying talents and temperaments, which formed the Group of Seven. This week his guidance reappears to inspire our very own talented Group of Nine, the Ripoff Artists.

Visitors are welcome to view the artists' progress as they gradually ascend the lofty goal of bringing their Mount Lefroy interpretations to conclusion.
The skullduggery takes place at the Quail's Nest Arts Centre, 34273 95th St., across from the airport in Oliver.
Opening reception is Monday, June 28th, 6-8 pm.
Studio times: Tuesday through Saturday - 9 am to 3 pm.
Join the artists during the week as they scramble to a dramatic climax by 3 pm, Saturday, July 3rd.
For information contact Terry Irvine at 250-498-4156.

That's it for this month.....if there is enough material there will be one more newsletter covering the summer.....so, start sending in your stuff !!!!!kareld@shaw.ca

MAY 2009 Monthly Newsletter

FEDERATION OF CANADIAN ARTISTS

South Okanagan-Similkameen Chapter

113 - 437 Martin Street, Box 154
Penticton, BC V2A 5L1
http://www.fca-sos.ca

REPORT FROM THE CHAIR: Kate Kimberley

Thank you to Irene, Dale and Brad for taking care of things while I was having a wonderful holiday in England. Dona and I have many fabulous images to use in our paintings. We witnessed Spring arriving in England with hundreds of daffodils at the entrance to every village and town. Wild primroses covered the highway banks, and also covered the copse floors. The delicate perfume was intoxicating. Then we were treated to bluebells in their millions beneath beech trees, whose leaves were bursting into bright green new life. The British birds are literally a wake up call at 4:30 each morning. We even heard the cuckoo bird that is apparently in decline.

Dona and I just need to get over our jet-lag and get into production with so many great show opportunities ahead. Thank you to the Exhibition committee for all your preparations for the upcoming shows.

I look forward to catching up with you all at our June 6th meeting, when Classic Framing will be our guest following the meeting.

Kate

IMPORTANT DATES TO REMEMBER - The monthly meetings
Mark your calendars!

All programs start after meetings around 11:00 am -see you there!

June 6th - General Meeting at 10 am

Framing presentation by Classic Framers in Kelowna- They will have lots of frames for sale as well as some great bargains! Don't miss this one - think about the sizes you may want before you come. Also because this is the last meeting before the summer break we could also stay and paint on the Leir House grounds outside: there are some gorgeous trees and flowers as well as the interesting buildings. Bring your lunch, paints and
spend some time with other members!

July 11th - General Meeting at 10 am

No August Meeting

September 12th - General Meeting at 10 am
October 3rd - General Meeting at 10 am
November 7th - General Meeting at 10 am

No December Meeting

DON'T FORGET OUR WONDERFUL WEBSITE - www.fca-sos.ca

WHICH INCLUDES OUR GREAT LIBRARY OF ART BOOKS JUST WAITING FOR YOU TO BROWSE THROUGH!

A WARM WELCOME TO OUR NEW MEMBERS :

*Please pick up a “New members information booklet” at the next meeting*

The following people have volunteered to be “Mentors” and will help new members navigate the world of the Federation of Canadian Artists

If you think you might like to have a mentor, please contact one of the following volunteers. They look forward to hearing from you.

George Traicheff ~ Sandra Albo

Upcoming shows in Vancouver FCA gallery

Federation of Canadian Artists - 2008

A REMINDER TO ALL MEMBERS OF UPCOMING EVENTS.

Open Print Show
May 19 - June 7, 2009
* Entry deadline: April 9, 2009
* Paintings due: May 14, 2009

· Original prints of all kinds: intaglio, relief, serigraphs, or hand-pulled lithographs. No giclees or other mass-produced reproductions.

Canvas Unbound
June 9 - 21, 2009
* Entry deadline: April 14, 2009
* Paintings due: May 28, 2009

· Paintings on stretched canvas or linen (no frames) any subject, any medium. Open to Active & Signature members.

Summer Gallery
June 23 - August 16, 2009
* Application package due: April 2, 2009
* Paintings due: June 18, 2009

· 10 to 20 members will be selected by the Standards Committee to participate for the summer season. Application forms are available on-line or at the Federation Gallery. Open to Active & Signature members.

Painting on the Edge
August 18 - September 6, 2009
* Entry deadline: June 5, 2009
* Paintings due: August 14, 2009

· POTE 7th Annual International Open juried exhibition - any medium, any subject, $8,000 in prizes!! A full color catalogue will accompany the show. Porspectus available on-line and at the Federation gallery.

* Thursday August 20, 2009 (6:00pm to 8:00pm): POTE opening reception & awards presentation at Federation Gallery*

2nd FCA Member Group Show
September 8 - 20, 2009
* Application due: January 22, 2009
* Paintings due: September 3, 2009

· Open to Active & Signature members. Individual applicants must submit an image list and eight images. Applications will be juried by the standards committee.

A Bird, A Stone, A Letter
September 22 - October 4, 2009
* Entry deadline: August 6, 2009
* Paintings due: September 10, 2009

· Any subject, any medium, any style. Open to Active & Signature members.

Invition Show
October 6 - 18, 2009
Curated Show
* Paintings due: October 2, 2009

· A selection of SFCA members will be Invited to participate in this curated exhibition - the theme has not been determined yet.

3rd FCA Member Group Show
October 20 - November 1, 2009
* Application due: January 22, 2009
* Paintings due: October 16 , 2009

· Open to Active & Signature members. Individual applicants must submit an image list and eight images. Applications will be juried by the standards committee.

Chapters Show
November 3 - 15, 2009
* Entry deadline: September 24, 2009
* Paintings due: October 30, 2009

· Annual exhibition of works from FCA chapter members only. Images from Canada. Open to Active & Signature members.

Small Painting Salon
November 17 - December 6, 2009
* Entry deadline: October 1, 2009
* Paintings due: November 12, 2009

· Image no larger then 165 square inches, any subject, any medium (including original prints). Open to Active & Signature members.

Spilsbury Medal Show
December 8 - 24, 2009
* AFCA Entry deadline: October 15, 2009
* Paintings due: December 3, 2009

· Annual Signature members prize competition. Any subject, any medium. Open to Signature members.

December 11, 2009 ~ 6:00pm - 9:00pm: Annual Christmas Party and Spilsbury Medals & Silver Pin presentations at Federation Gallery

Register online at www.artists.ca, by phone at 604-681-8534 or in person at Federation Gallery (Tuesday to Sunday between lOam - 4pm)

EXHIBITION COMMITTEE

2009 - Exhibitions in the valley

We have 6 shows lined up for 2009. Four non juried shows and two juried shows. All are listed on our SOS Chapter website at www.fca-sos.ca . Artists are encouraged to contact Brad to be included on our website. Red Rooster take down will be 11:30 on the 31st March.
Here's a list in a glance:

"De-Vine Creations"
August 6 to November 3, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a non-juried show that will be at Langs Winery in Naramada. More infomation to follow

"Pre-Summer Amble "
June2 - 29, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a non-juried show that will be at Handworks Gallery in Oliver. Pre-summer Amble - has participants and 26 paintings. It might be possible for those who have entered only one painting to enter an additional one. If you do, contact Karel Doruyter ASAP

"Summer Sensations "
July 9 - August 6, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a juried show that will be at Leir House in Penticton. More infomation to follow

"Artists Perceptions"
August 24 - September 6, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a non-juried show that will be at Tinhorn Creek Winery in Oliver. More infomation to follow

"Serendipity"
October 10 - October 31, 2009
* Entry deadline: TBA
* Paintings due: TBA

· This is a juried show that will be at the Osoyoos Gallery. More infomation to follow

WORKSHOP COMMITTEE

~ Kiff Holland's course went well, he was entertaining as well as a good artist. Kiff taught a 2 day oil course and a 2 day water colour course. Seventeen people registered. Kiff made painting look easy. He
offers courses in Vancouver and many of us gave him our e mails, to be kept abreast of his upcoming courses. Kiff offers a mentor program for $150.00 a month in Vancouver. For this fee the artist can paint in Kiff's studio for 3 hours a day for 5 days a week and receive feedback on their paintings. During this workshop Kiff juried 4 persons to active status. Congratulations to : Linda Baker, Nancy Grey, Hiram Dockray and Jane Scheffler.

A big thank you to Kiff for making the time to visit the Okanagan and give this workshop

Kiff Holland's watercolor course May 2009

~

~ Workshop suggestions? email Sharon Leonard at saleonard@persona.ca

BITS & PIECES

~ ARTS COUNCIL NEWS

~ Bonny Billups has 5 paintings hanging at Theo's.

~ Just got word today, "Winter Canopy", a 12X16" plein-air oil & the 24X24" oil, "Morgan", painted by Bill Hibberd, were juried in to the Artists Without Borders show at Lloyd Minster Lakeland College.

~

Winter Canopy ------------------ Morgan

Bills a busy beaver… His first show is at Red Rooster for the month of June; this will be a collection of all new work done this winter, plein air scenes and some studio pieces based on summer studies. Should be 25-30 oils.

The next show is at Summerland Art Gallery July 2 - Aug 15 titled "Outside In". Opening Reception July 2, 7-9, everyone welcome. This will be all new work as well, including any unsold paintings from the Red Rooster show plus larger studio works, which this larger space can accommodate.

There should be 40 - 50 oils. I will be trying to secure gallery permission to spend several hours a day painting in the gallery for the duration of the show in an attempt to engage the public in the art-making process. Bill Hibberdt

~ Sharon Leonard opened a Studio/ Gallery in her home on April 18th. Had a great turn out for the opening day/ Called East Bench Studio 4402 - 37th. Street Osoyoos 250-495-2019. Please call to visit. We offer Handmade quilts and painting.

~ Recent paintings completed or sold by Karel Doruyter AFCA "On the Edge", "Not Alone", "Still Waiting" and "Giving Way". Mountain Galleries have a great ad in Galleries West featuring this local artist.

~ A big thank you to Karel Doruyter, for his interesting slide presentation of photos and paintings of the
Queen Charlotte Islands at last meeting.

Choose Your Style
(An informal look at art movements),
We're almost done…this month is O & P: (Just think how smart we'll all be)

Op Art: (1950 - 1965)

Op Art relies on optical illusions and is sometimes called optical art or retinal art. Op painters and sculptors used geometric designs in order to create feelings of movement or vibration, sometimes in vibrant colors and other times in simply black and white. The movement had its origins in the work of Victor Vasarely, who created tessellations and work with shocking perspectives. It also developed from the Abstract Expressionist movement that discredited the importance of subject matter. The term was coined in 1964 by Time magazine. A major Op Art exhibit in 1965, titled "The Responsive Eye," caught the public interest. As a result, the style began appearing in print, television, advertising, album art, fashion, and interior decorating. Despite Op Art's popularity, it never became a full-fledged mass movement of modern art like Pop Art.

Op Art's primary goal was to fool the eye. Works were composed to create the illusion of movement, although all Op Art pieces were flat and two-dimensional. Based on geometry, Op Art is almost completely non-representational. The color, line, and shapes were chosen for the purposes of illusion and not to evoke any emotion or mood. Colors and perspective and chosen carefully to achieve the desired effect, and both positive and negative spaces are of equal importance in the composition.

Orientalism: (1800 - 1900)

Following the conquest of Egypt by France and the subsequent takeover by the British in late 18th century, Western Europeans found a new interest in the near and Middle East. The Orientalist movement began when artists began painting their experiences as they traveled to countries such as Turkey, Persia, Iraq, Egypt, Lebanon, Palestine, Arabia, and North Africa. The movement lasted about a century and captivated many of the major artists of the 19th century, who created detailed and realistic paintings of their new subject matter.

Orphism: (1912 - 1914)

In 1912, the term Orphism was first used by poet Guillaume Apollinaire to describe the paintings of Robert Delaunay. The term was derived from Greek mythology, referencing the poet and musician Orpheus. Also called Orphic Cubism, Delaunay's work contains elements of a Cubist style. Aiming to appeal to the senses, the style employed overlapping planes of contrasting colors. The color combinations were based on the "law of simultaneous contrast of colors," developed by French chemist, Michel-Eugene Chevreul in the 19th century. In addition to Delaunay's artist wife, Sonia, other artists in the circle included Marcel Duchamp, Fernand Leger, Francis Picabia, and Franz Kupka. The Orphist group ended at the onset of World War I, but had significant influence on the development of later abstract art movements.

Parma School: (1400 - 1550)

The Parma School of painting in Italy thrived in 15th and 16th century Italy with the help of the Farnese family. The main members of the school were Correggio and Parmigianino. The school, particularly Correggio, was influenced by Leonardo da Vinci and the Mannerist movement with its subjective and emotional approach to painting. Also indebted to Michelangelo, the human figure was a central theme, often depicted in an exaggerated or elongated manner.

Pictorialism: (1895 - 1910)

Pictorialism was a photographic term used to describe images that emphasized the artistic quality of the photograph rather than the scene it depicted. The movement's primary aim was to bring photography into the fine art realm. Also concerned with aesthetics and impact, Pictorialists sought to produce images that were not solely about the objects in front of the camera. Techniques used by these photographers to create a more painterly effect included combination printing, focus, and manipulation of the negative.

Pop Art: (1958 - 1975)

Abbreviation of Popular Art, the Pop Art movement used common everyday objects to portray elements of popular culture, primarily images in advertising and television. The term Pop art was first used by English critic, Lawrence Alloway in 1958 in an edition of Architectural Digest. He was describing all post-war work centered on consumerism and materialism, and that rejected the psychological allusions of Abstract Expressionism. An attempt to bring art back into American daily life, it rejected abstract painting because of its sophisticated and elite nature. Pop Art shattered the divide between the commercial arts and the fine arts.

The Pop Art movement originated in England in the 1950s and traveled overseas to the United States during the 1960s. Richard Hamilton and Eduardo Paolozzi, both members of the Independent Group, pioneered the movement in London in the 1950s. In the 1960s, the movement was carried by Peter Blake, Patrick Caulfield, David Hockney, Allen Jones, and Peter Phillips. In the early sixties, Pop art found its way to the United States, seen in the work of Jim Dine, Roy Lichtenstein, and Robert Rauschenberg. It developed in the United States as a response to the wealth of the post World War II era and the growing materialism and consumerism in society. The most recognized Pop Artist, Andy Warhol, used a photo-realistic, mass production printmaking technique called seriagraphy to produce his commentaries on media, fame, and advertising.

Pop Art made commentary on contemporary society and culture, particularly consumerism, by using popular images and icons and incorporating and re-defining them in the art world. Often subjects were derived from advertising and product packaging, celebrities, and comic strips. The images are presented with a combination of humor, criticism and irony. In doing this, the movement put art into terms of everyday, contemporary life. It also helped to decrease the gap between "high art" and "low art" and eliminated the distinction between fine art and commercial art methods.

The movement inspired a later related style named Capitalist Realism, led by German artist Gerhard Richter.

Post-Impressionism: (1885 - 1905)

The Post Impressionist period came when several former Impressionist painters became dissatisfied with the movements insistence on light and color. The post-Impressionists aspired to fine more depth in the roles of color, form and solidity in painting.

Post Impressionism was a continuation of the Impressionist movement, but rejected the limitations of its predecessor. The terms was first used by English art critic Roger Fry describing the work of painters such as Paul Cezanne, Georges Seurat, Paul Gauguin, Vincent van Gogh, and Henri de Toulouse-Lautrec among others. The term does not define a singular style or approach, it encompasses all artists that whose main goal was to express more than a visual interpretation. Their aim was to portray emotion and intellect in addition to imagery.

Also related to Pointillism, a technique associated with Paul Signac and Georges Seurat, this partition of the movement called themselves the Neo-Impressionists because of their impressionist revival.

Post-Modernism: (1975 - )

Postmodernism was a late 20th century movement that opposed the Modernist preoccupation with purity of form and technique, and aimed to eradicate the divisions between art, popular culture, and the media. Postmodern artists employed influences from an array of past movements, applying them to modern forms. Postmodernists embraced diversity and rejected the distinction between "high" and "low" art. Ignoring genre boundaries, the movement encourages the mix of ideas, medias, and forms to promote parody, humor, and irony.

Precisionism: (1920 - 1945)

Precisionism originated in the 1920's and focused on painting scenes and objects, normally of industrial or mechanical subjects. These subjects were typically abstracted by simplifying them to basic geometric patterns and showing them in clear light. The Precisionist movement had roots in Italian Futurism, a movement that also respected the beauty and power of machinery. The movement emerged after World War I and was mainly popular in the United States. Artists working in this genre believed that the 20th century was dependant on technology and the machine. Therefore, they chose to depict these subjects in a glorifying manner. American Precisionist artists also attempted to show pride in their country during a period of great economic and political struggle-the growing industry in the United States was a symbol of the country's power and achievements. Precisionism lasted until after World War II.

Purism: (1918 - 1925)

French artists Amedee Ozenfant and Le Corbusier developed Purism in 1918 as a reaction to Cubism. It incorporated Synthetic Cubism's use of flat planes but also used representational subjects presented in a clear manner and appropriate color. Purism admired the beauty and clarity of the machine and emphasized the geometric, proportional simplicity of the subject.

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