Answer:
emotionalism
Explanation:
Emotionalism is the art theory that focuses on the deliberate communicating of feelings, emotions, states of mind, moods, and intense ideas. In this art theory, the expressive aspect is highlighted over anything else, and most of this artworks began with realistic or abstract depictions of feelings to provoque in the viewer something that would shock him or make him get an arousal.
Notice how this paintings inmediately portray an emotion and make it the main element of the composition.
The art pieces below are well known examples done by Munch , the first is "Madonna" 1902, and "the Screaming" 1893.
Characteristic of his diverse states of mind, the paintings are named just as emotions: Melancholy, Jealousy, Despair, Anxiety, Death in the Sickroom and The Scream.
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Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
