| Across |
| 3. | created great controversy with paintings such as Olympia and Le Deujenur sur I'herbe, yet wanted to be accepted by the Academy |
| 4. | A sculptor who was influenced by the emotionally expressive nature of Michelangelo's work |
| 6. | A Post-Impressionist who focused on the expressive qualities of colors and started to use color as a subject in his paintings as opposed to just a formal element |
| 8. | Movement in which subject matter and social issues are based in reality but not necessarily the visual painting style |
| 13. | Believed he was a technically masterful painter and was an inspiration for later surrealists |
| 14. | Painted portraits of "low class" members of society as well as Romantic images contemporary events |
| 15. | Depicted both the heroic and horrific aspects fo war in Liberty Leading her People |
| 16. | A woman artist closely associated with the Impressionists |
| 17. | Painted in a Neo-Classical style and supported the French revolution |
| 18. | Name for the established art organization of the nineteenth century |
| 19. | Was influential (especially his studies) on later artists and supported other artists by letting them study his works that went out into nature and produced |
| 21. | Term given to movement after Impressionism, who wanted to give expression to ideas and emotions, and are characterized by flatter compositions primitivism, and more visible brushwork |
| 23. | The most important Impressionist painter and the title of one of his paintings provided the source for the name "Impressionism" |
| 24. | Early school that included artists working outdoors in nature and that also accepted landscapes and nature as suitable subject matter |
| 25. | Considered an important bridge artist between the 19th and 20th centuries and his new style that focuses on composition rather than detail provides the basis for Cubism |
| 26. | Developed the Pointillism or Neo-Impressionism style |
| 27. | Founder of the Fauvist movement and pursued the expressive nature of color |
| 28. | Used thick impasto to introduce a new type of three dimensionality to the painting surface |