Pictorialism is the name given to an international style and aesthetic movement that dominated photography during the later 19th and early 20th centuries.
 There is no standard definition of the term, but in general it refers to a style in which the photographer has somehow manipulated what would otherwise be a straightforward photograph as a means of "creating" an image rather than simply recording it.
 Typically, a pictorial photograph appears to lack a sharp focus (some more so than others), is printed in one or more colors other than black-and-white (ranging from warm brown to deep blue) and may have visible brush strokes or other manipulation of the surface.
 For the pictorialist, a photograph, like a painting, drawing or engraving, was a way of projecting an emotional intent into the viewer's realm of imagination.
Arte Informale is a term coined in 1950 by the French critic Michel Tapié to refer to the art movement that began during the mid-1940s in post-World War II Europe.
 This movement also paralleled the Abstract Expressionism movement that was taking place at the same time in the United States, and had ties to the Arte Povera movement.
 Sometimes referred to as Tachism, Art Autre or Lyrical Abstraction, it was a type of abstraction in which form became less important than that of the expressive impulses of the artist, and was opposed to the rationalism of traditional abstraction.
 The qualities of informal art explore the possibilities of gesture, materials (often non traditional), and signage as the basis of communication.
 Oftentimes art characterized as informal is executed spontaneously and the approach to painting and sculpture are generally gestural, performative, expressionistic and experimental.
 Certain artists such as Lucio Fontana, Alberto Burri and Emilio Vedova were crucial figures of this movement.
Euan Heng, born in 1945 in Oban, Argyllshire, Scotland, is an artist now living and working in Melbourne, Australia.
 Between 1960 and 1970 he was employed in various occupations, including four years as a merchant seaman travelling the world.
 He received a Diploma in Art and a Post Diploma from Duncan of Jordanstone College of Art in Dundee, Scotland and Masters in Research from RMIT, in Melbourne.
 Other activities of the artist have included teaching at Clackmannan College of Further Education (now Forth Valley College) in Scotland, Monash University, Prato Centre in Italy and he is currently an Adjunct Associate Professor in Fine Art at Monash University, Melbourne.
 When describing his work, Heng explains his process of emptying out his paintings, "no vulgar brush strokes and no detail to distract – just gently modulated pigment to activate flat shapes of colour.
 I want the visual response to my new paintings to be rapid, if possible, after which the viewer, should he or she wish, can invest further time in unpacking the content, or in discovering the paintings' secrets.
 By seeking this pictorial suddenness, formally speaking my aim is to avoid the 'expressionistic', and to privilege instead the flatness of the painting's surface."
 While Heng's work is contemporary in practice his imagery is not always contemporary in origin.
 He has long been influenced by Italian iconography, medieval paintings and frescoes, and 16th century Mogul art.
 Heng has been able to spend considerable time in Italy, thanks to his teaching post at the Prato Centre, and aspects of the country's art and landscape have crept into his work.
Accidentalism represents a loosely affiliated art movement related to assemblage, conceptual art and process art during the late 1980s and early 1990s.
 It is characterized by the interplay and tension between human systems and their physical instantiations often to surprising and humorous outcomes.
 Artists associated with the movement are Peter Fischli & David Weiss, Greg Colson, Terry Winters, and Tim Hawkinson.
 By the end of the 1980s, Fischli/Weiss had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world.
 For their contribution to the 1995 Venice Biennale, at which they represented Switzerland, Fischli/Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"—real-time glimpses into daily life in Zürich: a mountain sunrise, a restaurant chef in his kitchen, sanitation workers, a bicycle race, and so on.
 For the Skulptur Projekte Münster (1997), Fischli/Weiss planted a flower and vegetable garden conceived with an ecological point of view and documented its periodic growth through photographs.
 In an early review of Colson’s 1988 “Accidental Non-Un-Intentionalism” exhibition at Angles Gallery, Brian Butler wrote in "New Art Examiner", “The main feeling these works project is one of investigation, not completion.
 A visual/intellectual questioning – a search into the quality of meaning, object, and the environment – is the ultimate outcome.”
 The diagrams and maps Colson deploys speak to the detached, abstract quality of much human analysis, at the same time smuggling social critique into each work.
 Roberta Smith of "The New York Times" described Colson’s 1990 debut exhibition at Sperone Westwater Gallery: “In nearly all of Mr. Colson’s works, the combination of modesty and grandiosity, of mental exactness and physical imprecision adds up to an odd, sad beauty.
 Elliptical as they are, his pieces often seem to scrutinize the conflict between the active center and deserted margins of industrialized society.”
 Throughout the 1990s and onward the scale of Winters’ work and its visual complexity has grown considerably.
 Continuing to take from the natural sciences and information systems, amongst other subject matters, the construction of his compositions has transitioned from occupied fields to plaited grids and networks that offer unpredictable images.
 Winters reforms his subjects to maintain their resonance and referentiality – what one sees in his compositions is ambiguously familiar – while waxing to an analog for the act of their making.
 Hawkinson tinkers with everyday materials to build surprising mechanical art works.
 “I guess it comes from early on in childhood, a fascination with moving parts and sort of the magical,” he suggests.
 In his studio, Hawkinson explains how he used gears, switches, nozzles, buckets, and pie tins to build a drumming machine that captures random drips of rain, amplifies them, and organizes them into music.
 “It’s not even electronics.
 I don’t know what it is,” he admits.
 One of Hawkinson’s largest projects, "Überorgan," is an inflatable installation in a space the size of a football field.
 For a version of the artwork the artists created a score for the organ using old church hymns.
John Mandel is an American visual artist and one of the first photorealists to emerge in New York.
 His figurative oil and acrylic paintings, often monochromatic, were a departure from ordinary subject depiction.
 His works involved movement in compressed space.
 Mandel's work was exhibited at Max Hutchinson Gallery in SoHo and in the first biennial exhibition at the Whitney Museum; his work has also been shown in the Los Angeles Institute of Contemporary Art, Santa Monica Museum of Art, and in the Max Hutchinson, Sidney Janis, Modernism, Thomas/Llewellen, and Krygier/Landau Contemporary Art.
Concrete art is an art movement with a strong emphasis on abstraction.
 The artist Theo van Doesburg, closely associated with the De Stijl art movement, coined the term "concrete art" as he in 1930 founded the group Art Concret and articulated its features in a manifesto titled "The Basis of Concrete Art", signed by four other artists of the group, including Otto G. Carlsund, Jean Hélion and Leon Tutundjian.
 The manifesto explained that the resultant art should be non-referential insofar as its components should "not" refer to, or allude to, the entities normally encountered in the natural, visible world.
 This is a distinction from abstraction generally.
 In a more general sense "abstract art" could and often does include the "abstraction of forms in nature".
 But "concrete art" was intended to emanate "directly from the mind" and consequently to be more "cerebral" than abstract art generally.
 Concrete art is often composed of basic visual features such as planes, colors, and forms.
 "Sentiment" tends to be absent from concrete art.
 The "hand" of the artist may be difficult to detect in finished works of concrete art; concrete art may appear, in some instances, to have been made by a machine.
 Concrete art often has a core visual reference to geometry whereas more general abstract art may find its basis in the components of the natural world.
 A formulation of a description of concrete art might include a considerable reliance on the formal qualities of an artwork.
 Theo Van Doesburg's manifesto stated that art "should receive nothing from nature's formal properties or from sensuality or sentimentality.
 We want to exclude lyricism, dramaticism, symbolism, etc…."
 In concrete art a mathematical equation can serve as a starting point.
 Concrete art can include painting and sculpture.
Hiran Mitra (born 1945) is an artist based in Kolkata (West Bengal, India).
 He left his ancestral country home in Kharagpur to study Fine Art in the Government College of Art & Craft, Kolkata at the age of 14.
 His paintings are energetic abstract gestural paintings with the choreography of the human body observed from folk dance having influenced his recent calligraphic forms.
 He has contributed significantly to the visual stimulus in eastern Indian films, television, theatre and literature since in the 1980s.
 He is also known to have defined a benchmark for book cover design for contemporary Bengali literature.
 His paintings are statements on the human condition and the twilight zones of reality and time.
 Bold brush strokes, layered washes and sprays and unconventional use of acrylic and industrial paints characterize his paintings.
 He is part of the Open Window Artist group and has been part of the Painters 80 Artist group in Kolkata.
Military art (French: "L'Art de la Guerre" ) (lit.
 art of war) is a field of theoretical research and training methodology in military science used in the conduct of military operations on land, in the maritime or air environments.
 Military art includes the study and application of the principles of warfare and laws of war that apply equally to the closely interrelated military strategy, operational art and tactics.
 Exercise of military art is highly dependent on the economics and logistics supporting the armed forces, their military technology and equipment, and reflects the social influences on the military organisation exercising military art.
 Often misunderstood due to its 19th-century perception as generally "including the entire subject of war", it is primarily, as the term implies, the expression of creative thinking on the part of the decision-makers in employing their forces, with the map of the area of operations as a veritable canvas, and the movement of forces commonly marked on the map with arrows, as brush strokes. Less imaginatively it was defined in France during the 19th century as
Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of "movement" as a crucial element of human perception and experience, and unusual visual angles.
 Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
Carlo Balestrini (March 24, 1868 – February 10, 1922) was an Italian painter.
 His best-known works are Impressionist landscapes with animals, specially horses.

Question: What Italian painter is best known for a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities,ordinary subject matter, inclusion of "movement" as a crucial element of human perception and experience, and unusual visual angles?
Answer: Carlo Balestrini