question: Which  nineteenth-century art movement  was Francis Vielé-Griffin a poet of 
answer: Symbolism
context: Title: Lowbrow (art movement)
  Passage: Lowbrow, or lowbrow art, describes an underground visual art movement that arose in the Los Angeles, California, area in the late 1970s.  It is a populist art movement with its cultural roots in underground comix, punk music, and hot-rod cultures of the street.  It is also often known by the name pop surrealism.  Lowbrow art often has a sense of humor – sometimes the humor is gleeful, sometimes impish, and sometimes it is a sarcastic comment.
  Title: Concrete art
  Passage: 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.
  Title: Self Help Graphics &amp; Art
  Passage: Self-Help Graphics & Art, Inc. is a community arts center in East Los Angeles, California, USA.  Formed during the cultural renaissance that accompanied the Chicano Movement, Self Help, as it is sometimes called , was one of the primary centers that incubated the nascent Chicano art movement, and remains important in the Chicano art movement, as well as in the greater Los Angeles community, today.SHG also hosts musical and other performances, and organizes Los Angeles's annual Day of the Dead festivities.  Throughout its history, the organization has worked with well-known artists in the Los Angeles area such as Los Four and the East Los Streetscapers, but it has focused pri marily on training and giving exposure to young and new artists, many of whom have gone on to national and international prominence.
  Title: Mumbiram
  Passage: Mumbiram is a painter and author from India known for his leadership of the Rasa Renaissance art movement.  He is best known for his renderings, in charcoal and colour media, of the folk people of India in real-life situations.  As contemporary classical painter, Mumbiram has introduced an indigenous art movement and created the "Manifesto of Personalism".  His concept of personalism in art has proliferated into the Rasa Renaissance movement that is based on the classical rasa theory of Sanskrit literature.  It is a theory of aesthetics that puts the quality of human emotions that a work of art or literature arouses as the criterion of its excellence.  Mumbiram is also known for his "prema vivarta" work of euphorisms, "Deluges of Ecstasy", composed during his 12 years in the United States.
  Title: Chicano art movement
  Passage: The Chicano Art Movement represents attempts by Mexican-American artists to establish a unique artistic identity in the United States.  Much of the art and the artists creating Chicano Art were heavily influenced by Chicano Movement (El Movimiento) which began in the 1960s.  Chicano art was influenced by post-Mexican Revolution ideologies, pre-Columbian art, European painting techniques and Mexican-American social, political and cultural issues.  The movement worked to resist and challenge dominant social norms and stereotypes for cultural autonomy and self-determination.  Some issues the movement focused on were awareness of collective history and culture, restoration of land grants, and equal opportunity for social mobility.  Throughout the movement and beyond, Chicanos have used art to express their cultural values, as protest or for aesthetic value.  The art has evolved over time to not only illustrate current struggles and social issues, but also to continue to inform Chicano youth and unify around their culture and histories.  Chicano art is not just Mexican-American artwork: it is a public forum that emphasizes otherwise "invisible" histories and people is a unique form of American art.
  Title: Indonesian new art movement
  Passage: The Indonesian New Art Movement (Indonesian: "Gerakan Seni Rupa Baru") was an art movement of young artists from Bandung and Yogyakarta against the institutional concept of Indonesian fine art (Indonesian: "Seni Rupa") being limited to paintings and sculptures.  The movement emerged in 1974, first organised in a protest against the judging of the Second Jakarta Painting Bienalle which awarded prizes to decorative style of paintings and sculptures.  The protesters published the Black December Statement ("Desember Hitam") criticising the lack of social and political consciousness in Indonesian decorative art practices.
  Title: Superstroke
  Passage: Superstroke is a term used for a contemporary art movement with its origins in South Africa.  Superstroke is one of the influential art movements regarding African modernism and abstraction.  The word "Superstroke" implies the super expressive brush stroke.  The Superstroke art movement was initially founded as a reaction to the impact that the Superflat art movement, founded by Takashi Murakami had on modern contemporary art.
  Title: Symbolism (arts)
  Passage: Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts.
  Title: Francis Vielé-Griffin
  Passage: Francis Vielé-Griffin (May 26, 1864 – November 12, 1937), was a French symbolist poet.  He was born at Norfolk, Virginia, USA and was the son of Egbert Ludovicus Viele.
  Title: Cyborg art
  Passage: Cyborg art, also known as cyborgism, is an emerging art movement that began in the mid-2000s in Britain.  It is based on the creation and addition of new senses to the body via cybernetic implants and the creation of art works through new senses.  Cyborg artworks are created by cyborg artists; artists whose senses have been voluntarily enhanced through cybernetic implants.  Among the early artists shaping the cyborg art movement are Neil Harbisson, whose antenna implant allows him to perceive ultraviolet and infrared colours, and Moon Ribas whose implants in her elbows allow her to feel earthquakes and moonquakes.
citations: Francis Vielé-Griffin Symbolism (arts)