Unit 4 APAH

Burghers of Calais, Rodin

FORM: - Bronze statue- 6 life-size men, 1884-95 CONTENT: - Six men covered in simple layers of tattered sackcloth- Bodies appear thin and malnourished, bones and joints clearly visible- Each man is a burgher (city councilman)- Stand together with a sense of familiarity- Rodin followed the recounting of Jean Froissart-- King Edward III made a deal with citizens of Calais: if they wanted to save their lives and city, they must surrender the keys to the city and 6 members of city council must volunteer to give up their lives- Rodin depicted the 6 men at the moment they left the city to sacrifice themselves-- their lives would eventually be spared- Fabric seems to be fused to the ground-- represents the conflict between the men's desire to live and the need to save their city. holow and mounds look like figure is undulating. They look deformed, but he plays with life for realism. LOST-WAX CASTING METHOD: made out of clay, ehtn poured over with bronze. sad and ashamed with their heads down and are defeated. Hands on head: because so shocked with the news of dying. Emotional scene. Very dramatic with lights and darks. the 6 figures are attached to ground: there is no escape (their burden). MIDDLE GUY: St. Pierre, oldest guy and biggest responsiblity to know his and the others sacrafice is for the people of Calais to not die. Very emotional. FUNCTION: - To honor Eustache de Saint-Pierre and the 5 other city councilmen who sacrificed themselves for their city. Shows the heroism of these men in the darkest moment instead of fake pride. RODIN: French and depicts movement and lvoes working with bronze (so it lasts forever). DId not like photography because frozen frame. Sculptors with mvoement (sharp and rugged) Energy field around the statue, capture light and play with light. humbles and humanizes these 6 figures. CONTEXT: - In 1885, Rodin was commissioned by Calais to create a sculpture that commemorated the heroism of Eustache de Saint-Pierre- Prominent citizen of Calais during the Hundred Years' War between England and France (begun in 1337)- Rodin was denied entry into the prestigious Ecole des Beaux-Arts in Paris three times- He pushed forward his entire career to gain professional recognition. Roding believes photography lies because time does not stop in reality. KING EDWARD III on the 100 years war. Wanted to invade Calais: but too many woman and children and instead wanted keys to the city and 6 strongest men: Burghers (sacrafice life for the city) and don't kill anyone in the city. Put the 6 men in chains and nooses and will die after being in jail. They sacraficed their life. All have different reactions. But King Edward III ends up not killing anyone. all this sorrow for nothing.

Spiral Jetty, Smithson

FORM: - basalt- sand- soil CONTENT: - was an intersection between land and water- near a terminal basin, a lake with no outlet, so the water is dense with minerals and salt- spiral created opportunities for water and land to interact- art changes based on natural principles- sense of the process of nature- sense of entropy. earth art in Salt Lake. SPIRAL: Assocaitd with creation adn destruction (life cycle). ENTROPY: can not touch, let nature take its course. FUNCTION: emphasizes size and power of nature as compared to the smallness of man- contrasts the beautiful landscape with the growing industrial nature- not commercial, intentional pilgrimage made to see work of art- intended to change over time. convinced arts in gally werent the waiy to go (being judged and need money() wants to make free accessible art outside. CONTEXT: - Robert Smithson- 1970- year of the first Earth Day- Great Salt Lake, Utah- represented by Dawn Gallery- spiral form has previously shown up in petroglyphs throughout the American West and in nature. lake flooded and slat crystals form with the wind.

Two Fridas, Frida Kahlo

FORM: -Surrealist-Ex Voto Tradition-Victorian European (left)/ Mexican (right)Function:-Self portrait, search for herself-Show her two heritages (European father, Mexican mother)-Blood on lap suggesting abortions and miscarriages. CONTENT: -European Frida on left and Indian/Mexican Frida on the right-Right: holds small portrait of (almost) ex-husband Diego as a child-Left: holds hemostat (stop bleeding of her heart)-Stormy sky (everything going wrong)-Heart twined together by veins that are cut by scissors at one end and lead to portrait of husband. emphasizes her unibrow. RIGHT FRIDA: Mexican dress (goes back to Aztecs: the heart and blood are very improtant to Aztecs. MIXED LINE: European and indigenous sides. LEFT FRIDA: Euroepean. One of her blood lines is cut (like her love for Diego) severing ties. RIGHT FIRDA: Hodling a medallion: baby Diego (cameo) Part of her wants to severe Diego, and other wants to hold Diego so she's torn. LEFT SIDE: vulernable because hear is exposed, blood spilling on stomach because cant have kids there. Clouds add: surrealism (what happens in imagination. FUNCTION: autobiographical paintings. CONTEXT: In midst of divorce with Diego Rivera-Frida Jahlo, 1939; Mexico (La Casa Azul). Frida Kahlo had a terrible accident that bed rid her and she painted in bed, mirror on wall to paint herself. She was more masculine, she was not feminine and felt lost because of her masculinity and used her art to express that side of her. From her accident she was almost paralysed and paints herself as a broken body. Bron with polio and stunted growth of leg. Ovaries destroyed (no children), but adopted animals. Diego Rivera (husband), both had affairs on eachother (open relationship). she was 20 years younger than him, but Diego felt little with Frida's great mind. Final straw: Diego cheated on her with sister, get divorced.

The Great Migration, Jacob Lawrence (The Migration of the Negro),JacobLawerence

FORM: -Synthetic cubism (flat, angular)-60 panels in series-Tempera paint on hardboard-Unmodulated colors CONTENT: -Anonymous faces-Split down the middle-Public restaurant in city segregated. shows people's lives as they move north. Rope seperates from left to right (segregation) isolation by color. no shadows (flat painting) migration of the Negro. African Americans are slumped over and see throguh body language. shaprness of whites show the harshness. white people have facial features and expressions while black people have none as you can see throguh posture that life is hard. newspaper man with huge hadns shows that he is unbothered by the segregation. boy on the right top looks so small like being black is unimportant to his whiteness. FUNCTION: -Historical narrative series that depicts the migration of African Americans from the rural South to the urban North after WWI-Segregation emphasized by yellow poles that zigzag down the center. JACOB LAWERENCE: artist paint of the Great Migration (young when he made these). There are 60 of them in the Migration Series. this one called the migration of the Negro and is panel n.49 of 60. entire series: about movement. CONTEXT: -artist: Jacob Lawrence, 1940-41-Parents migrated North so he lived during this period of migration. Reality of segregation. African AMericans still found discrimination in North. THE GREAT MIGRATION: moving of African AMericans from the South to the North (agricultural south to industrial north).

La Grande Odalisque, Ingres

FORM: -romanticism (exoticism)-classical figure-disproportionate -oil on canvas (exoticism). Precise draftmanship. No brushstrokes. Academic painting. CONTENT: -physically unreal body- Anatomy is secondary to sensuality-peacock fan, turban, enormous pearls, hookah (eroticism based on exotic content). ORIENTALISM: represent a woman from Middle East, Turkey. This woman is a fantasy. Based on Titian: Venus of Urbino. sort of MANNERISM: because extra long body. NEO-CLASSICISM. Powerful protest, the prostitute of the sultan. She can dance and sing. High end prostlitute (Western society-> more development). Pleasure world. Well trained companion. Turban: turkish, Ottoman sultan mistress. Body is turned away: neutral. Someone else is patron (not sultan because he would want her towards us) Belongs to sultan. Trying to be seductive: bare skin (nude). Looking back sensually. She is a prostitue (welathy women not depicted nude). Not a wealthy woman. ROYAL BLUE: prostitute of royal family . PEACOCKS is symbol of royalty. FUNCTION: -what a French male's fantasy would look like-Modernizes the Venus of Urbino by making it exotic- painted for napoleon, but by the time Ingres finished, Napoleon was exiled CONTEXT: -artist: Jean-Auguste-Dominque Ingres (court painter for Napoleon, successor of David)-1814 CE-Odalisque: "Turkish girl." PATRON: sister of Napaleon. INGRES: Precious academic style. Student of David (never traveled to Middle East). When displayed, people have a problem with her because nude and not a goddess.

The Slave Ship, Turner

FORM: -romanticism (sublime)-combines a beautiful and horrible scene together-rich colors-loose brushwork-oil on canvas. paint very rapidly, finger painted. CONTENT: -beautiful seascape looking at first but if u look close you see slaves drowning and being eaten alive-disease breaks out on ship and overthrows all the dead and sick overboard so they can get insurance (money motivation)-Zong is the name of the slave ship, means "care" in dutch, which is ironic. Nature is a manifestation of the divine contemplation. SUBLIME: rooted in nature (looks beatufiul at first, but eeriness to it). Light is spiritual. Ship facing karma for Captain's inhumanity: A large ship that might flip over giving us hesitation, chaos. UPPER RIGHT: peaceful because has light (comfort). SUnset is beautiful (atmosphere, between us and the sun). Path with th sun. Ship heading toward typhon ( in middle fo Atlantic Ocean). In the water there is a foot/leg with a chain and shackle. There are hands coming out the water and chains (very scary). Crude, no hope for the people in the water. Bodies getting attacked by pirahans and birds feeding on the remains. Savage scene of carnage, people drowning are SLAVES. FUNCTION: -political and social activist piece. The light is spiritual that there is hope for the slaves that were just brutally thrown overboard by the captain and will get their salvation and justice. CONTEXT: -artist: Joseph Mallord William Turner-1840 CE-inspired by "The Abolition of the African Slave Trade" by Thomas Clarkson. Turner used to paint academcially, but now likes using his emotions. Printed in the 1830s when Britain outlawed slavery. Depicts true story and prompts abolition. Slaves to Africa to England-> if anyone fell overboard, the captain would get insurance for the overboard bodies. (so with sick slaves, the captain threw their bodies overboard so the captain could get more money) ACTION OF THE MEAN CAPTAIN. The ship is in distress to depict the karma and punishment the captain will get for hurting these slaves. Turner's mother was crazy and he exercisized his anger through his finger painting and stroking.

St. Lazare's Station, Monet

FORM: 1877 Oil on Canvas- "risque" painting- Impressionism - fine brushstrokes and lots of color- Realism = Manet Oil on canvas- Gritty texture- Follows a traditional landscape painting- 29 ½ by 41 inches CONTENT: - It depicts the interior view of one of the passenger platforms of the Gare Saint-Lazare, the Auteuil Line, one of Paris's largest and busiest train terminals- Locomotive train pulls into the station, under triangular roofing- Steam dissolves into the air- Perspective lines and foreshortening used expertly to create the realism of the train- No traditional lines or contours; instead innovative and atypical modeling- Light—the dominant formal element in so many Impressionist paintings—is given particularly close attention. Emphasizes atmosphere and light. cover up bars of ceiling. cover up alndscape with atmosphere (love atmosphere). Polluted clouds more dark, clearer clouds are lighter. Building not important, atmosphere is different light with clouds and colors, shadows and light. FUNCTION: - To capture the industrialization and modernization of Paris- To capture the varied aspects of the station by rendering its many faces in paint- For Monet to establish himself as a relevant, valuable artist in French society as it industrialized. "Plein air" outdoors. CONTEXT: :- Claude Monet is one of the most influential figures in 19th century French Painting and the leader of the Impressionist movement- He excelled in all the genres, including portraiture, genre-painting and still life, his main interest was in landscape painting, particularly outdoor plein-air painting- Other painters were impressed by some of its early works, Impressionism was not acknowledged as an important style of painting, either by art critics, collectors or the public. IMPRESSIONISM: Captures one moemnt, paints quickly. Captures transit of life, modern life, material in art, men and city, industrialization, explore material in art. Depicts scenes of daily life around Paris, France. Founder is onet. A goal to show the materiality of painting. Enjoy color and painting. Eye understands the gaps. MONET: loves transportations and landscapes, escapism, nostalgic of scenes transportation takes you. paint outdoors. Has to paint quick because light changes quickly outdoor. Obsessed with light and atmosphere. SALON: Describes an exhbiit for the rich people. PASTEL: spontanetiy of suject, elusive moments, daily life of Paris is exciting: newly modern city. Transportation: trains (take you to places youve never been) very exciting.

Starry Night, Van Gogh

FORM: 1889, oil on canvas- Composite landscape- short, thick brushstrokes- parts of canvas can be seen through the brushwork CONTENT: Landscape view from artist's hospital room in St.-Rémy- Mountains in the distance(exaggerated steepness)- Composite landscape: Dutch church, crescent moon, Mediterranean cypress tree- Wave-like movement flows left to right (broken only by verticality of cypress and church steeple)- piece influenced by medieval woodcuts- Cypress tree (trees of mourning & graveyards)- clouds and stars have been thought to resemble a nebulae. POST IMPRESSIONISM: Critiscs of impressionism, expressive with the elements of at (takes a step further than impressionst). POST IMPRESSIONISM: Use of elements of art to convey ideas than what you naturally see (rather than realistic), conceptual. Line work is conceptual: all the colors of rainbow, brightest moon, wave of light over landscape. IMPASTO: build up thick paint (3D way= more real) Manipulation of paint. YELLOW STAR: Means hope. Dutch church in middle (not really there) because a fantasy of his view in Paris hospital. It is difficult to paint the night sky (Van Gogh resonate with the night: quiet and dark) Interested in light (symbol of God)=devout Christian. DARK BLUE: his depression and nature. IMPRESSIONIST STROKES: Broken brushstrokes. Light for hopes of getting better, light in homes. BLACK THING INTERRUPTING SKY: A tree (tuscan style) that grows like a black flame), actually outside Van Goghs hospital window, represents an impediment. Turbelent energy in sky: SWIRLS, feels the energy swirl that churns his hope and depression. HOPE: yellow stars. DEPRESSION: dark blue. FUNCTION: A landscape study, or a study of the nighttime- expression of the artist's internal turmoil (suffered from mental illness)- Desire to experiment with stylized techniques. Van Gogh influenced by Japanese prints and impressionism. POST IMPRESSIONIST CONTEXT: Van Gogh struggled with mental illness~ painted during his convalescence at mental hospital near St.-Rémy~ following breakdown in which he mutilated his own ear. Father was a preacher. lost in the life than found paint at 30 years old. VAN GOGH: was dutch and meets the impressionist and his pallete changes. Wears them out and convinces to move South. VAN GOGH: very self critical, tried many different jobs and witnessed a lot of death during coal mining time. Brother brought him to paint (loves it), goes to paris to learn. Cut off a piece of his ear and sent to his crush, from the Netherlands and lives in France, felt like a misfit in life. A very troubled soul, died in his 30s and killed himself with a gun. Gaugin goes to the south of france with him, but Gaugin leaves him to Tahiti and Van Gogh is a maniac depressionist and cuts off his ear to make Gaugin stay. Van Gogh realized he was ill and admitted himself to an institution. Longed for compassionist.

The Scream, Munch

FORM: 1893. tempera paint on cardboard- vibrant strong color contrast. oil tempera and pastel on cardboard. CONTENT: - androgynous elongated figure screams w/ hands pressed to its face in the foreground- sea swirls into the sky, everything is streaked, blended & airy- foreground and background blend into one another. Not like other impressionist, uses long and wavy strokes (tragedy justs keeps going). Post impressionist were hurt and used art as their outlet. Confusion in strokes, boats there, He called this work "The Cry" not the Scream. Body and landscape connection. nature hitting him and echos his screams into the landscape, long brush strokes. All symbolism, lifes sucked out of him from all his dark stuff in his life. Settings on: fiery sky. Sky touched by scream. unstable enviroment. distablized world. deathly face, and lsot hands to strokes, looks through world in darkness. his breakdown represented in this artwork. FUNCTION: - semi-autobiographical, an expression of the themes that preoccupied Munich- recounts an account of when he walked w/friends. POST IMPRESSIONIST. SYMBOLIST: 19th century movement that advocated the expression of an idea over the realistic description of natural world. EXPRESSIONISM. Series of "The Freize of Life" He created 4 different veries of this in different materials. CONTEXT: synesthesia is the synthesis of the senses- The Scream's composition existed in 4 forms: the first painting, done in oil, tempera and pastel on cardboard- Edvard Munich expressed his tormented inner world thru his artistic creations== giving birth to Expressionism. MUNCH: from Norway (darkness half of the year), FAMILY HARDSHIP: fav sister passes, mom, dad, and brother die, sister is ill. Munchs lover cheats on him.

Where do we come from? What are we? Where are we going?, Gaugin

FORM: 1897-98. 139 x 375 cm- continuous narrative (right to left)unique multi-perspective view in the background. oil on canvas CONTENT: - Tahitian natives in different stages in life- sleeping child w/3 crouching women- blue idol raised in a sort of rhythm= 'beyond"- old woman near death = completes the story- white bird at her feet = futility of words- Japanese techniques (flat bright colors). WHERE DO WE COME FROM: Baaby on the right because we come from a baby. BUDDHA: we come from a god and vision of future. WHAT ARE WE: all you do in life; people who make friends, doing hair, eating fruit, daily activiites, in vowed in worship, Lady grapping fruit: FERTILE nad going to have a child. WHERE ARE WE GOING: holy triangle of adults, old lady on left (end of story, life umbrella). Wise and seen a lot. WHITE BIRD near old lady: peace in death. bird holding a lizard because old lady lived her best life and has nothing to say. FUNCTION: :- meant to be a private work- mixture of universal meaning(questioning root of humanity). Painting meant to be read. POST IMPRESSIONIST, SYMBOLIST: 19th century movement that advocated the expression of an idea over the realistic description of natural world. CONTEXT: from "Sunday Painter" to professional- attempted suicide 2x. GAUGUIN: an intellecutal and extrovert, a philospher (big life questions), needed to get out of France and goes to Tahiti, French industrializes Tahiti and Guagin is upset. a POST IMPRESSIONIST. painting didnt sell quickly like he thought. Guaguin makes a life for himself in Tahiti and then dies. Questions in french on the left, looks like Medeival altar piece, spiritual and abstract (conceptual),

Mt. Sainte-Victoire, Cezanne

FORM: 1902-04,- depicts limestone peak of Mont Sainte-Victoire- roughly equal horizontal sections, which extend across the three-foot wide- foreground's color scheme into the middleground- contrasting blues, violets and greys- point-of-view is misleading CONTENT: Reduces objects to geometric forms, layers broken lines, flat planes of color: different levels of earth, linear square strokes, lots of flat planes of colors, brings green in foreground to the sky (connects them), not blending colors, layers alot colors of paint linerally, unfinshed brushstrokes (singular) broken straight stroke. CUBISM: not completely. ABSTRACT: not representational of the real world (can't connect, ohysically with real world objects) FUNCTION: - explore nature's beauty- show natural scenes with minimal human change- mountains always shown CONTEXT: - mountain range is a major theme in Cézanne's work- classical and Christian history and folklore- the cross appears in none of Cézanne's depictions of the mountain. ROOTS IN IMPRESSIONISM: trained in france, pained landscapes and subjects from daily life. No attempt to disguise brushstrokes, 2D properties and materiality of painting. Cezanne's a POST IMPRESSIONIST: interested in volume of forms and multiple perspectives, distort elements of arts, conceptual, through scientific lense. CEZANNE'S LEGACY: Rejected naturalism, focus on "bones" of forms, beginning of abstraction, in favor of concepts, represents objects from different perspectives. CEZANE's journey with a mountain: mountain Cezanne visited regularyly in France: MOUNTAIN St. SAINTE-VICTOIRE. MODERINISM: art that calls attention ot the process by which it was amde (reflects modern life too)

Women of Avignon, Picasso (Les Demoiselles d'Avignon)

FORM: 1907. cubism, abstract, geometric forms, underlying structure, fragmentation, 2-dimensionality, emotionless, stylized, flatness. CONTENT: 5 prostitutes, representations of different cultures, fruit symbolizes fertility, staring at viewer, unwelcoming/ threatening, women on right have African masks, shows fear that women have STDs. PICASSO: more abstract (geometric shapes, plays with color). strange faces, African, Iberian, and Greek mask influences for faces. fearless looking women (no longer human: creatures). ambuiguity of perspective (back body, face forward), getting rid of details. More abstract (geometric shapes, plays with color), strange faces. Sharp and pointing lines (mimics sharp qualtiy of Stravisky music) threatening/dangerous. Picasso scared of prostitute due to STDs. IGOR STRAVINSKY: musician influenced by Picasso art district, chaotic and unprjedictable nature of the painting: linear lines Parralels to picasso. loud musci: loud painting. FUNCTION: different perspectives. FORMATIVE CUBISM: not yet cubism, but almost. More simple shapes and geometry. AVIGNON: best prostitute district. CONTEXT: influenced by Cezanne, "new imperialism" led to incorporation of African influence. MODERINISM: art that calls attention ot the process by which it was amde (reflects modern life too) PICASSO: grows up in Spain, well educated, art school (academic painter), became a rebel and wanted to do something new ( not Reinssance art), Father disowned Picasso and made a world of his own to do modern work. interested in COLONISM: African art influence (2 faces on right), African people: primitive (underdeveloped). PICASSO INTERRUPTED: savage and wild (stereotypes). based on fantasy of colonial African (wild and savage). borrows faces of African masks. SCARIFICATION on faces: attribute these women with these wild triats.

The Portuguese, Braque

FORM: 1911. portrait, fragmentation, reconstruction into new arrangements, forms created through view of different perspectives and angles, ANALYTIC CUBISM, undermining of illusion of depth. oil paint, oil on canvas. CONTENT: Portugas guitar player, pieces of character and personality. SYNTHETIC CUBISM: more and more abstract (painting: shattered mirror of reality, ambiguous painting. Very abstract. FINS (CUBISM): Fragmentation, Interesting Planes, Neutral Colors, Simultaneous Views. (no vivid colors because does not want to distract from analytical form),colage and cutting and pasting, multiple perspectives, show figures at multiple times and spaces (time and space not fixed), a guitarr, strings (cut and paste), different perspectives, down at guittar and side of guitar. Portuguese guitarist at docks, brikc pillar, guitarist in different perspectives, wrap around guitar. inspired Braque for this painting. FUNCTION: show different perspectives. BRAQUE and THE DEVELOPMENT OF CUBISM. CONTEXT: :"new imperialism" era brought incorporation of African influences in art. BRAQUE: Picasso companion (besties), live in Europe and well educated. Influenced by Einstein: theory of realitivity (critique of Newton), time and space are relative.

The Horse in Motion, Eadweard Muybridge

FORM: Asymmetric balance. 1878. ce. Albumen print. ZOOPRAXISCOPE: the birth of cinema (round thing that spins with slits tos ee moving image. helped create the first PROJECTION. CONTENT: Albumen print of many horses in rectangle boxes. All the boxes are split proportionally. THE FIRST FILM EVER: takes a bunch of photos and looks like it is a movie. (Film=cinema). moving picture. freeze frame. MUYBRIDGE: a percurse to film (study motion of animals and humans) FUNCTION: Style: This is in the style of a photograph with new technological techniques during the birth of photography.Function:The function of this artwork is to prove if a horses legs are completely off the ground during a gallop.Meaning:The meaning behind this artwork is to demonstrate if all the legs of a horse are taken off when galloping. It was proven to be true through a series of developed photographs taken by Muybridge. CONTEXT: This picture was taken to answer a question if all four legs of the horse take off the ground during a gallop. After a series of photographs, it was proven to be true.This is a historical artwork as it is shown to prove a point in history. Governor Stanford wanted to win a bet that a horse has all 4 feet off the ground when running at some point and asked Muybridge to help him prove this and helped him win.

The Artist's Studio/Still Life with Plaster Casts, Louis-Jacques-Mande Daguerre

FORM: Asymmetrical balance. First photography. DAGUERREOTYPE: first photogrpah ever (on metal) DAGUERME: French scientist who invented photographys (borrowed by another guy). Oldest Daguerotype. 1837 dauguerreotype (photography) CONTENT: Black and white picture of objects on table. There are heads and a frame on the wall.Context: This was created to show the future advanced technology. To create these pieces, it took little labor. PHOTO: etching with light. PHOTO: light. GRAPHING: writing. PHOTOGRAPH: writing with light. PHOTOGRAPHY/CAMERA PROCESS: covered with silver iodine, take photo in a dark box, is blank, but put in mercury, and then fix image with solution to create an image. VANITAS: a still life. 2 ANGELIC PUTI: fly in sky next to the sun. RAM HEAD: God of sun. light eat away at plate. WINE: because Daguerre is french. FUNCTION: Style: New vision of the material world. To show the inspiration of the old art to the new art. still life: a reflection of ones life and life is fleeting (out live the people) CONTEXT: The new technologies lead to the new creation of arm forms. This photograph is the start of the beginning and the art of photography. DAGUERME: A showman and painter. Daguerme argued that photography is a form of art: deeper meaning in the surface. COMPOSITION: frame of a shot (artistic decision) ARTISTIC>SCIENTIFIC. DAGUEREME won the argument that photography is an art form.

Olympia, Manet

FORM: Asymmetrical balance. oil on canvas. 1863. Breaks up brushstrokes. CONTENT: Painting of a nude woman with her hand over her private area. She has nothing but a flower on her head. MANET: beginning of modern art, photography now paints realistic. Blurry brushstrokes, flat colors, makes things unproportional. Harsh light (no mid tones), too light, too dark. Sheets and reclinign nude similar to Venus of Urbino, no linear perspective. Woman shorter than salve and plays on power dynamic. BLACK WOMAN: Model for Manet. Working class woman, not a slave. BACK CAT: (supersition=bad luck, refelct mischeif. arch back: symbol of promescity, sexual agitation). loose brushstrokes inspire Monet. Woman is a prostitue (shoes in bed, chocker chain, shawl, flower). She presses private part needs to pay to see. Woman is alert and disturbed. FUNCTION: The function of this piece is to show her symbolic of her sexual independence from men and her role as a prostitute. Meaning: The meaning behind this piece is to show how the factors of one event add up to so many through the size of the work. STYLE: This is in the style of a nude woman who has much going on around her. She is receiving a gift from a client, a man is giving it to her, and a client might have barged in through a door, as that's where her eyes are. Accpeted to one of the salon (exhibition for rich people). OLYMPIA: common prostitute name. woman is a prostitue. Public audience challenges the "male gaze". Breaks rule with women whoa re shamelessly nude in public: a mortal nude of women. nude women challenge the viewer. BEGINNING OF MODERN WORLD: Manet and Monet CONTEXT: This is a painting that shows a nude woman lying in bed and flowers are being delivered to her by a black servant. This is an artistic work that shows a very strange story. When it was exhibited for the first time, many people identified her as a prostitute. Beginning of modern world: MANET and MONET. MANET: paints people (over exposure) turning point in art history (comes before Monet). MONET: paint the ponds and lilly pads, transportation, atmosphere, impressionate. MANET: raises a lot of questions. A"flanuer" in paris (hotspot). "a painter of modern life" Early Manets were shocking-> social realist.

Monticello, Virginia. Thomas Jefferson

FORM: Brick, glass, stone, and wood. MATERIAL: Brick "Colonial style" with local materials. CONTENT: MONTICELLO: "Little Mountain" in Italian; symmetrical interior design; Brick building; stucco applied to trim to appear marble; Tall French doors and windows allow circulation in summer; Appears to be one-story with a dome but balustrade hides second floor; Inspired by Palladian villas; Octagonal Dome; Very narrow spiral staircases; beds in alcoves or walls between rooms. Home surronded by trees and gardens (for privacy). ROMAN AND GREEK INSPIRATION: Tuscan column, octagonal dome, 1 entrance, freize (greek), pedimet (triangle), modern twist to old traditions. Dome has an OCULUS: (window light on top of dome). ROTUNDA: Round room with dome on top. PORTICOS: a porch. A portal (giving a porch) attached to modern structure. Sky lights and windows (inspiration from French when Jefferson got Louisianna Purchase) FUNCTION: Chief building on Jefferson's Plantation, THOMAS JEFFERSON: Father of the University of Virgina and wanted to be remebered as an architect, loved this home he created. Inspires to be patriotic. CONTEXT: 1768-1806 Thomas Jefferson; Charlottesville Virginia. NEO-CLASSICISM (USA): looking to Greece and Rome for inspiration, civic responsbility and Republican virtue, Palladio's (Jefferson architectural inspiration) modern twist on classical architecture. Jefersson had many slaves that worked on this (famous for their work). PALLADIO: 16th century architect in Italy was Jefferson's inspiration.

The Bay, Frankenthaler

FORM: CHROMATIC ABSTRACT: Color field painting (feel something), COLOR RANGE< quieter aesthetics of chromatic abstract in contrast to gestural. Color Field Painting. SOAK STAIN TECHNIQUE: lay canvas on ground and pour acrylic paint in basin and pour water or laundry detergent and mix, and then pour her colors and lift and tilt and let the paint move. Applied the paint using a coffee can with a hole cut in it, which allowed her to create puddles that could be left as is or spread on the surface, Blended foreground and background, color and plane"Soak-stain" technique; thinned oil paint and applied it in washes of color that would then soak into the canvas creating a watercolor effect, Created a sense of space even as it emphasized the flatness. Earthly tones and in bold color with strong edges CONTENT: :soak-stain paintings=embodiment of flatness of picture planea "purely optical" experience of painting, thinned down colors call attention to the actual texture of the canvas, blurriness of colors allude to artist's technique, shades of blue blending into each other, simplicity of line (without perspective or depth)emphasis on color. abstract, doesn't have to represent anything in particular, the purpose of the piece could just be to provoke a response to color (highlights the simplicity and purity of emotion)applied paint like the piece (paint like water, applied like water spilling). aerial perspective of land: blues, greens, and grays FUNCTION: With this piece of Abstract Expressionism, it is important to focus on the physical aspect of the piece rather than possible social and historical contexts, This work was made primarily to be a physical representation of her idea rather than a deeper insight which we see in many other pieces. lets the paint do its thing then she names the work. no rules in art. experimental type of art. CONTEXT: the art movement that Frankenthaler worked in was Abstract Expressionism/Color Field paintingas was characteristic of the movement, Frankenthaler was focused on analyzing and reproducing natural forms, she was one of few women in a traditionally all boy's club of Abstract Expressionists, and despite this male dominance, Frankenthaler was able to score solo exhibitions, received favorable reviews, and gained the respect of her peers (she was a very well regarded artist)inspired by the drip method of Jackson Pollock, Frankenthaler painted a series of similar soak-stain paintings referring to water/geography the same year as The Bay, inspired by the landscape of her home in Massachusetts. FRANKENTHALER: Does some action in painting, but mostly about color and the process. grew up in Massachessetutes, near water (and she uses colors of water), blue and greens

Hall, Lobby, and Palace of Westminster (House of Parliament). Charles Barry and Augustus Pugin (architects)

FORM: Charles and Barry (main architect) and Agusutus Pugin (interior desinger and decorater). London, England. 1840-70CE. Limestone and masonry glass. Gothic, medieval, monumental CONTENT: It has a concrete bed, many towers, arches and long, pointed roofs. House of British Government. The Big Ben: clock tower. TOWER: For air circulation. Seats of Government (represents Parliamentary system). The Gothic revival of medieval fantasy. MODERN NEO-GOTHIC BUIDLING: because central tower building has ventilation. on cement ground not limestone (strong foundation). INNOVATIVE! GREAT HALL: For ceremonies (harry potter) FUNCTION: It is supposed to be a scene of government and represents Parliament. Revive old architectural styles. Factories and industries polluting the earth (do not want to relate with dirty modern era so go back to Gothic revival) CONTEXT: Pugin loved gothic and 19th Century and he wanted to focus on reviving old ideas. They analyzed older ideas because of the industrial revolution, which was occurring at the time which was pushing for cheaply made goods and steamboats. The original House of Parliament was burned down so they held a competition between Elizabethen and Gothic architecture to replace the burnt one. Competition for new Palace of Westminister because modern era architecture was ugly because of all the industries. Gothic won! (1300 but made in 1840-70.) Gothic style makes it look really old. Revive old architectural styles.

The Fountain, Marcel Duchamp

FORM: DADA ART: irrational art, comes from after WWI< reaction to the war, artists who are experimenting. A state of mind, embracing inovation, imationality, spontatniety, anarchy. (second version of the piece). China with black paint. CONTENT: Ready made sculpture, actually a found object that Duchamp deemed a work of art; Entered in an unjuried show but work was refused; Signed by "artist" R. Mutt, a pun on the Mutt and Jeff comic strip and Mott Iron Works; Title is a pun, fountain spurts liquid while a urinal is made to collect it; added irony of placing the urinal upside down. a urinal that is non functional with the words "R. Mutt 1917" written which is the store in which he bought the urinal from. Not functional because pee goes right back to you. he flipped the urinal upside down. FUNCTION: Art for Art's sake. helped change the definiton of ART: The conscious use of skill and cretaive imagination in the prodcution of and aesthetic object. he created this idea so it is art. CONTEXT: 1917 (this version 1950) Marcel DuchampPeriod/Culture: Dada. Marcel submitted this work to an art show that was apparently accepting anything, so he wants to push the limits and bought this urinal and made it unfuncional, he consciously changed it.

The Oxbow, Thomas Cole

FORM: Date: 1836 CE Medium: oil on canvas Style: Hudson River School (mostly landscapes). SUBLIME: storm to the left, light to the right (visual tension). Landscape painting. CONTENT: Thomas Cole exerted a powerful influence on the course of landscape painting. Many landscapes didn't have a moral message to them, they were more imitative than innovative, but Cole was able to put a moral message into his landscapes. Cole used the land as a way to say something important about the United States. this painting eloquently speaks about the widely discussed topic of westward expansion. contrast of lights and darks. Has a dramatic view from Mount Holyoke. The artist himself is in the bottom part of this painting. Hebrew writen: all mighty (God watfches this) approves westward expanding with tension sitll alive). DETAILS: Lightning on the left side (dangerous), tree snaped in half (damaged trees), on the right: less rugged greenery, lower level, cultivated land, tamed. To the right: all lush and green, untamed nature. Smoke coming out of chimneys (on their right), signs of civilizaiton, pilots of land, people own sheep. Parasal umbrella. A guy painting on the left (self potrait of Thomas Cole depicting himself painting). THOMAS COLE self potrait looking at us wondering what we think of Manifest Destiny. HUDSON RIVER BENDS BACK. ACADEMIC PAINTING: realistic (planned),On the left: more energy so blend of emotions and academic painting. FUNCTION: Illusion of the Expansion to the West. Settlers had divine right to move to the west: Manifest Destiny. CONTEXT: Thomas Cole part of HUDSON RIVER SCHOOL: the need to preserve landscapes: before colonies overrun it with sut and industries. People ilke the variety of the west.

The Swing (after Fragonard), Yinka Shonibare

FORM: Date: 2001. life-sized female mannequin flirtatiously kicks up her left foot, projecting her slipper into the air where it hovers, appropriation of original painting, movement, installation, Dutch wax fabrics across her ruffled skirt (bright golds, reds, blues). A take on the original The Swing by Fragonard. Artist is from London. CONTENT: headless=may be reference to guillotine used during the Reign of Terror, loss of identity (could be a reflection of anybody), may be comment on objectification of women and the double standard presented in the original Rococo painting, viewers can be apart of the piece, used 'African' Dutch wax fabrics that are steeped in histories of cultural appropriation, European imperialism, and power, leisure depicted in both pieces=indicates accumulation of wealth and power that is no doubt a product of exploiting people. Artistocrat with head cut off because of what aristocrats used to do back then and upset many people. So frivolous and added complexity. Missing a head (beheaded for her bad actions). FRENCH REVOLTUION: guilottone: for anyone against the Revolution (many aristocrats and priests were against the revolution), She is beheaded for not supporting the French Revolution. Dark skinned instead of light skinned like original. Colorful fabrics look african, but are actually from Eueope. Complex colonial influences on fabrics FUNCTION: three-dimensional representation of a painting, encourages modern viewers to contemplate questions of excess, class, and morality (subjects the original touched on), as well as the inscreasing disparity between economic classes in present-day, contemplate the complex economic and cultural entanglements that resulted from European imperialism (aristocracy, "colonized wealthy class") CONTEXT: original piece was commissioned by the woman's husband, artist is a British-born Nigerian who was raised between Lagos and London; the patterns on Dutch wax fabrics were originally from Indonesia and then were made in England/Holland, tried to sell imitations in South Asia (no success) and their West African colonies (were appropriated and integrated into local visual culture), prompted him the think about stereotypes and the areas that exist between identity and culture (what is "authentically" Africa)

The Steerage, Stieglitz

FORM: Form: photograph. Fine arts category. CONTENT: Photographed the world as he saw it; arranged little and allowed people and events to make their own compositions; interested in compositional possibilities of diagonals and lines acting as framing elements; depicts the poorest passengers on a ship traveling from the US; some may have been turned away from entrance to the US; more likely artisans with expired visas returning home; Published in 1911 in Camera Work; Influenced by experimental European painting; compared to a cubist drawing from Picasso; cubist-like in arrangement of shapes and tonal values; represents social divisions of society; steerage reserved for passengers with the cheapest tickets. PHOTOGRAVURE: grained copper plate that has layer senstitve gelatin whih is exposed to film. THE STEERAGE: depcits people in lower class in bottom of boat going to New York to Paris. FIRST MODERN PHOTOGRAPH> Upper class on top. lower class on bottom. Physically separate and diagonal bridge. Circle in hats, lines of latter (harmony of shapes and forms.) CANDID: puts more focus on photo itself and its art form instead of subject matter. modern art forms and shapes. CONSCIOUSLY PLANNED: modern art because sees forms. FUNCTION: to show social divisions in society, message about immigrants not allowed in homeland, goal was to move photogrpahy into fine arts category. CONTEXT: 1907 Alfred StieglitzPeriod/Culture: Photo-Secession. STIEGLITZ: people watched because didnot want to go on this trip with wife and daughter. Artrists who are experimenting reactions to the war.

The Swing, Fragonard

FORM: Fragonard, Grance 1767. style: Rococo- love, pastels, aristocracy, arabesques, delicate paint application-oil on canvas CONTENT: -ideal love gardens with sculptures-cupid whispering-attendant swinging her=elite-foot with expensive shoe-French garden-"peeping tom" in lower left. Woman in middle with blonder hair and glowing. Angel on the left gestering for her to stop being naughty (an erotic scene). A LOVE TRIANGLE: man pulling her on the swing (right), guy on the left reaching for her. Both men do not know the other is there. CUCKOLDRY: a love triangle where one person does not know and guy on the right is the cuckoldry. The woman is using both men and having an affair with guy on the left while man on right does not know of this and thinks her wife is loyal. MALTESE DOG: looking up at woman and barking (upset at the threat of the other man as dangerous activities are going on). Womans shoe is flying off and all the statues, and men are staring at her. FUNCTION: -made for aristocrats to decorate buildings-show the pleasures and decadence enjoyed by the elite. Made for the ARTISTOCRACY: rich people had many affairs and lower class people would not enjoy seeing this image. Rococo CONTEXT: Enlightenment. Gardens were where lovers met. (Rococo)

Dream of a Sunday Afternoon in Alameda Park, Diego Rivera

FORM: Fresco mural, 1947, FRESCO: with mural walls, a large mural, read from left to right (paint and plaster)-Fresco, 50' long, 13' high-Inspired by surrealism (dream/nightmare) CONTENT: -Big urban park in Mexico City-Skeleton in middle- Diego as a young boy holding its hand-Older portrait of Frida-Jorge Pasado: art figure-Day of the Dead figure-3 periods of Mexican history over 400 years (Conquest/inquisition period, Porfirio of Diaz dictatorship, Mexican revolution of 1910)-Historical figures in the government/ revolution. Surrealist and social realist: shows working class. SOCIAL REALISM: A movement that flourished between 2 World Wars in response to the social and political, turmoil and hardship of the period. LEFT: Conquest, prerevolution, FAMOUS PEOPLE THERE: First preist-> Spanish inquisitation, Sor Juana with a quill, individualized. SANTA ANA: leader of mexico (big red nose). HERNANA CORTES: armor, blood on hand (left) explore new world, conquisador. MIDDLE: booswasi, Frida Khala is there with yin yang that represents her balcance and polarity between Diego. DIEGO is there as a little boy in front of Frida, very welathy people here, LA CATRINA: dia de los meurtes. POSADA: Famous cartoon artist. RIGHT: post revlotuion, restore voice of people, MExican revolution, DIAZ:(corruption) dictator of Mexico, ZAPATA(revolution): on horse. Corruption-> revolution, lots of conflict, struggle of Mexican revolution FUNCTION: -Political propaganda and nationalism-for Versailles ballroom-Historical narrative-Decoration for a hotel across the street from the park-Show how involved the government was in Mexico. celebrate 400 years of Mexican history, good and bad of people, relates to working class. comissed of president of Mexico, to celebrate it. compare to school of Athens. CONTEXT: -Diego Rivera, 1947-48-Diego's memories of the park (moved to Mexico City at age of 10). Frida's husband. compare to school of athens, indigenous side.

The Jungle, Wilfredo Lam

FORM: Gouache on paper and canvas. modern cubist and surrealist. gouache on paper mounted on canvas- more dense on top, more open on the bottom of the work- surrealism and afro-Cuban elements CONTENT: :-cluster of faces, limbs, bamboo, and sugar cane- shows slaves growing sugarcane in jungle (which didn't happen)-Santeria: mixes African beliefs and customs with Catholicism-femme cheval: half woman, half horse. absurd imagery, tree with shoulder, butt, and eyes. Right angles with arms and legs. faces reduced to shapes, half moon shape. big feet, dismembering self with scissors, colors of caribbean. FUNCTION: large painting made after Wilfredo returned to his homeland of Cuba from Europe- work of art rejects stereotypes bc of the slaves he shows growing sugarcane in the jungle. The jungle is inspired by Cuba as it was a sugarcane plantation island. FRENZY: people becoming those masks and surrondings. historical consciousness, tried to relocate Black cultural objects in terms of their own landscape and in relation to their own world. CONTEXT: - Wilfredo Lam made this in 1943- made during WWII in Cuba. AFRO CUBAN: African, lively, song and dance. SANTERIA RELIGION: mix of religion for Afro Cubans: catholicism with African religions, very mstical, magical way of performing religion. WILFREDO LAM: the artist, went to SPain and became friends with Picasso.

Marriage ala Mode, Hogarth

FORM: Hogarth, England. 1745 -looks like French Rococo (uses to make fun of the French. HOGARTH: satire artist, Rococo and Enlightenment. Not suttle for the lova affairs. He comments on the real dark undertones of society, CONTENT: -critques upper-class for getting married because of bloodlines and family-shows the couple is married but not faithful to eachother-man being sniffed by dog because smell of another woman's perfume-woman has been out all night trying to become popular-part of a series (arranged marriages end badly, marriage should be about love)-sign that sex occurred before husband came back home (flipped over chair)-merchant gives up on couple because they won't take finances seriously. SERIAL: Forewinner of modern comic strip (then Hogarth turns them into prints for money). SATIRE OF MODERN MARRIAGE: BREAKFAST SCENE: man on left is in charge of balancing bills and is exclaiming to God for help as the family is in financial crisis. Woman in middle is content, eyes fluttering, and had a fun good night, while the man on the right (her husband) is sad, looking aimlessly, han an exhausting and bad night. Everything is amess, things all over the floor and thrown around. THE INSTRUMENT: music of love, but since it is on the floor broken, shows that the couples love is broken. Man in very back has pants down (was the lover of the woman that is why they are content) They had a affair and a reclinging nude painting in the back is covered to show something erotic happened. DOG: is alert and sniffing something in husband (man on right) coat (lace underwear) man who is slouching also cheated on wife. Statues on the fire place are kitsch and poorly made. This family has no sense of taste with decor. A BROKEN SWORD: To show the man on right slouching, lost a fight and his manhood is shattered. Man on right has a black dot on neck (which means he has sephillas and tried curing it with metal pills, does not work) so this man does not ahve a bright future. FUNCTION: -satire from British to French-art being made for the growing middle class CONTEXT: artist: William Hogarth was a socail critic. state Censorship was abolished in England so they were free to write and paint anything.

Under the Wave off Kana Garva, Hokusai

FORM: Material/Technique: Polychrome woodblock print, ink and color on paper. Peak of the mountain with a massive creating wave. Paintings within the different views. Some have Mount Fiji in them. Some have three fishing boats and some have a bridge. CONTENT: Mount Fuji, a large blue and white wave that seem to be in mid-crashing position. UKIYO-E PRINTS: most popular form of art (images of the floating world) more 2D and flat (woodblock prints, more 2 dimensional), flat color, missing shadows. OBLIQUE ANGLE: at a diagonal and things vanish. FUNCTION: To show the beauty of Japan and it's different natural art beauty.Style: Mount Fuji and the bridge and the three fishing boats reveals the location, Japan.Meaning: It reveals base of Japan's natural beauty. It is viewed in different perspectives of different people. CONTEXT: Aesthetics type of art that is created for the beauty for art's sake from the artist. This artwork reveals Japan's beauty.Function: To show the beauty of Japan and it's different natural art beauty. Japan opens ports to West World.

Brancusi, the Kiss

FORM: Monumental, Representative. Constantin Brancusi. 1907-1908 C.E. Limestone. (Vocabulary: monolithic, reductive). Limestone, abstract CONTENT: A man and a woman are embracing and kissing each other. FEMALE: on the right (breasts). MALE: on the right (block figure). Missing body parts (no feet), no room for shadow, very blcok/geometric like (Cezanne influence). Same figures, mirrored against eachother, but female with curves and longer hair. CIRCLES: Woman. BLOCKS: Man. Eyes become one (joining of the souls energy) FUNCTION: Brings primitive truth to paris from Romania. Displays Cubist sculpture, finds a balance between sculpture and natural material. Simplified form, but can tell they are kissing. THE KISS: is a common theme in art with many interpretations. CONTEXT: This is very avant-garde (new and unusual or experimental ideas, especially in the arts, or the people introducing them) since it shows a lot of primitivism. Brancusi was a traditionally trained sculptor but dedicated to the change of art in Cubism. BRANCUSI: was progressive (abstract) ABSTRACTION: When you focus less on representation form and focus more on concepts. Representing concepts of them. "Reality is not the extertnal form; it is the essence of things."

Oath of the Horatii, Jacques-Louis David

FORM: Oil on canvas (1784) -neoclassical (physicality and intense emotions)-dramatic, rhetorical gestures-geometric forms with the contrasting curvy formed women-single light shined upon them at the heightened drama of the scene CONTENT: -"what are you willing to die for?"-3 brothers saluting towards the swords which are held by their father (take oath to defend Rome)-woman grieving in back ground because they have to deal with consequences of war (either lose husband or their bro)-sacrifice oneself for good. NEOCLASSICISM: Columns, Roman helmets, drapery (GrecoRoman) like ancient world, highly clean and detailed (no brushstroke marks). 3 with helmet are the sons. 1 without the helmet is the father. FATHER: in red and holding the 3 swords of the sons. The 3 men are amking an oath to father: THEY WILL FIGHT IN BATTLE TO THE DEATH. Academic brushstrokes (highly clean and deatiled, no bruthstroke marks) HORATII BROTHERS: The 3 on the left pledging their oath. They are Roman soldiers: shaved beards. soft arches (ROMAN) NEO-CLASSICISM: REvival of Classicism, artists and patrons revive classical art and architecture. CLASSICAL VALUES: Liberty, civic virtue, morality, patriotism, idealism. Style of revolutionaires. Discovery of Herculaneum and Pompeii. FUNCTION: -challenge aristocracy. Created in France before French REvolution (David-> the propaganda master of French Revolution. Inspire revolutionaries to fight to the death (ancient story, modern message) CONTEXT: -Jacques-Louis David 1784 (before the revolution)-commissioned by King of France. JACQUES-LOUIS DAVID: propaganda artist of the Revolutionaires-> always has blades in his paintings. THE OATH OF THE TENNIS COURT: they would lock themselves in the tennis court until a Constitution was made. WOMEN ON THE RIGHT: wives of the other fighting force and sisters to the Horatti brothers. women are sad because in this battle they will either lose their brother or husband.

Philospher Giving a Lecture at the Orrery, Joseph Wright of Derby

FORM: Oil on canvas. Tenebrism now used in secular aspects (mimicking Caravaggio)-Chiaroscuro: contrast between light and dark. (1763-1765) CONTENT: -orrery: model of the solar system (heliocentric)-philosopher explain something to people in painting (education is sacred). CHILDREN: suggest the next generation needs to learn these things as well. ORRERY: Thing in the middle (revolves) like planets revolve. Show how Galileo confirms sun is the center of universe and every other planet revolves around sun (the orrery shows the revolution of the planets). Well dressed WOMAN on left (new!). Children, young adults, and old people (because enlightenment is for all painting), this is a painting based off the small lecture of a lunar society. Left guy (friend of Derby). Old guy in middle (possibly Isaac Newton?) the philospher, most powerful person in room: RED: power, GREEN: Studious color. RIGHT GUY LOOKIN IN ORRERY: patron of the painting. CHAIROSCURO: COntrast of light and dark (like Baroque). Light eminating from a source (the sun planet in the orrery) FUNCTION: -introduction to science-celebrates access to knowledge-shift from religion to science-philosophical groups emerging. believes God meant people to think. ARTIST: Joseph Wright of Derby: Obssesed with machines and technologies becasue grew up in Birghimingham. Wright of Derby was part of a LUNAR SOCIETY: The struggle of science agaisnt religious values. Was a PRIVATE SPACE: exclusive club=lunar soceity. LIGHT is now a symbol of REASON and KNOWLEDGE. CONTEXT: artist: Joseph Wright of Derby. French Revolution insighted ideas: French uprising against King Louis for his spending problem of the people's money. ENGLIGHTENMENT: New ideas how countries are going to be governed. AGE OF ENLIGHTENMENT: Begins the modern era: inventions and new ways of thinking. ISAAC NEWTON & JOHN LOCKE: Scientific inquiry and invention, spread ideas, progress for people and systems which they operate.

Narcissus Garden, Yayoi Kusama

FORM: PERFORMANCE ART: Actively engaging, interactive type of art. MATERIALS: mirror balls. - spheres- silver color- plastic material- tightly arranged CONTENT: - 1,500 mass-produced plastic silver globes- reflective field- repeated, distorted, and projected images of the artist, the visitors, the architecture, and the landscape. a performance and installation artist, everything in the world is comproside of DOTS: unites people. "Narcissim for sale: mirror ball stare into your image. FUNCTION: - forces confrontation with one's own vanity and ego. commodifications benefits art. (engages people at a higher level) Widens audienve but could just be for the money rather than experience. CONTEXT: - Yayoi Kusama- 1966- Japanese- proclaimed own mental health issues- garden on the lawn ouside the Italian Pavilion at the Venice Biennale in 1966- paired with sign "YOUR NARCISSIUM FOR SALE"- sold mirror balls to passers-by for two dollars each- peddling eventually ended. Yayoi Kusama is a strange soul who has hallucinations regularly and lives in a mental institution. A NARCISSIST: Comes from Greek myth of someone who fell in love with their image and starved to death after staring at his reflection for so long into the pond (Self-centered). Her father had several affairs, so fear of sex.

Results of the First Five Year Plan, Stepanova

FORM: PHOTOMONTAGE: a collage using photos. Stepanova-> the first photmontager. Photomontage: images combined and manipulated to express the message artist wants to convey-Dynamic composition-Graphic art (book and magazine)Typography: text turned into art (what Stepanova is famous for) CONTENT: Stalin's Five Year Plan of 1928 for agricultural, industrial, and military growth-Vladimir Lenin-Industrialism-Red: color of the Communist Soviet Union. RED: Stands fro power and the soviet Union. promote industrialization with the red power grid-> staln is industrializing and catching up to Europe. Leninś head connected to power grid connect to speaker: broadcasting Lenins message (people like Lenin more than Stalin and founded Soviet Union). Lots of people crowded, hodlign supporting banners and flowers. FUNCTION: Soviet propaganda-book illustration-Show Stalin's economic policies to the world-Constructivism as utilitarian modernism-Artist's interpretation. propaganda art. try creating propaganda for Stalin's government nad the potential of 5 year plan. CONTEXT: -Varvara Stepanova, 1932-Russian Constructivism. Vladmir Lenin: COmmunist party. RUSSIAN CONSTRUCTIVISTS: Used geometric, abstract froms adn assembled them with industrial tools; interested in graphic desing and photography. After world war II, Russia has a revolution. STALIN: means steel-> the soviet leader after Lenin, one of worlds worst mass murderers. CCPP: means USSR> Stalin wants people to see his gov is doing great enen if its not. STEPANOVA: Russian artist.

Marilyn Diptych, Andy Warhol

FORM: SILK SCREEN: Technique, mesh screen with an image on it, and holding negative to screen and photo sensitive material and helps print stuff out. POP ART: Popular culture (using images in pop culture and consumerizsm) - acrylic on canvas- silver canvases- silkscreened a photograph- monumental scale. CONTENT: - 50 images of Marilyn Monroe- seemingly careless handling of the paint- "allover composition" - viewer's eyes wander without focusing on one spot- repetition- uses publicity photo for Niagara film- heavy-lidded eyes and parted lips- inscrutable expression- literal and emotional flatness- presence of artist and actress are "ghostly"- colored images resemble embalmed corpse- lighter tones of images seem like the actress is disappearing. Yellow around head: to show that Marilyn is divine and like VIrgin Mary (halo). BLUE-> royal because celebrity (icon), she was over commidified. This work is APPROPIATION: takes someone elses art and reverses it. LEFT: Cakey and makeup face, RIGHT: black and whtie because fading after she dies, an idol to be worshipped, DIPTYCH: like and altar piece. FUNCTION: - references a form of Christian painting in its title- promotes worship of legendary icon- suggests that Marilyn Monroe is a one-dimensional sex symbol- references mechanical forms of reproduction- repetition de-sensitizes Marilyn's life, deadining emotional responses to her death. - claimed a visible space for the anti-war movement- poked fun at the solemnity of the plaza- not intended to be permanent- metal remade sculpture preserves protests- critiqued the hyper-masculine rhetoric of the military and the consumerism of the US. Warhol created this work after Marilyn died. TUrns everything into a buisness (inspired by commeralization, busy and high energy person) ( make money and being efficient through AUTOMIZATION: Reprinting of same image. CONTEXT: - 1962- Andy Warhol- influenced by pop culture and art history- Abstract Expressionism- created after Marilyn Monroe died of an apparent suicide - Claes Oldenburg- appeared on the campus of Yale University during 1969 student protests against the Vietnam War- made in collaboration with architecture students. MARILYN: Sex symbol of 60s, disensitizing her, Marilyn died at 36 years old becuase of drug overdose, had an affair with John F Kennedy, B-list celevrity (popular because of her image)< always looking her best so turned to drugs,

Vigee le Brun, Self Potrait

FORM: Self potrait of Vigee le Brun, 1790 -oil on canvas-portrait-light brushwork and colors (Rococo style)-Enlightenment CONTENT: -shows her in process of creating the self portrait of Marie Antoinette (she was her court painter)-holding palette and paint brush (showing she is skilled)-interrupts her but she welcomes the interruption. Marie Antinoette's favorite potrait artist: VIGEE LE BRUN. Vigee is depicted as dressed nicely, she is interupted during her painting and looking at us, but still engaged in painting. She looks serene and happy. Holding many brushes and painting witha nice dress (shwoing us her as an artist). She is painting Marie Antinoette in this potrait (her fav client), WEARING RED RIBBON: to show power as an artist and person. A very large self potrait to display importance. FUNCTION: -shows that she is a painter-several different version CONTEXT: -artist: Elizabeth Louise Vigee Le Brun-1790 CE, Rococo-Neoclassicism (in between). Many paintings of Marie Antinoette are made by Vigee le Brun. Marie Antionette a patron of Rococo because fav art style. French Revolution causes Marie Antinoette to be beheaded by guillotone. Vigee le Brun flees to France to Italy and paints this in order to get into the royal acadmy in paris (her application). She become one of the first 4 women admited to the royal acadmy of painitng,

The Stonebreakers, Courbet

FORM: Style: This is in the style of a historical artwork as this painting was made a year after Marx and Engels wrote their influential pamphlet, The Communist Manifesto. OIL ON CANVAS. ALLA PRIMA: no plan, Courbet just painted (not academic) 1849 CONTENT: Two workers working very hard. Clothes are rugged (torn, patchwork), hands dirty. Smashing rocks, not very clean. Back breaking work. Show people what you do not want to see-> working calss doing dirty work. THE STONEBREAKERS: job to get roads ready to be paved. Works make them look older (right guy-> too old to work) (left guy-> too young to work) Yellow tint: over exposer (too much light on the subject). Cannot see the faces: distant us from the subjects. Mundane activities of working class. Not ideal like academic realism. seperation between classes. in the fore ground. Drawn to the whites (neutral colors), dull qualitu of work. FUNCTION: The function of this artwork is to show how the two laborers are trying to remove stone from a road that is being built. Meaning: The meaning behind this piece is to make sure that history is remembered, no matter which direction or what it is about. Artists make sure that history is told through their artwork. Courbet was an academic artist, but wanted to depict the working class. CONTEXT: This artist tried and achieved the goal of making this art come to life with realism and reality. This painting was made a year after the pamphlet, The Communist Manifesto.This is a historical artwork because it is there to serve as the reminder of what was going on during this time period after a series of actions. SOCIAL REALISM: less demand of painters because photogrpahs do that. INDUSTRAZILATION: new technologies positism. A reaction against romanticism. Reflect 1848 REvolution across. REflects theories of marx and Darwism. ANTI-ACADEMIC REALISM. Social relaism rejects academic realism. socail commentary and shocking subject matter. This work is destroyed in WW2 (do not have it anymore). SYMBOLISM: might be the boy and him in the future. Works same job his whole life.

Nadar Raising Photography to the Height of Art, Honore Daumier

FORM: Style:This is in the style of something new, photographs. Artists from the Renaissance used a camera that would pass light through the hole and project an upside down picture. But that was old news. Now, there is the invention of a light sensitive surface. LITHOGRAPH: giant stone block (how to create posters). Draw with wax crayon, lay in k and print. Replicate posters. 1862. ce. Lithograph CONTENT: Black and white piece of art of a man in a hot air balloon. NADAR: 1st photogrpaher to take aerial photos of Paris. FUNCTION: The function of this piece it to show how the controversial of fine art medium was created. Some may argue that is it more science than art, other's believe it is art and not science. Either way, this is the improvement in technology that includes art as well.Meaning: The meaning behind this is to show the development of photography that is both a science and an art that was soon created together. Make fun of Nadar (the first photography of aerial paris) and took photos from hot air balloon. Nadar was crazy: first landscape aerialist. He also helped argue that photography was a from of art. CONTEXT: This is an artistic artwork because it is the development of new technology that was introduced into the world during the birth of photography. NADAR: a cartoonist.

Klimt, The Kiss, Vienna Secessionist movement-Art Nouveau

FORM: Stylized, Gustav Klimt. 1907-1908 C.E. Oil and gold leaf on canvas. oil on canvas. CONTENT: Man holding his wife and kissing her on the neck meanwhile her eyes are closed. Captures a moment that does not always last forever. WRAPPED IN GOLD: Represent divine equality (gold all around: conceptual divine image). WOMAN: Flowers (colorful). CIRCLES: female energy (circle of life)- bare children. MAN: black and white blocks-> curves cross over to man, solid male energy. KLIMT: A womanizer (women are powerful). Flowers on bottom: represent paradise. BYZANTINE ART: lots of gold-> divine light symbolism. EGYPTIAN ART: (eye of horas sees everything.) Women not kissing back (passive) not fully intertwined. Feet on edge of cliff because bad things can happen. divine representation of love (ups and downs) idealize love: GOLD-> worship love. FUNCTION: To show how this artist shows love and how he demonstrates it through his artwork and his golden brilliance through the use of gold and silver leaf in his work. CONTEXT: This is an artwork that depicts a couple hugging with their bodies covered in a robe to show the style influenced by linear constructs and the Art style during this time. It also shows the way that love is portrayed through this artist's eyes and his artwork. He uses gold to make the robes almost become more illuminated than it would with paint. The Burghers of Calais.Auguste Rodin. 1884-1895 C.E. Bronze. (Vocabulary: Hundred Years War, Franco-Prussian War). Klimt is Austrian and wants change. Creates the VIENNESE SECCESSION: The Art Nouveau. Austria moves forward. Seced from conservative art schools. leaves academ. 3 INFLUCES OF VIENNESE SECESSION: Byzantine Art, Greek Art, Egypitain art. POST EXPRESSIONIST: art elements to convey ideas over realism. SYMBOLIST: Symbols to represent ideas.

Lipstick Ascending, Oldenburg

FORM: at yale in 1974, a sculptor artist - 24 feet high- sculpture- plywood base- red vinyl tip- remade in metal. - acrylic on canvas- silver canvases- silkscreened a photograph- monumental scale CONTENT: T- tube of lipstick sprouts from a military vehicle- lipstick tip could be comically inflated and deflated. ank on the bottom, then a gian lipstick on top of it, was infallitable becuase was suppose to be temporary, but now solid steel. TANK: masculine, LIPSTICK: Feminine (has to do with covering up/ enhancing image), consumer product, American gov covering stuff up from the public. FUNCTION:claimed a visible space for the anti-war movement- poked fun at the solemnity of the plaza- not intended to be permanent- metal remade sculpture preserves protests- critiqued the hyper-masculine rhetoric of the military and the consumerism of the US. a protest piece (suppose to be temporary) CONTEXT: Claes Oldenburg- appeared on the campus of Yale University during 1969 student protests against the Vietnam War- made in collaboration with architecture students. OLDENBURG: takes small objects and blows them up large scale. SCOIAL/POLIITICAL COMMENTARY ARTIST: inspired by the 1960 Vietnam War: many americans felt that we should not have been involved so he created this protest piece.

The Coiffure, Cassatt

FORM: drypoint and aquatint on laid paper, sheet- 43.2 x 30.7 cm- hazy shading; soft tones w/bold sharpness in lines- limited color palette. 1890 CONTENT: "coiffure" = elaborate hairstyle- wealthy woman adjusting her hair- not sexualized- Not a psychological portrait- Curve of sloping back/neck echoes curves of chair standing in contrast to vertical lines of mirror. UKIYO-E PRINTS: most popular form of art (images of the flaoting world: performers, actors, and pleasure) More 2d and flat (wood block prints more 2 dimensoional) FLat color, missing shadows. Wood block prints feature nature and organic. BLOWN OFF ROOF PERSPECTIVE: common in Japnaese art. OBLIQUE ANGLES: at a diagonal and things vanish. Japnaese are very good at texture. Flat colors because wood block can ony print one color at a time. Wood block print copying Japanese style. JAPONISME: influence in Europe of Japnaese art and aesthetic. No shadow. DRY POINT PRINT: Form of etching. Organic patterns (floral patterns on wall) and stripe texture on floor. Blown off roof perspective. THE COIFFURE: styling hair means hairstyling (women love hair in France and Japan). FUNCTION:Make her art more accessible for large audience- Art for masses not popular with contemporaries. CASSAT: AMerican artist and learned in Europe. FEMALE IMPRESSIONIST: representing daily life in France. Iinfluence art: Japonisme. CONTEXT: - April 1890 - Ecole des Beaux-Arts (School of Fine Arts) in Paris~Showcased exhibition of Japanese woodblock prints- Artists (Degas, Pissarro, Monet, van Gogh, Whistler) incorporated elements of Japanese design- Japonisme- Mary Cassatt = American expatriate painter. Japan opens ports to West World.

Breakfast in Fur, Meret Oppenheim

FORM: gazelle fur covering cup, spoon, and saucer. SURREALISM: looking inside subconscience and imagination. Fur-covered cup, saucer, and spoon-Surrealism: pure physic automatism (unconscious/conscious), world of dreaming. CONTENT: Saucer, cup, spoon-Gazelle fur. FADS: Fetishes, Absurdity, Displacement, Scale changes. DADA: irrational art. German expressionism. SURREALISM: a movement in response to WWII-> "surrealism is about tapping into the unconscious and bringing it with the world of consciousness. The truth of who we are as humans. FUNCTION: -Turning something dainty into something naughty (pubic hair reference)-Interpretations can be different for everyone. bridging unconcsious with subconsious. CONTEXT: -French-Meret Oppeheim (Surrealist painter)-Was at a café with Picasso and wearing a fur covered bracelet. He exclaimed that anything could be covered in fur and she got inspiration because they were drinking tea together. Proceeded to go to a store right next to the café and get a cheap saucer, spoon, and, cup. MERET OPPENHEIM: modern artist and friend fo Picasso. Picasso said that "anything can be covered in fur and look great" and this inspired meret to prove him and created this. SIGMUND FRUED: We should connect subconsicous to the world of consciousness, free from control or repression.

George Washington, Houdon

FORM: marble, Houdon CONTENT: dressed as 18th Century gentleman; Military associations minimized; epaulettes on shoulder and sword cast aside; Naturalistic details (missing button on jacket and tightly buttoned vest on protruding stomach; Man of vision and enlightenment; Badge of Cincinnatus on his belt (Washington as gentleman farmer who left Mount Vernon to take up American cause like Roman General Cincinnatus); plow behind Washington symbolizes his plantation; Washington leans on Roman fasces; group of rods bound together top and bottom; Thirteen rods symbolize 13 colonies; Washington leans on 13 colonies from which he gets his support. NEO-CLASSICISM SCULPTORE. FASCES: Bundle of rods (he leans on) symbol of ancient Rome (united we are strong, alone we are week) 13 rods=13 colonies (foundation George Washington rests on. CONTRAPSTO POSE: Weight shift in legs (realistic). Looking out into the distance (looking into afterlife and confident in where he is headed). Hand on top of drapery. NATURALISED depction of George Washington (has a stomach, verism, wrinkle) HUMANIZES HIM: missing a button on the claock, uses a walking stick, sword on his side becuase no more fighting. Plow on the bottom->the farmer he used to be. He wants to leave power rule and go back to farm (returen to farm life). FUNCTION: Glorify Washington. Reflection of Enlightenment. Do not depict him as a king which is good! CONTEXT: 1788-1792 Jean-Antoine Houdon. George Washington is COMMANDER-IN-CHIEF: commander in chief of army (a strategist who did not want to president, a humble man) HOUDON: A french sculptore that Jefferson picked to do this statue of George Washington.

And There's Nothing to be Done, from the "Disasters of War" series, Goya

FORM: nuanced shades of light and dark that capture the powerful emotional intensity of the horrific scenes in the disasters of war-hopelessness and despair-horrific and grotesque. Etching and drypoint. AN ETCHING: a print (monochromatic): contrast between white and black dramatizes scene. CONTENT: A blindfolded man with a downcast head stands bound to a wooden pole-white clothes with tears and rips-off kilter position signifies heroic defeat- is about to die-In front of him is a corpse-> blood and brain matter ooze and pool around his head--executioners are represented only by the barrels of their guns aiming menacingly from the right end of the frame. (feathered brushstrokes, does not bother to finish details, aggressive brushstroker.) A very serious scene (light-> illuminating Spainards side) (dark-> illuminating French side). Goya depicted gross stuff he witness in war becuase Napaleon invaded Spain. Spaniard lit in the middle is tied to a stake, blindfoled, and a white sky to suggest hope. French are pointing guns towards Spanards because no mercy. The French are machines (not human) and have no hope/future. Romanticism: a painting based on FEELINGS! FUNCTION: Protest against the french occupation of Spain by Napoleon Bonaparte-Leading General of Spain's army commissioned him to "record the glories of Spain's citizens in the face of French atrocities" A work to show how the French showed no mercy to the Spanish in the Pennisula Wars. CONTEXT: Goya worked as a court artists for Joseph Bonaparte (brother of Napoleon) who was appointed King of Spain by his brother. ROMANTICISM: rooted in Rosseau's idea "man born free, but everywhere he is in chains", got in touch with feelings and imagination, bold brushstrokes. Romanticism shifts from reason to FEELINGS. Exotic, erotic landscapes. GOYA dissapointed in humanity and therefore depcits what he sees. Goya becomes ill and looses his hearing and depicts the horror of war. Spainards weak and vulernable therefore Goya did not want to publish these. The family did 30 years after Goya's death.

Self Potrati as a Soldier, Kirchner

FORM: oil on canvas CONTENT: Kirchner was an "unwilling volunteer" as an artillery driver in WW1 to avoid being drafted into the infantry; declared unfit for service due to lung problems and weakness; mental breakdown; painted the work during a recuperation period; Drawn face and loss of right hand indicates his feeling that he has an inability to paint; nude model represents what he used to paint but no longer can; nightmarish quality; Colors are non-representational, but provide a jarring impact; expressive quality of horrified facial features and grim surroundings; Tilted perspective moves things closer to the picture; life was plagued by drug abuse, alcoholism, and paralysis. Black eyes. Depicts his WORST FEAR: Getting drafted into war and forced to fight and afraid of losing hand because he loves painting. Loosing his painters hand and becoming a soldier. Becoming an ambulance driver to avoid war. WWI ruined him and felt as if he lost his hand.Has no eyes (primitive: loose humanity). BEHING HIM: everything Kirchner ( a painter) needs to paint (nude woman, canvas, but cant paint because no hand). PRIMITIVISM: "the appreciation and imitation of cultural products and practices perceived to be primitive or at an earlier stage of a supposed common scale of human development. New way of modern art, go back to roots. DEGENERATE ART: Less than inferior art that Hitler displayed becuase hated modern art. FUNCTION: self portrait. Anti academy. Influenced by colonial art. PRIMITIVISM: Looking at art from colonies and sees it is primitve with basic lines and shapes (simplicity), simple strokes represent that. CONTEXT: 1915 Ernst KirchnerPeriod/Culture: Expressionism. GERMAN EXPRESSIONISM: "Die Backe" (The Bridge): Express fears of war. Kirchner influenced by Edward Monk. ANXIETY OF MODERN LIFE. Instead of a soldier, Kirchner because an ambulance driver and this does not help as he witnesses many people suffering with body parts blown off either way. When Kirchner knew his art was on display at degenerate art show, he was so sad that he committed suicide.

Improvisation 28, Kandisky

FORM: oil on canvas CONTENT: representational objects rather than depicted; title derived from musical composition; strongly articulated use of black lines; colors seem to shade around line forms; felt that sound and color were linked; gave musical titles to many of his works; wanted the viewer to respond to a painting the way one would respond to an abstract musical compositon. Little town on the right top, represent Jeraselum: top of hill with buidlings on top, Triangle and cubes, cylincidrical, JERASULEM: is religious. Boat, riffles on left, smoke survive, a cannon, oval heads, straight lines for possible bodies, holding pitchforks defedning the town (hill with triangles and shapes). White dove (or wave), 2 birds kissing on right. BLUE: masculine, PINK: feminine (love may conquer even with war) RED HORSES: Challenge, BLUE HORSES: war.(HORSES: Blue Riders), Block and Blue curves, FUNCTION: movement towards abstraction. Reason for doing abstract: representing something so clearly, doesnt allow them to relate (need abstract). Parallels between color and music. Sees color-> hear music. Hear music-> sees color. SYNESTHESIA: Idea that the sense overlap with eachother. CONTEXT: 1912; Vassily KandinskyPeriod/Culture: Expressionism. THE BLUE RIDER MOVEMENT: "Der Blaue Reiter": searching for spirituality. thinks of himself as a composer. The blue rider movement of German expressionism: first complementary abstract paintings. thinks himself as a composer. ABSTRACTION: represent feelings of what the feels and sees. IMPROVISATION: dance, acting, correlate with improvisation. KANDINSKY: Russian artist (respond to political events of WWI) communist wins-> Russia has 2 revolutions, very religious (shows Jerasulm: because heaevnly Jeraselum: will stand the test of the war). Hes worried of the end of the world and paints signes of it. Signs of aapoculups: blank lines=tension.

Goldfish, Matisse

FORM: oil on canvas CONTENT: violent contrasts of color; Thinly applied colors; white of canvas shows through; energetic painterly brushwork; May have been influenced by decorative quality of Asian art; Broad patches of color anticipate Color-Field painting later in century. Breaking away from reality and becoming more conceptual (represent ideas). Lots of complemantary colors: green and red, blue and orange. COLOR THEORIST: has great color choices (understands the world of color and how it affects people). Fish reminds him of Moroccan men who zone out with fish. FUNCTION: Still life painting, encourages peace, serenity. Represents still life and figure color theory with warms and cools. Tranquility piece and contemplation CONTEXT: 912 Henri MatissePeriod/Culture: Fauvism. FAUVISM: Group called Gauves: means "The Beast" consider themselves beasts of colors, reminds him of Moroccan men who zone out with fish. MATISSE: Visits Morocco (likes the bright colors), studies color wheel (complementary colors)

Woman I, De Kooning

FORM: oil on canvas. ABSTRACT EXPRESSION: first major art style to be developed in US. GESTURAL ABSTRACTION: Action apinting (very physcial). Takes on this style by physically getting involved: harsh brushing and scraping. SCRAPING: Add paint and scrap it off. Material: oil on canvas CONTENT: Subject: woman Technique and Description:-abstract-violence to the female form. depiction of a woman, has heels, makeout out of place, lipstick under eye. Wants the ideal woman form. 1st in a series of 6 women. ARTIFICAT: Prehistoric work inspired by Venus of Wiliborn, a woman sculptore (20,000 years), used for offering of fertility goddess, swolen forms. Changing the tradition and find joy in grotesque (abstract females). Abstract, chaotic, sparatic, lots of smuding. HISTORY OF IDEAL WOMAN BODY: Marilyn Moroe, pinpin girls, Venus of Urbino FUNCTION: fambivalence between reverence for and fear of the power of the feminine (and their sexuality)-referenced prehistoric Venus sculptures and modern day model used to sell cigarettes-paints over paintings (many layers on canvas) finding the ideal body and sick of the original blonde girl and wants to change it to the ancient ideal body. CONTEXT: -post WWII-nuclear threat --> total annihilation of all human existence-Cold War (art can be violent, unsettling b/c constant fear and attempt of domination of 1 ideology over another)-decolonization: conflict and isolation (exploration of identity)-counterculture movement in West (New York) radical approach to art-fear that consumer culture defines identity-mass mediaJOYOUS GROTESQUE: Beauty become petulant to me, I like grotesque, it is more joyous. fles is the reason all paint was invented. 1950-1952, wants to refer to art history (go back to ancient)

Composition with Red, Yellow, and Blue, Mondrian

FORM: oil on canvas. NEO-PLASTICISM: New way of using material to promote harmony and balance in peoples lives. Primary palette-Nonobjective-Dynamic asymmetry-Grid with lines of varying thickness-Neoplasticism: create new non-objective visual language-assymetrical, non-uniform CONTENT: Horizontal and vertical black lines-Red, blue, and yellow blocks-similar to synthetic cubism. White is painted too. DE STIJL: The syle art. Painting is all about BALANCE. Was a great artist, buut appealed to modern art. use less forms and abstraction can be relatable for people. Basic shapes and basic colors. Pure form and pure color= inspire harmony and peace. PRIMARY COLORS: red, yellow, blue and he uses whites: all colros combined, Black: lack of colors combined. FUNCTION: Utopian: aim for a state of perfection; idealistic-Idealism about art's potential to change society. A utopian belief that art had agency to create balance between man and the universe. CONTEXT: :-Piet Modrian, Dutch artist, 1930-Painted in Paris, France. MONDRIAN: A dutch artist from Netherlands, first one to do this. Just survived WW2 and feels like art can bring balance in life again.

Portrait of Sor Juana Inés de la Cruz, Miguel Cabrera

FORM: painting (portrait) of Sor Juana Ines de la Cruz painted posthumously. Oil on canvas, 1750. Miguel Cabrera artist. CONTENT: habit of her order on, scene of the annunciation in her medallion, image referencing Mary, rosary, seated in front of her library, scholarly setting, quill pens and ink well, assertive look, confident woman of knowledge, a lot of inscription. A potrait of a very significant woman in Spanish history: both indigenous and Spanish. SHE WAS EDUCATED: due to the image showing her reading a book and surronded by books, a quill to tell that she can write as well. ROSARY: Symbol of prayer, Spanish Catholicism. Left food forward, right hand up. 3 QUARTER PERSPECTIVE: not frontal or profile, instead a mixture of both (shows that she is not always accessible (closes off a piece of herself)) MEDIALLION: Scene of the annutiation that Sor Juana painted herself and wore it as she was proud of her art skills. FUNCTION: to commemorate Sor Juana, Miguel wanted to convey her intellect. CONTEXT: St. Jerome- known for writing down the first scriptures, bishops in Mexico city thought she was defying her role as a woman and nun by pursuing intellectual things, she had to relinquish her library, instead of doing scholarly work, she became a nurse and caught and illness that killed her, she obeyed the bishops orders. Sor Juana was the first feminist of the Americas (on the 200 pesos), She could not get a higher education so instead became a nun so she could learn and not be put into the patricharial system of marriage. (nuns did not have to marry). Wrote a poem upon "foolish men" and protected her sister from men. History is a product of her work. She pursues knowledge for less ignorance. Spanish Barouqe and Enlightenment

Liberty leading the People, Delacroix

FORM: realistic, dramatic lighting, soft rounded lines, depth/foreground, no background (fog)function: glorification of everyday people in the war, role of France's citizens, show sacrifices made for revolution against corrupt governmental regime, sad. ROMANTIC PAINTING: Smudge faces in back, less atmospheric perspective. looser brushstrokes (quick and short). Done with academic style. Rendering new topics (do not plan paintings). CONTENT: personification of liberty, marching over dead bodies, flag of revolution & musket, pistols, sacrifice, rich's inability to avoid war. DRAMATIC SCENE: put feelings into art so looser brushstrokes. Emotions guide their hand. Rendering new topics (don't plan paintings). The 2 Fallen: have blue on them because represent King, not revolutionary. REVOLUTION: everyone a part of revolution no matter age or status. Ab Lincoln hat man: is the painter (DeLacroix) self potrati. He did not fight in thsi battle, but paints on his behalf. Upperclassman representation. UPPERCLASS: has a very nice gun. Everyone else lower class because worse clothes, lower class-> sword and small gun. FEMALE: wearing a rope, represents Lady Liberty, French lady with nudity to represent a Goddess. Marianne is her real name. Red cap: color of bloodshed. FUNCTION: THE JULY REVOLUTION: Based off Les Miserables. Napolean rules France-pushout corrupt King. Background: Paris (Notre Dam) smoke=change. CONTEXT: July revolution of 1830 (3 days). DELACROIX: Revolt was exciting and justified. Shift from Reason-> Feeling. Unity of the people. Hated Ingres.

Memorial Sheet for Karl Liebknecht Kollwitz

FORM: woodcut, woodblock print, she never uses color, crude lines, raw, and primitive. CONTENT: themes of war and poverty dominate her oeuvre; women grieving over dead children (her son died in WW1 and she became a socialist); Liebknecht was a founder of the Berlin Spartacus League that became German communist party; 1919 - Liebknecht shot to death during communist uprising in Berlin called the Spartacus Revolt; no political reference in the woodcut; Human grief dominates; stark black and white of woodcut magnifies grief. BLACK AND WHITE: Focus more on form. Memorial of Karl Liebknecht (a communist running against Hitler) Propaganda: convey certain message that people loved Liebknect. KARL LIEBKNECHT: Influential because people mourn him. COFFIN is WHITE: contrast with mourning people (black), Emphasisezs Karl, White around his head: HALO: indidcates he's holy and righteous. AUDIENCE: Mnay generation of people (man for everyone, babies, women, men, and elderly). all are looking at him. FUNCTION: Memorial Piece, what artists to not show is what is the most powerful. mourning fo the great leader. propaganda art. Karl seen as a martyr. CONTEXT: 1919-1920 Kathe KollwitzPeriod/Culture: Expressionism. KILLWITZ: woman artist, has more crude/primitive lines. Has a heart for workign class. GREATEST FEAR: losing child and saw that many mothers lost son in WWI. She focuses on working class and feels for their strife.

Rococo Art

Means little pebbles (for the aristocrats). Frivality (depiction of aristocratic people becuase always well dressed, hair, and sometimes nude), has very minute details. LEAPS Lighthearted Erotic Themes Aristocratic Environments Pastel colors/playful Syrupy sweet