ARTH 173 Final // Dr. Woods

a style of abstract painting developed by Piet Mondrian, using only vertical and horizontal lines and rectangular shapes in black, white, gray, and primary colors.

Neoplasticism

Creative break down of what was being painted. That embraces the median as paint. Alowing for the characteristics of the paint its self to work with the composition and not trying to hide it.

Impressionism

Piling on of paint in order to give texture. Think of a painting paste.

Impasto

'largely unconscious, spontaneous expression of inner character, non-material nature'

Improvisations

new forms of abstract art developed by American painters such as Jackson Pollock, Mark Rothko and Willem de Kooning in the 1940s and 1950s. It is often characterised by gestural brush-strokes or mark-making, and the impression of spontaneity.

Abstract Expressionism

Contemporary Art Replica of the traditional Chinese zodiac that was around the fountain-clock in Beijing before being destroyed by the French and British in

Ai Weiwei, Circle of Animals/Zodiac Heads: Gold, 2010, Bronze with gold patina, Dimensions variable. Private Collection

the mobile acts as evidence of his flair for humor and whimsy. Capturing the motion of the sea, it floats above the museum space, quietly dancing about the viewer below. Turning in its place, the mobile evokes the soft undulations of the ocean floor. The colors and forms of the sculpture further this evocation of marine life, creating figural allusions to its namesake - a lobster and a fish tail. Its motion, sensitive to even the softest blow, resembles the response of the sea to a crossing boat, the activation of the sculpture's forms echoing the rhythmic stirring of gentle ocean waves.

Alexander Calder, Lobster Trap and Fish Tail, Roxbury, Connecticut, 1939 (MoMA)

Installations like this are incredibly problematic because the objects used for these exhibits were stolen by colonizers.

Alfred Stieglitz, Installation of African Art Exhibition, 1914

Regionalism: an American realist modern art movement that included paintings, murals, lithographs, and illustrations depicting realistic scenes of rural and small-town America primarily in the Midwest and Deep South. Muralism: Murals were originally used as a way to spread visual messages to an illiterate population, which opened up new possibilities in the inclusion and cohesiveness of community within a people. Oftentimes these messages promoted pride in cultural identity, rich historical traditions, or political propaganda.

American Art

His series of photographs of Mondrian and the painter's studio are exceptional for their balanced, abstract rigor, and radiant calm-the very qualities of the contemporary work of this most spiritual of painters.

André Kertész, Photograph of Mondrian's studio, 1926

This piece plays with the idea of seriality to get at the idea of mass culture. since this is a screen print, it also plays at the idea of mass production. There are certain degrees of separation that Andy Warhol has from his art.

Andy Warhol: 80 2 dollar bills, screenprint on acrylic on canvas, 1962

He uses an icon who he knew everyone would understand. He is able to void the myth of the artistic genius by using imagery and iconography that everyone knows. He just wanted to be take seriously for his art.

Andy Warhol: Marilyn Diptych, screenprint on acrylic on canvas, 2.05×2.90 m, 1962

Newman is an artist who didnt start painting until 30 years old. He wanted to engage with aesthetics at a higher more philosophical level. He intended for viewers to stand close to his paintings so that they would get Stendhal Syndrome (when you are in the presence of something so great or sublime that your mind and body can't handle it and you pass out). He uses lines through his paintings called zips. intends for viewer to question figure and ground, as well as subject and object.

Barnett Newman, Vir Heroicus Sublimis, oil on canvas, ca 8 feet x 18 feet, 1950-51

This piece attempts to capture the essence of modern life in summary, understated terms. Rendered with soft, feathery brushstrokes in nuanced shades of lavender, pink, blue, white, and gray, the composition resembles a visual tone poem, orchestrated with such perfumed and rarified motifs as brushed blonde hair, satins, powder puffs, and flower petals. The artist even signed her name along the bottom of the mirror, as if to suggest that the image in her painting is as ephemeral as a silvery reflection.

Berthe MORISOT (French, 1841-95)Woman at Her Toilette, 1875/80 Oil on canvas 60.3 x 80.4 cm Art Institute of Chicago, 1924.127

Riley purposely creates optical illusions through her artwork. She was fascinated by pointillism (think Seurat and his Sunday Afternoon). Her use of "beeps", triangles or circle, give her work a sense of energy and vibrations. It creates an almost aggressive posture for the art, and it invites the viewer to engage with the illusion.

Bridget Riley. Fission. 1962. Tempera on composition board. 35 x 34"

The piece has themes of manifest destiny and man's dominion over nature. The murky landscape with muddling of color is done with a very painterly application of the oil paints. The sense of the sublime in this painting is effective because the ambiguous foreground isn't real and the only sense of scale is from the wanderer.

Caspar David Friedrich, The Wanderer above the Mists, 1817-18 Oil on canvas, 95 x 75 cm Kunsthalle, Hamburg

Friedrich's wife, Caroline, was most likely the model for the female figure in this painting. She is seen in rear view and appears as a large silhouette against the intense reddish-yellow of the sky. some have sought to interpret the painting in terms of a communion with nature, but others view it as an announcement of death. These factors render the painting not unproblematic for the viewer.

Caspar David Friedrich, Woman Before Rising Sun, ca. 1818, oil on canvas

The ship in this painting is at the whim of nature, showing the power that nature holds. The use of moonlight takes the viewer away from ideas of divinity, and the entire canvas is pervaded by the cool toned light.

Caspar David Friedrich, Wreck in the Moonlight, c. 1835, Oil on canvas, 31,3 x 42,5 cm, Nationalgalerie, Berlin

Cecily Brown is an abstract expressionist painter, but she brings a feminist point of view to it. This artwork is reminiscent of some of De Kooning's work. This piece, like many of her others, has pornographic themes and imagery in it.

Cecily Brown, Where, When, How Often and with Whom, oil on canvas, 2018

'slowly formed inner feeling, tested and worked over repeatedly and almost pedantically'

Compositions

Conceptual art can be - and can look like - almost anything. This is because, unlike a painter or sculptor who will think about how best they can express their idea using paint or sculptural materials and techniques, a conceptual artist uses whatever materials and whatever form is most appropriate to putting their idea across.

Conceptual Art

This sculpture is a portrait of Margit Pogany. In representing its subject through highly stylized and simplified forms, the work was a significant departure from conventional portraiture. Large almond-shaped eyes overwhelm the oval face.

Constantin Brancusi, Mlle Pogany, marble sculpture, 1912, exhibited at the Armory Show

This piece is influenced by cubist art. It gets at the motion of a bird in space, even though its abstracted.

Constantin Brâncuși, Bird in Space, bronze, from series of sculptures from 1923-1940, Guggenheim

a style or movement in which assorted mechanical objects are combined into abstract mobile structural forms. The movement originated in Russia in the 1920s and has influenced many aspects of modern architecture and design.

Constructivism

Art as intellectual Artists as 'Genius' Art as political

Contemporary Art

"Authentic cubism is the art of depictingnew wholes with formal elements borrowed not from the reality of vision, but from that of conception. This tendency leads to a poetic kind of painting which stands outside the world of observation, for, even in a simple cubism, the geometrical surfaces of an object must be opened out in order to give a complete representation of it. Everyone must agree that a chair, from whichever side it is viewed, never ceases to have four legs, a seat and a back, and that, if it is robbed of one of these elements, it is robbed of animportant part." -Apollinaire, The Cubist Painters, 1913

Cubism

The painting is, at its core, a history painting. It is a composition filled with subtle order. The female figure, Liberty, is nude to the waist and carries a bayonet and the tricolor (French flag). She powerfully strides, looking over her shoulder to ensure that those behind her are following. On her head is a Phrygian cap, a classic symbol of freedom. The female figure represents the allegory of freedom for all.

DELACROIX, Liberty Leading the People, 1830, Oil on canvas, 260 x 325 cm, Musée du Louvre, Paris

a nihilistic anti-art movement that attacked bourgeois values, especially the faith in technology that seemed to have enabled the terrible destruction of World War I

Dada

This painting is a work of the era of Romanticism. This painting uses rich, vivid and warm colours, and broad brushstrokes. It was inspired by Lord Byron's play Sardanapalus (1821). Within the piece lies a man with a disinterested eye overseeing a scene of chaos. A woman lies dead at his feet, and there are several people being stabbed with knives with one man is dying from a self-inflicted wound from a sword, and a man attempting to kill an intricately adorned horse. There is a strong sense of movement from Delacroix's brushstrokes. In spite of the asymmetry of the piece, the composition remains balanced.

Delacroix, The Death of Sardanapalus, 1827, Oil on canvas, 392 x 496 cm, Musée du Louvre, Paris

Rather than look to the examples of the classical past for a narrative, Delacroix looked to contemporary world events for his subject. This "ripped from the headlines" approach was common for many romantic painters. The chronological immediacy increased the pathos of Goya's painting. The artist placed more effort on his use of color, and employed a fluid open brushwork. The subject was topical and exotic, and the artist used color and brushwork to elicit an emotional response from the viewer.

Delacroix, The Massacre at Chios, 1824, Oil on canvas, 419 x 354 cm, Musée du Louvre, Paris

This piece is creating a new visual vocabulary to present the history of Mexico in a way that privileges colonial culture without ignoring the violence of the culture. It helps mark the beginning of muralism in order to spread visual messages about something.

Diego Rivera, History of Mexico, fresco, Palacio Nacional, Mexico City, 1929-35

Romanticism embraced the struggles for freedom and equality and the promotion of justice. It focused on individuality and subjectivity in order to counteract the excessive insistence on logical thought from the Enlightenment. There were new views of the artist as a brilliant creator.

Romanticism

Donald Judd likes to be able to see through his artworks, hence his use of plexiglass in this one. He is a minimalist and uses basic principles of geometry in order to get at the basic visual forms. While not seen in this piece, he is known to use repetitions in groups of 7.

Donald Judd, Untitled, 1968 , Stainless steel and amber Plexiglas, 10 units , 15.2 ×68.6 × 61 cm (6 × 27 × 24 in.), each unit, Art Institute of Chicago

A new category of artworks called ready-mades. Taking ordinary objects and giving them a new context. Objects became art by the choice of the artist.

Duchamp, Fountain, 1917 Porcelain UrinalPhoto by Alfred Stieglitz Museum of Art, Philadelphia

The French title for this piece means "she has a hot ass". It is purposefully absurd and anti-art. It represents the emergence of 'conceptual art'.

Duchamp, LHOOQ (elle a chaud au cul), 1919, readymade

This watercolor shows Duchamp's three sisters performing a piece of music, while their mother stands behind them. The harmony of the music is recreated in the harmony created by the union of the deconstructed picture space. The angular shapes that are so common in Cubist paintings fit together to form the whole, not unlike musical voices. Duchamp's gentle tonality and the lightness of the watercolor fit this genre scene and bring to mind a performance on a bright, airy afternoon.

Duchamp, Sonata, 1911 Oil on canvas, 113 x 145 cm Museum of Art, Philadelphia

This collage uses actual newspaper to signify newspaper. It is a new level of sign and referent. Thematically, the newspaper talks about Balkan war in Europe, but the upside down is a protest of the war. The · bottle is the white triangular form, we know its Suze from the label.

Pablo Picasso, Glass and Bottle of Suze, November 1912. Pasted papers, gouache, and charcoal on paper, 26 x 32 in.

Answered the question of weather or not a horses feet ever fully leave the ground while at a gallop. This was the beginning of science and photography working together to answers questions that we can see with our naked eyes.

Eadweard Muybridge, Sallie Gardner at a Gallop, 1878

Apart of Monet's series of wheat stacks. This series allowed for Monet to study how light and color are affected by each other, and to create work to sell. He says to forget about the subject and to focus on the color and hue.

End of Summer, 60 x 100 cm, The Art Institute of Chicago

A philosophical movement in Europe which emphasizes rationalism. The key figures of the movement sought to reform society using the power of reason. It promoted science, reason, and intellectual exchange. When the Enlightenment and its new ideals took hold, Rococo was condemned for being immoral, indecent, and indulgent, and a new kind of instructive art was called for, which became known as Neoclassicism. The Neoclassicists wanted to express rationality and sobriety that was fitting for their times. They believed that art should be cerebral, not sensual.

Enlightenment, 18th century

This is a contemporary street which has a similar idea to previous pastoral scenes. It is a depiction of daily life. The color, form, and line were influenced by fauvism.

Ernst Ludwig Kirchner, Street, Dresden, 1919. Oil on canvas, 59 1/4" x 6' 6 7/8" (150.5 x 200.4 cm)

Exposition held by the Impressionist group at Nadar's house( yes the famous photographer from before.) This exposition brought inspiration to many of the artist we see in the post impressionist movement.

Exposition 1874

The piece is literally named after a brothel. Earlier sketches help to make subject matter more understandable. He draws inspiration from African masks because of African art installations in NY and European museums.

Pablo Picasso, Les Demoiselles d'Avignon,1907. Oil on canvas, 96 x 92

(wild beasts) Fauvism is a term that a difficult art critic coined when he saw the work of more avant-garde works placed next to the traditional works. This style is characterized by incredibly bright colors, generally unnatural to the subject.

Fauvism

This plate shows a scene where an ax pauses before descending upon the begging French soldier. The only distinguishing factor between the figures is the clothing. It represent that violence has overtaken both the French and Spanish alike.

Francisco de Goya, "The Same," Plate 3 from The Disasters of War (Los desastres de la guerra), 1810-15, Etching and wash, 160 x 221 mm

This plate has the very limits of cruelty on display. This scene depicts an act of sheer brutality and contempt for humanity.

Francisco de Goya, "What more can one do?" Plate 33 from The Disasters of War (Los desastres de la guerra), 1812-15, Etching and aquatint, 158 x 208 mm

This painting portrays the ramifications of the initial uprising of Spanish against the French, right after Napoleon's takeover. It is sometimes referred to as "the first modernist painting". In this painting, a Christ-like figure stands in front of a firing squad, waiting to die. The number of assassins and victims is countless which indicates that "there is nothing to be done". The theme of inexorable cruelty of one group of people towards another was a preoccupation of Francisco de Goya.

Francisco de Goya, The Third of May, 1808: The Execution of the Defenders of Madrid, 1814, Oil on canvas, 266 x 345 cm, Museo del Prado, Madrid

French Rococo François Cuvilliés the Elder supplied the designs for the architecture and decoration, and was responsible for overseeing the craftsmen involved. Displays silver, off-white, and a delicate powder blue as the three dominant colors. There is an alternation between the mirrors, windows, and doors which creates a space with real and reflected light which seems to remove the borders of the space. It transposes the viewer into an open pavilion.

Francois de Cuvillies, Hall of Mirrors, Amalienburg, Munich, Germany, early 18th century

This museum was originally called the museum of nonobjective paintings. It uses open-air space and repetition of rounded surfaces.

Frank Lloyd Wright, Guggenheim Museum, 1943-1959, New York, NY

Stella is an art student who got his degree from Princeton who creates prints. He has a philosophy that "what you see is what you see". He wants to put pressure in what is figure and what is ground.

Frank Stella. Empress of India II, from Notched-V series, 1968, lithograph on paper.

This piece is about the gesture of brushstrokes done in a very painterly style. The painting was not actually brushstrokes, but instead it was carefully crafted to appear that way.

Franz Kline, Number 2, 1954, Oil on canvas. 6' 8 1/2" x 8' 11" MoMA

French Rococo In response to a desire for pastoral scenes showing amorous countryside games, Boucher exhibits young fashionable couples catching birds. The small birds were a symbol in 1700 of courtship. The gift of a caged bird from a man to a woman signified that she had captured his heart. The figures pose in front of the Temple of Vesta, and the women, all dressed in nice clothing, play with the small birds.

François Boucher, Bird Catchers, 1748, oil on canvas

French Rococo Many nude women surround cupid, keeping him captive with the common theme of sensuality seen throughout the Rococo style. This is relatively common subject matter as many French artists portrayed classical mythical characters in their artworks. There are bright colors and a cheerful mood.

François Boucher, Cupid a Captive, 1754, oil on canvas, London

French Rococo 2 separate couples are depicted. In the first, a young man gazes directly at his companion while holding a flute. In the second, a young man offers a shell to a young woman. (Shells were big imagery in the Rococo style). There are small children frolicking around with a goat, and the whole scene occurs in a lush setting with a pale blue sky and grey-pink clouds. The pastoral genre answered the contemporary nostalgia for nature and excluded coarse reality.

François Boucher, Fountain of Love, 1748, oil on canvas

photomontage isn't just a political piece, it's a commentary regarding gender issuesas well. She wasn't too fond of the traditional gender roles and the way they upheld a conservative society. Hence the beer-belly, which illustrates the male dominated Weimar republic and German military, getting slashed by a kitchen knife.

Hannah Höch, Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919 Photomontage, 44 7/8 x 35 9/16 inches (Preubischer Kulturbesitz, Nationalgalerie, Berlin)

Gérard sets Madame Récamier in a noble park loggia (a space found in noble residences intended for leisure), where she seems to be inviting the viewer into conversation. The wears a seductive low-cut dress, and the red curtains seen behind her give her flesh a rosy tint. She is depicted with a gentle smile, making her look younger. This portrait was given to Madame Récamier's admirer, Prince Augustus of Prussia. A marriage between the two of them would have been impossible, but the painting remained in his palace until his death. After the Prince dies, the portrait was returned to Madame Récamier.

François Gerard, Madame Récamier, 1805, Oil on canvas, 255 x 145 cm, Musée Carnavalet, Paris

1. History 2. Portraiture 3. Genre 4. Landscape 5. Animal 6. Still-life

French Academy Hierarchy of picture types

This painting was completed shortly after her divorce with Diego Rivera. This portrait shows Frida's two different personalities. One is the traditional Frida in Tehuana costume, with a broken heart, sitting next to an independent, modern dressed Frida. The two Fridas are holding hands. They both have visible hearts and the heart of the traditional Frida is cut and torn open. Frida later admits that it expressed her desperation and loneliness with the separation from Diego.

Frida Kahlo, The Two Fridas, 5' 7" x 5' 7",1939, Oil on canvas, Mexico City

Gustave Eiffel created the plans for the internal structure of the Statue of Liberty in order to rely not on weight to support the copper skin, but instead a flexible skeletal system. The bars used to hold the Statue together create flexible suspension (due to their malleability) and act like springs which allowed the Statue to adjust and settle into the environment. This elasticity of Eiffel's design is important because the Statue has to withstand winds from New York Harbor, temperature changes, and various other weather conditions. It was a gift from the people of France to the people of the United States.

Frédéric Auguste Bartholdi and Gustave Eiffel, Statue of Liberty (Liberty Enlightening the World), 1886, copper, New York Harbor

1910: "We want to fight ferociously against the fanatical, unconsciousand snobbish religion of the past, which is nourished by the evil influence of museums. We rebel against the supine admiration of old canvases, old statues and old objects, and against the enthusiasm for all that is worm-eaten, dirty and corroded by time; we believe that the common contempt for everything young, new and palpitatingwith life is unjust and criminal."

Futurism

It is considered to be the first Cubist landscape. The painting prompted art critic Louis Vauxcelles to mock it as being composed of cubes which led to the name of the movement.

Georges Braque, Houses at L'Estaque, oil on canvas, 1908

The subject matter is a Portuguese guitarist, and parts of the work are discernible. the light and shade are used to give a sense of volume to the piece, but the subject matter dissolves with the thick brush strokes. This is a work of analytical cubism.

Georges Braque, The Portuguese, oil on canvas, 1911

Divisionism/Pointillism wanted to address each color shown.

Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884

close-up shows how small units work together to make a whole composition.

Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884

an early twentieth century German art movement that emphasized the artist's inner feelings or ideas over replicating reality, and was characterised by simplified shapes, bright colours and gestural marks or brushstrokes.

German Expressionism

The landscape is seen as emotive and brings out deep emotion as opposed to the politically charged romanticism of France.

German Romanticism

The subject of this painting is neither the dog nor the woman, but instead it is the leash and the dogs legs.

Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas

This piece tries to get at small town themes with an alternating sense of reverence but also critique and mockery. The gothic style intentionally questions the antiquated nature of something culture. Makes the viewer question if it is praising or revealing something hollow about American culture. Wood uses repeating patterns of gothic architecture (note the window).

Grant Wood, American Gothic, 1930, oil on panel, Art Institute of Chicago

This piece, using the imagery of the painting of the grand odalisque, is a contemporary commentary on what is considered to be "high art". It questions voyeurism, the male gaze, and the traditional female nude figure.

Guerilla Girls, "Do women have to be naked to get into the Met. Museum?" 1989

This painting was shocking. The people are shown as ugly, provincial, contemporary, but the piece was successful nonetheless. The provincial burial depicted is in his home town, so the man being buried might be his uncle. Courbet takes a different approach to realism, using colors that are dirty, musty, and earthy. They evoke a somber mood but it is not as dramatic in face and gesture as would be found in neoclassic or romantic artworks. Courbet chooses to paint a very minor scene instead of an important or contemporary scene.

Gustave Courbet, Burial at Ornans, 1849-50 Oil on canvas, 315 x 668 cm Musée d'Orsay, Paris

This painting is thought to be lost or destroyed. It depicts men working on the side of the road. Courbet is taken by the expression of poverty and asks the men to sit in his studio to be painted. (it is NOT painted en plain aire - in plain air). Courbet uses uses a young boy and an elderly man so allude to the lower classes inability to break free of their economic class. The piece is seen as a political statement in critique of the government.

Gustave Courbet, The Stonebreakers, 1849, Oil on canvas, 165 x 257 cm, Gemäldegalerie, Dresden

Gustave Eiffel creates this tower for the Worlds Fair. It was intended to be a symbol of industrial advancement, showcasing the internal structure of buildings (like steel) on the outside.

Gustave Eiffel, Eiffel Tower, Paris, France, 1889

David presents the suicide of Socrates as an admirable and noble act. The muscular body of the aged philosopher symbolizes his moral and intellectual fitness as he sits up preparing to think the hemlock (poison). He shows no hesitation because he would rather die than renounce his teachings. He draws from Plato's account go the event for this painting, but takes artistic liberties - like idealizing Socrates figure.

Jacques-Louis David, Death of Socrates, oil on canvas, 51 x 77 1/4 in. (129.5 x 196.2 cm), 1787, (New York, Metropolitan Museum of Art)

Harlem became a major center of creativity propelled by African-American artists, jazz musicians, and writers.

Harlem Renaissance

This work was commissioned by a business man. Matisse only uses slight variations on the same three colors fro this piece. There is meant to be an accompanying music piece to spark an interaction of the senses.

Henri Matisse (French, 1869-1954), The Dance, 1910, Oil on canvas, The Hermitage, St. Petersburg

'What I dream of is an art of balance, of purity and serenity devoid of troubling or depressing subject-matter ... a soothing, calming influence on the mind, something like a good armchair which provides relaxation from physical fatigue.' The flatness of the paint (NOT impasto) gives the work a graphic feel. The use of the pastoral and nature acts as symbolism of pleasure and oneness. Despite the nude women all over the painting, the artwork is soothing.

Henri Matisse (French, 1869-1954), The Joy of Life (Le Bonheur de vivre), 1906, Oil on canvas, 176.5 x 240.7 cm, Barnes Foundation, BF719

This painting marked a stylistic change from the regulated brushstrokes of Matisse's earlier work to a more expressive individual style. His use of non-naturalistic colors and loose brushwork, which contributed to a sketchy or "unfinished" quality, seemed shocking to the viewers of the day.

Henri Matisse, Woman with a Hat, 1905 Oil on canvas, 79.4 cm × 59.7 cm San Francisco Museum of Modern Art

The painting depicts the Bible story of Jesus raising his friend Lazarus from the dead. Lazarus and his shroud stretch across the foreground of the work, and Jesus, summoning him to life, draws the eye initially. Upon closer inspection, Tanner's ability to create different expressions on the faces of the witnesses throughout the canvas is revealed. "Hidden" in plain sight, a dark-skinned African figure stands among the crowd. This may suggest the African presence in Christianity. Something Tanner knew first hand from his religious upbringing.

Henry Ossawa Tanner, Raising of Lazarus, oil on canvas, 1897 (Paris, Musée d'Orsay)

This painting shows a grandfather and grandchild giving thanks before a meal. Tanner focuses on the people and the main objects in the room, painting them with great detail, while everything else blends in with the light and brushstrokes in the painting. The warm and expressive light that Tanner paints with helps to enhance the spiritual quality of the painting by helping the viewer imagine a divine light.

Henry Ossawa Tanner, The Thankful Poor, 1894, oil on canvas

Nadar was able to win an important court case that said photography was allowed to be copyrighted in the same way as art, so it set a legal precedent that photography is art. There is the idea that art is not just a scientific tool, not a passive medium.

Honore Daumier, Nadar Raising Photography to the Height of Art, 1862, lithograph

This piece employs a clear line and creates a focus in the scene without using classical caricature that makes the scene satiric. To create a tonal range many gradients and cross hatching are used.

Honoré Daumier, Rue Transnonain, le 15 avril 1834, lithograph, 290×445 mm, 1834 (Dresden, Staatliche Kunstsammlungen Dresden)

This piece was meant to be turned into a lithograph. It is about the rural poor coming to Paris. Within the artwork, an elderly woman is shown praying and a woman is seen breastfeeding next to her. The individuals in the background look out at the viewer with a general sense of distrust.

Honoré Daumier, The Third-Class Carriage, ca. 1862-4, The Met

This piece demonstrates a frenzied, turmoil, emotional state through its abstraction. There is a new kind of physical involvement of the artist.

Jackson Pollock, Number 1, 1950 (Lavender Mist), 1950

This series depicts the migration to the north after being released/freed from slavery in the south. There is an idea of "flooding the gates"

Jacob Lawrence, The Great Migration Series, 1, 1940-41, Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942

"They found discrimination in the North. It was a different kind." Lawrence uses this piece to comment on the blacks only sections in restaurants, bars, and cafes. He is very careful and playful in the way he uses color in order to create genre scenes of black life.

Jacob Lawrence, The Great Migration Series, 49, 1940-41, Casein tempera on hardboard, 12 x 18 in. The Phillips Collection, Washington, DC, Acquired 1942

David chooses the moment when Napoleon crowns his wife, Josephine, as the subject for this painting. The massive scale of the painting speaks to Napoleons desire to legitimize his reign with displays of grandiosity. In the painting, Napoleon seems to upstage the Pope, as he is the center of attention and the most active figure in the composition. David uses this painting to demonstrate his ability to manipulate his classical style to suit the desires of different people with very different depictions.

Jacques-Louis David, Consecration of the Emperor Napoleon I and Coronation of the Empress Josephine, 1805-07, Oil on canvas, 629 x 979 cm, Musée du Louvre, Paris

This unfinished portrait of Madame Récamier shows her dressed in the "antique style" and surrounded by Pompeian furniture in an otherwise bare picture space. It was extremely avant-garde for 1800. This painting is less of a portrait and more of a depiction of the ideal of feminine elegance. The picture remained unfinished as David was not satisfied with it and wanted to rework it. However, Madame Récamier thought David worked too slowly and commissioned one of his pupils to paint her portrait instead.

Jacques-Louis David, Madame Récamier, 1800, Oil on canvas, 173 x 244 cm, Musée du Louvre, Paris

Classical mythological story. Hector kills Achilles' best friend, so Achilles kills Hector. His wife Andromache mourns his death with strong suffering and emotion. There is a patriotic element to this painting, and Hector's death is seen as noble and courageous. Hector's body is peaceful, while his wife and children mourn. Plays into the juxtaposition between male and female seen in Oath of the Horatii, because the male is depicted with more emotional restraint and the female is more emotionally expressive.

Jacques-Louis David, Mourning Hector, 1783, Oil on canvas, 275 x 203 cm, Musée du Louvre, Paris

Famously, Napoleon argued that, "Nobody knows if the portraits of the great men resemble them, it is enough that their genius lives there." An equestrian portrait was decided on to demonstrate Napoleon's ability to wield power with sound judgment and composure (when in reality he followed a few days behind on a mule). Napoleon's body seems to echo the landscape - or the landscape echos his body, being ultimately mastered by his will - which seems to suggest that Napoleon can do just about anything.

Jacques-Louis David, Napoleon Crossing the Alps, 1801, Oil on canvas, 246 x 231 cm, Österreichische Galerie Belvedere, Vienna

This large scale painting was commissioned by Napoleon who liked to display his grandeur in an attempt to legitimize his reign. The clock in the back reads 4:13 am in order to suggest that Napoleon works in his study all night. His figure is solid and immobile with the light creating a focus solely on him. His stance is one often used in Western art for men's portraits.

Jacques-Louis David, Napoleon in his Study, 1812, Oil on canvas, 204 x 125 cm, National Gallery of Art, Washington

David was commissioned to create a memorial to Jean-Paul Marat following his 1793 assassination. Marat had been murdered while sitting in a medicinal bath that alleviated the symptoms of a painful skin condition. He intends to depict Marat as a tireless public servant in his workspace, a bath and a simple box functioning as his writing desk. David draws an analogy between Marat and Christ through his turban, functioning as a proxy for a halo, and the graceful placement of his arms, mirroring Michelangelo's Pieta.

Jacques-Louis David, The Death of Marat, 1793, Oil on canvas, 162 x 128 cm, Musées Royaux des Beaux-Arts, Brussels

A narrative of early Roman history. The Horatii brothers are preparing to battle the Curatii brothers because of a territorial dispute between their city-states. On the left are three strong brothers (Horatii) pledging their loyalty to their country. They are willing to sacrifice themselves for their home and family. On the right, women and children are collapsed in fear, because the women are either engaged or married to one of the Curatii brothers. They know they will lose either their brothers or their husbands to this fight. The painting has an emphasis on selflessness and patriotism.

Jacques-Louis David, The Oath of the Horatii, 1784, Oil on canvas, 330 x 425 cm Musée du Louvre, Paris

This is the first look into the possibility of virtual reality technology.

Jaron Lanier, VPL EyePhone Model 1, 1989

Johns is a southerner who creates art using impersonal images, like in pop art. He uses the medium encaustic for this piece. It is a method if mixing wax and pigment and painting with it. The pigment dries almost immediately, so there is very little workability. This is one of the ways the artist is able to demonstrate his skill with such simple subject matter.

Jasper Johns: Flag, encaustic, oil and collage on fabric mounted on plywood, 1.07×1.54 m, 1954-5

French Rococo a new type of picture known as La fete galante (a sort of allegory of courtship and falling in love). Painting has a rhythmic structure with a subtle continuity between the groups of figures. There is a liveliness in the brushwork and the color scheme. Seems to take place in a dreamy distant landscape.

Jean-Antoine Watteau, Pilgrimage to Cythera, 1717, Oil on canvas, 130 x 190 cm, Louvre, Paris

In this painting Madame Moitessier is the embodiment of luxury and style. She is a modern-day goddess enthroned in luxury sitting impassively and fully confident in her place in society. Her fashionable dress and hairstyle as complemented by the furnishings in the room. There is a revival of earlier, highly-decorative Rococo style seen at its height in the mid nineteenth century in France. It was a time of the restoration of the imperial throne and an extravagant display of wealth. Ingres was initially reluctant to accept the commission, but changed his mind after meeting the 23-year-old Madame Moitessier, whom he described as 'beautiful and good'. He viewed her as a living embodiment of the classical ideal. The painting took him 12 years to complete and during this time, the painting underwent several major revisions. This includes choosing a different dress to reflect the changes in fashion.

Jean-Auguste-Dominique Ingres, Madame Moitessier 1847-1856, Oil on canvas, 120 x 92 cm, National Gallery, London

The Bather is shown from behind, depicting a calm and measured sensuality. The curves of her back and legs, and the turn of her neck are accentuated by the draping of the green curtain to her left and the white curtain in front of her. These elements are countered by the cool tones of her flesh. Her figure seems to almost float, exerting the smallest amount of pressure onto the mattress below her.

Jean-Auguste-Dominique Ingres, The Bather, 1808, Oil on canvas, 146 x 97 cm, Musée du Louvre, Paris

Ingres continues in the tradition of the idealized nude by drawing the figure in a way that emphasizes the soft curves of her body, and by showing her in a lavish space with lustrous fabrics and intricately detailed jewels. The body is rendered with the clean lines and sculptural surface associated with Neoclassicism, but he idealizes the female form to an extreme (similar to mannerism). She is both strikingly beautiful and eerily strange all at once. The term odalisque refers to a concubine in a harem, and the woman is surrounded by things considered "of the Orient" (from Turkey and the Near East). She has a peacock feather fan and bejeweled turban, as well as a delicate hookah pipe at far right. These act as symbols of exoticism and allow her to be nude without offending the viewer. This painting often acts as a flashpoint in discussions of voyeurism and the male gaze.

Jean-Auguste-Dominique Ingres, The Grand Odalisque, 1814, Oil on canvas, 91 x 162 cm, Musée du Louvre, Paris

In this painting, the women are seen working. There is a sense of groundedness but the figures in their posture are implied to be working toward standing up. The poverty and labor is what is keeping them on the ground. This is another piece which is a critique of the government and brings attention to the issues of socioeconomic classes.

Jean-François Millet, The Gleaners, 1857, Oil on canvas, 85,5 x 111 cm, Musée du Louvre, Paris

In this piece, a young, strong man is shown with a bright background. The hues and tones connect the figure with the landscape. Though ascendency is shown in the step, the high horizon line grounds the figure. This painting is menacing to the aristocratic class.

Jean-François Millet, The Sower, 1850, Oil on canvas, 40 x 32 1/2 inches, MFA Boston

French Rococo A somewhat risqué composition depicting the mistress of the Baron de Saint-Julien. Appearing on a swing, she is pushed by a smiling man, who does not realize another man is amongst the shrubs, looking up her skirt. She looks down at him, showing that this is her intention. The painting is generally read as a sexual metaphor because of the rhythm of the painting and the body positioning. The woman has extended legs at the moment when the swing's arc reaches its climax. Additionally, the loss of her shoe is often seem as a symbol for the loss of her innocence.

Jean-Honoré Fragonard, The Swing, 1767, Oil on canvas, 81 x 64 cm, Wallace Collection, London

Contemporary Art Some viewed his work as pioneering and others thought of it as tacky. This piece was part of his Celebration collection to honor the return of Ludwig from Rome. Inspired from every day art.

Jeff Koons, Balloon Dog (Blue), 1994-2000, mirror-polished stainless steel with transparent coating, 121 x 143 x 45 inches

This piece puts an emphasis on the power of man through the subject matter. The fate of the bird lies in man's hands because the glass it sits in has the power to kill it if the scientist decides to create a vacuum with the pump. Joseph Wright creates a new type of painting (part genre, part portrait, part history painting) and creates an experience which makes the viewer feel like a witness to the experiment. He has developed his realistic style using his friends and neighbors as models, creating many archetypes of age, understanding, and gender. He also makes a nod towards Caravaggio through his use of chiaroscuro. The whole scene is lit only by a candle and moonlight.

Joseph Wright of Derby, Experiment with a Bird and Air Pump, 1768, oil on canvas

Joseph Wright of Derby became the unofficial artist of the Enlightenment because he depicted scientists and philosophers in ways which had previously be reserved for Biblical heroes and Greek gods. One of the key ideas of the Age of Enlightenment, that empirical observation grounded in science and reason could best advance society, is expressed by the faces of the individuals as they gaze over the edge of the contraption in playful wonder. This painting shows the philosophical shift away from religious models toward the empirical, scientific approach.

Joseph Wright of Derby, Philosopher Giving a Lecture at the Orrery, 1763-5, oil on canvas

This piece is a reaction to futurism and cubism. It throws out all figuration with no pictorial representation. This artwork is placed in the corner which is important because it references the eastern orthodox Christians as they would place the icon in the corner of room.

Kazimir Malevich, Black Square, 1912-15, oil paint, 79.5 x 79.5 cm Tretyakov Gallery, Moscow

This piece demonstrates the artists true capacity and relationship with nature. These forms are above natural representation.

Kazimir Malevich, Suprematist Composition: Airplane Flying, oil on canvas, 1915 (dated on reverse 1914)

This piece is meant to be reminiscent of Jacques-Louis David's Napoleon Crossing the Alps. It depicts a black man as Napoleon. Wiley says that black men live in his world and he chooses to depict them as a choice to depict "us". He plays with foreground and background, as well as figure and ground. There are very ornate materials used as part of his works. He also signs the strap of the horse, something which is reminiscent of Michelangelo's Pieta.

Kehinde Wiley, Napoleon Leading the Army over the Alps, 2005. Oil on canvas, 108 x 108 in. Brooklyn Museum

1st still photograph. Daguerre wanted new modes for portraying images, and came up with the idea of being able to fix an image onto a screen.

Louis Daguerre, Still Life in Studio, 1837, Daguerreotype

This work depicts four figures on a balcony, one of whom is sitting. The three characters, who were all friends of Manet, seem to be disconnected from each other. This was the first portrait of Morisot by Manet. Manet adopts a retrained color palette, dominated by white, green and black, with accents of blue and red.

MANET, The Balcony 1868-69 Oil on canvas, 170 x 125 cm Musée d'Orsay, Paris

This piece is a study in shades of black. Manet painted Morisot with black eyes, although her eyes were actually green. The dark costume and eyes may allude to Manet's impression that she looked Spanish. Manet had earlier painted a similar portrait of his own mother in mourning, made in 1863, which shows his mother clad in black, on a dark background.

MANET, Berthe Morisot with a Bunch of Violets, 1872, Oil on canvas, 55 x 38 cm Musée d'Orsay, Paris

Once again Manet's Use of nudity caused an issue. This is not a personification, the name Olympia was a common sex-worker name at the time. This combined with the reference to antiquity Venus painting, challenged what nudity was okay and what was not. This was done to take power away from the salon.

MANET, Edouard, Olympia, 1863, Oil on canvas, 131 x 190 cm; Musée d'Orsay, Paris

Zola was a friend of MANET that was also a writer. Zola and MANET harassed the the government about why the salon had control over what was shown. In response the Salon des Refuse was made, all works that were not shown in the Salon were shown here. The Refuse was the beginning of common people being there own art critics.

MANET, EdouardÉmile Zola, 1868Oil on canvas, 146 x 114 cm Musée d'Orsay, Paris

Art work was criticized as being impressions of the real thing. So Monet Painted this piece in 1873 but wrote 1872 on it so that he could claim the Term Impressionism

MONET, Claude Impression, Sunrise, 1873 Oil on canvas, 48 x 63 cm Musée Marmottan Monet, Paris

This piece shows Paris as an emerging industrial center. There are issues of light and color from different vantage points. The mist seen is not natural, but rather comes from the trains. Because of the changing smoke, he is able to see that the colors are mutable and changeable, even in the same space. The train tracks and ceiling structure give depth to the station.

MONET, Claude, Saint-Lazare Train Station, 1877, Oil on canvas

Through his innovative use of photography, Man Ray carved a niche for himself in avant-garde Parisian circles and contributed a distinct visual character to a movement that was firmly grounded in literary and psychoanalytic theory. Here, Meret Oppenheim poses nude and inked beside the flywheel of a printing press.

Man Ray, Meret Oppenheim at the Printing Wheel, silver gelatin print, 1933, The Met

One critic said it looks like a shingle factory exploded. The piece has a triangular composition with a robotic and frenetic pace. The figure registers as a nude woman. This piece caused outrage.

Marcel Duchamp, Nude Descending a Staircase, 1912

Rothko uses large swatches of color in order to evoke emotional responses from the viewer. He sees his works with subject and background relationships rather than as cold, still geometries or landscapes.

Mark Rothko: No. 13 (White, Red on Yellow), oil and acrylic with powdered pigments on canvas, 95 3/8 x 81 3/8 in. (242.3 x 206.7 cm), 1958

'I'm interested only in expressing basic human emotions—tragedy, ecstasy, doom...and if you...are moved only by their color relationships, then you miss the point.' He went to Yale but dropped out to make it in NYC in the avant grade movement. He uses human emotion as his subject matter and believes that the colors he uses have a direct relationship with these deep emotions.

Mark Rothko: Red and Orange, oil on canvas, 1.76×1.42 m, 1955

This is the type of mask which Picasso draws inspiration from.

Mbuya mask, pende people, Congo, 19th or 20th c.

The work, which originated in a conversation in a Paris cafe, is the most frequently-cited example of sculpture in the surrealist movement. It is also noteworthy as a work with challenging themes of femininity.

Meret Oppenheim, Object (Breakfast in Fur), Paris, 1936, MoMA

Neoclassical art arose in opposition to the overly decorative and gaudy styles of Rococo and Baroque which employed themes of vanity, personal conceits, and whimsy. It brought about a general revival in classical thought, leading to the French Revolution. The primary Neoclassicist belief was that art should express the ideal virtues in life and could improve the viewer by imparting a moralizing message

Neoclassicism

Modernism: a global movement in society and culture that from the early decades of the twentieth century sought a new alignment with the experience and values of modern industrial life. Building on late nineteenth-century precedents, artists around the world used new imagery, materials and techniques to create artworks that they felt better reflected the realities and hopes of modern societies. Minimalism: an extreme form of abstract art developed in the USA in the 1960s and typified by artworks composed of simple geometric shapes based on the square and the rectangle.

Modernism, Minimalism, and Optics

"When you go out to paint, tryto forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it justas it looks to you... [not the object, but] the exact color and shape" Monet as an impressionist is experimenting with color to show the different views of an object. In addition to making these paintings quickly to showcase color, they also can be sold allowing an artist to make more money.

Monet, Wheatstacks, c. 1891; Oil on Canvas

Cezanne takes a large amount of time to purposefully make every swatch of color. This is an intense study of the scene, trying to get at the essence of the image, despite changes in season or anything else. The piece is a kind of abstraction

Mont Sainte-Victoire Seen from Les Lauves 1904-06Oil on canvas, 65 x 81 cm Kunsthaus, Zurich

Like the kinetoscope, but it is a completely immersive environment for the viewer.

Morton Heilig, Sensorama, 1956

"I was walking down the road with two friends when the sun set; suddenly, the sky turned as red as blood. I stopped and leaned against the fence, feeling unspeakably tired. Tongues of fire and blood stretched over the bluish black fjord. My friends went on walking, while I lagged behind, shivering with fear. Then I heard the enormous infinite scream of nature."

Munch, Edvard, The Scream, 1893Oil, tempera and pastel on cardboard, 91 x 73.5 cm National Gallery, Oslo

Nadar was a famous photographer that worked hard to have photography seen in the same light as art.

Nadar, Eugène Delacroix, photograph, ca. 1855

All of the people in the picture were friends and family of Rockwell in Arlington, Vermont, who were photographed individually and painted into the scene. The work depicts a group of people gathered around a dinner table for a holiday meal. Having been partially created on Thanksgiving Day to depict the celebration, it has become an iconic representation for Americans of the Thanksgiving holiday and family holiday gatherings in general.

Norman Rockwell, Freedom From Want, Oil on Canvas,1943. Printed in Saturday Evening Post, March 6, 1943

'Bull' is a suite of eleven lithographs. In this series of images, Picasso visually dissects the image of a bull to discover its essential presence through a progressive analysis of its form. Each plate is a successive stage in an investigation to find the absolute 'spirit' of the beast.

Pablo Picasso, Bull - Plate 1-11 1945 (lithograph)

Cézanne praised the Mont Sainte-Victoire, which he viewed from the train while passing through the railway bridge at Arc River Valley, as a "beau motif (beautiful motif)", and, in about that same year, he began the series wherein he tropicalized this mountain. He uses geometry to describe nature, and uses different colors to represent the depth of objects.

Paul CÉZANNE Mont Sainte-Victoire c. 1887Oil on canvas, 67 x 92 cm Courtauld Gallery, London

The table is painted with almost two different vantage points, and table cloth obscures the weirdness. The space behind the table is very vague. The multiple perspectives on one picture plane relate back to the scientific movements.

Paul CÉZANNE, Still-Life with Apples and a Pot of Primroses, c. 1890, Oil on canvas, 73 x 92 cm, Metropolitan Museum of Art, New York

In "Tulips in a Vase", the bold brushwork so characteristic of Cézanne keeps the viewers eyes to the surface of the painting, rather than into the space that the tulips should be inhabiting. It was most likely painted while he was in Paris, and it was unlike him to paint tulips.

Paul Cézanne, Tulips in a Vase, 1888-1890 French, Oil on paper, mounted on board, 72.4 x 41.9 cm Norton Simon Art Foundation, M.1976.12.P

This medium came to fruition around the same time as realism.

Photography

similar subject matter to Hals' Buffoon Playing a Lute. There is a high contrast of light and dark. There is pattern, texture, and volume.

Picasso, Girl with a Mandolin, 1910

This huge collage was made for a fair being held in Paris, The town of Guernica was bombed around this time, and was a horrific and seemingly pointless destruction of its people. It still uses cubist forms, but is no longer as abstracted.

Picasso, Guernica, 1937 (May 1st-June 4th, Paris) Oil on canvas349,3 x 776,6 cm Museo Reina Sofía, Madrid

This piece shows an association between the audible and the visual. This piece is named after what he calls his lover. There are multiple modes of perception and emotion. A work of synthetic cubism.

Picasso, Ma Jolie, 1911-12

This piece shows an evolution of his style, moving to pure geometry and pure color with only primary colors, black and grey and white.

Piet Mondrian, Composition in Color A, 1917

Mondrian contributes to the abstract visual language in a large way despite using a relatively small canvas. Thick, black brushwork defines the borders of the different geometric figures. Comparably, the black brushwork on the canvas is minimal but it is masterfully applied to become one of the defining features of the work.

Piet Mondrian, Tableau I: Composition with Red, Black, Blue and Yellow, 1921. Oil on canvas, 41 x 39 in.

he has eliminated diagonal and curved lines as well as color; the only true reference to nature is found within the title and the horizontal lines that allude to the horizon and the verticals that evoke the pilings of the pier. The rhythms created by the alternating lines and their varying lengths presages Mondrian's mature dynamic, depicting an asymmetrical balance as well as the pulse of the ocean waves.

Piet Mondrian, The Sea, 1914-1915

a technique of painting in which small, distinct dots of color are applied in patterns to form an image.

Pointillism

aimed to blur the boundaries between "high" art and "low" culture. Follows the idea that there is no hierarchy of culture and that art may borrow from any source.

Pop Art

inspired by the impressionist but focused more on the color and painterly quality

Post Impressionism

a decorative style of the early to mid-18th century, primarily influencing the ornamental arts in Europe, especially in France and Southern Germany. the style is marked by excessive ornament, curves, motion, pastel colors, gilding, and a fascination with shells and fluid depictions of nature.

Rococo

Art inspired by empiricism and positivism. The idea is that you paint what you see. Theres no allegory and no history as a story. Realism uses "realist elements" which are not necessarily new, but they are coming together in a new way. "I have never seen an angel. Show me an angel and I'll paint one."- Gustav Courbet

Realism

Its left, inner corner has a vivid, viscous quality. The anatomical detailing of this area and its surface sheen contrast with the matte, dead-black of the eye's pupil, which floats, unmoored, against a limpid, cloud-filled sky of cerulean blue. Although the areas surrounding the eye's iris are carefully shaded and modeled, giving the illusion of a play of light on three-dimensional form, the sky displays no trace of convexity; its puffy clouds are beautifully rendered, but not its blue expanse. As a result, the sky appears as though seen through a circular window rather than mirrored in the spherical, liquid surface of an eye.

René Magritte, False Mirror, 1928Oil on canvas, 54 x 81cm Moma, New York

creates a three-way paradox out of the conventional notion that objects correspond to words and images.Magritte sought to overthrow what he saw as the oppressive rationalism of bourgeois society. His art during these essential years is at times violent, frequently disturbing, and filled with discontinuities. He consistently interrogated conventions of language and visual representation, using methods that included the misnaming of objects, doubling and repetition, mirroring and concealment, and the depiction of visions seen in half-waking states.

René Magritte, The Treachery of Images (This is Not a Pipe), 1929, Oil on canvas, 60.33 x 81.12 x 2.54 cm, LACMA

Mapplethorp celebrates aspects of gay culture in the 80s through his artwork. He blurs gender binary and depicts queer male culture. A lot of his other works focus on homoeroticism and gay sex and BDSM. He was friends with and worked with Andy Warhol.

Robert Mapplethorpe, Self Portrait, photography (gelatin silver print), 7 3⁄4 " x 7 3⁄4", 1980

In this piece, he plays with Rembrandt's Abduction of Ganymede. The child's butt is a sack of flour, and there is a literal taxidermied bird included in the piece. Since he is combining multiple types of media, he calls this medium "combine paintings".

Robert Raugschenberg, Canyon, Combine painting, 1959

This piece is an actual de Kooning painting that Rauschenberg erased and called art. He believed that he had to literally undo the works of those before him in order to move forward.

Robert Rauschenberg, Erased de Kooning Drawing, 1953, paper

This is a minimalistic art piece. Rauschenberg painted the 7 panels white - slightly different whites.

Robert Rauschenberg, White Painting [seven panel], 1951, Oil on canvas, 72 x 125 x 1 1/2 inches.

This piece was intended to be seen only outside of a museum or gallery space. It creates the question of if art needs to be displayed in a museum at all. It was created using only pieces of nature, and Robert Smithson is able to shape the landscape itself as a mode of artistic expression.

Robert Smithson, Spiral Jetty, 1970, Basalt rock, salt crystals, earth, water

Because of the hierarchy of animal paintings, Bonheur is still considered a low-class painter. She owned her own animals, and this painting came out of her new interest in the welfare of animals. She got a lot of praise for this because of the realistic nature of her work.

Rosa Bonheur, The Horse Fair, 1853-55, oil on canvas

Lichtenstein trained as an illustrator and graphic designer at Ohio State. He created large scale blow-ups like this one to look like comic books. He used ben-day dots to achieve this look.

Roy Lichtenstein, Drowning Girl, 1963, oil and synthetic paint on canvas, 1.72×1.7o m, 1963

"This picture represented a landscape near Port Lligat, whose rocks were lighted by a transparent and melancholy twilight; in the foreground an olive tree with its branches cut, and without leaves." He applied the methods of Surrealism, tapping deep into the non-rational mechanisms of his mind—dreams, the imagination, and the subconscious—to generate the unreal forms that populate The Persistence of Memory. These blend seamlessly with features based on the real world.

Salvador Dalí (Spanish, 1904-1989)The Persistence of Memory, 1931 Oil on canvas, 24.1 x 33 cm Moma, New York

Apart of Monet's series of wheat stacks. This series allowed for Monet to study how light and color are affected by each other, and to create work to sell. He says to forget about the subject and to focus on the color and hue.

Sun in the Mist, 65 × 100 cm Minneapolis Institute of Arts

Apart of Monet's series of wheat stacks. This series allowed for Monet to study how light and color are affected by each other, and to create work to sell. He says to forget about the subject and to focus on the color and hue.

Sunset, Snow Effect, 65 x 100 cm, Art Institute, Chicago

Apart of Monet's series of wheat stacks. This series allowed for Monet to study how light and color are affected by each other, and to create work to sell. He says to forget about the subject and to focus on the color and hue.

Sunset; 73 x 92.6 cm; Museum of Fine Arts, Boston

an art movement focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, around 1913.

Suprematism

a 20th-century avant-garde movement in art and literature which sought to release the creative potential of the unconscious mind, for example by the irrational juxtaposition of images.

Surrealism

This exhibition is a reference to the political machination of the smallest movement into the future.

The 0.10 Exhibition, Petrograd, Russia, 1915

the idea that when we witness something so awesome and powerful that it instills fear and fascination, then we might transcend everyday consciousness and approach the raw power of the divine.

The sublime

It consists of rectangles outlined in black and tilted at 45-degree angles relative to the edges of the canvas. The shapes are smoothly filled in with different tones of red, blue, yellow, gray, and white. By tilting the rectangles in an abrupt but consistent way and shifting tones slightly, van Doesburg attempted to create a more dynamic and complex balance of abstract forms than that usually expected in De Stijl.

Theo van Doesburg, Counter-Composition XVI in Dissonance, 1925

When you look into the box, you see a moving image.

Thomas Edison, Kinetoscope, patented 1897

This most famous portrait from Thomas Gainsborough is believed to be a depiction of Jonathan Buttall, the son of a wealthy merchant. It is remarkable due to the lavish costume of the boy which signifies his confidence, grandeur, and status.

Thomas Gainsborough, Blue Boy, 1770 Oil on canvas, The Huntington

Mrs. Sheridan is shown here as a mature and elegant woman against a landscape where her form bends to the curve of the tress. Her dress seems to have the texture of a cloud because of the way the light seems to play off of it. Gainsborough uses animated brush strokes to create the distinct textures of the rocks, silk, foliage, and her hair. There is a strong romantic component to this painting seen especially through the windblown landscape. Even with this component, the focus remains on Mrs. Sheridans steady, composed, and dignified expression. Through her slightly indirect gaze, however, there is a hint of romantic melancholy in her eyes.

Thomas Gainsborough, Mrs. Richard Brinsley Sheridan, 1787 Oil on canvas, 220 x 154 cm National Gallery, DC, 1937.1.92

This painting portrays a mounted Napoleonic cavalry officer who is ready to attack. It represents French Romanticism and has a similar motif to Napoleon Crossing the Alps. In this painting, the horse appears to be rearing away from an unseen attacker.

Théodore Géricault, Officer Commanding a Charge, 1812, Oil on canvas, 349 x 266 cm, Musée du Louvre, Paris

This painting features a gruesome mass of figures afloat at sea. Some are dead, and some are struggling for life on a poorly constructed raft.The only African figure on the raft waves a cloth at the top of a pile of men in order to catch the attention of a passing ship. This is the dramatic interpretation of the events beginning on July 2, 1816 when a French navy ship crashed on its way to West Africa to create new colonies. 13 days later, when they were rescued by a passing British ship, only 15 men were still alive. Only 10 of these men made it back to shore alive. It became an international tragedy. The decision to paint this scene brought instant attention to Géricault's work. He showed an almost unsettling portrayal of reality that differed from anything that had been seen before.

Théodore Géricault, The Raft of the Medusa, 1818-19, Oil, on canvas, 491 x 716 cm, Musée du Louvre, Paris

This piece uses futuristic shapes. The use of bronze rather than marble signifies the scientific and industrial. The form is stepping into the future, showing progress.

Umberto Boccioni, Unique Forms of Continuity in Space, bronze, 1175×876×368 mm, 1913 (London, Tate)

There is a shift in architecture. Steel and glass are refined and easier to make, so they become more prevalent in architecture.

View of Joseph Paxton's Crystal Palace, The Great Exhibition of 1851, London

This painting shows vegetation in the foreground. There is the use of a Cyprus tree, a type often planted in cemeteries in France. Van Gogh demonstrates an understanding of color by using orange and yellows for the stars against the blue of the sky. (blue and orange are complementary colors). His diary also mentions light and fire as being crucial to his idea of the afterlife.

Vincent Van Gogh, Starry Night, June 1889, Saint-Rémy, Oil on canvas, 74 x 92 cmMuseum of Modern Art, New York

Shows Van Gogh's use of Impasto, where there is a large amount of paint on the canvas that sticks up off the canvas, and experimentation with distortion. The distortion makes the space look almost cartoonish, but the this paint also gives a sense of texture to the wood. This is when he started painting REALLY FAST.

Vincent van Gogh, The Night Café in the Place Lamartine in Arles, September 1888, Arles, Oil on canvas, 71 x 90 cm, Yale University Art Gallery, New Haven

Van Gogh draws influence from Millet's Glimmers, but his ground is more traditional and doesn't take up as much space. This piece is heavy and shows the culmination of his early career and his interest in the peasantry.

Vincent van Gogh, Two Peasant Women in the Peat Field, October 1883, Drenthe, Oil on canvas, 28 x 37 cm, Rijksmuseum Vincent van Gogh, Amsterdam

This compared to his self portrait in 1887 show how quickly his style changed and developed.

Vincent van Gogh, Self-Portrait with Pipe, Spring 1886, Paris, Oil on canvas, 46 x 38 cm, Rijksmuseum Vincent van Gogh, Amsterdam

This compared to his self portrait in 1886 show how quickly his style changed and developed.

Vincent van Gogh, Self-Portrait with Straw Hat, Summer 1887, Paris, Oil on canvas on panel, 36 x 27 cm, Institute of Arts, Detroit

This genre scene shows a direct depiction of the poverty and flaws of the people. There is light influence from tenebrism, and the shininess comes from the varnish on top.

Vincent van Gogh, The Potato Eaters, April 1885, Nuenen, Oil on canvas, 83 x 116 cm, Rijksmuseum Vincent van Gogh, Amsterdam

The subject of this work is directly influence by Courbet. The color and composition of the piece are clearly Van Gogh, but the tree separating the space, through the middle as a strong diagonal is reminiscent of Japanese wood block prints.

Vincent van Gogh, The Sower, November 1888, Arles; Oil on canvas, 32 x 40 cm; Rijksmuseum Vincent van Gogh, Amsterdam

This is a composition. That means that it was meticulously planned and worked over many times. Kandinsky demonstrates an ability to visualize sound through the abstraction and the curves and lines of his works.

Wassily Kandinsky Composition VII, 1913 when Kandinsky lived in Munich, Germany oil on canvas , 200×300 cm; Moscow, Russia: State Tretyakov Gallery

This piece has been criticized as misogynistic, representing womanhood as negative and ugly. A minority read the work as one which sensualizes without implying negative emotions. The brushstrokes in the piece are very visible (painterly). Additionally, he apparently loved his wife but "hated women".

Willem de Kooning,Woman I,Oil on canvas, 1950-2

Scene 2: The Tête à Tête A young couple is seen in a house which depicts their own marital disharmony through the room's disorder. The man is seen exhausted in a chair with a dog stiffing his coat pocket (probably because there is a lady's cap in it). Dogs are generally used as symbols of loyalty, but in this case it seems to be representing the opposite.

William Hogarth, Marriage a la Mode, c. 1745, Oil on canvas

Another version of The Orgy. William Hogarth created many versions of this work which is part of the series depicting a fictional young heir known as Tom Rakewell.

William Hogarth, The Orgy (A Rake's Progress 3: Rose Tavern), 1735, engraving

The fictional young heir, Tom Rakewell, is shown drunk and splayed out on a chair with one leg resting on the table. A young lady has stolen his watch and is passing it to an accomplice. There are many broken things strewn on the floor. A couple is fondling each other on the other side of the table while a lady is exposing her breast, a woman is drinking punch straight from the bowl, and another woman holds on tightly to her bottle.

William Hogarth, The Orgy (A Rake's Progress 3: Rose Tavern), c. 1735, Oil on canvas, 62.5 x 75 cm; Sir John Soane's Museum, London

Manet's Lunchon on the Grass caused issues because it was unclear if the the nude woman was a personification. Nudity is okay if it is a personification, but was inappropriate if it was not.

Édouard Manet, Luncheon on the Grass, 1863

was rejected from the salon started the conversation around the salon des refuses

Édouard Manet, The Absinthe Drinker, 1859