Final Exam Slide List

Imperial Rome Pantheon, Rome, 118-125 CE

110-112, 128, 133, 270, 272, 337-338

Vincent Van Gogh, Self-Portrait, 1889

373

Silk screening

An industrial printing technique that creates a sharp-edged image by pressing ink through a design on silk or a similar tightly woven porous fabric stretched tight on a frame.

Paul Gauguin, Mahana No Atua: Day of the God, 1894

Birth, life and death. Erotic

en plein air

French "in the open air"; a styleof painting produced out of doors in natural light. Sunrise- Manet

Jackson Pollock, No. 1, 1948, 1948

Pollock's action paintings emphasize the creative process. His mural size canvases consist of rhythmic drips, splatters, and dribbles of paint that envelop viewers, drawing them into a lacy spider web. rhythmic drips, splatters, and dribbles of paint. art that was spontaneous yet choreographed.

Expressionism

20th century art that is the result of the artist's unique inner or personal vision and that often has an emotional dimension. Expressionanism contrasts with art focused on visually describing the empirical world.

romanticism

A Western cultural phenomenon, beginning around 1750 and ending about 1850, that gave precedence to feeling and imagination over reason and thought. More narrowly, the art movement that flourished from about 1800-1840.

Pop Art

A term coined by British art critic Lawrence Alloway to refer to art, first appearing in the 1950's, that incorporated elements from consumer culture, the mass media, and the popular culture, such as images from motion pictures and advertising

Dada

An early 20th century art movement prompted by a revolution against the horror of World War I. Dada embraced political anarchy, the irrational and the intuitive. A disdain for convention, often enlivened by humor or whimsy, is characteristic of the art the Dadaists produced.

Romanticism Goya, Third of May, 1808, 1814-1815

On May 3, these Spanish freedom fighters were rounded up and massacred by the French. Their blood literally ran through the streets of Madrid. Even though Goya had shown French sympathies in the past, the slaughter of his countrymen and the horrors of war made a profound impression on the artist. He commemorated both days of this gruesome uprising in paintings. Although Goya's Second of May (above) is a tour de force of twisting bodies and charging horses reminiscent of Leonardo's Battle of Anghiari, his Third of May is acclaimed as one of the great paintings of all time, and has even been called the world's first modern painting.We see row of French soldiers aiming their guns at a Spanish man, who stretches out his arms in submission both to the men and to his fate. A country hill behind him takes the place of an executioner's wall. A pile of dead bodies lies at his feet, streaming blood. To his other side, a line of Spanish rebels stretches endlessly into the landscape. They cover their eyes to avoid watching the death that they know awaits them. The city and civilization is far behind them. Even a monk, bowed in prayer, will soon be among the dead. Goya's painting has been lauded for its brilliant transformation of Christian iconography and its poignant portrayal of man's inhumanity to man. The central figure of the painting, who is clearly a poor laborer, takes the place of the crucified Christ; he is sacrificing himself for the good of his nation. The lantern that sits between him and the firing squad is the only source of light in the painting, and dazzlingly illuminates his body, bathing him in what can be perceived as spiritual light. His expressive face, which shows an emotion of anguish that is more sad than terrified, echoes Christ's prayer on the cross, "Forgive them Father, they know not what they do." Close inspection of the victim's right hand also shows stigmata, referencing the marks made on Christ's body during the Crucifixion. The man's pose not only equates him with Christ, but also acts as an assertion of his humanity. The French soldiers, by contrast, become mechanical or insect-like. They merge into one faceless, many-legged creature incapable of feeling human emotion. Nothing is going to stop them from murdering this man. The deep recession into space seems to imply that this type of brutality will never end.Goya's painting, by contrast, presents us with an anti-hero, imbued with true pathos that had not been seen since, perhaps, the ancient Roman sculpture of The Dying Gaul. Goya's central figure is not perishing heroically in battle, but rather being killed on the side of the road like an animal. Both the landscape and the dress of the men are nondescript, making the painting timeless. This is certainly why the work remains emotionally charged today.A powerful anti-war statement, Goya is not only criticizing the nations that wage war on one another, but is also admonishing us, the viewers, for being complicit in acts of violence, which occur not between abstract entities like "countries," but between one human being standing a few feet away from another.

avant-garde

The French word for vanguard- literally ahead of the guard- the masses. A group or work that is innovative or inventive on one or more levels; subject, medium, technique, style.

pointillism

system of painting that Seurat pioneers in which artist separates colors into its component parts and later applies them via tiny dots. "Painting composed of points/tiny dots."

Mesopotamia: Ziggurat at Ur (modern Iraq), ca. 2100 BCE

the base is a solid mass of mud brick 50 feet high, the builders used baked bricks laid in bitumen for the facing of the entire monument. three ramp like stairways of a hundred steps each converge on a tower-flanked gateway to a brick temple that does not stand.

Impressionism

the late 19th century art movement that sought to capture a fleeting moment, thereby conveying the elusiveness and impermanence of images and conditions.

Egypt: Khafre [sculpture portrait], from Giza, ca. 2500 BCE Old Kingdom

the portrait from his pyramid complex depicts Khafre as an enthroned divine ruler with a perfect body. The rigidity of the pose creates an aura of eternal stillness, appropiate for the timeless afterlife. primary material for funerary statuary was stone to ensure a permanent substitute home for the ka if the deceased's mummy was destroyed. comes from the valley's temple near the Great Sphinx. the stone is diorite. Khafre wears a simple kit and sits rigidly upright on a throne formed of two stylized lions' bodies. enthroned chaffer radiates serenity.

Italian Baroque Caravaggio, The Calling of St. Matthew, ca. 1597-1601

the stark contrast of light and dark was key feature of Carvaggio's style. Here, Christ cloaked in mysterious shadow, summons levi the tax collector to a higher calling. modern tavern with unadorned walls. mundane environment. levi points to himself in disbelief. extended hand reminiscent of the Lord's in Creation of Adam the position of his hand and wrist is similar to that of Adam's. jesus is the vehicle of Adam's redemption.

Venetian Art Titian, Venus of Urbino, c. 1538

this venus reclines on the gentle slope of her luxurious pillowed couch. her softly rounded body contrasts with the sharp vertical edge of the curtain behind her, which serves to direct the viewer's attention to her left hand and pelvis as well as to divide the foreground from the background. at her feet there is a dog, where cupid would be if she were Venus. in the background servants look for robes to dress her mistress. a window opens to a landscape. color plays a prominent role. used color not only to record surface appearance but also to organize his placement of forms.

Modern Architecture

1920's 1970, a point of view where in city buldings are thought to act like well oil machines with little energy, spent on frivilous details ornate designs. efficient, geometrical structures made of concrete and glass dominated urban forms for half a century.

Romanticism Théodore Géricault, Raft of the Medusa, 1818-19

346-47 most ambitious project. gigantic canvas. Gericault abandoned the idealism of Neoclassicism and embraced theatecrality of Romanticism. subject is the 1816 shipwreck off the African coast of the French frigate Medusa, which ran aground on a reef due to the imcompetence of the captain, a political appointee. in an attempt to survive 150 passangers built a makeshift raft from pieces of the disintegrated ship. Gericault sough to capture the horror, chaos and emotion of the tragedy, yet invoke the grandeur and impact of Neoclassical history painting. accurate, took eight months to complete. the subdued palette and prominent shadows lend an ominous pall to the scene. presented a jumble of writhing bodies. powerful x shape composition and pile one body on another in every attitude of suffering, despair and death. practice of slavery

Romantic landscape Joseph Mallord William Turner, The Slave Ship, 1840

350-52 the essence of Turner's innovative style is the emotive power of color. He released color from any defining outlines to express both the forces of nature and the painter's emotional response to them. subject of the 1783 incident reported in a widely read book titled The History of the Abolition of the Slave Trade. incident involved the captain of the slave ship who, on realizing, his insurance company would reimburse him only for slaves lost at sea but not for those who died en route, ordered sick and dying slaves thrown overboard. emotional depiction of this act matches its barbaric nature. the scale of the minuscule human forms compared with the vast sea and overarching sky reinforces the sense of sublime, especially in the immense power of nature over humans. emotive power of pure color. reality of color at one with the reality of feeling.

Henri Matisse, Woman With The Hat, 1905

389 Matisse's portrayel of his wife, Amelie, features patches and splotches of seemingly arbitrary colors. He and the other Fauve painters used color not to imitate nature, but to produce a reaction in the viewer. color as the primary conveyor of meaning. the entire image of patches and splotches of color juxtaposed in ways that sometimes produce jarring contrasts.

Wassily Kandinsky, Improvisation 28 (2nd version), 1912

391-92 Kandinsky believed artist must express their innermost feelings by orchestrating color, form, line and space. He was one of the first artists to explore complete abstraction in paintings he called Improvisations. conveys feelings with color juxtapositions, intersecting linear elements, and implied spatial relationships. he saw these abstractions as evolving blueprints for a more enlightened and liberated society emphasizing spirituality.

Duchamp, Fountain, 1917

400 "readymade" sculptures were mass produced objects the Dada artists modified. In fountain, he conferred the status of art on a urinal and forced people to see the object in a new light. porcelain urinal presented on its back.

Piet Mondrian, Composition with Red, Blue & Yellow, 1930

409 Mondrian's "pure plastic" paintings consist of primary colors locked into a grid of intersecting vertical and horizontal lines. By altering grid patterns, he created a dynamic tension.

Le Corbusier, Villa Savoye, Poissy-sur-Seine, France, 1929-30

418-19 steel and ferroconcrete made it possible for Le Corbuiser to invert the traditional practice of placing light architectural elements above heavy ones and to eliminate weight bearing walls on the ground story. international style. a cube of lightly enclosed and deeply penetrated space with only a partially confined ground floor. much of the house's interior is open space with thin columns supporting the main living floor and roof garden area. the Villa Savoye has a traditional facade. inverted traditional design by placing heavy elements above and light ones below, and by refusing to enclose the ground story of the Villa Savoye with masonry walls. openness possible by the use of steel and ferroconcrete.

Cindy Sherman, Untitled #205, 1989 photograph

439 sherman appears to be a film still. identity one alone she chose to assume.

Ludwig Mies van der Rohe and Philip Johnson, Seagram Building, New York, 1956-58

441-42 massive, sleek, and geometrically rigid, skyscraper has a bronze and glass skin that masks its concrete and steel frame. the giant corporate tower appears to rise from the pavement on stilts. deliberated designed as a thin shaft, leaving the front quarter of its midtown site as an open pedestrian plaza. the bronze strips and the amber glass windows give the tower a richness found in few if its neighbors.

Andy Warhol, 32 Campbell's Soup Cans, 1961, brush painted, not silkscreened

459 repetition

Frank Gehry, Guggenheim Bilbao Museo, Bilbao, Spain, 1997

460-61 appears to be a collapsing aggregate of units. mass of irregular asymmetrical and imbalance forms whose profiles change dramatically with every shift of the viewer's position. limestone and titanium clad exterior lends a space-age character to the structure and highlights further the unique cluster effect of the many forms. "metallic flower" tops the museum. epitome of deconstructivist principles.

Greek: Hellenistic Athanadoros, Hagesandros, and Polydoros of Rhodes, Laocoön and his Sons, early first century CE

80-84, 266 hellenistic style lived on in Rome. Although stylistically akin to Pergame sculpture, this statue sea serpents attacking Laocoon and his two sons matches the account given only in Aeneid. description of the strangling Laocoon and his two sons by sea serpents while sacrificing at an altar. marble group. the three trojans writhe in pain as they struggle to free themselves from the death grip of the serpents. one bits into Laocoons left hip and the priest lets out a ferocious cry.

Byzantine Mosaics from San Vitale, Ravenna, Italy, ca. 547: Court of Justinian (above) Empress Theodora & her Retinue →

A major theme of this mosaic program is the authority of the emperor in the Christian plan of history. The mosaic program can also be seen to give visual testament to the two major ambitions of Justinian's reign: as heir to the tradition of Roman Emperors, Justinian sought to restore the territorial boundaries of the Empire. As the Christian Emperor, he saw himself as the defender of the faith. As such it was his duty to establish religious uniformity or Orthodoxy throughout the Empire. This mosaic thus establishes the central position of the Emperor between the power of the church and the power of the imperial administration and military.Like the Roman Emperors of the past, Justinian has religious, administrative, and military authority. The clergy and Justinian carry in sequence from right to left a censer, the gospel book, the cross, and the bowl for the bread of the Eucharist. This identifies the mosaic as the so-called Little Entrance which marks the beginning of the Byzantine liturgy of the Eucharist.Closer examination of the Justinian mosaic reveals an ambiguity in the positioning of the figures of Justinian and the Bishop Maximianus. Overlapping suggests that Justinian is the closest figure to the viewer, but when the positioning of the figures on the picture plane is considered, it is evident that Maximianus's feet are lower on the picture plane which suggests that he is closer to the viewer. This can perhaps be seen as an indication of the tension between the authority of the Emperor and the church.

Surrealism

A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in art the world of dreams and the unconscious. Biomorphic Surrealists, such as John Miró, produced largely abstract compositions. Naturalistic Surrealists, notably Salvador Dalí, presented recognizable scenes transformed into a dream or nightmare image.

Suprematism & De Stijl Suprematism- Russian De Stijl- Dutch

A type of art formulated by Kasimir Malevich to convey his belief that the supreme reality in the world is pure feeling, which attaches to no object and thus calls for new, nonobjective forms in art- shapes not related to objects in the visible world. -simple geometric shape

Color field painting

A variant of of Post-Painterly Abstraction in which artists sought to reduce painting to its physical essence by pursuing diluted paint onto unprinted canvas and letting these pigments soak into the fabric, as exemplified by the work of Helen Frankenthaler.

Action painting

Also gestural abstraction. The kind of abstract Expressionism practiced by Jackson Pollock, in which the emphasis was on the creation process, the artist's gesture in making art. Pollock poured liquid paint in linear webs on his canvases, which he laid out on the floor, thereby physically surrounding himself in the painting during its creation.

Fauvism

An early 20th century art movement led by Henri Matisse. For the Fauves, color became the formal element most responsible for pictorial coherence and the primary conveyor of meaning.

Cubism

An early 20th century art movement that rejected naturalistic depictions, preferring compositions of shapes and forms abstracted from the conventionally perceived world.

Neoclassical Jacques-Louis David, Death of Marat, 1793

At the height of the Reign of Terror in 1793, David painted a memorial to his great friend, the murdered publisher, Jean Marat. As in his Death of Socrates, David substitutes the iconography (symbolic forms) of Christian art for more contemporary issues. In Death of Marat, 1793, an idealized image of David's slain friend, Marat, is shown holding his murderess's (Charlotte Corday) letter of introduction. The bloodied knife lays on the floor having opened a fatal gash that functions, as does the painting's very composition, as a reference to the entombment of Christ and a sort of secularized stigmata (reference to the wounds Christ is said to have received in his hands, feet and side while on the cross). Is David attempting now to find revolutionary martyrs to replace the saints of Catholicism (which had been outlawed)?

Michelangelo, Sistine Chapel Ceiling, Vatican, 1508-1512 (Pope Julius II) Creation of Adam

Creation of Adam: life leaps to Adam like a spark from the extended hand of God in this fresco, which recalls the communication between gods and heroes in the classical myths Renaissance humanists admired so much. central panels. God and Adam confront each other, Adam is still a material part, heavy as earth with the Lord transcends earth, wrapped in a billowing cloud of drapery and borne up by his powers. communication between heroes and gods is concrete.

Frank Loyd Wright, Falling Water (Edgar Kaufmann House), Mill Run, Pennsylvania, 1937.

Edgar Kaufmann Jr. pointed out that Wright's famous concept of "Organic Architecture" stems from his Transcendentalist background. The belief that human life is part of nature. Wright even incorporated a rock outcropping that projected above the living room floor into his massive central hearth, further uniting the house with the earth. Wright further emphasizes the connection with nature by liberal use of glass; the house has no walls facing the falls, only a central stone core for the fireplaces and stone columns. This provides elongated vistas leading the eye out to the horizon and the woods. Vincent Scully has pointed out that this reflects "an image of Modern man caught up in constant change and flow, holding on...to whatever seems solid but no longer regarding himself as the center of the world."5 The architect's creative use of "corner turning windows" without mullions causes corners to vanish. Wright even bows to nature by bending a trellis beam to accommodate a pre-existing tree. modern

Imperial Rome Equestrian Statue of Marcus Aurelius, ca. 175 CE, bronze

Equestrian Statue of Marcus Aurelius a singular artifact of Roman antiquity, one that has borne quiet witness to the ebb and flow of the city of Rome for nearly 1,900 years. A gilded bronze monument of the 170s C.E. that was originally dedicated to the emperor Marcus Aurelius Antoninus Augustus, referred to commonly as Marcus Aurelius (reigned 161-180 C.E.), the statue is an important object not only for the study of official Roman portraiture, but also for the consideration of monumental dedications. Further, the use of the statue in the Medieval, Renaissance, modern, and post-modern city of Rome has important implications for the connectivity that exists between the past and the present. The statue is an over life-size depiction of the emperor elegantly mounted atop his horse while participating in a public ritual or ceremony; the statue stands approximately 4.24 meters tall. A gilded bronze statue, the piece was originally cast using the lost-wax technique, with horse and rider cast in multiple pieces and then soldered together after casting. The emperor's horse is a magnificent example of dynamism captured in the sculptural medium. The horse, caught in motion, raises its right foreleg at the knee while planting its left foreleg on the ground, its motion checked by the application of reins, which the emperor originally held in his left hand. The horse's body—in particular its musculature—has been modeled very carefully by the artist, resulting in a powerful rendering. The pose of the horseman is also helpful. The emperor stretches his right hand outward, the palm facing toward the ground; a pose that could be interpreted as the posture of adlocutio, indicating that the emperor is about to speak. However, more likely in this case we may read it as the gesture of clemency (clementia), offered to a vanquished enemy, or of restitutio pacis, the "restoration of peace."

Pablo Picasso, Guernica, 1937 Cubism moving towards surrealism. Warning against war, violence

Guernica a basque village bombed during WWII by the Germans to aid the repressive Dictator Franco in the Spanish Civil War. Picasso was living in exile in Paris and changed what he was working on for the Spanish pavilion of the World's fair when he read from the Times journalist George Steer that was reprinted in a Paris communist paper. Copy in tapestry form hung in the U.N building in New York and was covered with a curtain for Gulf War televise briefings. Kansas City example of a hotel decorator thinking the scene could be "decor" of high art meets cow town history of Kansas City.

orientalism

In art, the term refers to artworks created to depict exotic aspects in Middle Eastern, South Asian, and East Asian cultures

Impressionism Claude Monet, Gare St-Lazare, 1877

Industrial scene. Steam from the train seems cloudy. Movement. Historial moment, moving from countryside to the cities.

Modern artists, as we've discussed, are often critical of modern society. However, they are hardly the first artist to look skeptically at the world around them, and to include that skepticism in their work. Using at least five works of art, describe the various ways that artists over the course of the semester have expressed criticism of their society. Be sure to include 2 works of art from the first 2-3 of the semester.

Jan van Eyck Self-portrait Goya, Third of May Le dejeneur sur l'Herbe Raft of Medusa The Olympia- occupation of substitution Guernica- Picasso

Early Photography Nadar, Eugene Delacroix, ca. 1855, photograph

Nadar was one of the earliest portrait photographer. HIs prints of the leading artists of the day, such as this one of Eugene Delacroix, reveal the sitters' personalities as well as record their features. shows the painter at the height of his career. creates a mood that reveals much about him.

Meret Oppenheim, Object (Luncheon in Fur), 1936,

Oppenheim's Object was created at a moment when sculpted objects and assemblages had become prominent features of Surrealist art practice. In 1937, British art critic Herbert Read emphasized that all Surrealist objects were representative of an idea and Salvador Dalí described some of them as "objects with symbolic function." In other words, how might an otherwise typical, functional object be modified so it represents something deeply personal and poetic? How might it, in Freudian terms, resonate as a sublimation of internal desire and aspiration? Such physical manifestations of our internal psyches were indicative of a surreality, or the point in which external and internal realities united. Interpretations vary wildly. The art historian Whitney Chadwick has described it as linked to the Surrealist's love of alchemical transformation by turning cool, smooth ceramic and metal into something warm and bristley, while many scholars have noted the fetishistic qualities of the fur-lined set—as the fur imbues these functional, hand-held objects with sexual connotations. In a 1936 issue of the New Yorker Magazine, it was reported that a woman fainted "right in front of the fur-bearing cup and saucer [while it was on exhibit at MoMA]. "She left no name with the attendants who revived her - only a vague feeling of apprehension."* Such visceral reactions to Oppenheim's sculpture come closest, perhaps, to what were likely the artist's aspirations. In an interview later in life, Oppenheim described her creations as "not an illustration of an idea, but the thing itself." Unlike Read and Dalí, Oppenheim stresses the physicality of Object, reinforcing the way we can readily imagine the feeling of the fur while drinking from the cup, and using the saucer and spoon. The frisson we experience when china is unexpectedly wrapped in fur is based on our familiarity with both, and the fur requires us to extend our sensory experiences to fully appreciate the work. Object insists we imagine what sipping warm tea from this cup feels like, how the bristles would feel upon our lips. With Oppenheim's elegant creation, how we understand those visceral memories, how we create metaphors and symbols out of this act of tactile extension, is entirely open to interpretation by each individual, which is, in many ways, the whole point of Surrealism itself. when Oppenheim asked the waiter for more fur for her cooling teacup, it was suggested as a way to keep her tea warm, and not necessarily as overtly sexual.

Pablo Picasso, Les Demoiselles d'Avignon, 1907

Picasso, intent of making a name for himself (rather like the young Manet and David), has radically compressed the space of his canvas and replaced sensual eroticism with a kind of aggressively crude pornography. (Note, for example, the squatting figure at the lower right.) His space is interior, closed, and almost claustrophobic. Like Matisse's later Blue Nude (itself a response to Les Demoiselles d'Avignon), the women fill the entire space and seem trapped within it. No longer set in a classical past, Picasso's image is clearly of our time. Here are five prostitutes from an actual brothel, located on a street named Avignon in the red-light district in Barcelona, the capital of Catalonia in northern Spain—a street, by the way, which Picasso had frequented. Picasso has also dispensed with Matisse's clear, bright pigments. Instead, the artist chooses deeper tones befitting urban interior light. Gone too, is the sensuality that Matisse created. Picasso has replaced the graceful curves of Bonheur de Vivre with sharp, jagged, almost shattered forms. The bodies of Picasso's women look dangerous as if they were formed of shards of broken glass. Matisse's pleasure becomes Picasso's apprehension. But while Picasso clearly aims to "out do" Matisse, to take over as the most radical artist in Paris, he also acknowledges his debts. Compare the woman standing in the center of Picasso's composition to the woman who stands with elbows raised at the extreme left of Matisse's canvas: like a scholar citing a borrowed quotation, Picasso footnotes.

Impressionism Mary Cassatt, Little Girl in a Blue Armchair, 1878

Produced in 1878, it shows a girl sprawled on a blue armchair in a room with three other chairs of a matching design. She stares at the floor unaware or unconcerned about the portrait that is being painted of her. On the chair opposite her a lapdog dozes, a dark patch that neatly balances the dark tones of her clothing. There are no tables or ornaments, nothing to offer the viewer or the girl, who appears tired and bored, any distractions, only two large windows that are closed and heavily cropped by the upper edge of the canvas. The dominance of the overstuffed furniture with its vibrant blue upholstery captures an odd sense of restlessness and languorousness, both matched by the girl's pose. A parent would tell her to sit up properly and there is a rebellious, devil-may-care attitude in her comfortably lounging form. She has been dressed with due observance to fashion, the tartan shawl matching her socks and the bow in her carefully arranged hair; her shoes are spotless and the buckles sparkle; literally dolled up. All this primness however is of absolutely no concern to the girl whose unselfconscious pose presents as Petra Chu puts it: "a radically new image of childhood."The upshot of all this is to create a feeling—if not so extreme as alienation—then certainly a sense of disorientation, one that seems to capture, as subtly and incisively as any artist before her, the huffing and puffing tiresomeness a child feels within the social constraints of an adult's world, a world that seems almost oppressively gendered.

Portrait of a Roman Patrician ca. 80 BCE

Seemingly wrinkled and toothless, with sagging jowls, the face of a Roman aristocrat stares at us across the ages. In the aesthetic parlance of the Late Roman Republic, the physical traits of this portrait image are meant to convey seriousness of mind (gravitas) and the virtue (virtus) of a public career by demonstrating the way in which the subject literally wears the marks of his endeavors. While this representational strategy might seem unusual in the post-modern world, in the waning days of the Roman Republic it was an effective means of competing in an ever more complex socio-political arena. The name of the individual depicted is now unknown, but the portrait is a powerful representation of a male aristocrat with a hooked nose and strong cheekbones. The figure is frontal without any hint of dynamism or emotion—this sets the portrait apart from some of its near contemporaries. The portrait head is characterized by deep wrinkles, a furrowed brow, and generally an appearance of sagging, sunken skin—all indicative of the veristic style of Roman portraiture.

Greek: (High Classical) Polykleitos, Doryphoros, ca. 450-440 BCE The 'Canon' of human proportion

The 'Canon' of human proportion canon refers both to this state form and to a missing treatise roman copy in marble of Bronze Greek original contrapposto and explanation comparative sentence with other human figures from Greek or other epochs

What are the characteristics of international style/modern architecture?

The International Style is the name of a major architectural style that is said to have emerged in the 1920s and 1930s, the formative decades of modern architecture, as first defined by Americans Henry-Russell Hitchcock and Philip Johnson in 1932, with an emphasis more on architectural style, form and aesthetics than the social aspects of the modern movement as emphasised in Europe. The most common characteristics of International Style buildings are said to be: i. rectilinear forms; ii. light, taut plane surfaces that have been completely stripped of applied ornamentation and decoration; iii. open interior spaces; iv. a visually weightless quality engendered by the use of cantilever construction. Glass and steel, in combination with usually less visible reinforced concrete, are the characteristic materials of the construction. Modern architecture or modernist architecture is a term applied to an overarching movement, with its exact definition and scope varying widely.The term is often applied to modernist movements at the turn of the 20th century, with efforts to reconcile the principles underlying architectural design with rapid technological advancement and the modernization of society. It would take the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification. The term Modern architecture may be used to differentiate from Classical architecture following Vitruvian ideals, while it is also applied to various contemporary architecture styles such as Postmodern, High-tech or even New Classical, depending on the context.

Temple Architecture: Greek Iktinos and Kallikrates, Parthenon (Temple of Athena), Acropolis, Athens, 447-438 BCE

The citizens built a temple called the Parthenon to honor Athena. The Parthenon was built on the Acropolis, the fortified and highest part of Athens. The Athenians built the first Parthenon, often called the 'Older Parthenon', on the Acropolis starting around 490 AD. The 'Older Parthenon' was built in the vicinity of the current Parthenon. It had a limestone foundation. The Parthenon is considered a Doric temple, but not your average Doric temple, for the Parthenon has four Ionic columns as support columns. The outer frieze, or decorated blocks on top of the columns, is Doric, and the inner frieze is Ionic. The Parthenon is more lavishly decorated than any other classic Greek Ionic or Doric Temple because it symbolizes a shelter and home for Athena, who is an illustrious goddess and the patron saint of Athens, Greece. However, it did not highlight religion as many other temples did, but instead power, prestige, and patriotism .The Parthenon emulates Classical architecture. That basically means that when people think of Classical Greek architecture, they think of the Parthenon because it is so clean-cut and neat with "harmonious proportions, subtle details, and rational relationship of part to part". In fact, it refined Greek architecture by replacing the usual terra cotta with the finest Pentelic marble, and by using a cella and peristyle plan. The cella is the main open room of a temple where an image of the god was erected. A peristyle is an open garden surrounded by columns. Optical illusions are implemented throughout the entire building. They are seen in the width of the columns to make the corner columns look to be equal in size to the other columns; and also the horizontal lines of the roof are curved slightly upward. If the horizontal lines were not arched, the stone looked as though it was sagging. Columns are wider at the bottom than the top because, from far away, they look more balanced and straight. There are eight columns on the short sides of the temple and seventeen on the long sides. The architects used the algebraic equation x=2y + 1 to build the Panthenon, so its proportions would be perfect. That equation was used to determine the number of columns, the distance between columns, and the size of the cella . Much planning went into the architecture of the Parthenon, and it still provides much inspiration for and is admired by architects today.

Vincent Van Gogh, Starry Night, 1889 376

The curving, swirling lines of hills, mountains, and sky, the brilliantly contrasting blues and yellows, the large, flame-like cypress trees, and the thickly layered brushstrokes of Vincent van Gogh's The Starry Night are engrained in the minds of many as an expression of the artist's turbulent state-of-mind. Van Gogh's canvas is indeed an exceptional work of art, not only in terms of its quality but also within the artist's oeuvre, since in comparison to favored subjects like irises, sunflowers, or wheat fields, night landscapes are rare. Nevertheless, it is surprising that The Starry Night has become so well known. Van Gogh mentioned it briefly in his letters as a simple "study of night" or "night effect."but evidence suggests that his second Starry Night was created largely if not exclusively in the studio. On the other hand, The Starry Night evidences Van Gogh's extended observation of the night sky. After leaving Paris for more rural areas in southern France, Van Gogh was able to spend hours contemplating the stars without interference from gas or electric city street lights, which were increasingly in use by the late nineteenth century. "This morning I saw the countryside from my window a long time before sunrise, with nothing but the morning star, which looked very big" 777, c. 31 May - 6 June 1889). Arguably, it is this rich mixture of invention, remembrance, and observation combined with Van Gogh's use of simplified forms, thick impasto, and boldly contrasting colors that has made the work so compelling to subsequent generations of viewers as well as to other artists. Inspiring and encouraging others is precisely what Van Gogh sought to achieve with his night scenes.

Abstract Expressionism

The first major American avant-garde management. Abstract Expressionism emerged in New York City in the 1940's. The artists produced abstract paintings that expressed their state of mind and that they hoped would strike emotional chords in viewers. The movement developed along two lines gestural abstraction and dramatic abstraction.

Romantic Landscapes to Radical Realism How does the concept of the sublime relate to Romantic landscapes?

The shift from neoclassicism to romanticism represented a shift in emphasis fromm reason to feeling, from calculation to intuition, and from objective nature to subjective emotion. Sublime, according to Edmund Burke, is the feelings of awe mixed with terror. Burke observed that pain or fear evoked the most intense human emotions and that these emotions can also be thrilling. The raging rivers and great storms at sea could be sublime to their viewers. This went with the taste for the fantastic, the occult and the macabre, for the adventures of the soul voyaging into the dangerous reaches of the imagination.

Impressionism Edgar Degas, Absinthe, 1876

Vacant, formal dressing, sad

Patronage plays a significant role in the creation of works of art. A patron- be it a church, a government, a king, queen, a local merchant- influences the content, scale and even materials used in a work of art. Likewise, the lack of a patron (when an artist created something hoping to find a buyer afterward) can effect a work of art. Using at least 5 works we have discussed this semester, describe the varying ways patrons- or the absence of patrons- have influenced art. Be sure to include 2 works of art from the first 2/3 of the semester.

Versailles Sistine Chapel Ziggurat de Ur Last Supper, Leonardo Fountain, Duchamp lack of patron means more flexibility for the artist. patron- has an ideal representation, just needs artist to make that image come to life.

Cave at Pech-Merle, France, c. 22,000 BCE Spotted horses and negative hand prints, paleolithic

a mural painting. one of the horses might have been inspired by the rock information in the wall surface resembling a horse's head and neck. the horses are in strict profile. painted hands accompany them. the painted hands are "negative" that means that the printer placed one hand against the wall and then brushed or blew or spat pigment around it. these handprints must have a meaning, but the real purpose is not fully known.

realism

as a movement it's more circumscribed; group of artists that claim to represent a real life as opposed to an idealized, neoclassicist way of life.

Woman from Willendorf (aka "Venus of Willendorf"), c. 28,000-25,000 BCE limestone w/ traces of red ocher pigment Paleolithic

carved using simple stone tools, tiny limestone figure. indicates a preocupation with women, whose child-bearing capabilities ensured the survival of the species. fertility image. breasts of the woman are enourmous, far larger in proportian than the tiny forearms. used a stone bruin to incise the stone outline of the public triangle.

Greek art: Geometric krater from the Dipylon cemetery, Athens, ca. 740 BCE (Geometric)

funerary krater, bowl for mixing wine and water, featuring a mourning scene and a precission in honor of the deceased. art consistent with abstract motifs. three feet tall. covered with precisely painted abstract angular motifs in horizontal bands.

sublime (esp. writings of Edmund Burke)

gentle that is beautiful or the terrifying sublime; encountered after in nature.

Babylon: Stele of Hammurabi, 7'4" tall, basalt, c. 1780 BCE Babylonian, How do word and image function here? shows the power of Hammurabi's capacity to build the social order and to measure people's lives, that is, to render judgements and enforce laws.

hammurabi, known for his conquests, best known for his comprehensive laws, which prescribed penalties for everything from adultery and murder to the cutting down of a neighbor's trees. his laws are inscribed in 3,500 lines of cuneiform characters on a tall black basalt stele discovered Susa in Iran. At the top Hammurabi stands before Shamash, the flame shouldered sun god. The king raises his hand in respect. The god extends to Hammurabi the rod and ring that symbolize authority.

Gothic Cimabue, Madonna Enthroned, ca. 1280

heritage of the Byzantine icon painting is apparent, but Cimabue rendered the Madonna's massive throne as receding into space.

Impressionism Claude Monet, Impression: Sunrise, 1872

impressionism because of its sketchy quality and undisguised brushstrokes. critic mean to be hostile, but later these artists started calling themselves Impressionists. made no attempt to disguise the brush strokes or blend the pigment to create smooth tonal gradations and optically accurate scene. what the artist saw and what they felt. sensations.

Post- war Expressionism

isolation, existentialism, fregility, pessimism and brutality. Francis Bacon, Keen Dubufee, Alber

Post- Impressionism

line, color, form; color combinations; more vibrant Shift from objective to subjective reality. Used color and line to express feelings. shows objects as patterns of forms and flat surfaces and you experiment with vivid color The painter expresses his/ her emotion by using unnatural colors or distorting the form (Hint" you can recognize objects in these painting).

Italian Baroque Gianlorenzo Bernini, Ecstasy of St. Theresa, Rome, 1645-52

marshaled the full capabilities of architecture, and painting to create an insntensely emotional experience for worshipers. displays the motion and emotion that all hallmarks of Italian Baroque is. mixed architecture, painting and sculpture to charge the entire chapel with palpable tension. the en Conaro chapel became a theater for the production of Saint Teresa de Avila's life. theatricality and sensory impact were useful vehicles for achieving Counter Reformation Goals.

High Renaissance Leonardo, Last Supper, refectory of S.M. delle Grazie Milan, 1495-98

mixed oil and tempera and he applied the colors a secco, to dried rather than wet, plaster. Jesus and his 12 disciples sit at a long table placed parallel to the picture plane in a simple, spacious room. in the center jesus seems isolated from his disciples and in perfect repose, the calm eye of the emotional storm swirling around him. the window in the back frames his figure. leonardo presented the agitated disciples in four groups of three, united among and within themselves by the figures gestures and postures. the artist sacrificed traditional iconagraphy by placing Judas on the same side of the table as Jesus and the other disciples. The light source corresponds to the windows in the refectory. physiologically complex and compelling painting.

Gothic: Notre-Dame, Paris, France, ca.1180-1200

occupies a picturesque site on an island in the Seine river called the Ile-de-la-Cité. The choir and transept were completed by 1182, the nave by about 1225, and the facade not until about 1250 to 1260. to hold the much thinner and taller walls of Notre Dame in place, the arquitect introduced exterior arches (flying buttresses) from the lower roofs over the aisles and ambulatory and counter the outward thrust of the nave vaults. the combination of precisely positioned flying buttresses and rib vaults with pointed arches was the ideal solution for the problem of constructing lofty naves with huge windows.

Romanticism J.A.D. Ingres, Turkish Bath, 1862

oil on wood, nude women in a harem, orientalist style, erotic- did not spark a lot of reaction because it was kept in a private collection

Michelangelo, David, 1501-04

represented David in heroic classical nudity, capturing the tension of Lypsippan athletes and the emotionalism of Hellenistic statuary. served as a symbol for Florence liberty. chose to represent the young biblical warrior not after his victory, but before the encounter with Goliath, with David sternly watching his approaching foe. the anatomy of David's body plays an important part in this prelude to action. His rugged torso, sturdy limbs and large hands and feel alert viewers to the triumph to come. Each swollen vein and tightening sinew amplifies the psychological energy of David's pose. Micheangelo abandoned the self- contained composition of the Quattrocento statue by abruptly turning the hero's head toward his gigantic adversary. This David is composiotionally and emotionally connected to an unseen presence beyond the statue, a feature also of Hellenistic sculpture.

Italian Renaissance Sandro Botticelli, Birth of Venus, c. 1485

revived the theme of the female nude in this elegant and romantic representation of Venus born of sea foam. the seascape is a flat backdrop devoid of atmospheric perspective. retells a poem by angelo poliziano of the greek myth of Venus being born from the sea and being carried on a cockle shell to her sacred island, Cyprus. the lightness and bodilessness of the winds move all the figures without effort.

Egypt: Stele with Akhenaton, Nefertiti, and three daughters, from Tell el-Amarna, ca. 1340BCE

stele as upright slab marking a tomb or conmemorating an event, carved relief in Limestone, unsusually active and natural details of King and Gueen and daughters. co-regency. new human conventions/proportions- narrow shoulders, hips, thin elongated necks, long crania. changing to worship of sun god (disk-aren), new location of court.

Georges Seurat, Sunday Afternoon on the Island of the Grande Jatte, 1884-86

subject of the painting is consistent with the Impressionist recreational themes, but Seurat's rendition of Parisians at leisure is strangely rigid and remote, unlike the spontaneous representations of Impressionism. By using meticulous calculate values, Seurat covered out a deep rectangular space. created flat patterns and spatial depth. rhythmic movement in depth as well as from side to side. 369, 373-75, 374