ART HISTORY FINAL EXAMINATION
Readymade
- the artist intervened by combining two objects. Duchamp subsequently made "pure ready-mades," each of which consisted of a single item - The result was a new, controversial definition of art as an intellectual rather than a material process.
Manet, Luncheon on the Grass
1863 (Impressionism) -Provocative Scene -Recognizable Parisians in his paintings (not an allegorical scene) -Contemporality of nude is controversial -Critics see it as an unfinished work (not refined) -fast abbreviations
Berthe Morisot, Villa at the Seaside
1874 (Impressionist) -Focus on domestic subjects -Visible brush stroke -Simplified means of creation -Wispy strokes create figures, sea and sky flat as the canvas
Edgar Degas, La Place de la Concorde
1875 (impressionism) -Work that is not modeled in a conventional way -Interest in harmony of color and free flowing brushstrokes -Subject matter from contemporary world, "new Paris" -Splitting of figures in the scene )sense of momentariness)
Renoir, Le Moulin de la Galette
1876 (Impressionism) -Depicts a Parisian dance hall (popular with working-class people) -Lively atmosphere exudes from the canvas -Draped with sunlight and shade blurred into the figures -Floating and fleeting light -Continuity of space -Depicts the incidental and momentary (Impressionist technique)
Georges Seurat, A Sunday on La Grande Jatte
1884-1886 (Post-Impressionism) -Pointillism: way paint is applied, strongly based on color theory (simultaneous contrast) -Successive contrast -Optical mixing: colors side by side, lets the eye mix the color -Interest in leisure time -Small visible brush strokes -Eveness of attention to the background -Carefully organized composition -Meticulously painted -Remarkably stilled -Desire for an older order in painting
Monet, Saint-Lazare Train Station
1887 (Impressionism) -Emphasis on change of modern life (growing middle class, leisure pursuits) -Outdoor painter -Effects of light and color and their interaction -Very image of a changing city -Legibility is diminished
Paul Gauguin, Jacob Wrestling with the Angel
1888 (Post Impressionism) -Not a naturalistic depiction (imagines a vision of these women) -No horizon line -High viewpoint -Association with symbolism -Rejected naturalism -Focused on non-material
Vincent van Gogh, La Berceuse
1889 (Post-Impressionism) -Expressionistic use of color (expressive effect of color) -The "Cradle Rocker" -Van Gogh as a communicative artist through his writing (subjective experience)
Vincent van Gogh, Wheat Field with Reaper and Sun
1889 (Post-Impressionism) -Wheat painted with thick globs of yellow, undulates all around him -Symbol of the eternal cycle of nature and transience of of life
Paul Cezanne, Mont Saint-Victoire
1902 (Post-Impressionism) -Interested in the structure behind visual information (mobilizing shifting color and light) -Recording patterns of colors -Juxtaposed colors (sense of depth and color)
Henri Matisse, Woman with the Hat
1905 (Expressionism) -Consists of patches and splotches of color juxtaposed to create jarring contrast -Obtained stronger reactions with these pure colors -Expressive power of color
Andre Derain, The Dance, 1906 (France)(Expressionism)
1906 (France, Expressionism) - Representing an Arcadian landscape with dancing figures - is rooted in the classical primitive tradition - He uses unnatural colors to express primal emotions - Facial features are unnatural and exaggerated - The figures dance before us in an uninhibited manner, in perfect ease to their surroundings
Pablo Picasso, Les Demoiselles d'Avignon
1907 (Cubism) -variation of an Archaic Greek courous statue -figures depicted inconsistently -broke women's bodies into more ambiguous planes suggesting of views -nude women as threatening rather than as passive figures on display for the pleasure of male viewers Picasso's fascination with "primitive art"
Georges Braque, Houses at L'Estaque
1908 (Cubism) - It is considered either an important Proto-Cubist landscape or 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
Ernst Ludwig Kirchner, The Street, Dresden
1908 (Germany)(Expressionism) -glimpse into the frenzied urban activity of a bustling German city of that time -women in the foreground loom large -steep perspective of the street -garish,clashing colors -women's features appear ghoulish
Erich Heckel, The Bridge group exhibition poster
1908 (Germany, Expressionism) - Primitive nature - wood blocks, prized medium's ability to convey rough, spontaneous marks and bold, flat colour.
Vasily Kandinsky, Murnau -- Castle and Church I
1909 (Abstraction) -Castle has a curved facade -Greater distance from the natural world -Areas of color -Symbolists oppose materialism (oppose things you can see with your own eyes) -Spirit over theory -Music as inspiration for movement away from legibility and greater abstraction
Ernst Ludwig Kirchner, Girl under a Japanese Umbrella
1909 (Germany, Expressionism) - Ernst Ludwig Kirchner produced paintings, prints, and sculptures that opposed the conventions of academic art. - His nudes, landscapes, and scenes of urban life on the eve of World War I are known for their unsettling effects of psychological tension and eroticism
Pablo Picasso, Daniel-Henry Kahnweiler
1910 (Cubism) - The subject of this portrait is Daniel-Henry Kahnweiler, a German-born art dealer, writer, and publisher. - represents a further incursion into the break-up of form to the point at which the sitter seems barely discernible, - Kahnweiler's face can just about be picked out in the upper-right of the image, identifiable mainly by the inclusion of a wave of hair and a simple line to suggest a moustache. - Two similar lines in the lower centre of the image register his watch chain, whilst his clasped hands can be seen at bottom-centre. - Interestingly, Picasso included on African mask in the top-left, though this is barely discernible. - From this point onwards, Cubism would rapidly develop into on even more experimental and challenging art form.
Matisse, The Dance
1910 (France, Expressionism) - The painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. - It reflects Matisse's incipient fascination with primitive art, and uses a classic Fauvist color palette: the intense warm colors against the cool blue-green background and the rhythmical succession of dancing nudes convey the feelings of emotional liberation and hedonism.
Vasily Kandinsky, Composition V
1911 (Abstraction) -Doesn't read directly as a representation of anything -Legibility is so reduced -Some reference in his paintings to something in the world
Georges Braque, The Portuguese
1911 (Cubism) -subject is a Portuguese musician -dissected the man and his instrument and placed the forms in dynamic interaction with the space around them -Cubists chose subdued hues -Constantly shifting imagery makes it impossible to arrive at any definitive read of the painting
Vassily Kandinsky, final study for cover of Der Blaue Reiter Almanach
1911 (Germany, Expressionism) - a blue rider by Kandinsky inspired by folk images of Saint George - this influential collection of essays and illustrations featured tribal art from the Pacific Northwest, Oceania, and Africa, the art of children, Egyptian puppets, Japanese masks and prints, medieval German sculpture and woodcuts, Russian folk art, and Bavarian devotional glass paintings.
Pablo Picasso, Still Life with Chair-Caning
1912 (Cubism) -Mixed media work of an oilcloth and brushstrokes on top of a cane chair pasted to the canvas -Framed by rope -Challenges the viewer's understanding of reality -The letter JOU, which appear in many Cubist paintings, formed part of the masthead of the daily French newspapers
Franz Marc, The Fate of the Animals
1913 (Germany)(Expressionism) -Iconography of color -Shattered the scene into fragments -Colors of severity and brutality dominate the work -Painting portended war's anguish and tragedy
Diego Rivera, The Making of a Fresco Showing the Building of a City
1913 (Mexican Muralism) -Painted Scaffolding -Rivera among the workers -Not the artist in the studio -Artist as a communal worker (shared tasks) -Large scale art in public places (art for the many, not the few)
Kazimir Malevich, Composition with 'Mona Lisa,'
1914 (Abstraction) -Combining elements of cubist inspired cut outs -Cubist inspired drawing that links together the cut outs -Painted -Using shapes as just shapes
Kazimir Malevich, Black Square
1915 (Abstraction) -Isolates the painted shape (sole focus of the work) -Supremiticism -Reduction as liberation -Painterly realism
Piet Mondrian, Composition No. 10 in Black and White (Pier and Ocean)
1915 (Abstraction) -Similar horizontal and vertical lines across the canvas -Oval canvas -About the arrangement of the lines, not working from some motif in nature -Movements towards the universal (the "essence of things"
Hans Arp, Collage Arranged According to the Laws of Chance
1916 (Dada) -Cut pieces of paper (not cut by hand) -Stuck them down as they fell (introducing chance into the creation of the work) -Collective work, made by more than one person -Limiting the role of the artist
Photograph of Hugo Ball in costume, reciting a poem at the Cabaret Voltaire
1916 (Zurich, Dada) -Moved to Switzerland at the beginning of the war -Started anti-war evenings
Marcel Duchamp, Fountain
1917 (Dada) -Urinal turned on its back, signed with a pseudonym -Refused to include the fountain in the exhibition (did not qualify as a work of art)
Piet Mondrian, Composition with Yellow, Red, Black, Blue and Gray
1920 (Abstraction) -Neoclassicism -No simple focus -Eveness of tension -White as another equal element in the composition -Primary colors (getting ready of particulars -- towards the universal) -Emphasis on achieving a universal essence of things through his works -Influence of cubism in his work
Otto Dix, Prague Street
1920 (Dada) -Biting commentary of the wait and its effects
Hannah Hoch, Cut with the Kitchen Knife
1920 (Dada) -Photo montage -Disjunctive assembly of cutouts -Big bodies, tiny heads -Not intended to be an easy, coherent read -Draws on mass media images
Max Ernst, Two Children are Threatened by a Nightingale
1924 (Surrealism) -Dream like scenes -Sense of something strange going on (unsettling -Conventional painting technique
Thomas Hart Benton, Midwest from America Today
1930-31 (Regionalism) -no focal point -bounces from one scene to another
Joan Miro, Painting
1933 (Surrealism) -Using cutouts as the basis for a painting composition -Indefinite field of color
Meret Oppenheim, Object (Breakfast in Fur)
1936 (Surrealism) -unexpected compositions with an erotic charge to them
Jackson Pollack, Autumn Rhythm: Number 30
1950 (Abstract Expressionism) -large scale -paint falls on the ground - exemplifies the extraordinary balance between accident and control that Pollock maintained over his technique. - Autumn Rhythm is evocative of nature, not only in its title but also in its coloring, horizontal orientation, and sense of ground and space.
Collage
A composition made by combining on a flat surface various materials, such as newspaper, wallpaper, printed text and illustrations, photographs, and cloth.
Impressionism
A late 19th century art movement that sought to capture a fleeting movement, thereby conveying elusiveness and impermanence of images and conditions
Symbolisim
A late 19th century movement based on the idea that the artist was not an imitator of nature but a creator who translated the facts of nature into a symbol of the inner experience of that fact.
Surrealism
A successor to Dada, Surrealism incorporated the improvisational nature of its predecessor into its exploration of the ways to express in the art the world of dreams and the unconscious.
Pointillism
A system of painted devised by the 19th century French painter George Seurat. The artist separates color into its component parts and then applies the component colors to the canvas in tiny dots. The images becomes comprehensible only from a distance, when the viewer's eyes optically blend the pigment dots.
Suprematism (Malevich)
A type of art formulated by Kazimir Malevich to convey his belief that the supreme reality in the world is pure feeling, which attaches to no object and thus calls for a new, nonobjective forms in art -- shapes not related to objects in the visible world.
Die Brucke (The Bridge)
An early 20th century German Expressionist art movement under the leadership of Ernst Ludwig Kirchner. The group thought of itself as the bridge between the old age and the new.
Der Blaue Reiter (The Blue Rider)
An early 20th century German expressionist art movement founded by Vassily Kandinsky and Franz Marc. The artists selected the whimsical name because of their mutual interest in the color blue and horses.
Fauves/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.
Dada
An earth 20th century art movement prompted by a revulsion 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.
Flaneur
Flâneur-a person who walks the city in order to experience it. The term flâneur comes from the French masculine noun flâneur—which has the basic meanings of "stroller", "lounger", "saunterer", "loafer"—which itself comes from the French verb flâner, which means "to stroll".
Automatism/Automatic drawing,writing
In painting, the process of yielding oneself to instinctive motions of the hands after establishing a set of conditions within which a work is to be created
Neo-Plasticism (Mondrian)
The Dutch artist Piet Mondrian's theory of "pure plastic art" an idea balance between the universal and the individual using and abstract formal vocabulary.
Salon des Refuses
The Salon des Refusés, French for "exhibition of rejects" is generally an exhibition of works rejected by the jury of the official Paris Salon, but the term is most famously used to refer to the Salon des Refusés of 1863
Abstract Expressionism
The first major American avant-garde movement, 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.
Primitivism
The incorporation in early 20th century Western art of stylistic elements from the artifacts of Africa, Oceania, and the native people of the Americas.
Post-Impressionsim
The term used to describe the stylistically heterogeneous work of the group of late 19th century painters in France including van Gogh, Gauguin, Seurat, and Cezanne, who more systematically examined the properties and expressive qualities of line, pattern, form, and color than Impressionists did.
