AP Art History Gallery 9
Fin de siecle
"End of the century" (the 1890s) in France and Western Europe; connotes an attitude of decadence and uncertainty that characterized the culture and art in a period when faith in many conventions and institutions had been overthrown
Psychoanalysis
- created by Sigmund Freud - concepts of unconscious experience and compared artistic creation to the process of dreaming - Sigmund Freud's theory of psychosexual development closed the sexually repressive Victorian Age and led to increasing eroticism in art.
Abstraction
- use of shapes, patterns, and complex color harmonies - captured essence of nature - artists include Arthur G. Dove, Marsden Hartley, John Marin, and Georgia O'Keeffe, and Max Weber.
Futurism
A call for societal change and an artistic movement founded by F T Marinetti in the 1909 Manifesto of Futurism; five Italian artists signed the original manifesto; the artistic style depicts motion and dynamics, often with emphasis on machinery - Giacomo Balla, Umberto Bocioni and Gino Severini - embraced the modern world and demolished status quo and traditional influence - valued the dangerous life and extreme violence as the means to break from the past, embrace originality, and celebrate mankind's technological triumph over nature
Expressionism
A mostly Germanic style of the early 20th century that is a visual projection of intense inner feelings rather than outer appearances - Two main groups formed: die Brücke (The Bridge), led by Ernst Ludwig Kirchner, and der Blaue Reiter (The Blue Rider), led by the Russian Vasily Kandinsky. The goal of Kirchner's group, die Brücke, was to build a bridge between Germanic heritage, modern experiences, and their future. They wanted to re-create and renew modern art in Germany. Kandinsky's group, der Blaue Reiter, celebrated "in the variety of represented forms how the artist's inner desire results in manifold forms." - Vassily Kandinsky, Ernst Ludwig Kirchner, Käthe Kollwitz, Franz Marc, Emil Nolde, and Egon Schiele.
Symbolism
A movement in European art around 1885 to 1910 that rejected the direct representation of physical reality to emphasize the subjective expression of ideas through symbolic means - value on subjective meaning - predominant in France early on - themes of mysticism, eroticism, and imagination - Pierre Puvis de Chavannes, James Ensor, Gustave Moreau, Edvard Munch, Odilon Redon, and Henri Rousseau
Fauvism
A painting style developed by Henri Matisse in 1905 that formally lasted until 1908. The name means "fierce animal". The style reflects Neo-Impressionism and expresses flat, bold, un-naturalistic color with impulsive brushwork; sometimes the blank canvas shows between brushstrokes - very linear - rich surface textures - André Derain and Henri Matisse
Surrealism
A term appropriated by Andre Breton in 1924 to describe an art movement that was an outgrowth of Dada but sought more systematic and positive expression of its ideas, particularly under the influence of Freudian psychology - address issue of freedom and the human psyche - anti-art philosophy - surprised viewer by defamiliarizing the everyday through the creation of seemingly nonsensical objects - Max Ernst, Salvador Dali, René Magritte, Joan Miró, Henry Moore, and Méret Oppenheim
Constructivism
An art movement emerging during the Russian Revolution that emphasized abstraction and modern materials and sought to put artworks at the service of social needs - Naum Gabo, Ed Lissitzky, Aleksandr Rodchenko, and Vavara Stepanova.
Dada
An art movement first emerging in Zurich in 1916 that rejected bourgeois culture and traditional artistic expression in favor of an art characterized by chance, feeling, freedom, indeterminate meaning, and a breaking down of the barriers between art and life - Jean Arp, Marcel Duchamp, Hannah Hoch, and Kurt Schwitters
Cubism
An early 20th century art movement that rejected naturalistic depictions and preferred abstract compositions of shapes and forms - Aleksandr Archipenko, Georges Braque, Robert Delaunay, Julio González, and Pablo Picasso.
Daguerreotypes
An early photographic process in which images were made on silver plates coated with a light-sensitive layer of silver iodine
Lithograph
An image produced from the process of printing from a flat surface treated so as to repel the ink excepts where it is required for printing
Suprematism
Art movement, founded by Kazimir Malevich in 1915, that sought to represent abstract forms as an expression of "supreme feeling"
Nature Symbolized no. 2
Arthur G. Dove. 1911 C.E. Pastel on paper. - represents fields, vegetation, and sky without literally portraying them - reduced use of essential forms and expressive lines - symbolic color is "a condition of light"
Burghers of Calais
Auguste Rodin. 1884-1895 C.E. Bronze EXPRESSIONISM/SYMBOLISM - artist at odds with establishment expectations - takes place during Hundred Years War when city of Calais would be spared if these six men offered their lives - The city of Calais expected an idealized monument reminiscent of Greek and Roman influence, they received something different. - sculpture is at eye level, putting focus of the humanized individuals - completely average men, opposite of Roman propaganda - shown afraid, tragic, and pathetic; not noble with reserve and grandeur - disordered assemblage
The Kiss
Auguste Rodin. 1889 C.E. Marble. - depicts Paolo and Francesca, two characters in Dante's Divine Comedy - commissioned by the French state in 1888, so the figures are classically formed and proportioned - the passion and romance is not over sexual, but it is a symbol of the tragedy in the death of two lovers - conjunction with the natural and realistic portrayal of the figures - contrast to Klimt's- the viewer witnesses a transitory moment - a moment of sadness as it is realized the lovers will never move beyond this point
Carson, Pirie, Scott and Company Building
Chicago, Illinois, U.S. Louis Sullivan (architect). 1899-1903 C.E. Iron, steel, glass, and terra cotta. - experimental tall office building design - divided into different zones based of the activities of the space within - different decorative details distinguish the zones of activity for visual interest - decorative floral detail marks the street-level zone - building emphasizes the horizontal aspect of the building through the repeated use of wide windows, anchored by the rounded corner of a city intersection - Sullivan's central architectural ideas regarding form and function would have a considerable afterlife in architectural theory.
Female (Pwo) mask
Chokwe peoples (Democratic Republic of the Congo). - geometric typed features influenced Picasso's transition to Cubism - the divided color areas in the mask do not conform to the contours of the mask's face - similarly, Picasso divided faces into stylized segments of shape and color
Impression: Sunrise
Claude Monet. 1872 C.E. Oil on canvas. IMPRESSIONISM - from the point of view looking out a window to the harbor in Le Havre - orange sun rising over the blue morning fog
The Kiss
Constantin Brancusi. 1907-1908 C.E. Limestone. CUBISM - sought purity in forms - reduced to sparse, geometric forms - portrays unified forms of a couple joined in intimacy - symbolic of the emotional connection experienced and exhibiting tendencies toward an abstract - the primal intensity of the moment, symbolizing the connection of the lovers as flesh to flesh
The Scream
Edvard Munch. 1893 C.E. Tempera and pastels on cardboard. - represents a Symbolist breakthrough by divorcing the use of line, color, shape, and composition from the representation of reality in favor of expressive feeling. - shriek pass through nature - Post-impressionist influence - lines pulse energy into piece in order to convey the feeling of the painting and to disorient the viewer - the blue of the water and red of the sky are so strong they intentionally overwhelm the figure in the painting and the viewer - the red is symbolic of a sunset, but it is also supposed to remind the viewer of blood - the contort figure shows his terror, not his anatomy
Proun 93. Floating spiral
El Lissitzky. 1924 C.E. Pen, ink, watercolor on paper. - mechanical instruments used to produce precisely rendered shapes - explores spatial elements, shifting axes, and multiple perspectives
Street, Berlin
Ernst Ludwig Kirchner. 1913 C.E. Oil on canvas. POST-IMPRESSION - depicts a man with a cane behind his back looking into a store window - his black and navy clothing suggest a possible danger - two elegantly dressed women are prostitutes - lines throughout the painting are sharp and angular, creating a sense of disorientation for the viewer - use of jagged brushwork, elongated figures, and vibrant colors to emphasize his fear and commentary on the injustice of war
Self Portrait as a Soldier
Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas. EXPRESSION DIE BRUCKE - soldier being sent off to battle, he is an amputee - eyes are dull and lifeless, cigarette dangles from his lips - the nude woman is possibly there to show he could not paint her - shows his fear of war and its injustices
Female vs Male representation in the Classical Period of Greece
Females were portrayed as passive, sensualized objects created for the pleasure of men, known as "the male gaze"—artworks featuring women were commissioned by men, for the viewing of men.
The Tower of Blue Horses
Franz Marc. 1913. Oil on canvas. EXPRESSIONISM - Marc watned to exploit color to communicate emotion and express the life of the dream - breaks the complex form of horses into simple shapes - shapes stand in a way that suggests movement and depth - The color blue is the primary male color and yellow is the primary female color according to Marc - attempt to see and paint through the horse's eyes
The Two Fridas
Frida Kahlo. 1939 C.E. Oil on canvas. - the artists own reality - she was injured in a horrible bus accident at 18 where she was impaled and left unable to have children - injury led her to paint in her style - married famous painter - two of her holding hands with a small artery connecting their hearts - deep emotional, psychological, and political implications of the painting exemplify a surrealist art - she was not, for she portrayed her own reality, not dreams
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Sunday on La Grade Jatte
George Seurat. 1884-1886 C.E. Oil on canvas. POST-IMPRESSIONISM - fused modern subject and setting with a variety of traditional and innovative techniques - shows a typical Sunday afternoon in Paris - all ages and social classes are here (women, men, children, and animals) - dominated by geometric shapes rather than diffused atmosphere - Large areas of complementary colors are juxtaposed
The Portuguese
Georges Braque. 1911 C.E. Oil on canvas. CUBISM - exemplifies analytical cubism (intense study of shapes and perspective) - subject is a Portuguese musician seen in a bar - representation is a dissection of the man and his instrument interacting with the space around - subdued hues contrast German Expressionists - disrupted expectations about the representation of space and time - Braque and Picasso utilized similar intersecting geometric planes to emphasize form in Les Demoiselles d'Avignon and the Portuguese
Abstract Speed + Sound
Giacomo Balla. 1913-1914 C.E. Oil on millboard. FUTURISM - dark green hills as a landscape, white stretches for roads, and blue for sky - all are intersected by a visual cacophony of motion and sound - believed to have originally been the center portion of an uncompleted triptych
The Kiss
Gustav Klimt. 1907-1908 C.E. Oil on canvas. - color and portrayal suppressed reality and representation - concept > execution - awkward angle of mans head and the contortion of the couple's hands represent erotic tension - unknown couple, mysterious - obscured face of the man and closed eyes of the woman - kneeling at edge of a flower-strewn hill - shrouded in gold which suggests the secularization of a sacred revelation - combination of the erotic and the spiritual - lack of true perspective here is intentionally disorienting - implies that love and desire are beautiful but unknowable mysteries
The Stone Breakers
Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on canvas. REALISM - Two workers on side of road - older man and young assistant in labor - Courbet called it "complete expression of human misery" - painted with earth tones to re-create the dusty environment - both men are turned away from the viewer to highlight their plainness and lack of individuality - focus on "heroism of modern life" - allows viewer to place themselves within the painting and identify with the subjects
Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany
Hannah Hoch. 1919 C.E. Photomontage. DADA - use of photomontage to replicate the chaos and inconsistency of the German culture - head of Weimar Republic President Friedrich Ebert is placed on the body of a topless dancer - writer and critic Theodore Daubler's head is on a baby's body - German actress Niddi Impekoven joins Dadaism artist John Heartfield in the bathtub - critique of gender roles of the period - title shows male and female attachments
Woman with the Hat
Henri Matisse. 1905 C.E. FAUVISM - abstract patches of color frame the Henri's wife - Complementary colors of red and green and blue and orange vibrate against one another, creating an energy and drawing attention to her penetrating gaze - colorful and full of life
Goldfish
Henri Matisse. 1912 C.E. Oil on canvas. - the deep orange color of the fish represent their intent as the focal point - they stand out among the surrounding greens - goal is expression and the rejection of realism - intuition, expressive color, brushwork, and rhythmic pattern reveal the serenity of the goldfish and the surrounding plants, which further express the unconscious desire for peace and reflection - inspired by East Asian Gardens
Sleeping Gypsy
Henri Rousseau. 1897 C.E. Oil on canvas. SYMBOLIC - self-taught with no training - gypsy with flute and mandolin is sleeping in a desert landscape under a full moon - lion is at a distance stalking (rising perspective) - lion is either a threat to gypsy or represents her dream world - symbols like the lion and vase in the corner are not tied with known cultural iconography, putting his personal symbols in the piece
Third-Class Carriage
Honoré Daumier. 1862 C.E. Oil on canvas. REALISM - both content and comfortable - carriage is crowded and dark, passengers are not unhappy, but have no defined features - Daumier's portrayal of the cramped and dirty railway cars is a commentary on the underappreciated labor of the industrialization.
Lady of Elche
Iberian Sculpture. Elche, Southern Spain. ca. 450 B.C.E. Limestone. - influenced Picasso in his technique to depict forms - simplified breakdown of the planar form
La Grande Odalisque
Jean-Auguste-Dominique Ingres. 1814 C.E. Oil on canvas - strays from idealism; elongated body and limbs - small head similar to Raphael's art - oriental fabrics and peacock duster show the Romanticist fascination of the exotic - confronts viewer looking over shoulder, similar gaze as Venus of Urbino
The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel)
Jose María Velasco. 1882 C.E. Oil on canvas. - use of Mexican geography as a symbol of his national identity - Mexico city and Tenochtitlan patriotically to connect the past and future - combination of indigenous figures and the scenery reflects the relationship between the people and the land - exemplifies national pride - similar to the The Oxbow
Suprematist painting (with Black Trapezoid and Red Square)
Kazimir Malevich. 1915 C.E. Oil on canvas SUPREMATISM - composition of pure geometry - entirely shapes and lines in solid colors - possible intention to portray aerial views of buildings as seen from an aricraft - indication of the impact of the technological age on Russian art
Memorial Sheet for Karl Liebknecht
Käthe Kollwitz. 1919-1920 C.E. Woodcut. - portrays social injustice - portrays a working-class leader in the struggle for power in developing Weimar Republic who had been murdered - desired to be art the common person could identify with - chose not to focus of the reality and gruesomeness of death, but on the emotion of the mourners - depicted the reality of the despair of the widow and others - use of woodcut so it could be copied and spread to a larger audience
Palace of Westminster (Houses of Parliament)
London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840-1870 C.E. Limestone masonry and glass. - Gothic/Romantic influence - represents a national identity - Perpendicular gothic style: emphasized vertical lines (as seen in the exterior)
Henry VII Lady Chapel
London, England. ca. 16th century C.E. - perpendicular Gothic style - initially intended to be the tomb and shrine of Henry VI, but was the tomb for his wife and son - Virgin Mary dedicated - tied Mary and interment to underscore his legitimacy and legacy - vertical lines cover exterior - inside is home to the pendant fan vault ceiling that is highly elaborate and supported by rid vaults
Boulevard du Temple
Louis Daguerre. 1838 C.E.
Fountain (second version)
Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint. DADA - part of the first Society of Independent Artists in New York show - name derived from the popular comic strip Mutt and Jeff and Mott Works, the maker of the urinal, with the initial "R" standing for "readymade" - piece was accepted but displayed in a dark corner - identity illusion
The Coiffure
Mary Cassatt. 1890-1891 C.E. Drypoint and aquatint on laid paper. - portrays woman in fashion similar to Japanese woodblock prints - not erotic - nude, bud body is not sexualized and is vague - lacks interaction with the viewer and confrontational gaze - incorporates striped fabric, patter, and areas of flat color to create harmony - influence of Japanese art
Object (Le Dejeuner en fourrure)
Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon. SURREALISM - defamiliarizes the viewer by putting everyday objects into a nonsensical way - fur is typically repulsive to eat or taste - artist used an everyday object associated with females to one that is highly eroticized and repulsive, sending a feminist message - inspired after a conversation with Picasso in a Paris cafe after he saw her fur-covered bracelet and said, "anything could be covered in fur" and she replied "even this cup and saucer"
Portrait of Charles Baudelaire
Nadar (Felix Tournachon). 1862 C.E. Lithograph.
Les Demoiselles d'Avignon
Pablo Picasso. 1907. Oil on canvas. CUBISM - portrays women in red-light district (sexual-related business) - represents Picasso's departure from reality that began at expressionism - multiple viewpoints and jagged discontinuous planes indicate a sense of isolation and fear that is felt among the women as uneasiness of the brothel environment - influence of African masks and the art of Oceania and Iberia - full break from realism - The abrupt color change in the background of Les Demoiselles d'Avignon reflects Cézanne's influence on Picasso and Cubism. - Braque and Picasso utilized similar intersecting geometric planes to emphasize form in Les Demoiselles d'Avignon and the Portuguese - The two women on the right have striated facial features and bodies broken into unclear planes, as if viewed from multiple angles.
Mont Sainte-Victoire
Paul Cézanne. 1902-1904 C.E. Oil on canvas. CUBISM/FAUVISM/EXPRESSIONISM - landscape of geometric shapes, planes, colors - rejected long-standing rules - landscape is portrayed in a fractioned manner with more concentrated, abrupt changes - proportions of objects are varied without a strict perspective - shift of color represents his rejection of Impressionism - goal was to portray the lasting structure as the fleeting image seen by the eye rather than the truth of the subject - The abrupt color change in the background of Les Demoiselles d'Avignon reflects Cézanne's influence on Picasso and Cubism.
Where Do We Come From? Where Are We? Where Are We Going?
Paul Gauguin. 1897-1898 C.E. Oil on canvas. - right to left as a pessimistic commentary on the inevitability of life and its cycles and the lack of human control in those cycles - Come From: on the right as a baby, the blue tree of knowledge - represents the inception and anguish of life - Are We: symbolized by middle figures, represents the mundane tasks of everyday life - Going: elderly woman dying, blue idol behind her symbolized "The Beyond"
Fallingwater
Pennsylvania, U.S. Frank Lloyd Wright (architect). 1936-1939 C.E. Reinforced concrete, sandstone, steel, and glass - intended to convey space, not mass - designed to fit the lifestyle of the patron - site of a waterfall and pool for the children of the owner - large boulder as a fire pit and tanning rock for family - set on a rocky hillside over a waterfall - home incorporated into its site to guarantee a fluid, vibrant exchange between the interior and natural environment - full windows let in the view - marriage of architecture and nature
Calotypes
Photographic drawings
Composition with Red, Blue, and Yellow
Piet Mondrian. 1930 C.E. Oil on canvas. - the balance of unequal opposites achieved through the right angle was a chief organization principle - The balance of horizontal and vertical represented an ideal balance of male vs. female, individual vs. collective, and other antithetical elements and was designed to communicate via a universal language.
Villa Savoye
Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete. INTERNATIONAL STYLE - placed in the center of a large plot of land with the intention of providing a calm, serene environment for the inhabitant to interact with and have communion and peace - Five points of Le Corbusier's basic tenants for architectural aesthetic: 1 it is elevated on freestanding posts 2 it uses a flat roof for a terrace 3 its walls are used to divide the interior for privacy on the exterior, but never for support 4 it has ribbon windows, windows that run the length of a wall 5 it has facades that serve only as a skin of the wall and windows - in the shape of a cube - intended as a representation of a new vision in the form of functional architecture - outside originally dark green, cream, rose, and blue - interior is open space with thin columns supporting the main living floor and roof garden area - no defined entrance, visitors must walk around and through the house to comprehend its layout - includes several changes of direction and spiral staircases - As a person moves through the spaces, they experience the harmony between the architectural forms and the play of light.
Aphrodite of Knidos
Praxiteles. Roman copy of an original. ca. 350 B.C.E. Marble. - portrays Aphrodite while bathing - she is shielding herself from direct view of the looker - gazes at viewer while nude, aware of being observed
Crystal Palace
Sir Joseph Paxton. 1851 C.E. - new elements such as iron and widespread use of glass show the significance of the patron and the architect - commissioned by Prince Albert for the Great Exhibition of the Works of Industry of all Nations - huge greenhouse - one of the first structures with public bathrooms - material was focus, not structure - The innovative design of the Crystal Palace would enable new possibilities for materials, leading to innovation, such as the Eiffel Tower.
Modernism
Societal changes, an umbrella term encompassing the fast succession of stylistic evolution and the change in which one art movement is a reaction against the previous movement
Post-Impressionism
The artistic period characterized by an increase in experimentation while still holding onto Impressionistic tendencies - emotion through complementary colors - Artists: Paul Cezanne, Paul Gauguin, Georges Seurat, Henri De Toulouse-Lautred, and Vincent Van Gogh
Realism
The artistic period directly following Romanticism; Realism breaks from grandeur and upholds the importance of everyday visual experience - only what one sees is real - objected to historical and fictional figures for they were neither present nor real - Artists include: Rosa Bonheur, Jean-Baptiste-Camille Corot, Gustave Courbet, Honore Daumier, and Jean-Francois Millet
Impressionism
The artistic period following Realism; impressionism discards the details of Realism and instead studies the momentary effects of light and color - artist include: Gustave Caillebotte, Berthe Morisot, Mary Cassatt, Edgar Degas, Edouard Manet, Claude Monet, Camille Pissarro, Pierre Auguste Renoir, and James Whistler
Photography
The technique of producing permanent images on sensitized surfaces through the photo chemical action of light - developed by the end of the 1830s - altered the nature of the optical experience by replicating what the human eye could see - photography conjoined two scientific principles: optical and chemical
Venus of Urbino
Titian. c. 1538 C.E. Oil on canvas. - woman gazing timidly at viewer while nude - acceptable because it was perceived in a Neoclassical context
Composition VI
Vasily Kandinsky. 1913 C.E. Oil on canvas. EXPRESSION DER BLAUE - mass of objects being destroyed by natural and supernatural forces - influenced by metaphysical beliefs - Theosophy
Improvisation 28 (second version)
Vassily Kandinsky. 1912 C.E. Oil on canvas. - different colors are intended to express varied emotions - belief that color directly influenced the soul like vibrations in sound - paralleled to the music in his book Concerning the Spiritual in Art
The Starry Night
Vincent van Gogh. 1889 C.E. Oil on canvas. - painted from the window of a sanitarium that van Gogh committed himself - uses heavy impast; builds rhythmic brushstrokes around each object in his starry sky - communicates his feelings about the vastness of the universe - the cypress tree is symbolic of death and humanity - deep, dark colors signify van Gogh's reflection of life and death and his significance between - emotional depiction along with a disconnect with the specific landscape
Primitivist
a Western art movement that borrowed visual forms from non-Western of prehistoric peoples
International Style
a timeless-looking architectural style from the 1930s to 1970s that emphasizes pure geometric form over ornamentation; characteristics include smooth lines, rounded corners, flat roofs, utilitarian construction materials, and neutral colors
Theosophy
and of a number of philosophies maintaining that a knowledge of God may be achieved through spiritual ecstasy, direct intuition, or special individual relations
Still Life in Studio
ouis-Jacques-Mandé Daguerre. 1837 C.E. Photograph.
Luncheon on the Grass (or, Déjeuner sur l'Herbe)
Édouard Manet. 1863 C.E. Oil on canvas - "flashbulb" effect in the light and dark - departs from classical chiaroscuro - nude woman reflects bright light, emphasizing her intentional eye contact - recognizes she is being viewed
Olympia
Édouard Manet. 1863 C.E. Oil on canvas. - young white prostitute reclining on bed as her maid brings flowers from a client - her look is defiant and shameless, this shocked the public and critics - look draws viewer in just like Luncheon on the Grass
