Art History 110 Final
Postimpressionism
1886-1905. A late nineteenth-century style that relies on the Impressionist use of color and spontaneous brushwork but that employs these elements as expressive devices.
De Stijl
1917-1931. Dutch post-WWI movement that believed that their style revealed the underlying structure of existence; art was simplistic and used primary colors and horizontal and vertical lines (invented by Piet Mondrian and Theo van Doesburg)
Abstract Expressionism
1940s-50s. An artistic movement that focused on expressing emotion and feelings through abstract images and colors, lines and shapes.
Harlem Renaissance
A period in the 1920s when African-American achievements in art and music and literature flourished
Subjective, what beauty is
Abstract Expressionism, Helen FRANKENTHALER, Mountains and Sea, 1952. "What concerns me when I work, is not whether the picture is a landscape, or whether it is pastoral, or whether somebody will see a sunset in it. What concerns me is- did I make a beautiful picture?" -She calls her art beautiful in this quote, but the problem with using that statement is beauty is ____________, issue of ______________ are brought up.
Alter, diluting, pouring, unaltered, stains, imbedded, bleeding, charcoal, flowing
Abstract Expressionism, Helen FRANKENTHALER, Mountains and Sea, 1952. Main idea here is to _______ the paint by _________ it and ________ the paint onto the ____________ canvas, and __________ the painting, and is ____________ in the canvas. Sense of colors _____________ into one another, the _____________ lines are also ____________ across the surface.
Second, public, paint, applied, honest, 2D, technique, Canada
Abstract Expressionism, Helen FRANKENTHALER, Mountains and Sea, 1952. ___________ generation of abstract Impressionism. Interested in how abstraction can communicate with the ________ and how _________ can be _________ to a canvas, and art is an _________ expression that it is a ___________ surface, and she explores that with her paint _____________. Inspiration from a trip she took to ___________.
Surrealism
Began in early 1920s. An artistic movement that displayed vivid dream worlds and fantastic unreal images and lack of conscious control.
Space, Iberian heads, context, magical, created, emotional impact, white, African American decontextualized, cultural
Cubism, Pablo PICASSO, Les Demoiselles d'Avignon, 1907, oil on canvas. No real sense of __________ seen in the painting. Picasso was looking at ______________ for his women in the painting These masks are taken out of ____________ and were intriguing to Picasso, thought of masks as _______________ objects, without understanding the context of where these masks were ____________, but only thought of the _________________ they had on him and the viewer. Bad because he painted the people as ____________ even though these masks are associated with ___________________ people and Picasso ___________________ the meaning of them and took them out of their ____________ purposes.
Prostitution, Barcelona, student, primitive, two men, sailor, antique shops, museums
Cubism, Pablo PICASSO, Les Demoiselles d'Avignon, 1907, oil on canvas. The title refers to a house of ________________ that Picasso had known in ________________. The features of the Iberian head Picasso used to make his ____________ for the student entering the brothel look more _______________ are Picasso originally planned it as a brothel scene with ____________: a ___________ and a student about to be initiated. Saw African masks brought back from trade in ______________ and ______________.
Decade, 5 nude women prostitutes, brothel, sharp, hurt, African masks
Cubism, Pablo PICASSO, Les Demoiselles d'Avignon, 1907, oil on canvas. Wasn't shown outside of his studio for almost a _____________, and viewers were shocked by _______________________ in a ____________. Their body parts look _________ and could hurt _________ if you banged into say their pointy elbow by accident. Their wearing __________________.
Matisse, nudes, year earlier, Ingres
Cubism, Pablo PICASSO, Les Demoiselles d'Avignon, 1907, oil on canvas. Where the paintings reference histories of the nude is Picasso also saw himself competing with _______________, who had exhibited a work featuring _________ a _________________. Both respond to a painting by __________.
Still life, knife, citrus fruit, chair canning, planes, broken, Braque, play
Cubism, Pablo PICASSO, Still Life with Chair Caning, 1912, oil and oilcloth on canvas framed with rope. Has objects common in a ___________ painting. There is a abstracted ___________ with a ______________ in the right hand corner. See the ________________ in that woven pattern. See base of wine glass, stem, and the ___________ of the wine glass are ____________ up into different pieces. Taking ideas ____________ is exploring, uses words too, "JOU," which means ________, and could also indicate as a newspaper that is laying on the table.
Viewpoints, vanishing points, linear perspective, fascended down
Cubism, Pablo PICASSO, Still Life with Chair Caning, 1912, oil and oilcloth on canvas framed with rope. Multiple _______________ and is abandoning _________________ and _________________. Usually round little tables, but if your looking at a circle at a different angle, it looks like an oval. The rope in the painting ties to the table idea because a table cloth on a table outside may be _____________________ with a rope, the rope also acts as a picture frame of the still life.
Collage, more real, manufactured, realistic, rebellious, abstract eyes
Cubism, Pablo PICASSO, Still Life with Chair Caning, 1912, oil and oilcloth on canvas framed with rope. Picasso bought oil cloth, glues it on, idea of ___________, and it looks ______________ than his knife and citrus fruit, the __________________, the non hand made is more ______________ than what he is actually painting. ______________ and leads to ideas of _______________.
Trompe l'oeil, satirical, reassembling, detrompe l'oeil, illusion
Cubism, Pablo PICASSO, Still Life with Chair Caning, 1912, oil and oilcloth on canvas framed with rope. _____________ is a trick of the eye, a tradition that Picasso is poking fun at and is using in a ____________ aspect. Taken apart and _________________ image of different perspectives. Kind of "__________________," undeceiving the eye. Reminding us that the picture is an _____________.
conservatism, corruption, social, political turmoil
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. Dada Artists reacting to _________________, ___________, ____________ and _______________.
Heads, different bodies, Europe, voting rights, technology, critical, tradition
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. Have _________ applied to _________________, see map of ___________ and a place where woman have ________________. Emphasis on _______________ and idea of assembling these parts, taking them and reassembling them in this __________ stance of __________ and the way things have always been.
Binary republic, Hitler, communists, fascists, disjointed, surreal
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. In 1918, ___________________ established, hard time since ___________ takes over, very militant left and right, _____________ against ____________. Dada artists are responding to political chaos and upheaval. _____________ and _____________.
Ambivalent sexuality, ball bearings, technological
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. See idea of _______________________. ________________, symbols of ____________________ progress.
Cutting up, magazines, reassembling, famous, political, chaos, nonsense
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. She's not painting, she's ______________ images from _____________, and ___________________ the bodies of ___________ people, animals, actors, _________________ figures. Idea of __________ and ______________ associated with the Dada fair.
Weimar Republic, 1919-1933, hyperinflation, paramilitaries, Treaty of Versailles
Dada, Hannah HÖCH, Cut with the Kitchen Knife Dada Through the Last Weimar Beer-Belly Cultural Epoch of Germany, 1919, photomontage. _________________, years ___________ struggles with _______________, Political unrest from _______________ both left and right. Resentment after the __________________.
Provocative, radical, conceptual, meaning of what is art
Dada, Marcel DUCHAMP, Fountain, originally 1917. Porcelain plumbing fixture and enamel paint. Is ___________________, _____________ thing to do, opens up for the art of ________________ art in the 20-21st centuries, perhaps wouldn't have evolved without Duchamp questioning the __________________________.
Wealthy establishment, easy way out, vulgar, immoral, plagiarism, shown
Dada, Marcel DUCHAMP, Fountain, originally 1917. Porcelain plumbing fixture and enamel paint. Maybe poking fun at the _______________________. Not proper, something people don't show and they Reject it, hide it, and takes an ______________. Thought of it as ____________, _____________, and ______________. Duchamp sends in a letter arguing to why it should be ____________.
1915, organize, exhibition, community, alias, identity
Dada, Marcel DUCHAMP, Fountain, originally 1917. Porcelain plumbing fixture and enamel paint. Moves from Paris to New York in _________, helps _____________ a new ____________ of art and actively involved with the __________________, and was going to be opened to anybody, no jury selection, but he makes up an __________ name to disguise his ____________ to submit the piece.
Readymade, mass-produced, industrial, decision
Dada, Marcel DUCHAMP, Fountain, originally 1917. Porcelain plumbing fixture and enamel paint. _______________: Marcel Duchamp's term for ________________, _______________ objects raised to the status of art by the _____________ of an artist.
Society of Independent Artists, members' submissions, indecent
Dada, Marcel DUCHAMP, Fountain, originally 1917. Porcelain plumbing fixture and enamel paint. ___________________________ that Duchamp himself had helped found and promoted. The society's board of directors, who were bound by the Society's constitution to accept all ____________________, took exception to Fountain, believing that a piece of sanitary ware couldn't be considered a work of art and furthermore was _____________.
Primary colors, pops, Utopian idealism, individual, group
De Stijl, Gerrit RIETVELD, Shroeder House, 1924. All _____________ in interior as well as _________ of color. __________________, not about the _____________, but lofty ideas of the ___________ of people.
Anti-cubic, breaking open the box, gravitational forces, nature, adjustable, flexibility
De Stijl, Gerrit RIETVELD, Shroeder House, 1924. New architecture is _______________, in traditional houses the rooms are broken up, and this house expresses the idea of "___________________________" and open upon the ways for better flow of life. Works against the ___________________ of ________________. Has walls that are ________________ and has a ______________ of space, and helps adjust the norms of living and opens up the modern idea of living.
Universal truths, reality, idealism, old traditions, hierarchy's, women, domestic stereotypes, modern life, mimic, lifestyle
De Stijl, Gerrit RIETVELD, Shroeder House, 1924. _____________ of __________ in art. _____________, wanted to shed _______________ and _____________, and this liberated ___________ to break away from _____________ and wanted to be with her children, and was thinking of how ___________ can evolve and how the houses could ________ this new ___________.
Mondrian painting, glass windows, privacy, flow, inclusiveness
De Stijl, Gerrit RIETVELD, Shroeder House, 1924. __________________ come to life. Side facing towards field has more ________________ and less on the front for some ___________. Interior spaces __________ into one another, in hopes of this new idea of _______________; the children are invovled in this new way of living and life and women's roles in the home.
Dada
Early 20th century. artistic movement in which artists rejected tradition and produced works that often shocked their viewers.
Land Art
Emerged in 1960s and 1970s. Site-specific work that is created or marked by an artist within natural surroundings.
13, last supper, 5, hard, collaborative
Feminism, Judy Chicago, The Dinner Party, 1979. Creates an equilateral triangle table, and has ___________ seats on each side, representing the ___________, took ______ years to finish, and researching women art people since at the time it was __________ to find information of women artists of the past. Seminal work and ________________ effort for women artists and figures from history.
Snake goddess, Mary Wollstonecraft, rights, education, Ishtar, Babylonian goddess
Feminism, Judy Chicago, The Dinner Party, 1979. Individuals represented on some plates, such as the _____________. Also _________________, leader in women's __________ and _____________, and __________, ________________ of love, war, and sex. Trying History and feminism, and including them all at the dinner table.
Domestic, assumed, invited, included, female figures, artist, history, vagina, embroidered, mortals, goddesses
Feminism, Judy Chicago, The Dinner Party, 1979. Women were revolved around _____________ life, and they cooked and served dinner, where women were _____________ to be, reimagined now, women are ___________ and ____________ at the table. Had hundreds of volunteers, and added names of famous _________ and ________ from ______________. Made porcelain plates for all women at table, and are painted to represent a ________, and placed on individually _________________ place mats. Names ranging from ___________ to _________.
Egyptian, profiles, figures, African American, hard labor
Harlem Renaissance, Aaron DOUGLAS, Aspects of Negro Life. Idylls of the South, Song of the Towers, 1934, oil on canvas. Exploring some ______________ stylized forms in the __________ of the _________. Tells stories of _______________ origins. Depicts _____________.
Ghost, banjo, slavery, rope, lynching, horrific, hope, music, red star, communism
Harlem Renaissance, Aaron DOUGLAS, Aspects of Negro Life. Idylls of the South, Song of the Towers, 1934, oil on canvas. _________ like figures, see a __________, an instrument that has origin in Africa. See representation of __________ through a _________ hanging in the painting, and references to ___________, __________ history of African Americans. Uses circular visions of light that resemble ________ and come across the area focused on ________. __________ of _______________.
Reinvented, urban, northern, composition, cities, political, cultural expressions
Harlem Renaissance, Jacob LAWRENCE. Migration Series. Panel 1: During the World War there was a great migration North by Southern Negroes, 1940-41. As these populations ___________ themselves as ________ and ___________, the nation's profile was fundamentally altered, as were the _____________ of its ______, __________ priorities, and ______________, from music to literature to food.
Key destinations, greater economic opportunity, social equality, demographic
Harlem Renaissance, Jacob LAWRENCE. Migration Series. Panel 1: During the World War there was a great migration North by Southern Negroes, 1940-41. The three cities named in this panel were _________________ for the hundreds of thousands of black southerners who left their homes in search of ________________ and ______________ in the North. This mass exodus, known as the Great Migration, led to one of the greatest ________________ transformations in United States history.
articulate, painting can be, Japanese, 19th century woodcut prints
Impressionism, Mary CASSATT, Mother and Child, c. 1890, oil on canvas. Can tell artist is looking very carefully at other art trying to _______________ what a _________________. Influence of ________________ art, especially _______________________.
illusion of representation, Japanese, compositional elements, indexical gesture
Impressionism, Mary CASSATT, Mother and Child, c. 1890, oil on canvas. Mind is more than willing to see the ____________________________. Dress pattern seems flat of mother, is making very clear gestures toward lessons learned from _______________ art and prioritization of _______________________________. Describe _________________ of artists. Spontaneous gesture and canvas becomes a recording of that.
heightened, experience, daring, bold
Impressionism, Mary CASSATT, Mother and Child, c. 1890, oil on canvas. Paradox, _________________ definition of _____________. Experimentally ___________ and __________ artist.
Contours, broken, interrupted, merging, fiction, 3D, economy of form, meet her halfway
Impressionism, Mary CASSATT, Mother and Child, c. 1890, oil on canvas. _______________ of figures are _____________ and ________________, foreground and background start _______________ with one another. The mothers neck is touching the white vase, flat surface, giving a ____________ of a ___________ space. As you start taking in the painting, especially at the edges, see __________________ that shows she is enlightening us to take the step and _______________ to see the painting.
Sunday, Persian, outdoor dance, spring, 3, midnight, orchestra, middle
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. A ____________ afternoon ___________ scene. In a _______________ hall and everyone is outside enjoying nice __________ weather. On sundays their would be dance balls that would begin at _______ in the afternoon till ___________, and their would be an _______________, people who usually belonged to the ____________ class at these balls.
vignettes, central story, viewers attention, life unfolds, obvious
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. Composition has ______________ of figures, there isn't a _________________, competing for the __________________. For example, a couple looking directly at the viewer, acknowledges the viewer. Showing us as _____________, seemingly not deliberately composed, desire to push away _________ composition.
optical effect, blues, complimentary color, orange
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. Interesting ____________________, the idea of if the viewer stares at the painting too long, the eyes will start to change the _________ of the Painting, into its _____________________, ___________.
choreographically, urbanized Paris, modern, relax, unwind
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. Is one of the earliest ______________________ impressionist artist. See the ________________, and a very _____________ way to __________ and __________, people drinking, dancing, conversations going on.
boost, Paris, doubles, 300, industrialized, working, leisure, attention, higher
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. People here who have contributed to the ____________ of ____________, population ______________ in ____________ years due to ___________________ and _______________ class people. They could afford ______________ on a Sunday afternoon. Renoir was familiar with this class because he could usually easily frequently go to spots like this without drawing _______________ to himself since he is of a _____________ social class.
Chevreul, color perception, simultaneous contrast, tradition, subjective embodied experience
Impressionism, Pierre-Auguste RENOIR, Moulin de la Galette, 1876, oil on canvas. Reading about optical illusions and studies deeply the French chemist ______________ and the physiology of __________________: complementary colors, __________________________, and negative afterimages. Clearly aware of ___________________, but shows effect of experience, wants us to see real people from different social classes, but have some sense of a ____________________________.
Degraded, 6,000 tons, everchanging, transformation, manipulation, pallet, respecting
Land Art, Robert Smithson, Spiral Jetty, 1970. Fascination with ___________ sights, and moved ____________ of rock, and creates this spiral collapsing and turning in on itself, and is out with the elements, and the natural forces of the lake effect the art, so it's ______________, idea of __________________. ________________ of space and of the land, taking art out of the gallery is using the world surfaces as your ____________, controversial because of use of land without ______________ the land.
Gallery, new spaces, landscape, earth, carving, buried, not visible, enhance, contribute
Land Art, Robert Smithson, Spiral Jetty, 1970. Interested in why art has to be in a ___________, and takes the idea of art into ___________, out into the ______________, and created stuff known as _________ art. Idea of ___________ in the landscapes. Sometimes the salt water crusts over the rock, and changes the look of it. For a couple decades, was completely __________ and _____________. He wanted to _____________ and ____________ to the landscape.
Impressionism
Major Western artistic style that gained prominence in the second half of the 1800s (1860s) and into the 1900s.Against Realism, visual impression of a moment, style that seeks to capture a feeling or experience, often very colorful.
Rockefeller center, Lenon, communism, removed, refused, destroyed, repainted, Mexico City
Mexican Muralism, Diego RIVERA, Man Controller of the Universe. 1934, fresco. Painted for _______________, and he includes _________, Rockefeller said as soon as he saw it all references of ___________ has to be ______________, Diego Rivera _________, and it was ___________, ___________ it in _____________.
Propagandist, Communism, think, speak, write, paint, weapon
Mexican Muralism, Diego RIVERA, Man Controller of the Universe. 1934, fresco. Rivera says "Every strong artist has been a ___________________. I want to be a (this type of person) and I want to be nothing else. I want to be a (this type of person) of ________________ and I want to be it in all that I can _______, in all that I can _________, in all that I can _________, and in all that I can _________. I want to use my art as a __________..."
Lenses, reflecting, microorganisms, universe, central figure, Nazi insignima, war, gas masks, red revolution
Mexican Muralism, Diego RIVERA, Man Controller of the Universe. 1934, fresco. See __________ on either side that the light is ____________. See _______________ on one plate reflection and then the ____________ on the other, working with the _____________. See a _____________, see figures sitting on head of Nazi sculptures, _______ on top with people who have nasty horrible ______________, but they could be the _____________.
Historical figures, classical, cross, Christianity, x-ray, technology, Lenon, multiracial, social unrest, crossroads
Mexican Muralism, Diego RIVERA, Man Controller of the Universe. 1934, fresco. See lots of __________________, ______________ sculpture wearing a ___________ resembling problems for ______________, see ___________ to focus on progress in ___________________, see _________ holding the hands of a __________________ peoples. Represents ______________. Laying out possibilities for us and the man at the _____________ to decide.
Pop Art
Mid to late 1950s. an American school of the 1950s that imitated the techniques of commercial art (as the soup cans of Andy Warhol) and the styles of popular culture and the mass media
Contemporary, angular, African, differentiating, prosper, naturalistic, Europeans
Modern African Art, Aina Onabolu, Portrait of a Man, 1954, oil on canvas. Began painting at the same time as Picasso, is Picasso's ____________________. As Picasso is making these ______________ figures by looking at _____________ Art, and Onabolu is interested in __________________ himself from people like Picasso and demonstrate that Africans can ______________ in the _______________ painting style that ________________ were known for.
Modern European, African Modernism, illustrations, magazines
Modern African Art, Aina Onabolu, Portrait of a Man, 1954, oil on canvas. Interested in history but also ________________ art. Onabolu was a pioneer of _________________. Taught himself to paint copying art ________________ in ________________.
Performances, homeless, good, context, role, play
Modern African Art, Dan people, Mask, 20th century, wood. Worn in __________________ and ______________ people could emerge in dance and masquerade and their a life generating forces of __________. The understanding of the ___________ and _______ they _______ is crucial in understanding African Art.
Share, womb, one survives, two, one, spirit, loose, manifest, spirit, prime of life, grow up
Modern African Art, Yoruba people, Pair of Ere Ibeji, 20th century, wood, metal, glass beads, pigment. To accommodate the idea that twins have to __________ the ___________ and sometimes only ______________, twins are thought of as ________ people but also thought of _________ person or __________. So if you ___________ a twin, you have to in a way ____________ their ___________. Carved to be in _____________, not carved as babies or portraits, but epitomizing what you would think your child would ____________ to be.
Moral virtue, goodness, beauty, spirits, energy, influx, change, doll, spirit
Modern African Art, Yoruba people, Pair of Ere Ibeji, 20th century, wood, metal, glass beads, pigment. ___________ and ____________, to be a good person, ___________ much deeper than just the appearances but the __________ and ____________ inside. Traditional means _________ and __________, and ideas of them can change in real life, can replace figurine with a _______ as a manifestation of the __________ of the lost twin.
habitation, hearth, horizontal, base, irregular, natural, around, family life, swam here, pot, ancient time
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. Center of _________________, the ______________, core of house is the house is the vertical element made of stone that was made from rock formations around the water fall, containing service elements, but this part has a very ________________ aspect. This most important aspect, the ________ is ____________ and _____________, and was basically built ____________ it, these rocks are preserved as the basis of their ________________, and tell stories to each other about how they ____________ before the house was built. Decorative, but also functional that swings into fireplace and is a huge _________ meant form mulling drinks, such as cider, goes back to ___________.
Nature, blends, big room, individual space, weekend, year round
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. Forcing the architecture to work with ___________, and it ____________ with it, doesn't stick out like a sore thumb. Makes one ____________ that can bring individuals and family's together, but respect each _______________ that is also one big space. Is a _____________ house for ________________ enjoyment.
Stems, natural rock, specific site, copied, moved, fall over, automobile, upstream, foot
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. Makes vertical walls that form __________ of centers of house out of ______________ from the ________________ itself, can't be ___________ or __________, is specific to its sight, and without the waterfall and its sight, it would ___________, in tune with its sight. Experience of the house is quite different when you approach it with an ________________ originally, if you want to get a view of the house by the stream you have to go __________ on _______.
dark, slate, polished, water, reflective, hear it, sensory, experience, senses
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. The living room is _________, the floor is ________, and kept highly ____________ with wax, so that the _________ from the stream is ____________ on it so it looks like the water surface itself, light lands on it and makes it like this. Lookout over waterfall, but don't see it, but ___________, so the building is very _____________, and is more of a ________________ of the ___________ than just the one sense of vision.
Cozy, naturalistic, warm red, Indigenous History, machine aesthetic
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. ___________ and _______________ materials and colors; ___________ color, Wright's favorite color, thought of it something associated with ___________ of the country. Alternative of _______________.
Americanism, cantilever, steel beam, vertical, site specific, beige, blend
Modern Architecture, Frank Lloyd WRIGHT, Edgar Kaufmann House, Fallingwater, 1937. ______________, and brings the _____________ that create terraces that hover seam in without support and ____________ to this building, and gives it a very ____________ orientation. ______________ building. ____________ makes it __________ in with its surroundings. Ma
Modern, order, reason, psychological, ordinary mindsets, mimics, driveway
Modern Architecture, Frank Lloyd WRIGHT, Solomon R. Guggenheim Museum, New York, NY, 1943-1959. Museum is for ___________ art. Not about ________ or __________, has a geometry that departs from the right angle, emphasizes ______________ aspects that don't render _______________, Wright doesn't really like modern art like them, but absorbs the essence of the art, and bringing this art into a building that __________ the art inside. There was a __________ between the two rotundas since everyone at the time wanted to drive up to buildings.
narrow doorway, compresses, expectations, mind changes, oculus, Pantheon, active, inspiration, placed
Modern Architecture, Frank Lloyd WRIGHT, Solomon R. Guggenheim Museum, New York, NY, 1943-1959. Go into a ___________ that _____________ you and fails to accommodate crowds, and this build s up your _____________, and then your released from the doorways and you breath out, mimicking the mindset and how your ______________ as you enter the building. Recalling of antiquity once again, with mimicking the ___________ of the ____________. Becomes a much more __________ space with the development of art over the years that uses the architecture of the building as _____________ for the artists and how the artwork is ____________.
Museum, outshines, content, rotunda, circular, right angle, undermines, expectations.
Modern Architecture, Frank Lloyd WRIGHT, Solomon R. Guggenheim Museum, New York, NY, 1943-1959. New direction of ___________ architecture. Eye catching, memorable, building that virtually ____________ its __________. Two great circular forms joined at the base, a __________, adjacent to Central Park, looking out over nature. From above, ___________ form defy the _____________ of the streets around them, building ___________ our __________.
Machines, mechanical apparatus, elevator, top, downwards, spiral ramp, different angles, looking
Modern Architecture, Frank Lloyd WRIGHT, Solomon R. Guggenheim Museum, New York, NY, 1943-1959. Wright appreciates ____________ and ________________, and said to use the ___________ and took people to the _________ of the building, and these people worked their way ___________ from the building through the museum from a ___________ of the building, spiral takes you on a stroll of a gentle decline, and allows you to stroll and look at the art from __________________ without having to exert a lot of energy going through. Art is along the walls and progresses down the ramp, and a very effective way of ___________ at the art, became a huge asset to the musuem.
Grid, transparency, factories, ramp, unusual, intellectually advanced, progressive
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. Building laid out like a _________. Focus on _______________. Borrows inspiration from _____________, so he puts a _________ in the house, very ___________. Building makes owner look ______________________ since the building is __________________.
Classical, gothic, French, weekend, Paris, prototype, whiteness, darker, floating, ribbon windows,
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. Has no reference to the __________, _________, or even ____________ past, __________ house for wealthy family outside of __________, _______________ of new form of living. Emphasizes _____________, paints lower part of building a ___________ color to make it seem like the building is ___________. ______________, one of the main architectural advancements seen.
Readymade, plumbing, sink, entryway, flu epidemic, white, clean, health, hygiene
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. Likes ______________ things and loves _____________, that's why he has a ________ in the ____________. Has a social reasoning, takes her white gloves off and immediately washes her hands, great _______________, as many people die of it, so modern ________ and __________ architecture can help this influence of __________ and ___________ of the people.
Automobile, Greek temple, isn't architecture, manufactured, dislikes, importance
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. Moving towards a new architecture, sets up parallel between ______________ and _______________. Say this because one of the greatest achievements of the past was this old version of architecture, but our greatest achievement ____________________, but that of something ___________________ and is technology based. Most of the current architecture he ___________ since its looking back at the past without _______________.
Assembly line, dictate, path, positioning, detached, shielded,
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. The bath is blue like water itself, and reclining area suggests of the way she should sit, the built in shaze, Corbusier wants to make the building be like an __________________; he wants to _____________ her _________ around the house and her way of _________________ herself. Building seems _____________ and ________________ from the landscape, are there ways to make modern buildings more in touch with nature.
A house is a machine for living
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. The famous quote he says associated with this household residence is "___________________."
Roof, windows, pilotis, floor plan, facade
Modern Architecture, Le CORBUSIER, Villa Savoye, Poissy-sur-Seine, France, 1929-30. The five points of architecture, as seen in this building are the:______, ______, ______, ______, and ______.
brick, stone, glass, international style, American
Modern Architecture, Ludwig MIES VAN DER ROHE and Philip Johnson, Seagram Building, New York, NY, 1956-58. At the time, it was a revelation, it transformed from __________ and _________ to _________, most remarkable and astonishing. Philip Johnson coined the phrase _________________. Very elite and has many contacts and relationships with important people of corporations across America. Ludwig MIES VAN DER ROHE adapted to ______________ style, and does this through working with Johnson.
Organized, whiteness, dark, dramatically lit, mysterious, yellowish, steel frame, aestheticizes, structural,
Modern Architecture, Ludwig MIES VAN DER ROHE and Philip Johnson, Seagram Building, New York, NY, 1956-58. Order, makes it look _____________ as a manifestation of what the corporation is like. Emphasizes ____________ in the past, but this building is _________ and _____________, and plaza is paved with stone, and it seems ______________, clad in dramatic Ancient Greek temple like stone, and lighting is deliberately _____________ and warm rather than the prosaic whiteness of a fluorescent light. Draws upon construction of ___________, but ________________ it. Not all gridding vertical posts are ___________, emphasize a vertical aspect of a building to make it seem taller than it really is.
Industry, business, 2/3s, reflective pools, resale, imposing, classical, symmetrical
Modern Architecture, Ludwig MIES VAN DER ROHE and Philip Johnson, Seagram Building, New York, NY, 1956-58. Show rise of importance in _________, and makes ___________ more important. Extravagant because it uses very little on site, ___________ of sight isn't built on, has two big _______________ in front and don't completely build out the site and don't squeeze every bit of the __________ and build out on it, makes its more ____________. Reassert _______________ architecture, more _________________ architecture.
I-beam, dipped, bronze, expensive, unnecessary, dignify, patina, richer, darker
Modern Architecture, Ludwig MIES VAN DER ROHE and Philip Johnson, Seagram Building, New York, NY, 1956-58. The non structural beams are simply attached to the facade, and it's called the ____________. All of these are ___________ in ___________, an ancient material going back to Greeks and further to make statues of gods, and it's so _____________, and apparently ____________, but they want to ___________ this business and tell everyone they use this material and they have the money, And this material has ________ to it, gets ________ and __________ all the time from the elements.
Office, corporate, politically, creatively, societally, park avenue, apartments, hotel, stone, vertical
Modern Architecture, Ludwig MIES VAN DER ROHE and Philip Johnson, Seagram Building, New York, NY, 1956-58. ___________ building, hay day of _____________ architecture, corporations begin to dominate America _________, _________, and _________. On NY ___________ north of grand central station, in an area formerly old __________ and _________ buildings. ________ faced lobby and building with ___________ windows.
Modern Architecture
Point of view, wherein cities and buildings are thought to act like well-oiled machines, with little energy spent on frivolous details or ornate designs. Efficient, geometrical structures made of concrete and glass dominated urban forms for half a century while this view prevailed.
Thinking, doing something, worth, painting time, worthless, doing, liking things
Pop Art, Andy Warhol, Marilyn Diptych, 1962. "Some people, they paint abstract, so they sit there thinking about it because their ___________ makes them feel they're _____________. But my thinking never makes me feel I'm doing anything. Leonardo da Vinci used to convince his patrons that his thinking time was worth something- ________ even more than his ____________- and that may have been true for him, but I know that my thinking time isn't ___________. I only expect to get paid for my '________' time." -Warhol. "Pop Art is about ______________" -Warhol.
Graphic designer, consumerism, repetition, unique, life, silk screening, simplistic,
Pop Art, Andy Warhol, Marilyn Diptych, 1962. Trained as a _________________ and very interested in ______________. Interested in _____________; if you see something over and over again, it looses its _________ special quality. So used to seeing things over and over again, so _______ meaning to it. This artwork is a ______________. Power of Hollywood and tabloids is a fascination for Warhol, and wondering what is art, trying to erode the distinction of art that is very _____________, such as something we could buy at the grocery store.
Hand, mechanical, The Factory, sex, advertisements, triptych, religious, icon
Pop Art, Andy Warhol, Marilyn Diptych, 1962. Warhol isn't apart of this painting since his __________ and involvement in the production of it is very _____________, and he called his studio "___________." She is a very well known human figure that has became a _______ symbol and was apart of consumerism since she was seen everywhere. Playing on the idea of ______________ as seen through consumerism. Playing idea on __________ that was used for ______________ artworks, a and saying that consumerism is our new _________.
Postmodernism
Post-World War II and late 20th century intellectual movement and cultural attitude focusing on cultural pluralism and release from the confines and ideology of Western high culture.
Social satire, pretentiousness, leisure, artificial, alienation, metropolis, modernization
Postimpressionism, Georges SEURAT, A Sunday on La Grande Jatte, 1884-1886. Art historians think the stiffness, especially in the well to do middle class has something to do with a ______________, the ______________________ of the upper class _____________, _____________ fashion shown, the woman's clothes are rigid and has a direct impact on the bodies. People are flat and unrealistic, a remark on _______________ that people in Paris experience in this bustling _______________, painting is trying to express _________________.
Subjective embodied experience, only, real, irrational
Postimpressionism, Georges SEURAT, A Sunday on La Grande Jatte, 1884-1886. Issue of subjectivity of the artists, __________________________ of the artist gets translated into painting to evoke an experience in the viewer. Thinks painting vision shouldn't be embodied by the artists ___________ experience, trigger a __________ experience, Let's take the subjectivity and _______________ decision making out of the painting.
Colors, nature, decision making, subjective taste, optical perception, merge, smooth gradation, systematic, scientific, urgency
Postimpressionism, Georges SEURAT, A Sunday on La Grande Jatte, 1884-1886. Thinks artists shouldn't even choose the ___________ in the painting and use hues that are already found in ____________, meant to minimize _________________ and ________________________. Hope was that once the painting what was done that viewer would situate themselves in front of this painting and the _____________________ of the viewer would take these pure colors applied with these dots and that the viewer would _____________ these dots together in the mind to create a ______________________ of color. Highly ______________ and ______________ technique. Evoke _____________ of painting from predecessors.
Stiff, upper middle, working class, hierarchical, natural
Postimpressionism, Georges SEURAT, A Sunday on La Grande Jatte, 1884-1886. __________ looking __________________ class ladies and gentlemen, some ___________________ people, everybody is almost ____________________. Something about the way their posed isn't a ___________ pose.
Pointillism, divisionism, pure, solar spectrum, mixing
Postimpressionism, Georges SEURAT, A Sunday on La Grande Jatte, 1884-1886. __________________- The application of pigment in dots (points). _________________- The application of individual strokes of ___________ colors of the _________________ (red, orange, yellow, green, blue, violet) on the canvas, without _______________ on the artist's palette.
Pictures Generation, early 1980s, media, societal norms, personas
Postmodernism, Cindy SHERMAN, Untitled Film Still #21, 1978, photograph. She was also a key figure in a group of American artists called the "_______________," that were prominent in the _________ during the widespread of _________ platforms. She wanted to explore a wide range of the ____________ that are associated with woman, and how these women have these ____________.
Media, people, viewpoints, look, individuality, masked, feminism, perceived
Postmodernism, Cindy SHERMAN, Untitled Film Still #21, 1978, photograph. Sherman wanted to shed light on the way _________ influences __________ and how it changes their ____________ of women and what women should ________ like, and also how media took away the ______________ of people and ____________ their identities. Depicted issues regarding __________ and how women are ___________.
Stimulus, threatened, vulnerable, look, stereotypical, identity, male gaze,
Postmodernism, Cindy SHERMAN, Untitled Film Still #21, 1978, photograph. Very typical of women to be looking off at something else, they are reacting to some __________ or maybe she is ___________ or ____________ in the city. Getting us to think of the way we ________ at women in a __________ way. Dressing up as a different ____________, as if in a different film, the idea of the __________.
Ambivalence, identity, narrative, self portraits, nameless film characters, role, liberating, no control, situation,
Postmodernism, Cindy SHERMAN, Untitled Film Still #21, 1978, photograph. _______________ of ___________ and _____________, wants us to think of the way films think of women and are acted upon in Hollywood. These aren't ______________, portraits of her as ________________, the way Hollywood constructs the ________ of women, public found this ____________ since she could be anything, but on the other hand, showing the women have _____________ of their ___________.
One, surroundings, up, narrative, story
Postmodernism, Cindy SHERMAN, Untitled Film Still #21, 1978, photograph.. _______ with her _____________, the photo is taken in a way the viewer is looking ______ at her. When she made these film stills, there's no ______________, but prompt you to bring a ___________ to the images.
Same time, batteries die, perfectly insync, out of sync, die, lover dying, quicker, dramatic, two men
Postmodernism, Felix GONZALEZ-TORRES, Untitled (Perfect Lovers), 1987-90, two black-framed clocks. Put batteries in two clocks at the _____________ to have the same, what happens when the clocks tick slowly, as the ______________, the clocks start out _______________, but as the batteries die, the clocks arms move slower and slower and become ______________, and then the clocks _________. Representative of his ________________, and his lover is deteriorating and dying ____________ than him. Clocks close together are more _____________ and more influential than a picture of _____________.
Gay, angry, lover, 1991, decimation, gay community, subtle, thought provoking, aids epidemic, readymade
Postmodernism, Felix GONZALEZ-TORRES, Untitled (Perfect Lovers), 1987-90, two black-framed clocks. _________ activist, work isn't __________ and in your face, _______ died in ________, and watched the slow _____________ in the ______________. Interested in ___________, but ____________ way of looking at tragedies of the _______ and tragedies in his community. Their like Duchamp, their ______________ clocks.
Irregular forms, shininess, attention, Titanium, high end, path as, expensive, stock market, low
Postmodernism, Frank GEHRY, Guggenheim Museum, Bilbao, Spain, 1993-97. Building seems to explode with ________________, beyond the confines of old style buildings and also the ____________ of the materials grabs the viewers __________. ____________ is used to clad the building, and became a very _______________ metal, sought after material,and weathers in different ___________, very ______________. His workers watched the international _______________ and at one point they cornered this materials stocks when its __________, and that's why their able to afford to clad the entire building in it.
Steel ships, gone, no jobs, tourist attraction, art, architect
Postmodernism, Frank GEHRY, Guggenheim Museum, Bilbao, Spain, 1993-97. Built enormous, _____________, biggest industry of the city, and all this industry is __________ and there are _____________, so the economic initiative that they make a ________________, so an art museums, but they have no artwork, and the Guggenheim provide __________ and ________________.
Globalized, corporate, attraction, art piece, economy, location, paid lesser
Postmodernism, Frank GEHRY, Guggenheim Museum, Bilbao, Spain, 1993-97. By 1980s, this museum has expanded and ______________ art as a ______________ aspect, and starting expanding the museum around the world, and enlisted famous contemporary architects to design the buildings as an ____________, make the buildings like another _____________. Rekindle ______________ of its __________, so industry was shifted abroad where workers could be _______________ wages than American wages.
Small desktop computer, computer aided design, changes, design
Postmodernism, Frank GEHRY, Guggenheim Museum, Bilbao, Spain, 1993-97. Rise of ________________, and one of the first buildings fully adapted using ___________________. Able to make calculations for every single curvilinear aspect with it, and before this, it would've been done by hand, and this makes it easier to make ______________ in the ___________ of the building.
Monopoly, telephone, absolute power, Venturi, political animal, small, enlarging, humorous, gable roof,
Postmodernism, Philip JOHNSON and John Burgee, AT&T Corporate Headquarters (now Sony Plaza), New York, NY, 1978-83. At the time, had a ____________ on all ______________ services in the country. ______________, and since their so powerful, decide to build a huge corporate headquarters. Johnson looks to the architecture of ___________ for inspiration, very intellectual, and he is very much a ______________ as well and appropriates the ideas of his inspiration, and taking __________ aspects and ______________ them in a way thought of as ______________, and inflates the ____________ to a large scale as the roof of the building.
Japanese economy, declines, sell it, holding, 2, unoccupied, Mercury, corporation,
Postmodernism, Philip JOHNSON and John Burgee, AT&T Corporate Headquarters (now Sony Plaza), New York, NY, 1978-83. By the late 80s, the Sony corporation bought it, and was the rise of the _______________, and the this eventually ___________ and the owner __________, and this is today a ____________ company, and they are so wealthy that the building the past ______ years has been _______________. The lobby has a classical statue of ______________, symbol of _______________.
Industrial power, 1970s, oil shortages, Modernism, nostalgia
Postmodernism, Philip JOHNSON and John Burgee, AT&T Corporate Headquarters (now Sony Plaza), New York, NY, 1978-83. These economies begin to loose their _________________ in the __________ and ___________________ causes problems for industry, begins to doubt ______________, _______________ becomes very important.
Traditional stone cladding, classical, real arch, vertical, international style, pediment, Korean War, power
Postmodernism, Philip JOHNSON and John Burgee, AT&T Corporate Headquarters (now Sony Plaza), New York, NY, 1978-83. Turned back to _____________________ and turned back to details ______________ in inspiration, Johnson has a _____________ as the entrance, and the windows have a more ____________ orientation, no longer flat top like the new __________________, but the roof is like a ____________ of a classical monument. As young Americans and young people across the world begin to doubt the associated order after the _____________, after seeing thousands of innocent people killed, and begin to doubt ___________.
Aids, different light, memento mori, reality, condition, disembodied, death
Postmodernism, Robert MAPPLETHORPE, Self-Portrait, 1980, gelatin silver print. He has ________, and is presenting himself in a ___________. Holding a skull cane, and it is a _____________. He gives people _________ of his _____________, his head almost hovers in the way he masters the light, _____________ head looking straight at the face of __________.
Physical difficulty, emotional, 1989, passed, confrontational, still life, die
Postmodernism, Robert MAPPLETHORPE, Self-Portrait, 1980, gelatin silver print. Suggestive of _________________, and this incredibly profound ___________ content, man not willing to bow to aids. By _________ he has __________. Brave ________________ portrait of him in the face of the horrible disease. Looking back at older traditions with the skull, long tradition of __________ paintings that had a skull in at as a reminder that were all going to eventually _______.
Images, implications, contradictory molding arch, implication, disregards, old lady,
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. Splits house open in the middle, has a big chimney as well. Facade is adorned with ___________ and _____________ of architectures and also a _____________________, Modern architecture did away with them, let's bring it back but just an ______________ of it; not a real one. Showing how modern architecture __________ the __________ due to her gender and age, why can't people do architecture based off these people.
Denise Scott Brown, intellectual, marries,
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. The women who helps him is ____________; she designs this house with her _________________ input, is completed to great acclaim, new way to make architecture. After he receives all this, he __________ her, and she doesn't get as much credit as she deserves in her help with the house.
Pop Art, humble, affordable, retirement, simplicity, mixture, primary, traditional, awareness
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. Thinking about popular art at the time as well, such as _____________, how this kind of art is ____________ and ____________, this was a ______________ home for an elderly women, and mimics the ____________ of the household. Uses a __________ of color as the exterior color which is contradictory of the usual ____________ colors, and black, white, and grays used on modern exterior. Interior ________________, but also modern, very contradictory. Strange disposition of structural elements raises your _______________ of the building.
WW2, changing, past, present, grand, imposing, mother, tolerates, activities, innovative
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. Thinks about America after ________ and how it's ______________. Interested in the past as well, and wants to put ________ and _________ into a building that isn't as ____________ and __________, and gets a chance to try out these ideas with a house, and was built for his ___________ who allowed him to do what he wants and _____________ his new ___________ and _________________ ideas.
Flat, 1D, advertisements, meaning, clarity, implicit, explicit, signs, symbols, actual
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. Wants building to look _________ and _________, as if to mimic the ___________________ that are seen everywhere nowadays. Like a billboard facade. "...I am for richness of _____________ rather than ____________ of meaning; for the ____________ function as well as the ___________ function." More about ________ and __________ of a house than an _________ house.
Post war, rethink, humble, think twice, smart, young, gable roof
Postmodernism, Robert VENTURI, Vanna Venturi House, "Mother's House," Chestnut Hill, Pennsylvania, 1961-1964. ___________ architecture, beings to ___________ architecture, and begins to do this with this very ____________ house in a suburb of Philadelphia, that you could walk by and not even ____________ about it. Very __________, __________ architect out of a prestigious architecture school. Has a ___________, like the Victorian, 19th century buildings amongst it.
18th century, African, static, poised, highest point, forward trajectory
Postmodernism, Yinka SHINOBARE, The Swing (after Fragonard), 2001. Extravagantly attired in a dress in _______________ style made of bright ____________ print fabric. The figure is _________, __________ at what appears to be the _____________ of her swing's ________________.
Rococo, two men, pushes, foliage beneath her, mischievously, skirts
Postmodernism, Yinka SHINOBARE, The Swing (after Fragonard), 2001. Is based on an iconic ____________ painting. The woman is watched by ___________1 in the original painting; one ____________ her from behind a tree, while the other lies in the ________________, precisely and ______________ placed to look up her billowing __________.
Aristocracy, French Revolution, 25 guillotine, royalist sympathizers.
Postmodernism, Yinka SHINOBARE, The Swing (after Fragonard), 2001. Shonibare's coquette has no head, which may allude to the literal fate that awaited the ________________ after the _______________; only _________ years after Fragonard painted The Swing, the _____________ was introduced in Paris to more efficiently execute ____________________.
Mexican Muralism
Starting in 1920s. a group of Mexican Artists determined to base their art on their indigenous history and culture existing before the European arrived (Jose Clemente Orozco, Diego Rivera)
Imaginary childhood friend, desperation, loneliness
Surrealism, Frida Kahlo, The Two Fridas, 1939, Oil on canvas. In Frida's dairy, she wrote about this painting and said it is originated from her memory of an _______________________. Later she admitted it expressed her ________________ and _______________ with the separation from Diego.
Divorced, Diego Rivera, portrait, right frida's hand
Surrealism, Frida Kahlo, The Two Fridas, 1939, Oil on canvas. Painted same year she got _____________ from ______________, and a small _____________ of him can be seen in the ________________.
Main artery, surgical pincers, bleeding to death, floral, inner turmoil
Surrealism, Frida Kahlo, The Two Fridas, 1939, Oil on canvas. The _______________ of the heart, which comes from the torn heart down to the right hand of the traditional Frida, is cut off by the __________________ held in the lap of the traditional Frida. The blood keeps dripping on her white dress and she is in danger of ___________________, but the blood also creates a ____________ pattern. The stormy sky filled with agitated clouds may reflect Frida's _________________.
two different personalities, traditional, Tehuana costume, broken heart, independent, modern
Surrealism, Frida Kahlo, The Two Fridas, 1939, Oil on canvas. This portrait shows Frida's ________________. One is the ________________ Frida in ________________, with a ________________, sitting next to an ________________, ___________ dressed Frida.
desolate land of our memories, decay, hyper realistic
Surrealism, Salvador DALÍ, The Persistence of Memory, 1931, oil on canvas. Deserted landscape of the scene is representative of the ________________________ in our mind. Ants eating pocket watch, ants are a symbol of _________, and their rendered in a ______________ way.
Peeled off, Dalí grew up, comforting juxtaposition, different world
Surrealism, Salvador DALÍ, The Persistence of Memory, 1931, oil on canvas. Has a weird strange blob of a figure and has an eye that has elongated eyelashes, see a nose, maybe the remains of a face that have been ___________ from an actual face. Cliffs are representative of where _____________. ______________________, but also challenges us to think of this ___________________.
Melting away time, changes, time passes, altered reality
Surrealism, Salvador DALÍ, The Persistence of Memory, 1931, oil on canvas. Melting clocks are suggestive of ______________, and what does time mean is brought into question. Memory ______________ as time __________ is a key idea and the reality and memory may be an ___________.
Flaunting their wealth, power, defying power structures
The thesis statement for the large essay is "Between all these artworks and pieces of architecture, they depict social power in two distinctive ways; one way through ________________ and _________, and another way through ______________ that are seen during their time period.
Cubism
an early 20th-century style and movement in art, especially painting, in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and, later, collage.
Feminism
is the art of the late 1960s and 70's which focused on the power that kept women in a subordinate place in society and the arts.
Modern African Art
subject usually represents human being, used symbolism in art, portray youthfulness, balance and proportions with color and scale, early art used only wood, art is very abstract to give it message and meaning
