ART 188 Exam 3
Harold Rosenberg on Jackson Pollock and Abstract Expressionism
- "what goes on the canvas was not a picture but an event" -the painter becomes an actor -must now be critiqued on how it is performed, by the duration and direction
Clement Greenberg on Jackson Pollock and Abstract Expressionism
-"used art to call attention to art" -the artists saw the flatness of the canvas as a supplement not a complement -the medium wasn't dissembled and concealing anything
Gustave Courbet, The Stone Breakers
-1849, Realism -Gemaldegalerie, Dresden (destroyed) -Courbets concern for the plight of the pour is evident -the subjects are set against a similar background to that which he grew up -the laborers are isolated, suggesting physically and economically trapped -the unusual ages of the laborers shoe how "real" the situation is -brushwork is rough and he often resumes to focus on the typically important parts of the image
Gustave Courbet, Burial at Ornans
-1849-50, Realism -Musee d'Orsay, Paris -a large genre painting ; very unusual -Courbet is painting a world he grew up in; many figures are individual portraits of his family -heroising the ordinary of life -created a horizontal frieze (horizontal band of figures) -lack of focal point makes it more realistic
Eduard Manet, Olympia
-1863, Realism -Musee d'Orsay, Paris -looks like a real woman as opposed to Venus -the figure is a prostitute of the Parisian time -took up the call to paint the beauty of modern life -shadows places that are usually light darker
Eduard Manet, The Luncheon on the Grass
-1863, Realism -Musee d'Orsay, Paris -originally called the Bath -french name "Le dejeuner sur l'herbe" -very modern person figures, besides a nude woman -figure in the background is spacialy too large -figures are modeled flatly as well with odd lighting -painting based directly on Pastoral Council and The Judgement of Paris
Emile Zola on "Edouard Manet"
-1867 -saw him as being great and unique in his skill -says he needs to be recognized as an original artist -saw comparison with art reviews and police with common people as aggressors -says haters are being ignorant and not truly analyzing olympia
Jean-Francois Millet, The Gleaners
-1875, Realism -Musee d'Orsay -culmination of 10 years of research on the history of the gleamers -juxtaposes the three phases of the back-breaking repetitive movement imposed by this thankless task: bending over, picking up the ears of corn and straightening up again -the slanting light of the setting sun accentuates the volumes in the foreground and gives the gleaners a sculptural look
Claude Monet, Gare St. Lazare
-1877, Impressionism -Musee d'Orsay, Paris -the light playing through creates a prism between the light and steam -so much steam architecture and trains seem to disappear -figures reduced to quick brushstrokes -a heavily worked canvas of built up paint
Gustave Caillebotte, Paris Street, Rainy Day
-1877, Realism/Impressionism -Art Institute of Chicago Building -rought an unusual monumentality and compositional control to a typical Impressionist subject -with its curiously detached figures, the canvas depicts the anonymity that the boulevards seemed to create
Eduard Manet, A Bar at the Folies-Bergere
-1882, Realism/Impressionism -Courtauld Gallery -his last major work -it was a notorious place for picking up prostitutes - the composition was the result of careful preparatory studies, was painted multiple times which was proven by x-ray
George Seurat, A Sunday Afternoon on the Island of La Grande Jatte
-1884-86, Post-Impressionism -The Art Institute of Chicago -his ambition was to bring science to the impressionists he worked with optical mixture to work with outdoor light like impressionism wanted -a high illusion of space and contour of figures unlike other paintings of this time -the inability to tell apart class caused a somewhat division between viewers
Vincent van Gogh, Starry Night
-1889, Post-Impressionism -Museum of Modern Art -Van Gogh called it a simple "study of night" or "night effect" -his brother, Theo, didn't approve but it still became iconic of individualized expression in modern landscape painting -held complications of painting outdoors at night -art inspired by medieval woodcut -painted while he was int he asylum and clinic at SaintPaul de Mausole -a mixture of invention , remembrance, and observation combined with simplified forms, thick impasto, and boldly contrasting colors
Vincent van Gogh, Wheatfield with Crows
-1890, Post-Impressionism -Van Gogh Museum, Amsterdam -often claimed that this was his last work, but is a myth -the crows and the dead-end path are said to refer to the end of his life approaching -want his wheatfields under stormy skies to express 'sadness, extreme loneliness', but at the same time he wanted to show what he considered 'healthy and fortifying about the countryside' -used high color contrast
Claude Monet, Rouen Cathedral
-1892-1894, Impressionism -Musee d'Orsay, Paris - 30 canvases painted at different moments of day and using different lighting effects -the actual cathedral is very solid, but Monet makes it very airy
William-Adolphe Bougeureau, A Young Girl Seated on a Ledge
-1899, Realism -Miami University Art Museum -aim was to conceal his process in such a way that the surface is often very smooth -descriptive brushstrokes and masterful use of light
Paul Cezanne, Mont Saint-Victoire
-1902-04, Post-Impressionism -Philadelphia MoMA -moved back to South of France to complete the painting -a formation of a series of hashmarks -an understanding of his own usual perspective -almost reaffirmation of the flatness -a tension between 2D surface and rationality of the depth we expect
Andre Derain, Mountains at Collioure
-1905, Fauvism -National Gallery of Art -made while he was working with Matisse -long strokes of colours such as bright green, blue, mauve and pink -influenced by Van Gogh
Henri Matisse, The Joy of Life
-1905-06, Fauvism - The Barnes Foundation, Philadelphia - also known as Bonheur de Vivre -color response only to emotional expression and formal needs, not actual nature -landscape functions as a stage with trees on either side like curtains -a place full of life, love and free from want or fear - viewer relates differently to the painting and is required to "enter" the scene -Picasso viewed this painting in the house of steins -wildly sensual figures
Pablo Picasso, Les Demoiselles d'Avignon
-1907, Cubism -Museum of Modern Art, New York -he was a Spanish artist but was in Paris when he painted this -"The Young Ladies of Avignon"; portrays a brothel - a form of which Cubism was formed -the original sail and medical student take on the consumer and analytical side -the women faces on left are African masks and left is ancient Spain -space is lacking and figures are close to us -depicts raw and ugliness unlike artists before him -expresses flatness of the picture canvas
Georges Braque, Violin and Palette
-1909, Cubism -Solomon R. Guggenheim Museum, New York -inspired by Cezanne's geometric compositions "breaking down" or "analysis" of form and space -set into motion by the eye -vertical arrangement heightened correspondence to two dimensional surface
Vasily Kandinsky, Concerning the Spiritual in Art
-1910 -there is a physical and psychological effect when looking at colors -color directly influences the soul - "color harmony must rest ultimately on purposive playing upon the human soul"
Pablo Picasso, Glass and Bottle of Suze
-1912, Cubism -late synthetic cubism -juxtaposes within each other from colors, symbols, and newspaper
Vassily Kandinsky, Improvisation 28
-1912, Expressionism -Solomon R. Guggenheim Museum, New York -the title is one a composer uses -like music, paintings can take us places without using anything concrete -hazy color and black diagonal lines, gets an analogy of war -a biblical influence on Kandinsky, maybe even apocalyptical
Umberto Boccioni, Unique Forms of Continuity in Space
-1913, Futurism -The Museum of Modern Art, New York -shows a figure striding into the future -muscular, dynamic, and driven -sculpting an environment around a figure -got inspired after visiting Paris -sculptures should be made from traditional materials and made of strong, straight lines -Futurism's most famous symbol and sign that the movement doesn't always follow its own declarations
Gino Severini, Armored Train in Action
-1915, Futurism -"war is a motor for art" -five faceless figures stand inside a locomotive -a celebration of war and generating a new Italian identity -he was living in Paris and saw the war
Marcel Duchamp, Fountain
-1917/1964, Dada -San Francisco Museum of Modern Art -original was 1917 but remade in 1964 -used the alchemy of the artist to turn this into art -was submitted as sculpture and was still rejected by the society of Independent Artists when they were suppose to accept every piece -viewer is being asked to see urinal in a new way -"What is art?", is craft required or is aesthetic experience required
Marcel Duchamp, L.H.O.O.Q.
-1919, Dada -originally in; Musée National d'Art Moderne, Centre Georges Pompidou, Paris -one of the many types of LHOOQ he made -sounds like the French for "she is hot in the arse" -an assisted readymade
Salvador Dali and Luis Bunuel, Un chien andalou
-1929, Surrealism -seen as a big advancement in their time for cinematography -goals was to elicit emotions from the subconscious
Salvador Dali, The Persistence of Memory
-1931, Surrealism -Museum of Modern Art -arrived in paris and joined surrealist group -the landscape shows quiet and no movement, time is almost weightless -time is so rigid that it's strange to see it respond to the environment like we do -tried to retrieve the world of the dream -either time was a construct like Einstein said or it was human like expanding and retracting to our experiences
Meret Oppenheim, Object; Luncheon in Fur
-1936, Surrealism -The Museum of Modern Art, New York -Oppenheim thought of this as was out for tea with Picasso and Moar in her 4th year in Paris from Basel -"Objects with symbolic function" -Chadwick says it's "linked to the Surrealist's love of alchemical transformation" -very visceral reactions; like the woman who fainted -easy to imagine how it;s actually feel to drink from the cup -her later pieces were often judged based on gender and sexuality until she spoke against it years later when accepting an award in Basel
Jackson Pollock, Autumn Rhythm; Number 30
-1950, Abstract Expressionism -The MET -was started by using a black "skeleton" for painting -used a series of pours and drips to make the art seem controlled and places strategically -"technique is a means of arriving at a statement" -he wanted to express his feelings rather than illustrate them -moved form Wyoming to California and settled in New York, where he later learned techniques in David Siqueiro's workshop that he used in his drip paintings
Willem de Kooning, Woman I
-1950-52, Abstract Expressionism -MoMA -visible brushstrokes and thickly applied pigment suggest "action painting" -strong slashing gestures, adding gobs of paint to create heavily built-up surfaces -recognizable central image, reflecting the tradition of the female nude -born in Netherlands and trained with European academic background which might be why he frequents return to the figure in his images
Marcel Duchamp, Bicycle Wheel
-1951, Dada -first of Duchamp's readymades -combined more than one item to form a work of art -original was lost and he re-fabricated one
Richard Hamilton, Just what is it today that makes today's homes so different, so appealing?
-1952, Pop Art -Kunsthalle Tübingen, Tübingen -created for an exhibition for 'This si Tomorrow" in London -he collaborated with John McHale and John Volcker -principal template was a piece directed toward women describing "modern fashion in floors" -the whole hing was made of a collection of almost 10 magazines -first work of Pop Art to achieve iconic status
Jasper Johns, Flag
-1954-55, Abstract Expressionism/Pop Art -MoMa -a frequent icon that holds a large reputation, created all types of meanings to whoever walks up to it -is it representation or an actual flag -stands off the wall, canvas on ply wood with encaustic technique allowing you to see the newspaper underneath -people feel a visceral connection to the image of America -shows how art can still represent complex things through symbolic language -creates a depth unlike other modern pieces around it
Gino Severini, The Musicians
-1955, Cubism/Futurism
Robert Rauschenberg, Canyon
-1959, Abstract Expressionism -MoMA -upper half is a mass of print paper, shirts, photos, and squashed tubes of paint all held together by broad slashed of house paint -lower half in a bald eagle lifting off from an opened box which is on a tittle beam with a pillow suspended below -belongs to a group called the "Combines"; pieces that had extraneous pieces added on to the canvas by artist -reintroduced subject matter and narrative in art -self-conscoious handling of paint interwind with outrageous objects -distanced himself from cultural unorthodoxy
Mark Rothko, No.210/No.211, Orange
-1960, Abstract Expressionism -Crystal Bridges Museum of Modern Art -expresses the "color imagist" or "color field" side of Abstract expressionism -large scale, non-objective imagery, lacks the energetic intensity and gesture quality -rendered rectangles appear to float against their background -the horizontals make everything appear as if they're moving slowly -wanted to elicit deep human feeling -wants to also touch the spiritual in the modern age, a lot in history going on at this point like civil rights and the Holocaust ending
Andy Warhol, Marilyn Diptych
-1962, Pop Art -The Andy Warhol Foundation for the Visual Arts -made of two silver canvases on which the artist silkscreened a photograph of Marilyn Monroe fifty times -resembles a Christian painting, inviting us to worship a legendary icon -demands our attention and announces the importance of the subject matter, like that of previous Abstract Expressionism -a photograph made for mass production, suggests Marilyn as a "manufactured star" with a made up name -automate the processor composing work -ghostly symmetry; al of these were made after her death and the repetitiveness of her face makes it dull more and more; Warhol becomes a 'machine' after creating her face so often - invitation to consider the consequences of the increasing role of mass media images in our everyday lives
Roy Lichtenstein, "Oh, Jeff...I love you, too...but..."
-1964, Pop Art -this is considered Lichtenstein's Mona Lis -said to depict the classic romance-comic story line of temporary adversity -cropping and magnification of the original source
Joseph Kosuth, Box, Cube, Empty, Clear, Glass-A Description
-1965, Conceptual Art -the notion of "use" is relevant to art and its "language" -the difference between all the various uses of the box or cube form is directly related to the differences in the intentions of the artists -part of the Hirshhorn collection
Joseph Kosuth, One and Three Chairs
-1965, Conceptual Art -the piece consists of a chair, a photograph of the chair, and an enlarged dictionary definition of the word "chair" -the work changes each time it is installed in a new venue -unifies concept and realization -highlight the relation between language, picture and referent
Robert Morris, untitled, Mirror Cube
-1965, Minimalism -one is aware of one's own body at the same time that one is aware of the piece -viewer walk around the four cubes, their mirrored surfaces produce complex and shifting interactions between gallery and spectator
Roy Lichtenstein, Brushstroke
-1965-66, Pop Art -used to make a direct comment on the elevated content and loaded brushwork of Abstract Expressionism -brushstroke, as the token of the artist's personal expression, is depersonalized -the series was derived from the comic panel "The Painting" in a 1964 issue of Strange Suspense Stories
Donald Judd, untitled
-1969, Minimalism -Guggenheim Museum, New York -his preference for color and shiny surfaces distinguished him among the artists who pioneered the style -a sculpture that doesn't seem to be a sculpture; isolated until standing by themselves -has a machine made aesthetic -putside is brass and the tops of there boxes are a plexy plastic -speaks to our factory infused culture due to the material he uses, proving him keeping to the modern aspect -use of spare geometric forms, repeated to create a unified whole that calls attention to its physical size in relationship to the viewer
Robert Smithson, Spiral Jetty
-1970, Earth Art -Holt-Smithson Foundation -was created with the help of several people -was originally engulfed in a terminal basin in Salt Lake Utah, collected water when tide was high -changed based on natural principles/ seasons -made during the first year with an Earth Day -by putting air outside it becomes part of the process of nature -time is suppose to change these type of art pieces
Richard Serra, Tilted Arc
-1981, Contemporary Art -Federal Plaza, New York, NY -a 12-foot-tall, 120-foot-long, 15-ton steel slab that cut across Federal Plaza in Lower Manhattan -Serra wanted passers-by to experience the sculpture in a physical way -curving metal sheet would "encompass the people who walk on the plaza in its volume," altering their experience of the space as they moved to and from the surrounding government buildings -audience is moving beings with changing perspectives -was removed in 1989 and stored indefinitely
Rachel Whiteread, House
-1993-94, Contemporary Art -Grover Road, East London -commissioned by Artangel -was approved for Demolitions by the Bow Neighborhood Council; mainly disapproved of by Eric Flounders -commemorated memory itself through the commonplace home -a mute memorial to the spaces we have lived in, to everyday existence and the importance of home
Nam June Paik, Electronic Superhighway
-1995, Contemporary Art -Smithsonian American Art Museum -she argued that media technologies would become increasingly prevalent in American society -was one of the very first people to use televisual technologies as an artistic medium -moved from Tokyo, Germany, to NY were he discover downtown art -allowed artists to create moving images more quickly than recording on film -states are firmly defined, but also linked, by the network of neon lights, which echoes the network of interstate "superhighways" that economically and culturally unified the continental U.S. -"information overload"
Hans Hofmann, Blue Spell
-Abstract Expressionism -Miami University Art Museum - a "slab" painting -still visible brushstrokes and canvas can still be seen in some places - a pure modern painting -aware of the flatness of the painting
Guy C. Wiggins, Winter, New York
-Impressionism -incorporate the delicate movement of snowflakes in various urban scenes
Claude Monet, Impression: Sunrise
-Impressionism -it is a striking and candid work that shows the smaller boats in the foregrouna almost being propelled along by the movement of the water -the horizon has disappeared and the water, sky, and reflections have all merged together -a scene in the port of Le Havre, painted over a duration of time -rapid brushstrokes showing how he had to work quickly
Synesthesia
-def: hear color and see music -in expressionism pieces like Kanindsky's Improvisation 28
Benday dots
a mechanical process used to print pulp comics
analytic cubism
characterized by a fragmentary appearance of multiple viewpoints and overlapping planes
synthetic cubism
characterized by simpler shapes and brighter colors
readymades
def: mass produced objected designated art by artists -like Marcel Duchamp's Fountain
Salon de Refuses
exhibition of works rejected by the jury of the official Paris Salon; showcased annually
silkscreen
nce the screens are manufactured and the colors are chosen, the artist simply spreads inks evenly over the screens using a wide squeegee
synecdoche/ "pars par toto"
the name of a portion of an object, place, or concept represents its entirety
semiotics
the study of signs and symbols and their use or interpretation
