ARTH26

Vermeer

(1632-75) Painted approximately 35 works during his lifetime. Was forgotten until the mid-19th century. View of Delft, 1658; The Letter, 1666; The Allegory of Painting, c. 1670-75

William Merritt Chase

( 1849-1916) 1. Dominated the universe of American art during the late nineteenth-century. One of the first painters to turn out Impressionist landscapes in America, a portrait painter of first rank, a master of still life, a renowned teacher, and a gifted connoisseur of European painting 2. Interior of the Artist's Studio, 1880: Appeal of the Old World and the new found opportunities to establish correspondences between American art and the grand traditions of Europe 3. Boat House Prospect Park, 1888; Terrace at the Mall, Central Park, 1888: One of the first New York artists to paint "urban landscapes."Aligns him with Impressionist practices, in terms of subject and the way he applies paint and manipulates light and shadow 4. Bayberry Bush, c. 1897: In 1891 Chase opened up the most important summer school of art in the country, Shinnecock Summer School of Art. Used his family, particularly his children, set in the landscape

George Grosz

( 1983-1958) Produced violent statements of disgust with post-War Germany and the condition of mankind in the wake of World War I. 1. Fit for Service, 1918

Robert Campin

(1375-1444) 1. One of the first artists to use oil paint instead of egg tempera 2. Merode Altarpiece, c.1425-28: Use of disguised symbolism

Lorenzo Ghiberti

(1378-1455): Bronze doors of the Baptistry, Florence (both old and New Testament subjects. Sacrifice of Isaac, 1402; Nativity with the Annunciation of the Shepherds, c. 1403-25. Doors took him almost 50 years to complete.

Donatello

(1386-1466) 1. Bronze statue of David, c. 1430s was the first freestanding nude statue since ancient times (he wears only a hat and a pair of boots) 2. Tribute to the male body. Rejection of the medieval view of the human body as a wellspring of sin 3. Use of contrapposto 4. David was the symbol of Florence

Jan Van Eyck

(1390-1441) 1. Recorded the world in minute detail 2. Ghent Altarpiece, c. 1425-32: 3. Arnolfini Wedding Portrait, c. 1432: Extremely ambitious, complicated program, glowing colors, various body types and facial expressions, realism heightened by use of atmospheric perspective. Expresses the prosperity of the merchant class in fifteenth century Bruges, contrary to common interpretation of the painting, we may not be witnessing a marriage

Masaccio

(1401-28) 1. First painter to master Brunelleschi's new spatial device 2. Use of space, foreshortening, and perspective 3. MASTERWORKS: Trinity With the Virgin, Saint John the Evangelist, and Donors, Church of Santa Maria Novella, Florence; The Tribute Money, c. 1425, part of a cycle of frescoes in the Brancacci Chapel in Santa Maria del Carmine, Florence

Leon Battista Alberti

(1404-72) 1. Concerning Architecture, based on Vitruvius, Roman architect 2. Influenced Western architecture, sculpture and painting for centuries 3. Santa Maria Novella, c. 1470

Piero della Franesca

(1412-1492) 1. Profoundly influenced by Massacio. Worked in Florence in the 1430s. and knew about the most current thinking in art and art theory, as well as Masaccio's powerful modeling of forms and atmospheric perspective. 2. MASTERWORKS: Portrait of Battista Sforza and his Wife, 1472-73; Resurrection, late 1450s

Raphael

(1431-1520) 1. Compositions are notable for their clarity, harmony, and unity of design 2. Expressive use of light 3. Gives concrete vision to a world purged of accident and emotion 4. MASTERWORKS: The Alba Madonna, c. 1510; Vatican Stanza della Segnatura, The School of Athens, c. 1510-11

Andrea del Verocchio

(1435-1488): Statue of David, c. 1465-7

Sandro Botticelli

(1444-1510) 1. One of the best known artists who produced works for the Medici 2. Style is distinct in that he was less interested in empirical order and more interested in a rhythmic and lyrical flow to his paintings 3. MASTERWORKS: La Primavera, 1478; Birth of Venus, c. 1482 Perugina (1445-1523) a. In Florence as early as 1472, and summoned to Rome to paint frescoes on the walls of the newly completed Sistine chapel b. MASTERWORK: Christ Delivering the Keys of the Kingdom to St. Peter, Sistine Chapel, 1481-83

Leonardo da Vinci

(1452-1519) 1. Artist/scientist 2. Examined the anatomical and organic functions of plants, animals and human beings 3. Employed chiaroscuro and sfumato 4. MASTERWORKS: The Madonna of the Rocks, c. 1485; The Last Supper, c. 1485-98; The Mona Lisa, c. 1503-5

Michelangelo Buonarroti

(1475-1564) 1. Architect, sculptor, painter, poet, but seems to have thought of himself mostly as a sculptor 2. Unlike Leonardo, he mistrusted the application of mathematical methods as guarantees of beauty in proportion 3. Epitomized the terribilita, a supreme confidence that allows a person to accept no authority but his or her own genius 4. Neo-Platonist thought and Christine doctrine 5.MASTERWORKS: David, c. 1501-4; Pieta, c. 1498-99; Sistine Chapel Ceiling, 1508-12

Titian

(1488-1547) 1. Active in Venice 2. Venice made fresco painting—painting directly into wet plaster—virtually impossible 3. Painted primarily with oil on canvas, applying colors in glazes (transparent color) that helped to create illusion of light emanating from the canvas 4. MASTERWORKS: The Pastoral Concert, c. 1510-11; Venus of Urbino, c. 1538-39

Carvaggio

(1573-1610) Style carries veracity to new heights. Turns away from idealized Renaissance form to use realistic imagery in every settings. The Supper at Emmaus, c. 1600; The Calling of St. Matthew, c. 1590-1602; Entombment, c. 1602-3; Death of the Virgin, c. 1605-6

Peters Paul Rubens

(1577-1640) Noted for his vast, overwhelming paintings and fleshy nude females. Ornate, curvilinear compositions, lively action, and complex color. Elevation of the Cross, 1610; Marie de Medici Landing in Marseille, c. 1622-25

Hals

(1580-1666) The Laughing Cavalier, 1642; The Drinker, c. 1628; Allegory of Painting, c. 1670-75

Gianlorenzo Bernini

(1598-1680) Greatest sculptor in Rome of the Baroque period. Ecstasy of St. Teresa, c. 1645-53

Frencesco Borromini

(1599-1667) San Carlo alla Quatro Fontane, Rome, c. 1638-67

Rembrandt van Rijn

(1606-69) Most important painter working in Amsterdam in the first part of the 17th century. Anatomy Lesson of Dr. Tulp, 1632; The Night Watch, 1642

Antoine Watteau

(1684-1721) Creator of the fete galante (literally elegant entertainment). Paintings depicted the outdoor entertainment or amusements of the upper-class. Delicate use of color and hazy atmospheric conditions. Soft, undulating lines.

1. Francois Boucher

(1703-1770)

Jean-Honore Fragonard

(1732-1806) The Swing, 1766

Francisco Goya

(1746-1828) The Third of May, 1808 1. Based on incident from Napoleonic occupation of Spain 2. Role of artist as witness and protester

Jacques Louis David

(1748-1825) Concurred with the Enlightenment belief that subject matter should have a moral component and be didactic (instructive) Staunch supporter of the Revolution whose images, such as the Death of Marat, 1873 became revolutionary icons. Strong elements of propaganda

Marie Louis Elisabreth Vigee-LeBrun

(1755-1842) Marie Antoinette, 1788

Joseph Mallard William Turner

(1775-1851) The Slave Ship, 1840 1. Represents the "sublime" 2. Turner frequently seized on natural disasters 3. Rich color

John Constable

(1776-1837)

Theodore Gericault

(1791-1824) The Raft of the Medusa, 1818 1. Elevates ordinary men to the position of heroic combatants in struggle against nature. 2. Modern history painting

Asher B. Durand

(1796-1886) Kindred Spirits, 1848 1. Homage to his friend Thomas Cole 2. Portrait of Cole and William Cullen Bryant in landscape setting 3. Explores the role of painter and poet in the celebration of the natural world 4. He writes in the Crayon, 1855 and expresses beliefs that artists should seek inspiration from nature, and depict nature accurately. Nationalist attitude towards the superiority of American landscape

Eugene Delacroix

(1798-1863) Liberty Leading the People, 1830 1. Politically charged in which he transforms a contemporary event into a heroic allegory of the struggle for human freedom 2. Liberty as the personification of French nationalism

Thomas Cole

(1801-48) Credited as being the driving force of the first generation of Hudson River School artists. The Oxbow, 1836 as an answer to European critics of American landscape painting as he delights in the possibilities of the American landscape

John Roebling

(1806-69) Brooklyn Bridge, 1869-83

William Sydney Mount

(1807-68) One of the first American artists to depict African-Americans in his paintings 1. Farmer's Nooning, 1836

Honore Daumier

(1808-79) A. Rue Transnonian, 1834: Depicts an atrocity with the same impact seen in Goya's Third of May, 1808. B. Third Class Carriage, c. 1862: Figures anonymous, grouped together, representing the masses that were beginning to make up the modern cities

George Caleb Bingham

(1811-79) First American genre painter to depict the American West 1. Fur Trader Descending the Missouri, 1845 2. Jolly Flatboatman, 1847

Gustave Courbet

(1819-1877) A. Depictions of concrete, matter-of-fact elements of daily life provided a sobering alternative to the heroic and exotic images presented by the Romantic B. "Show me an angel and I'll paint one." C. Stone Breakers, 1849: Rural laborers performing the most menial of tasks. Revealed is the drudgery of labor, figures were crude, ragged, and totally unidealized. D. Burial at Ornans, 1849: All vestiges of sentimentality and artifice are banished, leaving only the mundane realities of life and death

Jasper Cropsey

(1823-1900) Autumn on the Hudson, 1860

Mathew B. Brady

(1823-96) Best known photographer of the mid-nineteenth century. Photographed the battlefields during the Civil War

Eastman Johnson

(1824-1906) 1. Negro Life in the South, 1859

Gustave Moreau

(1826-1898) Jupiter and Semele, c. 1875

Frederic Edwin Church

(1826-1900) Believed in the divinity of nature and saw himself engaged in an almost evangelical enterprise. Took the accuracy with which the landscape should be described to another level. Equation of landscape painting with history painting—landscape becomes "natural" history. Niagara, 1. Niagara, 1857 2. Heart of the Andes, 1859 3. Twilight in the Wildernes, 1860

Albert Bierstadt

(1830-1902) 1. Rocky Mountain, Lander's Peak, 1863 2. Looking Down Yosemite Valley, 1865

Camille Pissarro

(1830-1903) Avenue L'Opera, c. 1880: Painter of the boulevards of Paris. Reflections the changes that had been made in the city under the influence of Baron Georges Haussmann. Large boulevards had been created

Edouard Manet

(1832-1883) A. He offered the most openly hostile challenge to accepted standards and norms B. Committed to painting modern life and the modern city of Paris C. Luncheon on the Grass, 1863: Recast traditional subject in modern guise. Female nudity had long been acceptable in European art since the early Renaissance, as long as it was cast in terms of myth or allegory, but this blurred the lines between fact and fiction. Shown at the Salon des Refuses in 1863 where it drew harsh criticism. D. Olympia, 1863: Derived from Titian's Venus of Urbino. Olympia was a prostitute. Admitted to the Salon of 1865 where it was bombarded with criticism from both the public and press. Subversion of academic technique, refusal to adhere to the well established practices of application of paint and a high degree of finish.

James Abbott McNeill Whistler

(1834-1903) A. Pioneer in the Aesthetic Movement (Art for Art's Sake) B. Strong Influence of Oriental Art C. Titles related to music: "harmony and symphony" D. The White Girl, 1862: Stressed form over content E. Nocture in Blue and Silver, 1872-78: No aspect of Whistler's work has been more readily associated with his name than his nocturnes F. Arrangement in Grey and Black, No. 1 (Whistler's Mother), 1872: Perhaps the most iconic image known by Whistler G. Nocture in Black and Gold: The Falling Rocket, 1875: Most infamous work that precipitated the lawsuit between Whistler and John Ruskin

Edgar Degas

(1834-1917) Carriage at the Races, 1869, Women Ironing, c. 1890, Ballet Rehearsal, 1874: Interest in Japanese prints

Winslow Homer

(1836-1910) 1. Apprenticed as a lithographer and begins his career as an illustrator. 2. Veteran in a New Field, 1865: One of a series of Civil War images. Scene of the aftermath of war. Painting intended to be symbolic on a number of levels 3. Prisoners From the Front, 1866: Perhaps his most iconic work from the early period. Aptly articulated the chasm between the North and South 4. Snap the Whip, 1876: Consummate image of childhood. No sentimentality or attempt to record portraits. Elements of nostalgia 5. The Gulf Stream

Paul Cezanne

(1839-1906) 1. Served as a bridge between the art of the nineteenth and twentieth centuries 2. Aim was not truth in appearance, but formulated a style that took traditional effects of distance, structure and solidity and remade those elements in terms of color and patterns 3. Abandoning the loosely organized compositions of Impressionism, Cezanne sought to restore painting to the sturdy, formal structure of academic composition 4. Basket of Apples, 1895: Tilts and flattens patters, reduces objects to geometric shapes

Odilon Redon

(1840-1916) Roger and Angelica, c. 1910: The Birth of Venus, 1912

Auguste Rodin

(1840-1917) Most influential and successful sculptor of the Post-Impressionist era in Europe. Recharted the course of sculpture and gave the art an impetus that was to lead to a major renaissance. 1. The Gates of Hell, 1880-1917: Based loosely on individual themes from Dante's Divine Comedy. Gates suffer from almost an abundance of ideas and are literally crammed with a variety of forms 2. Burghers of Calais, 1884-86: Commemorated an event from the Hundred Years' War. Governments commissioners found the realism of the work offensive

Claude Monet

(1840-1926) Impression Sunrise, 1873: Painting that inspired the name "Impressionists." Transcribes fleeting effects of light and the changing atmosphere of water and air. Brushwork is immediate, rapid, and underscores notion that we are looking at a moment in time. 1. Rouen Cathedral, 1892-94 2. Gare St. Lazare, 1877 3. Bridge at Monet's Garden, c. 1890s

Thomas Eakins

(1844-1916) 1. Briefly studies at the Pennsylvania Academy of the Fine Arts, Jefferson Medical College, but most importantly in the studio of Jean-Leon Gerome in Paris 2. Travels to Spain to study Velasquez. 3. The Champion Single Sculls, 1870: Launched his professional debut in America. Rowing scene of his friend Max Schmidt, with the artist included in the painting. Based loosely on a work such as Gerome's The Prisoners, that Eakins turned into an American idiom. 4. The Gross Clinic, 1875: Portrait of Dr. Samuel Gross operating. New type of subject, virtually unknown in America. Painted with bold, broad strokes and very adeptly placed splashes of color. Submitted to the jury for the 1876 Centennial Exposition but rejected. Instead, hung on the Centennial grounds in the United States Army Post Hospital. 5. The Swimming Hole, 1884-85: Use of photography. Importance of nude model in academic teaching

Paul Gauguin

(1848-1903) 1. Rejected objective representation in favor of subjective expression 2. Broke with impressionistic studies of minutely contrasted hues, believing that color, above all, must be expressive 3. Moves to Tahiti in 1891 to remove himself from the materialistic world of Europe. In 1897 he painted Where Do We Come From? Where Are We? Where Are We Going?, the equivalent of an artistic summary of his working methods, especially the use of flat shapes of pure unmodulated color

Augusts Saint Gaudens

(1848-1907) Art is based on naturalism but molded by European training. Studied in Paris at the Ecole des Beaux-Arts and traveled to Italy to study Renaissance sculpture 1. Robert Gould Shaw Memorial, 1884-96; General William Tecumseh Sherman Memorial, Grand Army Plaza, 1892-1903

Antoni Gaudi

(1852-1926) Most famous architectural practitioner of the Art Nouveau style. Concept of architecture as a dynamic space 1. Church of the Sagrade Familia, Barcelona, 1883-1926; Casa Mila, 1905-07

Vincent Van Gogh

(1853-1890) 1. Early work, such as Potato Eaters, 1885 reflects his humanitarian outlook on peasants and workers 2. Moves to Paris in 1886 and his style underwent a metamorphosis. New interest in the symbolic and expressive values of color. Heavily pigmented surfaces were often manipulated by a palette knife or built up by applying paint directly from the tube, for example, in Starry Night. Emotional response to a subject, rather than mere physical appearance, often determined his choice of colors.

John Singer Sargent

(1856-1925) A. One of the most important American expatriate painters B. Studied with Charles Carolus-Duran in France, but strongly influenced by paintings of Velasquez that he saw in Spain C. Luxembourg Gardens at Twilight, 1879: Connects to the work of the Impressionists both stylistically and in terms of subject matter D. Madame X (Madame Gautreau), 1884: Most infamous portrait. Shown in the Salon of 1884 and created a tremendous scandal as she was seen with the strap from her dress off of her shoulder. Forced him to move from Paris to London E. Carnation, Lily, Lily, Rose, 1885-86 F. Mrs. Carl Mayer and Her Children, 1896: During the six years from 1894 to 1899 Sargent painted approximately 75 portraits, his sitters representing a wide cross-section of English and American. Sitter and her children were from a wealthy, prominent London family

Georges Seurat

(1859-1891) 1. Developed new style, Pointillism, using small dabs or dots of pure color laid side by side that, when viewed from a distance, blend together to make other colors, forms, and outlines 2. Arrived at this technique of dividing color into components after studying the writings of Michel Eugene Chevreul and his theories of the simultaneous contrasts of color 3. Although he shared the Impressionists' fascination with light and color, he shunned spontaneity. 4. Sunday Afternoon on the Island of La Grande Jatte, 1884-6: Shares Impressionist subject matter—urban society at leisure—yet rejects Impressionist fascination with intimacy and fleeting sensation.

Frederic Remington

(1861-1909) Captured the spirit and the image of the cowboy. Defined American West during his lifetime and played a major role in creating the popular mythology of the West that persists to this day. 1. Bronco Buster, 1895; Trooper of the Plains, 1905

Gustave Klimt

(1862-1918) One of the most complete and talented exponents of the pure international art nouveau style in painting. Style formed partially on his knowledge of Byzantine mosaics 1. The Kiss, 1907; Portrait of Adele Bloch-Bauer, 1907

Edvard Munch

(1863-1944) Import of psychoanalysis and Freud. The Scream, 1893, has become a metaphor for the insanity of the modern world.

Alfred Stieglitz

(1864-1946) One of the most important single figures in the development of Modernism in America. His gallery, 291, became a headquarters for Stieglitz's promotion of modernist painters and sculptors. Believed that modernist art was the only true expression of the individual in an increasingly modern society

George Luks

(1866-1933) Made the street life of the Lower East Side of Manhattan a central theme in his body of work. Hester Street, 1905; The Spielers, 1905; The Wrestlers, 1905

Wasilly Kandinsky

(1866-1944) One of the pioneers of non-objective art. Assembled lines, colors, and shapes without regard to recognizable forms. Improvisation Series

Alfred Maurer

(1868-1923) Style transformed in Paris and he turned to Cubism. Two Heads, c. 1920

Henri Matisse

(1869-1954) 1. Helped to develop this new stylistic movement. Instead of employing dabs or dots of color, broke color into broad zones without any attempt to harmonize hues 2. Woman With a Hat, 1905: Exhibited at the Salon d'Automne. Caused a scandal. Instead of applying dabs of color, Matisse broke color into broad zones. Colors are arbitrary and have nothing to do with naturalistic concerns 3. Harmony in Red, 1908-9: Distinguished by patterns, shapes and colors. Rejects the notion of constructing an illusion of space behind the picture plane; The Dance, 1909

William Glackens

(1870-1938) Chez Mouquin, 1905; The Shoppers, 1907;

John Marin

(1870-1953) Drawn to the Cubist reorganization of space and forms, and translated those stylistic considerations to his explorations of some of the most daring architectural landmarks in New York City. 1. Brooklyn Bridge, c. 1912 2. Woolworth Building, c. 1912

John Sloan

(1871-1951) Emphasis on unromanticized realism. Tenements, bars, city streets all became acceptable subjects. 1.In the Wake of the Ferry, 1907 2.McSorley's Bar, 1912 3.Hairdresser's Window, 1907

Giacomo Balla

(1871-1958) Dynamism of a Dog on a Leash, 1912

Piet Mondrian

(1872-1944) Limited his vocabulary to pure forms. Painted rectangles laid out on a grid of horizontal and vertical lines employing three primary colors and values, such as white, gray or black. Pioneered style called De Stijl which had an impact in the areas of architecture and furniture design. Composition in Red, Yellow, and Blue, 1921

Marsden Hartley

(1877-1943) Member of the Stieglitz group who believed that great art comes from the ability to divorce oneself from emotion. He called his work "cosmic," or "spiritual" cubism, an amalgamation of modernist experimentation. 1. Portrait of a German Officer, 1914

Joseph Stella

(1877-1946) Assimilated European influences but transformed them into a particularly American idiom. Stella's paintings were the most visionary that anyone painted of Manhattan in the 1920s: 1. The Voice of the City of New York Interpreted: The Skyscrapers, 1920-22

Paul Klee

(1879-1940) Primitive art, surrealism, and children's art all seemed to blend into his work. Often incorporated letters and numbers into his paintings. Abstractions are characterized by humor. 1. Twittering Machine, 1922

Max Weber

(188-1961) One of the several avant-garde artists associated with Stieglitz's circle. Participated in the early experiments of the Cubists and the Fauves. 1. Rush Hour, 1915

Enst Ludwig Kirchner

(1880-1938) Leading figure in a group called Die Brucke (The Bridge). Favored distorted forms, harsh colors, and the bold use of black. Images of urban life as crowded, impersonal, and threatening.

Arthur Dove

(1880-1946) Member of the Stieglitz circle. One of the early innovators of non-objective art in America. 1. Nature Symbolized, 1911-12 2. Fog Horns, 1929

Pablo Picasso

(1881-1973) 1. Early influence of Impressionism and Post-Impressionism 2. By 1906 began to abandon traditional Western modes of pictorial representation 3. Style shapes by influence of Cezanne and the arts Africa, Iberia, and Oceania. 4. Les Desmoiselles d'Avignon, 1907: Opened up the door to a radically new way of representing forms in space. Any vestiges of traditional space within the picture plane are completely abandoned

Umberto Boccioni

(1882-1916) Unique Forms of Continuity in Space, 1913

George Wesley Bellows

(1882-1925) 1. Stag At Sharkey's, 1907 2. Cliff Dwellers, 1913

Edward Hopper

(1882-1967) Committed to realism. Works are not celebrations of city life, but commentaries on the isolation and alienation many city dwellers experienced. 1. Eleven AM, 1926 2. Nighthawks, 1942

Charles Demuth

(1883-1935) Arrived at what most scholars agree was the origin of the Precisionist Movement. Precisionism had its roots in Cezanne's approach to form, and it often included a mechanistic element arising from the artists fascination with machines, industrialization, and large constructions. 1. My Egypt, 1927 2. The Home of the Brave, 1931

Charles Sheeler

(1883-1965) Considered an archetypical Precisionist. Work with photographic images led Sheeler to a more naturalistic vision in his paintings. 1. American Landscape, 1930

Max Beckmann

(1884-1950) The downward spiral of post World War I German society left an indelible mark on the artist. Personal association to the horrors of the period. 1. Night, 1918-19 2. Departure, 1932-33

Marcel Duchamp

(1887-1968) Embodied the spirit of Dada. Most controversial works came in the form of ready mades, such as The Fountain, 1917. Removed objects from their context and presented them as works of art. Belief that a work of art was first and foremost about an artist's idea. Notion of remaking existing works of art, such as L.H.O.O.Q.

Georgia O'Keeffe

(1887-1986) Most famous woman in the Stieglitz circle and also his wife. Best known for her erotic images of desert flowers and animal skulls. 1. Red Canna, 1925-28 2.Blue horses Skull, 1930

Photography

1. daguerreotype process, named for its creator, Louis Daguerre (1781-1851) 2. by 1853, 3 / 25 million Americans were having their portrait taken annually

Thomas Hart Benton

(1889-1975) One of the most visible artists during the 1930s. Possessed an ideological commitment to the development of an American art. Typically selected scenes in which moving figures acted out American dramas. 1. City Activities with Dance Hall, 1930

Grant Wood

(1891-1942) American Gothic, 1930 is perhaps the most iconic image of American Scene

Otto Dix

(1891-1959) Paintings were gruesome descriptions of horrors that he experienced as a machine gunner and aerial observer. 1. Der Krieg, 1929-32

Juan Miro

(1893-1983) One of the greatest talents of Surrealism, although he resisted any association with a particular movement. 1. Painting, 1933

Stuart Davis

(1894-1964) Rejected the academic traditions of America, not its culture. Absorbed the lessons of Robert Henri, who was his teacher, and directed his students to seek subjects in the real life they saw around them. 1. Eggbeater Series, 1927-28

Renee Magritte

(1898-1967) Attempts to confound pictorial reality. 1. The Treachery of Images, 1928-9 2. The False Mirror, 1928

Salvador Dali

(1904-1989) Symbolizes Surrealism in the minds of the general public. Extremely important for his development as an artist was his discovery of Sigmund Freud's writings. Incredibly precise technique, accompanied by discordant but luminous color. 1. The Persistence of Memory, 1931

Frida Kahlo

(1907-1945) Perhaps the most celebrated female painter of the early 20th century. More than 1/3 of her oeubre is self portraits. 1. The Broken Column, 1944

Baroque Painting in the North

1. 1579-Catholic forces of Spanish King Philip II are defeated and the 17 provinces of the of the North Netherlands declare their independence 2. By the end of the century, the predominantly Calvinist Dutch Republic (later called Holland) was a self-governing state and one of the most commercially active territories in Western Europe. 3. Dutch proletarian taste, economic prosperity, and Protestant values inspired secular subjects such as still life, landscape, and genre scenes. The visual preoccupation with local landscape and the transformation of the topography, through the use of dikes, windmills, and drainage, coincided with the first large-scale creation of landscapes. a. Jacob van Ruisdael, The Wheat Fields, c. 1670s; The Jewish Cemetery, 1655 b. Jan Davidsz de Heem, Vase of Flowers, c. 1660 c. Jan Steen, The Dissolute Household, c. 1665 4. Impact of Scientific Revolution

Arshile Gorky

1. A native of Armenia, he moved to NYC in 1926 where over the next decades he taught painting, met other avant-garde artists, and joined the Federal Arts Project 2. Work shows the influence of Miro, Picasso, Leger, and others. By the early 1940s, Gorky had found his own direction as a painter of highly original abstractions that combine the memory of Armenian childhood with Surrealist fantasies in works characterized by billowing shapes and exotic colors 3. The Artist and His Mother, 1929-46: Powerful and distressing portrait 4. The Liver is the Cock's Comb, 1944: Gorky was the last painter that Breton claimed for Surrealism. Work is often seen as a "bridge" between Surrealism and Abstract Expressonism

Willem de Kooning

1. A native of Rotterdam, arrived in America in 1926 where he worked briefly as a house painting 2. Moves to Manhattan where he meets, among others, Stuart Davis and Arshile Gorky 3. Employed by the WPA 4. In the late 1930s, his abstract as well as figurative work was influenced by Cubism, Surrealism, Picasso, and Gorky, with whom he shared a studio 5. Woman I, 1950-52: Part of a series. Influenced by images ranging from Paleolithic fertility images to American billboards. Paints a woman with gigantic eyes, massive breaks, and a toothy grin. When he painted these images, the critics championing abstraction had already declared the human figure obsolete. He, however, embraced the figure 6. Composition, 1955: Serves as a bridge between the women and his next series of work. Composition reads as a woman, obfuscated by agitated brushwork, clashing colors, and an allover composition. Suggests the frenetic pace of city life 7. Whose Name was Writ in Water, 1975: Takes nature as its theme Water was a favorite subject, and he devised a rapid technique of broad impasto strokes to convey its fluidity and breaking movement

Architecture

1. Balance of Christian and classical elements 2. Papal patronage 3. Monumentality and formality 4. Donato Bramante (1444-1514): The Tiempietto, Plans for St. Peter's Basilica 5. Michelango: Appointed architect for St. Peter's after Bramante's death 6. Palladio (1508-80): Villa Rotunda, c. 1567-70

Alexander Calder

1. Best known for his large, colorful sculptures that incorporate elements of chance into uniquely engineered structure 2. Initially created small movable wood and wire figures that were assembled into a miniature circus 3. By the early 1930s, inspired by Piet Mondrian's work, he created his breakthrough mobiles. At first they were motorized, but later he modified his design to allow free-floating movement powered only by air currents 4. Lobster Trap and Fish Tail, 1939: Christened a "mobile" by Marcel Duchamp; A Universe, 1934: Personal fascination with the solar system, prompted by the discovery of Pluto in 1930 5. Seen as a sculptural counterpart to Jean Arp's abstract reliefs

Hans Hofmann

1. Best remembered for teaching the fundamentals of post war abstraction: the employment of color and nonrepresentational forms, and the artist's ability to weave sophisticated relationships between them 2. Work is a synthesis of other movements, such as Expressionism and De Stijl 3. The Gate, 1959-60: Although the work does not have a defined subject, Hofmann insisted that, even in abstraction, students should always work from nature in some form

Diderot and the Philosophes

1. Change from grand Baroque courtly life to that of the small salon and intimate townhouse in Paris 2. Small circle of well-educated individuals known as the philosophes, including Denis Diderot, Voltaire, and Jean-Jacques Rousseau become leading French intellectuals 3. Deeply dramatic action found in Baroque style gives way to lively effervescence and melodrama. Love, sentiment, and pursuit of pleasure become predominant themes that appealed to waning aristocracy

POST CIVIL WAR AMERICA

1. Civil War as the line of demarcation A. American's relative isolation from Europe is forever ended with fundamental changes in communication, transportation B. American art came to be seen and estimated in an international context C. Effects of Cosmopolitanism D. Heightened awareness of foreign art among a wide segment of the educated classes E. Shift in patronage made the US a major market for foreign, particularly French painting F. Abandonment of Hudson River School style in favor of more progressive styles that Americans were seeing in Europe

Baroque in France

1. Consolidation of power embodied in King Louis XIV 2. Appeal of Rome enticed many French artists 3. Major Practitioners: Nicolas Poussin (1594-1665): Rape of the Sabine Women,1633-3x; Burial of Phocion, c. 1648 4. Poussin outlined the "grand manner of classicism," believing that artists had to choose great subjects that were grandiose, such as battles, religious themes or heroic action. This hierarchy of subjects became the standard would govern "academic" art for centuries.

Assemblage

1. Depended upon the imaginative combination of found objects and materials but constituted a radical alternative to traditional techniques of carving in stone and modeling in clay or plaster. 2. Picasso, Guitar, 1912: Built up and pieced together from miscellaneous three-dimensional objects.

Imagery of Guernica

1. Despite the enormous interest the painting generated in his lifetime, Picasso refused to explain Guernica's imagery. It has been the subject of more books than any other work in modern art and is often described as "the most important work of art of the twentieth century" 2. Brought together two traditionally separate areas of concern regarding visual imagery: the formal preoccupations of the artistic avant-garde and the interest in conveying a political message Symbol

Filippo Brunelleschi

1. Dome of the Florence Cathedral, c. 1420-36 2. The Pazzi Family Chapel, c. 1440

Lee Krasner

1. During the 1930s, while supporting herself by working for the WPA Federal Art Project's mural division, Krasner rigorously studied and assimilated the tenets and traditions of modernism 2. Studied with Hans Hofmann, from whom she absorbed the theoretical basis of Cubism 3. Married to Jackson Pollock, in 1940 she exhibited with American Abstract Group 4. Work over time shows a variety of styles and a range of themes and techniques

FRANK LLOYD WRIGHT

1. During the Depression, he began to secure important commissions Fallingwater, 1935-39 (constructed for E.J. Kaufmann at Bear Run, Pennsylvania): Practiced what is known as organic architecture that evolves out fo the context between the site and the building. Designed with his desire to place the occupants close to the natural surroundings, with a stream under part of the building. Described as the "apotheosis of the horizontal" 2. SC Johnson Administration Center, Racine, Wisconsin, 1936-39: What began as a new office building for the SC Johnson Wax Co became one of the embodiment of one of his most daring visions. Great workroom, which covers nearly ½ acre has dendriform colums that support the roof and glass tubing that replaces conventional windows. Neither of these features had been used before. More than 200 sizes and shapes of bricks were made to form the angles and curves

Marcel Breuer

1. Early study and teaching at the Bauhaus in the 20s introduced him to Le Corbusier, Mies van der Rohe, and Walter Gropius, who were to have a lifelong influence on his professional work 2. Reputation based upon the invention of tubual steel furniture 3. One of his first projects was the 1927 steel club chair ( later renamed the Wasily) made from nickel-plated tubular steel

Social Changes in the nineteenth century

1. Effects of Industrial Revolution 2. Reduction of the Power of the monarchy or aristocracy 3. Growth of urban centers

Development of linear perspective

1. First laws of linear perspective formulated by Filippo Brunelleschi (1377-1446) 2. These laws described the manner by which all parallel lines in a given visual field appear to converge at a single point on the horizon 3. Linear perspective satisfied the Renaissance craving for an exact and accurate description of the physical world 4. While the subject matter of Renaissance art was still religious, the style was more lifelike than ever

Analytic Cubism

1. First phase of Cubism. Reduction of natural forms to their basic geometric parts. Color is greatly subdued and paintings are almost monochromatic. Man With a Violin, 1911: While it gives the appearance of a random assortment of shapes it is carefully constructed. Subject only provides basic raw material for the composition. 2. Georges Braque, The Portuguese, 1911: Collaborated with Picasso in his search for a new visual vocabulary.

Italian city-states

1. Florence emerges as most powerful center of trade and finance that centered on the guilds 2. Italy is NOT unified and city-states are often at war Medici Family in Florence: Cosimo (1389-1464) and Lorenzo the Magnificent (1449-1492) as most powerful patrons of the arts

Russian Suprematism

1. Founded by Kasmir Malevich, it is considered the first systematic school of purely abstract pictorial composition in the modern movement, based on geometric figures. It was the expression "of the supremacy of pure sensation in art." Pure perception demanded that a picture's forms have nothing in common with nature. 2. Consisted of geometrical shapes flatly panted on the pure canvas. The pictorial space had to be emptied of all symbolic content and all content signifying form. 3. Suprematist Composition: White on White, 1918: One of the most radical paintings of its day: a geometric abstraction without reference to external reality

Terms of Depiction of Guernica

1. From the beginning, Picasso chooses not to represent the horror of Guernica in realist or romantic terms 2. Key figures are refined in sketch after sketch and then transferred to the huge canvas 3. Initial reaction to the painting is overwhelmingly critical.

Alberto Giacometti

1. Grows up in Switzerland and moves to Paris in 1927 and is invited to join the Surrealist group in 1929, only to break ranks from them six years later 2. Spoon Woman, 1926: Explores the metaphor employed in ceremonial spoons of the African Dan culture, in which the utensil can be equated with the woman's womb 3. Woman With Her Throat Cut, 1926: Suggests the violent image of a woman raped and murdered 4. Palace at 4 A.M., 1932: Was a Surrealist when he made this work. Subverts conventional ideas of sculptural mass. 5. Piazza, 1947-48: Produced attenuated, thin figures not only of life-size height, but on a miniature scale. Scene derives from modern urban experience

Simoni Martini

1. He was entrusted with a huge public mural in at the Palazzo Pubblico: Guidoriccio da Fogliano, 1328 2. Hiss chief competitors in Siena were the brothers Ambrogio and Pietro Lorenzetti (active 1319-48): Effects of Good Government in the City and Country, c. 1338

Franz Kline

1. Initially worked in a realist style, attempting to capture the energy of city life 2. In the 1940s, develops an interest in the expressive possibilities of abstraction and begins to reduce and simplify his canvases 3. Identified with the exploration of a monochrome palette 4. Powerful abstractions embody the energy of the city 5. Painting No. 7, 1952: Emphasis on the square in this and other works suggests his interest in Malevich 6. Slate Cross, 1961: Bold, black brushstrokes evoke the dynamic angles of a bridge's steel girders silhouetted against the city sky

Mark Tobey

1. Interest in Chinese calligraphy 2. Like Pollock, works are allover compositions that do not emphasize any single portion

Barbara Hepworth

1. Leading figure in the abstract movement in Britain 2. Drew on geometric as well as organic shapes derived from nature 3. Used "holes," to make the object more transparent

The Reformation

1. Martin Luther, 95 Theses 2. Attempt to reform serious religious problems in Roman Catholic Church 3. Economic, political, and religious conflicts 4. Protestant proscriptions against religious imagery 5. Churches were relatively bare of decoration 6. Iconoclastic fever 7. Hieronymus Bosch: Garden of Earthly Delights, c. 1510

Joseph Cornell

1. Met Surrealist writers and artists in the early 30s, and saw Max Ernst's works 2. Familiarized himself with Duchamp and Schwitters 3. Boxes were made in his basement in Queens, NY, and were a substitute for traveling, arranging imaginary souvenirs inducing the excitement of voyages 4. Fortune Telling Parrot, 1937-8: Offers associations with exotic travels. Exotic birds appear in a number of his boxes. Evoked enchanted worlds past and yet to come

Russian Constructivism

1. Movement active from approximately 1915 to the 1940, created by the Russian avant-garde but quickly spread to the rest of the continent. 2. Constructivist art is committed to complete abstraction with a devotion to modernity 3. Artwork is broken down to its most basic elements 4. Founder of constructivism in Russia was Vladimir Tatlin. Monument to the Third International, 1919-20: Had the full scale project been built, it would have been approximately 1300 feet high, the biggest sculptural form ever conceived. In the wake of the Russian Revolution, artists believed that non-objective art was ideal for creating a new society, one divorced from any iconic or referential images. 5. By 1920, Tatlin and group around him became insistent that art had to serve the Revolution in specific, practical ways. Artists had to abandon or subordinate pure experiment in painting and sculpture and turn their energies to engineering.

SURREALISM

1. Movement devoted to expressing in conscious life the workings of the subconscious mind 2. French critic Andre Breton inaugurated Surrealism in the first surrealism manifesto (1924) in which he proclaimed the artist's liberation from reason and the demands of conventional society. 3. Surrealists paid homage to Freud and his writings, especially those on free association and dream analysis. 4. Juxtaposition of realistically painted objects that produce a visionary reality approximating dreams

Julio Gonzalez

1. Moves to Paris in 1900 and begins to associate with artists such as Juan Gris 2. Works in the Renault factory, where he learned techniques of welding he would later use in iron sculpture 3. Becomes acquainted with Picasso in the 1920s 4. Claimed to wish to "draw in space," realizing that by cutting, rolling and bending metal, he could draw images not on paper but in air 5. Woman Combing Her Hair, 1936; Head, 1935: Protruding jaw, eyes and tufts of hair uses Gonzalez's economical vocabulary to create the suggestion of the face 6. Monsieur Cactus, 1939: Figure is anguished, may reflect the political situation in Spain during the late 1930s.

Jackson Pollock

1. Mythic reputation rests largely on the artistic breakthrough of his large action paintings, as well as his dramatic life and death 2. Born in Body, Wyoming, studied with Thomas Hart Benton at the Art Students League 3. Complex imagery derives from sources as diverse as Navajo sand painting, Asiian calligraphy, and personal revelations stemming from his psychotherapy sessions 4. From the 30s to the 40s, while working for the Federal Arts Project, his style evolved from a dark form a regionalism to a more freely rendered abstract expressionism 5. Introduced a radically innovative method of painting in which he poured , flung, dripped, and splashed paint directly onto unprimed canvas 6. Despite his fame and success, he was plagued by psychological instability and alcoholism 7. Guardians of the Secret, 1943:Drew upon a variety of sources, including Native American maks, to the works of Picasso and the ideas of Carl Jung 8. Number 1 (Lavender Mist), 1950: One of his most important "drip" paintings. One can trace rhythmic movements in the long arcs. Allover composition exhibits an even density throughout, with no discernible focal point. He spoke of being "in" his paintings. Surrealists embrace of accident as a way to bypass the conscious mind sparked his experiments with the effects of gravity and momentum on falling paint.

Le Corbusier ( Charles Edward Jeanneret)

1. One of the most influential and admired practitioners of the International Style of the 20th century 2. Many of his ideas on urban living became a blueprint for post-war reconstruction 3. His ideas on how architecture should meet the demands of the machine age led him, in collaboration with the artist Ozenfant to develp PURISM, leading architects to refine and simplify design, dispensing with ornamentation. Ideas were given full expression in the 1923 book, Towards a New Architecture. " A house is a machine for living in." 4. Convinced that a rationally planned city, using standardized housing types could offer a healthy, humane alternative to the chaotic, Victorian cities 5. One of the most famous houses of the modern movement is the VILLA SAVOYE, 1928-30. Design features include: modular design, no historical ornament, abstract sculptural design, pure color (white), open interior plan, built-in furniture

Louise Nevelson

1. Predominately created black sculptures of assembled wood objects that transcended space 2. Made of shallow open boxes fitted together, boxes contain salvaged wood bits, including dowels, spindles, chair parts 3. Sky Cathedral, 1958; Has the pictorial quality of a painting, looks as if we are looking into the wall of a library

Neoclassicism

1. Renewed interest in classical antiquity A. Importance of "Grand Tour" and renewed interest in all things Italian B. Excavations at Pompeii and Herculaneum that fueled the interest in the revival of interest in classical antiquity 2. Fall of Louis XVI and the French Revolution of 1789 A. Neoclassical style used as a vehicle to advance the causes of the revolution B. Qualities associated with the style include devotion to the state, morality, idealism, patriotism, and civic virtue. Assumption of classical imagery to portray modern events

Clyfford Still

1. Shifts from representation to abstract painting in the late 1930s 2. Lived in NY for most of the 1950s, but became increasingly disenchanted with the art world and moved to Maryland 3. By 1947, begins working in the format that he refined during the career—a large scale color field crudely applied with a palette knife 4. Dispensed with typically "beautiful" colors in favor of more disquieting hues

Duccio

1. Siennese master. Commissioned in 1308 to do a painting for the high altar of the Cathedral of Siena. Central panel is known as the Maesta, or Madonna Enthroned, c. 1308-11. No attempt at scientific perspective in this work, still very much in the Medieval manner. 2. On the back of the panel, he allows himself to become more experimental. Betrayal of Christ reveals more mass, modeling, and a relationship between figures.

Isamu Noguchi

1. Spent the majority of his childhood in Japan before coming to the US to continue his schooling 2. Travels extensively, to Europe, China, Japan, and Mexico 3. Sculptures from the mid-40s are occupied with figurative and biomorphic imagery 4. Interest in Surrealism may have been piqued when he worked with Brancusi in Paris, where he learned how simple, organic shapes could evoke figurative sensations 5. Kouros, 1944-45: Illustrates the biomorphic vocabulary that he devised. Assembled from individual pieces of carved stone, by notching and slotting the pieces together. Figure reflects his feelings about the precarious state of the world after WW II

NEUE SACHLICHKET OR NEW OBJECTIVITY

All of the artists associated with this movement had served in World War I and had first hand experience of the horrors of war. Disillusionment with the state of society.

Ad Reinhardt

1. Studied art history at Columbia University and works for the WPA between 1936-39 2. Influence as a teacher and writer was as significant as his art 3. Abstract Painting, 1963: Work holds more than one shade of black and longer viewing reveals an abstract geometrical image. Strongly influenced the Minimalist and Conceptual artists of the 1960s. Tried to erase from his work any content other than the art itself in an effort to produce "pure, abstract, timeless" works

Barnett Newman

1. Studied at the Art Students' League and majored in philosophy in college 2. Believing that al earlier 20th century painting styles were obsolete, he destroyed most of his paintings from the 1930s and early 40s 3. In his Plasmic Image, he asserted that modernist painters had solved the technical problems of the language of painting (color, shape, atmosphere) and should go on to transcend the decorative aspects of art 4. When he started to paint again in the mid 1940s, sought a style of mystical abstraction, and made works with his signature vertical elements, or "zips" 5. Believed in a spiritual content of abstract art 6. Vir Heroicus Sublimis, 1950-51: Creates an engulfing environment. Zips may be seen as figures against the void 7. Stations of the Cross, 12th Station, 1965, First Station, 1958: Series of paintings is widely considered his greatest masterpiece. According to the artist, they are not intended to express the succession of events found in the traditional depictions of the Stations of the Cross

Robert Motherwell

1. Studies art history at Columbia University 2. Goes to Mexico, and enters the circle of de Kooning and Pollock upon his return 3. Little Spanish Prison, 1941-44: Spanish Civil War was a subject that remained important to the artist; Elegies to the Spanish Republic, 110, 1971: Commemoration of human suffering. Allusion to human mortality through non-referential visual language. May be read as an indirect, open-ended reference to the experience of loss and the heroics of stoic resistance

Mark Rothko

1. Studies at the Art Students' League in New York with Max Weber 2. Early work is influenced by Surrealists, where he explored the technique of automatic drawing. Slow Swirl at the Edge of the Sea, 1944 3. Abandons Surrealism for the mature style of color field paintings 4. Untitled (Violet, Black, Orange, Yellow on White and Red), 1949: Explored the expressive potential of stacked rectangular fields of luminous colors. Used abstract means to express universal human emotions, earnestly striving to create an art of awe-inspiring intensity. Writers have linked his work to Christian symbolism 5. Magenta, Black, Green on Orange, 1949: Just as edges tend to face and blur, colors are never completely flat. Painting is full of gently movement, as blocks emerge and recede. The surface "breathes"

Mannerism

1. Style emerged in Italy during the sixteenth century 2. Features include exaggerated proportion, sensual, emotional and intellectual appeal, lack of balance 3. Parmigianino (1503-40): Madonna With the Long Neck, c. 1534-40; Bronzino (1503-72): Allegory of Venus, c. 1546; Tintoretto (1518-94): The Last Supper, c. 1594

Henry Moore

1. Taught at the Royal College of Art in London, a stronghold of academic formalism 2. Through Roger Fry's Vision and Design, 1921, and his trips to the British Museum, he found inspiration in the collections of non-European art 3. The 1930s represent his most radical and inventive phase, as he pushed his art into new territory 4. Figurative work increasingly gave way to abstract forms 5. Reclining Figure, 1939: Creative tension between figuration and abstraction

Symbolism of Guernica

1. The Dream and the Lie of Franco: The bull is the symbol of resurgent Spain 2. Minotauromachy, 1935: The centaur, satyr, and minotaur appear increasingly in Picasso's etchings of the 1930s 3. Some of Guerica's first forms appear in Three Dancers, 1925 4. Made a series of etchings, known as the Vollard Suite, in which the minotaur is the central character 5. Painted and drew savage bullfights during the 1930s

Walter Gropius

1. Trained as an architect, but his career was interrupted by the outbreak of the WWI 2. During Gropius's tenure at the Bauhaus, he draws together a world famous faculty, including artists such as Paul Klee and Wasily Kandinsky 3. Students were taught to use modern and innovative materials and mass-produced fittings, often originally intended for industrial settings, to create original furniture and buildings 4. Escapes from Germany in 1934, moves to London, and eventually to U.S where he taught at the Harvard Graduate School of Design

Elaine de Kooning

1. Was a student of his, and later became his wife 2. Harold Rosenberg #3, 1956: Transposed the abstract expressionist aesthetic to portraiture

Grace Hartigan

1. Worked as a mechanical draftsperson in an airplane factory during WWII 2. Moved to New York and met Pollock, Krasner, and other figures from the abstract expressionist group 3. Became widely known by the late 1950s, but eventually moved to Maryland and distanced herself from the New York art scene

David Smith

1. Worked as a welder and riveter at the Studebacker auto factory during a summer break from college, where his understanding and love for industrial materials took root 2. Moves to NY and enrolls at the Art Students League, where he becomes familiar with the work of Mondrian, Kandinsky, and the cubists 3. Developed friendships with de Kooning, Gorky and John Graham, who introduces him to the welded sculptures of Gonzales and Picasso 4. By 1934, he settled into a "studio" at Terminal iron works, a foundry in Brooklyn, where he begins to construct sculpture from used machine parts, scrap metal, and found objects 5. Australia, 1951: Work is a linear skeleton, identified as an abstraction of a kangaroo; Cubis, 1965 : Part of 28 work series entitled the Cubis. Sculptures were composed from a repertoire of geometric cylinders of varying proportions. All are made of stainless steel and some are vaguely figural, while others suggest architecture

Ludwig Mies van der Rohe

1. Worked in the office of architect Peter Behrens, where he met Walter Gropius and Le Corbusier 2. In 1921, he produces his Glass Skyscraper proposal which, although never built, shoed how he was formulating the technique of "glass box" buildings 3. German Pavilion, 1929 International Exposition, Barcelona: Using steel columns to support the roof, connects the roof and ground with expansive glass walls. Effect is a zen-like simplicity, an astonishing contrast to ornate architecture of the period 4. Settles in Chicago during the 1930s 5. Most celebrated example of his buildings for corporate America is the Seagrams Building, 1958: Building remains the epitome of 20th century corporate modernism

William Baziotes

1. Works are created in the spirit of Surrealist automatism 2. Achieved his signature style by the late 1940s—biomorphic shapes suspended within fields of muted color

Giotto

1. revolutionizes the art of Florence. Within a few years after his appearance on the Florentine horizon, painters begin to emulate the new style. His art emphasized clarity, measure, balance, order and the careful observation of nature. It was he, who, for the first time since antiquity, struggled with creating the illusion of solid bodies moving through space. a. Arena Chapel, c. 1305, Padua: Flight Into Egypt, Lamentation : Creates a stage, manipulates the players so that we begin to see corporality, the physical bodies underneath the garb. They have weight and depth. First steps in the development of chiaroscuro—the dramatic contrasts of light and dark to produce modeling. Also employs aerial perspective, the use of haze and indistinction to create a sense of distance. Art begins to move toward the depiction the depiction of material world anchored in three-dimensional form.

The Baroque in Spain

1.Major Practitioners: Diego Velasquez (1599-1660): Las Meninas, 1656; The Rokeby Venus, c. 1647-1651 2. Spain remains a strongly Catholic country, prohibitions on painting the female nude

Antonio Pollaiuolo

1432-1498): Hercules and Antaeus, c. 1475

ARCHITECTURE

A. Between 1870 and 1900 the American industrial complex grew substantially, outpacing the rest of the world. It is not surprising that this new force exerted itself in nearly every aspect of American culture, including architecture B. By the early nineteenth century, multistoried factories were erected with cast iron components in a skeletal system, making building techniques fast and economical

High Renaissance and Mannerism

A. By the end of the 15th century Renaissance artists had mastered all of the fundamental techniques of visual illusionism, including linear perspective and the use of light of shade 1. Began in approximately 1485 and lasted until approximately 1520 2. To the technique of scientific illusionism were wedded the basic principles of clarity, symmetry and order 3. Although no singular style characterizes the High Renaissance, its art in Italy is associated primarily with artists such as Leonardo da Vinci, Raphael, Michelangelo, and Titian

Rise of Napoleon Bonaparte

A. Disintegration of the revolution leaves political vacuum that is filled by General Napoleon Bonaparte B. While Neoclassicism was style of Revolution, it was easily transferred to the reign of Napoleon who used it to foster and magnify his greatness as he is crowned Emperor C. Images of Classical Greece and Rome abandoned for the more appropriate imagery of Augustan Rome D. Redesign of Parisian buildings in the spirit of ancient Rome: Church of La Madelaine; Arch de Triomphe

REGIONALISM AND AMERICAN SCENE PAINTING

A. During the Great Depression the nation became absorbed with its own problems. B. Government offered assistance to many artists through agencies such as the Works Progress Administration and the Federal Arts Project C. Groups of painters, working mainly in a naturalistic tradition, did not adopt East coast city life as their subject D. American Scene, as it was called, represented the wish that America had artistically come of age and that it would now create an art expressive of its own traditions and aspirations E. American Scene attempted to develop a democratic art that was easily accessible to the ordinary person. F. Art was to become a vehicle for recording things more permanent and concrete than monuments of personal experience

Painting in the American Colonies

A. Earliest artists were itinerant. Earliest settlers interest in establishing their most basic need. B. No art schools for training ,no art galleries with examples of Old master paintings or sculpture, no venues to sell works C. First major painter is John Singleton Copley (1738-1815): Interest in the veracity of objects and worldly stuffs that reflected the growing wealth of his sitters. Copley leaves for England to pursue his desire to become a history painter. Portrait of Paul Revere, 1768-9; Watson and the Shark, 1778 D. Benjamin West: Elected president of the Royal Academy in London after Sir Joshua Reynold's death. Interest in contemporary history painting, in addition to scenes from Greek and Roman history. Death of General Wolf, 1770

Romanticism in Europe

A. Emerged as a reaction to and against the formality of Neoclassicism B. Romantics reacted against the orderly and systematic worldview of the Enlightenment. C. Estranged from traditional religious beliefs, romantics looked upon nature as the dwelling place of God. D. Romantics favored free expression of the imagination and the liberation of emotions E. In contrast to aesthetic objectivity and formalism, romantics chose subjectivity and the spontaneous outpouring of feelings. F. Romanticism may be seen as an effort to glorify the individual by way of intuition and reliance upon the senses

Effects on Landscape Painting

A. Exploring and painting the unknown wilderness became a facet of landscape painting and nature assumed the role of a secular religion B. Hudson River School: Name for a group of artists who painted up and down the Hudson River Valley

American Genre Painting

A. Genre painters were drawn to themes of everyday life B. Proliferation of gift books and magazines C. Spread of prints D. Popularity of genre painting came in some ways as an antidote to the increasing effects of the industrial revolution E. Found its closest parallel to Dutch 17th century art

Second Generation of Hudson River School Painters

A. Greater emphasis on naturalism—notion that artist had to be a scientist of nature B. Nationalistic concerns, such as manifest destiny, become more apparent in works of art

ARTS OF THE RENAISSANCE AND REFORMATION IN THE NORTH

A. Rebirth of Classical values emerged in Northern Europe and in England more slowly than in Italy 1. In the Low Countries (area today known as Belgium and The Netherlands), there were a number of substantial cities by the dawn of the fifteenth century 2. Ghent: devastated by the Black Plague 3. Bruges: Favorite city of the Dukes of Burgundy, especially Philip the Good and his brother Jean, Duke de Berry

Romanticism in America

A. Romanticism infused all aspects of nineteenth century American culture B. Found its purest expression in Transcendentalism, a movement that believed knowledge gained by way of intuition transcended or surpassed knowledge based on faith and reason C. Direct experience of Nature united one with God D. Exalted self-reliance and urged human beings to discover their spiritual selves through sympathy with Nature E. Prime literary exponents were Ralph Waldo Emerson, Henry David Thoreau

Baroque

A. Seventeenth century brought age of intellectual, spiritual, and physical action B. Baroque originally referred to a large, irregularly shaped pearl of the kind often used in jewelry the post-Renaissance period. 1.Baroque meant opulence, intricacy, and an appeal to the emotions. 2.Style is characterized by drama and theatricality seen in heightened realism and illusions of motion. 3.Classical elements are used without classical restraint. 4.Color and grandeur are emphasized, dramatic use of lights and darks C. Impact of Reformation and Counter Reformation D. Practitioners in Italy (Rome as center of early Baroque)

Realism

A. Style emerged in response to the social and economic consequences of industrialism and partly as an expression of discontent with the contemporary political and economic climate B. Realist artists had a profound sense of social consciousness and a commitment to contemporary problems of class and gender C. Falls under the general umbrella of a movement in the history of culture beginning in the mid-nineteenth century called MODERNISM. Modernism is an artistic and cultural movement that generally describes art, architecture, music, and literature emerging in the 19th century as artists revolved against academic and historicist traditions

SYMBOLISM

A. Symbolism in literature and art was a direct descendant of the Romanticism of the 18th and 19th centuries. It was an approach to find an ultimate reality that transcended a particular physical experience. As such, the credo was that a work of art is ultimately a consequence of emotions, of the inner spirit of the artist rather than of observed nature. B. For Symbolists, the reality of the inner idea, or of the dream was a way in which revelations might occur

Manifest Destiny

A. Term used to describe the territorial expansion of the United States across North America B. Term also encompassed notions of individualism, idealism, nationalism C. America characterized as a second Eden

AMERICAN PAINTING POST WORLD WAR I

A. United States entered period of isolationism that lasted until the Japanese bombing of Pearl Harbor in 1941 B. In the 1920s and 30s, many America artists returned to realism and to painting that chronicled American life C. Urban and industrial subjects attracted new realists who were inspired by photography, which, during the same decades took as subjects the clean, abstract geometries of the factory and skyscraper

RENAISSANCE

A.Designates the period roughly between 1300 and 1600 when the revival of classical humanism spread from its birthplace in Florence, Italy throughout Western Europe 1. Revival of Greco-Roman culture 2. New emphasis on humanist secular thinking that placed values on science, reason and the individual over religious mysticism 3. Pursuit of money and leisure, rather than a preoccupation with feudal obligations 4. Emergence of a new social order and rising merchant class 5. Artist/scientists combine their interests in Greco-Roman art with an impassioned desire to understand the natural world and to imitate its visual appearance 6. Rise of private patrons who commissioned paintings and sculpture to embellish their homes and palaces 7. Art became the evidence of material well-being as well as the visible extension of the ego in an age of individualism

Macdonald-Wright

Abstraction on Spectrum, 1914

REALISM IN AMERICA

After the Civil War Americans art students flock to Paris. 1. Most train at academies where they are schooled in formal, academic techniques. Most popular is Academic Julian 2. Since academic training revolved around the study of the nude, figure painting dominated the canvases of American painters in the post-Civil War period

Painting in Germany

Albrecht Durer (1471-1528): Personally acquainted with many of the leading humanists of his time. First Northern artist to leave a record of his life and career through correspondence, self-portraits and a readable diary. Leader in Northern Renaissance print making and one of the finest graphic artists of all time 2. MASTERWORKS: Four Horsemen of the Apocalypse, c. 1497-98; Knight Death and the Devil, 1511

DE STIJL (The Style)

An art form advocating pure abstraction and simplicity—form reduced to the rectangle and other geometric shapes and color to primary colors, along with black and white

Synthetic Cubism

Artists constructed paintings and drawings from objects and shapes cut from paper or other materials to represent part of the subject. Picasso and Braque pasted mundane objects, such as wine labels, playing cards and scraps of newspaper onto the surface of the canvas to create a collage.

FAUVISM

Artists who launched this movement believed that color could be an expressive force in its own right. Their work was intended to shock the viewer, visually and psychologically, with its intensely surprising arbitrary color. Based on the way these artists used color, an art critic labeled them Les Fauves or Wild Beasts.

TWENTIETH-CENTURY AMERICAN REALISM

Belief that our cultural dependence on Europe needed to be severed. Need to develop an American vernacular or language. Cultural nationalism in both literature and art. Rallied around the painter Robert Henri in New York City and formed a group called "The Eight." They are still sometimes referred to as the Ashcan School, a derogative term suggesting the types of "lowly' subjects painted in a gritty and often unflattering light that was considered inappropriate by traditional standards. The Eight captured the changes made by immigration, mass media, shifting general roles, and the increasingly lavish display of public wealth.

NON-OBJECTIVE ART

Between 1909 and 1914, artists working independently of each other in Europe came to similar conclusions: the notion of purging art of all recognizable subject matter.

Boogie Woogie Broadway

Broke with limited color range, tiny blocks of color create a vital, pulsing rhythm and an optical vibration that jumps from intersection to intersection like the streets of New York

Pre-WW II Sculpture

Collaboration between Picasso and Julio Gonzalez 1. Until shortly before their collaboration, Picasso had made virtually o sculpture since his Cubist relief assemblages done pre-WWI 2. Picasso, Woman in the Garden, 1929-30: Large, open construction consisting of curving lines and organic shaped planes

ART NOUVEAU

Definable style that emerged from the experiments of painters, architects, craftsmen, and designers. Grew out of the English arts and crafts movement who saw the world of the artist-craftsman in the process of destruction by industrialization. Art Nouveau artists explored the less well known and out of fashion styles deriving from medieval, Oriental, or primitive art forms. While seeking a kind of abstraction, they were not yet prepared for a completely non-objective point of view. Most of their decoration had a source in nature, especially plant forms.

IMPRESSIONISM

Departed from Realism's objectives of recording nature with unbiased objectivity. As an art of pure sensation, Impressionism was a response to nineteenth century research in the physics of light, the chemistry of paint, and the laws of optics. Interest in the effects of outdoor light. Rejection of techniques of academic modeling. Flat areas of color placed next to each other without mixing paints. Strove to give the viewer a sense of the process of painting and of immediacy

Cimabue

Duccio's counterpart is Cimabue, who sums up the Italian Byzantine tradition, making way for the development of the Renaissance: Madonna Enthroned, c. 1280

ABSTRACT EXPRESSIONISM

Epicenter of what was happening in the art world shifts to American shores 1. Also called "action painting," and the "New York school," Abstract Expressionism stressed energy, action 2. Began to take form in the late 1940s and 50s, partially as a reaction to the war that devastated Europe and left in its wake a world in crisis 3. Americans took "automatism" one step further, relying on instinct to shape works of art that were not only irrational, but unpremeditated accidents 4. Movement was heavily indebted to the ideas of the European pioneers of abstraction, including Vasily Kandinsky 5. In 1952, Harold Rosenberg first used the term "action painting" to describe the Abstract Expressionist method

Sculpture

Free-standing nude sculpture revived 1. Extremely lifelike 2. Interest in anatomy and function of the body

POST-IMPRESSIONISM

Group of Western artists who followed the Impressionists who are linked by their modernist direction 1. Post-Impressionism was both an extension of Impressionism and a rejection of its limitation. 2. Post-Impressionists continued using vivid colors, thick application of paint, distinctive brushstrokes and real-life subjects, but their aim was to portray more emotion and expression in their paintings

Reginald Marsh

Inherited and carried on the tradition of using street life as subject matter, but unlike the isolation felt in Hopper's work, his scenes are teeming with life. 1. Tattoo and Haircut, 1932 2. Ten Cents a Dance, 1931

Louis Sullivan

Objective was to break with historic styles of architecture, allowing new materials, technologies and the spirit of the age to help create an innovative, new style 1. Wainright Building, 1890; Carson, Pirie, Scott Department Store, 1893

Robert Henri

Laughing Child, 1907

FUTURISM

Mandate based on a series of manifestos that attacked museum art and all forms of academic culture, and linked contemporary artistic expression to industry, technology, and urban life.

PICASSO'S GUERNICA

Modern art's most powerful antiwar statement created by the 20th century most well-known artist 1. Not the mural he has in mind when he agrees to paint the centerpiece for the Spanish Pavilion of the 1937 World's Fair 2. In April 1937, unprecedented atrocities are perpetrated on behalf of General Franco against the civilian population of a little Basque village in northern Spain. Chosen for bombing practice by Hitler's war machine, the town is pounded with high-explosive incendiary bombs for over three hours. The town burns for three days 3. When news of the massacre reaches Paris, more than a million protesters flood the streets to voice their outrage Appalled and enraged he quickly sketches the first images for the mural

Pierre Auguste-Renoir

Moulin de la Galette, 1876: Parisian dance hall. Emphases on urban scenes in the form of leisure activities such as dining, dancing and socializing.

BAUHAUS

Occupies a place of its own in the history of 20th century culture, design, art, and new media 1. One of the first schools of design, it brought together a number of the most outstanding contemporary architects and artists, and was not only an innovative training center, but also a place of production and a focus of international debate 2. Founded in 1919 in Weimar, Germany, its first director and founder was Walter Groupius 3. Bauhaus moves to Dessau in 1924, but is forced to move again after the Nazis became the biggest party in Dessau in 1932. It dissolved under pressure from the Nazis in 1933 4. Practical work in the workshops was the core training element 5. Students were called apprentices, journeymen and master craftsmen in accordance with artistic tradition 6. A company was formed at the Bauhaus in 1925 in order to see products developed at the school

Lily Martin Spencer

One of the only female genre painters to purse a career in the antebellum period 1. Kiss Me and You'll Kiss the Lasses, 1856

RUSSIAN AVANT-GARDE

Paintings of the Russian avant-garde generally fall into two categories: one focuses on issues of technique and style, the other concentrates on social and political issues

COLOR FIELD PAINTINGS

Paintings with solid areas of color covering the entire canvas 1. A type of abstract expressionism, artists were interested in the atmospheric effects of vast expanses of color, filling the canvas, and by suggestion, beyond it to infinity 2. Paintings are large, meant to be seen close so that the viewer is immersed in the color environment

EARLY-TWENTIETH CENTURY MODERNISM IN AMERICA

Period of 1900-1940 was an era of tremendous change in American. It was the era of the first World war, prohibition, the great prosperity, the Great Depression, the Jazz Age, and the rise of Nazi Germany. It was a period when the accepted order was being overturned and when revolution, in Russia and in China, was taking hold. For young Americans interest in Modernism, Paris was still the place to be.

Piet Mondrian

Published a manifesto entitled Neo-Plasticism in 1920. In Composition, 1920, he moves towards his signature style: primary colors set up a gridlike form separated by bands of black. Inspiration was largely spiritual. Aim was to distill the real world to its pure essence. Wanted to create a universal language. Achieved aesthetic balance through the uses of opposition.

SCULPTURE IN THE LATE NINETEENTH-CENTURY

Sculpture was not easily adaptable to capturing the optical sensations favored by many painters in the late nineteenth-century, but that did not dissuade sculptors from pursing many of the ideas fundamental to the movements of Realism, Impressionism, and Post-Impressionism

DADA

Sought to completely undermine the history of western art. Consisted of a loosely knit group of European painters and poets who, having witnessed first hand the destruction and inhumanity of WW I, dedicated themselves to the undoing of traditional values and culture.

Painting in Catholic Flanders

Southern provinces, whose major cities include Antwerp, Brussels, and Bruge remain under Catholic control and the art of Flanders retained close connections to the Baroque art of Catholic Europe.

Synchromism

Style developed by Morgan Russel and Stanton Macdonald-Wright that carries the connotation of symphonic and color harmonies. Desire to move away from a monochromatic palette of the cubists and to seek a more elemental use of color, light, and form. Two artists exhibited their works jointly only a few times within the space of a few years.

EXPRESSIONISM

Term can be used to describe various art forms, but, in its broadest sense, it is used to describe any art that raises subjective feelings above objective. observations. Paintings reflect the artist's state of mind rather than the reality of the external world.

International Style

Term used to describe Bauhaus architecture in the U.S. Characterized by regular, unadorned geometric forms, open interiors, and the use of glass, steel, and reinforced concrete

Jean-Francois Millet

The Gleaners, 1857: Members of the lowest level of peasant society shown gleaning. Invested with the kind of monumentality that would have been reserved for historical painting

Neoclassicism in America

Versatility of style as Thomas Jefferson uses it to reflect the ideals of representative democratic qualities. Neoclassicism to dominate government and municipal buildings in the United States.

Age of Enlightenment

a. New era of reason, time of great optimism b. Learning frees itself from the Church and literacy becomes widespread c. Impact of the philosophical and economic theories of Thomas Hobbes, John Locke and Adam Smith

1. Philosophes Response to Rococo

a. Viewed as morally bankrupt b. Diderot, editor of Encyclopedia. Champions work of Greuze and Chardin that taught moral lessons, dismissing the frivolities of the rococo and ennobling the working class c. Jean-Jacques Rousseau: Opposed government of any kind. People can be happy and fee only in a "state of nature." d. Voltaire: Championed deism. Proposed social reform

Rococo in England

a. William Hogarth (1697-1764): satirist of contemporary life who reacts against the major themes of the Rococo. Acts as a counterbalance to the artistic frivolity of the Rococo. The Marriage Contract, 1744 b. Thomas Gainsborough and Sir Joshua Reynolds: Develops "Grand Manner" style of portraiture

Architecture

the art or practice of designing and constructing buildings.