ARTHI 1 Final UCSB

Realism Movement (Short Answer #1)

***from book -developed in france -developed around midcentury against a backdrop of an increasing emphasis on science -Consistent with philosophical tenets of the empiricists and positivists, realist artists argued that only the contemporary world-what people could see-was real -They focused their attention on the people and events of their own time an disapproved of historical and fictional subjects on the ground that they were neither visible nor present and therefore were not real -They paint mundane subjects that artists traditionally deemed unworthy of depiction-working class laborers or peasants -depicted these scenes on a scale and with a seriousness that implied parity between contemporary subject matter and historical, mythological and religious painting -unlike the theatricality of romanticism, realism captured the ordinary rhythms of life -Realism departed from the established emphasis on illusionism -realists called attention to painting as a pictorial construction by the ways they applied pigment or manipulated composition -Leading figure of realism was Courbet --His intentionally simple and direct methods of expression in composition and technique seemed crude to traditionalists, who called him primitive. -his somber, bold pallete was traditional but he often used a palette knife to quickly place and unify large daubs of paint, producing a wrought surface. Public accused him of being careless and had brutalities **from Professor -replaced idealistic images, history painting, and allegories with real-life/contemporary events -wanted to merge art and life -some artists of this movement rejected painterly techniques, like perspective -Salon des Refuses (salon of the rejected) was set up so the public could decide which approach to art was better -French academy traditionally depicted religious and mythological themes

Jackson Pullock Number 1 (Lavender Mist)

- -gestural abstractionist -Jackson Pollock best represents gestural abstraction, such as Number 1, 1950 -consists of rhythmic drips, splatters, and dribbles of pain tand envelops the viewer into a lacy spider web onto the canvas show a creative process which is the central element of gestural art -used brushes, and paint sticks, sometimes added sand, glass, and cigarette budds, -flinged paint across the surface, mostly house paint -expression of artist's emotion rather than being carefully planned or symbolic/representative meaning

Damien Hirst For the love of God

-2007 -consists of a platinum cast of an 18 century human skull encrusted with 8,601 diamonds, including a pear shaped diamond located on the forehead known as the Skull Star Diamond -teeth are original and were purchased by hirst in london -The artwork is a Momento Mori, or reminder of the mortality of the viewer -Medieval era mortalty -wanted to avoid identity being a factor of discussion -asking price was 50 million euros

Virtually Squared by James Turrel

-2014 -United States -strange environment -lit up from all sides -contrasting color in the middle -difficult to see corners of the room, have to grope through space -similar in terms of a vertigo experience -lose a sense of where you are at in the room -a neon light filled room -gives a sense of weightlessness as the eyes are decieved when the colors change in intensity and solid forms dissolved into space -light/color/space has an impact on perception of themselves and the surrounding world -hard to tell where walls end

Short Answer #9 DADA and WWI

-Dada turned away from logic in favor of the irrattional -the element of abusdity is a cornerstone of Dada -wanted something irrational and nonsensical -main goal was to underminde cherished notions about art -they attacked convention/logic, opened up new avenues for creative invention -were lighthearted in their subversion -the horror and disgust of war intially prompted dada, after an undercurrent of humor and whimsy ran through the art -they believed art was able to have self-revelation and healing, -emphasis was on spontaneity and intitiuative -dada, the movement's name came about by opening a dictionary into a french german one, and they hit the word dada -dada is french for a child's hobby horse -raising question about what constitutes art, whether it has to be made by an artist, require skill, etc -aggressively reacting against established art -materials that are worth very little end up being work millions (criticism)

Short Answer #6 Gaugins work in relation to french colonial system

-In 1888, Gaugin settled in Tahiti because he believe it offered him a life far removed from materalistic europe as well as an opportunity to reconnect with nature, but upon arriving he discovered that the South Pacific Island, under french control, had been extensively colonized. Dissapointed, he desired to mantain his vision of an untamed paraidse by moving to the Tahitian Countryside, where he expressed his fascination with primitive life in a series of canvases in which he often based the design on native motives. The tropical flora of the island inspired the harmonies of liliac, pink, and lemon, in his painting -He used native women and tropical colors to present a pessimistic view of the inevitability of the life cycle -scene is a tropical landscape populated with native womena dn children -center depicts a polynesian Eve in the prime of youth, at the left is a crouching old woman contemplating death -he was in a search far away from industrialized france

SHORT ANSWER #14

-Performance art replaced traditional stationary artworks with movements, gestures, and sounds performed before an audience. - at first, Performance art was now being taken out of art institutions, muesums, and galleries Example 1: Marina Abramovics Rhythm 0 -a six to 7 hour performace -Naples 1975 -the audience could probe, tease, cut, penetrate, shoot, mark her body up in any way they desired with 72 objects that were put around her. -She went through immense amount of pain with their actions -She said there ended up being 2 groups the protectors and the vandals -The protectors intervened -women didnt touch her, and encouraged the men -What can happen when people are left to do anything they want -Made herself vulnerable to the audience Example 2: Rhythm 5 Abramavic 1974 in Belgrade -she lost conciousness in a burning star, brushed her hair to her scalp bled, screamed to she lost her voice -Pain is a constant in her art -she says she becomes imortal in art -going through a door of pain to embrace life -confronting pain is important in self awareness

SHORT ANSWER #11 Abstract Expressionist

-WWII caused an influx of artists to escape to the US, spefically NY where the first major American Avante garde movement-Abstract Expressionism-emerged -Abstract Expressionist movement developed along two lines, gestural abstraction and chromatic abstraction -Jackson Pollock best represents gestural abstraction, such as Number 1, 1950 -consists of rhythmic drips, splatters, and dribbles of pain tand envelops the viewer into a lacy spider web onto the canvas show a creative process which is the central element of gestural art Mark Rothko was a chromatic abstractionists -simple. with color serving as the primary conveyor of meaning -Example No 14 -consisted of hazy rectangles, of pure color hovering in front of a colored background -compelling visual experience -elicited emotional response in viewers

Marina Abramovic Rhythm 0

-a six to 7 hour performace -Naples 1975 -the audience could probe, tease, cut, penetrate, shoot, mark her body up in any way they desired with 72 objects that were put around her. -had a gun held to her head, injured, stripped down, kissed, wrote on, etc -ideas about gender -She went through immense amount of pain with their actions -She said there ended up being 2 groups the protectors and the vandals -The protectors intervened -women didnt touch her, and encouraged the men -What can happen when people are left to do anything they want without consequence -Made herself vulnerable to the audience

Short Answer #7 what scientific/culture changes took place that led artists to reimagine the world (1890s-1900s)

-by the end of the late 19th cent, many artists turned away from the real world to the imaginary -many of the artists following this path, adopted an approach to subject and form that associated with a general european movement called Symbolism. -Fin-de-siecle means end of the century, it describes european culture of the late 1800s -at this time, increasinly large and prosperous middle calsses were aspiring to gain advantages that the aristocracy typically enjoyed. The masses, embraced a culture of decadence and indulgence. Characteristic of this period was, sexual drives, powers, perversions. People at the end of the period also immersed themslves in an exploration of the unconciousness. This culture was unrestrained and freewheeling, but the determination to enjoy life masked and anxiety prompted by significant political upheval and an uncertain future. Culture most associated with this wa Austria. Example: Gustav Klimit -captured the flamboyance of this period in his work -a couple kneeling and embracing eachother -erotic union, playing on sexual desires 20th Century of Modernism -Between 1900 and 1945 major industrial powers fought two global wars, witnessed rise of communism, fascism, and Nazism and suffered the Great Depression -Franz Marc's Fate of Animals --represents the culimination of his efforts to create an iconography of color -painted in 1913 when horrific tension of impending warfare had prevaded society, the animals appear to be trapped in a forest amid falling tress, some apocalyptic event destroying both the forest and animals -his painting distorted the entire scene and shattered it into fragments -colors of severity and brutality dominate the work -his painting portended war's anguish and tragedy -in a letter to his wife, subsequent to joining the war, he said fate of animals is a premontion of this war, horrible and shattering

Short Answer #8 Cubist Movement

-first phase of cubism developed jointly by Picasso and Braque is called Anaylitical Cubism -they began to dissect the forms of their subjects and to present their anaylsis of form across the canvas surface -They rejected pictorial illusionism that dominated western art for centuries -rejected naturalistic depictions -they preferred compositions of shapes and forms abstracted from the conventionally percieved world -anaylitical cubist paintings radically disrupt expectations about representation of forms space and time -Ex. Portuguese by George Baraque -Second phase of cubism was called synthetic cubism in which instead of dissecting forms, artists constructed paintings and drawings from objects and shapes cut from paper or other materials -Ex. Picasso's Still life with Chair-Canin -a mixed media work in which the artist placed a piece of oilcloth and brushstrokes on top of photolithograph of a cane chair pased to the canvas. Framed with rope this work challenges the viewer's understanding of reality -They wanted to move far beyond the description of visual reality -Influence by Cezzane and his analysis of form

Impressionism Movement (Short Answer #1)

-impression painters had short,choppy brushstrokes -the mixing of colors by juxtaposing them directly on white canvas-also a sharp break from traditional painting-produces a more intense hue than the same colors mixed on the palette. -lacked polished surfaces and sharp contours of academic painting -takes on clarity only when eye fuses the brushstrokes at a certain distance -breaks with the traditional studio practice and no sketch, paints outside -impressionists do incorporate the qualities of sketches, abbreviation, speed, and spotaneity but they considered their sketchlike works to be finished painting, a radical modernist idea -breaks sharply from traditional landscape painting, made no attempt to disguise the brushstrokes or blend the pigment to create smooth tonal gradations and an optically accurate scene like French Academy paintings -operated at what artists felt and saw, interaction of objective descriptions of the exterior world and a solely subjective response -They were sensations, the impressionists subjective and personal responses to nature, formed and recorded outdoors -impressionists painted scenes in and around paris, the heart of modern life in France

Short Answer: ANSWER 12 Edge and the Art Collector

-the art collector created a culture in which the constant need for an edge drove people to do bad things -like a shark, if you're not moving you die -Performance artists in the 20th century decided to make art new and exciting, -They questioned what art entailed and what it was defined as -Marina Abramavic used her Rhythm 0 as an edge -She broke traditional rules -interacted with the audience -engaged with them

Short Answer #4 19th Century Art photographs v 19th cent Aesthetic photographs

-the camera was a machine that yielded pictures untrue to the complexities of human perception, while the central activity of art-soul speaking to soul-was forcelosed by photography -camera is merely a recording instrument

Jeff Koons Balloon Swan

2013 US ballon animals, shiny, huge stainless steel with transparent color coatings they see their reflection, a reflection of art occurs inside the viewer. -childhood feel to it more open to participating in art -cause themselves to be involved in the art, it triggers their inner feelings, and the size makes the objects immovable and permanent ultimate objects of desire sold for 58.4 million connects to childhood,memories, and simplicity -mirrored reflective quality -Capitalism in the art world. doesn't produce by hand and exaggerates the sale aspect

Miranda July Somebody

2016 -contemporary -located in NY -idea that we only engage with people through our screens -app forces an interaction with a stranger because it sends your tect to someone else near the recipient -use of media outside of a gallery space -influence by a globally and technolgical advancement -an app that asks strangers to deliver messages between strangers/friends. When sending a message, the message goes to a user nearest to your friend, usually a straanger. They have to find you with the message. -connects you with someone you dont know -every relationship ends up three ways

Short Answer #5 Post Impressionists v. Impressionism

By, 1880's Post Impressionists thought: -felt that in attempting to capture momentary sensations of light and color on canvas, too many important elements of traditional painting were being lost -they were more interested in systematically examining the properties and expressive qualities of line, pattern, form and color -have roots in impressionism, but not stylistically homogenous, so they are known as Post Impressionists, -Georges Seurat had impressionist subjects in his paintings but he depicted modern life in an intellctual way. -He was less concerned with recording of immediate color sensations than with their careful and systematic organization into a new kind of pictorial order. -His system, Pointillism involves carefully observing color and separating it into component parts, he applies pure component parts onto the canvas in dots and thus, the shapes in the image becomes comprehensible only from a distance when the viewer's eye blends the dots Example: A Sunday on La Grande Jatte, it was on a huge canvas in the tradition of the official salon -his images are rigid and remote, unlike the spontaneous representations of impressionism -the painter did not break the light into transient patches of color, it had an organization -placed each form in space to set up rhythmic movement, in depth and side to side

Henry Peach Robinson, "Fading Away" (ID)

DATE: 1858 LOCATION: London -Product of Pictoralism which emphasized beauty of subject matter, compostion and tonality rather than docementation of reality -artificial technique and subject matter was considered morbid and painfully intimate -there was a controversy of private and delicate -disturbed the public with its scene of a dying young girl being attended by her family -flat image because its combined image -combination print photography, created with 5 different images ---combined negatives, a hand drawn sketch with a photograph inserted -he made a preliminary sketch and then shot segments of his picture, developed them, then glued them over draft of the sketch -also an albumen print, which used egg white to give the final photograph a sheen -although the space between the girl and the wall beyond the window is unnaturally compressed, the illusion of the image having been taken in one camera shot, not built up from individual pictures is strong

Edouard Manet, "Olympia" (ID)

DATE: 1863 LOCATION: PARIS OIL ON CANVAS REALISM MOVEMENT -Scandalous to the French public -depicts a young white prostitute reclining on the bed -The name Olympia was a common professional name for prostitute -She is nude except for a thin black ribbon tied around her neck, a bracelet on her arm, an orchid in her hair, and slippers -shoes are fashionable and moder -black cat and removed slipper means loss of innocence -the flowers and orchid placed in her hair alludes to the sexual act -Olympia meets the viewer's eye with a look of cool indifference -black maid presents olympia with a bouquet of flowers from a client -he turned titan's Venus of Urbino and made her into a harlot (opposite of that woman depicted) - the painting's dark background, and little clothing helped to heighten her nakedness -the values are either dark or light, flattens the form -painting horrified publics and critics b/c although images of prostitues were not unheard of, Olympia had no shame and look verging on defiance shocked viewers -also shocked french public b/c although included black individuals was not unheard of, his inclusion of both a black maid and prostitue evoked moral depravity, inferiroirty, and an animalistic sexuality, and a racial division -criticized on subject matter and artistic style -his brush strokes are much rougher and the shifts in tonality far more abrupt than those found in traditional painting

Edouard Manet's, "Luncheon on the the Grass" (ID)

DATE: 1863, Realism LOCATION: PARIS OIL ON CANVAS -depicts two clothed men and one nude woman and one clothed woman at a picnic -Manet based all four figures on real people, including Manet's favorite model and his brother -The two men are wearing Parisian attire of the 1860's -Nude woman is a distressingly unidealized figure who also seems to be completely unfazed by her nakedness -she gazes directly at the viewer without shame or flirtatiousness -neither she or her companion pays attention to what the second man is saying to them -second woman appears to be looking for something in the water -no luncheon on grass, maybe aftermath of one -He caused them to be in soft focus and broadly painted the landscape -the lighting creates strong contrasts between dark and highlighted areas -In the main figures, many values are summed up in one or two lights or darks, the effect is both to flatten the forms and set them sharply from the setting -This is not truly realism, because the subject is incomprehensible -He wanted to reassess the nature of painting to many painting genres ; pastoral scences, nudes, history painting, portraiture, and even religious scenes -shocked his contemporaries, moved away from illusionism, used colors to flatten form and to draw attention to the painting surface -his subject matter and technique was criticized -rather than depicting a traditional pastoral scene, it features ordinary men and promiscious women in a parisian park -He moved away from illusionism toward an open ackwoledgment of paintings properties such as the flattness of the painting surface ** -second figure is out of place, looking water,classical reference -failed to create a satisfactory three dimensional illusional -outdoor ligthting is off -Broke all rules including the rule of classification-is it a nude, history paitning, pastroal scene? -caused a sensation because it mixed up artistic genres

Julia Margaret Cameron "Ophelia Study No. 2" (ID)

DATE: 1867 LOCATION: Rochester New York during Victorian Period -Albumen print which uses egg white to give it a sheen look - took pictures of her friends and neighbors as biblical or literary subjects -a crucial psychological moment in a story that would be well known to audience -slightly burred focus technique which she kept from her early attempts at photography -this was her technique and many thought she was inexperienced, but she chose to do this -soft focus image -no sense of color, more sepia like -holding herself rigid, but natural -reflection of class and privilage -seems candid and in passing -balance b/w precise capturing of world and art -Romanticized moment -subject is in her own life titled after a shakesperian character, Ophelia -private, reproducible and intimate -took 5 min but still dynamic -trend of photography among the upper class, creates aesthetic portfolios of themselves, sense of identity

Claude Monet's "Impression Sunrise"

DATE: 1872 LOCATION: PARIS Modernism or impressionism -he was criticized and compared to the traditional, his picture was trivial, thoughtless and amateurish -interested in optics, the eye sees changing effect light and color not the precise record of the photographic lens -rapid, short choppy brush strokes -needs to be viewed from a distance to take shape -reflected sun on water -captured the magnificent poetry of the passing moment -the view of the harbor -breaks sharply from traditional landscape painting, made no attempt to disguise the brushstrokes or blend the pigment to create smooth tonal gradations and an optically accurate scene -operated at the what artists felt and saw, interaction of objective exterior world and subjective response -he started and finished this painting outside, he was able to capture an instantaneous representation of atmosphere and climate -focused on the roles that light and color play in the way nature appears to the eye -conveys a sense of the momentary and transitory Interpretations: -he had readily available premixed pigments of a wider array of colors in easily portable tubes, allowed artists to give their paintings more colors and heightened their sensitivity to the multiplicity of colors in nature -he caught the vibrating quality of light -broke with traditional studio practice and painted it en plein air using short brushstrokes of pure color on canvas without any preliminary sketch

Vincent Van Gogh "The Starry Night" 1889

DATE: 1889 Location: Saint-Remy -Post Impressionism period -he was living in assylum, he committed himself -had an expressive style, was an "expressionist" -an abstract pattern of expressive line, shape, color -he did not represent the sky's appearance. Rather he communicated his feelings about the electrifying vastness of the universe, filled with whirling and exploding stars with earth and humanity huddling beneath it. -he utilized color to express himself forcibly -the turbulent brushstrokes and color suggests a quiet, but pervasive depression -thick layers of paint -applied with paintbrush, hand, or knife -a letter to his brother suggested his state of mind

Louis-Jaques-Mande Daguerre "View of the Boulevard du Temple

DATE: 1893 Location: France Victorian Daguerrotype -french gov gave him pension for the rest of his life -celebrates photogrpahy's ability to make convincing pictures of the world -suited an age that saw an emergence of realism and a pronounced shift of artistic patronage away from elite toward a broader base of support -First official type of daugerreotype -first photograph -pretreated to a silver plate with iodone and then used mercury fumes to bring out image -exposure time was of 5 minutes -crowded street appears empty except for one guy getting his shoes polished -man getting his shoe's shined stayed long enough to register as opposed to other parisians because the 10-15 minutes of exposure did not register the busy street -Very high resolution -single image -elevated viewpoints emphasize wide avenues, tree-lined streets, and buildings of french capital -objects are no longer blurry masses of light and dark, but are defined separate structures

Paul Gauguin "Where Do We Come From? What Are We? Where Are We Going?"

DATE: 1897, created during post impressionism art LOCATION: TAHITI, COUNTRYSIDE -In 1888, Gaugin settled in Tahiti because he believe it offered him a life far removed from materalistic europe as well as an opportunity to reconnect with nature, but upon arriving he discovered that the South Pacific Island, under french control, had been extensively colonized. Dissapointed, he desired to mantain his vision of an untamed paraidse by moving to the Tahitian Countryside, where he expressed his fascination with primitive life in a series of canvases in which he often based the design on native motives. The tropical flora of the island inspired the harmonies of liliac, pink, and lemon, in his painting -reference to sprititual figures -narrative of life with god watching over -He used native women and tropical colors to present a pessimistic view of the inevitability of the life cycle -scene is a tropical landscape populated with native womena dn children -center depicts a polynesian Eve in the prime of youth, at the left is a crouching old woman contemplating death -he was in a search far away from industrialized france -Sleeping infant is where we come from, standing figure is what we are, and crouching old lady is where we are going -color appears flat, often visually dissolving into abstract patches or patterns -bright yellow corners make figures flat in space, not on the ground -Can be read as a summary of his art and views on life

Paul Cezanne, Mount Sainte-Victoire

DATE: 1902-1904 LOCATION: Aix-en-Provence -sought out to achieve Poussin's effect of distance, depth, structure, and solidity, not by using chiaroscuro or traditional perspective, but by recording the color patterns that he deduced from an optical analysis of nature -created the illusion of three-dimensional form and space, chose specific colors -applied small patches of juxtaposed colors, some advancing and receding to create volume and depths in his work -main space stretchesout beyond the canvas plain and includes numerous small elements such as roads, fields, houses, and each seen from a slightly different viewpoint - the mountain seems to be both close and far, an effect by equally stressing background and foreground contours -the proportions of objects vary -replaced the transitory visual effects of changing atmospheric conditions with careful anaylsis of lines, planes, and colors of nature -

Henri Matisse, Woman in the Hat

DATE: 1905 Fauvism Location: France -belived color could play a primary role in conveying meaning -his wife, amelie, is depicted in a conventional manner compositionally, but the arbitrary colors startle the viewr -the women's face, clothes, hat, and background consists of patches and splotches of color juxtaposed in ways that sometimes produced jarring contrasts -pure colors recieved stronger reactions from the viewer -used colors to communicate emotional states -merging between the form and background -unnatural colors that dont go together

Georges Braque "The Portuguese"

DATE: 1911 Cubism Movement LOCATION: Basel -example of analytical cubist painting -subject is a portuguese musician whom the artist recalled seeing years earlier in a bar in Marseilles -dissected man and his instrument and placed the resulting forms in dynamic interaction with space around them -Viewer must work diligently to discover clues to the subject -light and dark passages suggest chiaroscuro -transparent planes that enable the viewer to see through one level to another -solid forms emerge only to be canceled by a different reading of the subject -stenciled letters/numbers add to complexity, they enable the painter to play with the viewers perception of two and three dimensional space -letters/numbers lie flat on canvas surface, yet shading and shapes of other forms flow behind and underneath them -the constant shifting of the image makes it impossible to arrive at any definitice reading of the image. -used subdued hues to focus on forms -breaks down objects to reassemble different viewpoints to be seen all at once -dissects the man and his guitar -subdued hues, mostly browns -gives hints as to the subject-can be seen through different planes -reflective of the industrilization period - rejected the pictorial illusionism, concentrated on dissecting form and placing it in dynamic interaction with space

Umberto Boccioni, "Unique Form of Continuity"

DATE: 1913 LOCATION: Italian Futurism -bronze statue, smaller than 2 feet -abolished the enclosed statue -highlighted the formal and spatial effects of motion rather than their source, the striding human figure -figure is so expanded, interrupted, and broken in plane and contour that it almost disappers behind the blur of its movement, just as people, budilings, etc become blurred when seen from an automobile traveling at great speed -motion only through posture and agitated drapery, not through distortion and fragmentation of the body -face is instinguishable instead covered with a cross/helmet -Italy was building a sense of identity, fantasy of the imperfect human body merging with forces than that -portrayal of a soldier-warrior -heavy. solid combined with metallic articulation of speed/power -aura of imminent violence and machine like strength -derived from Rosso

Marchel Duchamp, Fountain

DATE: 1917 -LOCATION: NEW YORK, DADA -Dada emerged as a consequence of WWI -beginning of conceptual art -exhibited "ready-made-sculptures", mass produced objects that the Dada artist modified -ready mades were free from any consideration of either good or bad tastes, qualities shaped by society that he and other dada artists found aesthetically bankrupt -This was a porcelain urinal presented on its back, signed R. Mutt and dated 1917 -The artists signature was a witty pseudonym derived from Mott plumbing company and that of the taller man of a comic strip duo Matt and Jeff -sense of humor -the art of this artwork lay in the artist's choice of object, which had the effect of conferring the status of art on it and forcing the viewer to see the object in a new light -raising question about what constitutes art, whether it has to be made by an artist, require skill, etc

Leni Rienfenstahl Olympiad Athlete Skills

DATE: 1936 LOCATION: GERMANY -1936 -filmmaker, photographer, actress -film made in celebration of berlin olympics -extremely staged nazi film, funded by hitler's fascist regime -shots of athletes accomplishing something amazing with beautiful background -shots are cut between athletes and massiveness of crowds -individuals weeping about excitement over fascism -direct reference to discus thrower

Vasilly Kandinsky "Improvisation 28"

DATE: 1937 LOCATION: New York -german expressionist -pure abstraction -he believed artists must express their innermost feelings by orchestrating color, form, line, and space -color=emotional intensity -he was one of the first artists to explore complete abstrations in paintings called impovistations -red is matter, heavy brutal heavy -painting is incomprehensible and depicts nothing in the real world -express innermost feelings by orchestrating color, form, line, and space -sought to convey feelings by color juxtopositions, intersecting lines, and implied spatial relationships -saw these abstraction as evolving blueprints for a more enlightened and liberated society emphasizing spirituality

Mark Rothko No 14

DATE: 1960 SAN FRAN -chromatic abstraction which was caused by WWII devestation -color field painter -located in San Francisco -a quiet aesthetic -simple. with color serving as the primary conveyor of meaning -confined his composition to two or three large rectangles of pure colors with hazy edges -forms are shimmeringveils of intensly luminous colors that appear to suspended in front of colored background of his canvases -eht color juxtaposes are captivating and he wanted them to bemore than decorative -color was a doorway to another reality and could express human emotions-tragedy, ecstacy, doom -viewers have an experience with the paintings

David Smith Cubi XII

DATE: 1961 -a characteristic example consists of simple geometric forms-cubes and rectangular bard -made of stainless steel sections piled up on one another, often at unstanle edges and then welded together then cubi sculptures made a visual statement -reflects natural light and color of their outdoor settings -not sterile illumination of a musesum gallery, open art on hudson river

Short Answer #3 Louis Daguerre vs Henry Fox Talbot

Daguerre -daugerrotype process was understood to be available to all interested parties without charge, people worldwide would be making daguerrotype pictures in process christened photography -simple process, sharp/detailed picture -images could not be easily copied, it was a unique image -HOW TO MAKE ONE: a copper sheet plated with silver was given a high polish, the plate was placed with silver side down over a closed box containing ioidine; the silver fused with iodine created silver iodine which was light sensitive. plate was then fitted intoa camera obsura and exposed to light. Then it was put into a special box and exposed to mercury flames which blended with the silver to produce a visible image, then it was washed with table salt which stopped the response to light and carefully rinse with plain water after. -originally public suspicious of his methods -Arago helped to get French gov assistance of the process; arago thought Daguerre's process was simple and easily available for procedure to be copied, so he sought out getting Daguerre a pension and he said the process should be given to the world, -H. Gaucheraud thought it had a greater range of tones than etchings and drawings -Many people claimed to invent photography with their similar experiments -daguerreotype reighed supreme in photography till 1850's -created Latent development, that is brinigng out the image through treatment in chemical solutions shortened the length of time needed for exposure -he noticed there was a latent image on the exposed silver plate which could be treated with mercury fumes further developing it and making it visible -he also discovered a better way to fix an image by chemically stopping the action of light on the photographic plate which would otherwise continue to darken until the image turned black -a solution of table salt dissolved in hot water would stop the light sensitive materials from continuing to react -The process captures every detail-the subtle forms, varied textures, finely graduated tones of lifht and shadow -the objects can suggest that art will not endure forever Talbot -made negative images by placing objects on sensitized paper and exposing the arrangment to light -this created a light a design of light colored silhouttes recording the places where opaque or translucent objects had blocked light from darkening the paper's elmulsion -he also exposed sensetized objects inside simple cameras and with a second sheet created positive images -further improved process with more light sensitive chemicals and a chemical development of the negative image , this technique could produce multiple prints -he named his process the calotype -his process incorporated the texture of the paper, this produced a slightly blurred grainy effect very different from crisp detail, and wide tonal range available with Daguerreotype TALBOT -10-30 min to make his photogenic drawings -he soaked paper in a weak solution of table salt, and allowed it to dry. He then applied a solution of silver nitrate, which reacted with the sodium chloride to form light sensitive silver chloride. He placed an object ontop of the sensitized paper such as a leaf, lace, or fern. sometimes flattened it down with a paper and then exposed it to light ,,, when object was removed, a pale rendering of its shape remained on the paper -after object was removed he had to prevent light from darkening so he used a strong solution of table salt -his prints were called a SALT PRINT -he called his work as photogenic drawing (these negative images could be used to make positive ones) -after noticing the time need, how labor intenstive, etc, in 1835 he managed to make a picture after exposing sensitized paper in a small camera -after improving capability of photogenic drawinngs to make multiple copies, talbot would patent a photographic process called Calotype -had more muted tones -it made use of a latent image, unlike the daguerrotype with its single, unique picture, the calotype produced a negative, from which many prints could be made, -calotype was basis for modern photographic reproduction -he lost interest in photgraphy and switched to sceince and math, Dauggero announced his process, then he made that he generated photographs before 1839

Short Answer: Minimalist

Examples: 1964 -Worked like architects: drawing up plans, issuing orders, work done by assistants. -a denial of exprssion coupled with interest in making objects that avoided the apperance of fine art -Straight edged, relentlessly austere, three- dimensional cubes and rectangles made out of industrial material that sit in the middle of a gallery floor*. -a geometric rectangle devoid of figuration, texture, or expressive content. emphasized that art is independent intended this simple geometric shape to be stripped of metaphorical associations and focused on the artwork's interaction with the viewer -Not trying to make it look like anything. An object made out of wood or steel was an object made out of wood or steel- no more. -Wanted the viewer to deal with the physical object in front of them- not be distracted by the personality of the creator. -distanced itself from abstract impressionism coupled with avoiding the appearance of fine art Example David Smith 3 Cubi -direct order to things in a choatic world -no need to interpret it

Robert Morris Floor Piece

Located in Germany 1964 Worked like architects: drawing up plans, issuing orders, work done by assistants. Straight edged, relentlessly austere, three- dimensional cubes and rectangles made out of industrial material that sit in the middle of a gallery floor*. a geometric rectangle devoid of figuration, texture, or expressive content. emphasized that art is independent intended this simple geometric shape to be stripped of metaphorical associations and focused on the artwork's interaction with the viewer Not trying to make it look like anything. An object made out of wood or steel was an object made out of wood or steel- no more. Wanted the viewer to deal with the physical object in front of them- not be distracted by the personality of the creator. -distanced itself from abstract impressionism coupled with avoiding the appearance of fine art