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55 Cards in this Set
- Front
- Back
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Marriage a la Mode
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Hogarth: English 1780
-Themes of social Satire -Works reflects a rococo style |
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Shaman's Mask
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Micmac People: Siberia 1890's
-Bestows magical power to the weak -Made from the detached skin of the shaman -Facial Tattoos indicate tribal belongings |
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Bronze Head
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Portrait of a queen
-Benin Culture, Africa 1600 - Stylized the spirits of the dead -Highest ranking members in culture |
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Nkisi Nkonde
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Kongo, Central Africa
-Central African cultures -Origin of the misconception of the voodoo doll -Inserting nails represents a request to the owner -Intention may be a curse or healing |
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Lord Pacal and Lady Xoc
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Limestone relief
-Mayan, Mexico 750 CE - Mayan deities surrounded by stone relief carvings of "glyphs" -Lord Pacal with queen, who is draining blood for an offering -Carries flaming spear |
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The Oath of the Horatii
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Jacque-Louis David
-French, Neoclassical 1784 -Classical greek and roman theme (high detail, austere composition) -Return to class virtues of simplicity and truth |
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Odalisque
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Ingre, French, 1814, Neo-classical
-Reclining nude reflects interest in 'orientalism: depiction of idealized and sexually charged images' -Image features exaggerated anatomical details to accentuate the sensuous effect of the back |
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‘Liberty Leading the People’, Eugene Delacroix, Romanticism, French, 1830
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Romantic depiction of idealized symbol of Lady Liberty, topless carrying the revolutionary French Flag.
This image is considered a ‘romantic’ painting although it borrows from the painterly tradition of the realist painters of the time, who depicted the everyday life of the working classes. |
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‘The Death of General Wolfe’, Benjamin West, 1770, American/British, Academic Style
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Image depicts death of famous English General at the battle of Montreal. Controversial ‘history painting’ genre rejects traditional propagandistic elements of showing only heroism and military success.
Event witnessed by Indian (foreground left) reminds viewers that the native peoples of the world would soon become aware that the British conquerors were as mortal as they. |
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Blue Boy, Thomas Gainsborough, ca. 1780
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Depicts young subject standing in an assertive contrapostal pose as the inheritor of the empire. Facial expression shows a sense of determination and perhaps an edge of cruelty which were essential to the expansion of the Empire.
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‘The Third of May, 1808’, Goya, 1814, Spanish
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This painting often considered Goya’s greatest captures a sense of passion , fear and rage that expressed Goya’s feelings towards the invaders
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The Wanderer, Caspar David Friederich, German, 1808 Romantic Style
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Image of the artist with his back to the viewer symbolizes the turning away from the personal experience of life and embracing the universal – the spiritual.
Friederich represents the Romantic ideal of the artist as a detached observer of the natural world. The painting also echoes themes found in Asian art about which Friederich apparently knew very little |
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‘Snow Storm: Steamboat of a Harbour’s Mouth’, Turner, 1842, JMW Turner, British, Romantic Style
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His preference for storm scenes eventually led to a great interest in ‘ nature-mysticism’ – the idea that one could have a direct mystical experience of God through contact with nature.
. To this end, Turner had himself tied to the mast of a ship crossing the English Channel so he could truly feel the storm. |
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‘Rain Steam and Speed’, Turner, 1844, British Romantic
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Turner's painting of a steam train crossing the Thames River captures the sublime not through nature but through technology.
Note the omission of the city of London from the background and the insertion of a small row boat in the lower left. |
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The Gleaners, Jean Francois Millet, French, 1857 Realist Style
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Painting style uses loose brushwork and subjugates detail to the overall composition of the painting and visual power of the painting.
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The Artist’s Studio, Custave Courbet, 1855, French, Realism
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Courbet’s absurdist painting shows his studio crowded with a variety of people – a nude model, Christ on the Cross, local merchants and musicians, friends and relatives.
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Bridge Crossing form 27 Views of the Tokaio Rod, Ando Hiroshige, Japanese Ukiyo-e, ca. 1840
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Hiroshige is most famous for ukiyo-e style depictions of traditional tourist scenes in Japan
showed various aspects of everyday life in Japan – which included erotic and supernatural themes as well as traditional scenes of beauty. |
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Woman Before A Mirror, Utamaro , ca. 1840 Kapan Ukiyo-e
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Utamaro was most famous for his images of women – often highly erotic (Jpn: ‘ Shunga’ style) His bold designs were ahighly influential on American Impressionist Mary Cassat
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The Great Wave, Hokusai, ca. 1840, Japanese Ukiyo-e
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The fractal repetition of forms is a hallmark of Hokusai’s approach.
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Samurai with Rifle Yoshitoshi, ca. 1870
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Yoshitoshi’s images show greater Western influence than previous Ukiyo-e and tends to be more narrative and highly colored than his predecessors. Here he anticipates the rise of Japanese militarism and technology following the arrival of American traders in the late 1850’s.
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‘Le Dejuner sur L’Herbes’ (Lunch on the Grass), Edouard Manet, 1863
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Lunch on the Grass is considered by many art historians to be the first truly modern painting.
The intentional illogic of the image =- the naked woman staring at the viewer – the woman in the background bathing while clothed – the off balance composition and alarmingly unconventional palette provoked derision and in some outrage. The subtle placement of the woman’s foot may suggest Manet’s anger and resentment at having been refused entry in to the Paris Salon(officially sanctioned art) and in response Manet, and others who had been rejected created their own salon – the ‘Salon de Refusé |
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Portrait of Emile Zola, Manet, 1868, French Impressionist
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The painting makes numerous references to Zola and Manet’s common interest in Japonisme – an interest in Japanese art,
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‘L’Etoile,’ EdgarDegas, 1874, French Impressionist
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Degas takes advantage of theatrical lighting to give his work a typically Impressionist sense of departure from conventional approaches. The image depicts the dancer as appearing to be luminous, dissolving into a background
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Small Dancer, 1879, Edgar Degas
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Modeled in wax and cast in bronze
Despite its shocking realism, it the small dancer received critical acclaim though it was considered eccentric and ‘brutish’ by some Paris critics. |
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‘Impression Sunise’, Claude Monet, 1872, French Impressionism
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gave rise to the term Impressionism as a label for early French modernist painting
went on to become the standard of innovation and the dissolution of form into light associated with Monet and the Impressionist movement. |
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Views of Rouen Cathedral, Monet, 1892-1894
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Gothic Cathedral in Rouen France, to investigate the effects of changing light on a single subject. Each painting is painted at a 60 minute interval over the period of several days and reflects the shift in light and therefore form, of the cathedral.
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Reflections of Clouds on the Water-Lily Pond, ca. 1912, Monet, French Impressionism
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One of many paintings, completed over fifteen years of ’Les Nymphees ‘– the Water Lilies - this masterwork which extended to nearly forty feet in width took French Impressionist painting to a new height.
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Sunday Afternoon on The Grand Jatte, Seurat, 1886, Pointilism (Neo-Impressionism)
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discoveries of the relationship between light, color and form,
pointillists allowed the eye to mix the colors they described by painting thousands of tiny dots of color |
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Starry Night, Vincent Van Gogh, 1889, Post-Impressionism
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His post-impressionist style went beyond the limits of color and form and into a mystical relationship with nature.
spiral forms and think intensely colored paint were used by some to suggest the artist was schizophrenic |
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‘Where Do We Come From? What Are We? Where Are We Going?’, Paul Gauguin, 1897
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characteristic jolting color palette to describe the artists' search for meaning and truth.
viewed in a series of retrospectives that were a major influence on later artists such as Pablo Picasso, and Edvard Munch |
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‘Les Baigneusses’, (The Bathers), Paul Cezanne, Post Impressionism, ca. 1894-1905
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Cezanne experiments with the dissolution of forms into smaller cubist shapes described in the painting with brad and flat brush gestures
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‘La Pia del Tolomei’, Dante-Rozetti, English 1868-9, Pre-Rafaelite
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highly detailed and romantic painting referred to the Northern Renaissance
Pre-Rafaelites were the most ardent opponents of modernism |
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The Peacock Room, James Whistler, American ca. 1880
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This style of architecture and decorative art was closely associated with the symbolist and pre-Impressionist art of the late 1800’s
of flat garaphics and pattern as well as the use of gold-leaf |
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‘Judith with the Head of Holofernes, (Salome?),’ Gustave Klimt, 1901-3, Austrian, Symbolist
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photographic realism and the decorative style associated with Klimt.
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‘The Scream’, Edvard Munch, 1891, Norwegian , German Expressionist/Symbolist
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The Scream’, uses intense color and dynamic form to express the anxiety and emotional intensity
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‘Self Portrait as a Soldier’, Ludwig Kirchner, 1911, German Expressionist – Die Brücke (The Bridge)
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Noted for its intense emotional content, blatant references to sexuality and the radical departure from academic notions of color and composition
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‘The Violinist,’ Marc Chagall, 1912, Russian, Expressionist
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He was one of the first practicing Jews to have a major impact on the art world.
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The Poet (self-portrait), Egon Schiele, 1911, Austrian, Expressionist
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Schiele is known for his exquisite draftsmanship and jarring compositions.
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‘The Gross Clinic,’ Thomas Eakins, American, 1875
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One of the first true academic painters in America
Eakins was NOT a modern artist. Eakins had been criticized for the use of live nude models in his academy – a practice which was entirely accepted in Europe |
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The Banjo Lesson, Henry Ossawa Tanner, American Post-Impressionist, ca. 1893
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A student and protégé of Thomas Eakins, Tanner (an African American) was unable to overcome the limits of American racism and moved to France where he enjoyed a long and prosperous career as a painter where he was considered a significant ‘post-impressionist’.
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‘The Gulf Stream’, Winslow Homer, 1889, American
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suggest a sense of adversity.
the indomitable American spirit . Like Eakins, Homer is not generally considered to be a modern artist. |
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‘Snow in New York’, Robert Henri, American, 1902
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the leader of a movement of American Realist painters
Henri’s painting style through lushly and expressively painted rejected the excesses of expressionism and instead was the basis for a more academic approach to ‘realist’ themes |
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‘Stag at Sharkey’s,’ George Bellows, ca. 1909, American Realist
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Here, accuracy and detail gives way to lush and expressive brushwork as well as an intensely dynamic composition.
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‘American Landscape’, Charles Sheeler, 1930
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Midwestern scenes of industry and prosperity form the American ‘Industrial Sublime ‘. Images reflect a natural austerity and clarity which Sheeler saw as reflective of the true American spirit.
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‘American Gothic’, Grant Wood, American , 1930
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Classic American image shows Wood’s appreciation of the American virtues of stoicism and simplicity –
She is staring wistfully at a point outside the picture plane and he stares directly at the viewer with the slightest hint of menace. |
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‘Ballad of the Jealous Lover of Lonesome Green Valley,’ Thomas Hart Benton, American, 1934
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Benton uses American folk-tales and rural life – a popular theme in the art world of the time, to make a statement of the darker nature
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‘The Dance’, Matisse, 1910, Fauvism
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Matisse’s masterwork, he achieves ultimate simplicity of form and color.
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‘Les Desmoiselles d’Avignon’, Picasso, 1906 Cubism
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Picasso’s first exploration of ‘Cubism’, was seen as a radical and shocking painting when it was first completed.
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‘Portrait of Pierre Vollard’, Picasso, 1912, Analytical Cubism
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The development of analytical cubism abandoned Picasso’s passionate and blatantly sexualized ‘Demoiselles’
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‘Guernica’, Picasso, 1937
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bombing of a small village in the Pyrenees Mountains by Spanish Fascists,
Guernica stands out in art history as an anthem of anti-war sentiment. The rage, fear, anguish and desolation reflected in the image |
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Boulevard du Temple, Daguerre, 1838
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First popular use of photography – Daguerotype.
Changed the way painting was used to record history |
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Motion Study, Dweard Muybridge., ca. 1880
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Muybridge settled the bet about horse racing by taking pictures in rapid succession.
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‘Robbers Roost’, Jacob Riis, 1888
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Riis pioneered the use of photo as a social document
Social activism and struggle against oppression. |
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Equivalent (Hands), Alfred Stieglitz, American, 1930
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Equivalent Series is the first use of photography as fine art
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‘Fish Magic’, Paul Klee, 1925, Blue Rider
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explore the unconscious and symbolic worlds through the intentional use of free association
playful and humorous images are supported with sophisticated ideas of art, aesthetics and human discourse |
