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78 Cards in this Set
- Front
- Back
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Mengs, Parnassus, (1760) -sketch for fresco in Rome -overcoming Baroque and going toward Neoclassicim -influence by Raphael, in the center is sun God Apollo |
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Kauffman, Cornelia Pointing to her Children as Treasures, (1785) -Neoclassicim -dissing the lady, saying she is not materialistic -very lit, nothing hidden -she started British Royal Academy |
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Benjamin West, The Death of General Wolfe, (1770) -modern history painting -grand manner = new genre between history and portrait -dressed in modern costume -figures still noble |
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Fuseli, The Nightmare, (1781) -Romanticism, emotion of fear, engaging imagination -not popular with critics of time -supernatural, woman is dreaming of demons/shadowy |
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Francisco Goya, Third of May 1808 (1815) -Spain, he studied under neoclassicist -worked for king but supported revolution -painting of historical event -bloody fighting, execution -terror + fear, empathize w/ figure in white -faceless, off balance composition |
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Gros, Napoleon in the Plague House at Jaffa (1805) -depiction of conquest into Africa -travelled with Napoleon on conquests -Colonial politics |
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Gericault, The Raft of the "Medusa" (1820) -shadows -political statement about monarchy/nobility -eye drawn diagonally, left bottom to top right -romantic = subject matter not style -green/yellow tint to bodies |
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Delacroix, Liberty Leading the People: July 28 1830 (1830) -obsessed with genius + emotion -hopeful image = overthrowing -monumentalized uprising = modern history painting -allegorical figure (freedom) = triangle shape |
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Ingres, Large Odalisque, (1814) -overlying themes of orientalism -idealization of figure; erotically charged -during Napoleon's monarchy, North Africa -blue & white; extravagant; wealthy -very linear, clarity |
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Gerome, The Snake Charmer, (1870) -director of Academy of Arts -Far east = orientalism (focused on Egypt) -painting about disclosure and concealment -painting about a performer (so about the audience) -walls intricately designed but the floor is dirty/cracked |
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Daguerre, The Artist's Studio, (1840) -very interested in photography -"Daguerreotype" photograph on highly finished plate; highly detailed -couldn't be easily reproduced, spread across world from France |
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Joseph Turner, Slaves Throwing Overboard the Dead and Dying; "The Slave Ship" (1840) -emphasis on weather/hectic -sublime/disorganization of painting -force of nature, atmospheric effect -romantic seascape about a political event =abolition of salve trade (depth/depravity) |
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James Whistler, Nocturne in Black and Gold, The Falling Rocket, (1875) -aesthetic, construction of reality -abstract qualities of art w/ music -restricted in tones = greens and yellows -night scene depicting fireworks -started traditional one row (eye level) hanging of paintings |
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Honore Daumier, Rue Transnonain, (1830) -almost a caricature of results of massacre by French Revolution -lithograph -dead family -created during freedom of the press |
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Gustave Courbet, Burial at Ornans, (1849) -"statement of principle" -dark colors of green and grey, give weight to figures -used canvas of dimensions (usually for history paintings) to present an ordinary subject (no idealization) |
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Jean-Francois Millet, The Gleaners, (1860) -incarnate rural working class -picking up individual ears of corn while huge harvest is in background -slanting light of setting sun = sculptural look -thankless task |
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Manet, Olympia (1863) -modeled after Venus of Orbino -paints realistic woman, not historical or mythological -challenges function of art in France -stiff, her gaze is intimidating |
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Manet, A Bar at the Folies-Bergere, (1880) -representation of modernity (early modernism in flatness) -emerging because of industrial revolution -social conditions of everyday life |
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Henry Ossawa Tanner, The Banjo Lesson (1890) -race is another group forgotten in traditional work -serious side of something that has been caricatured -loving, elderly man teaching young boy -poverty fades, dignity and pride focused -European modernism |
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Claude Monet, Impression: Sunrise (1870) -beginning of impressionism (very controversial) -fast, open brushstrokes. Unfinished look -independent from academy + salon -momentary impressions of nature |
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Mary Cassatt, Mother and Child, (1890) -weight of limbs have natural quality -wrapped in each other = circle dress dissolves into strokes of paint -homage to motherhood -woman as subject instead of object -connection between woman and vessel |
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Edgar Degas, The Rehearsal on Stage (1875) -paints in studio, ballet dancers are "urban workers" -closer to academic standards, pastels over brush and ink drawing -dancers have tedious lives, men pay to watch -looking through a theater box, fragments of instruments in foreground |
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"On Painting" Leo Battista Alberti |
Good Narrative Painting: 1. derived from nature 2. has divine power 3. serves purpose to artist and audience Skill and talent of artist rather than the worth of the painting (Humanist values) |
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"Lives of the Most Eminent Painters, Sculptors, and Architects" Georgio Vasari |
-definite improvement between ancient and modern art -art has made progress because of master and apprentice -ancient contributed proportion, rule, order, and manner; modern makes art 'come alive' |
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"Art History and its Exclusions: The Example of Dutch Art" Svetlana Alpers |
-Italy is birthplace of the Renaissance and discussion of art history -artists views are biased because Italy has defined tradition of Western art -ideas: painting is art's ideal form and should be hung in rectangles on wall -Dutch: description of natural world, more women artists -art history is all perception |
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"The Street has its Masters: Caravaggio and Marginal Social Identities" Todd Olson |
-response to Bellori on Caravaggio -Bellori compliments use of shadow and color to create realistic figures -his work was simple and basic, disrespectful to religious work (from older artists) -Olson doesn't like that eyes are drawn to small details (like tattered cloth) |
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"On Romanticism from his Journal" Eugene Delacroix |
-primary source -believes in simplicity and organization of the mind -painting is one of the most intimate forms of communication -believes only a select few have talent -artistic genius = one who is able to be committed and inspired w/o having wandering/impressionable mind |
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"The Painter of Modern Life" Charles Baudelaire |
-modernism = ability to capture eternal beauty in "the ephemeral, the fugitive, the contingent" -every artist has a sense of modernity -takes something fleeting and makes it eternal -genius = main quality is curiosity, "man of the world" -nature is ultimate source of knowledge -artist by himself is not genius |
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"The 'Primitive' Unconscious of Modern Art" Hal Foster |
-issue with 1984 MOMA exhibition 'Primitivism' -no common theme between work -doesn't use primitivism in modern age, digs up archaeological runs and calls it primitivism -primitivism = western art with non-western influence -primitivism was invented to allow audience to absorb ideas/culture of non-westerners and celebrate art |
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"The American Action Painters" Harold Rosenberg |
-art critic: very broad definitions -abstract expressionism: doesn't represent object or purpose, solely painter expressing themselves w/o ties to aesthetics (no purpose, style, form b/c it is solely the artist's world) -wants to free itself from some sort of constraint -Wants to free itself from purpose and style |
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"Minimalism and the Rhetoric of Power" Anna C. Chave |
-Minimalism: style defined by geometric shapes and objects -leftist; art doesn't hold meaning -reflected violent and disagreeable political period -power came from monetary value and meaning it held to the artist |
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"Report on the Western Front: Postmodernism and the Politics of Style" Dick Hebdige |
-many different definitions -result of the fall of modernism in the late 1980s -movement away from rebuilding of humanity, lack of belief in progress and modernization, realization that its not the avant-garde -decline of the West as the center of the power -other cultures/minorities are better represented |
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Watteau, The Signboard of Gersaint (1720) -lots of pastel/interest in color -interior of art dealer's shop -glowing satins/silks momento mori = reminder of mortality -fame might be subject to ravages of time |
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Fragonard, The Swing, (1766) -Rococo: era of radical change -age of Enlightnment (England + France) -young girl being pushed by elder bishop (in the shadows) her lover is swooning below her -anticipation, desire, playful, frothy pinkness |
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Smibert, Dean Berkeley and His Entourage, (1730) -Baroque style -1st artist in America to make living as painter -painting to commemorate school of Bermuda Smibert is holding rolled piece of paper (professionalization of art?) -Berkeley looking upwards, thinking about heaven? |
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John Singleton Copley, Watson and the Shark, (1778) -large scale history painting -climatic rescue of boy from shark -faces of emotion -American artist -idea of salvation |
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Jacques-Louis David, Oath of the Horatii, (1780) -"public" painting -most important French neoclassicism painter -severely plain -based on historical texts (commissioned by Louis XVI -separating men and women in architectural space |
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Girodet-Trioson, Portrait of Jean-Baptiste Belley, (1800) -French artist -first man of African descent to hold -lines, public, civic, clarity, realistic -French philosopher in background |
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Guillon Lethiere, Oath of the Ancestors, (1820) -"symbol of liberty of Haitian people" -celebrates union of black slaves against Napoleon's army -complicated relationship between emancipated people -damaged in earthquake |
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George Seurat, A Sunday Afternoon on the Island of La Grande Jatte (1885) -combine impressionism with traditional relief sculpture -"pointalism" or "neoimpressionsim" -composition that merges in viewer's eye (very large work) -abstraction/new rules of color -important social dimensions = French day-off |
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Paul Gauguin, Manao Tupapau (Spirit of Dead Watching), (1890) -friend of Van Gogh -leaves wife and children to do/study art -painted in Tahiti -combination of abstraction and emotion -primitivism: borrowing non-western forms by western artists |
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Auguste Rodin, The Burghers of Calais, (1890) -six distinguished citizens of France -each occupied by own person conflict -monument to Hundred Years' War -sculptures |
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Cezanne, Mont Sainte-Victoire, (1885) -highly structured paintings -ordered nature, 100 drawings/30 paintings of same mountain -branch in foreground creates depth -branch traces outline of mountain range -alternation between depth and flatness -highly structured and stable |
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Henry Matisse, Le Bonheur de Vivre (The Joy of Life), (1905) -nude paintings -bright colors -thick lines/shapes -fauvism = interested in color |
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Pablo Picasso, Les Demoiselles D'Avignon (1910) -forceful, angular planes -form and content equalized -women are prostitutes -lack of depth -a lot of African inspiration -enormous, almond-shaped eyes |
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Braque, Violin and Palette, (1910) -simplified faceted forms, flattened spatial planes, and muted colors -Cubism -objects are recognizable but fractioned -significance in musical instrument |
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Boccioni, Unique Forms of Continuity in Space, (1913) -Futurism: violent, war, muscular, advanced -blur between form and immediate environment -fast pace modern world -marching into the wind |
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Duchamp, Fountain, (1917) -urinal lying on its back; iconic -'readymade' = ordinary manufactured object designated by artist as work of art -art should be about the artist's idea |
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Hannah Hoch, Cut with the Dada Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany, (1920) -purposefully angry critique -includes dada and anti-dada (nothing is her own) -signature is picture of head + map showing countries where women are allowed to vote |
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Salvador Dali, The Persistence of Memory (1930) -wanted to cultivate paranoids' vision of the world -very small piece of work, dreamlike -meant for individual viewer -banks of Mediterannean, warm light in background -discredits our experience of reality -hidden portrait -Surrealism |
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Oppenheim, Object (Luncheon in Fur), (1936) -revolt against logic/reason -surrealism = offshoot of dada -Freudian psychoanalysis -human mind as battleground -methods for freeing the unconscious |
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Joan Miro, Composition, (1933) -biomorphic -not arranged by logic, arranged by chance -doodles -wanted to assassinate paintings, didn't even like cubism |
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Jackson Pollock, Autumn Rhythm (Number 30), (1950) -drinking problems, insane asylum -moves from representation to abstraction -says he can control the flow of paint -painted with canvas on the ground, stood over it |
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Willem de Kooning, Woman I, (1950) -Abstract Expressionist -grotesque representation; powerful colors -wide range of ways to apply paint to canvas -she appears flattened out -figure is outlined in black paint -"the idol, the Venus, the nude" -reverence vs. fear of feminism |
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Helen Frankenthaler, Mountains and Sea, (1950) -Abstract expressionist -"soak stain" = paint stained rather than coated the canvas -textured surface and pale color; breakthrough -shifting planes of color washes |
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David Smith, Cubi, (1963) -28 stainless steel sculptures -welder-sculptor -influenced by Surrealism and Constructivism -highly reflective surface, polished |
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Jasper Johns, Targer with Plaster Casts, (1955) -parallel between severed body parts and targets -possibility of reconstruction? body parts lose meaning -see targets as lack of meaning held by the body of a gay man -primary colors, based on dada -artistic value on interpretation of viewers |
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Robert Rauschenberg, Canyon, (1959) -painting, collage, and found objects -defiant to Abstract Expressionism -bald eagle -"Combines" -controversial |
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Allan Kaprow, Yard, (1960) -bunch of tires in no specific layout -interactive = audience walks over tires -expanded sculpture's possibilities -new physical sensorium -New York City |
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Carolee Schneeman, Meat Joy, (1964) -feminist -assumption that great art can only be made by men -nude: female and male -Body Art (performance art) -Rubbed raw meat and wet paint onto bodies |
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Andy Warhol, Marilyn Diptych, (1962) -pop art, half color half B&W -thinks of himself as a machine -industrial fabrication |
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Claes Oldenburg, Store, (1961) -modeled after a real store but everything was made of plaster -he studied other stores and cafes for inspiration -relationship between fiction and fact -trade money for art -store was open in NYC |
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Harmony Hammond, Floorpiece VI, (1973) -color, made of cloth, spiral -craft art or fine art? (fine art) -paint over rug with acryclic paint, emphasizing color of cloth, put on hard surface |
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Carl Andre, Steel-Magnesium Plain, (1970) -on the ground -not colorful, squares, cold, unwelcoming -Minimalism -tiles can be taken apart, not connected -uses space to create 'sculpture' |
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Joseph Kosuth, One and Three Chairs, (1965) -photo panel, physical chair, text panel -wasn't interested in artistic beauty -trying to communicate through minimalism -one chair or three chairs? how do we define? -possibility of meaning |
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Bruce Naumann, Self Portrait as a Fountain, (1970) -communicate problem of communication -likening himself to Duchamp's urinal -not funny/very serious -revolt against pop art |
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Eva Hesse, Rope Piece, (1970) -process art -rope with latex over it -dimensions change every time it's installed -embedded with personal meaning -fragile, sensuous, delicate -irrationality |
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Ana Mendieta, Untitled, From the Tree of Life Series (1977) -US takes 14,000 Cuban children to America -permanent sense of dislocation -ritual actions to connect to Earth -woman in nature, very un-industrial -created in Iowa |
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Beyte Saar, The Liberation of Aunt Jemima, (1972) -part of black power movement -appropriation = using objects from the world -militant humor -black nurse, white baby -clenched black fist in very center -mirrors on side of box -making space for multiculturalism |
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Robert Smithson, Spiral Jetty, (1970) -Earth art/site specific -manipulates raw materials -can be temporary or permanent/very large -extends into Great Salt Lake -meant to remind people of ancient civilizations -no maintenance, governed by natural elements |
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Cindy Sherman, Untitled Fil Still, #21 (1980) -photography used for postmodernism -very posted, not candid -image is more important, not picture from the movie -2nd wave feminism -taking the picture of herself -identity is chosen rather than imposed -different identities for different audiences |
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Barbara Kruger, Untitled (Your Gaze Hits the Side of my Face), (1981) -critiques the forces that try to make women objects -female statue = symbol of beauty -violated by men's gaze |
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James Luna, The Artifact Piece, (1990) -Native-American identity -using stereotypes to refer to himself; physically objectifying himself -ethnographic object -identity isn't open to everyone; social constraints |
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Chris Ofili, The Holy Virgin Mary, (1996) -very controversial, bigger than life -black African virgin? -parts made from elephant dung -cut out pictures of women's butts and put on art -art and culture of Zimbabwe -reference to Renaissance paintings |
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Felix Gonzalez-Torres, Untitled (Loverboy), (1990) -stack of pale blue paper, audience can remove a piece of paper -encouraged to interact -abstract reference to his lover who is wasting away from AIDs |
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Nam June Paik, Electronic Superhighway: Continental US, (1995) -enormous scale of the US -fluorescent/neon lights -represents enticement of motels and restaurants -cultural boundaries between states -flashing images = "seen from a passing car" |
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Yinka Shonibare, How to Blow Up Two Heads at Once (Ladies), (2006) -race is unknown -wearing traditional English dress but in African print -pointing 19th century guns at each other -black artist, paralyzed since his 20s -ambiguity in art |
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Sarah Sze, Triple Point, (2013) -Venice Biennial -NY based Chinese American sculptor -art is inside + outside -engages with the history of the site -art as a compass = finding yourself -forced viewers to come through side door -created fake boulders -displays tickets and used coffee cups -scientific overtone |