Art History 2

Front 1

Paul GAUGUIN style

Back 1

French
Post-Impressionist

Front 2

“Yellow Christ” 1889

Back 2

Paul Gauguin- Post Impressionism

Front 3

Primitivism

Back 3

Rejects subject matter of impressionists// the idea that life was better in a more primitive period

Paul GAUGUIN

Front 4

Cloisonism

Back 4

Painted large areas of color, like stained glass

Paul GAUGUIN

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“Where do we come from? Where are we? Where are we going?” 1897

Back 5

Paul Gauguin- Post Impressionism

Front 6

Vincent VAN GOGH style

Back 6

Dutch
Impressionist/Post-impressionist

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Vincent VAN GOGH

Back 7

Interested in pointillism, the sun, and creates coronas surrounding light

Front 8

“The Olive Trees” 1889

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Vincent VAN GOGH Post Impressionism

Front 9

“The Night Café” 1890

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Vincent VAN GOGH
Post-Impressionism

Front 10

“The Church at Auvers” 1890

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Vincent VAN GOGH
Post-Impressionism

Front 11

Edvard MUNCH Style

Back 11

Norwegian, Post-Impressionist

Front 12

“The Scream” 1893

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Edvard MUNCH
Post-Impressionist

Front 13

FAUVISM

Back 13

-Genre marked by areas of extremely bright color
-Simplification of form and line

Front 14

Henri MATISSE style

Back 14

French, Fauvism

Front 15

“Harmony in Red (The Red Room)” 1908

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Henri MATISSE, Fauvism

Front 16

“Dance II” 1909-1910

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Henri MATISSE, Fauvism

Front 17

EXPRESSIONISM

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-Artistic style in which the artist attempts to depict a feeling or emotion more than anything else.
-Hatching in brushwork

Front 18

Earnst Ludwig KIRCHNER style

Back 18

German, Expressionist

Front 19

“Street: Dresdon” 1907/1908

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Earnst Ludwig KIRCHNER
German, Expressionist

Front 20

Kathe KOLLOWITZ style

Back 20

German, Social Realism/Expressionist

Front 21

“Woman with Dead Child”

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Kathe KOLLOWITZ
SOCIAL REALISM/Expressionist

Front 22

Wassily KANDINSKY Style

Back 22

Russian, Expressionism

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Member of Der Blaue Reiter (1911-1914)

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–Group of expressionists
Wassily KANDINSKY

Front 24

“Improvisation 7” 1910

Back 24

Wassily KANDINSKY
Russian, Expressionism

Front 25

“Composition V” 1911

Back 25

Wassily KANDINSKY
Russian, Expressionism

Front 26

Pablo PICASSO (1881-1973) Style

Back 26

Expressionism
Cubism
Synthetic Cubism
Cubist Sculpture

Front 27

“The Old Guitarist” 1902

Back 27

Pablo PICASSO
Expressionism

Front 28

“Le Demoiselles d’ Avignon” 1907

Back 28

Pablo PICASSO
Expressionism/Early cubism

Front 29

Passage

Back 29

areas of paint where its unclear whether it is the background or foreground

Front 30

CUBISM

Back 30

Artists attempting to convey an object as a solid form by rendering it the way it is seen at all times of day.

Front 31

Georges BRAQUE (1882-1963)

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French
Analytic Cubism
Cubism
Synthetic Cubism

Front 32

“Houses at L’Estaque” 1909

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Georges BRAQUE
Cubism

Front 33

“Bread and Fruit Dish on the Table” 1909

Back 33

Pablo PICASSO
Cubism

Front 34

ANALYTIC CUBISM

Back 34

- Insists that lighting be eliminated because it is suggestive of a moment which alters true form
--Eliminates perspective for the same reason
-Moves away from color
-Show 3 dimensions in a different way/ 4th dimension would be the way cubism captures movement

Front 35

“The Portuguese” 1911

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Georges BRAQUE
Analytic Cubism

Front 36

“The Glass” 1911

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Pablo PICASSO
Analytic Cubism

Front 37

SYNTHETIC CUBISM

Back 37

-Return of color
-Collage/Mixed media/ papiers colles- making collage out of paper elements that don’t look like paper

Front 38

papiers colles

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making collage out of paper elements that don’t look like paper

Front 39

“Musical Instruments” 1912

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Pablo PICASSO
Synthetic Cubism

Front 40

FUTURISM

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-Idea born of FillipoTommaso Marinetti (The Futurist Manifesto [1876-1944]), all about he beauty of speed, tied to industrialism and dynamism: a theory that all phenomena (as matter or motion) can be explained as manifestations of force
-attacked concern of the bourgeois and focused on progress, energy, and change.

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dynamism

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a theory that all phenomena (as matter or motion) can be explained as manifestations of force

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bourgeois

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aristocracy that still preferred the academy

Front 43

Giancomo BALLA (1871-1957) style

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Futurism

Front 44

“Dynamism of a Dog on a Leash” 1912

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Giancomo BALLA
Futurism

Front 45

Unberto BOCCIONI (1882-1916) style

Back 45

Futurism

Front 46

“States of Mind I: The Farewells” 1911

Back 46

Unberto BOCCIONI (1882-1916)
Futurism

Front 47

“States of Mind III: Those who stay” 1911

Back 47

Unberto BOCCIONI (1882-1916)
Futurism

Front 48

SUPREMITISM

Back 48

Kazimir MALEVICH said “To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling, as such, quite apart from the environment in which it is called forth.”
-Took the cubist idea of not allowing an object to assume one shape, and took it to the next level.

Front 49

“Black Square” 1913

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Kazimir MALEVICH (1878-1935) SUPREMITISM

Front 50

“Suprematist Composition: Airplane Flying”

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Kazimir MALEVICH (1878-1935) SUPREMITISM

Front 51

Cubist Sculpture
PICASSO

Back 51

“Guitar” 1912

Front 52

Futurist Sculpture
Constantin BRANCUSI (1876-1957)

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“Bird in Space” 1928

Front 53

Futurist Sculpture
Umberto BOCCIONI

Back 53

“Unique Forms of Continuity in Space” 1913
-Bronze figure moves in 2 dimensions

Front 54

DADA

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-“Whatever its origin, the name Dada is the central, mocking symbolic this attack on established movements.”
-Very widespread and disjointed movement, but all share similar opinions on anti-art, anti bourgsie, anti-academy art

Front 55

Marcel DUCHAMP (1887-1968) style

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Dada

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“Fountain” (replica) 1917

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Marcel DUCHAMP (1887-1968)
Dada

Front 57

L.H.O.O.Q. 1919 (Elle a chud au cul)

Back 57

Marcel DUCHAMP (1887-1968)
Dada

Front 58

Francis PICABIA (1879-1953) style

Back 58

Dada

Front 59

“Very Rare Picture on the Earth” 1915

Back 59

Francis PICABIA (1879-1953)
Dada

Front 60

Hannah HOCH (1889-1978) German style

Back 60

Dada

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“Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of German” 1919-20

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Hannah HOCH (1889-1978) German
Dada

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SURREALISM

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-Return to more traditional form and technique, but concepts remain somewhat similar to Dada.
-Inspired by Sigmund Freud (1856-1939) and his tudies of the subconscious, and his interpretation of dreams, and the idea that they are driven by the subconscious.
-Sudden importance based on dreams now gave Dada a scientific backing, but now it was called Surrealism
-Surrealism had the random qualities that of a game of exquisite corpse.

Front 63

Joan MIRO (1893-1989) style

Back 63

Surrealism

Front 64

“Carnival of Harlequin” 1924-25

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Joan MIRO (1893-1989)
Surrealism

Front 65

Automatism

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the idea of visual, verban representation. For instance when you doodle, where your mind visits first

Front 66

Biomorphism

Back 66

Technique borrowed from synthetic cubism/ shape becomes organic and looks like a human or living being/ curvilinear lines work to create

Front 67

Giogio DE CHIRICO (1888-1978) style

Back 67

Surrealism

Front 68

“Mystery and Melancholy of a Street” 1914

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Giogio DE CHIRICO (1888-1978)
Surrealism

Front 69

Max ERNST (1892-1976) style

Back 69

Surrealism

Front 70

“The Blessed Virgin Chastises the Infant Jesus Before Three Witnesses: A.B. (André Breton), P.E. (Paul Eluard) and the Artist” 1926

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Max ERNST (1892-1976) surrealism

Front 71

Salvador DALI (1904-1989) style

Back 71

Surrealism

Front 72

“Apparition of a Face and a Fruit Dish on a Beach” 1938

Back 72

Salvador DALI (1904-1989)
Surrealism