Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
99 Cards in this Set
- Front
- Back
|
Auguste Rodin, "Monument to Balzac", 1897
*Can be found all over the world -Mechanical reproduction of art *Acquired Balzac's death mask *Not a sculpture/portrait of Balzac, but a portrayal of his personality and who he was |
|
|
Aristide Maillol, "The Mediterranean", 1902-5
*Allegorical interpretation of the mediterranean *not sexualized - in her own moment *very simplified |
|
|
Alfred Stieglitz, "The Steerage", 1907
*Photography as art *All of aesthetic aspects that accumulate to make an amazing composition |
|
|
Paul Cezanne, "Mt. Ste. Victiore", 1904-6
*"Treat nature in terms of the cone, the cylinder, and the sphere." *Look at the world, but don't copy what you see, just pull out the essentials |
|
|
Matisse, "La Desserte", 1896-7
*Deliberately distorts perspective - not trying to fool viewer, tilted perspective *Influenced by post-impressionists *More interested in the art, rather than the accuracy |
|
|
Matisse, "Male Model", 1900
*Influenced by Cezanne *Doesn't completely eliminate black from his palette *Sense of plains, almost cartoonish *No mathematical measurements/perspectives - uses basic forms to construct the delimited space, simplification *"Art is about art" |
|
|
Matisse, "Lux Calme et Valupté", 1905
*Simultaneous contrast of colors *Compare so Seurat and Signac |
|
|
Matisse, "The Open Window", 1905
*1st example of fauvist painting *Fauvism=exploring and exploiting the expressive potential of color *Pulls viewer around composition with using reflections in the shutters *Pink and green = complimentary colors -balance (did not focus on science of it, but intuitively knew how to compose his artwork *Lets the white of the canvas peek through because he is not trying to fool the viewer into thinking this is a window into reality |
|
|
Maurice de Vlaminck, "Landscape Near Chatou", 1906
*influenced by Van Gogh/Cezanne - brushstrokes |
|
|
Maurice de Vlaminck, "Portrait of Derain", 1906
*Modeling 3D face with color *Using color to express his emotions towards Derain |
|
|
André Derain, "London Bridge"
*Applying what predecessors had done but pushing it to the next level *Use of broad brushstrokes (Japanese prints) *Red sky - intense sunset, not a fire |
|
|
André Derain, "Turning Road, l'Estique", 1906
*"Do not copy too much after nature..." *Expressive potential and power of color |
|
|
Matisse, "Woman with a Green Stripe", 1905
*Not expressing his feelings towards his wife, but expressing and exploring color *Wife is just the object in the painting |
|
|
Matisse, "Woman With a Flowered Hat", 1905 |
|
|
Matisse, "Joy of Life", 1905
*Inspired Picasso (saw it hanging in Gertrude Stein's house) *Most talked about painting in the Salon d'Automne in 1905 *Epitomizes fauvism *Used textbook/traditional aspects in his painting -Clear foreground, middle ground, background with perspective -Classical: Contrappasto, nudes, setting out in a field *Percieved as a crazy piece of art by public: Arbitrary colors (not accurate to the way the world looks), cartoonish, clear outlines, information not complete - very radical and new - focus on essential forms only *Idea is more important than the surface *Expressive potential of the colors |
|
|
Matisse, "Reclining Nude", 1906-7
*Exaggerated and simplified form *Seems gestural *pushing elements that seem necessary to make it more expressive |
|
|
Matisse, "Blue Nude", 1907
*Translated "Reclining Nude" onto flat surface *Puzzling compared to previous works - his use of "black" shadows, not as flat *Feeling his way around the figure with color |
|
|
Matisse, "Harmony in Red", 1908
*Extremely simplified version of "La Desserte" *Bold primary colors *Traditional motion of perspective is not fully abandoned, but not what characterizes the space he created *Optical Space: (Clement Greenberg), space that you can traverse with you eye *never fooled anyone into thinking there is more to the painting than there actually is - just a flat surface |
|
|
Matisse, "La Serpentine", 1909
*interested in the curvatures of her body |
|
|
Matisse, "The Dance", 1909
*Motif of circle of dancers from "Joy of Life" and ancient Greek vase painting *Feeling of happiness from the motion of the dancers and the colors -don't need details to get a sense of the emotion |
|
|
Matisse, "Red Studio", 1911
*Matisse's own studio, included some of his own paintings in the background *Space = very different from past works, very open, energetic (color) *Things are clearly outlined in yellow, defined *Ideal space vs. Real space; tactile space vs. optical space; decorative space *both deep/profound and on surface - uses cadmium red to create this effect |
|
|
Matisse, "The Piano Lesson", 1916
*Elements of cubism - significant modern style (analytic and synthetic cubism) *Reduced to essential forms, expressive colors *Planes of space (geometric structure); angles, straight lines *Objects have dialogue across the painting to bring it full circle *WWI going on -> reflection of his life and things going around him through the grays *Corespondance of shapes and forms |
|
|
Matisse, "The Back I", 1909 and "The Back II", 1916
*Relief sculpture *Forms of series of geometric shapes |
|
|
Matisse, "The Back III", 1916 and "The Back IV", 1931 |
|
|
Matisse, "Decorative Figure on an Ornamental Background", 1925-26 |
|
|
Matisse, "Large Reclining Nude", 1935 |
|
|
Matisse, "La Gerbe (The Sheaf)", 1953 |
|
|
Constantin Brancusi, "The Sleeping Muse I", "1909-10 |
|
|
Constantin Brancusi, "The Beginning of the World", c. 1920 |
|
|
Constantin Brancusi, "The Kiss", 1916 |
|
|
Constantin Brancusi, "Torso of a Young Man", 1924 |
|
|
Constantin Brancusi, "Bird in Space", 1925 |
|
|
Paula Modersohn-Becker, "Self Portrait with Amber Necklace", 1906
*Inspired by Gaughan |
|
|
Paula Modersohn-Becker, "Mother and Child Lying Nude", 1906 |
|
|
Emile Nolde, "The Prophet", 1912
*Woodblock *Expressionist *Discovered primitive art - looked back at tradtition |
|
|
Emile Nolde, "The Last Supper", 1909
*Nolde was a devout religious man *Religiosity: intense outlines and contrasts and powerful colors *Some thought it was crude to depict Christ like that *It's more relatable than depicting heavenly beings with halos |
|
|
Die Brüke |
*Group of young architect students from Dresdin *Niche = inspiration, identified with one of his characters - Übermench *Ideas of enlightened individuals who understand the true path of humanity (bohemian and rebellious ideas) *Wanted to read new enlightened era - "Cross over the Bridge" (Die Brüke = "the bridge") *Didn't reject contemporary art, studied artists from generations before them |
|
|
Karl Schmidt-Rottluff, "Self-Portrait with Monacle", 1910 |
|
|
Karl Schmidt-Rottluff, "Three Nudes - Dune Picture from Nidden", 1913
*Primitive and simplified forms |
|
|
Erich Heckel, "Standing Child", 1910
*Very controversial |
|
|
Ernst Ludwig Kirchner, "Street, Dresdin", 1909
*Inspired by Edvard Munch *Vacuous people depicted, mask-like faces, communal emptiness *Related to fauvism (expressive colors) |
|
|
Ernst Ludwig Kirchner, "Street, Berlin", 1913
*Drastically different from "Street, Dresdin" but still same subject matter and context *Still against cosmopolitan lifestyle and self absorbed society |
|
|
Ernst Ludwig Kirchner, "Marketplace with Red Tower", 1915
*Modeled/influenced by Van Gogh's "Night Cafe" |
|
|
Der Blaue Reiter |
*"The Blue Rider" *Legends of St. George *Ride forth and lead the world into a new era |
|
|
Kandinsky, "St. George", c. 1908-10
*Hinterglassmalerei: underneath the glass painting; almost like stained glass; common technique of German folk art *Forces an abstract quality of the resulting image |
|
|
Gabrielle Munter, "Alexei Jawelensky and Marianne von Werefkin", c. 1905-10 |
|
|
Marianne von Werefkin, "Self-Portrait", 1910
*Not idealizing herself *Arbitrary colors and heavy brushstrokes express something deeper than what she actually looks like *Communicates on a deeper level |
|
|
Kandinsky, "Sketch for Composition 2", 1909-10
*Abstraction *Another theory for how the Der Blaue got their name |
|
|
Kandinsky, "With Three Riders", 1911
*Abstraction |
|
|
Kandinsky, "Composition VII", 1911
*Believed to be his 1st non-objective piece *Color and line act independently from each other *Intended to speak to the soul of the viewer |
|
|
Kandinsky, "White Line No 232", 1920 |
|
|
Franz Marc, "Large Blue Horses", 1911
*Elemental Principles: (Primary colors) -Blue = Masculine -Yellow = Feminine -Red = Raw Brute Matter (everything else) *Wanted people to reach harmonious relationship with each other, nature and animals (He was a flower child) *Harmonious the way the horses and the hills move in the same way |
|
|
Franz Marc, "Stables", 1913-14
*Influenced by cubism |
|
|
Paul Klee, "Hammamet with Mosque", 1914
*Study of Morocco *Broken forms down into block of color |
|
|
Paul Klee, "Twittering Machine", 1922
*He looked at art of children and the insane |
|
|
Austrian Expressionism |
*"The Vienna Secession" *Founded in 1897 by Gustav Klimt *Influenced by art nouveau *Group of artists who didn't agree with the academy and their structured ways *Dissatisfied with censorship - the academy was only accepting people of Austrian nationality -excuse for breaking away *Had a lot of support from the elite |
|
|
Gustav Klimt, "Adele Bloch-Bauer I", 1907 |
|
|
Gustav Klimt, "The Kiss", 1908-9 |
|
|
Egon Schiele, "Drawing of a Nude Model Before a Mirror", 1910
*Klimt=mentor *Used younger girls as nude models in his studio - was accused of rape and thrown in jail for a little; also accused of incest with his sister -Was deeply affected by the criticism of his life and his art |
|
|
Egon Schiele, "Portrait of Paris von Gutersloh", 1918 |
|
|
Oscar Kokoschka, "Portrait of Adolf Loos", 1909
*Influenced by Van Gogh *Adolf took Oscar under his wing |
|
|
Oscar Kokoschka, "The Tempest (Bride of the Wind)", 1914
*Tragic love story |
|
|
Picasso, "First Communion", 1895-96
*Realistic, illusionistic, very skilled |
|
|
Picasso, "La Vie", 1903
*Blue Period *Compare to El Greco, direct inspiration -looked down upon while living in Paris because he was Spanish (French nationalist attitude) -Homesick -> turned to other Spanish artists for inspiration and help |
|
|
Picasso, "Old Guitarist", 1903 |
|
|
Picasso, "Gertrude Stein", 1906
*Earthy colors *Primitivism - styled after Iberian sculpture *Innate human expressive quality -> communicated more forcefully than illusionism *Communicates through form *Communicates something more truthful/primitive |
|
|
Picasso, "Study for Demoiselles D'Avignon", March-April 1907
*Wanted to gain more notoriety and stir up the art world (more than matisse) *Group of nude prostitutes in foyer of brothel with clothes men come to use their services (dr. and sailor - "honorable" men) |
|
|
Picasso, "Demoiselles D'Avignon", 1907
*Beginning of Cubism *Analytic Cubism *Used multiple inspirations from various cultural backgrounds (African, Egyptian, Iberian) *Never did any research, but was inspired by what he saw and found |
|
|
Analytic Cubism |
*Abstract *Analyzing and rearranging visible forms of the real world and making that your subject matter |
|
|
Georges Braque, "Houses at l'Estaque", 1908
*Took Cezanne and Matisse's words literally *Used to be with Fauves, and can see some of that in this piece |
|
|
Picasso, "Three Women", 1908
*Investigation of form, simplified planes of shapes and color *Earth tones *subject matter is beyond the thing itself *If you're a painter, make a painting; doesn't necessarily have to be an illusionistic representation |
|
|
Georges Braque, "The Portuguese", 1911
*Almost goes back to abstraction *Can see a presence of representations: boat, sea, docks, typography *1st time typography used in a painting like this -The style of the lettering was like everyday consumer products, as opposed to fancy, fine arts typeface that "belonged in galleries" |
|
|
Picasso, "D. H. Kahnweiler", 1910
*illusionism ruins the 2D surface *pictorial innovations |
|
|
Synthetic Cubism |
Real life material used in paintings |
|
|
Picasso, "Still Life with Chair Caning", 1912
*Social commentary *Reflection of his living situation *Used shelf paper for caning, could have spent hours painting it - knew how to create illusionistic art, but chose to use artificial product instead *Oval instead of rectangular *wrapped a piece of found rope around edge as a frame *"JOU" |
|
|
Picasso, "Glass and Bottle of Suze", 1912
*Collage *Possibility that newspaper clippings were not random, but chosen to make a statement about current events *Scrap material, some is painted |
|
|
Picasso, "Violin", 1912 |
|
|
Georges Braque, "Fruit Dish and Glass", 1912 |
|
|
Picasso, "Guitar", 1912
*Found scrap cardboard and strings *Not durable, not meant to be permanent *Inspired by Grebo mask (ivory coast) *Negative spaces=opposite of reality; disregarded conventional negative/positive space |
|
|
Georges Braque, "Untitled Paper Sculpture", 1914
*Corner sculpture *Made of ephemeral materials *Only exists as recreations b/c of its fragility |
|
|
Picasso, "Glass of Absinthe", 1914
*Elements of both analytic and synthetic cubism *Lines are in swirling movement to represent the movement of the liquid in the glass |
|
|
Juan Gris, "Still Life and Townscape (Place Ravignon)", 1915 |
|
|
Albert Gleizes, "Landscape", 1912 |
|
|
Jean Metzinger, "The Village", 1913 |
|
|
Raymond Duchamp-Villon, "The Great Horse", 1914
*Abstract, mechanical *Representation of the horse of that time: means of transportation and labor/machinery, but also elegant and beautiful |
|
|
Alexandre Archipenka, "Medrano II", 1912
*Similar to modern relief sculpture |
|
|
Alexandre Archipenka, "Walking Woman", 1914
*Implied motion (lines on her skirt) *negative space - similar to Picasso's "Guitar" |
|
|
Fernand Léger, "Contrast of Forms", 1913-14
*Adapted cubism into industrial |
|
|
"Fernand Léger, "The City", 1919 |
|
|
Robert Delaunay, "Eiffel Tower", 1911
*Compare to Kirchner's "Marketplace with Red Tower" |
|
|
Robert Delaunay, "Simultaneous Windows", 1911-12
*Like looking through stained glass window |
|
|
Robert Delaunay, "Simultaneous Sun and Moon", 1913
*Like a rose window *Orphism: (Orpheus) heavenly objects moving around, spiritual ideas *Uses abstraction and color to transform his composition into a spiritual plain |
|
|
Futurism |
*Art critics=harmful and useless *Galleries/museums=graveyards *Nude in paintings is as atrocious as adultery in literature *Extolled mechanical age *Exploited possibilities of photography (studied motion) *Cameras and comprehend things the human eye cannot |
|
|
Giacomo Balla, "Street Light (Study)", 1909
*Can see influences all the way back to Seurat, Van Gogh (Night Cafe), cubism, fauvism *Creates a dynamic energy of light |
|
|
Giacomo Balla, "Flight of the Swifts", 1913
*Makes movement tangible *Forced lines *Understood physics |
|
|
Dynamism |
*Dynamic motion captured by an artist |
|
|
Giacomo Balla, "Dynamism of a Dog on a Leash", 1912 |
|
|
Anton Giulio Bragaglia, "Greetings", 1911
*Visualizing motion through a camera |
|
|
Umberto Boccioni, "Unique Forms of Continuity in Space", 1913 |
