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59 Cards in this Set
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Rodin, Burghers of Calais, 1884-1886 (26.27) IMPRESSIONISM -Calais is a city in France (where Rodin is from) -Burgher - prominent ruler -Subject matter: They are all going to die, monument commissioned by the city of Calais; during 100 year's war, city is seized, leaders give themselves up to save their city -Wanted a noble sculpture to celebrate their history -Different from Renaissance because the people aren't strong or perfect; "defeated" "drooping" not "contra pasto" -Made out of bronze; push technique that feels impressionistic -Bronze casts and carving marble -Sand casting; big workshop, manual labor is being done by someone of his workshop; he makes the models -Sand Casting; pour bronze in a mold, model -> press it into sand -> leave negative imprint -> sculptures -Has thumbprints in the model; a lot of texture, evidence of Rodin's hands |
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Matisse, Woman with a Hat, 1905 (27.1) FAUVISM: Group of artists that were grouped together by a critic; kind of a degrading term -Matisse and Duran; "fauv" is the word for beast in France -Characterized by color, psychology of color, pretty much thinking what colors should be instead of what they really are -Interested in block/brick work; block-y brushwork and subjective color -Colors are obviously unnaturalistic, pair complementary colors, bright, bold colors, space behind her are blocks of color, simplification of forms |
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Matisse, The Joy of Life, 1905-1906 (27.3) FAUVISM -Clashes of primary hues -Flat planes of color, contours everywhere -Deliberately upset the scale of figures -Brushstrokes are definitely different throughout the piece -Pastoral setting -Pan is the figure in the backround playing the flute -Primal paradise -About the past; not about an alternate location |
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Matisee, Harmony in Red 1908 FAUVISM -Woman arranging food on a table; flatness and color red to the max -The tablecloth and the wallpaper are the same color; lose cues that they're separate or dimensional -Diminishing trees that suggest depth; could be a window or a painting |
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Pablo Picasso, First Communion, 1895-1896 CUBISM -This painting is from when Pablo was 14 years old; shows how able he is to render and create form and depth -Picasso is Spanish, 1904 moved from Spain to Paris, 1906 went to ethnographic museum; place to look at culture of non-western artists in a western atmosphere |
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Picasso, Les Demoiselles d' Avignon 1907 (27.5) CUBISM -The Young Ladies of Avignon -Avignon is a street in the red light district of Barcelona -They are prostitutes; alligory of sin; was going to include sailors and would be a brothel -Related to his fear of getting an STD; close to the picture plane -Starring at the viewer; erotically displayed and more violent than sexy; the viewer is supposed to be the sailor -Fruit at the front of the picture plane because the picture is about consumption; that's disgusting; fills an appetite -Figures are different planes of color and shapes -Left is from a sculpture; right figures are influenced by African masks -Bodies that are distilled and triangular -Middle figures are the most realistic, while the figures on the sides are abstracted and scary-looking -The sharp figures in the foreground could be foreshadowing sexual encounters |
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Georges Braque, The Portuguese, 1911 -Pablo Picasso and Georges Braque define cubism; analytic and synthetic cubism; worked together until the start of World War I in 1914 -Abstracting but it isn't un-subjective; there is always a subject, it's just been severely abstracted -Analytic cubism; analyzed and fragmented; not a clear light source, reduced, neutral palette, broken down and fragmented forms, shallow, bar-relief like space, working toward a grid -There is text in the image; used in both types of cubism -This is a picture of a man |
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Picasso, Guitar, Sheet Music, and Wine Glass 1912 (27.7) -Collage -Synthetic Cubism; traditional subject matter; dude playing an instrument; cafe scene -Background is wall paper and the bottom left corner is part of a news paper |
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Kirchner, Street, Dresden, 1908 (27.10) GERMAN EXPRESSIONISM -Diebrucke; the bridge organized in 1905 -Artist who were interested in Matisse, masks, Monk, and take their name from a quote; reject materialism -Known for paintings of urban life; spiritual death and dread, flat color, death |
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Vigee-Lebrun, Self-Portrait with Daughter (23.29) NEOCLASSICAL -self-taught -labeled as a Rococo painter; affableness, liveliness, intimacy, and colorful palette associated with the style -painted with shawls around people -wearing togas, posing against a warm wall which is not the style of Rococo -antique headband and sports a Roman-style coiffure -affectionate nature of the scene should be seen as a reflection of the new Rousseauian attitude toward children that called for greater parental involvement -involvement was apparent in the second half of the century; as young children began to appear more in their parent's portraits -Neoclassicism and Enlightenment influences; retains undercurrent Rococo; warm colors, affable glances, soft Corregioesque contours, and curvilinear patterning of arms and drapery |
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Canova, Cupid and Psyche (23.30) NEOCLASSICAL -studied sculpture at the age of nine -commissioned in 1787 by a tourist for his home in Britain -first modeled the work in plaster and then had assistants rough it out in marble -beautiful idealized classical models, intense emotion -moment when Cupid falls in love with the human Psyche and gives her a kiss that awakens her from jealous Venus's spell; Psyche becomes immortal |
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Kauffman, Cornelia Pointing to her Children as Treasures (23.5) NEOCLASSICAL -reinforces the strength and nobility of the mother -dominated by the bareness or the floor and walls -staturesque figures, stable composition anchored by a solid triangle culminating in Cornelia -illustrated the idea that mothers should stay with their children instead of sending them off to wet nurses and nannies until they were adolescents |
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David, Oath of the Horatii (23.27) NEOCLASSICAL -tableau vivant; noble virtutuous action dedicated to supreme but necessary sacrifice of putting state before family -shallow space, composition is front and center; located in the foreground/middle ground -shadows are dramatic; harsh geometry -figures are architecture parallel to the picture plane, arches, grouping of the warriors, -sharp linear contours of the figures, making them seem as solid and frozen as statues -sense of oncoming violence; women shielding children, sharpness of the fingers naturalism and intensity; distinguishes it from Renasissance and Baroque Classicism |
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David, Death of Marat (23.28) NEOCLASSICAL -David was a revolutionary; part of the national convention -voted to execute the king, sent people to the guillotine -portraits of assassinated revolutionaries -propaganda; Marat was a deputy in the National COnvention and the editor of a populist newspaper; ruthless man who was hated and feared -counterrevolutionary from Caen plunged a knife into his chest while he was writing on a portable desk laid across his bathtub; due to a skin condition -fake petition; close to the picture plane -he was not attractive but in the painting he resembled a greek god, his hand is like that of Christ in the Lamentation -crate looks like a tombstone |
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David, Napoleon Enthroned (24.12) NEOCLASSICAL -1806 -oil on canvas -clear and precise -laurel was a symbol of Roman power; the leafy thing on his head -robes and columns are Romanesque -Napoleon trying to give himself more power based on what other people thought was powerful at the time |
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Ingres, Grand Odalisque (24.13) NEOCLASSICAL -Orientalism; fascination with middle-eastern stuff and showing European superiority -Odalisque; Sultan (king of Turkey) has harems (brothels) where he has concubines (prostitutes) -in Europe, they thought that they were pure, healthy, and better people, which is why the prostitutes are always laying down and looking dirty? -Ingres was a fan of Rafael's work which is why all of the faces done by Ingres look like Rafael's -Neoclassical because it's very crisp and sharp -really tactile; fabric and textures look super realistic; MAKES YA WANNA TOUCH EM |
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Ingres, Madame Moitessier (24.14) NEOCLASSICAL -very tactile as well -oriental elements; jar and fan -Ingres thought that women were valuable because of all of her stuff; not personality or anything which is why this piece looks like the doesn't have a soul -not in costume; this is actually what they wore |
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(24.15) Gros, Napoleon in the Pesthouse at Jaffa ROMANTICISM-interest in emotional scenes; erotic, patriotic, violent, exotic, etc. -emotional elements are also found in neo-classicism -vibrant colors, vibrant energy; not going to be serene, diagonals and twisted pyramids; fluid brushwork -story; napoleon was taking over an arab something, people got plague, rumor that government was trying to poison the people -this was made by a painter, pretty much a public relations tactic; very jesus-y -minor controversy-kind of homosexual; naked men around each other; why is napoleon touching naked men? |
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(24.17) Gericault, The Raft of the Medusa ROMANTICISM -captain wasn't qualified but became one because he was friends with a dude -he sucks so he crashes the ship because of nepotism (patronage shown by relationship) and there aren't enough life boats; rich people get on the lifeboats, poor people build a raft really quick -rich people cut rope; 150 people, only 15 survived because they started going hungry and killing each other; cannibalism -story was an epic fail because the french had just gone through a revolution; napoleon was a general who made france free and became king, which led to nepotism for positions of power -exiled napoleon; got old kings whom they exiled to get into power; an opposite revolution -reflecting on the time social classes, nepotism -moment of climax; see a ship coming for them; balance is tipped |
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(24. 5) Constable, The Haywain ROMANTICISM -Constable wasn't poor; based on the land of his father, always painted humble scenes, brought back nostalgia lifestyle |
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(24.7) Turner, The Slave-Ship ROMANTICISM -English painter; romanticized landscape as seen by the brushwork -sublime; when awe-inspiring nature paired with its brutality -based on a true event; sick and dying human cargo being thrown into the sea during a typhoon because it was easier to throw them overboard and collect the insurance -fish are eating the people -a few years after they abolished slavery; comes back to the raft of Medusa |
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(24.3) Goya, The Third of May ROMANTICISM -Spanish painting about when the French with Napoleon tried to invade Spain and kill its monarchy -people that are shooting at the men don't have faces and the central figure is kind of jesus-y -victims are covering their faces; dehumanizing the factors that come with war and violence |
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(25.1) Courbet, Burial at Ornans REALISM -take the subject matter as moral art; consciously democratic; everyday people doing everyday people clothed in everyday clothes -super large-scaled and less concerned with differences between the sketch and the final painting; loose, often visible brushwork -the mixing of classes -lower classes on the right ad the higher classes on the left -making fun of the cardinals; based on real people; look like reindeer/clowns because of their red noses -poor guy getting buried; poor women are super hideous; showing how the classes are different based on their appearances? -there isn't really anything significant about this painting, it was just the first painting that was really realistic |
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(25.2) Courbet, The Stone Breakers REALISM -landowning farm parents -wants art to serve social purpose; piece is both transparent and mysterious; contemporary bodies -don't have faces; don't have time to look at the viewer or they aren't important enough -identity is placed in the work and not in their names -paint is paint; super thick -probably truly saw this scene while he was walking |
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(25.6) Bonheur, Plowing the Nivernais REALISM -first person in France to have a transgender permit; was lesbian, wanted to get a transgender permit to wear jeans |
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(25.10) Manet, The Luncheon on the Grass REALISM -came from a wealthy family; he is the main guy in modern art -contemporary clothes except for the woman of course -Manet's brother is the guy sitting next to the girl, named Ugene -she is pretty much all of his paintings; she was his favorite prostitute -her body is dirty, come here look, important because he throughout composition and perspective; said screw it |
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(25.11) Manet, Olympia REALISM -at the center of art history -super sexual; many ramnifications; prostitution middle class women; it was legal but it was under the rug -became wealthy because the men who bought them were wealthy -black cat's tail is pointing up, symbolizing a penis -flowers symbolize vagina -sheets and her body look deliberately dirty -the opposite of Venus of Urbino; more dirty and down to get down -classicism of reality not of sex; women had to become prostitutes to have a living pretty much |
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(25.19) Manet, Bar at the Folies-Bergere REALISM -lighted up his color palette -can-can, moulin rouge era; little red windmill; THE PLACE TO SEE NAKED LADIES -viewer is the man that's looking at her in the mirror -made the woman look like a product -criticizing the culture and how women are a commodity |
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(25.15) Monet, Impression: Sunrise IMPRESSIONISM; captures a moment in time; focused on light and colors; fleeting effects; saturated scenes of urban life -first time that people had bicycles, lights were invented, and leisure time; sundays are off -this painting gave this type of artwork its name "impressionism" -Monet and other impressionists made their own shows -renovation of Paris that made the streets big |
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Monet, Gare Saint-Lazare, Arrival of a Train IMPRESSIONISM -fleeting moments of the modern movement; new technology -fluffy; the composition because of the smoke and clouds |
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(25.22) Monet, Wheatstack, Sun in the Mist IMPRESSIONISM -captures a different moment in time; paint the same thing over and over again; but during different times of the day |
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(25.17) Renoir, Luncheon of the Boating Party IMPRESSIONISM -mingling of the classes because there are guys in top hats and there are guys in tanks -dappled effect of light; looks super spotty -will do the same things that Manet paints but they are always happy; always mingling and always happy; no underlying sadness |
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(25.20) Morisot, Summer’s Day IMPRESSIONISM -Manet originally painted Morisot and Morisot married Ugene, which is Manet's brother -her colors are bland; plain -first woman to paint what men weren't allowed to like going on boat rides with women |
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(25.13) Hiroshige, Plum Estate, Kameido IMPRESSIONISM -culture shock because that was a wood block from Japan -France industry business started flourishing; trading with Japan |
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(25.12) Degas, The Orchestra of the Paris Opera IMPRESSIONISM -the view was different; inspired by the wood block -sad thing about ballerina dancers was that they were prostitutes showing off their "talents" |
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(25.21) Cassatt, The Child’s Bath IMPRESSIONISM -American but she moved to France -the viewer is a short person or a child -Cassatt never had children; women back then weren't allowed to paint other nudes; she would have children nudes or almost nude to model for her |
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(26.1) Cezanne, Mont Sainte-Victoire POST-IMPRESSIONISM -flattened out everything -headed towards cubism; art is artifice not reality and there is no difference in brushwork when you recede in space |
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(26.3) Cezanne, Mont Sainte-Victoire Seen from Bibenus Quarry POST-IMPRESSIONISM -limited color palette -strong but almost heavy |
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(26.7) Seurat, La Chahut POST-IMPRESSIONISM -freezes the moment and no distinction of separation; flat -legs envelop the composition -there is a creepy guy in the bottom right of the composition; almost Manet but not |
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(26.12) Gauguin, Vision After the Sermon POST-IMPRESSIONISM -interested in the primitive -super intense colors; loves the idea of getting close to nature; animalistic -went to Brittany and found these people; thought that they were uncivilized -heard the Sermon of someone wrestling an angel; they are so focused on the sermon that they thought that the vision was real -obviously not because the grass isn't really red |
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(26.13) Gauguin, Where Do We Come From? POST-IMPRESSIONISM -the people and the colors are off -denial of readability -contrasts religions; catholic baby is like Jesus-y, there is a guy picking an apple, a girl eating an apple, Hindu god maybe? -pavilion; super confusing and the stages of life |
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(26.10) Vincent Van Gogh, Night Cafe POST-IMPRESSIONISM -distorted view; central figure is almost threatening -angles are wrong and the people look sad and slumped -the colors that he chose to use; the red and the green to symbolize a harsh and acidic reality regarding humanity |
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(26.11) Van Gogh, The Starry Night POST-IMPRESSIONISM -thick paint -meditation of earth and spirituality -syprus tree is a cemetery tree that symbolizes the connection between the earth and the spiritual world -tranquility, nature, and harmony with universal forces |
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(27.15) Marc, Animal Destinies GERMAN EXPRESSIONISM -quest to portray spirituality; animals bonding with nature -using cubism |
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(27.14) Kandinsky, Sketch I for “Composition VII” GERMAN EXPRESSIONISM -flat color and encased in dark lines; deeply saturated color -lines resemble the stained glass of churches -preliminary studies; final has a different color palette |
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(27.21) Boccioni, Unique Forms of Continuity in Space FUTURISM -Plastic Dynamism; fusing of object and space -pointed forms capture the direction of energy |
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(27.24) Malevich, Suprematist Composition: Airplane Flying SUPREMATISM -supremacy of feeling -feeling is not personal or emotional but revelatory; abstract essence of the world is translated into the painting -searching for cosmic unity -used colors and forms to create a sense of floating -air travel had just been introduced -white background invokes infinity |
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(28.2) Duchamp, Fountain DADA -wanted to break down rationality; cost of world war 1 -art against art against high culture -humorous or absurd -irrational -Duchamp; transgender; art wanted to appeal to the mind instead of the senses; wanted you to think about it -readymade; made everyday objects and incorporated objects into the artwork -urinal; flipped it backwards; R. Mutt is one of his other names; put into the show and inserted it anonymously |
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(28.16) Dali, Persistence of Memory SURREALISM-interested in accidents -interest in Freud, psychoanalysis, uncouscious mind, embrace techniques like automatic drawing; interested in dream like imagery -clocks are decaying and the bugs on the watch as if they are eating it -self portrait is on the ground -idea because he saw melting cheese |
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(28.19) Oppenheim, Object in Fur (Luncheon in Fur) SURREALISM -sexual wild undertones -talking to someone in the era and got the inspiration from that person telling her to cover a coffee cup with fur |
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(28.27) Mondrian, Composition with Red, Blue, and Yellow DE STIJL -these people thought that they were awesome; Utopian movement -universal style that could ultimately benefit humanity -between the wars -founded by painters; wanted to integrate art and life together -order, geometric -no diagonals because diagonals create a sense of 3D; back to basics kind of movement and primary colors |
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(29.2) Pollock, Autumn Rhythm: Number 30 ABSTRACT EXPRESSIONISM (NEW YORK SCHOOL) -canvas becomes an arena -compositions are unplanned -place of exploration; work is gestural and paint is just paint -chromatic abstraction; focus is on color -gestural painting; focus is on lines -dance between control and freedom -change the thickness of paint -record of the process |
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(29.3) de Kooning, Woman I ABSTRACT EXPRESSIONISM (NEW YORK SCHOOL) -Polish came over to America; dissatisfied with his art -should always want more from your art -figurative -no one would buy because it's a cross between abstraction and realism -intense; skull-like -violent, aggressive application of paint |
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(29.4) Rothko, No. 61 (Rust and Blue) ABSTRACT EXPRESSIONISM (NEW YORK SCHOOL) -chromatic abstraction -doesn't like to put titles on his work because he doesn't want you to think about anything -art should reference the world outside of ourselves; sublime theory -color was universality and could bind everything together -we are never whole |
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(NIB) Rauschenberg, Canyon POP ART -sense of discovery; ambiguous -alludes to the kidnapping of Ganemeide by Rembrandt; Zeus turned into an eagle to kidnap this boy because he thought that this boy was pretty -baby is turned to the side away from the viewer -pillow is referencing the butt; could mean something else, who the hell really knows, am I right? |
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(29.10) Johns, Three Flags POP ART -would always call his images found images -liked emphasis on flatness -homosexual; wanted to know if this was a flag -three different canvases |
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(29.14) Lichtenstein, Drowning Girl POP ART -small color palette, direct opposing to abstract -wasn't trying to make fun of the girl, he was trying to show people at the time thought that women should act was dumb -comical -interest in commercial world; unclear if celebrating or criticizing -hypersaturated drama; gender based expectations -take clippings from comics |
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(29.15) Warhol, Campbell’s Soup Cans POP ART -commercial artist initially -wanted to be famous; became a musician and a painter -repetition in works and series |
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(26.4) Seurat, A Sunday Afternoon on the Island of the Grande JattePOST-IMPRESSIONISM -one of the big four of the impressionism people -Persian; interested in color theories -interested in vertical and horizontal lines; peace and tranquility -pointalism; classicism; middle classes had their sundays off -got a lot of crap for this painting because the figures aren't interacting with each other so it doesn't make any sense -recedes in space; 6' x 10' |
