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51 Cards in this Set
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Artist: Van Gogh Title: Night Café Style: Post-Impressionism Description: fascinated with the night, he said it was so much more alive and richly colored. he didn't praise this painting. Spent three nights painting it, slept during the day. Blood red walls. Interested in the characters in the bar, the drunks or people that no where else to sleep so slept there. |
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Artist: Van Gogh Title: Starry Night Style: Post-Impressionism Description: One of his last paintings before he kills himself no other person has ever painted a night scene as expressive as this one. Although the features are exaggerated, this is a scene we can all relate to, and also one that most individuals feel comfortable and at ease with. Beautiful peaceful village below. |
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Artist: Gauguin.1897 Title: Where Have We Come From? Style: Post-Impressionism Description: Painted in Tahiti, went to this island paradise and expected it to be Eden, but he was a little disappointed when he got there. It wasn't as untouched as he hoped. Moves from left to right. Young Tahitian maiden on the far lefthindu idol of some sort as we move across——> child eating fruit——> male picking fruit (an illusion to garden of Eden: Adam and Eve) All the ages of man across the foreground, lattice web of vines that divide the foreground from the background. Some criticize this picture for lightening the skin tones of the people for the European market |
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Artist: Cezanne Title: Still Life, c.1895 Style: Post-Impressionism Description: triangular of lines the bottle. Cezanne was the godfather of these incredibly risky endeavors. Representing not only objects but also the appearance of light and space. Painting from nature is not copying the object, Cézanne wrote, it is realizing ones sensations. He draws attention to the quality of the paint and canvas, breaks perspective rules. |
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Artist: Cezanne Title: Mont Sainte-Victoire 1902-1904 Style: Post-Impressionism Description: Creating landscapes in a fresh and new way. Quick lines and brushwork that is composed very mosaic like, violets and blues give contrasts in the mountain. The great triangle dominates a third of the composition very close to cubism |
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Artist: Munch, Title: The Cry, 1893 Style: Symbolism Description: Many versions of this painting and later he made prints. Similar to Van Gogh with intense colors and heightened emotions, gentle curve that starts in the body and grow into the face and out of the body. Curves that reflect the lights of the sunset and a sandy beach, entire universe is carries on the shriek that is emitted from this body the anxiety of this modern time —> Frued is beginning to excavate ideas of the conscience mind |
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Artist: Horta Title: Van Eetvelde House Style: Art Nouveau Description: some of the most remarkable pioneering works of architecture of the end of the 19th century. The stylistic revolution represented by these works is characterised by their open plan, the diffusion of light, and the brilliant joining of the curved lines of decoration with the structure of the building. |
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Artist: Matisse Title: Harmony in Red Style: Fauvism Description: This large painting was commissioned as 'Harmony in Blue' but Matisse was dissatisfied with the result, so he painted it over with his preferred red.The painting is a brilliant celebration of pattern and decoration. Colour and patterns on the tablecloth and the wallpaper are the same, creating a continuous flat decorative surface on the canvas. The geometric lines and shapes of the window, exterior building and chairs contrast with the organic lines and shapes that dominate the painting and provide a stable structure to the writhing, dancing movements of the interior. |
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Artist: Matisse Title: Luxe, Calme et Volupte, 1904 Style: Fauvism Description: primary colors, pure colors that make up everything else-contributes to the utopian idea. Sense of leisure, made this painting in the south of France, in the town of Saint-Tropez, while vacationing with family and friends. The forms in the painting are created from spots of color, jabs of the brush that build up the picture. Matisse favored discrete strokes of color that emphasized the painted surface rather than a realistic scene. He also used a palette of pure, high-pitched primary colors (blue, green, yellow, and orange) to render the landscape, and then outlined the figures in blue. The painting takes its title, which means “Richness, calm, and pleasure,” from a line by the 19th-century poet Charles Baudelaire, and it shares the poem’s subject: escape to an imaginary, tranquil refuge. |
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Artist: Matisse Title: Woman with a Hat Style: Fauvism Description: This marked a stylistic change from the regulated brushstrokes of Matisse's earlier work to a more expressive individual style.SHis use of non-naturalistic colors and loose brushwork, which contributed to a sketchy or "unfinished" quality, seemed shocking to the viewers of the day. The subject is Madame Matisse |
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Artist: Picasso Title: Les Demoiselles d'Avignon (Ladies in Avignon) Style: Cubism Description: looks like nothing that has ever been painted before in western life -friends were aghast at the ugliness of the picture he hides it away and never shows it until it surfaces many years later - group of five women posed in the foreground with curtains behind profession of these 5 women?: Brothel -He is taking the big boys on in this picturewe the viewers become the client this is scene is coming from the inspection the women have to go through once a month by the doctor/sailor -wedge of lemon and grapes is a phalic symbol, represents male and female genitalia taking the enlace of the sailor highly charged sexual compositions - Picasso would have been influenced by the ancient Iberian world further abstractions, use of lines to suggest the bare minimum reminds us of Egyptian art - influenced by cezanne - his influence of african art: the top right (the carved features of the face)what is african doing in paris? Neo-Imperialism, when Europe had ripped up and taken over a great percentage of the African continent -a new way to represent human beauty but also the spirituality of it. He tells us that these masks filled him with terror, he is caught up in the spirituality that comes with this artwork. Uses the imperialism to retranslate the human form -lower right of painting: look at female picture, he shows us that we can see multiple angles and views of the human body (side, front, back) white highlights were used to show dimension |
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Artist: Braque Title: Still-Life with Bottle, Newspaper, Pipe and Glass Style: Cubism Description: overlay of bottles and cups draws beautifully with very soft parallel strokes cut a pipe out of a pretend newspaper: messing with our minds and asks the questions what is reality?is art just a bag of tricks? is art fooling us?how can something be absent and present at the same time (in regard to the pipe) high popular culture of everyday life materials being painted and pasted of ordinary life the frame is sitting dead in the center |
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Artist: Kirchner Title: Street, Dresden, The Bridge Style: German Expressionism Description: Same interest in color that we saw in matisseinterest from Van Gogh. Different feeling and mood from matisse’s vibrant pieces in Paris, we see more anxiety, they are all in the same photo but they are seem so alone… similar to the Scream (all alone of the bridge) - little girl seems so scared and alone - he has also captured this sense of skull like figures alone in crowds |
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Artist: Franz Marc Title: Blue Horses, The Blue Rider Style: German Expressionism Description: "the powerfully simplified and rounded outlines of the horses are echoed in the rhythms of the landscape background, uniting both animals and setting into a vigorous and harmonious organic whole." Use of line emphasizes harmony and peace. Marc gave an emotional or psychological meaning or purpose to the colors he used in his work: blue was used for masculinity and spirituality, yellow represented feminine joy, and red encased the sound of violence and of base matter |
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Artist: Kandinsky Title: Improvisation No. 23, The Blue Rider Style: German Expressionism Description: primary colors and secondary colors juxtaposing each other. All the colors have some type of meaning, blue was the most spiritual. How words and color could evoke emotion - non objectivewe begin to see suggestions of forms, hills, the white hate of the Russian soldier - drawing with the sensibility of children's sensibility, non objective ideas but we begin to find objects in the piece very whimsical |
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Artist: Boccioni Title: Unique Forms of Continuity in Space Style: Futurism Description: The face of the sculpture is abstracted into a cross, suggesting a helmet, an appropriate reference for the war-hungry Futurists. Boccioni sculpted both the figure and its immediate environment. Fast pace and mechanical power of the modern world is emphasized here in the sculpture’s dynamism and energy. The figure’s marching silhouette appears deformed by wind and speed, while its sleek metal contours allude to machinery. World War I broke out the year after Boccioni created this work. Believing that modern technological warfare would shatter Italy’s obsession with the classical past, the Futurists welcomed the conflict. |
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Artist: Boccioni Title: The Street Enters the House Style: Futurism Description: demonstrate the influence of Expressionism and Cubism on Boccioni. According to the original catalog entry for the work, "The dominating sensation is that which one would experience on opening a window: all life, and the noises of the street rush in at the same time as the movement and the reality of the objects outside." Sounds of the activity below portrayed as a riot of shapes and colours. |
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Artist: Duchamp Title: Fountain Style: Dada Description: widely seen as an icon of twentieth-century art. Duchamp bought an urinal from a plumbers' merchants, and submitted it to an exhibition organised by the Society of Independent Artist, directors refused to exhibit it. 'Mutt comes from Mott Works, the name of a large sanitary equipment manufacturer. Since the original was lost thereafter, this photograph (reproduced in Ades, p.129) became the basis for the later replicas. "readymades," works with which he challenged traditional notions of making and exhibiting art. Anonymously defending the work in the press, Duchamp claimed he had "created a new thought for that object." He rejected the assumption that art must be linked to the craft of the hand and instead argued that a work of art should be primarily about the artist's idea — a contention that became one of the most far-reaching principles of twentieth-century art |
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Artist: Hannah Hoch Title: Cut with a Kitchen Knife Style: Dada Description: Hoch was a prominent female artist within the Dada movement in Germany after WWI. Hoch was a prominent female artist within the Dada movement in Germany after WWI. She chooses to give specifications, such askitchen knife and beer-belly, to make it clear that this piece is social commentary regarding gender issues in post-war Germany |
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Artist: Malevich Title: White on White, 1915 (1914) Style: Suprematism Description: his austere painting counts among the most radical paintings of its day, yet it is not impersonal; the trace of the artist's hand is visible in the texture of the paint and the subtle variations of white. The imprecise outlines of the asymmetrical square generate a feeling of infinite space rather than definite borders. Malevich pushed the limits of abstraction to an unprecedented degree. Reducing pictorial means to their bare minimum, he not only dispensed with the illusion of depth and volume but also rid painting of its seemingly last essential attribute, color. |
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Artist: Malevich Title: Black Square 1918 Style: Suprematism Description: Russian revolution was going on during this time. Has some spiritual connotations very different than representations of spirituality. Black Square marked the turning point of the Russian avant-garde movement. the prominent piece, with no visual textures and a perfectly symmetrical shape, as it was the paramount of Malevich’s change to pure geometric abstraction: suprematism. "suprematism” was meant to refer to the supremacy of the new geometric forms. |
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Artist: Tatlin Title: Monument to the Third International, 1919-1920 Style: Russian Constructivism Description: intention of building it full-scale, the Russian monument planned to house government and administrative centers; due to lack of materials and funds, the monument’s construction never took off. Tatlin’s model was made of simple objects such as wire, wood, and other functional materials. The production of objects from simple materials reflected the ideals of Constructivism, which called for pieces that could still be viewed as art but could serve a function. The monument is full of straight and diagonal lines, yet makes a very dynamic movement upward. Tatlin was fascinated with movement in art. |
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Artist: Lissitzsky, Title: Proun Room 1921 Style: Description: Lissitzky announced a new type of artwork that he called a "Proun"—an acronym of the Russian phrase meaning "project for the affirmation of the new". A chamber articulated with Proun motifs in two and three dimensions, abstract but possibly symbolical |
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Artist: Piet Mondrian Title: Composition with Red Blue and Yellow Style: Neo-Plasticism/De Stijl Description: focused on the pure primary colors that built everything else in the world (utopia view). There was an idea of colors representing movement and affiliated with other concepts other than its physicality. yellow: radiating red: floating blue: receding |
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Artist: Piet Mondrian Title: Composition in Blue Style: Neo-Plasticism/De Stijl Description: he developed a new form of rigorous abstraction called Neo-Plasticism in which he limited himself to straight, horizontal and vertical lines and basic primary colours. Typically his compositions were not symmetrical but could scarcely be purer in their elements. He felt this art reflected a greater, universal truth beyond everyday appearance. He strove to create pure objective art that he believed would change the world. This sincere and dramatic ambition for such a restrained painting of nothing gives Mondrian's work a conceptual heft that extends far beyond what is visible. |
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Artist: Le Corbusier Title: Villa Savoye 1929 Style: Purism Description: another form of abstraction, dramatic in its apparent simplicity. It is viewed as the climax as well as the end of his works done in the so-called Purist style. Important stylistic features include facades that are essentially similar, without an obvious traditional front facade; a smooth white (that is "pure") reinforced concrete surface with continuous horizontal (ribbon) windows in the first floor and without historical ornament; a dark green base and supporting pilotis (slender columns) which raise the building so it appears to be floating; a flat roof with a garden or solarium; an open plan which leads to the interpenetration of inside and outside. the villa is representative of the bases of modern architecture. The house was originally built as a country retreat on behest of the Savoye family. |
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Artist: Rietveld Title: Schroder House Style: De Stijl Description: This small family house, with its interior, the flexible spatial arrangement, and the visual and formal qualities, was a manifesto of the ideals of the De Stijl group of artists and architects in the Netherlands in the 1920s, and has since been considered one of the icons of the Modern Movement in architecture. |
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Artist: Dali Title: The Persistence of Memory Style: Surrealism Description: most well known of this group paints in a highly realistic and finished style, smooth contours no apparent brushwork creepy and uninviting beach with an unholy acidic yellow light gleaming on the cliffs ants crawling over the clocks the white object laying on the ground is a self portrait of himself, some say it is representing himself and his difficulties with sexual attraction like these watches that can no longer keep time accurately so too the reconstruction of memory can also be skewed the unconscience world of the dream state… anti reason |
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Artist: Masson Title: Automatic Drawing Style: Surrealism Description: unconscience drawing you can sometimes pick out little pictures in it, way to release suppressed thoughts or get juices flowing |
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Artist: Magritte Title: The Perfidy of Images Style: Surrealism Description: subverts everything that we know in the history of art in a gesture that is very similar to the arena of Duchamp a word is a symbol, the is a painting of a pipe not a pipe. creates a three-way paradox out of the conventional notion that objects correspond to words and images. Magritte sought to overthrow what he saw as the oppressive rationalism of bourgeois society. His art during these essential years is at times violent, frequently disturbing, and filled with discontinuities. |
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Artist: Meret Oppenheim Title: Fur-Lined Cup Style: Surrealism Description: a women who was challenged by Picasso it is very difficult almost impossible to work with animal fur covers these ordinary objects with antelope fur, not a very inviting furgone to great lengths to defunctionalize this teacup made it very fearful and strange for the viewer |
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Post-Impressionism
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1. Symbolic and highly personal meanings 2. Structure, order, and the optical effects of color dominated the aesthetic vision 3. Despite the various individualized styles, most Post-Impressionists focused on abstract form and pattern in the application of paint to the surface of the canvas. (paved the way for radical modernists and cubist) |
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Fauvism |
1. its radical goal of separating color from its descriptive, representational purpose and allowing it to exist on the canvas as an independent element.
2. Color could project a mood and establish a structure within the work of art without having to be true to the natural world. 3. the overall balance of the composition. The Fauves' simplified forms and saturated colors drew attention to the inherent flatness of the canvas or paper; within that pictorial space, each element played a specific role. 4. The immediate visual impression of the work is to be strong and unified. 5. Valued individual expression. The artist's direct experience of his subjects, his emotional response to nature, and his intuition were all more important than academic theory or elevated subject matter. All elements of painting were employed in service of this goal. |
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German Expressionism |
1. a response to a widespread anxiety about humanity's increasingly discordant relationship with the world and accompanying lost feelings of authenticity and spirituality
2. new standards in the creation and judgment of art. Art was now meant to come forth from within the artist, rather than from a depiction of the external visual world, and the standard for assessing the quality of a work of art became the character of the artist's feelings rather than an analysis of the composition. 3. Often employed swirling, swaying, and exaggeratedly executed brushstrokes in the depiction of their subjects. These techniques were meant to convey the turgid emotional state of the artist reacting to the anxieties of the modern world. 4. Their representations of the modern city included alienated individuals - a psychological by-product of recent urbanization - as well as prostitutes, who were used to comment on capitalism's role in the emotional distancing of individuals within cities. |
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Cubism: Analytic Cubism, Synthetic Cubism |
1. analytic: They appear as a busy interweaving of planes and lines with the subjects fractured making them look rather like the surface of a crystal • They are painted using a limited range of dark colors • There is very little tonal difference 2. synthetic: Brighter colours• Simpler lines and shapes • Collage is used alongside paint. Previously cubism had broken objects down to a grid of complicated planes (flat shapes). Now the ar,sts built up their pictures using collage and simple shapes |
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Futurism |
1. most important Italian avant-garde art movement of the 20th century 2. Fascinated by the problems of representing modern experience, and strived to have their paintings evoke all kinds of sensations 3. Futurism was not immediately identified with a distinctive style. Instead its adherents worked in an eclectic manner, borrowing from various aspects. 4. fascinated by new visual technology, in particular chrono-photography, a predecessor of animation and cinema that allowed the movement of an object to be shown across a sequence of frames. This technology was an important influence on their approach to showing movement in painting, encouraging an abstract art with rhythmic, pulsating qualities 5. Futurist art brings to mind the noise, heat and even the smell of the metropolis. |
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Dada, Found object / Readymade |
1. So intent were members of Dada on opposing all the norms of bourgeois culture that the group was barely in favor of itself: "Dada is anti-Dada," they often cried. 2. Dada art varies so widely that it is hard to speak of a coherent style. It was powerfully influenced by Futurists and Expressionist concerns with technological advancement, yet artists like Hans Arp also introduced a preoccupation with chance and other painterly conventions. 3. Dada continued into found object/ ready made art, where it was no longer classified as dada but still very similar |
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Suprematism |
1.The Suprematists' interest in abstraction was fired by a search for the 'zero degree' of painting, the point beyond which the medium could not go without ceasing to be art. 2. use of very simple motifs, since they best articulated the shape and flat surface of the canvases on which they were painted. (Ultimately, the square, circle, and cross became the group's favorite motifs.) 3.emphasize the surface texture of the paint on canvas, this texture being another essential quality of the medium of painting. 4. reaction to the Russian Revolution 5. fostered the idea that art could serve to make the world fresh and strange, art could make us look at the world in new ways; removing the real world entirely and leaving the viewer to contemplate what kind of picture of the world is offered by, for instance, a Black Square (c. 1915). 6. was one of the key movements of modern art in Russia and was particularly closely associated with the Russian Revolution. |
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De Stijl |
1. De Stijl, which means simply "the style" in Dutch, emerged largely in response to the horrors of World War I and the wish to remake society in its aftermath. Viewing art as a means of social and spiritual redemption, the members of De Stijl embraced a utopian vision of art and its transformative potential. 2. Usually straight lines, squares, and rectangles--and primary colors. Expressing the artists' search "for the universal, as the individual was losing its significance," 3. |
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Constructivism |
1. the individual artist must merge with the collective 2. The artists should work to reveal the process of "construction" 3. The artist must make things that areboth beautiful and functional, or function is beautiful. As a result itis necessary to recognize the intrinsic beauty of industrialmaterials. 4. No single formal innovation is sufficient. Art must continuallychange in response to changing needs “imposed by generalsocial development.” 4. art often aimed to demonstrate how materials behaved 5. The seed of Constructivism was a desire to express the experience of modern life - its dynamism, its new and disorientating qualities of space and time. |
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Surrealism |
1. The exploration of the dream and unconsciousness as a valid form of reality, inspired by Sigmund Freud's writings. 2. A willingness to depict images of perverse sexuality, scatology, decay and violence. 3. The desire to push against the boundaries of socially acceptable behaviors and traditions in order to discover pure thought and the artist's true nature. 4.The incorporation of chance and spontaneity. 5. Emphasis on the mysterious, marvelous, mythological and irrational in an effort to make art ambiguous and strange. 6. gave artists permission to express their most basic drives: hunger, sexuality, anger, fear, dread, ecstasy, and so forth. |
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Art as political and/or social statement |
1. war and anxiety lead to art movements |
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Art and popular culture |
1. everyday items seeing in new way 2. mass culture as an inspiration, ode to the common people 3. started to come away from the bourgeoisie |
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Technology, science and art |
-industrialization post impressionism: optics and color freud technological advances to art and different uses of media (film) 1. Boccioni, Unique Forms of Continuity in Space 2. Matisse, Luxe, Calme et Volupte, 1904 3. |
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Innovative media/materials |
1. film was also coming about and inspiring different artists 2. using everyday objects as well as materials to create art (collage, newspaper, fur etc) |
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Non-Representational Art/ Non-Objective Art |
-no figures, viewer can't tell what it is. -exaggerated form of abstraction -the artwork does not represent or depict a person, place or thing in the natural world. Usually the content of the work is its color, shapes, brushstrokes, size, |
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Modern architecture |
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Automatism & Psychoanalysis |
1. automatism: idea of free thinking, action without conscience thought (i.e automatic writing) done by the surrealist 2. psychoanalysis: A method of mind investigation. And especially of the unconscious mind |
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Found objects and ready-mades |
1. using the everyday to look at the world in a new way examples: Meret Oppenheim, Fur-Lined Cup Magritte, The Perfidy of Images Duchamp, Fountain |
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Artists’ writings/ manifestos/statements |
1.De Stijl, Mondrian 2. Suprematism 1927 Malevich published his book The Non- Objective World, one of the most important theoretical documents of abstract art 3. Constructivism have 3-4 manifestos prepared to write about |
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abstraction why did cubists move toward abstraction?
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forces the viewer to think differently about the world, challenging the viewer taking everyday objects and look at them differently which enables you to then look at the world differently |
