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10 Cards in this Set
- Front
- Back
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Diego Rivera, In the Arsenal, 1928 can't buy or sell murals, rivera liked them. fictive stone archway matches architecture of building. mural is of proletariat revolution in a weapons factory, populated by artists rivera knew and factory workers producing weaponry. fight the power. rivera liked to be called a worker rather than an artist, wished to turn away from "pure art" because the working classes can't understand stuff like malevich, which had similar social aims but was inherently elitist. |
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Frida Kahlo, Henry Ford Hospital, 1932 autobiographical, she couldn't have children, often felt divided between two things, places, lives. breton claimed her as a surrealist but she didn't want that label. all the items, the fetus, the medical device, orchid, all relate to her life at the time. |
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Dorothea Lange, Migrant Mother, California, 1936 -the madonna of the depression, a universal image of motherhood. children do not face camera- people can imagine their own children. very referential of artistic traditions, has strong rhetorical force. |
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Siquieros, Collective Suicide, 1936, alludes to spanish civil war conflict with images of conquistadores brutally driving out indigenous population. hellish conflict. pre-abstract expressionist. experimental technique, splattering, airbrush, industrial paint, plywood. |
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Pablo Picasso, Guernica, 1937 commissioned by spanish republican govt to represent horrific attack of guernica. overwhelming visual onslaught. reminiscent of newspaper photographs in printing and grey color. violence, trauma, inhumanity against other men. horse is spanish symbol of victimhood due to being gored by bulls during bullfight. |
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George Bellows, Cliff Dwellers, 1913 "Why don't they just go to the country for vacation," ashcan school, on one hand there's a social activist angle with tenement overcrowding but on other hand it doesn't emphasize harsh realities of the situation. it's a romanticized view in stark contrast to Jacob Riis photos |
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Stieglitz, The Steerage, 1907, interested mostly in form and abstraction as well as the people. he doesn't care about the narrative as much as the shapes, the light and shadows, the play of the ship's geometry. he captured pictoral and mysterious imagery without much manipulation or any attempt at aping painting. |
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Charles Sheeler, Church Street El, 1920 precisionist, painted based on stills from films of buildings. sometimes called cubo-realist. radical aerial view and cropping. a new way of looking at the city. geometric abstraction and limited color palette owes debt to analytic cubism. |
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Jacob Lawrence, In the North the Negro Had Better Educational Facilities, From Migration Series, 1940-41 about black migration to north after civil war. graphic panel like newspaper illustration. lines point upward, feeling of ascension. positivity, young girls getting education. |
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Thomas Hart Benton, City Building, 1930 got that "modernist dirt" our of his system images of industry, technology, progress, human aspect in foreground. turn away from european modernism and abstraction for realism, into mannerist painting like el greco. regional painting. |
