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23 Cards in this Set
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#122 |
N: The Scream D: 1893 A: Edvard Munch P/S: German Abstract Expressionism Pa: M/T: Tempera and pastels on cardboard F: The painting consists of three main parts, the bridge, a landscape, and the sky. The two figures in the background can be seen as walking towards or away from the screaming person. The figure on the bridge could be symbolic of Munch himself feels the cry of nature-a sound that is sensed internally rather than heard with the ears. The painting is supposed to express intense emotion-agony and anxiety-through the colors. O: Oslo, The Munch Museum C: Krakatoa eruption, World's Fair in Paris (1889) D/T: Harsh, intense, symbollic. I:Conceived as part of Munch’s semi-autobiographical cycle, “The Frieze of Life,” The Scream’s composition exists in four forms: the first painting, done in oil, tempera, and pastel on cardboard (1893, National Gallery of Art, Oslo); two pastel examples (1893, Munch Museum, Oslo and 1895, private collection); and a final tempera painting (1910, National Gallery of Art, Oslo). Munch also created a lithographic version in 1895. Munich's most popular themes were relationships, life, death, and dread |
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#123 |
N: Where Do We Come From? What Are We? Where Are We Going? D: 1897-1898 A: Paul Gauguin P/S: Post impressionism Pa: M/T: Oil on canvas F: This painting contains numerous human, animal, and symbolic figures arranged across an island landscape. The sea and Tahiti's volcanic mountains are visible in the background. The painting is read from right to left: from the sleeping infant (where we come from) to the standing figure in the middle (what we are) to the crouching old woman (where we are going) O: Museum of Fine Arts, Boston C: Gauguin's transition from "Sunday Painter" to professional painter. D/T: philosophical, bright, vivid I:Where are we going? represents the artist’s painted manifesto created while he was living on the island of Tahiti. It is a canvas four meters fifty in width, by one meter seventy in height. The two upper corners are chrome yellow, with an inscription on the left and my name on the right, like a fresco whose corners are spoiled with age, and which is appliquéd upon a golden wall. To the right at the lower end, a sleeping child and three crouching women. Two figures dressed in purple confide their thoughts to one another. An enormous crouching figure, out of all proportion and intentionally so, raises its arms and stares in astonishment upon these two, who dare to think of their destiny. A figure in the center is picking fruit. Two cats near a child. A white goat. An idol, its arms mysteriously raised in a sort of rhythm, seems to indicate the Beyond. Then lastly, an old woman nearing death appears to accept everything, to resign herself to her thoughts. She completes the story! At her feet a strange white bird, holding a lizard in its claws, represents the futility of words….So I have finished a philosophical work on a theme comparable to that of the Gospel.* |
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#124 |
N: Carson, Pirie, Scott and Company Building D: 1899-1903 A: Louis Sullivan P/S: Form follows function Pa: M/T: Iron, steel, glass, and terra cotta F: Large building with large glass windows and a rounded corner entryway covered with lavish decoration. Meant to serve as a contrast to the environment around it. Serves as a department store. O: Chicago, Illinois C: The rise of skyscrapers in Chicago D/T: Modern, sleek, accessible I: An example of early Chicago skyscraper architecture - builds a relationship between architecture and commerce. Sullivan illustrates this philosophy by describing an ideal tripartite skyscraper. First, there should be a base level with a ground floor for businesses that require easy public access, light, and open space, and a second story also publicly accessible by stairways. These floors should then be followed by an infinite number of stories for offices, designed to look all the same because they serve the same function. Finally, the building should be topped with an attic storey and distinct cornice line to mark its endpoint and set it apart from other buildings within the cityscape. For Sullivan, the characteristic feature of a skyscraper was that it was tall, and so the building’s design should serve that goal by emphasizing its upward momentum. |
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#125 |
N: Mont Sainte-Victoire D: 1902-1904 A: Paul Cezanne P/S: Post Impressionism Pa: M/T: Oil on canvas F: Cezanne's paintings of the mountain show several points of view and often in relationship to a constantly changing cast of other elements (trees, bushes, buildings, fields). He uses geometry to describe nature and different colors to represent depth. O: Philadelphia C: Cezanne's adoption of impressionism and his hometown being near the mountain (Third Impressionist Exhibition) D/T: geometric, bright, simplistic I: The peak of Mont Sainte-Victoire is 3317 feet tall. It is small, but still has a commanding presence over the country and Aix-en-Provence, the hometown of Paul ezanne. |
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#126 |
N: Les Demoiselles d'Avignon D: 1907 A: Pablo Picasso P/S: Cubism Pa: M/T: Oil on canvas F:We see five women (prostitutes) in a brothel. First cubist painting. Removal of the idea of depth in painting, all the women are on one plain. The two women on the right are wearing African masks. On the very left, the woman is painting in Iberian style. This is the idea where Picasso is rejecting classical styles and technique. O: Museum of Modern Art C: The influence of African art on Picasso's work. Matisse's painting "The Joy of Life" D/T: Sharp, dangeous, flat I: Originally, there was a young medical student shown walking into the brothel, but Picasso removed that so that the women would be addressing the audience instead |
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#127 |
N: The Steerage D: 1907 A: Alfred Stieglitz P/S: Cubism Pa: M/T: Photogravure F:The Steerage encapsulated his career’s mission to elevate photography to the status of fine art by engaging the same dialogues around abstraction that preoccupied European avant-garde painters:"A round straw hat, the funnel leading out, the stairway leaning right, the white drawbridge with its railings made of circular chains – white suspenders crossing on the back of a man in the steerage below, round shapes of iron machinery, a mast cutting into the sky, making a triangular shape. I stood spellbound for a while, looking and looking. Could I photograph what I felt, looking and looking and still looking? I saw shapes related to each other. I saw a picture of shapes and underlying that the feeling I had about life. Conveys a message about its subjects, immigrants who were rejected at Ellis Island, or who were returning to their old country to see relatives. O: C: D/T: I:The Steerage suggests that photographs have more than just a “documentary” voice that speaks to the truth-to-appearance of subjects in a field of space within narrowly defined slice of time. Rather, The Steerage calls for a more complex, layered view of photography’s essence that can accommodate and convey abstraction. |
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#128 |
N: The Kiss D: 1907-1908 A: Gustav Klimt P/S: Symbolism/ Art Nouveau Pa: M/T: Oil and gold leaf on canvas F: The gold links to Byzantine, so Klimt was trying to create an essence of trascendence, and there are almost halos around the man and woman. Modern icon? The dark gold ground seems as if the figures are being dissipated into the cosmos and lost in the intensity and eternity of the kiss. O: Vienna C: The intense modernization of Vienna D/T: eternal, sensual, colorful I: Male has linear pattern, woman has curvilinear pattern (contrast). Klimt is abstracting a universal experience from the struggles of everyday life. |
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#129 |
N: The Kiss D: 1907-1908 A: Constantin Brancusi P/S: Avant-garde/ Modernism Pa: American collector M/T: Limestone F: The union of the two figures and genders coming together. He is leaving the primitive nature of the block. Going back to archaic sculpture. Rejecting the classical ideals of sculpture and going back to more primitive style, raw, style. The eyes of the two people come together to make one eye. O: Philadelphia C: Romanian tradition of stone-carving (folk art) D/T: raw, pure, primitive I: Avant-garde: new and unusual or experimental ideas, especially in the arts, or the people introducing them. The artist wanted the sculpture on the ground to take sculpture out of the academic realm and off of the high pedestal. |
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#130 |
N: The Portuguese D: 1911 A: Georges Braque P/S: Cubism Pa: M/T: Oil on canvas F:By breaking these objects into smaller elements, Braque was anle to overcome the unified singularity of an object and instead transform it into an object of vision. Based on a Portuguese musician. O: Switzerland C: Fragmentation of society, WWI, Scientific innovation, Scientists are beginning to break things down to molecular form . D/T: fragmented, sharp I: No focus on color, but focus on form. Shows a man sitting on a dock playing a guitar. By breaking up the picture, he relates this to music-one note doesn't sound great, but a chord (the painting as a whole), is beautiful. |
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#131 |
N: Goldfish D: 1912 A: Henri Matisse P/S: Fauvism Pa: M/T: Oil on canvas F:For Matisse, the goldfish came to symbolize this tranquil state of mind and, at the same time, became evocative of a paradise lost, a subject—unlike goldfish—frequently represented in art. The paradise theme is also prevalent in Matisse’s work. It found expression in Le Bonheur de vivre (The Joy of Life), and the goldfish should be understood as a kind of shorthand for paradise in Matisse’s painting. The mere name “gold-fish” defines these creatures as ideal inhabitants of an idyllic golden age, which it is fair to say Matisse was seeking when he travelled to North Africa. O: Moscow C: Goldfish were introduces to Europe from East Asia in the 17th century; Matisse's trip to Morocco D/T: contrasting, peaceful, tranquil I:Blue and orange, as well as green and red, are complementary colors and, when placed next to one another, appear even brighter. This technique was used extensively by the Fauves, and is particularly striking in Matisse’s earlier canvas Le Bonheur de vivre. Goldfish invites the viewer to indulge in the pleasure of watching the graceful movement and bright colors of the fish. Matisse once wrote that he dreamt of “an art of balance, of purity and serenity, devoid of troubling or depressing subject matter, an art that could be […] a soothing, calming influence on the mind, something like a good armchair that provides relaxation from fatigue.” |
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#132 |
N: Improvisation 28 (second version) D: 1912 A: Vassily Kandinsky P/S: Abstracted expressionism Pa: M/T: Oil on canvas F: The title represents a title of a song or composition. Kandinsky uses painting to illustrate music. Large circles are reflective of loud booming sounds, etc. Kandinsky says that you can see music and hear color. This piece shows chaos and war, and also biblical imagery (city on a hill, great flood), apocalypse O: New York C: two years before WWI, Russian revolutions D/T: chaotic, erratic, colorful I: Synesthesia - crossing of the senses. Kandinsky believed that if earthly things were shown in perfect form in art, that viewers would be deprived from an experience found through the color. There is musicality in the painting. |
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#133 |
N: Self-Portrait as a Soldier D: 1915 A: Ernst Ludwig Kirchner P/S: Abstract expressionism/ avant-garde Pa: M/T: Oil on canvas F: Shows Kirchner dressed in a uniform but instead of standing on a battlefield, he is standing in his studio with an amputated arm and a nude model behind him. Kirchner volunteered to serve as a driver in the military in order to avoid being drafted into a more dangerous role. However, he was soon declared unfit for service due to issues with his general health, and was sent away to recover.Self-Portrait was painted during that recovery. The severed hand in Self-Portrait As a Soldier is not a literal injury, but a metaphor.Kirchner’s is a metaphoric, self-amputation—a potential injury, not to the body—but to his identity as an artist. O: Oberlin C:In 1905, Kirchner, together with several other young artists from Dresden founded the German Expressionist group Die Brücke (The Bridge). Disbanded two years before this painting. WWI D/T: Metaphorical, vivid, psychological I:The roughly sketched, long forms and tapered limbs of the nude model inSelf-Portrait as a Soldier is representative of the style of Kirchner’s nudes from this period and can be seen in his prints as well as paintings. |
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#134 |
N: Memorial Sheet for Karl Liebknecht D: 1919-1920 A: Kathe Kollwitz P/S: Avant-garde Pa: M/T: Woodcut F: Made in response to the assassination of Communist leader Karl Liebknecht during an uprising of 1919. Meant to memorialize the man but does not advocate his ideology. He is dead, his ideology is dead, and she is commemorating the idea that he cannot follow through with his ideal. Everyone's face is light, his is dark, ultimate "BYE" O: Chicago C: WWI political turmoil (prints instead of paintings) to produce multiple copies of same image to spread political statements. D/T: dark, gloomy, mournful I: This piece was done in the style of Lamentation, casting Liebknecht as the Christ figure |
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#135 |
N: Villa Savoye D: 1929 A: Le Corbusier P/S: Modern architecture Pa: M/T: Steel and reinforced concrete F: Represents the culmination of a decade during which the architect worked to articulate the essence of modern architecture. Offered an escape from Paris for its wealthy patrons. The delicate floating box that he designed is both functional house and modernist sculpture, melding form and function. O: Poissy-sur-Seine, France C: The busy modernized Paris, and a rise in Modern architecture D/T: sleek, floating, accessible I: "The house should be a machine for living in" An attempt to create timeless classicism. Its essential geometric volumes embody his concept of the type form, and its careful consideration of procession and proportion connect the building to Classical ideals. |
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#136 |
N: Composition with Red, Blue and Yellow D: 1930 A: Piet Mondrian P/S: De Stijl Pa: M/T: Oil on canvas F:The most distinctive figure in Composition with Red, Blue, and Yellow is the large red square located in the top right corner. This particular square takes up over half of the canvas. This piece also has a very distinctive, thick, and pronounced line separating a large white plane in the upper left corner into two individual planes. These two elements draw the viewer’s eye inward and then force the eye to proceed in a downward manner that allows the viewer to experience the painting first as individual elements and then as a whole. This is one of the most basic tenets of de Stijl; for the “single element, perceived as separate, and the configuration of elements, perceived as a whole.” Mondrian would not have perceived his work as repetitive, but instead would have seen this piece as a whole experience made up of individual parts that generates a statement on the relationship between the individual and the collective or universal. The horizontal lines signify a sense of rest and repose, while the vertical lines communication a sense of height to the piece. Working together as an overall piece, the lines together create a sense of stability and solidarity. In particular, Mondrian’s use of ninety-degree angles throughout his composition evokes a sense of structural stability that reflects the ideas of permanence and reliability. Mondrian was attempting to portray this sense of stability through his paintings and evoke sentiments of a utopian society rather than face the instability of the world in its current state. Since asymmetry was praised in this style, Mondrian uses juxtaposition, proportion, and location to create an overall harmony in his painting without definitively balancing the elements. Aesthetically speaking, Mondrian used the idea of opposition in his painting to achieve this quality. O: Private collection C: The De Stilj movement in modern art D/T: simple, harmonious I:His palette consists of extremely hard primary colors; red, yellow, and blue, as well as neutrals; black and white. The use of these bright distinctive hues yet, nevertheless basic colors, in such a dramatic and dynamic nature emphasizes one of the cornerstones of de Stijl ideology in reference to returning to a state of simplicity. Mondrian praised the use of primary colors and neutrals, this idea of simplicity of form are echoed throughout the white planes; these are “not a neutral background, but a living, vibrant component of the painting: in some areas the white is as much form as the coloured shapes or the lines.” The vertical and horizontal lines represent the harmony of opposites: male v female, people v society, material v spirtual |
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#137 |
N: Illustration from The Results of the First Five-Year Plan D: 1932 A: Varvara Stepanova P/S: Avant-garde Pa: Stalin? M/T: Photomontage F: an ode to the success of the First Five-Year Plan, and initiative started by Stalin in 1928. This photomontage is an ideological image intended to help establish, through its visual evidence, the great success of the Plan. O: Moscow C: WWI, Soviet Union, Five Year Plan, USSR D/T: propaganda, influential I:Stepanova became well known for her contributions to the magazine USSR in Construction, a propagandist publication that focused on the industrialization of the Soviet Union under Joseph Stalin, a ruthless dictator who took power after Lenin's death and who's totalitarian policies are thought to have caused suffering and death for millions of his people. |
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#138 |
N: Object (Le Dejeuner en fourrure) D: 1936 A: Meret Oppenheim P/S: Surrealism Pa: M/T: Fur covered cup, saucer, and spoon F: The cup, spoon, and saucer are wrapped in gazelle fur. linked to the Surrealist’s love of alchemical transformation by turning cool, smooth ceramic and metal into something warm and bristley, while many scholars have noted the fetishistic qualities of the fur-lined set—as the fur imbues these functional, hand-held objects with sexual connotations. O: Museum of Modern Art C: A lunch with Picasso and Maar, surrealist movements. D/T: satirical, symbolic, warm I:The twenty-two year old Basel-born artist, Meret Oppenheim, had been in Paris for four years when, one day, she was at a café with Pablo Picasso and Dora Maar. Oppenheim was wearing a brass bracelet covered in fur when Picasso and Maar, who were admiring it, proclaimed, “Almost anything can be covered in fur!” As Oppenheim’s tea grew cold, she jokingly asked the waiter for “more fur.” Inspiration struck—Oppenheim is said to have gone straight from the café to a store where she purchased the cup, saucer, and spoon used in this piece. |
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#139 |
N: Fallingwater D: 1936-1939 A: Frank Lloyd Wright P/S: Modern architecture Pa: Kaufmann family M/T: Reinforced concrete, sandstone, steel, and glass F: a house built over a waterfall. Fallingwater stands as one of Wright's greatest masterpieces both for its dynamism and for its integration with the striking natural surroundings O: Philadelphia C: Wright's love for Japanese architecture D/T: harmonious, peaceful I: It is now a National Historic Landmark |
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#140 |
N: The Two Fridas D: 1939 A: Frida Kahlo P/S: Latin American Modernism Pa: M/T: Oil on canvas F:The two Fridas clasp hands tightly. This bond is echoed by the vein that unites them. Where one is weakened by an exposed heart, the other is strong; where one still pines for her lost love—as underscored by the vein feeding Rivera’s miniature portrait—the other clamps down on that figurative and literal tie with a hemostat. Can also show identity: Eurpoean/Latin American. O: Mexico city C: A time where women sacrificed their ambitions to live entirely domestic lives. Divorced Diego Rivera. D/T: emotional, strong, symbollic I: “I paint self-portraits because I am so often alone, because I am the person I know best.” |
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#141 |
N: The Migration of the Negro, Panel no. 49 D: 1940-1941 A: Jacob Lawrence P/S: avant-garde Pa: M/T: Casein tempera on hardboard F: This panels shows discrimination from the North. It shows a gold barrier dividing white and black. White side shows intense isolation (refusing to acknowledge the black people). O:Even numbers at MOMA, odd at Phillips C: Migration of African Americans from the agricultural south the to the industrial north D/T: flat, geometric I:Shows hierarchy. White people are the only ones given facial features. The black people have their identity shown through contour and shape. Influenced by African art. |
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#142 |
N: The Jungle D: 1943 A: Wifredo Lam P/S: Latin American Modernism/ Surrealism Pa: M/T: Gouache on paper mounted on canvas F: Lam's painting remains an unusual Cuban landscape compared to the tourism posters that shows the country as a vacation spot. One part of the flora in this scene—sugarcane—is alien to the jungle setting suggested by the painting’s title. Sugarcane does not grow in jungles but rather is cultivated in fields. In 1940s Cuba, sugarcane was big business, requiring the toil of thousands of laborers similar to the cotton industry in the American South before the Civil War. The reality of laboring Cubans was in sharp contrast to how foreigners perceived the island nation, namely as a playground. O: MoMA C: Cuba/ US Conflict D/T: surreal, intense, primitive I:The artist haphazardly constructs the figures from a collection of distinct forms—crescent-shaped faces; prominent, rounded backsides; willowy arms and legs; and flat, cloddish hands and feet. When assembled these figures resemble a funhouse mirror reflection. The disproportion among the shapes generates an uneasy balance between the composition’s denser top and more open bottom—there are not enough feet and legs to support the upper half of the painting, which seems on the verge of toppling over. To show th eoverthrow of the corporate government of cuban leaders |
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#143 |
N: Dream of a Sunday Afternoon in the Alameda Park D: 1947-1948 A: Diego Rivera P/S: Surrealism/ Latin American Modernism Pa: M/T: Fresco F:In Dream of a Sunday Afternoon in Alameda Central Park, hundreds of characters from 400 years of Mexican history gather for a stroll through Mexico City’s largest park. But the colorful balloons, impeccably dressed visitors, and vendors with diverse wares cannot conceal the darker side of this dream: a confrontation between an indigenous family and a police officer; a man shooting into the face of someone being trampled by a horse in the midst of a skirmish; a sinister skeleton smiling at the viewer. O: Mexico City C:Struggles and glory of four centuries of Mexican history D/T: detailed, intense, historic I:This character became infamous in Posada’s La Calavera de la Catrina (The Catrina Skeleton), 1913. Here, the renowned printmaker depicted La Catrina as a skeleton in order to critique the Mexican elite. In Dream of a Sunday Afternoon in Alameda Central Park, Rivera reproduces the original Posada print and adds an elaborate boa—reminiscent of the feathered Mesoamerican serpent god Quetzalcóatl—around her neck. the left side of the composition highlights the conquest and colonization of Mexico, the fight for independence and the revolution occupy the majority of the central space, and modern achievements fill the right. For some art historians the central area is a snapshot of bourgeois life in 1895—as refined ladies and gentlemen promenade in their Sunday best, under the watchful eye of Porfirio Díaz in his plumed military garb. One gets a sense of the inequality that stirred average Mexicans to overthrow their dictator and initiate the Mexican Revolution which lasted from 1910 until 1920. Left side shows Mexican history, middle shows deceased people (artist as a child). |
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#144 |
N: Fountain (second version) D: 1950 A: Marcel Duchamp P/S: Dada Pa: M/T: Readymade glazed sanitary china with black paint F: Porcelain urinal, He bought a urinal, signed it, and entered it into an art exhibition. Meant to stir up a philosophical idea O: San Francisco C: The Society of Independent Artists - No Jury D/T: satirical, funny, philosophical I: Alchemy - he wants us to question what art is, is craft required, is aesthetic experience required? |
