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23 Cards in this Set
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Seurat, Bathers at Asnieres, 1883-84 - Post Impressionism - rejects the "in plain air" outdoor painting style of impressionists but continued to paint similar subject matter (scenes of leisure) - Seurat believed there was a control necessary to painting in the studio - he worked very large scale - no definite lines, DOTS placed strategically to resemble/ mimic lines - depicts lower class workers on their day off (Monday) - Seurat was involved politically and was concerned with issues regarding social class |
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Georges Seurat, Sunday on the Island of La Grande Jatte, 1884-1886 - Meant to be seen next to the Bathers at Asnieres - Depicts a Sunday which was the day of leisure for those in the upper/ upper middle class - One point perspective not used to represent 3 dimensional space, instead uses size of figures to signify recession in space. Figures in foreground are very large and ones meant to be in background are very small - None of the forms are solid/ have any outlines instead the eye is tricked into seeing forms by POINTILLISM, placing dots of color (points) strategically - Seurat completed several preliminary studies (sketches and paintings) outside in the natural light before completing larger paintings in studio |
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Paul Cezanne, Basket of Apples, 1895 - Worked intuitively, was not interested of concerned with color theory or scientific color studies - Repetition of forms - Still lives on still lives - Cezanne preferred to work in studio, stability and sameness of working inside, control - very painterly |
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Paul Cezanne, Great Bathers, 1898- 1905 - Very large work - a sort of push/pull going on between foreground and background, branches and sky are very hard to distinguish - ambiguous, figures seem to have no definite gender, spaces disrupted, bodies disrupted - becomes very flattened out - Passage= When it is hard to distinguish background and foreground and everything sort of blends together (passage from one form to another, hard to separate forms) |
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Paul Cezanne, Mont Sainte-Victoire, 1882-85 - Painted a series of landscape paintings over period of 20 years.. almost obsessive - served as a sort of still life, never changing - same sense of push and pull, areas of the painting where we are not sure whether we are looking at background or foreground - Tree branch serves as a tree branch in the foreground but also as a road in the background |
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Paul Cezanne, Mont Sainte-Victoire, 1902- 1904 - Little geometric areas of paint woven together through vertical alignment and color - Passage - Repetition of color in "foreground and background" creating passage and ambiguity - Never either/ or but instead both/ and ... both background and foreground, both 2 dimensional and 3 dimensional - influential on future cubists |
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Vincent van Gogh, Potato Eaters, 1885 - Van Gogh only created work for a very short period of time before committing suicide, however in his short working period he did produce a significant amount of work - Impasto = thick visible built up paint - gnarled style of painting - sympathy and identification with lower class/ peasants - Theo van Gogh = Vincents brother who there are many letters of correspondence with existing today. It is from these letters only that we have any explanation/ reasoning behind Van Goghs paintings - Religious aspect to painting |
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Vincent van Gogh, Bedroom at Arles, 1888 - As he moved South his color palette brightened - Painting is very off, psychological angst, the room seems to be closing in on itself - pairs of two everywhere, two chairs, two pitchers, two windows, two portraits - Van Gogh was interested in reintroducing religious aspects into work |
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Vincent van Gogh, Starry Night, 1889 - was an absolute lunatic - got off part of his own ear - suffered from seizures and hallucinations that would last up to a month - Painted while he was in the mental asylum - Impasto = thick paint application |
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Paul Gauguin, Self-Portrait with Halo, 1889 - Started painting late in life - Was encouraged by Theo van Gogh to go meet and spend time with Vincent van Gogh.. which led to a fight that led to Van Goghs suicide - originally painted on the back of a cupboard in an inn as payment for being able to stay there - Religious aspects and symbolism, Snake, apple, Halo etc. |
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Paul Gauguin, Yellow Christ, 1889 - Very flattened out style, primary colors |
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Paul Gauguin, Manao Tupapao, 1892 - Gauguin left France to escape "artificial European condition" - went to Tahiti - Although his subject matter changed with his moves, his painting style remained very much the same throughout his career - "The Spirit Watches Over Her" - Total douche bag - Western man arriving in this foreign culture taking what he believes is his and depicting things he doesn't understand |
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Gustave Moreau, The Apparition, 1874-1876 - classified as a symbolist painter, very against impressionists view of the natural world around them - symbolists interested in psychological and emotional investigations - red and yellow, symbolic Red= sin and temptation yellow = spiritual, good - femme fatale = fatal woman, woman who causes downfall of man - biblical story |
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Gustave Moreau, Galatea, 1880- 81 - Ancient story of Giant in love with nymph who he can never have - femme fatale - blend of fantasy and reality |
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Edward Munch, The Scream, 1893 - Symbolism, expressive state of mind - psychological angst - similar to van Gogh in use of color and strong lines to convey emotion - originally titled Despair - Very similar to van Gogh's Starry Night |
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Edward Munch, Dance of Life, 1899-1900 - like Moreau, Munch often depicts the 'Femme Fatale' - is said to show stages of a womans life - femme fatale in the middle, red dress (sin), her hair almost looks like the hair of Medusa ready to engulf this man, garish sloppy makeup - woman in black is meant to be a combination of the woman in white and the femme fatale - strong sexual nature |
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Victor Horta, Staircase of the Maison Tassel, Brussels, 1892 - Art Nouveau = return to the handmade object, artists response to the industrial revolution and machine made object - seen in architecture, fine art, graphic design, fashion etc. - emphasis on natural form - after Art Nouveau fell out of favor many of the buildings reflecting this style were torn down.. this one is still standing |
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Hector Guimard, entrance to the Metro Station, Paris, 1900 - Art nouveau - marriage of function and art - curving - bringing art to the masses - balance and harmonious - decorative |
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Gustav Klimt, Ver Sacrumexhibition poster, c. 1898 - Secession art - shares many of the same characteristics as Art Nouveau - Austria - decoration, harmony, balance |
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Gustav Klimt, Kiss, 1908 - abstraction - secession artist - welcomed into high society, popular artist - highly decorative - comes from Klimt's "Golden Face", successful period of his life - rejection of naturalism |
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Gustav Klimt, Death and Life, 1908-11 - His later work (leading up to WWI) his work becomes increasingly anxiety ridden - more somber - not so much exploration into sexuality and sensuality - still highly decorative |
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Henri Matisse, Woman with a Hat, 1905 - Fauvism = comes from french word meaning wild beast, coined by a critic, it was a hostile term - wild, bold colors, untamed brush strokes - short lived movement influenced by Van Gogh and Guagan - Henri Matisse, most well known Fauvist artist - Fauvists = very young group of male painters, radical - lack of strong lines - color meant to convey emotion |
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Henri Matisse, Portrait of Madame Matisse (Woman with a Green Line), 1905 - familiar subject matter (portrait), very unfamiliar style and color palette - Passage seen again, push/pull of background, blending together - use of color to 'emotionally assault the viewer' or force them to ask questions |
