Reading...
Play button
Play button
Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
380 Cards in this Set
- Front
- Back
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: M. Roubo
Title: Le Menuisier en meubles, Vol. 3, Part II of Description des arts et Metiers Date: 1772 Artistic Style/Movement: Rococo Significance: This is an example of the "lighter" style of Rococo furniture. The Rococo style seems to have originated with architectural ornament, and then spread to fine art. The aristocracy seems to have fled the rigidity of the French court of Versailles in favor of the smaller residences in Paris (called hotels). They adorned these elegant town houses with furniture of more intimate scale and organization. The result was interior design of delicacy and lightness. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Germain Boffrand
Title: Salon de la Princesse Hôtel de Soubise, Paris, France Date: 1732 Artistic Style/Movement: Rococo Significance: This is an example of a SALON. A salon can refer to one of 3 things: A large room for entertaining guests (seen here) A periodic social or intellectual gathering, often of prominent people (often held in the room called a salon) A hall or gallery for exhibiting works of art (because these exhibits originated in the room called salon) |
|
|
What are some typical Rococo elements?
|
Arabesques
S shapes C shapes Reverse-C shapes Volutes Naturalistic plant forms |
|
|
Arabesques
|
A type of linear surface decoration based on foliage and calligraphic forms, usually characterized by flowing lines and swirling shapes.
|
|
|
Volute
|
A spiral scroll, as seen on an Ionic capital
|
|
|
putto (putti)
|
A plump, naked little boy, often winged, in classical art, called a cupid.
In Christian art, a cherub Putti are also found frequently in Rococo style. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Johann Balthasar Neumann
Title: Kaisersaal (Imperial Hall) Residenz, Würzburg Location: Bavaria, Germany Date: 1719-44 Artistic Style/Movement: Rococo Significance: This is an oval room, designed by Neumann, but including paintings by the great Venetian painter Tiepolo. This style builds on the Baroque style of the Hall of Mirrors in Versailles with its clarity of plan, the size and proportions of the marble columns, and the large mirrors. Its style, however, is different, using a white-and-gold color scheme and its delicately curved forms. Rococo interiors are often white-and-gold, or silver-and-gold. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Giovanni Battista Tiepolo
Title: The Marriage of the Emperor Frederick and Beatrice of Burgundy Location: Kaisersaal (Imperial Hall) Residenz, Würzburg Bavaria, Germany Date: 1751-52 Artistic Style/Movement: Rococo Significance: Tiepolo was Venetian. Venice had surpassed Rome as the artistic center of Italy by the early 18th century, and Tiepolo was following in the footsteps of the 16th- and 17th-century artists who specialized in grand illusionistic fresco painting. This painting works well with the surrounding architectural ornament. In fact, the curtains that are drawn back to reveal the imperial wedding are painted and gilded stucco. They not only appear three-dimensional, they ARE three-dimensional. The color palette is lighter, and the figures appear almost dainty when compared to 17th-century figures. |
|
Architect?
Title? Location? Date? Artistic Style/Movement? Significance? |
Architect: Johann Balthasar Neumann
Title: Church of the Vierzehnheiligen Location: near Staffelstein, Germany Date: 1743-72 Artistic Style/Movement: Rococo Significance: Vierzehnheiligen = “Fourteen Auxiliary Saints” This church is the culmination of Neumann’s style. In some ways it is the ultimate Rococo-style church. The façade only gives a small taste of the interior plan. Rococo is primarily an interior style, and never seems to translate well to exterior facades, which by their nature don’t lend themselves well to a “light, airy, intimate” style. The design is, however, more delicate than many of the facades we have seen on Baroque churches. Plan The use of ovals here reminds us of Borromini’s design for San Carlo alle Quattro Fontane. However, this design surpasses Borromini’s in airy lightness, despite the building’s larger size. Note the curves created by the piers that overlap and interlock with one another. Interior The complex plan does not overwhelm the viewer. Instead, the overall impression is of airy lightness, to a degree even greater than Neumann’s earlier designs in the Kaisersaal. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Antoine Watteau
Title: Pilgrimage to the Island of Cythera Location: France Date: 1717 Artistic Style/Movement: Rococo Significance: Watteau is the originator of the French Rococo style in painting. His palette favors pastel colors. His figures are dainty and delicate. The subject matter is playful and lighthearted. The academy was so impressed with his work they created a new category, called the fête galante, or elegant outdoor entertainment. These aristocratic couples are in the middle of a romantic adventure on the mythical island of love sacred to Venus. fête galante: A subject in painting depicting well-dressed people at leisure in a park or country setting. It is most often associated with 18th-century French Rococo painting. |
|
|
fête galante:
|
A subject in painting depicting well-dressed people at leisure in a park or country setting. It is most often associated with 18th-century French Rococo painting.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Antoine Watteau
Title: The Signboard of Gersaint Location: France Date: c. 1721 Artistic Style/Movement: Rococo Significance: Watteau completed this painting in only 8 days, shortly before his premature death in his 30s. Again, the subject seems to be human happiness. Aristocratic painters enjoy themselves as they shop for beautiful things. The painting was cut in half at one point and framed separately. The two halves have been reunited in the 20th century. The packing away of Louis XIV’s portrait, as well as the clock in the background, are reminders of the passing of time and of mortality The straw is also a typical memento mori image Memento Mori From Latin for “remember that you must die.” An object, such as a skull or extinguished candle, typically found in a vanitas image, symbolizing the transience of life. Vanitas An image, especially popular in Europe during the 17th century, in which all the objects symbolize the transience of life. Vanitas paintings are usually of still lifes or genre subjects. Genre painting a term used to loosely categorized paintings depicting scenes of everyday life, including (among others) domestic interiors, parties, inn scenes, and street scenes. |
|
|
Memento Mori
|
From Latin for “remember that you must die.” An object, such as a skull or extinguished candle, typically found in a vanitas image, symbolizing the transience of life.
|
|
|
Vanitas
|
An image, especially popular in Europe during the 17th century, in which all the objects symbolize the transience of life.
Vanitas paintings are usually of still lifes or genre subjects. |
|
|
Genre painting
|
a term used to loosely categorized paintings depicting scenes of everyday life, including (among others) domestic interiors, parties, inn scenes, and street scenes.
|
|
|
Francois Boucher
|
Boucher is one of the most well-known artists of the French Rococo.
He is best known for mythological scenes, in which gods, goddesses, and putti – generally nude except for strategically placed draperies – frolic or relax in natural settings. Boucher was popular and many of his paintings were translated to tapestry (or even upholstered furniture). |
|
|
Chinoiserie
|
The decorative imitation of Chinese art and style common in Europe in the 18th century.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Francois Boucher
Title: Diana Resting after her Bath Location: Musee du Louvre, Paris Date: 1742 Artistic Style/Movement: Rococo Significance: Boucher’s painting of the Goddess Diana is an example par excellence of the contradictory moralizing and popular soft-porn of Rococo Paris, who most personified the saccharine sentiments, fragile foliage and pastel pulchritude. This painting is unquestionably Boucher's masterpiece. As a decorative artist, Boucher had amazing facility; in this painting, done for the Salon in 1742, he wished to excel himself. It places him in the ranks of the great masters, and on looking at it one begins to realize how gifted he was, even though he did not always make full use of his talent. The slender nudes and the hunting theme recall the School of Fontainebleau, of which certain traditions persist in the eighteenth century. The paint surface is intact, and the old varnish, which contains no artificial colouring, gives it a slightly golden tone. The painting is a masterpiece in the true classical manner; the technique is not too obvious, all the values are harmoniously balanced, and the elegance of the drawing and the purity of the forms are more important than the more sensual charms of colour. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Francois Boucher
Title: La Foire Chinoise (The Chinese Fair) Location: France Date: 1743 Artistic Style/Movement: Rococo Significance: Boucher was popular and many of his paintings were translated to tapestry (or even upholstered furniture). Chinoiserie: The decorative imitation of Chinese art and style common in Europe in the 18th century. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Honoré Fragonard
Title: The Meeting (From The Loves of the Shepherds Location: France Date: 1771-73 Artistic Style/Movement: Rococo Significance: Fragonard was the last noteworthy master of French Rococo painting. He studied with Boucher and won the Prix de Rome in 1752. Prix de Rome: A prestigious scholarship offered by the French Academy at the time of the establishment of its Roman branch in 1666. The scholarship allowed the winner of the prize to study in Rome for 3 to 5 years at the expense of the state. Originally intended only for painters and sculptors, the prize was later expanded to include printmakers, architects, and musicians. |
|
|
Prix de Rome
|
A prestigious scholarship offered by the French Academy at the time of the establishment of its Roman branch in 1666.
The scholarship allowed the winner of the prize to study in Rome for 3 to 5 years at the expense of the state. Originally intended only for painters and sculptors, the prize was later expanded to include printmakers, architects, and musicians. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Honoré Fragonard
Title: The Swing Location: London Date: 1766 Artistic Style/Movement: Rococo Significance: Another of Fragonard’s paintings, this woman is pushed by one suitor while she playfully kicks off her shoe to another suitor hiding in the bushes. By doing so, she knowingly gives him a glimpse up her skirt. The lighthearted mood of this and other Fragonard paintings is quite different from the serious mood found in 17th-century Baroque paintings like those by Caravaggio or Rembrandt. Lighthearted subject matter, pastel colors, dainty figures….all these are hallmarks of the Rococo style. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Sèvres Royal Porcelain Factory
Title: Potpourri jar Date: 1758 Artistic Style/Movement: Rococo Significance: Decorative arts and sculpture also reflected the Rococo style in the 18th century. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Clodion
Title: The Invention of the Balloon Date: 1784 Artistic Style/Movement: Rococo Significance: Most sculptors worked in the Neoclassical style by the end of the 18th century. Clodion is an exception. This was a model for a monument celebrating the new hot air balloon. Hot air balloons were often elaborately decorated with painted Rococo scenes. Made of terra-cotta A medium made from clay fired over a low heat and sometimes left unglazed. |
|
|
Academy
|
-An institution established to train artists.
-Most academies date from the Renaissance and later -They became powerful state-run institutions in the 17th and 18th centuries. -In general, academies replaced guilds as the venue where students learned both the craft and the theory of art. -Academies held exhibitions and awarded prizes -Helped artists be seen as trained specialists, rather than craftspeople -And promoted the elevation of the artist’s social status -An academician is an official academy-trained artist. -The establishment of academies in the 17th century was extremely influential in the development of Western art. Academies supported studies in literature, painting and sculpture, music and dance, and architecture. The exhibitions mounted by the academy became known as salons, because for much of the 18th century they were held in the Salon Carré in the Palace of the Louvre. |
|
|
Prix de Rome
|
A prestigious scholarship offered by the French Academy at the time of the establishment of its Roman branch in 1666.
The scholarship allowed the winner of the prize to study in Rome for 3 to 5 years at the expense of the state. Originally intended only for painters and sculptors, the prize was later expanded to include printmakers, architects, and musicians. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pietro Antonio Martini
Title: The Salon of 1787 Date: 1787 Artistic Style/Movement: Rococo Significance: One of two ambitious prints which represent the exhibitions held in 1787 in the Salon of the Louvre. |
|
|
Paris Salon
|
The annual display of art by French artists in Paris during the 18th and 19th centuries.
Established in the 17th century as a venue to show the work of members of the French Academy, the Salon and its judges established the accepted official style of the time. |
|
|
history paintings
|
Among the most influential ideas promoted by the academy was that history painting was the most important form of pictorial art.
Paintings based on historical, mythological, or biblical narratives. Once considered the noblest form of art, history paintings generally convey a high moral or intellectual idea and are often painted in a grand pictorial style. |
|
|
Forms of pictorial art by importance (according to the Academy/Salon)
|
1. History painting
2. Landscape painting 3. Portraiture 4. Genre painting 5. Still life |
|
|
Grand Tour
|
Popular during the 18th and 19th centuries, an extended tour of cultural sites in southern Europe intended to finish the education of a young upper-class person from Britain or North America.
The Grand Tour included other countries but was focused primarily on Italy. The Grand Tour, along with the discoveries of Herculaneum and Pompeii, would bring about a new classical revival called NEOCLASSICISM. |
|
Artist?
Title? Medium? Date? Artistic Style/Movement? Significance? |
Artist: Rosalba Carriera
Title: Charles Sackville, 2nd Duke of Dorset Medium: pastel on paper Date: c.1730 Artistic Style/Movement: Rococo Significance: Many Northern Europeans and Americans who visited Italy on their Grand Tour brought back paintings and portraits. It was fashionable to own these works of art with an Italian connection. Rosalba Carriera was the most popular portraitist in Venice in the early 18th century. She was accepted into the Academy despite their rules forbidding more women (a great accomplishment). This is a portrait of an English aristocrat on his Grand Tour. Pastel Dry pigment, chalk, and gum in stick or crayon form A work of art made with pastels |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Johann Zoffany
Title: Academicians of the Royal Academy Date: 1771-72 Artistic Style/Movement: Rococo Significance: Despite Carriera’s success, the inclusion of women in the academies was limited. Women were not allowed to view or work from the nude male model (as seen here). |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Canaletto
Title: Santi Giovanni e Paolo and the Monument to Bartolommeo Colleoni Date: 1735-38 Artistic Style/Movement: Rococo Significance: In addition to portraits of themselves from their Grand Tour, visitors to Italy also prized paintings and prints of city views. Think of them as 18th-century versions of postcards. They took 2 forms: the caprice and the veduta. |
|
|
veduta (plural, vedute)
|
Italian for “vista” or “view.”
Paintings, drawings, or prints often of expansive city scenes or of harbors. NATURALISTIC views. |
|
|
caprice (plural, capriccio)
|
A painting or print of a fantastic, imaginary landscape, usually with architecture.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Giovanni Battista Piranesi
Title: The Arch of Drusus Date: 1748 Artistic Style/Movement: Rococo Significance: An example of the taste for Picturesque. Picturesque is a term describing the taste for the familiar, the pleasant, and the pretty, popular in the 18th and 19th centuries in Europe. When contrasted with the sublime, the picturesque stood for all that was ordinary but pleasant. |
|
|
Art in Italy/Neoclassicism in Rome
|
Sponsored by the Cardinal Alessandro Albani (1692 – 1779) and his secretary and librarian Johann Joachim Winckelmann (1717 – 68).
They greatly influenced Neoclassicism through an extensive antique art collection and publications. |
|
|
sarcophagus (sarcophagi)
|
A stone coffin
Often rectangular and decorated with relief sculpture Albani’s collection included sculpture, sarcophagi, intaglios, cameos, and vases. |
|
|
intaglio
|
Term used for a technique in which the design is carved out of the surface of an object, such as an engraved seal stone.
|
|
|
cameo
|
Gemstone, clay, glass, or shell having layers of color, carved in low relief to create an image and ground of different colors.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Anton Raphael Mengs
Title: Parnassus Location: Villa Albani, Rome Date: 1761 Artistic Style/Movement: Neoclassical Significance: This is perhaps the first example of the new Neoclassical style. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Antonio Canova
Title: Cupid and Psyche Date: 1787-93 Artistic Style/Movement: Neoclassical Significance: Contemporary Roman sculptors would embrace Neoclassicism in the 18th century, and continue the style in for the next 100 years (in sculpture). Canova was the leading sculptor of this movement. This sculpture is primarily carved out of one block of marble. The wings, the quiver of arrows on the back, and the vase are separately carved and attached. This sculpture tells the story of Cupid and the mortal Psyche, who aroused the envy of Venus who cast her into a deathlike sleep. Jupiter felt pity for them and gave Psyche immortality. We see the two lovers embrace in Canova’s sculpture. |
|
|
3 distinct 18th-century styles
|
Rococo – complex and sensuous
Neoclassicism – simple and restrained Romanticism – concerned with imagination and emotions, reaction against rationality, suggestive of fantasy or romance novels, set in remote time or place, poetic, melancholic (later 18th-century, co-existed with Neoclassicism) These styles did not follow one another chronologically, but co-existed. Rococo is primarily found in the early 18th century, and Romanticism in the late 18th century. However, often these styles overlapped and existed side by side with each other, particularly with Neoclassicism. Classical Revival in Architecture and Landscaping: Neoclassical architecture took its cue from Palladio (16th-century Italy). |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Richard Boyle, Lord Burlington
Title: Chiswick House Location: West London, England Date: 1724-29 Artistic Style/Movement: Neoclassical Significance: The octagonal domed Palladian villa is inspired by the Villa Capra "La Rotonda" near Vicenza and at the same time a fine example of 18th-century architecture, with its colonnaded portico on the upper storey, the frescoed ceilings, the velvet rooms and the stone rooms. It differs from the Villa Capra in having three different designs to the facades (front, back, and two matching sides) rather than being symmetrical all the way round. There is also a superb collection of paintings and Palladian furnishings. The villa was never intended for occupation, having no bedrooms or kitchen, instead being a place to display Burlington's collection. Other, not universally supported, interpretations of the building's purpose have it as a Masonic Temple. |
|
|
Landscape architecture
|
The creation of artificial landforms, lakes, and contrived planting to produce an ideal nature.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henry Flitcroft and Henry Hoare
Title: The Park at Stourhead, England Location: Stourhead, England Date: 1743-65 Artistic Style/Movement: Neoclassical Significance: Stourhead is an example of the picturesque as applied to landscape design. It includes Greek- and Roman-style temples, grottoes, copies of antique statues, a rural cottage, a Chinese bridge, a Gothic spire, and a Turkish tent. In the background here you can see a smaller version/replica of the Roman Pantheon. It is an interesting mixture of the taste for Neoclassicism and Romanticism. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Wood the Elder and John Wood the Younger
Title: The Circus Location: Bath, England Date: 1754-58 Artistic Style/Movement: Neoclassical Significance: Inspired by Ancient Roman stadiums and ampitheaters |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Horace Walpole and others
Title: Strawberry Hill Location: England Date: 1749-76 Artistic Style/Movement: Gothic Revival Significance: Gothic renovations had been made to medieval buildings before, but never to a contemporary structure. This building was made to “look” Gothic, with the addition of crenellaated battlements, tracery windows, and turrets. The library in Strawberry Hill is a great example of Gothic inspiration based on historic styles, but taken out of context. It is exaggerated and these bookcases would NOT have been found in a medieval castle. |
|
|
crenellation
|
Alternating high and low sections of a wall, giving a notched appearance and creating permanent defensive shields in the walls of fortified buildings.
|
|
|
battlement
|
The uppermost, fortified sections of a building or wall, usually including crenellations and other defensive structures.
|
|
|
tracery
|
The stone or wooden bars in a window, screen, or panel, that support the structure and often create an elaborate decorative pattern.
|
|
|
turret
|
A small tower or tower-shaped projection on a building.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Robert Adam
Title: Anteroom, Syon House Date: 1760-69 Artistic Style/Movement: Neoclassicism Significance: This interior was designed for an English gentlemen who wished to live in an appropriate setting for his tastes (and his art collection). The most important British contribution to Neoclassicism was a new style of interior decoration, primarily developed by Robert Adam. The recent discoveries in the ruins of Pompeii helped inspire Adam’s designs. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Josiah Wedgwood
Title: Vase Date: 1786 Artistic Style/Movement: Neoclassical Significance: Many of Wedgwood’s designs were based on Greek vases. The material, however, was different, and unique to the 18th century. Jasperware, A fine-grained, unglazed, white ceramic developed by Josiah Wedgwood, often colored by metallic oxides with the raised designs remaining white. |
|
|
Jasperware
|
A fine-grained, unglazed, white ceramic developed by Josiah Wedgwood, often colored by metallic oxides with the raised designs remaining white.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: William Hackwood for Josiah Wedgwood
Title: “Am I Not a Man and a Brother?” Date: 1787 Artistic Style/Movement: Neoclassicism Significance: Wedgwood was a thinker of the Enlightenment, and as such felt socially responsible enough to comment on human rights. This comments on the slave trade. Other issues of the day included women’s rights. |
|
|
Chasing
|
Ornamentation made on metal by incising or hammering the surface. This was done on Georgian silver, popular in the 18th century.
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: William Hogarth
Title: The Marriage Contract (from Marriage a la Mode series) Date: 1743-45 Artistic Style/Movement: Neoclassicism Significance: Hogarth is an English artist who uses satire to comment on social issues. This painting makes fun of the arranged marriage between an aristocratic family fallen on hard times (with no money) and a wealthy merchant’s family (with new money but no title). |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Joshua Reynolds
Title: Lady Sarah Bunbury Sacrificing to the Graces Date: 1765 Artistic Style/Movement: Neoclassicism Significance: Reynolds attempted to elevate portraiture to the level of history painting by giving it a historical or mythological veneer. Reynolds was very influential in his post as the 1st president of the Royal Academy. Painted in the Grand Manner: An elevated style of painting popular in the 18th century in which the artist looked to the ancients and to the Renaissance for inspiration; for portraits as well as history painting, the artist would adopt the poses, compositions, and attitudes of Renaissance and antique models. Uses contrapposto, An Italian term meaning “set against,” used to describe the twisted pose resulting from parts of the body set in opposition to each other around a central axis. |
|
|
Grand Manner
|
An elevated style of painting popular in the 18th century in which the artist looked to the ancients and to the Renaissance for inspiration; for portraits as well as history painting, the artist would adopt the poses, compositions, and attitudes of Renaissance and antique models.
|
|
|
contrapposto
|
An Italian term meaning “set against,” used to describe the twisted pose resulting from parts of the body set in opposition to each other around a central axis.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Thomas Gainsborough
Title: Portrait of Mrs. Richard Brinsley Sheridan Date: 1785-87 Artistic Style/Movement: Neoclassicism Significance: This British painter continued the tradition of Van Dyck, favoring more informal poses against natural backgrounds. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Joseph Wright
Title: An Experiment on a Bird in the Air-Pump Date: 1768 Artistic Style/Movement: Neoclassicism Significance: We see Enlightenment fascination with developments in the natural sciences in this dramatic depiction. As part of the Lunar Society's attempts to popularize science, Wright painted a series of "entertaining" scenes of scientific experiments. The dramatic lighting, stylistically derived from the Baroque religious paintings of Caravaggio and his followers, but here applied to a SECULAR subject, not only underscores the life-and-death issue of the bird's fate but also suggests that science brings light into a world of darkness and ignorance. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Angelica Kauffmann
Title: Cornelia Pointing To Her Children As Her Treasures Location: Richmond, Virginia Date: c. 1785 Artistic Style/Movement: Neoclassicism/History painting Significance: An example of a successful female in the Royal Academy, AND an example of the growing popularity of history painting. Cornelia exemplifies the "good mother", a popular subject among later 18th century history painters who, in the reforming spirit of the Enlightenment, often depicted subjects that would teach lessons in virtue. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Benjamin West
Title: The Death of General Wolfe Location: The National Gallery of Canada, Ottawa Date: 1770 Artistic Style/Movement: Neoclassicism/History painting Significance: Another example of history painting, although this time the American-born artist bravely flouts tradition by showing heroes in contemporary dress and not ancient historical costume. It shocked and dismayed members of the Royal Academy, but was so popular with the public that they relented. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Henry Fuseli
Title: The Nightmare Location: The Detroit Institute of Arts Date: 1781 Artistic Style/Movement: Romantic Significance: Romanticism in painting is best exemplified by Fuseli. His subjects often depicted supernatural and irrational subjects, in direct conflict with the rationalism of the Enlightenment. This sleeping woman is having an erotic dream caused by the demon sitting on her chest, an incubus or mara or evil spirit. Fuseli would paint 4 versions of this theme, perhaps referring to his obsession with a woman named Anna Landolt, who he thought should be his because they had made love in a dream of his. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: William Blake
Title: Elohim Creating Adam Location: Tate Gallery, London Date: 1795 Artistic Style/Movement: Romanticism Significance: Another proponent of Romanticism in painting, Blake combined elements from the Bible, Greek mythology, and British legend to create works devoted to the understanding of good and evil. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jacques-Germain Soufflot
Title: Panthéon (Church of Sainte-Geneviève) Location: Paris Date: 1755-92 Artistic Style/Movement: Neoclassical Significance: Most typical Neoclassical building: Integrated 3 traditions: Roman architecture French and English baroque classicism Palladian style from England Has a Portico in the front (In architecture, a projecting roof or porch supported by columns, often marking an entrance.) While the façade looks like a Greek temple front (see previous slide), the dome is more akin to St. Paul’s Cathedral and other 17th-century examples. The design has been “cleaned up.” The extravagant excesses of the Baroque style have been replaced with a more “pure” version of classicism. It is a Central-Plan Building (Any structure designed with a primary central space surrounded by symmetrical areas on each side.) Again, the ovals and interlocking circles of the previous century have been replaced with simpler geometry. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Siméon Chardin
Title: The Governess Location: National Gallery of Canada, Ottawa Date: 1739 Artistic Style/Movement: Neoclassical Significance: Chardin represents a reaction to the frivolous Rococo style of Boucher and Fragonard. He was a genre painter. |
|
|
Genre painting
|
genre painting
a term used to loosely categorized paintings depicting scenes of everyday life, including (among others) domestic interiors, parties, inn scenes, and street scenes. Jean Simeon Chardin is an example of an 18th century genre painter. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Marie-Louise-Élisabeth Vigée-Lebrun
Title: Portrait of Marie Antoinette with Her Children Location: Musee National du Chateau de Versailles Date: 1787 Artistic Style/Movement: Rococo & Neoclassical Significance: Vigée-Lebrun was the most famous female portraitist of her time. She was the favorite painter of Marie Antoinette (seen here). By this time, portraits favored more relaxed and intimate settings, and the sitter was portrayed naturally…more so than in previous generations. In 1783, along with Labille-Guiard, was elected to one of the four places in the French Academy available to women at that time. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Adélaïde
Labille-Guiard Title: Self-Portrait with Two Pupils Location: The MET, NY Date: 1785 Artistic Style/Movement: Rococo/Neoclassical Significance: Labille-Guiard was another successful female painter of her day. We see her accompanied by two female students in her studio, a portrait bust of her father in the background. In 1783, Labille-Guiard, along with Vigee-Lebrun, was elected to one of the four places in the French Academy available to women at that time. Labille-Guiard successfully petitioned to end the Academy's restriction on women in 1790. |
|
Artist?
Title? Artistic Style/Movement? Significance? |
Artist: Jacques-Louis David
Title: Self-Portrait Artistic Style/Movement: Neoclassical Significance: The most important French Neoclassical painter of his day, David dominated French painting during the Revolution and the subsequent reign of Napoleon. He was the dominant artist in France for over 20 years. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jacques-Louis David
Title: Oath of the Horatii Location: Musee du Louvre, Paris Date: 1784-85 Artistic Style/Movement: Neoclassicism Significance: The most famous and influential of David's works. Interestingly enough, this painting was commissioned by Louis XVI, the last French monarch (and husband to Marie Antoinette). The king was sympathetic to the Enlightenment. This painting promotes Enlightenment values, the same values which would ultimately lead to the Revolution. In this painting, which is set in an austere Roman interior, the triplet Horatii stand with arms outstretched toward their father, who holds up the swords on which the young men pledge to fight to the death for Rome. In contrast to the upright, muscular angularity of the men is a group of limp and weeping women and frightened children at the right. The women are upset not simply because the Horatii might die but also because one of them (Sabina, in the center) is a sister of the Curatii, married to one of the Horatii, and another (Camilla, at the far right) is engaged to one of the Curatii. David's composition, which spatially separates the men from the women and children through the use of the framing background arches, effectively contrasts the men's stoic willingness to sacrifice themselves for the state with the women's emotional commitment to family ties. David trained originally in the fanciful style of Rococo, but repudiated his training with this painting (studied in the last chapter). Its drawing was strong, simple, and severe. In style and subject, this painting turns away from the values of a pleasure-loving aristocracy and turns toward the traditionally austere virtues of the Roman Republic. David would become the leading proponent of Neoclassicism, and this style would be embraced by the new Republic, during and after the Revolution. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Jacques-Louis David
Title: Death of Socrates Date: 1787 Artistic Style/Movement: Neoclassical Significance: As you can see in this paining, David’s Death of Socrates, he favored a shallow space, which serves as a stage setting for his dramas. His subject matter in this and Oath of the Horatii came from antiquity. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jacques-Louis David
Title: Death of Marat Location: Brussels Date: 1793 Artistic Style/Movement: Neoclassical Significance: David’s greatest painting was not based on a story from antiquity, unlike his Horatii and Socrates paintings. Marat was one of the Jacobin leaders, killed by a member of the opposition party while taking a bath. He suffered from a skin ailment which required he spend so much time in baths that he often wrote his political tracts while bathing. We see him slumped here, still holding the letter given him by his assassin. Marat seems Christ-like in his death. David has elevated a contemporary political event to the level of history painting or religious painting. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Anne-Louis Girodet-Trioson
Title: Portrait of Jean-Baptiste Belley Location: France Date: 1797 Artistic Style/Movement: Neoclassicism Significance: One of the students of David, Girodet-Trioson found an inspiring subject in Belley, a hero of the anti-slavery movement. The equality of all men is an issue raised in the Enlightenment period. Belley led the campaign in 1794 to abolish slavery in the French colonies. He leans against a bust of Guillaume Raynal, a French philosopher who wrote a book in 1770 condemning slavery. Napoleon would reestablish slavery in the Caribbean Islands in 1801. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Antoine Houdon
Title: George Washington Location: State Capitol, Richmond, Virginia Date: 1788-92 Artistic Style/Movement: Neoclassicism/Naturalism Significance: The heroes of the Enlightenment would be portrayed by the French sculptor Houdon with a combination of Neoclassicism and naturalism. Houdon portrayed George Washington, the hero of the American Revolution, not as a king but as a modest and upright man. Classicism as a style was becoming more and more associated with Republican values (both in America and in France). |
|
|
Artist?
Title? Location? Date? Significance? |
Artist: Sebastian Salcedo
Title: Our Lady of Guadalupe Location: Denver Art Museum Date: 1779 Significance: Art of the Americas varied widely, depending on which area we discuss. Native American influence was often combined with the influence of whatever European state had colonized the area. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Antoine Houdon
Title: George Washington Location: State Capitol, Richmond, Virginia Date: 1788-92 Artistic Style/Movement: Neoclassicism/Naturalism Significance: The heroes of the Enlightenment would be portrayed by the French sculptor Houdon with a combination of Neoclassicism and naturalism. Houdon portrayed George Washington, the hero of the American Revolution, not as a king but as a modest and upright man. Classicism as a style was becoming more and more associated with Republican values (both in America and in France). |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Anne-Louis Girodet-Trioson
Title: Portrait of Jean-Baptiste Belley Location: France Date: 1797 Artistic Style/Movement: Neoclassicism Significance: One of the students of David, Girodet-Trioson found an inspiring subject in Belley, a hero of the anti-slavery movement. The equality of all men is an issue raised in the Enlightenment period. Belley led the campaign in 1794 to abolish slavery in the French colonies. He leans against a bust of Guillaume Raynal, a French philosopher who wrote a book in 1770 condemning slavery. Napoleon would reestablish slavery in the Caribbean Islands in 1801. |
|
Artist?
Title? Location? Date? Significance? |
Artist: Sebastian Salcedo
Title: Our Lady of Guadalupe Location: Denver Art Museum Significance: Art of the Americas varied widely, depending on which area we discuss. Native American influence was often combined with the influence of whatever European state had colonized the area. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Peter Harrison
Title: Redwood Library Location: Rhode Island Date: 1749 Artistic Style/Movement: Provincial/Neoclassical Significance: Neoclassicism was popular in the American colonies, but was often altered to fit the available resources (financially and in materials) of the locals. The result is what we would call a “provincial” style. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Rawlins
Title: Large Dining Room Location: Mount Vernon, Virginia Date: 1786-87 Artistic Style/Movement: Provincial/Neoclassical Significance: An Example of the Provincial Style in 18th Century America. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Thomas Jefferson
Title: Monticello Location: Virginia Date: 1770-84, 1796-1806 Artistic Style/Movement: Neoclassical Significance: Thomas Jefferson, in addition to being a Founding Father of the U.S., was a gentleman-architect. He brought back a number of ideas from France and became very influential in bringing Neoclassicism to the Americas. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Singleton Copley
Title: Watson and the Shark Location: National Gallery of Art, Washington, D.C. Date: 1778 Artistic Style/Movement: Provincial/Neoclassical Significance: Most American painters did not have access to the same quality of training found in Europe. These painters either traveled to Europe to find that training, or became “provincial” painters, relying on instinct and tradition instead of academic training. Copley was America’s first native-born genius, who eventually traveled to Europe during the American Revolution. Against the backdrop of a view of the Havana harbor, Copley deployed his foreground figures in a pyramidal composition inspired by classical prototypes. As the ferocious shark rushes on the helpless, naked Watson, a harpooner at the rescue boat's prow raises his spear for the kill. At the left, two of Watson's mates lean out and strain to reach him while the others in the boat look on in alarm. Prominent among these is a black man at the apex of the pyramid, who holds a rope that curls over Watson's extended right arm, connecting him to the boat and symbolizing his impending rescue. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Singleton Copley
Title: Samuel Adams Location: Museum of Fine Arts, Boston Date: c. 1770-72 Artistic Style/Movement: Neoclassical/provincial Significance: The vivid Realism of Copley's style makes the life-size figure of Adams almost to be standing before us. Adams's head and hands, dramatically lit, surge out of the darkness with a sense of immediacy appropriate to the urgency of his errand. The legislators' defiant stance and emphatic gesture convey the moral force of his demands, which are impelled not by emotion but by reason. The charter to which he points insists on the rule of law, and the faintly visible classical columns behind him connote republic virtue and rationality - important values of the Enlightenment, the major philosophical movement of 18th century Europe as well as Colonial America. Enlightenment political philosophy provided the ideological basis for the American Revolution, which Adams ardently supported. |
|
|
Significance of 18th Century Art in Europe and the Americas
|
The 18th century is a century of remarkable change. It begins with the Rococo style, infamous for its light and playful subject matter, full of rosy-cheeked maidens kissing young courtiers in tights.
In the middle of the century, the Enlightenment began to influence scientific theory and to promote the idea of universal human rights. In addition, the discovery of the ruins of Pompeii fed the fires of a new fashion in the arts, called Neoclassicism. The end of the century was bloody, the French Revolution followed the American Revolution, and the dominant artistic movements by the end of the century were Neoclassicism and a new movement called Romanticism. |
|
|
Significance of The Enlightenment and its Revolutions
|
The Enlightenment is an era that begins in the 18th century. Building on the humanism of classical antiquity and the Renaissance, the Enlightenment was a radically new way of thinking. Late 17th- and early 18th-century thinkers held a generally optimistic view that humanity and its institutions could be reformed, if not perfected.
Enlightenment thinkers were generally optimistic that men and women, when set free from their political and religious shackles, could be expected to act morally and rationally. Each of us can pursue our own happiness and, in the process, promote the happiness of others. Sound familiar? Life, liberty, and the pursuit of happiness (in our own political ideology) seems to be a concept from the Age of Enlightenment. As a matter of fact, much of 18th-century thought (and its accomplishments) persists in contemporary society. New mathematical and scientific discoveries (Blaise Pascal and Isaac Newton, for example) Political Revolutions American Revolution of 1776 French Revolution of 1789 |
|
|
Rococo
|
Before the Enlightenment took hold, much of Europe in the early 18th century had a fling with a style known as Rococo.
This style became fashionable first in France at the end of the 17th century. It was a favored style of the aristocracy, which devoted itself to the enjoyment of life. They valued superficial pleasures, witty conversation, cultivated artifice, and playful sensuality. Much of Rococo’s style seems to be a further refinement of the Baroque style. In fact, the term Rococo comes from the Portuguese word barroco and the French word rocaille. The Baroque style can be described as more serious than the Rococo style, however. Baroque is a heavier style, both in appearance and in subject matter. In contrast to the Baroque, the Rococo style is playful and lighthearted, both visually and in subject matter. Baroque colors are jewel-like in tone, using deep reds, blues, yellows. Rococo favors pastel colors. Baroque figures tend to be robust, Rococo figures are dainty. Strangely enough, this style seems to have originated with architectural ornament, and then spread to fine art. The aristocracy seems to have fled the rigidity of the French court of Versailles in favor of the smaller residences in Paris (called hôtels). They adorned these elegant town houses with furniture of more intimate scale and organization. The result was interior design of delicacy and lightness. |
|
|
atelier
|
The studio or workshop of a master artist or craftsperson, often including junior associates and apprentices.
In the 19th century, the capital of the Western art world was Paris. The École des Beaux-Arts, along with the ateliers of Parisian artists, attracted students from all over Europe and the Americas. |
|
|
Neoclassicism
|
In architecture Neoclassicism developed in the 17th c. in Italy and spread to France, Britain and Russia (18th c.). Its characteristic features are the use of orders (columns or pilasters), pediments, entablatures, friezes and classical ornamental motifs. Architects include Juvarra, Vanvitelli, Mansart, Gibbs and Nash.
In painting, it's the name given to the late 18th- and early 19th-c. revival of classical motifs, subjects and decorations. Its inspiration came from the excavations at Herculaneum and Pompeii (begun 1748) and the publ. writing of the German archaeologist Winckelmann. In Britain the sculptor Flaxman, Wedgwood’s Etrurian ware, and the Adam style of interior decoration were all inspired by the revival; in Rome the sculptors Canova and Thorwaldsen were the great exponents of N.; and in France, where it became associated with the Revolution, the painters J.-L. David, G.-J. Drouais and Girodet, the latter both pupils of David. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jacques-Louis David
Title: Napoleon Crossing the Saint-Bernard Location: France Date: 1800-01 Artistic Style/Movement: Neoclassicism Significance: David would maintain his popularity throughout France’s turbulent times. He painted in turn for King Louis XVI. He was popular during the French Revolution. He would become the favorite painter of Napoleon. Here we see Napoleon bravely crossing the Swiss Alps, a feat accomplished by none other than the great Carthaginian general, Hannibal. Of course, in reality, Napoleon did not wear his dress uniform, nor did he cross on horseback. David is using some artistic license here. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Antoine-Jean Gros
Title: Napoleon in the Plague House at Jaffa Location: Paris Date: 1804 Artistic Style/Movement: Romanticism Significance: David trained Gros in Neoclassicism, but G.’s most lasting influence is on the development of Romanticism, a style that suited his inclinations. This is perhaps his most famous painting. Gros took over leadership of Neoclassicism upon the death of David, which by then was becoming out of fashion. He produced unsatisfactory paintings from that point on, and eventually committed suicide. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Auguste-Dominique Ingres
Title: La Grande Baigneuse Date: 1808 Artistic Style/Movement: Neoclassicism & Romanticism Significance: Ingres studied under David as well. He seeks to paint an ideal reality. In Ingre’s paintings, we see a combination of David’s Neoclassicism and a new style called Romanticism. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Auguste-Dominique Ingres
Title: Large Odalisque Location: Paris Date: 1814 Artistic Style/Movement: Neoclassicism & Romanticism Significance: Although Ingres, like David, fervently desired acceptance as a history painter, his paintings of literary subjects and contemporary history were less successful than his erotically charged portraits of women and female nudes, especially his numerous representations of the Odalisque, a female slave or concubine in a sultan's harem. In this painting, her cool gaze levels at her master, while turning her naked body away from what we assume is HIS gaze, making her simultaneously erotic and aloof. Although Ingres's commitment to fluid line and elegant postures was grounded in his Neoclassical training, he treated some Romantic themes, such as the odalisque, in an anticlassical fashion. Her back is too long. Her left leg does not “attach” convincingly to her left hip. These seem to be secondary concerns for Ingres, however, who is more interested in the overall effect. (In this regard, we could compare this painting to Italian Mannerism of the 16th century.) |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Auguste-Dominique Ingres
Title: Odalisque with Slave Date: 1842 Artistic Style/Movement: Neoclassical & Romantic Significance: This interest in the exotic links Ingres to the Romantic movement. Remember we discussed how his style links Neoclassicism and Romanticism? |
|
|
Romanticism
|
A profound revolution in the human spirit gathering momentum in the 18th c. and in full flood in the 19th. The movement in the arts was at its height during the 50 years c. 1790 – c. 1840. The most important elements in R. were: feeling for nature (foreshadowed by the picturesque); emphasis on subjective sensibility and emotion and on imagination, as opposed to reason; and interest in the past, the mysterious and the exotic.
Romanticism In painting began in Britain in the works of Constable and Turner, which show a new awareness of landscape; later the paintings of Palmer (a disciple of W. Blake) reveal an essential Romantic genius. In Germany, the medieval townscapes of Shinkel and Schwind and the mysterious landscapes of Freidrich are typical manifestations of R. Goya in Spain is uniquely R. In France, Géricault and Delacroix. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Théodore Géricault
Title: Raft of the “Medusa” Location: Paris Date: 1818-19 Artistic Style/Movement: Romantic Significance: This is Gericault's most famous composition. He was a French painter, graphic artist, and sculptor. Strong influence on Delacroix (see later slides) and French 19th-c. painting as a whole. Leader of French Romantic painting. Turbulent paintings and sometimes morbid subject matter. This painting is based on a true story of an actual shipwreck. G. studied corpses and sickness to create a compelling realism. The painting was intended to shock and to protest. Of course it caused a scandal. G. studied corpses but did not paint directly from them. He used idealized versions of live models, painting in the traditional Grand Manner. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Eugène Delacroix
Title: Scenes from the Massacre at Chios Location: Paris Date: 1822-24 Artistic Style/Movement: Romanticism Significance: Delacroix (1798 – 1863) was a leading French Romantic painter, draughtsman, lithographer, writer and art critic. His friend Géricault was a great influence on his work. He was also profoundly affected by a trip to Morocco and Spain in 1832. His best known works include this painting, Massacre of Chios. It represents an event from 1822. The Turks, at war with the Greeks, stopped at a peaceful island names Chios and massacred 20,000 of the island’s 100,000 inhabitants. Like Géricault, his painting was – at least in part – a protest. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Eugène Delacroix
Title: Death of Sardanapalus Date: 1827 Artistic Style/Movement: Romanticism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Eugène Delacroix
Title: Liberty Leading the People: July 28, 1830 Location: Paris Date: 1830 Artistic Style/Movement: Romanticism Significance: The work that brought Delacroix the most renown. It summed up for many the destiny of France after the fall of Napoleon. It is not a mere transcription of actual event, rather, the artist applied his imagination to the story and created a work that, while not exactly faithful to fact, is indeed faithful to the emotional climate of the moment at the artist felt it. This was the essence of Romanticism. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Eugène Delacroix
Title: Women of Algiers Date: 1834 Artistic Style/Movement: Romanticism Significance: Here we see the influence of the painter’s trip to Morocco. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: François Rudé
Title: Departure of the Volunteers of 1792 (The Marseillaise) Location: Paris Date: 1833-36 Artistic Style/Movement: Romanticism Significance: This French sculptor abandoned the prevailing sculptural style of Neoclassicism for a more Naturalistic and Romantic approach in this sculpture on the Arc de Triomphe. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Francisco Goya
Title: The Sleep of Reason Produces Monsters No. 43 from Los Caprichos (The Caprices) Location: New York Date: 1799 Artistic Style/Movement: Romantic |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Francisco Goya
Title: Family of Charles IV Location: Madrid, Spain Date: 1800 Artistic Style/Movement: Romantic Significance: In his painting, Goya became known for a free technique, seen here in a royal portrait, which includes himself (on the left). His style changed specifically after an illness in 1792, which left him deaf. In this painting, Goya does not spare King Charles IV, who is portrayed with almost cruel objectivity. Gone are the larger-than-life images of royalty from previous centuries. The 19th century was going to be different, and Goya goes so far as to portray himself here with the Spanish royal family. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Francisco Goya
Title: Third of May, 1808 Location: Madrid, Spain Date: 1814-15 Artistic Style/Movement: Romanticism Significance: This painting chronicles the horrors of the Napoleonic occupation. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Caspar David Friedrich
Title: Cloister Graveyard in the Snow Date: 1819 Artistic Style/Movement: Romantic Significance: Friedrich was a leading German Romantic landscape painter. His characteristic subjects were Gothic ruins, stark contorted trees, bleak seascapes and mountain crags. These were often seen under mysterious lighting effects and peopled with lonely figures, insignificant before nature. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Joseph Mallord William Turner
Title: Snowstorm: Hannibal and His Army Crossing the Alps Location: London Date: 1812 Artistic Style/Movement: Romanticism Significance: The British painter Turner (1775 – 1851) was another leading Romantic landscape painter. The son of a barber, Turner became one of the great masters of British painting. He was strongly concerned with the painting of light, and would later influence the Impressionists. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Joseph Mallord William Turner
Title: The Burning of the House of Lords and Commons, 16th October 1834 Location: Philadelphia Museum of Art Date: 1834 Artistic Style/Movement: Romantic Significance: More faithful to feeling than fact, the work accurately depicts the crowds and bridge but greatly exaggerates the size of the fire. Turner's main interest was in capturing the feelings attending the loss of one of England's most historic structures, and in order to do this he resorted to some of the loosest and most painterly brushwork ever seen in Western art up to that time. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: John Constable
Title: The White Horse Location: New York Date: 1819 Artistic Style/Movement: Romantic Significance: Another British Romantic landscape painter. His depiction of the landscape is Romantic rather than entirely Realistic, since it displays a nostalgia for the past …this kind of countryside was disappearing with the Industrial Revolution. He was unfavorably compared with Turner during his own time. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: John Constable
Title: The Hay Wain Date: 1819-21 Artistic Style/Movement: Romantic |
|
Artist?
Title? Location? Date? Significance? |
Artist: George Catlin
Title: Buffalo Bull’s Back Fat, Head Chief, Blood Tribe Date: 1832 Significance: Catlin was a U.S. traveller and painter of Indian tribal life. He published a book on Native American Indians which included 300 engravings. He painted some 470 canvases, many of them full-length portraits of chiefs like this one. Catlin was largely self-taught, and many of his paintings are valued for their ethnographic and anthropological value. While he attempted to catalog Native American life objectively, an astute observer will notice his view of these disappearing people was Romantic. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Thomas Cole
Title: The Oxbow Location: New York Date: 1836 Artistic Style/Movement: Romantic Significance: British-born, but American One of the founders of the Hudson River school. This was a name loosely applied to a number of 19th-c. U.S. Romantic landscape painters who worked mainly in the Catskill Mountains and the Hudson River. They were never an organized group but shared a sense of wonderment at the grandeur of the newly discovered U.S. landscape. Painstaking attention to detail is a common feature of their style. He is best known for his Romantic landscapes of the Hudson Valley. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Frederic E. Church
Title: Twilight in the Wilderness Date: 1860 Artistic Style/Movement: Romantic Significance: Church was a pupil of Cole and another member of the Hudson River school. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Charles Barry and Augustus Welby Northmore Pugin
Title: Houses of Parliament Location: London, England Date: 1836-60 Artistic Style/Movement: Gothic Revival Significance: In the 19th century, architectural trends included numerous revival styles. In addition to the ever-present interest in Neoclassicism (itself a revival of the classical style), Gothic Revival was popular. Here we see a 19th-century re-building of the Houses of Parliament (which had burned down). The architects used numerous Gothic architectural details, even though the structure itself could never be mistaken for a Gothic church or palace. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Louis-Jacques-Mandé Daguerre
Title: The Artist's Studio Location: Paris Date: 1837 Artistic Style/Movement: Realism Significance: Daguerre was the first person to "fix" a photographic image. Photography was a technique invented by the 19th century. It would immediately affect the arts, in profound and lasting ways. Artists could use photography as a medium for their creativity in itself, or they could use photography to supplement their more traditional artistic process. Daguerre was instrumental to the creation of the photographic process. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Louis-Jacques-Mandé Daguerre
Title: Boulevard du Temple, Paris Date: c. 1838 Artistic Style/Movement: Realism Significance: taken by Daguerre in late 1838 or early 1839 in Paris, was the first photograph of a person. The image shows a busy street, but because exposure time was over ten minutes, the traffic was moving too much to appear. The exception is the man at the bottom left, who stood still getting his boots polished long enough to show. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Julia Margaret Cameron
Title: Portrait of Thomas Carlyle Location: England Date: 1867 Artistic Style/Movement: Realism Significance: Cameron brought a different level to photography, taking photographs of friends, and often staging her models as “characters” from Shakespeare or other fictional works. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Timothy O’Sullivan
Title: Ancient Ruins in the Cañon de Chelle Date: 1873 Artistic Style/Movement: Realism Significance: In 1873 Timothy O'Sullivan led a splinter group from Lieutenant George Wheeler's geological expedition to Zuni Pueblo in northeast Arizona and to the pre-Columbian cliff dwellings known as the White House Ruins at Cañon de Chelle, mostly dating from the eleventh century. O'Sullivan was one of the first people to photograph the structures nestled in the canyon wall. Above the architectural forms, the monumental striated rock formation hovers illogically where the sky should be. O'Sullivan, photographing from a great distance, conveyed the sense of overwhelming scale. Along with the two tiny figures standing at the left center, the photograph's original caption, which identifies the location as: "In a Niche 50 feet above Present Cañon Bed," provides a measure of scale. Timothy H. O'Sullivan began his photography career as an apprentice to Mathew Brady, but he left the Brady gallery to photograph American Civil War battlefields on his own. In 1862 or 1863, he joined the studio of Alexander Gardner, who included forty-four of O'Sullivan's photographs in Gardner's Photographic Sketch Book of the War, the first published collection of Civil War photographs. O'Sullivan's experience photographing in the field earned him a position as photographer for the Geological Exploration of the Fortieth Parallel, the first govermental survey of the American West. He returned to Washington, D.C., in 1874 and made prints for the Army Corps of Engineers. Soon after being made chief photographer for the United States Treasury in 1880, O'Sullivan died of tuberculosis at age forty-one. |
|
Artist?
Title? Location? Date? Significance? |
Artist: Gustave Eiffel
Title: Eiffel Tower Location: Paris Date: 1887 – 89 Significance: Another new technology of the 19th century involved the use of new materials in architecture. The Eiffel Tower is an example of one of the results: a tall structure of iron that dwarfed the Pyramids and the tallest of Gothic cathedrals. It was both praised and criticized by Parisians of its time. Unlike previous architectural structures, the Eiffel Tower does not seek to hide its structural supports, using them instead as part of the overall aesthetic. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: John Augustus Roebling
Title: Brooklyn Bridge Location: New York Date: 1869-83 Artistic Style/Movement: Gothic Revival |
|
Artist?
Title? Location? Date? Significance? |
Artist: Joseph Paxton
Title: Crystal Palace Location: London Date: 1851-51 Significance: This was the largest space ever enclosed up to this time. It used a structural skeleton of iron and iron-framed glass panes of the largest size available for its time. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Labrouste
Title: Reading Room Location: Bibliothèque Sainte-Geneviève Paris Date: 1843-50 Significance: Here is another example of new materials used in architecture. The columns are cast iron are used in an undisguised structural role, although they still reflect their classical precedents in stone. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Charles Garnier
Title: The Opera Location: Paris Date: 1861-74 Artistic Style/Movement: historicism Significance: This 19th century architect chose to work in a style called historicism, which elaborated on earlier Neoclassical and Romantic revivals. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Charles Garnier
Title: The Opéra Grand Staircase Location: Paris Date: 1861-74 Artistic Style/Movement: Historicism Significance: Garnier’s Opera House recalls the 17th-century style called the Baroque. It is ostentatious and elaborate, recalling an earlier period of France’s glory. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-Baptiste Carpeaux
Title: The Dance Location: The Opera, Paris Date: 1867-68 Artistic Style/Movement: Romantic Significance: Carpeaux did not use a pseudo-classical approach (like so many sculptors of his generation). Carpeaux’s approach was more realistic, and scandalized the critics because he did not smooth and generalize the bodies (like Neoclassical sculptures). Instead, Carpeaux’s bodies reveal detailed musculature and bone structure while maintaining some idealization. |
|
|
REALISM
|
A term often used in a general sense, meaning fidelity to life (as opposed to idealization, caricature, etc.), but more usefully confined to the 19th-c. movement in painting and literature.
This was a reaction against the subjectivity and suggestiveness of Romanticism, insisting on the portrayal of ordinary contemporary life and current manners and problems, and in fact (as part of its anti-Romanticism) tending to emphasize the baser human motives and more squalid activities. In literature the novel became the predominant form: Balzac, Stendhal and Dickens contain realistic elements, but Flaubert and Tolstoy are considered the great masters of Realism. Naturalism was an extension of the principles of Realism. Courbet was the 1st major Realist painter. Impressionism may be regarded as an off-shoot of Realism, and a 20th-c. version was Social Realism. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Courbet
Title: The Stone Breakers Location: Dresden Date: 1849 Artistic Style/Movement: Realism Significance: This painting testified in a provocative way to the painter's respect for ordinary people. In French art before 1848, such people usually had been shown only in modestly scaled paintings, while monumental canvases had been reserved for heroic subjects and pictures of the powerful. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Courbet
Title: A Burial at Ornans Location: Paris Date: 1849 Artistic Style/Movement: Realism Significance: In 1850, this painting caused a sensation at the Salon. This enormous painting, containing over 30 life-size figures, was attacked on the alleged grounds that it presented the clergy as cynical and the peasants as brutalized. Courbet had intended it as a sincere group portrait of the villagers with whom he had grown up. He did not idealize them in the conventional way, however. This painting was not supposed to be of a specific burial. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Courbet
Title: The Painter's Studio Date: 1854-55 Artistic Style/Movement: Realism Significance: When Courbet was savagely criticized, he responded with arrogance, anger, and wit. Furthermore, he would withdraw from the official Salon in 1855 and 1867, holding his own exhibitions (something the Impressionists would also do. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Courbet
Title: The Source of the Loue Date: 1864 Artistic Style/Movement: Realism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jean-François Millet
Title: The Gleaners Location: Paris Date: 1857 Artistic Style/Movement: Realism Significance: Millet would reconcile classicism with Realism. Many of his paintings would express sympathy for the peasant’s simplicity and devotion in the face of nature. He inspired Van Gogh. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Rosa Bonheur
Title: Plowing in the Nivernais: The Dressing of the Vines Location: Paris Date: 1849 Artistic Style/Movement: Realism Significance: Realism painter. French animal painter widely acclaimed in her own lifetime. She would use action and accurate detail. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Rosa Bonheur
Title: The Horse Fair Date: 1853 Artistic Style/Movement: Realism Significance: For this painting, perhaps her most famous, Bonheur would disguise herself as a man to attend the fair and obtain correct ‘local color’. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Honoré Daumier
Title: The Third-Class Carriage Date: c. 1862 Artistic Style/Movement: Realism Significance: French painter, caricaturist, graphic artist and sculptor. He made his living as a left-wing cartoonist. He did not give his works the finish then considered necessary by the Academy, which combined with his fame as a cartoonist, made his success somewhat fleeting over the years. He experienced imprisonment, poverty, and near-blindness before his death. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Honoré Daumier
Title: Rue Transnonain, April 15, 1834 Date: 1834 Artistic Style/Movement: Realism |
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Ilya Repin
Title: Bargehaulers on the Volga Location: Russia Date: 1870-73 Artistic Style/Movement: Realism Significance: Repin was a Russian painter and an example of the Realist school outside of France. His work is famous for portraying the most miserable of Russian peasants as subjects. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Ilya Repin
Title: Bargehaulers on the Volga Location: Russia Date: 1870-73 Artistic Style/Movement: Realism Significance: Repin was a Russian painter and an example of the Realist school outside of France. His work is famous for portraying the most miserable of Russian peasants as subjects. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Thomas Eakins
Title: Max Schmitt in a Single Scull Date: 1871 Artistic Style/Movement: Realism Significance: Eakins was a major American Realist. He revolutionized U.S. art teaching, insisting on teaching from the nude and sound anatomical knowledge. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Thomas Eakins
Title: The Gross Clinic Location: Philadelphia Date: 1875 Artistic Style/Movement: Realism Significance: Among his subjects, Eakins included this remarkable portrait of Gross, the doctor who taught Gross Anatomy to medical students. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Winslow Homer
Title: Prisoners from the Front Date: 1866 Artistic Style/Movement: Realism Significance: Another American Realist, Homer covered the American Civil War for Harper’s Weekly and achieved recognition as a painter with this painting. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Winslow Homer
Title: The Life Line Date: 1884 Artistic Style/Movement: Realism Significance: After a trip to Britain (1881-2), Homer returned to violent realistic paintings connected to the sea. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Winslow Homer
Title: The Fox Hunt Date: 1893 Artistic Style/Movement: Realism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: John Singer Sargent
Title: Madame X (Mme Gautreau) Date: 1884 Artistic Style/Movement: Realism Significance: U.S.-born, but became an expatriate, studying in Paris and practicing in London. He became a prolific and fashionable painter. This painting was re-touched, the original having one gown strap slipped off her shoulder being a bit scandalous. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: William Holman Hunt
Title: The Hireling Shepherd Date: 1851 Artistic Style/Movement: Realism Significance: This painter founded the Pre-Raphaelite Brotherhood with Rossetti and Millais. The group consisted of 7 young British painters and sculptors. They wished to revive in British painting the purity fo art before Raphael and hoped to achieve their aim by clarity of colour and line, and simple not grandiose subjects. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Ford Madox Brown
Title: Work Date: 1852, 1855-63 Artistic Style/Movement: Realism Significance: Influenced by the Pre-Raphaelite Brotherhood |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Philip Webb
Title: Single Chair from the Sussex Range Date: c. 1865 Artistic Style/Movement: Arts & Crafts Significance: In production from c. 1865 Ebonized wood with rush seat The Pre-Raphaelite Brotherhood was associated with the Arts and Crafts movement. Handloomed jacquard-woven woolen twill Morris was appalled by the deadening effect of industrialism. He believed that art derived from the workman’s pleasure in his ‘daily necessary work. This craft theory of art, coupled with an admiration of the Middle Ages, and his contempt for current English art, led him to design and manufacture wallpapers and furniture. This developed into the arts and crafts movement. He believed the artist-designer should understand craft processes and ‘honor’ his material. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: James Abbott McNeill Whistler
Title: Nocturne in Black and Gold, The Falling Rocket Date: 1875 Artistic Style/Movement: Post-Realism/Pre-Impressionism Significance: Whistler was U.S.-born painter who flunked out of West Point and went to Europe. He was known to be a dandy with a wit, and his career includes a number of facets that make him influential for later generations. Whistler’s most famous and notorious painting is this one, Nocturne in Black and Gold. The painting looks at first to be completely abstract, but is in fact a night scene of a fireworks show over a lake. The art critic John Ruskin wondered in print how the artist could “demand 200 guineas for flinging a pot of paint in the public eye.” Whistler sued Ruskin for libel in what was a very important legal case. Whistler claimed that art need have no definable subject matter, as long as it was pleasing. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: James Abbott McNeill Whistler
Title: Symphony in White No. II: The Little White Girl Date: 1864 Artistic Style/Movement: Post-Realism/Pre-Impressionism Significance: Whistler also helped to introduce the cult of the Japanese to London, a trend which had already enveloped Paris (where he had studied). Artists were becoming fascinated with Japanese prints. This painting is interesting because the subject is rather generalized…there is no discernible story line here. The artist has also included Japanese-influenced objects, like the fan, the flowers, and the vase. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: James Abbott McNeill Whistler
Title: The Peacock Room Date: 1867-77 Artistic Style/Movement: Post-Realism/Pre-Impressionism Significance: Whistler also was an early proponent of what would eventually be called interior design. He often designed rooms in their entirety, or as environments for his paintings. This is a room commissioned for his patrons Asian porcelain collection. The patron and painter argued repeatedly over the room, but the end result was incredibly interesting. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Édouard Manet
Title: Le Déjeuner sur L’herbe (The Luncheon on the Grass) Date: 1863 Artistic Style/Movement: Realism/Pre-Impressionism Significance: Back in Paris, Manet is creating his own furor. He enjoyed some success at the official Salon and continued to seek official acceptance by the Salon throughout his career, always equating that acceptance with success. He believed the Salon was the ‘real field of battle’ and was reluctant to link his name with younger revolutionaries. While often linked by others to Impressionism, he did not consider himself to be an Impressionist. In the 1860s, however, Manet himself was the main object of controversy and ridicule. This painting was included in the famous Salon des Refusés of 1863 (an exhibition populated by all the rejects from the official Salon that year). This painting, Luncheon on the Grass, was greeted by a hostile public. From the start, Manet had followed the advice of artists like Courbet to paint scened from modern life (la vie moderne). The main public objection was that reality was not adequately disguised. The nakedness of this woman was offensive to a public that would approve open eroticism if it were disguised in classical garb (or in a Romantic painting like Ingre’s Large Odalisque). His brushstrokes were also left “unfinished”, according to some critics. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Édouard Manet
Title: Olympia Date: 1863 Artistic Style/Movement: Realism/Pre Impressionism Significance: Luncheon on the Grass shocked the public in 1863. In 1865, Manet shocked them again with this painting. Once again, the naked woman is a little too “real” for public taste. Once again, Manet had used a Renaissance source for his inspiration. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Claude Monet
Title: On the Bank of the Seine, Bennecourt Date: 1868 Artistic Style/Movement: Impressionism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Claude Monet
Title: Impression, Sunrise Date: 1872 Artistic Style/Movement: Impressionism Significance: This painting gave the movement “Impressionism” its name when displayed in 1874. The term is applied to paintings where the artist has tried to capture the visual impression made by a scene, usually of a landscape, and not make a ‘factual’ report on it. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Claude Monet
Title: Claude Monet Boulevard des Capucines, Paris Date: 1873-74 Artistic Style/Movement: Impressionism Significance: Impressionist painters are typically absorbed by the play of light on a scene. In a sense an Impressionist picture is the sketch as opposed to the finished picture. In Monet’s own words ‘a spontaneous work rather than a calculated one.’ |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Claude Monet
Title: Rouen Cathedral: The Portal (In Sun) Date: 1894 Artistic Style/Movement: Impressionism Significance: Monet often painted the same scene multiple times, concentrating on different canvases for different times during the day. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Pierre-Auguste-Renoir
Title: Moulin de la Galette Date: 1876 Artistic Style/Movement: Impressionism Significance: Renoir worked closely with Monet. For a time their canvases looked remarkably similar, but they eventually developed in different directions. Renoir, always more interested in the figure, would become more linear than Monet as time progressed. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Edgar Degas
Title: The Rehearsal On Stage Date: c. 1874 Artistic Style/Movement: Impressionism Significance: Degas was another member of the movement. Often a difficult personality, Degas demanded that those exhibiting in Impressionist shows should not also exhibit in the academic Salon, a viewpoint that put him at odds with other artists of the movement. He became most well-known for paintings of ballerinas. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Edgar Degas
Title: Little Dancer Fourteen Years Old Date: 1878-81 Artistic Style/Movement: Impressionism Significance: 1878 – 81 One of the first uses of non-traditional materials for sculpture. Instead of stone or bronze, we have here wax, cloth, etc. Wax, hair, linen bodice, satin ribbon and shoes, muslin tutu, wood base 39” h |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Caillebotte
Title: Paris Street, Rainy Day Date: 1877 Artistic Style/Movement: Impressionism Significance: Another of the French Impressionists, Caillebotte was also an early collector of Impressionist paintings. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Mary Cassatt
Title: Little Girl in a Blue Armchair Date: 1878 Artistic Style/Movement: Impressionism Significance: Cassatt was U.S.-born but studied in Paris, so belongs to the French Impressionist school. She was largely responsible for introducing American collectors to the French Impressionists. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Mary Cassatt
Title: Woman in a Loge Location: Philadelphia museum of Art Date: 1879 Artistic Style/Movement: Impressionism Significance: Cassatt focused on the world to which she had access: the domestic and social life of well-off women. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Mary Cassatt
Title: Maternal Caress Date: 1891 Artistic Style/Movement: Impressionism Significance: Cassatt also appreciated the influx of Japanese prints in Paris, and altered her style accordingly. This intimate domestic scene is marked by two-dimensionality and strong patterns. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Berthe Morisot
Title: Hide and Seek Date: 1873 Artistic Style/Movement: Impressionism Significance: Also a female in the Impressionist circle, Morisot combines Impressionist technique with subject matter appropriate for a female painter. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Berthe Morisot
Title: Summer's Day Date: 1879 Artistic Style/Movement: Impressionism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Édouard Manet
Title: A Bar at the Folies-Bergère Date: 1881-82 Artistic Style/Movement: Impressionism Significance: Manet would fraternize with the Impressionists, influence them, and be influenced by them. He never officially joined the movement, however. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Paul Cézanne
Title: The Bay from L’Estaque Date: c. 1885 Artistic Style/Movement: Post-Impressionism Significance: Called the father of Modern Art and Cubism Cézanne came from a wealthy family and received a classical education. He failed at banking and eventually followed his life-long dream of painting. Cézanne’s personality was one of violent temper and studied rudeness, which did not endear him to the young Impressionists. He eventually absorbed the Impressionist technique but was never interested in repeating their experiments. Instead, Cézanne felt that all of nature could be distilled to the cylinder, sphere, and cone. There is a sense of structure in his paintings that is missing from the Impressionists. |
|
|
Post-Impressionism
|
What comes after Impressionism is Post-Impressionism. It was not actually an art movement at all.
Post-Impressionism is a vague term that serves as a blanket term for a wide range of styles and movements. Some critics think this term should be replaced by “pre-Modern.” During the last quarter of the 19th century and the first years of the 20th, artistic experimentation invented a bewildering number of styles. This is often called “pluralism.” |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Paul Cézanne
Title: Mont Sainte-Victoire Date: c. 1885 – 87 Artistic Style/Movement: Post-Impressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Paul Cézanne
Title: Mont Sainte-Victoire Seen from Les Lauves Date: 1902-6 Artistic Style/Movement: Post-Impressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Paul Cézanne
Title: Still Life with Basket of Apples Date: 1890-94 Artistic Style/Movement: Post-Impressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Paul Cézanne
Title: The Large Bathers Date: 1906 Artistic Style/Movement: Post-Impressionism Significance: Cézanne was viciously criticized during his lifetime. After his death, he became very influential to the next generation of artists. Artists like Picasso would view him as the Father of Modern Art. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Georges Seurat
Title: A Sunday Afternoon on the Island of La Grande Jatte Date: 1884-86 Artistic Style/Movement: Post-Impressionism/Pointillism Significance: Seurat created a new style called Pointillism. He took the Impressionist practice of applying broken colors to suggest shimmering light and movement to a non-naturalistic extreme. Painstakingly, almost obsessively, Seurat painted tiny dots and thin slashes of contrasting color side by side. |
|
|
Expressionism
|
Term used to describe works of art in which reality is distorted in order to express the artists’ emotions or inner vision
in painting, emotional impact is heightened by deliberate use of strong colors, distortion of form, etc. In this sense, the paintings of El Greco and Grünewald are sometimes called Expressionist, though the term is usually restricted to artists of the last 100 years. Thus Van Gogh in painting and Strindberg in drama are regarded as the forerunners of modern Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Vincent van Gogh
Title: Self-Portrait Date: 1888 Artistic Style/Movement: Post-Impressionism/Expressionsim Significance: Contrary to popular belief, Van Gogh did sell a few paintings within his own lifetime. In fact, he was considered to be such a good painter that he was forged during his own lifetime. He also did not commit suicide, but fell against a shotgun which went off. He was wild, prone to deep depressions, and spent some time in an asylum. He was probably not insane, however. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Vincent van Gogh
Title: The Night Cafe Date: 1888 Artistic Style/Movement: Post-Impressionism/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Vincent van Gogh
Title: The Starry Night Date: 1889 Artistic Style/Movement: Post-Impressionism/Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Edvard Munch
Title: The Sick Child Date: 1885-86 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: A Norwegian painter who also seemed, like Van Gogh, to be expressionistic. He would be very influential to later generations of artists. The Sick Child (1885-6) was inspired by his sister’s death from tuberculosis and shows the neurotic Expressionism with which he intensified images from reality. His mature paintings and prints were concerned with the expression of his feelings in face of reality rather than representing the appearance of reality. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Edvard Munch
Title: The Scream Date: 1893 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: Munch’s influence was strong in Germany; his work had been shown in exhibitions and admired since the 1890s. His work became widely known through periodicals in Paris and Berlin (1895-1905, his most creative period) and was one of the main artistic sources of German Expressionism. He returned to Norway (1909) after a nervous breakdown and painted the mural decorations for Oslo Univ. (1909-10), several portraits, and reworked some earlier themes. He was condemned as ‘degenerate’ by the Nazis. In his most characteristic work, The Scream (1893), he builds up rhythms of color and swirling lines – as Van Gogh had done in his self-portraits – to a pitch of hysterical intensity. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Christian Krohg
Title: The Sick Girl Date: 1880-81 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: This painting, and Krohg himself, influenced Munch's painting, particularly his painting of the same title. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: James Ensor
Title: The Entry of Christ into Brussels in 1889 Date: 1888-1889 Artistic Style/Movement: Expressionism Significance: Ensor was a Belgian painter, considered a pioneer of both Expressionism and Abstract Expressionism. This painting was rejected in 1889 after a scandal. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Paul Gauguin
Title: Vision After the Sermon Date: 1888 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: Born in Paris, Gauguin fled to Peru with his family after Napoleon III seized power in 1851. At 17 he sailed the 7 seas for 6 years, worked as a stockbroker, became intrigued with art, amassed a fine collection of Impressionists, and started to paint full time when the Paris stock exchange collapsed in 1883. People laughed at his work, and he couldn’t earn a dime to support his family of 4. He began study under Pissaro (an Impressionist). His work was largely rejected in this early phase of his career. He moved to Copenhagen, split with his wife, and returned to Paris in 1885. He grew increasingly bitter. Under the influence of Seurat, he began experimenting with color. He met van Gogh, became friends, and ended their tumultous relationship after only a year. After a journey to Martinique, he was exposed to primitive community living and became obsessed with the colors of the tropical landscape. That experience changed the course of his career (which up to this point had been unpromising). |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Paul Gauguin
Title: Mahana No Atua (Day of the God) Date: 1894 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: By 1891, he had come to believe that civilization was the cause of barbarism. By this time, his work, which had become remarkably luminous and bold, was a continuing protest against what he thought was the materialism of bourgeois life. He sailed to the far Pacific – Tahiti (1891-93, 1895-1901) and the Marqueses Islands (1901-03) – where he painted “natural” men and women. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Paul Gauguin
Title: Where Do We Come From? What Are We? Where Are We Going? Date: 1897-98 Artistic Style/Movement: Post-Impressionism/Expressionism Significance: Painted while his health deteriorated, it was intended to be a suicide note on a grand scale, but he never succeeded in killing himself. The subject matter itself is confusing but seems to comment somehow on the strivings and fears of humanity. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Rousseau
Title: Carnival Evening Date: 1886 Artistic Style/Movement: Primitivism Significance: Called ‘Le Douanier’, Rousseau was a self-taught French primitive painter. The child-like simplicity of form and the uninhibited imaginativeness of subject came as a revelation of artists seeking new means of expression. |
|
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Henri Rousseau
Title: The Sleeping Gypsy Date: 1897 Artistic Style/Movement: Primitivism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Gustave Moreau
Title: The Apparition Date: 1874-76 Artistic Style/Movement: Symbolism Significance: Moreau was originally a painter in the academic tradition. He became known for his works about Salomé. These paintings seem decadent in their mood. He would eventually influence Surrealism. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Albert Pinkham Ryder
Title: Jonah Date: c. 1885 Artistic Style/Movement: Romanticism & Symbolism Significance: Ryder is a U.S. painter of visionary and poetic imagination. Living a solitary life in a NY attic he painted small Romantic landscapes and scenes of the sea by night as well as symbolic and literary subjects. He repainted constantly and so his paintings have deteriorated. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henry Ossawa Tanner
Title: The Resurrection of Lazarus Date: 1896 Artistic Style/Movement: Symbolism Significance: Most acclaimed African-American artist of the late 19th c. His father was an African Methodist minister and his mother was a former slave. He studied under Eakins (the American Realist discussed earlier). He moved to Europe and studied there as well, where he experienced less racism than in the U.S. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henry Ossawa Tanner
Title: The Banjo Lesson Date: 1893 Artistic Style/Movement: Symbolism Significance: In addition to religious subjects, he is known for portraying genre scenes of African-American life. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Auguste Rodin
Title: The Gates of Hell Date: 1880-1917 Artistic Style/Movement: Post-Impressionism/Pre-Modernism Significance: Rodin was the best sculptor of the Post-Impressionist (or pre-Modern) period. This is his finest work, commissioned in 1884 but left unfinished at his death. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Auguste Rodin
Title: Burghers of Calais Date: 1884-89 Artistic Style/Movement: Post-Impressionism/Pre-Modernism Significance: he Burghers of Calais (Les Bourgeois de Calais) is one of the most famous sculptures by Auguste Rodin, completed in 1889. It serves as a monument to an occurrence in 1347 during the Hundred Years' War, when Calais, an important French port on the English Channel, was under siege by the English for over a year. The monument was proposed by the mayor of Calais for the town's square in 1880. This was an unusual move, because normally only monuments to Victory were constructed, but France had suffered devastating losses in its defeat in the Franco-Prussian War and it longed to recognize the sacrifice that its young men had made. Rodin's design was controversial, as it did not present the burghers in a heroic manner, rather they appeared sullen and worn. The monument was innovative in that it presented the burghers at the same level as the viewers, rather than on a traditional pedestal, although until 1924 the city council of Calais, against Rodin's wishes, displayed the statue on an elevated base. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Auguste Rodin
Title: Thought (Camille Claudel) Date: 1886 Artistic Style/Movement: Post-Impressionism/Pre-Modernism Significance: Rodin had a disastrous affair with a young sculptor named Camille. She was a talent in her own right, but suffered greatly as a result of their affair. He used Camille as a model in this sculpture. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Camille Claudel
Title: The Waltz Date: 1892-1905 Artistic Style/Movement: Post-Impressionism/Pre-Modernism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Victor Horta
Title: Tassel House (Stairway) Location: Brussels Date: 1892-93 Artistic Style/Movement: Art Nouveau Significance: An example of Art Nouveau Architecture |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Hector Guimard
Title: Entrance to the Porte Dauphine Métropolitain station Location: Paris Date: 1901 Artistic Style/Movement: Art Nouveau Significance: Characteristic decorative motifs are writhing plant forms, as in the wrought-iron entrances to Paris Métro stations. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Aubrey Beardsley
Title: Salome with the Head of John the Baptist Date: 1893 Artistic Style/Movement: Art Nouveau Significance: Similar forms were used in book illustrations and in the applied arts. Furniture and glassware by artists like Louis Tiffany in the U.S. are typical of this movement. The best-known graphic artist is Beardsley, whose style was well-adapted to book illustration. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Antoni Gaudi
Title: Church of the Sagrada Familia Location: Barcelona, Spain Date: 1883-1926 Artistic Style/Movement: Art Nouveau Significance: Gaudí limited his work to Spain. Although most of his surviving works are in Barcelona, his influence extends beyond the borders of Spain. Here is a church, unfinished upon his death, which combines Gothic tradition with a unique organic feel. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Antoni Gaudi
Title: Serpentine Bench Location: Guell Park, Barcelona Date: 1900-14 Artistic Style/Movement: Art Nouveau |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Gustav Klimt
Title: The Kiss Date: 1907-08 Artistic Style/Movement: Art Nouveau Significance: Klimt (1862 – 1918) is an Austrian painter and designer associeate with the Symbolist and Jugendstil movements and a leading member of the Vienna Sezession. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Gustav Klimt
Title: Death and Life Date: 1908-11 Artistic Style/Movement: Art Nouveau |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri de Toulouse-Lautrec
Title: “À Montrouge” – Rosa La Rouge Date: 1886-87 Artistic Style/Movement: Art Nouveau Significance: Toulouse-Lautrec worked at the same time as the Impressionists, but was never one of them. He was a gifted illustrator, who chronicled Parisian life, particularly the district of Montmartre. T-L. came from a wealthy family and suffered from what is now known as Toulouse-Lautrec syndrome. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri de Toulouse-Lautrec
Title: Moulin Rouge – La Goulue Date: 1891 Artistic Style/Movement: Art Nouveau Significance: Lautrec is most known for his poster illustrations advertising the Paris nightlife. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri de Toulouse-Lautrec
Title: Jane Avril Date: 1893 Artistic Style/Movement: Art Nouveau Significance: This poster was commissioned to advertise Jane Avril's debut at the Jardin de Paris, a club on the Champs-Elysses. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Jacob Riis
Title: Tenement Interior in Poverty Gap: An English Coal-Heaver’s Home Date: c. 1889 Artistic Style/Movement: Social Realism Significance: Riis is known for photography, stark and documentary, taken in the dark holes where the very poor lived. One might think his style is Social Realism, were he a painter. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henry Hobson Richardson
Title: Marshall Field Wholesale Store Location: Chicago Date: 1885-87 Artistic Style/Movement: Romanesque Significance: Richard's best-known building. Although it is reminiscent of of Renaissance palaces in form and of Romanesque churches in its heavy stonework and arches, it has no precise historical antecedents. Instead, Richardson took a fresh approach to the design of this modern commercial building. Applied ornament is all but eliminated in favor of the intrinsic appeal of the rough stone and the subtle harmony between the dark red granite facing of the base and the red sandstone of the upper stories. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Louis Sullivan
Title: Wainwright Building Location: St. Louis, Missouri Date: 1890-91 Artistic Style/Movement: Modern Significance: it was among the first skyscrapers in the world. It is described as "a highly influential prototype of the modern office building" by the National Register of Historic Places. Architect Frank Lloyd Wright called the Wainwright Building "the very first human expression of a tall steel office-building as Architecture." Aesthetically, the Wainwright Building exemplifies Sullivan's theories about the tall building, which included a tripartite (three-part) composition (base-shaft-attic), and his desire to emphasize the height of the building. He wrote: "[The skyscraper] must be tall, every inch of it tall. The force and power of altitude must be in it the glory and pride of exaltation must be in it. It must be every inch a proud and soaring thing, rising in sheer exultation that from bottom to top it is a unit without a single dissenting line. The ornamentation for the building is adopted from Notre-Dame de Reims in France. |
|
|
avant-garde
|
Term derived from the French military word meaning “before the group,” or “vanguard.”
Avant-garde denotes those artists or concepts of a strikingly new, experimental, or radical nature for the time. |
|
|
Summarize 19th Century art.
|
The 19th century begins with tradition and ends with innovation.
Neoclassicism and Romanticism were the dominant themes in the beginning of the century. The instruction and practice for the arts was very much like it had been in the 17th and 18th centuries. In mid-century a new movement emerged called Realism, followed by Impressionism. By the end of the century, all the old rules had been set aside, and artists were free to rebel. This led to a period we call Post-Impressionism, simply because it defies definition as a cohesive group of its own. Artistic movements multiplied, sometimes only having in common the hint of revolution sparked by the Impressionists. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Andre Derain
Title: Mountains at Collioure Location: Washington, D.C. Date: 1905 Artistic Style/Movement: Fauvism Significance: Among the first major works were paintings that Derain and Matisse made in 1905 in Collioure, a Mediterranean port. Derain's Mountains exemplifies so-called mixed-technique Fauvism, in which short strokes of pure color, derived from the work of van Gogh and Seurat, are combined with curvilinear planes of flat color, inspired by Gauguin's paintings and Art Nouveau decorative arts. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: André Derain
Title: Turning Road, L’Estaque Date: 1906 Artistic Style/Movement: Fauvism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: André Derain
Title: Crouching Man Date: 1907 Artistic Style/Movement: Fauvism Significance: Derain was one of the most original of the Fauve painters, working with Vlaminck and Matisse. He withdrew from the avant-garde in Paris around 1919. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: Luxe, calme et volupté Date: 1904-05 Artistic Style/Movement: Fauvism Significance: Until Cubism, he was the most influential painter in Paris, if not in Europe. He remains one of the most important artists of the 20th century. His emancipation of color has an historical importance comparable to Cubism’s role in releasing form from representation. Matisse was concerned with an expressive art, with a seriousness comparable to the German expressionists (whom he influenced) but totally different from them in mood and technique. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: The Woman with the Hat Location: SFMOMA Date: 1905 Artistic Style/Movement: Fauvism Significance: “What I dream of is an art of balance, purity and serenity, devoid of troubling or depressing subject-matter…which might be…like an appeasing influence, a mental soother, something like a good armchair in which to rest from physical fatigue.” -Matisse, in his Notes d’un peintre, 1908 |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: Portrait of Mme Matisse/ The Green Line Date: 1905 Artistic Style/Movement: Fauvism Significance: Matisse was able to assimilate primitive forms in his art without their disturbing violence. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: Le Bonheur de Vivre (The Joy of Life) Location: Pennsylvania Date: 1905-06 Artistic Style/Movement: Fauvism Significance: Depicts nudes in attitudes close to traditional studio poses, but the landscape is intensely bright. Radically simplified forms, the entire purpose if it is to be expressive and to enjoy the colors and light subject matter. In this way, it is a radical painting and inspired Picasso's Les Demoiselles d'Avignon. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: Blue Nude: Memory of Biskra Date: 1907 Artistic Style/Movement: Fauvism Significance: Was much criticized, and inspired by a small African statuette he bought in the Rue de Rennes. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Henri Matisse
Title: Dance (III) Date: 1909-10 Artistic Style/Movement: Fauvism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Henri Matisse
Title: Music Date: 1909-10 Artistic Style/Movement: Fauvism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: The Red Studio Location: Date: 1911 Artistic Style/Movement: Fauvism Significance: "Modern art," said Matisse, "spreads joy around it by its color, which calms us." In this radiant painting he saturates a room—his own studio—with red. Art and decorative objects are painted solidly, but furniture and architecture are linear diagrams, silhouetted by "gaps" in the red surface. These gaps reveal earlier layers of yellow and blue paint beneath the red; Matisse changed the colors until they felt right to him. (The studio was actually white.) The studio is an important place for any artist, and this one Matisse had built for himself, encouraged by new patronage in 1909. He shows in it a carefully arranged exhibition of his own works. Angled lines suggest depth, and the blue-green light of the window intensifies the sense of interior space, but the expanse of red flattens the image. Matisse heightens this effect by, for example, omitting the vertical line of the corner of the room. The entire composition is clustered around the enigmatic axis of the grandfather clock, a flat rectangle whose face has no hands. Time is suspended in this magical space. On the foreground table, an open box of crayons, perhaps a symbolic stand-in for the artist, invites us into the room. But the studio itself, defined by ethereal lines and subtle spatial discontinuities, remains Matisse's private universe. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: The Serf Date: 1900 – 4 Artistic Style/Movement: Fauvism Significance: Matisse created sculpture as well as painting. |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Henri Matisse
Title: Reclining Nude, I Date: 1906-07 Artistic Style/Movement: Fauvism Significance: This is a study in sculpture that Matisse did around the same time he painted Blue Nude: Memory of Biskra. It has the same classical subject matter but treated in a primitivist manner inspired by African sculpture. The proportions are out of whack. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Henri Matisse
Title: Two Women Date: 1907 Artistic Style/Movement: Fauvism |
|
Artist?
Title? Location? Date? Significance? |
Artist: Henri Matisse
Title: Back I (1909), Back II (1913), Back III (1916-17), Back IV (c. 1930) Significance: This is a good example of how Matisse's style evolved, becoming increasingly abstracted as time passed. |
|
Artist?
Title? Date? |
Artist: Henri Matisse
Title: Jeannette V Date: 1916 |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Georges Rouault
Title: The Old King Date: 1916-1936 Artistic Style/Movement: Expressionism Significance: Perhaps one of Rouault's best expressionist paintings. Rouault was a French expressionist artist. First apprenticed to a stained-glass maker, Rouault studied after 1891 under Gustave Moreau. He exhibited several paintings with the fauves (see fauvism) in 1905. His sorrowful and bitter delineations of judges, clowns, and prostitutes caused a great stir in Paris. The suffering of Jesus was his frequent subject. His thickly encrusted, powerfully colored images, outlined heavily in black, have the effect of icons and a pattern suggestive of stained glass. About 1916, Rouault began more than a decade of work for the publisher Vollard. Using a variety of graphic techniques, he executed a series of about 60 prints called Miserere. He continued to paint the themes he had used earlier, but in a more tranquil style. Examples of his art can be found in many European and American collections. |
|
|
Die Brücke
|
German for "The Bridge", The 1st group of German Expressionist painters, founded in Dresden in 1905 and formally dissolved in Berlin in 1913.
Associated with it were Kirchner, the leading member, Nolde, Schmidt-Rottluff, Pechstein, Heckel and Mueller. The artists shared a common studio, cultivated the medieval guild ideal and also canvassed ‘bourgeois’ support with a lay membership scheme. Interested in African, Oceanic, and medieval German art were inspired by Cézanne, Gauguin, Van Gogh and Munch Searching for truth through artistic emotions. Resulted in violent distortions of shapes and anatomies and exceedingly garish, raw, and sometimes brutal colors. Their work was at first characterized by flat, linear, rhythmical expression and by simplification of form and color, and their extensive use of the woodcut especially in posters, made it an important 20th-c. medium. |
|
|
Art Nouveau
|
A style of decoration and architecture current in the 1890s and early 1900s.
The term is French. Similar movements are called ‘Jugendstil’ (in Germany), ‘Floreale’ (in Italy), and ‘Liberty’ (in England). |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Karl Schmidt-Rottluff
Title: Three Nudes – Dune Picture from Nidden Date: 1913 Artistic Style/Movement: Die Brücke/Expressionism Significance: Schmidt-Rotluff was one of the most brutally violent of the German Expressionists, aggressively stark in drawing and raw in colour, e.g. Two Women (1912). In Berlin (from 1910) he was deeply influenced by African sculpture and produced several carvings, often brightly coloured, e.g. Head (1917) and woodcuts, e.g. The Way to Emmaus (1918). German artist born at Rottluff, near Chemnitz. He, Heckel and Kirchner founded Die Brücke group in Dresden in 1906 and were joined by Nolde and Pechstein. He stayed with the group until its dissolution in 1913. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Karl Schmidt-Rottluff
Title: Self-Portrait with Monocle Date: 1910 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Wildly Dancing Children Date: 1909 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: The Last Supper Date: 1909 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Autumn Sea VII Date: 1910 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Dance Around the Golden Calf Date: 1910 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Mask Still Life III Location: Nelson Atkins Museum of Art, Kansas City, MO Date: 1911 Artistic Style/Movement: Die Brucke/Expressionism |
|
|
Emil Nolde
|
1867-1956
German Expressionist painter. studied at Flensburg (1884-8), Karlsruhe (1889), and with Hőlzel at Dachau (1889). He moved to Munich c.1900 and was an invited member of the Brücke group (1906-8). His art had a strong folk-art background: he was only able to give all his time to painting through the financial success of his colored postcards (painted c.1896-8) of peasant mythologies (mountain spirits, trolls, goblins, etc.); and this element of primitive imagery remained the basis of his work. His early admiration for Rembrandt, Goya and Daumier was replaced c.1905 by the influence of Van Gogh, Munch and Ensor (whom he met in 1911). His major religious paintings (c.1909-15) were interspersed with paintings such as the Candle Dancers (1912) which in their emotional violence of color and paint typify the sensual anti-intellectual character of Expressionism in its purest form. In Berlin (1910) he founded the revolutionary Neue Sezession and was associated with the Blaue Reiter, but remained a solitary individual in his work. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Candle Dancers Date: 1912 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Child and Large Bird Date: 1912 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Emil Nolde
Title: Crucifixion Date: 1912 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Erich Heckel
Title: Two Men at a Table Date: 1912 Artistic Style/Movement: Die Brucke/Expressionism Significance: Evokes a dramatic interplay in which not only the figures but the contracted, tilted space of the room is charged with emotion. This painting, dedicated to Dostoyevsky, is almost a literal illustration from the Russian novelist's Brothers Karamazov. The painting of the tortured Christ, the suffering face of the man at the left, the menace of the other - all refer to Ivan's story, in the novel, of Christ and the Grand Inquisitor. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Erich Heckel
Title: Standing Child Date: 1910 Artistic Style/Movement: 1910 Significance: Members of Die Brucke frequently experimented with woodcuts. This spare composition implements the "puzzle technique" invented by Munch, in which the artist reserved the color of the paper for the model's skin and employed three woodblocks - for black, green, and red inks. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Ernst Ludwig Kirchner
Title: Two Women in the Street Date: 1914 Artistic Style/Movement: Die Brucke/Expressionism Significance: Aggressively angular and somber-colored,stark, primitive images of the modern city. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Ernst Ludwig Kirchner
Title: Street, Dresden Date: 1908 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Ernst Ludwig Kirchner
Title: Self-Portrait with Cat Date: 1919-20 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Ernst Ludwig Kirchner
Title: Self-Portrait with Model Date: 1907 Artistic Style/Movement: Die Brucke/Expressionism Significance: The Artist and his Model (1907) is a typical example of his deployment of pure colour – brilliant oranges and pinks juxtaposed – producing a jarring visual sensation. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Ernst Ludwig Kirchner
Title: Girl Under a Japanese Parasol Date: 1909 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Ernst Ludwig Kirchner
Title: Street, Berlin Date: 1913 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? |
Artist: Ernst Ludwig Kirchner
Title: Self-Portrait as Soldier Date: 1915 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title Date? Artistic Style/Movement? |
Artist: Max Pechstein
Title: Indian and Woman Date: 1910 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Max Pechstein
Title: Somali Dancers Date: 1910 Artistic Style/Movement: Die Brucke/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Käthe Schmidt Kollwitz
Title: The Outbreak Date: 1903 Artistic Style/Movement: Expressionism |
|
Artist?
Title? Location? Date? Artistic Style/Movement? Significance? |
Artist: Käthe Schmidt Kollwitz
Title: Female Nude with Green Shawl Seen From Behind Date: 1903 Artistic Style/Movement: Expressionism Significance: Although best known for her black and white prints and posters of political subjects, Kollwitz could be an exquisite colorist. This lithograph, with its luminous atmosphere and quite mood, so unlike her declarative political prints, demonstrates her extraordinary skill and sensitivity as a printmaker. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Paula Modersohn-Becker
Title: Self-Portrait with an Amber Necklace Date: 1906 Artistic Style/Movement: Expressionist Significance: Her painting is Expressionist in the sense that she was primarily concerned with the expression of personal feeling; but the mood of her work is predominantly a gentle poetic Romanticism without strident color or harsh distortion. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Paula Modersohn-Becker
Title: Self-Portrait with Camellia Branch Date: 1907 Artistic Style/Movement: Expressionism Significance: The best known of several, this Self-Portrait shows simple form and restrained color used to create a feminine tenderness of expression. |
|
|
Egon Schiele
|
1890-1918
Austrian painter and graphic artist; with Klimt, who influenced him, and Kokoschka, one of the great Expressionist artists of early 20th-c. Vienna. S.’s most powerful work is in his male and female nudes in pencil, gouache, watercolour, etc.; the figures express in their postures emotions from despair to passion – and the female nudes are often unashamedly erotic. S. was primarily a draughtsman, and the angularieties of his line and its nervous precision pervade all his work. His 1st real success came in the last year of his life, but full recognition was not accorded his work until the 1950s. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Egon Schiele
Title: Self-Portrait Nude Date: 1911 Artistic Style/Movement: Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Egon Schiele
Title: Schiele, Drawing a Nude Model before a Mirror Date: 1910 Artistic Style/Movement: Expressionism Significance: Demonstrates his extraordinary natural skill as a draftsman. The intense portrayal, with the artist's narrowed gaze and the elongated, angular figure of the model, differs from even the most direct and least embellished of Klimt's portraits. Here Schiele explores the familiar theme of the artist and model, but does so to create an atmosphere of psychological tension and explicit sexuality. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Oskar Kokoschka
Title: Portrait of Adolf Loos Date: 1909 Artistic Style/Movement: Expressionism Significance: Kokoschka uses a Klimt-like linear style. Some of his patrons include Adolph Loss (the architect – here) and Max Dvorak. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Oskar Kokoschka
Title: Portrait of Adolf Loos Date: 1909 Artistic Style/Movement: Expressionism Significance: The Romantic basis of K's early painting appears in this piece. It is a double portrait of himself with his lover, Alma Mahler, in which the two figures, composed with flickering, light saturated brushstrokes, are swept through a dream landscape of cold blue mountains and valleys lit only by the gleam of a shadowed moon. The painting was a great success when Kokoschka exhibited it in the 1914 New Munich Secession. |
|
|
Der Blaue Reiter
|
German for "The Blue Rider, " A group of German Expressionist painters, led by Marc, Kandinsky and Macke.
Kandinsky loved blue, and Marc loved horses. The movement was named after a 1903 painting by Kandinsky, a painting that depicts a blue naked rider on a blue horse. The painting became a kind of logo for the movement. Both Kandinsky and Marc were committed artists who wanted to encourage a dialogue between painting, literature, and music for the purpose of “radically widening the bounds of expressive creativity.” 2 major exhibitions were held at Munich in 1912 and 1913 with contributions from non-German artists such as Delaunay, the Burliuk brothers, the composer Schoenberg, Braque, de la Fresnaye, Malevich, Picasso and Vlaminck; the German exhibitors included Klee. The movement also publ. the B.R.Almanac (1912) containing major essays by Marc and Kandinsky. The B.R. programme rested on Primitivism, intellectual in concept but intuitive in application, a new emphasis on child art as a source of inspiration, abstract forms and the symbolic and psychological aspects of line and colour. The group disbanded in 1914. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Franz Marc
Title: Blue Horse I Date: 1911 Artistic Style/Movement: Der Blaue Reiter/Expressionism |
|
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Franz Marc
Title: The Large Blue Horses Date: 1911 Artistic Style/Movement: Der Blaue Reiter/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Franz Marc
Title: The Large Blue Horses Date: 1911 Artistic Style/Movement: Der Blaue Reiter/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Franz Marc
Title: Deer in the Woods II Date: 1912 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: This preoccupation with color was partly inspired by the Orphist paintings of Delaunay, whom he visited in Paris with Macke in 1912, and probably also by Goethe’s Farbenlehre. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Franz Marc
Title: Tiger Date: 1912 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: Although he remained a painter of animals, paintings like Tiger (1912) are primarily expressive through their simple planes of color; and in Fighting Forms (1914) he was nearing a point of abstract expressionism. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Franz Marc
Title: The Fate of the Animals Date: 1913 Artistic Style/Movement: Der Blaue Reiter/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Franz Marc
Title: Stables Date: 1913 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: In this painting, Marc combined his earlier curvilinear patterns with a new rectangular geometry. The horses, massed in the frontal plane, are dismembered and recomposed as fractured shapes that are dispersed evenly across the surface of the canvas. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Franz Marc
Title: Fighting Forms Date: 1914 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: In this virtually abstract painting, Marc returned to curvilinear pattern in a violent battle of black and red color shapes, of light and darkness. The forms are given such vitality that they take on the characteristics of forces in an ultimate encounter. |
|
|
Vassily Kandinsky
|
Russian painter, born in Moscow, generally considered the pioneer of abstract painting.
His 1st work to be so described was a watercolor of 1910; however, all representational elements disappeared from his work only in the 1920s. Was trained as a lawyer and took up painting when he was 30, studying the art 1st in Munich. His early work was related to the Russian Symbolists and the Sezession groups. In 1906 he went to Paris for a year and exhibited at the current Salons. On his return to Munich his work began to reflect the ideas of the French Nabis and Fauves and became related to the Die Brücke group; from the beginning the city of Moscow, Russian icon painting and folk-art strongly influenced him, providing a link with the Moscow avant-garde. By 1909 was painting landscapes called Improvisations which reflect a growing detachment from nature. In 1910 he painted his 1st abstract works, making contact with the Muscovite avant-garde, who invited him to exhibit at the 1st Knave of Kiamonds Exhibition. His On the Spiritual in Art was publ. in 1912. In 1911 he was a co-founder of the Blaue Reiter. In 1912 had his 1st one-man show at the Berlin Sturm Gallery and publ. 2 plays Yellow Tone and Violet, which reflect his interest in relations between color and music; he also became interested in the German Romantic philosophers, Rudolf Steiner and occultism. With the Bolshevik Revolution he was drawn into administrative work in the art field. Kandinsky was to go further and further into pure abstraction and created paintings inspired solely by music or mood. He deserves credit for his important pioneering style of non-objective art (no subject matter). Picasso would dislike Kandinsky’s abstraction, claiming that no art should be completely without subject matter. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Vasily Kandinsky
Title: Composition VII Date: 1913 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: In general, Kandinsky's compositions revolve around themes of cosmic conflict and renewal, specifically the Deluge from the biblical book of Genesis and the Apocalypse from the book of Revelation. From such cataclysm would emerge, he believed, a rebirth, a new, spiritually cleansed world. In this painting, an enormous canvas from 1913, colors, shapes, and lines collide across the pictorial field in a furiously explosive composition. Yet even in the midst of this symphonic arrangement of abstract forms, the characteristic motifs Kandinsky had distilled over the years can still be deciphered, such as the glyph of a boat with three oars at the lower left, a sign of the biblical floods. He did not intend these hieroglyphic forms to be read literally, so he veiled them in washes of brilliant color. Though the artist carefully prepared this large work with many preliminary drawings and oil sketches, he preserved a sense of spontaneous, unpremeditated freedom in the final painting. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Auguste Macke
Title: Lady in a Green Jacket Date: 1913 Artistic Style/Movement: Der Blaue Reiter/Expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Auguste Macke
Title: Farewell Date: 1914 Artistic Style/Movement: Der Blaue Reiter/expressionism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Auguste Macke
Title: Man Reading in the Park Date: 1914 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: Influenced by Cubism and Fauvism, Macke began to paint city scenes in high-keyed color, using diluted oil paint in effects close to that of watercolor. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Paul Klee
Title: Hammamet with its Mosque Date: 1914 Artistic Style/Movement: Der Blaue Reiter/Expressionism Significance: Klee took a trip with Macke to Tunis and other parts of North Africa in 1914. Like Delacroix and other Romantics before him, he was affected by the brilliance of the region's light and the color and clarity of the atmosphere. To catch the quality of the scene in this painting, Klee, like Macke, turned to watercolor and a form of semiabstract color pattern based on a Cubist grid, a structure he frequently used as a linear scaffolding for his compositions. Although he made larger paintings, he tended to prefer small-scale works on paper. |
|
|
Pablo Picasso
|
Cubism was neither scientific or intellectual. It was visual and came from one of the greatest geniuses in art history, Picasso.
Picasso, born in Spain, was a child prodigy and the son of an art teacher, who encouraged him from an early age. He was a rebel from the start and, as a teenager, began to frequent the Barcelona cafés where intellectuals gathered. He soon went to Paris, the capital of art, and soaked up the works of Manet, Courbet, and Toulouse-Lautrec, whose sketchy style impressed him greatly. Then it was back to Spain, a return to France, and again back to Spain – all in the years 1899 to 1904. Before he struck upon Cubism, Picasso went through a prodigious number of styles – realism, caricature, the Blue Period, and the Rose period. Some of the variation of styles in this early period can be seen in his early self portraits. |
|
|
Blue Period
|
A period in Picasso's career from 1901-1904, characterized by a predominately blue palette and subjects focusing on outcasts, beggars, and prostitutes.
|
|
|
Rose Period
|
A period in Picasso's career that began around 1904 when Picasso's palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His Family of Saltimbanques is an example of a work from this period.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Family of Saltimbanques Date: 1905 Artistic Style/Movement: Rose Period Significance: The Rose Period began around 1904 when Picasso’s palette brightened, the paintings dominated by pinks and beiges, light blues, and roses. His subjects are saltimbanques (circus people), harlequins, and clowns, all of whom seem to be mute and strangely inactive. This is one of the premier works of the period. It portrays a group of circus workers who appear alienated and incapable of communicating with each other, set in a one-dimensional space. This painting is in Washington, D.C. in the National Gallery. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Portrait of Gertrude Stein Date: 1905-06 Artistic Style/Movement: Proto-Cubism Significance: One of Picasso’s patrons was the great art patron and writer, Gertrude Stein. Stein would also promote Henri Matisse, the other great artist of the century who was then currently making a splash with his new fauve style. Picasso discovered ancient Iberian sculpture from Spain, African art, and Gauguin’s sculptures. Slowly, he incorporated the simplified forms he found in these sources into a striking portrait of Gertrude Stein, finished in 1906. She has a severe masklike face made up of emphatically hewn forms compressed inside a restricted space. This portrait paves the way to Cubism, giving us some insight into what he was thinking. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Pablo Picasso
Title: Two Nudes Date: 1906 Artistic Style/Movement: Proto-Cubism Significance: As an artist who plundered the art of non-Western and ancient cultures for his own work, Gauguin provided Picasso with a crucial model. Picasso's own preoccupation with sculptural form at this time, his encounter with the blocky contours of the ancient Iberian carvings, and the revelatory encounter with Gauguin's "primitivizing" examples left an indelible mark on this and other similar paintings. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Les Demoiselles d'Avignon Date: 1907 Artistic Style/Movement: Proto-Cubism Significance: This has been called the single most important painting of the 20th century. It is an astonishing image that, in the iconoclastic spirit of modernism, virtually shattered every pictorial and iconographical convention that preceded it. Long regarded as the first Cubist painting, this painting, owing largely to the pioneering studies of Leo Steinberg, is now generally seen as a powerful example of expressionist art - an "exorcism painting," Picasso said, in which he did not necessarily initiate Cubism, but rather obliterated the lessons of the past. The five demoiselles (young ladies) represent prostitutes from Avignon Street, in Barcelona's notorious red light district, which Picasso knew well. The title, however, is not his; Picasso rarely named his works. That task he left to dealers and friends. The subject of prostitution, as we saw with Manet's scandalous Olympia, had earned a prominent place in avant-garde art of the 19th century. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Three Women Date: 1908-1909 Artistic Style/Movement: Proto-Cubism Significance: Picasso's simplification was similar to experiments by Braque (see Large Nude of 1908) |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Georges Braque
Title: Large Nude Date: 1908 Artistic Style/Movement: Proto-Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Georges Braque
Title: Houses at L'Estaque Date: 1908 Artistic Style/Movement: Early Cubism Significance: Braque established the essential syntax of early Cubism with this painting. He is generally credited with arriving at this point single-handedly, preliminary to the steady exchanges with Picasso that characterize the subsequent development of early Cubism. Braque had abandoned Fauvism by this point. His style transformed in the fall of 1907. With the suppression of particularizing details, the houses and trees have become simplified, geometric volumes that are experienced at close range and sealed off from surrounding sky or land. Rather than receding into depth, the forms seem to come forward, approximating an appearance of low-relief sculpture, or bas-relief. Braque's illusion of limited depth is not dependant upon traditional, single-point linear perspective. Instead, he achieves illusion by the apparent volume of the buildings and trees- their overlapping, tilted, and shifting shapes create the effect of a scene observed from various positions. Despite many inconsistencies (of the sort that abound in Cezanne's work), including conflicting orthogonals and vantage points, or roof edges that fail to line up or that disappear altogether, Braque managed a wholly convincing, albeit highly conceptualized, space - one that exemplifies modernist concerns in being true to sense proportions rather than to pictorial conventions. Color is limited to the fairly uniform ocher of the buildings, and the greens and blue-green of the trees. Whereas Cezanne build his entire organization of surface and depth from his color, Braque, in this work and increasingly in the paintings of the next few years, subordinates color in order to focus on pictorial structure. |
|
|
Cubism
|
Cubism is essentially the fragmenting of 3-d forms into flat areas of pattern and color, overlapping and intertwining so that shapes and part of the human anatomy are seen from the front and back at the same time.
The style was created by Picasso in tandem with his great friend, Georges Braque, and at times, the works were so alike it was hard for each artist quickly to identify their own. The two were so close for several years that Picasso took to calling Braque, “ma femme” or “my wife,” described the relationship as one of two mountaineers roped together, and in some correspondence they refer to each other as “Orville and Wilbur” for they know how profound their invention of Cubism was. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Georges Braque
Title: Violin and Palette Date: 1909 Artistic Style/Movement: Analytical Cubism Significance: Despite the intensified fragmentation of this painting, the still-life subjects are still easily recognizable. Within a long, narrow format he has placed, in descending order, his palette, musical score propped up on a stand, and a violin. These objects inhabit a shallow, highly ambiguous space. Presumably the violin and music stand are placed on a table, with the palette hanging on a wall behind them, but their vertical disposition within the picture space makes their precise orientation unclear. Although certain forms, such as the scroll at the top of the violin neck, are rendered naturalistically, for the most part the objects are not modeled continuously in space but are broken up into tightl woven facets that open into the surrounding void. At the same time, the interstices betwee the objects harden into depicted objects. It was this "materialization of a new space" that Braque said was the essence of Cubism. At the top of this painting, Braque depicted his painting palette, emblem of his metier, hanging from a carefully drawn nail. The shadow cast by the nail reinforces the object's existence in three-dimensional space. By employing the curious detail of trompe l'oeil, Braque calls attention to the ways in which his new system departs from conventional means of depicting volumetric shapes on a flat surface. In so doing, he declares Cubism's defiance of the Renaissance conceptions of space that had been under assault since Manet, in which art functions as a mirror of the three-dimensional world, and offers in its place of conceptual reconfiguration of that world. Uses the technique of Passage, a term used to describe Paul Cézanne’s technique of blending adjacent shapes. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Girl with a Mandolin (Fanny Tellier) Date: 1910 Artistic Style/Movement: Analytical Cubism Significance: One of his best-known examples of a Cubist composition with a musical theme. The figure still retains a sense of the organic and, in some areas, is clearly detached from the background plane by way of sculptural modeling, seen especially in the rounded volumes of the model's right breast and arm. Picasso's chromatic range, however, is even more restricted than found in Braque's still life. Employing soft gradations of gray and golden brown, Picasso endowed this lyrical portrait with a beautifully tranquil atmosphere. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Pablo Picasso
Title: Portrait of Ambroise Vollard Date: 1910 Artistic Style/Movement: Analytic Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Pablo Picasso
Title: Portrait of Daniel-HenryKahnweiler Date: 1910 Artistic Style/Movement: Analytical Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Pablo Picasso
Title: Ma Jolie Date: 1911-12 Artistic Style/Movement: Analytical Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: The Accordionist Date: 1911 Artistic Style/Movement: Analytical Cubism Significance: Every progressive painter, whether French, German, Belgian, or American, soon took up Cubism, and the style became the dominant one of at least the 1st half of the 20th century. In 1913, in New York, the new style was introduced at an exhibition at the midtown armory – the famous Armory Show – which caused a sensation. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Georges Braque
Title: The Portuguese Date: 1911 Artistic Style/Movement: Analytical Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Still Life With Chair Caning Date: 1912 Artistic Style/Movement: Synthetic Cubism Significance: This style combined abstraction with real materials. After painting still-lifes that employed lettering, trompe l’oeil effects, color, and textured paint surfaces, in 1912 Picasso produced this, which is an oval picture that is, in effect, a café table in perspective surrounded by a rope frame. This is the first collage, or a work of art that incorporates preexisting materials or objects as part of the ensemble. Elements glued to the surface contrasting with painted versions of the same material provided a sort of sophisticated double take on the part of the observer. |
|
|
collage
|
A technique invented by Picasso in which cutout forms of paper, cloth, or found materials are pasted onto another surface.
A work of art created using this technique. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Glass and a Bottle of Suze Date: 1912 Artistic Style/Movement: Synthetic Cubism Significance: The inventions in 1912 of collage, as wel as Cubist sculpture essentially terminated the Analytic Cubist phase of Braque and Picasso's enterprise and initiated a second and more extensive period in their work, called Synthetic Cubism. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Georges Braque
Title: Fruit Dish and Glass Date: 1912 Artistic Style/Movement: Synthetic Cubism In this piece, Braque combined faux-bois paper with a charcoal drawing of a still life that, judging from the drawn words "ale" and "bar," is situated in the familiar world of the cafe. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Mandolin and Clarinet Date: 1913 Artistic Style/Movement: Synthetic Cubism Significance: Picasso would take these synthetic cubist principles into the realm of 3-d art. The resultant Cubist sculptures create yet another category of art….the assemblage. Assemblage: Artwork created by gathering and manipulating two and/or three-dimensional found objects. |
|
|
assemblage
|
Artwork created by gathering and manipulating two and/or three-dimensional found objects. Picasso was the first to make these and bring them to the level of art, where before only stone and bronze were used in sculpture.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Jacques Lipchitz
Title: Man with a Guitar Date: 1915 Artistic Style/Movement: Cubism Significance: An austere rendition of a familiar Cubist theme. Cubist sculpture was as influential as Cubist painting. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Pablo Picasso
Title: Guernica Date: 1937 Artistic Style/Movement: Cubism Significance: Shown here installed in the Spanish Pavilion of the Paris Exposition, 1937 At the outbreak of the Spanish Civil War, Picasso was appointed the director of the Prado. In Jan. 1937, the Republican government asked him to paint a mural for the Spanish pavilion at the world exposition in Paris. Spurred on by a war atrocity, the total destruction by bombs of the town of Guernica in the Basque country, he painted the renowned oil Guernica in monochrome. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Juan Gris
Title: Still Life and Townscape (Place Ravignan) Date: 1915 Artistic Style/Movement: Synthetic Cubism Significance: In this painting, Gris employed a common Cubist device by mixing alternative types of illusionism within the same picture. In the lower half, a room interior embodies all the elements of Synthetic Cubism, with large, intensely colored geometric planes interlocking and absorbing the familiar collage components: the fruit bowl containing an orange; the newspaper, Le Journal; the wine label, "Medoc". However, this foreground pattern of tilted color shapes leads the eye up and back to a window that opens out on a uniformly blue area of simple trees and buildings. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Juan Gris
Title: Guitar with Sheet of Music Date: 1926 Artistic Style/Movement: Cubism Significance: As his work evolved, it became more simplified and monumental. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Fernand Léger
Title: The City Date: 1919 Artistic Style/Movement: Cubism Significance: Léger is a French artist who participated in both the Cubist and Futurist movements . This is a painting that shows the influence of Cubism on his work. He uses tilted planes and the illusion of perspectival depth. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Fernand Léger
Title: Three Women Date: 1921 Artistic Style/Movement: Cubism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Robert Delaunay
Title: Homage to Bleriot Date: 1914 Artistic Style/Movement: Orphism Significance: The transformation of society that began with the invention of the steam engine has been aptly called the industrial revolution. The colossal impact of technology on the formerly rural, agrarian culture of the western world can scarcely be imagined today. For some, the increasingly widespread use of the machine elicited messianic hope. This ecstatic view of technology is graphically revealed in the work of a number of modern artists. One of the prime examples of this view of technology and the machine as savior for the the human race is Robert Delaunay's "Homage to Blériot," painted in 1914. In the late 1800's, the machine was often heralded as the quintessential symbol of man's continued progress. Obedient and strong, the machine was a slave that necessitated little moral apprehension. The machine was an expression not only of man's rational nature, but also of his unlimited creative potential. In line with this thinking, Robert Delaunay's "Homage to Blériot" is virtually a hymn of praise to the genius and confidence of modern man in his machines. The painting is named after Louis Blériot, a French aviator who was the first to fly the English Channel. Blériot was Delaunay's prototype of the modern man. Man was now creating his own world through the use of benevolent and powerful machines. Likewise, the conventions of painting and the arts would have to give way to a new order. Traditional, naturalistic perspective was no longer appropriate. Instead, Delaunay and his fellow Cubists flattened and distorted space. In "Homage to Blériot," the representational images of flight (propellers, wheels, wings) project and recede based solely on the artist's will. Delaunay's combination of sharp edges and blended lines further indicates that air and matter are no longer clearly differentiated. This is no cause for concern, however, since man as the aviator is now the master of both. Through the victorious capabilities of the aircraft, man is no longer tied to the ground and can soar freely. Even Delaunay's image of the earthbound Eiffel Tower floats in amorphous space. The machine has given man a new sense of the infinite reaches of the universe available for exploration and conquest. Delaunay's colorful and energetic shapes do not completely fill the canvas, but fade into a blue-purple on the upper horizon like a deep night sky beckoning humanity onward. The new sense of speed and dynamism bestowed by machine transportation can be seen in Delaunay's multiple perspectives and the shifting complexity of "Homage to Blériot." Shapes are superimposed upon one another in a bright and almost flickering succession. Delaunay's prominent discs symbolize the raw energy now at man's disposal. The repeated discs of varying sizes as well as the use of multiple focal points keep the viewer's eye in almost constant motion. Life is no longer static, and the future heralded by the machine is full of constructive activity. |
|
|
Robert Delaunay
|
French painter and the originator of Orphism, which extended the Cubist practice of fragmentation into the field of color.
-Painter of Homage to Blériot He would influence the Blue Rider group, and by 1914 was probably the most influential artist in Paris. Married Sonia Delaunay-Terk, a Russian Painter who also concentrated on textile and fashion design. |
|
|
Sonia Delaunay -Terk
|
Russian painter who settled in Paris and married Delaunay. She helped her husband develop Orphism . After WWI she concentrated on textile and fashion design, but returned to painting in the late 1930s.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Marcel Duchamp
Title: Nude Descending a Staircase, No. 2 Date: 1912 Artistic Style/Movement: Cubism (sort of) Significance: This is one of his first paintings, and is influenced by the Cubists. He was inspired by chronophotography to create an equivalent to the moving figure. This painting was rejected from a 1912 Cubist exhibition and became the most notorious exhibit at the famous Armory Show of 1913. |
|
|
Futurism
|
Italian artistic and literary movement, related to Cubism, which primarily flourished in Milan fro 1909 – 1916.
The 1st Futurist Manifesto was publ. in Le Figaro, in 1909 by the poet and dramatist Marinetti. In 1910 3 manifestoes were published Including the painters’ ‘Technical Manifesto’. F. celebrated the machine (proclaiming the racing car more beautiful than the Victory of Samothrace), rejected the art of the past and advocated the destruction of museums. F. paintings represented figures and objects in motion; poetry employed ‘industrial’ imagery and a grammar and vocabulary deliberately distorted in the interests of onomatopoeia. Artists concerned included: Boccioni Carlo Carrà Russolo Balla |
|
|
Umberto Boccioni
|
1882-1916
Italian Futurist painter, sculptor and writer who studied under Balla in Rome. Inspired by Marinetti’s Futurist Manifesto (1909), B. issued the Manifesto of Futuristic Painters (1910). He contributed to an exhibition of Futurist art in Paris (1912) and summarized its ideals in his book Pittura, scultura futuriste (1914). Characteristic works are the painting The City Rises (1910) and the sculpture Unique Forms of Continuity in Space (1913). |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Umberto Boccioni
Title: States of Mind I: The Farewells Date: 1911 Artistic Style/Movement: Futurism Significance: Set in a train station, the series of three paintings, States of Mind I-III</i explores the psychological dimension of modern life's transitory nature. In The Farewells, Boccioni captures chaotic movement and the fusion of people swept away in waves as the train's steam bellows into the sky. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Umberto Boccioni
Title: Unique Forms of Continuity in Space Date: 1913 Artistic Style/Movement: Futurism Significance: Boccioni's most impressive sculpture, and also his most traditional and the one most specifically related to his paintings. The title suggests that, although the human body may lie at its foundation, the impetus behind Boccioni's sculpture is the coincidence of abstract form. The figure, made up of fluttering, curving planes of bronze, moves essentially in two dimensions, like a translation of his painted figures into relief. It has something in common with the ancient Greek Nike of Samothrace so despised by Marinetti: the stances of both are similar - a body in dramatic mid-stride, draperies flowing out behind, and arms missing. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Umberto Boccioni
Title: Dynamism of a Soccer Player Date: 1913 Artistic Style/Movement: Futurism Significance: Boccioni’s Dynamism of a Soccer Player (1913) approaches abstraction in its depiction of motion. Like the Cubists, Boccioni’s pictorial language is based on shallow spaces and shifting planes. However, more than any other artists in the modern period, Boccioni and the futurists focus on depicting optical and temporal space, which reflects the dynamic speed and noise of the modern age. Thus, instead of representing a fixed moment, the work depicts a dynamic sensation. Boccioni, in Technical Manifesto of Futurist Sculpture (1913), discusses futurist art as a representation of dynamic forms that propel themselves to the surrounding atmosphere. According to Boccioni, “The figure must be broken open and enclosed in environment”. Therefore, Dynamism of a Soccer Player is not only a painting of a soccer player, but also a representation of the player’s energy, spreading around his surrounding atmosphere. In doing so, the work breaks down the distinction between the body and the body in motion. |
|
|
Giacomo Balla
|
1871-1958
Italian painter, a founder of Futurism One of the signatories of the Futurist Manifesto (1910) On a visit to Paris (1900) he was strongly affected by the Impressionist and Divisionist painters. B.’s Dog on a Leash (1912), as an attempt to present motion by superimposing several images, is a logical exposition of Futurism; but his pictures developed towards abstract art, increasingly resolving into abstract lines of movement and force. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Giacomo Balla
Title: Dynamism of a Dog on a Leash Date: 1912 Artistic Style/Movement: Futurism Significance: Through Futurism Balla celebrated the machine and his early futurist paintings were concerned with capturing figures and objects in motion. Balla attempted to realize movement by showing the forms in repeated sequence. Paintings, such as Dog on a Leash, got to grips with the problem of recreating speed and flight by superimposing images. |
|
|
Constructivism
|
This offshoot of Cubism was born in Russia in the late 1920s
Constructivism was associated with the sculptor Vladimir Tatlin, who was seeking to create a detached, scientific “culture of machines” to serve the social needs of the day. (Therefore, this is also related to Futurism.) first expressed in the ‘Relief Constructions’ of 1913-17 by Tatlin. In their attempt to overcome the isolation of the artist from society, they entered the fields of industrial design, the theatre and film and architecture. Apart from Tatlin’s unrealized Monument to the 3rd International of 1919-20, Constructivist buildings include Lenin’s mausoleum by Shchuser and the Izvestia building by Barkhin, both in Moscow. Constructivist principles produced the 1st examples of the ‘new typography’ (Lissitzky) and pioneer work in poster and exhibition design (Soviet Pavilion of the International Press Exhibition, Cologne, 1930, designed by Lissitzky). Constructivism would lead to Social Realism, in its quest to serve society. Through Kandinsky, Gabo and Moholy-Nagy Constructivist ideas had a basic influence on the creation of the ‘international functionalist style’ of architecture and industrial design in W. Europe in the 1920s, chiefly propagated by the Bauhaus. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Vladimir Tatlin
Title: Corner Counter-Relief Date: 1915 Artistic Style/Movement: Constructivism Significance: Because Tatlin's reliefs are made from ordinary materials, rather than traditional sculptural media such as bronze or marble, and because they are not isolated on a base, they tend to inhabit the space of the viewer more directly than conventional sculpture. Tatlin developed a repertoire of forms in keeping with what he believed to be the properties of his chosen materials. According to the principles of what he called the "culture of materials," each substance, through its structural laws, dictates specific forms, such as the flat geometric plane of wood, the curved shell of glass, and the rolled cylinder or cone of metal. For a work of art to have significance, Tatlin came to believe that these principles must be considered in both the conception and the execution of the work which would then embody the laws of life itself. |
|
|
Vladimir Tatlin
|
1885-1953
After the Bolshevik Revolution Tatlin emerged as an important figure in the artistic reorganization of the country undertaken by the former Futurist, now ‘leftist’ artists He was appointed head of the Moscow Department of Fine Arts He lived in Petrograd (1920-5), building his Monument to the Third International and working on practical projects, designing stoves, workers’ clothes, etc. with economy and sensitivity to the nature of the materials used. Tatlin called this system of design ‘culture of materials’. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Vladimir Tatlin
Title: Monument to the Third International Date: 1919-20 Artistic Style/Movement: Constructivism Significance: Tatlin’s Tower or The Monument to the Third International was a grand monumental building envisioned by the Russian artist and architect Vladimir Tatlin, but never built. It was planned to be erected in Petrograd (now St. Petersburg) after the Bolshevik Revolution of 1917, as the headquarters and monument of the Comintern (the third international). The Monument is generally considered to be the defining expression of architectural constructivism, rather than a buildable project. Even if the gigantic amount of required steel had been available in revolutionary Russia, in the context of housing shortages and political turmoil, there are serious doubts about its structural practicality. Tatlin's Constructivist tower was to be built from industrial materials: iron, glass and steel. In materials, shape, and function, it was envisioned as a towering symbol of modernity. It would have dwarfed the Eiffel Tower in Paris. The tower's main form was a twin helix which spiraled up to 400 m in height, which visitors would be transported around with the aid of various mechanical devices. The main framework would contain four large suspended geometric structures. These structures would rotate at different rates of speed. At the base of the structure was a cube which was designed as a venue for lectures, conferences and legislative meetings, and this would complete a rotation in the span of one year. Above the cube would be a smaller pyramid housing executive activities and completing a rotation once a month. Further up would be a cylinder, which was to house an information centre, issuing news bulletins and manifestos via telegraph, radio and loudspeaker, and would complete a rotation once a day. At the top, there would be a hemisphere for radio equipment. There were also plans to install a gigantic open-air screen on the cylinder, and a further projector which would be able to cast messages across the clouds on any overcast day. |
|
Artist?
Title? Artistic Style/Movement? |
Artist: El Lissitzky
Title: Proun G7 Artistic Style/Movement: Constructivism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: El Lissitzky
Title: Story of Two Squares Date: 1920 Artistic Style/Movement: Constructivism Significance: Considered to be the first example of modern typographical design |
|
|
El Lissitzky
|
Russian pioneer of modern design in the fields of typography and exhibition design in the 1920s
He also transmitted Russian ideas to W. Europe In 1919 he met Malevich in Vitebsk Painted his 1st abstract paintings of startling originality which he called Prouns His Story of Two Squares (1920) is considered the 1st example of modern typographical design In 1921 he helped to organize and design the Russian exhibition in Berlin Group G which he founded in Berlin in 1920, fusing Suprematist and Constructivist ideas, made contact with De Stijl, leading architects and, through the other founder-member Moholy-Nagy, with the Bauhaus. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: El Lissitzky
Title: Proun 19D Date: 1922 Artistic Style/Movement: Constructivism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: El Lissitzky
Title: Proun Space Date: 1923 Artistic Style/Movement: Constructivism Significance: Installation art space created for the Great Berlin Art Exhibition |
|
|
Installation art
|
Artworks created for a specific site, especially a gallery or outdoor area, that create a total environment.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Vera Mukhina
Title: Worker and Collective Farm Woman Date: 1937 Artistic Style/Movement: Constructivism Significance: Sculpture for the Soviet Pavilion Paris Universal Exposition 1937 Constructivism would lead to Social Realism, in its quest to serve society. This is an example of Social Realism. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Kazimir Malevich
Title: Suprematist Painting (Eight Red Rectangles) Date: 1915 Artistic Style/Movement: Supremativism Significance: An example of Supremativist painting. |
|
|
Suprematism
|
In Russia in the teens and twenties, this was a short-lived purist movement – Modernism’s first completely abstract paintings style – that did have a limited influence in forming radically non-objective paintings. It was called Suprematism.
Its founder was Kasimir Malevich, and he was known for his pared down, utterly pure forms. He was as much a theoretician as a painter. His works often imparted an underlying political message that, admittedly, is a bit obscure today. |
|
|
Constantin Brancusi
|
Born in Romania, Brancusi is one of the outstanding sculptors of the 20th century. He spent most of his working career in Paris, and like other artists of his time, became interested in African and primitive arts. He also became interested in Oriental and native folk art.
|
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Constantin Brancusi
Title: Magic Bird Date: 1908-12 Artistic Style/Movement: Significance: This sculptor was devoted to making abstract three-dimensional objects and his work tends to focus on two subjects, each of profound symbolic significance: The bird and the egg. The bird symbolized for him the human urge to transcend gravity and earthbound existence. Magic bird is an avian form that rises majestically above the figural masses below. The sculpture was inspired by Igor Stravinsky's orchestral piece The Firebird, a ballet based on a Russian folk tale that Brancusi saw in 1910. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Constantin Brancusi
Title: The Newborn Date: 1915 Artistic Style/Movement: Abstract Significance: For Brancusi, the egg symbolized birth or rebirth and the potential for growth and development. He saw egg shapes as perfect, organic ovals that contain all possible life forms. In the Newborn, he charmingly conflated the egg shape with that of a shrieking infant's head. Both infants and eggs, after all, represent a life span in prototype. Perhaps its cry is the primal shout of the baby as it leaves the womb and enters a new (and for Brancusi, more problematic) level of existence. |
|
|
Dadaism
|
As an art movement, Dada emerged full-blown – and totally crazed – from the blissfully anarchic minds of the art crowd gathered around the Cabaret Voltaire founded in Zurich in 1916.
Dadaism swept on to Berlin, Paris, and New York. It was less a new style or technique than a purposefully giddy state of mind, according to its high priest, the Romanian poet Tristan Tzara. Tzara once appeared on stage in a “serious” Dada theatrical event and barked like a dog for a half hour. The name Dada was selected by opening a dictionary and pointing – blindfolded – a pencil to a word that happened to be the French diminutive for “hobbyhorse.” |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Hugo Ball
Title: Karawane Date: 1916 Artistic Style/Movement: Dadaism Significance: This sound poem reflects the iconoclastic spirit of the Cabaret Voltaire. Dressed in cardboard tubes, Ball slowly and solemnly recited the nonsensical sound poem. As was typical of Dada, this performance involved two both critical and playful aims. One was to retreat into sounds alone and thus renounce "the language devastated and made impossible by journalism." another was simply to amuse his audience by introducing the healthy play of children back into what he considered overly restrained adult lives. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Hannah Hoch
Title: Dada Dance Date: 1922 Artistic Style/Movement: Dadaism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Marcel Duchamp
Title: Fountain Date: 1917 Artistic Style/Movement: Dadaism Significance: Fountain is a 1917 work by Marcel Duchamp. It is one of the pieces which he called readymades (also known as found art), because he made use of an already existing object—in this case a urinal, which he titled Fountain and signed "R. Mutt". The art show to which Duchamp submitted the piece stated that all works would be accepted, but Fountain was not actually displayed, and the original has been lost. The work is regarded by some as a major landmark in 20th century art. [2] Replicas commissioned by Duchamp in the 1960s are now on display in museums. Marcel Duchamp arrived in the United States less than two years prior to the creation of Fountain, and had become involved with Dada, an anti-rational, anti-art cultural movement, in New York City. Creation of Fountain began when, accompanied by artist Joseph Stella and art collector Walter Arensberg, he purchased a standard Bedfordshire model urinal from the J.L. Mott Iron Works, 118 Fifth Avenue. The artist brought the urinal to his studio at 33 West 67th Street, reoriented it to a position 90 degrees from its normal position of use, and wrote on it, "R. Mutt 1917". [3][4] At the time Duchamp was a board member of the Society of Independent Artists and submitted the piece under the name R. Mutt, presumably to hide his involvement with the piece, to their 1917 exhibition, which, it had been proclaimed, would exhibit all work submitted. After much debate by the board members (most of whom did not know Duchamp had submitted it) about whether the piece was or was not art, Fountain was hidden from view during the show.[5] Duchamp and Arensberg resigned from the board after the exhibition. The New York Dadaists stirred controversy about Fountain and its being hidden from view in the second issue of The Blind Man which included a photo of the piece and a letter by Alfred Stieglitz, and writings by Beatrice Wood and Arensberg. The anonymous editorial (which is assumed to be written by Wood) accompanying the photograph, entitled "The Richard Mutt Case,"[6] made a claim that would prove to be important concerning certain works of art that would come after it: Whether Mr Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view – created a new thought for that object.[7] In defense of the work being art, Wood also wrote, "The only works of art America has given are her plumbing and her bridges."[7] Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation. |
|
|
Readymade
|
Invented by Dadaist Marcel Duchamp, an object from popular or material culture presented without further manipulation as an artwork by the artist. An example of this is Duchamp's Fountain.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Marcel Duchamp
Title: L.H.O.O.Q. Date: 1919 Artistic Style/Movement: Dadaism Significance: Duchamp called this an ‘assisted readymade’…since he altered the object. If you speak the letters really fast in French, it means "She has Hot Pants." |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Unknown
Title: The Dada Wall in Room 3 of the “Degenerate Art” Exhibition Date: 1937 Artistic Style/Movement: N/A Significance: Degenerate art is the English translation of the German entartete Kunst, a term adopted by the Nazi regime in Germany to describe virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely. Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were narrowly traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. Similarly, music was expected to be tonal and free of any jazz influences; films and plays were censored. |
|
|
Degenerate Art
|
Degenerate art is the English translation of the German entartete Kunst, a term adopted by the Nazi regime in Germany to describe virtually all modern art. Such art was banned on the grounds that it was un-German or Jewish Bolshevist in nature, and those identified as degenerate artists were subjected to sanctions. These included being dismissed from teaching positions, being forbidden to exhibit or to sell their art, and in some cases being forbidden to produce art entirely.
Degenerate Art was also the title of an exhibition, mounted by the Nazis in Munich in 1937, consisting of modernist artworks chaotically hung and accompanied by text labels deriding the art. Designed to inflame public opinion against modernism, the exhibition subsequently traveled to several other cities in Germany and Austria. While modern styles of art were prohibited, the Nazis promoted paintings and sculptures that were narrowly traditional in manner and that exalted the "blood and soil" values of racial purity, militarism, and obedience. Similarly, music was expected to be tonal and free of any jazz influences; films and plays were censored. |
|
|
Ashcan School
|
The Ashcan School, also called the Ash Can School, is defined as a realist artistic movement that came into prominence in the United States during the early twentieth century, best known for works portraying scenes of daily life in New York's poorer neighborhoods. The movement is most associated with a group known as The Eight, whose members included five painters associated with the Ashcan school: William Glackens (1870-1938), Robert Henri (1865-1929), George Luks (1867-1933), Everett Shinn (1876-1953) and John French Sloan (1871-1951), along with Arthur B. Davies (1862-1928), Ernest Lawson (1873-1939) and Maurice Prendergast (1859-1924).
|
|
|
The Eight
|
The Eight was a group of artists, many of whom had experience as newspaper illustrators in Philadelphia, who exhibited as a group only once, at the Macbeth Gallery in New York in 1908. The show, which created a sensation, subsequently toured the US under the auspices of the Pennsylvania Academy of the Fine Arts. The Eight are remembered as a group, despite the fact that their work was very diverse in terms of style and subject matter—only five of the artists (Henri, Sloan, Glackens, Shinn, and Luks) painted the gritty urban scenes that characterized the Ashcan School.
As noted, the Ashcan School was not an organized group. Their unity consisted of a desire to tell some truths about the dirty city. Robert Henri, "wanted art to be akin to journalism. He wanted paint to be as real as mud, as the clods of horse-shit and snow, that froze on Broadway in the winter.' [1] The first known use of the "ash can" terminology in describing the movement was by Art Young, in 1916,[2] but the term was applied later to a group of artists, including Henri, Glackens, Edward Hopper (a student of Henri), Shinn, Sloan, Luks, George Bellows (another student of Henri), Mabel Dwight, and others such as photographer Jacob Riis, who portrayed urban subject matter, also primarily of New York's working class neighborhoods. (Hopper's inclusion in the group [which he forswore] is ironic: his depictions of city streets are almost entirely free of the usual minutiae, with not a single incidental ashcan in sight.)[3] The artists of the Ashcan School rebelled against the genteel American Impressionism that represented the vanguard of American art at the time. Their works, generally dark in tone, captured the spontaneous moments of life and often depicted such subjects as prostitutes, drunks, butchered pigs, overflowing tenements with laundry hanging on lines, boxing matches, and wrestlers. It was their frequent, although not total, focus upon poverty and the daily realities of urban life that prompted American critics to consider them the fringe of modern art. |
|
|
John Sloan
|
One of the most important members of The Eight, a group of U.S. painters formed in 1907 as a gesture of protest against the National Academy. Stylistically the members differed considerably and they exhibited together only once. However, they played a vital role in organizing the Armory Show and in founding the Society of Independent Artists.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: John Sloan
Title: Election Night Date: 1907 Artistic Style/Movement: Significance: This painting embodies many of the The Eight/Ashcan School's concerns. The artist went out into the street during a postelection victory celebration and made a sheaf of quick drawings that he then turned into this painting. The work retains the feel of a spontaneous sketch, with its rough, painterly surface. Sloan was an avid socialist who made illustrations for several leftist magazines in those years, but he used painting for a broader purpose: to record the passing show of humanity in its beautiful as well as grimy aspects. This work seems to record the latter category, as some of the revelers look ridiculous in their false noses as they blow on huge trumpets. In the first decade of the twentieth century, the Ashcan School was the most Modern art movement in the United States. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Arthur Dove
Title: Nature Symbolized No. 2 Date: c. 1911 Artistic Style/Movement: Early Modernism/Abstraction Significance: His series of works called Nature Symbolized is a remarkable set of small works in which the artist made visual equivalents for natural phenomena such as rivers, trees, and breezes. While Kandinsky focused on his inner life and tried to shut out the external world, Dove rendered in abstract terms his experience in the landscape. A reader of the American philosopher Ralph Waldo Emerson, Dove liked to say that he had "no background except perhaps the woods, running streams, hunting, fishing, camping, the sky." In 1912 he bought a chicken farm in Connecticut so that he could stay close to nature and not have to depend on art sales for his livelihood. Dove is a minor master, an American-type individualist even in an avant-garde context; he worked outside the mainstream and cared little for how his work was received. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Georgia O'Keefe
Title: City Night Date: 1926 Artistic Style/Movement: Early Modernism Significance: U.S. painter and wife of Alfred Stieglitz She was one of the prominent figures in the 1920s U.S. reaction against avant-garde European ideas and movement towards a romantic, naturalistic art. Her own paintings, however – ‘magical realism’ – has Surrealist undertones. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Marsden Hartley
Title: Portrait of a German Officer Date: 1914 Artistic Style/Movement: Early Modernism Significance: U.S. painter and poet. Hartley was instrumental for bringing Cubism and modern art’s influence from Europe to the U.S. This painting is a loving memorial to a young German officer who died in World War I. He was unable to show these German paintings upon his return to the U.S., because of the rampant anti-German sentiment of Americans at the time. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Frida Kahlo
Title: The Two Fridas Date: 1939 Artistic Style/Movement: Realism, Symbolism, and Surrealism Significance: Mexican artist Self-taught after a crippling accident at the age of 15 which left her in agonizing pain for life. This icon-like painting is autobiographical (like many of her paintings) and has startling symbolic imagery. Her work is often described as having disturbing psychological overtones. She married Diego Rivera in 1929 (and divorced him in 1939). They had a tempestuous relationship. She was claimed by the Surrealist movement, but insisted she was a Realist who painted her own life (if an internal life). |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Emily Carr
Title: Big Raven Date: 1931 Artistic Style/Movement: Early Modern Significance: Canadian painter, notably of Indian villages and of stylized totemic figures. She is often compared to O’Keeffe, although this is perhaps due to her gender and not any stylistic similarities. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Diego Rivera
Title: Man, Controller of the Universe Date: 1934 Artistic Style/Movement: Social Realism Significance: Mexican painter . He came under Cubist influence while working in Paris and on a visit to Italy was deeply impressed by Renaissance frescoes. He returned to Mexico in 1921 and painted several monumental mural decorations for the new socialist government’s public buildings. In the U.S.A., he decorated the California Stock Exchange and Detroit Institute of Arts. His Social Realism was responsible for the modern revival of Mexican art and was an important influence, on the realist development in U.S. art in the 1920s and 1930s. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Tom Thomson
Title: The Jack Pine Date: 1916-17 Artistic Style/Movement: Early Modernism Significance: Canadian painter, closely associated with the Group of Seven. The Group of Seven is a group of Canadian landscape painters who were influential and controversial in the 1920s and 1930s. They stressed design and color, and aimed to produce decorative but specifically Canadian landscapes. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Adolf Loos
Title: Steiner House Location: Vienna Date: 1910 Artistic Style/Movement: Early Modernism Significance: Modernism in European architecture meant a stripped down, severely geometric style, with “clean” lines. For Loos, the exterior of this structure’s only function was to provide protection from the elements. He does not embellish the windows or walls with ornamental decoration, or references to historical styles. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Walter Gropius and Adolf Meyer
Title: Fagus Shoe Factory Location: Germany Date: 1911-1916 Artistic Style/Movement: Early Modernism Significance: In a similar fashion, Gropius uses the technological advances available in his day to create a functional structure…not just to prove what is possible. He emphasizes rational design. Gropius uses what we call a “curtain wall” – an exterior wall that bears no weight but simply separates the inside from the outside. This allows the interior to be flooded with natural light. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Le Corbusier
Title: Villa Savoye Date: 1929-30 Location: France Artistic Style/Movement: Early Modernism Significance: This is the best example of the “domino construction system.” Slabs of ferroconcrete (concrete reinforced with steel bars) were floated on 6 freestanding steel posts, placed at the positions of the 6 dots on a domino playing piece. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Frank Lloyd Wright
Title: Frederick C. Robie House Date: 1906-09 Artistic Style/Movement: Early Modernism/Prairie Style Significance: Many consider Wright to be the greatest American architect of the Modern period. He specialized in domestic architecture (but practiced commercial as well). He felt that each building should be integrated with its natural surroundings. Here we see an excellent example of his “Prairie” style…a style predicated on the prairies of the Midwest. Strong horizontal elements create an interesting space. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Frank Lloyd Wright
Title: Dining Room, Frederick C. Robie House Date: 1906-09 Artistic Style/Movement: Early Modernism/Prairie Style Significance: Wright often designed the interiors of his structures, including textiles, furniture and light fixtures. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Frank Lloyd Wright
Title: Edgar Kaufmann House (Fallingwater) Date: 1937 Location: Rural Pennsylvania Artistic Style/Movement: Early Modernism/Prairie Style Significance: Here is another example of Wright’s integration with nature. This house is built on top of the waterfall the family enjoyed on their country property. |
|
|
De Stijl
|
A group of artists, among them the Dutch abstract painter Mondrian, who took the name from a magazine ed. By Van Doesburg, painter and theoretician, from 1947.
De Stijl advocated the use in art of basic forms, particularly cubes, verticals and horizontals: in an essay entitled Neo-Plasticism (1920), Mondrian suggested that such an abstract art best expresses spiritual values. Architects such as Rietveld and J.J. Oud were connected with the group, which became international with the adherence of artists like H. Richter, Lissitzky and Brancusi. De Stijl ideas influenced the Bauhaus (where Van Doesburg lectured) and geometric abstract art of the 1930s. The group had split up by Van Doesburg’s death in 1931. |
|
|
Piet Mondrian
|
One of the founders of De Stijl, his earliest works, sombre-colored landscapes, are patently in the Dutch tradition.
During the years 1907-10 the landscape became more heavily stylized and expressively brilliant in colour, with echoes of Munch as well as Matisse e.g. the series of Church Tower paintings (c.1909) In 1909 he moved to Paris and the experience of Cubism was the turning-point in his evolution. His coloristic Expressionist tendencies were suppressed and he submitted his formalizations to a rigorous linear discipline. The debt to Cubism is emphasized by the shallow space illusion and by the familiar blue/grey or ochre monochromatic palette. He returned to Holland in 1914 and by 1917 realized that the perfect expressive harmony that he sought was hindered by starting from a given motif – ‘The emotion of beauty is always obstructed by the appearance of the “object”; therefore the object must be eliminated from the picture.’ His Compositions (1914-1917) comprise simple flat rectangles of color, their austerity heightened (c.1916) by the use of primary colors only. The final evolution of his mature style was in eliminating the depth-suggesting spaces between the rectangles: from c.1917 on the colored shapes are divided by a flat grid of black lines. Mondrian’s importance lies in his development of ‘pure’ abstraction – he called his art Neo-plasticism – in which the shapes, lines and colors have their own absolute, autonomous values and relationships, divorced from any associative role whatsoever. He was a member of the Dutch Theosophical Society from 1909 and it is clear from his writings in the De Stijl journal (founded in 1917 with Van der Leck and Van Doesburg) and in his pamphlet Néo-Plasticisme (1920), that Mondrian, inspired by the Dutch philosopher Schoenmaekers, saw his art as an expression of a perfect universal harmony, to whose creation he was contributing. |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Piet Mondrian
Title: Composition with Yellow, Red, and Blue Date: 1927 Artistic Style/Movement: De Stijl/Neo-Plasticism |
|
Artist?
Title? Date? Artistic Style/Movement? |
Artist: Piet Mondrian
Title: Composition (Blue, Red, and Yellow) Date: 1930 Artistic Style/Movement: De Stijl/Neo-Plasticism |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Piet Mondrian
Title: Broadway Boogie-Woogie Date: 1942-3 Artistic Style/Movement: De Stijl/Neo-Plasticism Significance: His mature oeuvre using only the primary colors and non-colors (black, white and sometimes grey), consists of a series of refined variations Mondrian’s importance lies in his development of ‘pure’ abstraction – he called his art Neo-plasticism – in which the shapes, lines and colors have their own absolute, autonomous values and relationships, divorced from any associative role whatsoever. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Gerrit Rietveld
Title: Schröder House Location: Utrecht, the Netherlands Date: 1925 Artistic Style/Movement: De Stijl/Neo-Plasticism Significance: In this house, Rietveld applies the principles of De Stijl to architecture, creating a house (inside and out) that resembles Mondrian’s paintings in aesthetic value. |
|
Architect(s)?
Title? Date? Artistic Style/Movement? Significance? |
Architect(s): Walter Gropius
Title: Bauhaus Building Location: Dessau, Germany Date: 1925-26 Artistic Style/Movement: International Style/Modernism Significance: This is the name of the “laboratory” for modern art established in Munich in the 1920s, which tried to apply some of the tenets of Cubism to contemporary interior design, architecture, and art. The Bauhaus was established in Weimar in 1919 and then moved to Dessau in 1925, occupying a landmark building in modern architecture designed by Walter Gropius. It was closed by the Nazis in 1933. Women were given a prominent place in the Bauhaus. Marianne Brandt designed in metal so well that some of her designs are still being produced today. Many of the females in the Bauhaus were encouraged to practice fiber. Their abstract designs were often more avant-garde than modern paintings of their time. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Marianne Brandt
Title: Coffee and Tea Service Date: 1924 Artistic Style/Movement: International Style/Modernism Significance: Women were given a prominent place in the Bauhaus. Marianne Brandt designed in metal so well that some of her designs are still being produced today. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Anni Albers
Title: Wall Hanging Date: 1926 Artistic Style/Movement: International Style/Modernism Significance: Many of the females in the Bauhaus were encouraged to practice fiber. Their abstract designs were often more avant-garde than modern paintings of their time. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Aaron Douglas
Title: Aspects of Negro Life: From Slavery Through Reconstruction Date: 1934 Artistic Style/Movement: Harlem Renaissance Significance: U.S. painter and teacher One of the leaders of the “Negro Renaissance” period. From the mid-1920s, he defined a modern, black approach to art. This is often called the Harlem Renaissance period. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Jacob Lawrence
Title: During the World War There Was a Great Migration North by Southern Negroes Date: 1940-41 Artistic Style/Movement: Harlem Renaissance Significance: Panel 1 from The Migration of the Negro 1940 – 41 Perhaps the most popular 20th-c. African-American artist – a popularity he felt once to be at the expense of fellow black artists – who paints colorful, stylized figurative scenes of African-American life. He was predominantly influenced by black artists. His best-known work is a series entitled The Migration of the Negro (1940-1) which represents, through 60 panels, the mass-migration of over a million African-Americans to northern industrial towns from the South. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance |
Artist: Henry Moore
Title: Recumbent Figure Date: 1938 Artistic Style/Movement: Modernism Significance: The 1st major contemporary British sculptor of international standing Moore’s shapes, while often abstract, maintain a sense of organic growth. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance |
Artist: Alexander Calder
Title: Lobster Trap and Fish Tail Date: 1939 Artistic Style/Movement: Surrealism Significance: Calder is known for creating kinetic works, meaning works containing parts that move. This is called a mobile. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Dorothea Lange
Title: Migrant Mother, Nipomo, California Date: February 1936 Artistic Style/Movement: Social Realism Significance: During the Depression, the American federal government supported the arts through the Public Works of Art Project. An example of this in action is this photo. Photographers like Lange were hired to document the problems of farmers, then supplied these photos for free to newspapers and magazines. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: André Masson
Title: Battle of Fishes Date: 1926 Medium: sand, gesso, oil, pencil, charcoal on canvas Artistic Style/Movement: Surrealism Significance Surrealists experimented with Automatism, a technique whereby the usual intellectual control of the artist over his or her brush or pencil is foregone. The artist's aim is to allow the subconscious to create the artwork without rational interference. This piece is an example of that. |
|
|
Automatism
|
A technique whereby the usual intellectual control of the artist over his or her brush or pencil is foregone. The artist’s aim is to allow the subconscious to create the artwork without rational interference.
|
|
|
Surrealism
|
This movement can be looked upon as Dada’s French first cousin of art. The artists who practiced the fragmented variety of styles called the Surreal wanted to plumb the riches of the unconscious mind.
It all began with French poet Giullaume Apollinaire’s nutty playlet Les Mamelles de Tiresias, in which the heroine opened her bodice, let fly 2 balloons, and promptly turned into a man. French writer André Breton defined the movement in his Surrealist Manifesto of 1924 as a type of psychic automatism through which artists intended to express, either verbally or in writing, the true functioning of thought. Finding its sources in the subconscious, Surrealism sought to create an art which was symbolic of buried potential. In their work, the Surrealists used “automatic” techniques like rubbing, scratching, and catching candle smoke on a sheet of paper. |
|
|
frottage
|
A design produced by laying a piece of paper over a textured surface and rubbing with charcoal or other soft medium.
|
|
|
grottage
|
A pattern created by scraping off layers of paint from a canvas laid over a textured surface.
|
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Max Ernst
Title: The Horde Date: 1927 Artistic Style/Movement: Surrealism Significance: Ernst employs automatism, frottage, and grattage in this work. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Salvador Dali
Title: The Persistence of Memory Date: 1931 Artistic Style/Movement: Surrealism Significance: Dali is the most famous of the Surrealists. Spanish painter, notorious for his extravagant and eccentric statements about himself. His paintings, which he has called “hand-painted dream photographs,” are characterized by minute detail, virtuoso technique, ingenuity and showmanship together with elements of Freudian dream symbolism. |
|
Artist?
Title? Date? Artistic Style/Movement? Significance? |
Artist: Meret Oppenheim
Title: Object (Luncheon in Fur) Date: 1936 Artistic Style/Movement: Surrealism Significance: The icon of the movement is this sculpture in New York’s Museum of Modern Art. A common tea cup, saucer, and spoon are covered in Chinese gazelle fur. |
