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20 Cards in this Set
- Front
- Back
- 3rd side (hint)
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Gustave Courbet, Burial at Ornans France 1849 +Mimicking the French historical paintings +Replacing the 'events' with the normal scene of a peasant's funeral--> making fun of Historical paintings +Got rejected from the salon because the peasants are too ugly +Very flat and stylistic->defying the academic art style +A Frieze like painting |
Realism |
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Honore Daumier, Rue Transonian France 1834 +A journalistic print referencing to the out cry of the massacre +Uses only the value scale +Father bathed in light +White sheets around body to act as mourning |
Realism |
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Edouard Manet, Olympia France 1856 +A provocative painting +A presumably a painting of a prostitute--> Olympia a common prostitute name +Similar to the Venus of Urbino but not in a mythology context +Flat style with rough brushstrokes +A shallow painting Black maid and cat--> stereotype being 'black' is highly sexually active +Stating the role of women in society and commenting critics in the Salon had Mistresses
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Realism |
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Edouard Manet, Les Dejeuner sur l'Herbe France 1863 +A confusing painting +Contains many influences: Courbet, Raphael, Giorgione, Titian and Baudelaire +Nude woman might be a prostitute +Two men are students--> 19th cen. concept that no one should trust students because progressive thoughts comes from University +The woman at the back is scandalously dressed and disproportionate +Rough brushstrokes and flat style |
Realism |
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Thomas Eakins, The Gross Clinic New World 1876 +The celebration of medical achievements eg. Anaesthesia +Light shining on Dr Gross's head to emphasis on the importance of Knowledge +The red of the blood ties the composition +The people operating creates a pyramid |
Realism |
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Joseph Paxton, The Crystal Palace London, England 1850-1851 +The use of new materials +Combination of industrial design with green house +A huge monument that is modular--> can be moved and rebuilt +church-like architecture +Horizontal and vertical axis +Rational and balanced |
19th Century Architecture |
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Claude Monet, Saint Lazare Train Station France 1877 +Painting in 'plein-air' +Painting the modernism in Paris +No colour is pure +Capturing the moment caught in time--> The train merging in the station +The steam interacts with the building and sky |
Impressionism |
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Pierre-Auguste Renoir, Le Moulin dela Galette France 1876 +Interested in applying impressionism to people +Large scale painting capturing middle to upper class Parisian life +The lighting is filtered through the trees and reflected interesting colour on the fabric +The rich use of colour blue and peach to unify +The contrast of colour created visual interest +Heavy brushstrokes and velvet like style |
Impressionism |
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Edouard Manet, A Bar at the Folie-Bergere France 1882 +A confusing painting playing the ambiguity of space +The Waitress seems like to be looking at the view but actually is looking pass the viewer +Behind the waitress might be a mirror or an audience +The other 'waitress' is interacting with the male customer +A spectator with opera spectacles are looking at men-->inappropriate in 19th century +Questioning if the female spectator is watching a performance or male gazing +Questions women's role |
Impressionism |
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Edgar Degas, The Tub France 1874 +A non-sexualised theme of a nude woman--> A controversy +Influence by Japanese woodcut +Use of primary colours to make the piece visually engaging +The contrast of organic shape of the woman with the geometric shape of the table +The jug has Japanese designs on it +Well balanced |
Impressionism |
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James Abbott McNeil Whistler, Nocturne in Black and Gold England +A quick depiction of fireworks +Caused an argument of 2 artistic beliefs: Art is expressing oneself--> 19th century concept +Questioning if art should be for certain social class |
Impressionism |
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George Seurat, A Sunday at La Grande Jatte France 1884-1886 +Invented his own style, Pointillism +Interest in colour theory, didn't mix colour physically +The viewer's eyes will mix the pure colour together mentally +Very flat and cartoonish +Created rhythm with alternating light and shadows, figures in frontal and profile. +A curious form of rendering +A complex ray of colours
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Post-impressionism |
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Vincent Van Gogh, The Night Cafe France 1888 +A painting that reflects the passion of humanity (a sad one) +Use the contrast of red and green to create a sense of unease +The strange rendering of the table and chairs reinforce the unease +There is a loneliness ambience in the cafe +Use of Impasto |
Post-Impressionism |
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Vincent Van Gogh, Starry Starry Night 1889 +A theory that he might have painted this from an institution +Heavy use of Impasto +Everything is vibrating and moving +Vague depiction of the village +The Cyprus tree is flame-like +Short and chopping brushstrokes |
Post-Impressionism |
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Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going? Tahiti 1897 +A frieze-like painting, a never ending image +Inspired by Tahitian fabrics and textiles +A lot of different interpretation +Can be read as Past, Present, Future +The idol at the back is a made up god +Might reflect the disappointment of Gauguin when Tahiti does not meet his expectation (not as romantic) |
Post-Impressionism |
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Paul Cezanne, Mount Sainte Victoire France 1885, 1897, 1902-1904 +Use blocks of colours to depict the image +A technical painting +Play with light +12 yrs later, his style is more choppy, thick brushstrokes and somewhat abstract +5yr later his painting is very abstract with the use of brighter colours +Has movement and rhythm +Not even mixing the colours together +Strong sense of deconstructing forms |
Post-Impressionism |
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Odilon Redon, The Cyclops 1898 +Brilliant use of colours--> Visually engaging +Recreating the world of dream +Made reference to the mythological world +Questioning if the woman is dreaming the Cyclops +The Woman might be influenced by Venus |
Symbolism |
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Edvard Munch, The Scream 1893 +The artist is walking on a bridge and felt a sudden loneliness and isolation--> he wanted to scream +The painting reflects psychological pain +Manifestation of anxiety and fear +The figure has a skull-like head and does not look human +Two realistic figure at the back to make the screaming figure look isolated +The bridge creates a diagonal connect the two figures with the scream +The screaming figure look genderless--> to related to everybody |
Fin-De-Siecle |
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Gustav Klimt, The Kiss 1907-1908 +Inspired by Egyptian and Byzantine art +The painting is flat and has a lot of gold +The female and male a merged together to form an organic shape +A series of different patterns are used +Circular patterns contrast with the geometric ones +Klimt rejects the academic art style |
Fin-De-Siecle |
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Antonio Gaudi, Casa Mila Barcelona, Spain 1907 +An organic sculpture architecture +Has movement, rhythm and visual interest +The corners are expanded +An open complex |
Art Nouveau Architecture |
