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;
53 Cards in this Set
- Front
- Back
|
N. Portrait of Sor Juana Inés de la Cruz D. 1750 CE P/S. Enlightenment A. Miguel Cabrera OL. Mexico P. M/T. Oil on Canvas F. Insist her intellectual status DT. Depiction of esteemed Mexican nun and writer. portrait insists on her status as an intellectual , based image on earlier portraits, reference to St. Jerome, wears the habit of her religious order and nun’s badge (on her chest underneath her chin) which shows the Annunciation, there's a Rosary in her left hand while she turns a page of an open book with her right hand. red curtain signifies her high status C. Considered the first feminist of the Americas, chose to become a nun to pursue her intellectual interests, wrote poetry and plays that became internationally famous, engaged in theological debates, Church forced her to relinquish her literary pursuits and even her library. Portrait is different because of: *looks towards us *gaze is direct and assertive *sits at a desk, surrounded by her library and instruments of learning Rosary is juxtaposed with items signifying her intellectual life |
|
|
N. A Philosopher Giving a Lecture on the Orrery D. 1763-1765 CE P/S. Enlightenment A. Joseph Wright of Derby OL. P. M/T. Oil on Canvas F. help spread enlightenment concepts DT. Two young boys, gaze over the edge of the contraption, playful wonder. teenaged girl, arms resting on the machine in quiet contemplation, young man shielding his eyes from the brilliance of the light emanating from the center, young woman staring unblinkingly, standing man taking copious notes on the proceedings. Another man leaning back in his seat, listening intently to the gray-haired lecturer, captivating his audience like a magician. Chiaroscuro, non-idealized men, women, boys, and girls informally arranged in a small physical space around a central organizing point, orrery is a mechanical model of the solar system, a miniature, clockwork planetarium C. Expression of the faces highlight empirical observation grounded in science and reason could best advance society, traditional religious models of the universe and toward an empirical, scientific approach, unofficial artist of the Enlightenment, most prominent English painter of the eighteenth century, “moral” is the pursuit of scientific knowledge, Most likely the man standing and taking notes is Wright’s friend Peter Perez Burdett, and the man seated at the far right may be Washington Shirley, 5th Earl Ferrers, the initial owner of the work |
|
|
N. The Swing D. 1767 CE P/S. A. Jean-Honoré Fragonard OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Monticello D. 1768-1809 P/S. A. Thomas Jefferson (Architect) OL. Virginia, US P. M/T. Brick, glass, stone, and wood F. DT. C. |
|
|
N. The Oath of the Horatii D. 1784 CE P/S. A. Jaques-Louis David OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. George Washington D. 1788-1792 CE P/S. A. Jean-Antoine Houdon OL. P. M/T. Marble F. DT. C. |
|
|
N. Self-Portrait D. 1790 CE P/S. A. Elizabeth Louise Vigée Le Brun OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15 D. 1810-1823 CE; Published 1863 P/S. A. Francisco de Goya OL. P. M/T. Etching, drypoint, and burnishing F. DT. C. |
|
|
N. La Grande Odalisque D. 1814 CE P/S. A. Jean-Auguste-Dominique Ingres OL. P. M/T. Oil on canvas F. DT. C. |
|
|
N. Liberty Leading the People D. 1830 CE P/S. A. Eugène Delacroix OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm) D. 1836 CE P/S. A. Thomas Cole OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Still Life in Studio D. 1837 CE P/S. A. Louis-Jacques-Mandè Daguerre OL. P. M/T. Daguerreotype F. DT. C. |
|
|
N. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On) D. 1840 CE P/S. A. Joseph Mallord William Turner OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Palace of Westminster (House of Parliament) D. 1840-1870 CE P/S. A. Charles Barry and Augustus W.N. Pugin (Architects) OL. London, England P. M/T. Limestone, Masonry, and Glass F. DT. C. |
|
|
N. The Stone Breakers D. 1849 CE; Destroyed in 1945 P/S. A. Gustave Courbet OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Nadar Raising Photography to the Height of the Art D. 1862 CE P/S. A. Honoré Daumier OL. P. M/T. Lithograph F. DT. C. |
|
|
N. Olympia D. 1863 CE P/S. A. Édouard Manet OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. The Saint-Lazare Station D. 1877 CE P/S. A. Claude Monet OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. The Horse in Motion D. 1878 CE P/S. A. Eadweard Muybridge OL. P. M/T. Albumen print F. DT. C. |
|
|
N. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de Mexico desde el Cerro de Santa Isabel) D. 1882 CE P/S. A. Jose María Velasco OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. The Burghers of Calais D. 1884-1895 CE P/S. A. Auguste Rodin OL. P. M/T. Bronze F. DT. C. |
|
|
N. The Coiffure D. 1890-1891 CE P/S. A. Mary Cassatt OL. P. M/T. Drypoint and Auqatint F. DT. C. |
|
|
N. The Scream D. 1893 CE P/S. A. Edvard Munch OL. P. M/T. Tempera and pastels on cardboard F. DT. C. |
|
|
N. Where Do We Come From? What Are We? Where Are We Going? D. 1897-1898 CE P/S. A. Paul Gaugin OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Carson, Pirie, Scott and Company Building D. 1899-1903 CE P/S. A. Louis Sullivan OL. Chicago, Illinois, U.S. P. M/T. Iron, Steel, Glass, and Terra Cotta F. DT. C. |
|
|
N. Mont Sainte-Victoire D. 1902-1904 CE P/S. A. Paul Cézanne OL. P. M/T. Oil on Canvas OL.P.M/T. Oil on Canvas F.DT.C. OL.P.M/T. Oil on Canvas F.DT.C. F. DT. C. |
|
|
N. Les Demoiselles d'Avigon D. 1907 CE P/S. A. Pablo Picasso OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. The Steerage D. 1907 CE P/S. A. Alfred Stieglitz OL. P. M/T. photogravure F. DT. C. |
|
|
N. The Kiss D. 1907-1908 CE P/S. A. Gustav Klimt OL. P. M/T. Oil and Gold Leaf on Canvas F. DT. C. |
|
|
N. The Kiss D. 1907-1908 CE P/S. A. Constantin Brancusi OL. P. M/T. Limestone F. DT. C. |
|
|
N. The Portuguese D. 1911 CE P/S. A. Georges Braque OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Goldfish D. 1912 CE P/S. A. Henri Matisse OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Improvisation 28 (second version) D. 1912 CE P/S. A. Vassily Kandinsky OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Self-Portrait as a Soldier D. 1915 CE P/S. A. Ernst Ludwig Kirchner OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Memorial Sheet for Karl Liebknecht D. 1915 CE P/S. A. Käthe Kollwitz OL. P. M/T. Oil in Canvas F. DT. C. |
|
|
N. Villa Savoye D. 1929 CE P/S. A. Le Corbusier (Architect) OL. Poissy-sur-Seine, France P. M/T. Steel and reinforced concrete F. DT. C. |
|
|
N. Composition with Red , Blue, and Yellow D. 1930 CE P/S. A. Piet Mondrian OL. P. M/T. Oil on Canvas F. DT. Primary values, primary colors, primary directions, perfection in order to create harmony C. |
|
|
N. Illustration from The Results of the First Five-Year Plan D. 1932 CE P/S. A. Varvara Stepanova OL. P. M/T. Photomontage F. DT. C. |
|
|
N. Object (Le Dejeuner en fourrere) D. 1936 CE P/S. A. Meret Oppenheim OL. P. M/T. Fur-covered cup, saucer, and spoon F. DT. C. |
|
|
N. Fallingwater D. 1936-1939 CE P/S. A. Frank Lloyd Wright (architect) OL. Pennsylvania, U.S. P. M/T. Reinforced concrete, sandstone, steel, and glass F. DT. C. |
|
|
N. The Two Fridas D. 1939 CE P/S. A. Frida Kahlo OL. P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Migration of the Negro, Panel no.49 D. 1940-1941 CE P/S. A. Jacob Lawrence OL. P. M/T. Casein tempera on the hardboard F. DT. C. |
|
|
N. The Jungle D. 1943 CE P/S. A. Wifredo Lam OL. P. M/T. Gouache on paper mounted on canvas F. DT. C. |
|
|
N. Dream of a Sunday Afternoon in the Alameda Park D. 1947-1948 CE P/S. A. Diego Rivera OL. P. M/T. Fresco F. DT. C. |
|
|
N. Fountain (Second Version) D. 1950 CE (Original 1917) P/S. A. Marcel Duchamp OL. P. M/T. Readymade glazed sanitary China with black paint F. DT. C. |
|
|
N. Woman, I D. 1950-1952 CE P/S. A. Willem de Kooning OL P. M/T. Oil on Canvas F. DT. C. |
|
|
N. Seagram Building D. 1954-1958 CE P/S. A. Ludwig Mies van der Rohe and Philip Johnson (Architect) OL. New York City, U.S. P. M/T. Steel frame with glass curtain wall and bronze F. DT. C. |
|
|
N. Marilyn Diptych D. 1962 CE P/S. A. Andy Warhol OL. P. M/T. Oil, Acrylic, and Silkscreen enamel on Canvas F. DT. C. |
|
|
N. Narcissus Garden D. Original Installation and Performance 1966 P/S. A. Yayoi Kusama OL. P. M/T. Mirror Ballsm performance art, a happening F. DT. Shiny ball objects. Extremely reflective C. Sells the reflective balls for a dollar essentially selling people themselves. |
|
|
N. The Bay D. 1963 CE P/S. A. Helen Frankenthaler OL. P. M/T. Acrylic on Canvas F. DT. Color field painting. C. |
|
|
N. Lipstick (Ascending) on Caterpillar Tracks D. 1969-1974 CE P/S. Contemporary, modern , pop art A. Claes Oldenburg OL. Yale university P. M/T. Cor-Ten steel, steel, aluminum, and cast resin; painted with Polyurethane enamel. base is plywood, red vinyl tip F. Protest against the Vietnam War, critiqued the , hyper-masculine rhetoric of the military and consumerism of the United States. DT. Sexual undertone. Tank resembles men, monumental tube of lipstick, 24-foot-high sculpture, anti-war movement,poked fun at the solemnity of the plaza. C. appeared uninvited during the 1969 student protests. collaboration with architecture students at his alma mater. overlooked the office of Yale’s president and a prominent World War I memorial. served as a stage and backdrop for several subsequent student protests. Was never intended to be permanent, lipstick could be comically inflated and deflated, original was removed because it did not always worked and then was reinstalled made out of metal. combined “feminine” product with “masculine” machinery of war. Insinuated that obsession with beauty and consumption fueled and distracted the ongoing violence in Vietnam. |
|
|
N. Spiral Jetty D. 1970 CE P/S. A. Robert Smithson OL. Great Salt Lake, Utah, U.S. P. M/T. Earthwork: mud, precipitated salt crystals, rocks, and water coil F. DT. C. |
|
|
N. House in New Castle County D. 1978-1983 CE P/S. Modern and contemporary art, post-modern A. Robert Venturi, John Rauch, and Denise Scott Brown (Architects) OL. Delaware, US P. M/T. Wood frame and stucco F. Private Residence DT. grand and whimsical appearance, spacious interiors are simple and comfortable, wood decorations inspired by the 19th century, painted arches, vaulted music rooms, quirky chandeliers, perforated wall patterns, “Front” Façade: floating arched screen, rises somewhat awkwardly from the lower edge of the gable (reference to a highway billboard). Austrian Baroque origins ⬅ identifying the structure as a residence. doubled as a blind, camouflaging the large windows behind it. “Rear” Facade: dominated by a prominent arched screen which us framed by the edges of the gabled roof, supported by a Doric colonnade, four flat stubby columns. Thin as outer walls carry little weight, enclose the recess porch, C. Robert Venturi was inspired by Renaissance architecture, particularly works built during the Mannerist and Baroque period. concept of “decorated shed” buildings that exploit easily recognizable two-dimensional elements to generate visual interest and meaning. |
