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68 Cards in this Set

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Guillaume Guillon‐Lethière, Oath of the Ancestors, 1822. Painted by the illegitimate son of an officer and a black slave. Lethiere was known in France as a creole and painted this piece to comment on political events but also to show his personal struggle. This was when mixed troops moved to fight along with the slaves. However, God or the Father is still depicted as white, commenting that the whiteness was impossible to escape.

Jacques‐Louis David, Oath of the Horatii, 1784. This is an essential neoclassical painting with it's focus on lines, stability and a balanced structure. It is a historical painting that makes an obvious social statement about morality and civic duty. The king commissioned these didactic historical paintings. The genders are separated: men --> self sacrifice, women --> emotional collapse. It became the emblem of the French Revolution.

Anne‐Louis Girodet-Trioson, Portrait of Jean-Baptiste Belley, 1797. Raynal is in the background, he is an abolitionist. The meanings of this piece are disputed because it was nkown that Belley was homosexual (the tighter pants). Trioson was and wanted to focus on a less masculine central figure.

Jean-Antoine Watteau, The Signboard of Gersaint, c. 1721. Watteau studied Rubens paintings and had an interest in pastels and colors. It was depicting the interior of an art dealer shop. Uses a variety of painterly styles and genres to pain the smaller paintings. The aristocrats seem very interested in the paintings. It is a MEMENTO MORI or a reminder of mortality, form may be subject to the ravages of time (includes a metaportrait of the dead king)

John Smibert, Dean Berkeley and His Entourage (The Bermuda Group), 1729. Smibert settled in Boston and stayed in the colonies. Smibert depicts himself on the far left holding a red chalk drawing meant to represent his ability to design and teach; express a knowledge of the unseen. Berkeley's wife in the center of the painting with a baby is shown as a Madonna.

Jean‐Honoré Fragonard, The Swing, 1766. Fragonard studied at the French Academy. This painting was commissioned to another artist but that one refused on account of the sexuality of the piece. It has an overtly sensual feel with the woman's lover seeing through her legs and the bishop pushing her. The painting is full of anticipation, desire, and playfulness (all characteristic of Rococo style) Very frilly and frothy colors and details.

John Singleton Copley, Watson and the Shark, 1778. Commissioned by a Watson, a painting of him when he was 14 and lost his leg in a shark attack. The painting has a pyramidal structure and the role of the black figure at the peak is widely disputed

Antoine-Jean Gros, Napoleon in the Plague House at Jaffa, 1804. Depicts Napoleon's conquering and politics in painting. Story of Napoleon trying to quiet fears of his healthy soldiers by visiting the sick, showing him to be a great person in the center and reaching forward, similar to Christ healing a leper. Color more vibrant and more spontaneous brushstrokes (less organized rhythm), dramatic lighting to focus on exotic details to emphasize geographic area (close to Near East). Form of romanticism penetrating modern history painting/political art.

Angelica Kauffmann, Cornelia Pointing to her Children as her Treasures, 1785. History painting; subjects mainly draw from classical antiquity. Story from 2BCE Rome. Lady in red showing materialistic wealth to Cornelia and Cornelia points to sons as her treasures (soon to be populist reformers). Girl = mixture of red (materialistic) and white (pure), hence pink and in between the two women. Symbolizes the challenges of learning a moral lesson - to not be so consumed in materialistic wealth. Part of popular theme of "good mother"

Jean‐Auguste‐Dominique Ingres, Large Odalisque, 1814. Formal idealization of sensually eroticized figure with details. Classical composition - woman lying on bed facing away. "Odalisque" means slave in North African harem and European men attracted to such harem ideas. Painted during France's campaign against British in North Africa. Calculated eroticism through elongated back and twisted figure. Blues highlight blue eyes and white skin, thus the possibility of white slavery. However, the exotic details such as the headdress and fan indicate clearly that it is a setting in North Africa/Oriental area. Intersecting styles of neoclassicism with the clarity of lines and romanticism with the sensual nude.

Eugène Delacroix, Liberty Leading the People: July 28, 1830, 1830. Very large modern history painting, obsessed with emotion. Hopeful image of people overthrowing monarchy and gaining a constitutional monarchy. Wide variety of populist people represented (well-educated man, student, general, etc) to symbolize unity. Allegory of liberty = leader, muscular woman half naked (classical figure), combined with contemporary weapons and phrygian cap (ancient symbol of freed slaves) all together symbolize victory and liberty. Moment of time has seemed to stop moments before death and overthrow; celebratory mood unlike Raft of Medusa although there are dead figures in the foreground. Triangular composition to give unity to extremely fragmented scenes. Message to citizens = danger and passion is important.

Anton Rapheal Mengs, Parnassus, 1761. Tight composition with shallow space. It is a ceiling fresco with a pyramidal composition. Fits into pediment of classical building, stability of architecture and became a quasi public piece. Mt. Parnassus was in central Greece and home to Apollo and his nine muses (meant to embody artistic inspiration). Comparative to School of Athens, Mengs is interested in flatness and color.

Louis‐Jacques‐Mandé Daguerre, The Artist's Studio, 1837. Type of photo that is a daguerrotype, meaning it comes in and out of clarity. It was a model from his own paintings. Important because shows how photographs and photographic realism played an important role in depicting "Orientalism" and how real it was.

Benjamin West, The Death of General Wolfe, 1770. Glorifying the British general that died in 1759 in a British victory battle over the French to obtain Quebec (7 Years War). Painted to prove that imperialism was right and that the British were strong, taking the death to be noble. Dramatic lighting with the clouds highlight how "news of French defeat" brought good in the world. Similar to lamentation or deposition scene, with flag replacing the cross - indicating that the sacrifice of General Wolfe was for national good (nationalism growing). Native American depicted is fiction, but there to remind viewers of geographical location in America. Some at the time believed that the modern clothes compromised the dignity of the art, but this painting created a new definition of history painting - modern history painting - making it okay to portray contemporary events/visual styles as long as it had the same historical themes. Still have same worldly message of nation is more important than the individual. Widest circulated painting in Britain. GRAND MANNER PAINTING - mixture of potraiture and history painting. Pontormoesque?

John Henry Fuseli, The Nightmare, 1781. Taken from Latin stories, interested in irrationality and supernatural subjects. Created a personal, expressive style. Somewhat tortured expression with incubus (evil spirit) oppressing woman on couch. Depicts the woman's nightmare of the incubus having sex with her. Symbolizes the fear of the unknown and the consequences of sexuality without any restraints. Viewers are transported to the mind of the woman because the supernatural elements seem just as real as realistic objects. Fuseli, known as a wild Swiss painter (although the public approved), lets irrationality go in the painting and does not necessarily provide viewers with a moral lesson in particular.

Théodore Géricault, The Raft of the "Medusa," 1818‐1819. Attacked monarchy using the story of an aristocrat captain appointed by the monarchy leaving companions on a makeshift raft to let them die to save himself. Romantic painting with the moment of high intense emotion (fear of everyday gruesomeness and hope of rescue). History painting as a multifigure, large composition of one moment in time. A triangular composition of bodies, and at the apex was a "hero" that was not royal. High difference between hope and despair, symbolizing how a positive outcome for hope is dependent on the most oppressed - creates this metaphor by painting a black man at the apex of the triangle. Painting was commercial, proving how one could paint a history painting without the support of the Academy - different patronage. Painting was made to shock and question, expose incompetence of society, and speak about general human conflict and themes such as hope/despair, human/nature, life/death. Gericault was interested in the scientific and studied many bodies to depict death accurately.

Jean‐Léon Gérôme, The Snake Charmer, c. 1870. The viewer is not invited to identify with the audience because they are on the opposite end against the wall, and creates a mysterious mood/idea of Near East, especially with the back of the snake charmer seen. Mystery was a common theme in Orientalist paintings, and tries to produce meaning of corruption and how the Near East was like to the viewers. Does so by providing acute detail (blue walls) and the broken tiles, in order to emphasize "realness" and "preexisting Oriental reality" in the painting.

Francisco Goya, Third of May, 1808, 1814‐1815. Embraced idea of revolution. Portrayed terror and fear, made so viewers empathize with the white shirted person. Similar to crucifixion scene, executioners all faceless so viewers focus on the oppressed people's emotions. No moral story, simply showing anger at the event. Romantic history painting with an emphasis on the color red and dramatic lighting to create a moment of stillness before motion. Painted after the happening and revolution, unlike the "Liberty Leading the People" that was painted during the same year of the event.

Henry Ossawa Tanner, The Banjo Lesson, 1893. Painted by one of the most successful African American painter from Pennsylvania Art Academy. Worked as a photography and drawing teacher. Devised this composition in North Carolina to show a serious side of subjects that were often made into caricatures (banjo was indicator of African heritage). the older man teaching the boy refers to a pre-slavery past. The painting is at a slant to make a reference to photography.

Édouard Manet, A Bar at the Folies‐Bergère, 1882. It is located at a bar that impressionists might have hung out in to view a spectacle. It includes an urban visibility and is a masculine modern space. There is an ambiguity of space that may imply the dislocation that modern life inflicts on it's members. The woman has an ambiguous face that is defiant but resigned (no space for triumph). It integrates still life to engage viewers; an arrangement of commodities.

Gustave Courbet, A Burial at Ornans, 1849. Bored dreamy look on the closest subjects. It has a muted surface that involves a quality of drabness. There is a lack of finish or polish. Originally thought to be a representative of the burial of Courbet's grandfather but he is included on the far left, maybe painting of another revolutionary. Courbet was a painter of avant garde and there was no idealization in his picture. It was attacked by the public because it challenged the Academy. Because it was not accepted, Courbet puts on his own exhibition and puts on his show 'Realism' with 40 of his own paintings.

Claude Monet, Impression: Sunrise, 1872. Critics ridiculed Monet's open brushstrokes and called it impressionist. Monet and friends liked this term. He created a floating air studio and encouraged en plain air (in open). Thirty artists were part of this group and engaged with modern life and rejected the academy (formed own exhibitions.)

Édouard Manet, Olympia, 1863. This was submitted to the Academy and accepted (because Manet had already submitted one that was rejected), had to be placed high on the salon wall to prevent people from damaging it. People of the time were most concerned by the placement of the hand and the hair/hairlessness dynamic. Anxiety that it was a realist nude and not an illustrious one. Name alludes to a common prostitute name. Many in the time period would not understand Manet's allusion to Titian. The cat is a sign of erotica and the slave is indicator of prostitute class. Olympia is disturbed by the viewer and covers pudenda as if to deny access unless paid.

Honoré Daumier, Rue Transnonain, 1834. Daumier published his first lithograph in 1829 and supplied pictures to the Republic newspaper (was an activist artist). On Rue Transnonian, the government retaliated (a gov. guard was killed in a protest) by killing everyone in the building where the alleged criminal lived. The viewer must examine many parts of this picture to extract all details (active viewership). Lithograph allowed for quick production and mass distribution. It is a cautionary tale for us to react to with great horror.

Joseph Mallord William Turner, Slavers Throwing Overboard the Dead and Dying–Typhoon Coming On ("The Slave Ship"), 1840. It is a sublime painting that invokes deep awe and thrill in the viewer; the overwhelming force of nature. It is a nature that is free from society's rules, a romantic sea scape that is about a political event (a slave ship was caught in a typhoon; horror of man). The atmospheric effect portrayed by Turners revolutionary free application of paint. Viewer needs to use imagination to see slaves and in that way rescues them.

Jean‐Francois Millet, The Gleaners, 1857. Millet, unlike Courbet, denied that he was a political radical but still was a realist because he had grown up in a farm and wanted to show this life. He did a meticulous repetitive type of work that was all of extreme poverty. It was more accepted work because it was smaller than Courbet's so that it did not challenge the Academy's hierarchy of genres. Uses warmer colors than Courbet to represent nostalgia for a simple, rural life.

James Abbott McNeill Whistler, Nocturne in Black and Gold, The Falling Rocket, 1875. Has a decorative quality that diverges from observed reality. Whistler wanted to be seen as a cultivated gentleman with exquisite taste and he called his paintings aesthetic. He began the single row hang in showing spaces. He painted the fireworks over London in a completely abstract and restricted style. Critics did not like the lack of finish and purpose of the piece so Whistler sues them for libel and wins.

Edgar Degas, The Rehearsal on Stage, c. 1874. Closely linked to realism. Degas was an impressionist but painted in a realist style as well. He was the official painter of the Paris ballet but did not paint the ballet live, he used models to pose.

Jackson Pollock, Autumn Rhythm (Number 30), 1950. Pollock was born in Wyoming and moves to New York and is self destructive (alcoholic). He was interested in the primitive art and throwing paint on a canvas to create sublime calligraphy. His painting lacks premeditation but not a lack of control; lacks hierarchical arrangement. It is a dramatic dialogue with the painter.

Robert Rauschenberg, Canyon, 1959. Combines painting and sculpture using not commonly used materials. Reveals little about the artists personality. Uses a family photograph, posters, eagles, pillow. There is no single unified message. Connected to Rembrandt's Rape of Ganymede (as a symbol of homosexual love). His son represents the little boy. There is a lack of order that represents the world. Began the setup for performance art that artistic process is more important than the product.

Joan Miró, Composition, 1933. This was a denial of artistic skill from Miro who had never officially joined the surrealist group but was said to be the greatest surrealist. He depicts biomorphic abstractions that free the viewer's mind from reality. The arrangement was by chance and the doodle aspect is supposed to be a free association or a bubble up of automatism (not thinking, using the subconscious). The identities in this painting are constantly in flux.

David Smith, Cubi, 1963-4. Smith was inspired by abstract expressionism and the waking class ethos. He was trained as a painter but shifted to sculpture when he saw Picasso's work. He created art work from standard industrial materials and wanted to create a 'drawing' in space. It is a highly finished surface that is both industrial and anthropomorphic.

Helen Frankenthaler, Mountains and Sea, 1952. She had a painting style like Pollock but it had a more lyrical, feminist feel. It was like a field painting with blocks of bright color and thin lines. It was done in pastel washes using the soak stain method. Painting application seems accidental. It was said by critics to be a gendered abstraction. The calm pastel colors soaked into the canvas to produce an engaging flatness (unlike Pollock).

Meret Oppenheim, Object (Luncheon in Fur), 1936. It was a juxtaposition of two everyday objects; inspired by Picasso. Picasso took some credit for the art and in that was deprived Oppenheim of some of the agency. The fur is of a Chinese gazelle and it was chosen because it looked like pubic hair (sensuality). The surrealist goal here was to shock and repulse the viewer.

Jasper Johns, Target with Plaster Casts, 1955. This challenged the assumption of action painters; Johns believed that art should be anchored in real life. They asked questions: Should art be internally coherent and stray from popular culture? It was a deliberately difficult piece that had unfixed meanings. Johns was homosexual; this is why he wanted to stray from Pollocks masculine was of throwing on paint. It was called assemblage (bringing together formal objects in 3D space) and he was a Neo-Dadaist (could art be an idea?). Reacted against formalism.

Salvador Dalí, The Persistence of Memory, 1931. Very small piece intended for a single viewer to see into their subconscious. Deployed formal techniques to unleash imagination. Dali developed the paranoid critical method of cultivating the paranoid ability to mangle reality. It is a systemization of confusion. Coast of Spain from Dali's childhood in back. Bareness of landscape is mysterious. Tree casts a shadow to represent some reality. Different watches represent the idea that time may be too rational, that we all have our own time, a time that may be rotten away. The form on the ground is humanoid and supposed to represent a humanoid version of Dali.

Willem de Kooning, Woman I, 1950-1952. Kooning was trained in the Netherlands and had a masculine persona in action painting. He did not want his paintings to be pure and used many layers that were calculated until he got what he wanted. It was a problematice painting because the woman was so monumental and grotesque. It references an archetype of femininity. There is an unclear political message.

Harmony Hammond, Floorpiece, VI, 1973. Interested in using hands to produce feminist and process art. Hammond cofounded the AIR group that was a cooperative women art org, she also organized a show of lesbian art. Deliberate references as rug encoding Hammond's lesbianism. The three strands of the braid represent gender, sexuality, and art (but braid has many meanings). Hammond opens up a space for a group that doesn't fit into the heteronormative binary. Since the rug is on the floor it is seen as a craft and it's lateral property is seen as sexual. Fits into neither art or craft (and the floor but painted) allegorical to queer space. The spiraling out of the rug takes up more and more of the space.

Andy Warhol, Marilyn Diptych, 1962. Warhol wanted art to be like advertising which should require immediate attention but will quickly get boring. Warhol wanted to memorialize Marilyn after her death and use as a publicity portrait. Monroe is made to be a sex symbol of the movie industry and her identity seems to be a facade (mass produced consumable identity). It is a flat portrait that utilizes color to point out symbolic attributes. Right side of the portrait represents her shadow. Represents Monroe as a martyr for modern society.

Carolee Schneeman, Meat Joy, 1964. This early performance art reverses the role of power. It is performed in Paris and is of men and women undressing each other, dancing, rolling around, and playing with meat. It is meant to feel viscerally the body of fluid and flesh. Contrasts the usually cool gaze of audience by making audience squirm. There is no object just a sense of actions. It is a break in the history of art where art is arena in which to act. Refutes idea of universal beauty.

Joseph Kosuth, One and Three Chairs, 1965. Includes three different types of media, text, photograph, and a real chair. Kosuth was trained in painting and interested in linking abstract ideas to the visual. Shows the impossibility of communication and asks how we grasp things, the impossibility of precise comprehension. Asks about the possibility of meaning.

Eva Hesse, Rope Piece, 1969-1970. Created from two strings coated in latex. The dimensions of the piece are variable depending on the installation which represents instability. It is a handcrafted art that is imbued with personal memory from narrowly escaping the Holocaust. Adopts a style of minimalism but with meaning because Hesse believed that art and life are inseparable. It is fragile, sensuous, delicate, and emotive piece of art.

Bruce Naumann, Self Portrait as a Fountain, 1966‐1967. This photograph complicates the problem of communication. Naumann himself is a fountain and likening himself to a urinal. Who is the real fountain, conceptual fountain? Naumann claimed it was research, wanted to figure a way around art (more of an activity and less of a product).

Robert Smithson, Spiral Jetty, 1970. Within the Earth Art Movement, using earth as a canvas, manipulating raw material of a site. Modifies earth but not in a permanent way , it is about death, life, and destruction. It is meant to be noncommodifiable. This one is in the Salt Lake and is to remind people of the natives that lived there. There is no aquatic life because of high salt content. Has contradiction embedded within it (seems to be fixture of landscape but just made in 1970s). Requires no maintenance and is governed by nature. Shapes the earth, interact with elements, and allow the earth agency.

Carl Andre, Steel‐Magnesium Plain, 1969. It is one piece after another and presents sculpture as place (delineates a location). The viewer is able to physically interact with the work. He wanted to portray the blue collar worker and masculine manual work. Showing the artists hand as a brick layer, macho laborer. He was energized by the materiality of the work. He changed space through materials.

Claes Oldenburg, Store, 1961. Oldenburg shows a store and makes everything in the scene. He moves out of a gallery into a store front. This piece calls forth how the eye interacts with everyday objects. He is interested in integrating media and referencing commodity.

Beyte Saar, The Liberation of Aunt Jemima, 1972. This artwork is in the Berkeley art collection. It shows feminism and ethnic/racial identity (pluralism). It applies a militant comedy to black mami figure. It uses found objects appropriated from the world and reverses the objects original meanings. The grid in the back has aunt jemima replicated and the side has mirrors that make the grid seem endless. It is a repurposing of commodifiable products to tackle derogatory stereotypes. Sits uncomfortably among art and sculpture but produces a space of multiculturalism.

Ana Mendieta, Untitled, From the Tree of Life Series, 1977. Mendieta relocated from Cuba to the US and so she has a sense of dislocation that penetrates her art. Her art is inspired by heritage and the contemporary art world. She is trying to plant herself in the art. Her body becomes a symbol in shadow art. Artwork is unmoored by traditional medium. This piece is produced in Iowa to represent the earth goddess symbol. Celebrates a notion that females have more connections to earth than men do. Creates ephemeral artwork with a residue.

Nam June Paik, Electronic Superhighway: Continental U.S., 1995. Was a Korean American artist who escaped Korea during the Korean war. He was interested in using technology in art and did not view media, tech as a rival. There are many video monitors in the art work, each playing videos of history of the state (changing monitors). It is meant to engulf the viewer and enlist contemporary tech in art to highlight our lack of attention, surveillance?

Yinka Shonibare, How To Blow Up Two Heads at Once (Ladies), 2006. Complicated the idea of colonialism (added MBE to his name as a show that you can conquer the colonial system). The mannequins in his sculptures have an unclear race. They are outfitted in 19th century British structure dress but the cloth is traditional African patterned fabric. When Shonibare got the cloth he figured out that it was imported from the Netherlands so it is allegorical to a global exchange. Shonibare reacted against the essential views of identity where race is embedded in colonialism.

James Luna, The Artifact Piece, 1987‐1990. Confronts Native American stereotypes and problematizes modern, multiple media. Luna uses museum labels to describe himself, turning his own life into an ethnographic object. He challenges viewers and stereotypes and the viewers felt uncomfortable when realized he was alive. Explains that identity may not be able to be distilled.

Chris Ofili, The Holy Virgin Mary, 1996. It is a racially and culturally hybrid Madonna that was deeply criticized by conservative government officials (they slashed funding for Brooklyn Museum for putting it up). Includes elephant dung (used in African art, fertility) and cut out porn butts. Part of the culture war when the government cut funding to the arts because the paintings did not depict what was thought of as universal beauty.

Sarah Sze, Triple Point, 2013. Ambiguous relationshio to the ready made. Made for the Venice Biennial that brought together countries through art. Sze was a Chinese American sculptor who wanted to colonize areas of the museum. Her art work engages with the history of the sire and is meant to be a compass that locates us as an experiential site. It is highly organized and interacted with the city as well as the space. There are scientific overtones (triple point is when all phases of the element exist in equilibrium). Wanted to adopt postmodernist disorientation but the modernist universal experience.

Felix Gonzalez‐Torres, Untitled (Loverboy), 1990. A stack of blue paper; gallery viewers where supposed to take one piece so that the stack would eventually diminish. He wanted to create a piece of art that would disappear by the end of the show. Represents the diminishing mind and body of Torres' lover because of AIDS. Torres also died of AIDs.

Barbara Kruger, Untitled (Your Gaze Hits the Side of My Face), 1981. Taking up postmodern ideas of art and questioning the idea of originality and reflects pluralism. Kruger started as a photographer for a magazine and her art shows that she appropriates the magazine layout, color, and slogan. In this picture the subject is intentionally deflecting the gaze and making textual reference to it. Kruger made a postmodernist brand for herself.

Cindy Sherman, Untitled Film Still, #21, 1978. Resembles early 1960s photographs from movies, etc. Meant to 'quote' these movies and fulfill the correct feminine role. This picture was part of the second wave of feminism where women questioned the unofficial inequalities that women faced (traditional domestic roles, etc.) She uses a camera release so that she is both the subject and the photographer which complicates the idea of the gazer and gazed at (meant to challenge the masculine gaze). It is postmodernist meaning that it is fragmented and we don't have access to the entire narrative.

Marcel Duchamp, Fountain, 1917. Making ready made: manufactured object as a art piece. Helped found New York art avante garde group. Duchamp purchased a urinal and turns on side. Signed in R.J. Mutt as a pseudonym referencing plumber and cartoon works (popular culture). It was meant to challenge the essence of art and suggests that art can be primarily conceptual.

George Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884-1886. Seurat uses short multidirectional brushstrokes of pure color (called pointalism, divisionism) He pairs impressionism with the well structured classicism. The viewer can have many impressions of the painting depending on proximity. The points create abstraction and luminosity, the juxtaposition is meant to create a monumental painting. This painting depicts a hierarchy in social situations.

Auguste Rodin, The Burghers of Calais, 1884-1889. Rodin wanted to figure how to create work expressive of motion through heavily formed figures. It was a reaction against academic sculpture because it did not look elegant. The Burghers were a group of city leaders that sacrificed themselves in order to save their city. The figures seem restless and agitate, their hands and feet are heavy maybe representative of their burden.

Hannah Höch, Cut with the Dada Kitchen Knife Through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919. Berlin Dada movement used agitprop ideas in order to both agitate and use propaganda to affect change. It is a photomontage.

Pablo Picasso, Les Demoiselles D'Avignon (The Young Ladies of Avignon), 1907. This picture came into being through references to African art. The exhibition of African art that Picasso uses is meant to depict a formal strangeness. Picasso is giving us a mixed message through this art piece: are the ladies prostitutes or ladies of the court of the pope. Two of the figures allude to Venus like poses. The figures and objects in the frame are flattened and fractured to produce angular shapes. The central pair of figures are lifting their arms to show accessibility but it is contradicted by sharp edges, gazes, and stern moods.

Mary Cassatt, Mother and Child, c. 1890. It is a small intimate painting and the weight of the limbs have a natural quality about them. There is a circle of human forms. There is a contrast of brushstrokes and colors. According to academic critics, the painting looks unfinished (but meant to seem transitory). The vessel in the back parallels the idea of a mother as a vessel and her ability to give birth. Cassatt supported feminist movements but did not want to be thought of as a woman. As such, she developed her own formal language in urban femininity and made the woman the subject and not the object. She focuses on domestic spaces to create style and uniqueness. Highly modeled forms suggest 3D-ness.

Paul Gauguin, Manao Tupapau (Spirit of the Dead Watching), 1892. Gauguin is obsessed with the primitive and he pursues painting full time after being a stock broker. He escapes to Panama, Martinique, and Tahiti to find inspiration. In his paintings there are brilliantly colored flat shapes, a combination of emotion and subject. There is the spirit of the dead in the background. The painting seems to think of itself as an observation but it is not. It evokes a mood through primitivism (borrowing nonwestern forms by Western artists). It pretends to be an appreciation of culture but is actually a form of domination. Also reflective of women being often associated with irrationality and pressed down.

Paul Cézanne, Mont Sainte‐Victoire, c. 1885-1887. Cezanne reacts against impressionism and wants to capture the sensation of nature. He wants to make an impression of something more solid and durable, not something transitory. He creates highly structured paintings, an ordered nature with a methodical application of color. There is an intensity in the foreground and background that emphasizes recession into space. The branch interacts with the mountain to challenge perspective and draw attention to flatness.

Henri Matisse, Le Bonheur de Vivre (The Joy of Life), 1905‐1906. Like other Fauvist's, Matisse was critical of his work. He wanted to create a new intensity of color and new types of surface. This painting is on the scale of a small history painting. Color is used in a expressive way. Extreme shifts in scale (abrupt) creating a modernist rupture. Matisse was not worried with the social conditions of modernity but more of the modernism that is expressionism through color. All parts of the painting are important.

Umberto Boccioni, Unique Forms of Continuity in Space, 1913. Embraced the futurism themes (masculine, armor, technology, and speed). Disparity in wealth between the North and South. Physical movement of speed imbued within the sculpture. Enclosed mass of traditional sculpture and exploding into surrounding space. Meant to become molten and in motion. Some similarity to the classical.

Braque, Violin and Palette, 1909-1910. Jockeying for power with Picasso. The objects are not arranged in illusionistic depth. He wants to create a new way to think about form. In tradition of still life but it is still an abstraction.

Allan Kaprow, Yard, 1961. It was called happenings and gave birth to installation art (art made for a specific site that was a complete and controlled environment). It was spontaneous and unpredictable that relies on a spontaneous engagement with the world.