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;
54 Cards in this Set
- Front
- Back
|
DATES WWI WWII Great Depression Mexican Revolution |
WWI 1914-1918 WWII 1939-1945 SCW 1936-1939 GD 1929-1939 MR 1910-1920 |
|
|
Purism |
Late teens - 20s Geometric facets More emphases on naturalism interested in aesthetic of cubism but return to more classical ideals |
|
|
Cubism |
1907 Facets multiple points of views flatness Paint on a surface before a window or mirror of the world |
|
|
Expressionism |
1905 Kandinsky, Klee Man's spiritual life Spiritual essence of art and humanity Color and line Art of children and "primitives" |
|
|
Futurism |
1909 Speed modern machinery technology warfare portraying movement |
|
|
Brazilian Avant-garde background |
Until 1960 Rio de Janeiro is capital Independence 1822, facilitated former Portuguese leader Doesn't abolish slavery until 1888 1830 slave trade banned 1870 newborn slavery decedents free economic power shifts from NE (sugarcane, wood, agriculture) to South (coffee, rubber) causes shift in political power plantation culture to urbanization and modernization late 19th c. large immigration influx- whitens Brazil's economy 1929 market crash political upheaval- military coup |
|
|
Tarsila do Amaral Caipirinha (Little Hick) 1923 Oil on Canvas Brazilian avant-garde Family coffee elite in Sao Paulo state Europe- Leger and Gleizes Became face of the Cannibalist Manifesto |
|
|
Tarsila do Amaral A Negra (The Black Woman) 1923 |
|
|
Oswald de Andrade Cannibalist Manifesto Tarsila do Amaral Drawing As appeared in the Cannibalist Review May 1928 "critical swallowing of cultural legacy" not a passive receiver of European culture |
|
|
Tarsila do Amaral Abaporu (Man Eater) 1928 Oil on Canvas |
|
|
Emiliano Di Cavalcanti Samba 1925 Oil on Canvas bringing impoverished communities and afro-brazilian culture to the forefront Perhaps in problematic way |
|
|
Argentinian Avant-garde Background |
late 18th c Buenos Aires becomes dominant city 1816 independence from Spanish 1930 5th largest economy- Beef and wheat great economic inequalities, Oligarchy 1912 male suffrage- middle class formed late 19th early 20th c. large Italian and central European immigration Indigenous pop wiped out Slave economy- Africans marginalized not impacted by great depression 1930 military coup put an end to avant-garde activities gaucho- trope how Argentinians saw themselves, pioneers, Martin Fierro Florida Group- sophisticated, visited Europe, Fancy st. Boedo Group- From elite but focused on poor and port neighborhoods |
|
|
Emilio Pettoruti Expansion- Violence 1915 Charcoal on Paper
10 years in Italy, trips to Austria and Germany 1924 Returns to Argentina |
|
|
Emilio Pettoruti The Quintet 1927 Oil on wood panel |
|
|
Xul Solar Trunks 1919 Watercolor on paper Ship to Hong Kong, gets off in London Returns to Buenos Aires in 1924 |
|
|
Xul Solar Nana Watkin 1923 Ink and watercolor on paper board |
|
|
Mexican Muralism Background |
Huge territorial losses to US- Texas Cali Benito Juares- separated church and state, education and agrarian reform, stopped by French invasion Diaz president through coup, help power for five decades, military dictator, railroad and economic growth, foreign investment, modernization though most people living in poverty Revolution 1910-1920- kicking Diaz out Leftist revolutionary figures- Pancho Villa (jobs for small land owners) and Emilio Zapata (agrarian reform) Alvaro Obregon- 1st patron of murals post revolution 1924 peaceful transfer of power from Obregon to Plutarco Elias Calles Calles rules via a series of puppets Jose Vasconcelos- early administrator for Mexican Mural Movement |
|
|
Diego Rivera The Zapatista Landscape 1915 Oil on Canvas 1907 goes to Europe via gov. support prodigy in Europe during Mexican Revolution |
|
|
Diego Rivera The Creation 1922-23 Encaustic and gold leaf National Preparatory School, Mexico City |
|
|
Jose Clemente Orozco The Trench 1926 Fresco National Preparatory School, Mexico City One of the first murals dealing with current events of the revolution Christian imagery as a tool and message of universal suffering anonymous figures not optimistic view of revolution and society |
|
|
Diego Rivera Leaving the Mine 1924 Fresco Court of Labor, Ministry of Public Education, Mexico City Christian imagery to elevate laborers as cornerstone of Mexican society and provoke empathy Indigenous as universal Mexican |
|
|
Diego Rivera Mural Cycle- History of the State of Morelos: Conquest and Revolution 1930 Fresco Palace of Cortes, Cuernavaca Patio of US ambassadors residence Horse- oppressor of protector, one in the same? Skin color to relay power structures Zapata in white- beacon like at end of mural |
|
|
Jose Clemente Orozco Table of Universal Brotherhood 1930 Fresco New School, NYC criticizing Rivera- exploitation of the past and political use of indigenous for nationalism trying to not rehash past wanted to create a universal message for artists Many nationalities uniting over learning and knowledge positions viewer at table as well |
|
|
Jose Clemente Orozco The Epic of American Civilization: The Pre-Columbian Golden Age 1932-9134 Fresco Dartmouth College |
|
|
Jose Clemente Orozco The Epic of American Civilization: Hispano-America 1932-1934 Fresco Dartmouth College |
|
|
Jose Clemente Orozco The Epic of American Civilization: Modern Migration of the Spirit 1932-34 Fresco Dartmouth College |
|
|
Diego Rivera Detroit Industry 1932-33 Fresco Detroit Institute of Arts |
|
|
Diego Rivera Man, Controller of the Universe 1934 Fresco Palace of Fine Arts, Mexico City |
|
|
David Alfaro Siqueiros Proletarian Mother 1930 Enamel on wood '32 goes to LA, '33 deported, '34 in NYC, '37 fights in Spanish Civil War, '39 return to Mexico uses modern techniques and materials |
|
|
David Alfaro Siqueiros Tropical America 1932 Airbrush and fresco on cement Plaza Art Center, Los Angeles |
|
|
Davis Alfaro Siqueiros Portrait of the Bourgeoisie 1939-1940 Pyroxyline on cement Mexican Electrician's Union, Mexico City Dealing with and manipulating odd architectural space portrayal of alignment between fascism and capitalism |
|
|
Diego Rivera History of Mexico: Aztec World 1929 Fresco National Palace, Mexico City tool to educate to a largely illiterate society create a common sense of citizenship and national identity |
|
|
Diego Rivera History of Mexico: From Conquest to 1930 1929-1930 Fresco National Palace, Mexico Coty |
|
|
Andes Background |
Term used to represent Peru, Bolivia, and Ecuador 1911 Machu Picchu advertised PERU- Lima very wealthy at the time Spanish vice royalty took of most of continent except Brazil Silver , guano, rubber, cotton, sugar, and wool Simon Bolivar and San Martin brought about war on Spanish independence 1824 Indigenists least extreme and controversial Population 70% indigenous landowners of Spanish decent ECUADOR- independence 1822 products coco, bananas, oil (60s) Indigenists most extreme and controversial BOLIVIA Independence in 1825 |
|
|
Jose Sabogal The Indian Mayor of Chicheros: Varayoc 1925 Oil on Canvas Peruvian |
|
|
Jose Sabogal Cover of Amauta no. 9 September 1926 Woodcut Amauta- journal to address condition of the indigenous |
|
|
Eduardo Kingman The Hauliers 1941 Oil on Canvas Ecuadorian |
|
|
Oswaldo Guyasamin The Workers 1942 Official painter of Ecuador focused on US imperialism and human suffering at large |
|
|
Social Realism |
Synthesis of formal avant-garde with a critical interpretation of reality |
|
|
Surrealism |
Psychic Automatism- systems that allow access to the subconscious, refusal of rational processes Andre Breton- ringleader f mid 20s surrealism, thought Mexicans were surrealists without realizing rid art of naturalism- get to the hyper real, the unconscious, irrational, uncontrolled literature and art movement biomorphic abstraction non representational dream like imagery 1924- 1st manifesto 1929- 2nd surrealist manifesto- all art is tied to collective action, journal adds surrealism to the service of the revolution 1938 Breton visits Mexico 1940 Mexico City surrealist exhibition Closely tied with communism- Trotsky visit |
|
|
Frida Kahlo What the Water Gave Me 1938 Oil on Canvas |
|
|
Manuel Alvarez Bravo Striking Worker, Assassinated 1934 Photograph |
|
|
Frida Kahlo The Two Fridas 1939 Oil on Canvas women's suffrage failure 1938 |
|
|
Wilfredo Lam The Jungle 1943 Gouache on paper mounted on canvas born in Cuba- mom Afro-Cuban dad Chinese studied in Havana '29-'38 goes to Spain- fights in Civil War Paris '38 becomes pals with Picasso and surrealists Flees to Marseilles in '40 because of Nazi occupation, goes to Martinique, develops relationship with poet Aime Cesaire sacred space of worship- Santeria, Lam's godmother was a practitioner mural like scale, immersive use of accepted avant-garde language to integrate anti-colonialist subject matter |
|
|
Realism |
French mid 19th c to give truthful objective and impartial representation of the real world based on contemporary life not necessarily about mimesis but about getting to current societal truths |
|
|
Negritude |
30s-50s literary movement on Paris Protest against French colonialism and assimilation, Aime Cesaire embrace Diaspora cultural traditions- not viewed as primitivism |
|
|
Roberto Matta Untitled 1938 Colored Crayon on Paper Born in Santiago Went to architecture school goes to Paris '33, '34 meets Dali and Breton, '38 full fledged surrealist, '39-'48 NYC, '41 trip to Mexico entrance to surrealism is mathematics influences AbEx Psychological Morphology- study of shapes Non-euclidean geometry "inscapes" geometry transforming and morphing |
|
|
Roberto Matta The Vertigo of Eros 1944 Oil on Canvas |
|
|
Neo Plasticism De Stijl |
describes formal language of late teens and 20s black orthogonals, pallet red, blue, yellow, black, white, and later grey desire to create a new universal language touch on something truer in life |
|
|
Constructive Universalism |
'44 used to describe Torres-Garcia's style takes orthogonals of neo plasticism and pairs it with pre columbian culture integration of pictograms and symbols |
|
|
Joaquin Torres-Garcia Composition with Primitive Forms 1932 Oil on canvas 17 years old moves to Spain with his family 19 teens working in Barcelona, heavily influenced by cubist grid early 20's in NYC 26-32 in Paris '34 Returns to Montevideo as a celebrated artist and intellectual studied artifacts in museums and journals- does not have direct connection or blood line to the culture he is using |
|
|
Uruguay Background |
Montevideo close proximity to Buenos Aires 1st half of 19th c beef and agriculture made it prosperous late 19th c influx of immigrants dictatorship supporting agrarian protection |
|
|
Joaquin Torres-Garcia South America's Inverted Map 1936 Ink on paper reorienting South America as central world view, specific about Uruguay and Montevideo general about the rest of the continent |
|
|
Joaquin Torres-Garcia Composition in White and Black 1938 Oil on paper mounted on wood |
