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LC Art History > Art Appreciation > Flashcards

Art Appreciation Flashcards

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1
Q

What is seen on the staircase of the entrane?

A

“Field of Corn, Pont-Aven” 1892 by Roderic O’Conor

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2
Q

Other details on entrance

A
  • Roof: small circular lights
  • Rainbow umbrellas on cafe wall with “O’Conor” written on it
  • Floor: white tiles
  • Walls: white, square/rectangular holes on cafe wall
  • Posters promoting exhibition on souvenir shop glass
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3
Q

Roderic O’Conor

A

Irish man, French artist

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4
Q

Roof of exhibition

A

vents, strip lights, spotlights

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5
Q

Other details on exhibition

A
  • labels beside paintings
  • booklet w/ large text of labels
  • wall text in first room
  • chairs/couches for sitting + viewing
  • centres of paintings aligned
  • paintings in rooms and on wall of shared corridor
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6
Q

Works I picked

A

Rooftops in Paris 1886
oil on canvas
by Vincent Van Gogh

The Bridge in Grez 1889-90
oil on canvas
By Roderic O’Conor

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7
Q

Frames of paintings

A

gold
wood (dark or light)
black
white

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8
Q

Headings for essays

A 
layout
presentation/hang
theme
space
lighting
security
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9
Q

the hang

A
  • outer paintings smaller, inner paintings bigger to bring eye to centre
  • centres of paintings aligned
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10
Q

Name of Gallery

A

National Gallery of Ireland

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11
Q

Location

A

Dublin City

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12
Q

Entrances

A

Clare Street/Marion Square

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13
Q

exhibition title

A

Roderic O’Conor and The Moderns Between Paris and Pont-Aven

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14
Q

Name of wing of gallery the exhibition is located in

A

Beit Wing

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15
Q

Temporary or permanent exhibition?

A

Temporary exhibition (18 July - 28 Oct)

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16
Q

Type of exhibition

A

group exhibit, however it focuses on O’Conor’s work and development/artists he was influenced by/artists of similar style

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17
Q

first impressions

A
  • Clare street entrance: modern, sleek, modern design inside
  • Not a lot of people
  • quiet buzz of people
  • white walls + ground floor
  • exhibition: purple wall!, clean smell, slightly cold
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18
Q

facilities gallery has

A 
souvenir store
cafe
cloak room
storage room/storage room
toilets
temp. exhibitions + permanent collection
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19
Q

how gallery provides info to visitors

A 
info desk at entrance
map near cafe entrance w/ leaflets
TV displays
tour guide
labels
wall text
booklet at door w/ large text ver. of labels
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20
Q

Exhibition - lighting

A
  • spot lights (yellow-ish) - make paintings more clear + vibrant
  • white lights built into roof (strip lighting)
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21
Q

Exhibition - materials

A
  • floor: wood

- frames: gold, black, white, dark wood, light wood

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22
Q

Exhibition - colour of wall

A
  • purple - complements greens + yellows in paintings

- dots/ovals in high relief on walls (lol)

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23
Q

Exhibition - flow of exhibition

A
  • strip lighting help to see space + move around
  • easy to navigate
  • go from room to room, diff categories in each room
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24
Q

intro on essay

A 
name gallery
location
entranes
name of exhibition
type of exhibition (temporary, group exhibit.. etc)
theme
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25
Q

Exhibition - layout

A
  • Beit Wing
  • 5 rooms
  • 1st room: New discoveries
  • 2nd room: Landscapes
  • 3rd room: Breton Peasants and Still Lifes
  • 4th room: O’Conor and Gauguin
  • 5th room: The Legacy of Pont Aven
  • rooms are square
  • emergency exit at end of exhibit
  • had to walk back through combined/connecting corridor to exit
  • seat in room 2
  • 2 glass display cases (room 3 + 5)
  • easy to navigate
  • easy flow from one room to next
  • straightforward layout
26
Q

Exhibition - presentation

A
  • formal, paintings spaced evenly, eye level, centre is focus wall
  • paintings on corridor wall easily missed
  • glass display cases - drawings/letters/sketchbooks
  • wall colour
  • older building - high ceiling
27
Q

Exhibition - space

A
  • rooms are small, but still spacious enough for a group of people to fit/view
  • narrower/connecting corridor
  • slightly cold to protect artworks
  • clean space
  • well-lit
  • square rooms, separated, i like this as divisions help to focus on artworks of similar themes
28
Q

Exhibition - lighting

A
  • spotlights on each painting from roof (yellow-ish light) to make colours clear + vibrant, (some were broken)
  • white strip lights on roof help to see space + move around easily
  • all artificial light, no windows/natural light
  • lights -> softer/calmer, at a certain distance so it does not discolour painting or damage from heat of lighting.
  • diffused lights
29
Q

Exhibition - security

A
  • bodyguards
  • silver wire at distance from painting - discourage people from getting too close to paintings
  • cameras
30
Q

notes on essay

A

make sure to give personal opinion, eg did u like the hang? why? criticisms?

31
Q

describing 2 artworks

A 
artist
date
medium
subject matter
composition
technique/style
materials + colour
personal thoughts on work
draw them
32
Q

relationships between artowrks

A
  • diff sizes of paintings to keep interest
  • centres aligned
  • centre wall: primary/focus point
  • chronological order in rooms 1-4, mixed in room 5
  • includes paintings by other painters eg. Cuno Amiet
33
Q

security/safety of artworks

A
  • wire
  • glass cases
  • camera
  • security guards
  • air conditioner/vents
  • 18-21 degrees Celsius all year
  • sensors detect temp change
  • only certain amount of people in at time - body heat increases temp
34
Q

info found on labels alongside artowrks

A
  • title
  • artist
  • canvas + material
  • bg info
  • technique used
  • what artist was doing at time/context
35
Q

Rooftops in Paris - name

A

Rooftops in Paris 1886

36
Q

Rooftops in Paris - material

A

oil on canvas

37
Q

Rooftops in Paris - location

A

room 1, new discoveries

38
Q

Rooftops in Paris - artist

A

Vincent Van Gogh

39
Q

Rooftops in Paris - what i like about it/personal thoughts

A
  • interesting + visually appealing despite primarily grey/dull palette
  • specks of orange interesting
  • composition, sky and landscape not split in half - interesting
  • brush strokes shape roof
40
Q

Rooftops in Paris - subject matter

A
  • rooftops of Le Maquis painted from a vantage point
  • Portrait format
  • features sky + upper view of houses in grey
41
Q

Rooftops in Paris - composition

A
  • composition, sky and landscape not split in half - interesting
  • 1/4 taken p by blue sky
  • 3/4 taken up by landscape/houses
  • some shrubbery/trees in front/foreground
42
Q

Rooftops in Paris - technique/style

A
  • brush strokes evident, especially on roofs. Helps to shape roof
  • seemingly blue underpaint
43
Q

Rooftops in Paris - colours

A
  • sky: light blue
  • rooftops: grey, blue-ish tone, blue-ish shadow
  • specks of orange through rooftops
  • orange + blue - complementary colours
44
Q

Bridge at Grez - name

A

The Bridge at Grez, 1889-90

45
Q

Bridge at Grez - location

A

Room 1, New discoveries

46
Q

Bridge at Grez - material

A

oil on canvas

47
Q

Bridge at Grez - artist

A

Roderic O’Conor

48
Q

Bridge at Grez - what i like about it/personal thoughts

A
  • complementary colours (green + purple)
  • primary colours + shadows
  • impressionist
49
Q

Bridge at Grez - subject matter

A
  • summer’s day
  • bridge + boat at Grez river
  • landscape format
  • trees + grass
50
Q

Bridge at Grez - composition

A

-focal point (bridge goes into it)
-boats at front, trees at back
bridge at side

51
Q

Bridge at Grez - technique/style

A
  • use of direct painting - colour conceived + executed simultaneously
  • impressionistic
  • some visible paint strokes
52
Q

Bridge at Grez - colour

A
  • use of complementary colours (green + purple)
  • primary colours + shadows
  • dark shadows contrast/harsh shadows
  • points of red + blue in purple shadows
53
Q

Roderic O’Conor - background

A
  • Born 1860, Milltown, County Roscommon, Ireland
  • 5 years old: fam moved to Dublin
  • wanted, through use of line, texture, colour to represent his emotional response to world
  • father - wealthy land owner + lawyer
  • inherited father’s estate
  • financially secure, freed from worry of having to sell paintings + could choose how he painted + what
  • died 1940
54
Q

Roderic O’Conor - education

A
  • educated at Ampleforth College in Yorkshire, England
  • studied at The Metropolitan School of Art, Dublin and at The Royal Hibernian Academy, Dublin
  • 1883: went to The Acadèmie Royale des Beaux - Arts, Antwerp. Studied under Charles Verlat
  • 1886: arrived in Paris. Studied under Emile-Auguste Carolus-Duran
55
Q

Artists Colony of Pont-Aven

A
  • ‘Timeless Haven’ first discovered by Paul Gauguin - due to distaste for modern industrial life + fascination w/ “primitive cultures”
  • Pont-Aven connected to Paris via railway, situated on river Aven, surrounded by wooded hills
  • O’Conor arrived
  • each artist could view + absorb styles + idea from each other
  • locals: still wearing traditional dress, were willing models
  • climate suitable for working en plein air (outdoors)
56
Q

influence of other artists on O’Conor

A
  • in “Landscape, Pont-Aven” we can see he is infuenced by elongated + unblended brush strokes of Vincent Van Gogh
  • influenced by simplified forms of Bernard + Sèrusier, began to use searing colour
  • later seascapes: animated handling, heightened colours, simplified forms became means of communication
57
Q

Vincent Van Gogh - background

A
  • Born 30 March 1853 in Zundert, southern Netherlands
  • son of pastor
  • age 27 - became artists
  • moved around, teaching himself to draw + paint
  • met artists like Degas, Toulouse-Lautrec, Pissarro, Gauguin, whom he befriended
  • style changed significantly under influence of impressionism, becoming brighter + lighter
  • moved to Provence in Southern France. Invited Gauguin but began to quarrel
  • Cut off part of own ear in remorse after threatening Gauguin w/ a razor
  • work reflected intense colours + strong light of countryside
  • shot himself
58
Q

Vincent Van Gogh - education

A
  • little known about his schooling
  • age 11: parents sent him to Jan Provily’s boarding school in Zevenbergen
  • secondary school: Rijks Hogere Burgerschool “Willem II”
59
Q

Exhibition - venues

A
  • Who designed: original design by architect Francis Fowke. Extended a no. of times by other architects (eg. Beit Wing, Millenium Wing)
  • Architectural features that stand out: stairs, square holes on wall, high ceilings
  • Atmosphere: clean, orderly, calm
  • disability friendly: elevators, disabled parking, wheelchairs available for use, changing place facility at Merrion Square, hearing induction loops at info desks
60
Q

Exhibition - involving visitors w/ artworks

A
  • website: podcasts, resource packs for students
  • evening lectures focusing on artists
  • free talks offering artistic + academic perspective on exhibition
  • musical performances: street performance, pop-up performance, special evening performance
  • workshops
  • pop-up drawing sessions en plein air in Merrion Square
61
Q

Exhibition - provision of info

A
  • booklet w/ large text of labels at entrance
  • labels beside paintings: title, artist, medium, context, etc..
  • website: what’s going on, getting there, opening hours, art + artists, online collection, etc..
  • guided lecture tour + free audio guides from info desks
  • handouts (brochures w/ floor plan + info)
  • tours for schools + teachers, post-primary workshop,
  • wall text w/ bg info + room names
62
Q

Exhibition - how seeing artworks first hand helped with my own work

A
  • impasto used by O’Conor/Van Gogh inspired me to try it
  • saw real sizes of wors, makes me want to do work of similar size
  • makes me want to try similar mediums (oil on canvas/etchings)
  • most used vibrant, complementary colour palettes

LC Art History (17 decks)

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