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History of Art > C4: 1900-36 > Flashcards

C4: 1900-36 Flashcards

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1
Q

Mark Antliff, Cubism and Culture 2001, quote cubism evoking through abstraction

A

“evoked through limited colour range and shifting perspectives”

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2
Q

“detached in its basic principles from all conscious intention”

A

Mark Antliff, Cubism and Culture 2001

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3
Q

“sometimes suggesting the volumes of the subject and sometimes denying them”

A

David Cottington, Cubism 1998, talking about The Portuguese 1911 by Braque

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4
Q

David Cottington, Cubism 1998, Braque perspective quote (to be used for Houses at L’Estaque)

A

“Braque pushes the juxtaposition of different perspectives to the point of contradiction”

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5
Q

“radical syntax of angular facets”

A

David Cottington, Cubism 1998- quote about Les Demoiselles d’Avignon 1907

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6
Q

What date is Picasso’s Les Demoiselles d’Avignon made

A

1907

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7
Q

What date is Picasso’s Ma Jolie made

A

1912

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8
Q

What does Ma Jolie show?

A
  1. Woman thought to be his partner holding a guitar
  2. Similar to “Girl with a Mandolin” 1910
  3. Limited colour range, melding foreground and background
  4. Words Ma Jolie printed at bottom as well as a musical note + harsh brushstrokes= industrialisation
  5. Ma Jolie is a reference to the refrain of a popular Parisian song but also his nickname for his lover
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9
Q

What date was Delaunay’s Champ de Mars painted

A

1911

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10
Q

What date was Braque’s Fruit dish and glass made

A

1912

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11
Q

What date was Braque’s The Portuguese made

A

1911

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12
Q

What material does Braque use in fruit dish and glass and how is it effective

A
  1. Faux-bois (fake paper), oil paper which is painted to look like wood used on furniture
  2. Doesn’t make sense that the wooden background is more detailed than the foreground which is scribble
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13
Q

What date was Picasso’s Seated Nude made?

A

1909

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14
Q

What is (and what is an example of) orphic cubism?

A

Le Champ de Mars is a great example of the oversaturated tones the fauvists used which orphic cubism was inspired by

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15
Q

What date was Bottle of Suze by Picasso made

A

1912

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16
Q

Who was the art critique which the Fauves and the Cubists garnered nicknames from?

A

Louis Vauxelles, he called the Fauves “Wild Beasts” and called Houses at L’Estaque “little cubes” (hence, naming the Cubists)

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17
Q

What is analytical cubism and what is an example of this?

A

Abstraction of traditional portraiture and still life, Ma Jolie and Les Demoiselles are some good examples

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18
Q

What is synthetic cubism and what are some examples?

A

use of mixed media to create spaces even flatter than with analytical cubism. great examples include Bottle of Suze and Fruit dish and glass

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19
Q

What date was Paul Cezanne’s bathers made

A

first exhibited 1906

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20
Q

What date was Paul Cezanne’s Viaduct at L’Estaque made

A

1882

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21
Q

Jonathon Jones, Pablo’s Punks 2007, Demoiselles angular quote

A

“There is scarcely a curve to be seen, elbows sharp as knives (…) triangle breasts”

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22
Q

What date was girl with a mandolin by picasso made

A

1910

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23
Q

“the overall effect is one of increased simplicity with wonderfully complicated tensions and contradictions between realism and abstraction”

A

Mark Antliff, Cubism and Culture 2001

24
Q

“reject and destroy systems of the past” (Dada)

A

Dada Manifesto by Tristan Tzara

25
Q

What date was Hoch’s Cut with the Dada Kitchen Knife made

A

1919

26
Q

Full name of Hannah Hoch’s collage piece?

A

Cut with the Kitchen Knife Dada through the Last Weimar Beer Belly Cultural Epoch of Germany

27
Q

What date was Meret Oppenheim’s object made, and what did Andre Breton rename it

A

1936, Breton renames it “The Luncheon in Fur” which is a reference to the 1862 painting my Manet “Le Dejeuner sur l’herbe”

28
Q

WHY does Breton rename Oppenheim’s 1936 Object, The Luncheon in Fur?

A
  • Reference to Le Dejeuner sur l’herbe 1862 by Manet
  • Woman is naked while men are clothed and she gazes at the viewer. A nude which is not voyeuristic implies the woman is a prostitute
  • Object is also sexual in nature
29
Q

Name 3 works by Jacob Epstein

A

1910 Rom
1913 The Rock Drill
1916 Torso from the rock drill

30
Q

Summarise the Rock Drill by Jacob Epstein

A
  • Made in 1913 in the lead-up to WW1
  • Inspired by pro-war and violence propaganda, as well as the masculinity associated with it
  • Standing heroically as though fending off attacks
  • Harsh geometric shapes for machinery
  • White plaster, reminiscent of white marble sculpture (peak of masculinity from Rome)
  • Foetus in the heart of the figure, future of humanity protected by machinery
31
Q

Summarise the Torso by Jacob Epstein

A
  • Created in 1916 after the death of friend Henri Gaudier-Breszka in WW1
  • uselessness of machinery, mutilated redundant
  • Simple stump limb unable to protect foetus
  • Cast out of gun metal, clear link to the war
  • Link of material of war, violence and return of the familiar- the Rock Drill coming back from violence of war mutilated like many soldiers
  • Loss of masculinity, not only in phallus but limbs and aggression
32
Q

Summarise “Rom” by Jacob Epstein

A
  • Made in 1910 after a friend’s child
  • Represents the universal child using primitivism
  • Inspired by Egyptian or Assyrian sculptures, not linked to specific culture to emphasise the universal nature
  • Large ROM letters link back to simplicity (prim.)
  • Provides link between past and present and reminds us of the artistic and childish roots of humanity and ourselves
33
Q

What year was Woman with her throat cut made and who by

A

Alberto Giacometti, 1932

34
Q

Summarise Woman with her throat cut by Giacometti

A
  • Made in 1932 inspired by Freudian psychoanalysis
  • Violent image of woman being raped and murdered. Distortion of anatomy to display subconscious
  • Woman is both a victim and victimiser of male sexuality- similar to the praying mantis who eats males after copulating
  • Spiky rib cage bends apart no protection, no head or humanity
  • Arms covering her either to defend or to hide her shame
  • Venus fly trap shape of legs
  • Displayed on the floor, no pedestal or separation- birds eye view from above feels predatory
  • Bronze material makes it dark, cold and threatening (bear trap)
35
Q

Summarise Meret Oppenheim’s Object

A
  • Made in 1936 inspired by her fur bracelet
  • Imbue the utilitarian with emotive significance, transformation into fetish objects (Freud, again)
  • “waiter, more fur please!”
  • “turning cool, smooth ceramic and metal into something warm and bristley” Whitney Chadwick
  • Breton renames it “Luncheon in Fur” after “Dejeuner de l’herbe”
  • Reference is very sexual, suggests sexual acts in the feeling of the fur on the lips
36
Q

Summarise Marcel Duchamp’s “Fountain”

A
  • Made in 1917 as part of his “ready-mades” manufactured from everyday and decontextualised as art
  • “taste is the great enemy of art”
  • took ordinary thing and made it so its utility changed- new thought for that object
  • “Art is a mirage…it is very beautiful until, of course, you are dying of thirst” utility v. significance
37
Q

Summarise Marcel Duchamp’s Three Stoppages

A
  • Made in 1913
  • Imprison and preserve forms
  • Dropped three 1 metre threads from a height of 1 metre onto three canvas strips
  • Cut to mimic how the thread had fallen when landing
  • Creates a new image of the unit of length
38
Q

Summarise Man Ray’s Cadeau

A
  • Made in 1921 from a flat iron and fourteen nails glued on
  • De-familiarisation of the domestic life, impeding previous function (flattening) with new one (ripping)
  • Violence and aggression with an object associated with a woman
  • Spoke about the fear of vaginal detente (iron is triangle) the fear of sex and sexual violence
  • Cadeau means gift: What does that imply?
39
Q

Summarise Duchamp’s Bicycle Wheel

A
  • Made in 1913 out of stool and wheel
  • The first readymade
  • Allusion to the phallic and masturbation, kinetic and static
40
Q

Summarise the Peret Tower 1925

A
  • Built in 1925 using reinforced concrete slabs with mesh inside
  • 95 metres tall and 8 metres wide
  • Hugely resistent to tensile strenth, allowing him to extend lantern and make five-story polygonal section
  • Exterior decoration would not be possible without tensile support
  • Hotels on Rue Franklin 1904
  • Many classical elements, ribbed dome using concrete instead of steel
  • Francois Gennebique’s system and Anatole de Baudot’s concrete
41
Q

Summarise the Austrian Postal Savings Bank by Otto Vagner

A
  • Made 1905 for functionalism
  • “Nowhere has the slightest sacrifice been made” for traditional form
  • Offices along building’s perimeter to allow for more open plan: less cleaning and more light
  • Marble tiles need less cleaning + replacing
  • Brick with iron reinforcements, seven stories high and one city block big
  • Mechanised aesthetic with bolts and pylons supporting more classical elements
42
Q

“What I dream of is an art of balance, of purity and serenity”

A

Matisse, Notes of a Painter 1908

43
Q

“Modernism is an art that wears a mask. It does not say what it means’ it is not a window but a wall”

A

Jonathon Jones

44
Q

“Attempting to create art in the style of the past is always inauthentic”

A

Sophie Tauber-Arp

45
Q

“Modernity is the transient, the fleeting, the contingent; it is one half of art, the other being the eternal and the immovable”

A

Baudelaire

46
Q

“Something like a good armchair which provides relaxation from physical fatigue”

A

Matisse, Notes of a Painter 1908

47
Q

“Modernism used art to call attention to art”

A

Greenberg

48
Q

“Culturally, the twentieth century began in 1907”

A

Jonathon Jones

49
Q

“Consciousness is a state of being continuously in flux”

A

Henri Bergsun

50
Q

“Time is an invention and nothing else”

A

Henri Bergsun

51
Q

“Every trunk conceals a figure, you only need to peel it out”

A

Kirchner

52
Q

“When they go to sleep they carry out an entirely analogous undressing of their minds”

A

Sigmund Freud

53
Q

“I wish to blur the firm boundaries”

A

Hannah Hoch

54
Q

“Time and space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed”

A

Marinetti, The Futurist Manifesto 1909

55
Q

“we are not sentimental. We are furious Wind, tearing the dirty linen of clouds and prayers”

A

Tristan Tzara, Dada Manifesto 1918

56
Q

“We want to gain for ourselves the freedom of development and liberation from the old establishment”

A

Die Brucke Manifesto 1905

History of Art (7 decks)

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