Exam 2

Question 1

Answer 1

Horses and Hands, Pech-Merle Cave, France, 23,000-18,000 BC

• handprints sign of human existence, perhaps a signature

Question 2

Answer 2

Guda the Scribe, Self-portrait in a Book of Homilies, Germany, c. 1110

• parchment, colophon, Romanesque period
• holding scroll (like a thought/speech bubble), says: “a sinful woman copied and pasted this book”
• colophon: info about typograhy or who did it, production info

Question 3

Answer 3

Johann Gutenberg, Certificate of Indulgence, Germany, c. 1454

• moveable type; one of the first things printed
• indulgence to raise money for crusades
• paper from Italy; ink developed for clarity and consistency of letterforms
• space or name and date

Question 4

Answer 4

Firmin Didot, Works of Racine title page, Paris, 1801

• modern style, neoclassicism
• more contrast between thick and thin which requres loads of whitespace for legibility purposes

Question 5

Answer 5

Anonymous, playbill for Astley’s The Courier of St. Petersburg, London, 1827

• check out that quality exclamation mark, AW YIS
• read fine lines, get pedestrian interested enough with large fat face type

Question 6

Answer 6

WJ Morgan and Co., Thos. W. Keene as Macbeth poster, 1884, United States, chromolithographic poster

• flat quality
• episodes flow together, overlap, narrative
• collage anticipated by Pablo Picasso’s earlier works

Question 7

Answer 7

After a paintin by John Millais, Pear’s Soap, 1886, England, chromolithographic advertisement

• Millais was well-regarded
• evoked controversy, selling out by turning it into an ad
• painted in the bar of soap (MORE ANGST)

Question 8

Answer 8

William Morris and Edward Burne-Jones (Illustrations), The Works of Geoffrey Chaucer title page spread, 1896, Arts and Crafts Movement, England, printed book

• typeface created called Chaucer
• use of columns
• took four years to make

Question 9

Answer 9

Frances Macdonald, Margaret Macdonald, and Herbert McNair, The Glasgow Institute of Fine Arts, 1894, Arts and Crafts/Art Nouveau, Scotland, chromolithographic poster

• everything works together
• use of verticality

Question 10

Answer 10

Audrey Beardsley, “The Peacock Skirt” from Oscar Wilde’s play Salome, 1894, Art Nouveau, England, printed photoengraved illustration in book

• example of thin-lined work from Bearsley
• figure almost like peacock
• play between delicacy and uncomfort
• larfe impact in Britain and US

Question 11

Answer 11

Jules Cheret, Olympia Music Hall, 1892, Paris, Art Nouveau, poster

• linear, asymmetrical, deocrative, ornamental, curving elements
• “King of the Poster” created maybe 1,000 posters
• references that the location was once home to a roller coaster
• women = Cheret Girls

Question 12

Answer 12

Jules Cheret, Loïe Fuller at the Folies Bergère, 1893, Paris, Art Nouveau

• uses color in an economical way
• known for light design (gels, colors, etc)
• skirt dancer, so well known, date and itme unnecessary on the poster

Question 13

Answer 13

Hector Guimard, Paris Metro station, 1900, Art Nouveau, public architecture

• Referenced elements of the past but in a new way
• Used cast Iron, old material but also an industrial material
• Many still stand today and are used throughout Paris
• These have become part of the visual culture, you can see these in welcoming people, posters, and advertisements

Question 14

Answer 14

Henri van de Velde, Tropon poster, 1898, Germany, Art Nouveau, poster

• Clarity, wall power, very abstract
• There was a movement to acceptance of abstractions
• German food company, they specialized in powdered goods like, powdered egg whites
• “Tropon” name of company
• “Eiweiss Nahrung” protein food
• early campaign, people started to think of identities of companies and such
• whiplash curving quality you get in art nouveau, also use of geometric shapes vs. organic forms

Question 15