Final Key Works Flashcards
Jules Hardouin-Mansart and Charles Labrun, Hall of Mirrors. Versailles. (begin 1678)
- (this is pre-rococo; when things are all centered at Versailles and around Louix XIV; much royal power)
- long hall, facing garden – always an important part in french architecture
- windows become portals, light enters, bounces off mirrors on other side of hall that are exactly same size and shape as windows
- so in daylight, wow brightly lit; in night time, lit by candles, fills hall and creates lively, sumptuous atmosphere?
- hall of mirrors and kings bedroom v close together…”wedded together architecturally”
- important things happened in the hall of mirrors
Antoine Watteau, Pilgrimage to the Island of Cythera, 1717
- Rococo
- The painting Watteau presented when he was accepted into the Royal Academy
- Cythera - Greek island - ruled by Venus - pleasure, eroticism
- Rococo, so curves and s-shapes in composition // like here, framed by tree, etc
- atmospheric perspective
- people: in small groups/coupled, intimacy, conversation, couples who are in 3 different stages of coming/going
- ambiguity – are they coming are going, etc etc?
- unlike in classicizing art, heirarchy and message aren’t v important
- ambiguity, pleasure, etc
Francois Boucher, The Setting of the Sun, 1752
- Boucher is when the Academy embraces Rococo
- sun god apollo coming back to lover Tithis?
- strange space – half sky half ocean
- where are people coming from? who knows!
- the lover’s face looks like Pompadour’s –
- Louis XV is referred to as apollo because king, named Louis
- as sun rises and sets, apollo comes back to lover – so, monument to the sort of eternity of their relationship, not totes romantic, not totes platonic
- swirling, energy, dynamism, curving composition, not even grounded
Jacques-Louis David, Oath of the Horatii, 1785
- Neoclassicism comes in in response to Rococo, which is seen as weak, extravagant, ~FEMININE~, too interested in pleasure, no reform or intellect, etc
- making oath to protect family (and fight)
- tense, muscular, strong, ANGULAR
- one point perspective, leading towards the swords being passed
- arms out together in bonding and oath and stuff
- background, except for arches, totally empty–foreground more improtant
- David studied classical costume v carefully, made more important than the background
- on the other side, the women! (Horatii woman betrothed to Curatii)
- clear division of space – the parts
- brothers making oath
- fathers giving swords
- women and children – emotion – femininity – sadness about war
- (in many ways opposite to Rococo style)
Jacques-Louis David, Marat at his Last Breath, 1793
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Theodore Gericault, Raft of the Medusa, 1819
Francisco Goya, Execution on the Third of May, 1808
Turner, Slave Ship (Slavers overthrowing the dead and dying), 1840
Ledoux, Royal Saltworks at Arc-et-Senans, 1775-79
Labrouste, Library of St Genevieve, 1843-50
Garnier, Paris Opera, 1861-74
William Henry Fox Talbot, Pencil of Nature, 1844
Gustave Courbet, Burial at Ornans, 1849-50
Manet, Execution of Maximilian, 1863
Manet, Olympia, 1863
Monet, Railway Bridge Argenteuil, 1874
Gustave Eiffel, Eiffel Tower, 1887-9
Paul Cezanne, Garden at Les Lauves, ca. 1906
Georges Seurat, Sunday Afternoon at the Grande-Jette, 1886
Vincent van Gogh, Starry Night, 1889
Paul Gaugin, Where do we come from? What are we? Where are we going? 1897
Yinka Shonibare, Scramble for Africa, 2003. 14 fiberglass mannequins, chairs, table, dutch wax printed fabric
Gelede Mask, 20th century, Yoruba peoples. Wood. Davis museum.
Sowei Mask, 19th to early 20th century. Wood. Mende, Sierra Leone
Veranda Posts by Olowe of Ise. 1910-1914. Installed in the courtyard of the palace of the Ogaga of Ikere. Nigeria.
Satirical Engungun: European Couple Ilgobo, Awori, Nigeria. 1982.
Ifa Divination Board, Opon Ifa, 17th Century. Yoruba.
Master Areogun (Aowogun) of Ise-Ilori, Orisha Priest’s Bowl. Nigerian. First half of the 20th century.
Picasso, Demoiselles d’Avignon, 1907, now MoMA
Picasso, Ma Jolie, 1911-12 (MoMA)
Vladimir Tatlin, Monument to the Third International (project), 1919-20
Mondrian, Composition with Yellow, Red, and Blue, 1927
Duchamp, Fountain, 1917
Hanna Höch, The Pretty Girl, 1920, Collage (photo montage?)
Joan Miró, Birth of the World, 1925
Frida Kahlo, Henry Ford Hospital, 1932
Diego Rivera, The Arsenal, 1928, fresco. Ministry of Public Education, Mexico City
Dorothea Lange, Migrant Mother, 1936
David Alfaro Siqueiros, Collective Suicide, 1936. Industrial enamel on plywood.
Picasso, Guernica, 1937, oil on canvas
Pollock, Autumn Rhythm, 1948
Robert Rauschenberg, bed, 1955
Warhol, Thirty-Five Jackies, 1964
Mathias Goeritz, Message, 1960
Lygia Clark, Bichos (Critters), 1960
Aaron Douglas, Aspects of Negro Life: Song of the Towers, 1934
Romare Bearden, Pittsburgh Memory, 1964. Collage with graphite on cardboard.
Faith Ringgold, American People Series: Die, 1967
Betye Saar, The Liberation of Aunt Jemima, 1970
Judy Chicago, The Dinner Party, 1973-79, installation. Mixed materials: ceramic, wood, textiles
Donald Judd, Untitled, 1967.
Lacquer on galvanized iron.
Yoko Ono, Cut Piece, 1965, Carnegie Hall, NYC
John Cage, 4’33” (In Proportional Notebook), earliest surviving score for Cage’s “silent piece”. Performed by David Tudor in Woodstock, NY, 1952.
Le Corbusier, Villa Savoye, 1928-31
Frank Lloyd Wright, Fallingwater, 1935-7
Oscar Niemeyer and Lucio Costa, Brasilia, 1956-60
