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Art History > Impressionism to art after 1950 > Flashcards

Impressionism to art after 1950 Flashcards

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1
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CLAUDE MONET, Rouen Cathedral: the Portal

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2
Q

series

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many paintings exploring the same theme over period of time

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3
Q

pointillism

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colours are systematically applied in small dots, producing a vibrant surface

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4
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lithography

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printmaking process inwhich a flat stone, previously marked witha greasy substance that retains ink, ischarged with ink, placed against paper,and run through a press

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5
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expressionists

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communicates strong personal & emotional feelings to viewer

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6
Q

primitive

A

art produced by untrained or naïve artists

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7
Q
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EDGAR DEGAS, The Absinthe Drinker

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8
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AUGUSTE RODIN, The Thinker

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9
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GEORGES SEURAT, A Sunday on La Grande Jatte

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10
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PAUL CEZANNE, Mont Sainte-Victoire

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11
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VINCENT VAN GOGH, The Starry Night

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12
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EDVARD MUNCH, The Scream

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13
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HENRI ROUSSEAU, The Sleeping Gypsy

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14
Q

Early Expressionism

A
  • some European painters began to express theirpersonal dissatisfaction with contemporaryurban life
  • triggers the beginnings of Expressionism
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15
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Post-Impressionism

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  • this term was used to describe a major change in the 1880’s& 1890’s; a variety of unique styles develop
  • artists combined colour & light theory of Impressionismwith traditional design & composition concerns
  • artists were often critical of society & its ills and were nolonger interested in recording fleeting/spontaneous moments
  • 2 main directions emerged:

a) interest in form and design (Cézanne & Seurat)
b) emphasis on personal and emotional expression(Van Gogh & Gauguin)

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16
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Impressionism

A
  • during the 2nd half of 1800’s; style began in France as areaction to realism & academic traditions
  • revolutionized art; fascinated with the effect of light oncolour/surfaces (light & colour as subject matter)
  • painters worked outdoors; tried to record fleetingimpressions of nature at different times of the day
  • paint was applied in small brightly coloured dabs orstrokes, which lack firm outline
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17
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Optical mixing

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Impressionist technique; the viewers eyes blend juxtaposed dabs of colour from a distance

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18
Q

avant-garde

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any contemporary stylerepresenting a new form of visualexpression

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19
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EXPRESSIONISM

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-artists expressed their emotional attitudetoward the world and themselves in symbolicand/or personal ways

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20
Q

Fauvism

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-artists were called fauves (“wild beasts”) by critics-their art incorporated flat abstract forms, distortedperspective, and intense clashing colours

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21
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HENRI MATISSE, The Red Studio

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22
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German Expressionism

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-artists used distorted forms and vivid colours-2 main groups emerged: Die Brücke & Der Blaue Reite

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23
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PAULA MODERSOHN-BECKER, Old Peasant Woman Praying

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24
Q

Die Brücke (The Bridge)

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-style lasted from 1905-1913-artists were figurative expressionists; they distorted figures andused violent colours to protest the conditions prior to WWI

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25
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EMIL NOLDE, Masks

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26
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Der Blaue Reiter (The Blue Rider)

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-style lasted from 1911-1912-artists were abstract expressionists; they simplified andabstracted shapes until the subject was almost unrecognizable

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27
Q

Expressionism in the Americas

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-artists created social statements about thestruggles of common people

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28
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DIEGO RIVERA, Liberation of the Peon

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29
Q

ABSTRACT ART

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-artists are concerned with composition/designand how the various parts relate instead ofexpressing feelings

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30
Q

Cubism

A

-this style was invented by Picasso and Braque-the primary concerns were design and abstraction-2 phases: the first was Analytic Cubism and thesecond was Synthetic Cubism

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31
Q

collage

A

(*materialssuch as paper, cloth, etc. are glued to a surface)

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32
Q

simultaneity

A

*the technique of depicting objects from separate vantagepoints in one art work

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33
Q
A

PABLO PICASSO, Three Musicians

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34
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A

MARCEL DUCHAMP, Nude Descending a Staircase, No. 2,

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35
Q

Futurism

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-artists observed that speed fragments outlines-represents new interest in mechanical advancements

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36
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JOSEPH STELLA, Brooklyn Bridge

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37
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A

UMBERTO BOCCIONI, Unique Forms of Continuity in Space

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38
Q

De Stijl

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-nonobjective style of art-complete reliance on design and the elimination of allfeeling and emotion

39
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CONSTANTIN BRANCUSI, Bird in Space

40
Q

FANTASY ART

A

-artists turned to psychological fantasy toexpress themselves-art works are imaginative and dream-like

41
Q
A

MARC CHAGALL, I and The Village,

42
Q

Dada

A

-style was developed as a protest against WWI-created nonsense art that was intended to outrage theviewer-wanted to convey the message that everything wasmeaningless

43
Q
A

JEAN (HANS) ARP, Birds in an Aquarium

44
Q

assemblage

A

; *art made up of bits ofobjects/materials originally intended forother purposes

45
Q

Surrealism

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-style was based on weird imagery from dreamsand the subconscious mind-symbols are personal and unexplained

46
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SALVADOR DALI, The Persistence of Memory

47
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A

RENÉ MAGRITTE, Time Transfixed

48
Q

ASHCAN SCHOOL

A

-artists expressed their feelings about American lifein crowded cities-critics called them the “Ashcan School” because they felt that “low-life urban subjects” were fit for the ash can (used to throw away cigarette butts)

49
Q
A

GEORGE BELLOWS, Cliff Dwellers

50
Q

AMERICAN ABSTRACTION

A

-after WWI, abstraction became an important elementin American art, but it was not fully accepted by thepublic

51
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A

GEORGIA O’KEEFFE, From the Plains I

52
Q
A

CHARLES DEMUTH, The Figure Five in Gold

53
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A

ALEXANDER CALDER, Lobster Trap and Fish Tails

54
Q

mobile;

A

*balanced construction with moving parts, suspended from above

55
Q

stabiles;

A

*standing sculptures with moveable parts

56
Q

AMERICAN SCENE PAINTING

A

-many artists continued to work in a Realist style; theypainted the farmlands and cities of America-the Regionalists were a group of Midwestern artistswho limited their subject matter to the area wherethey lived

57
Q
A

THOMAS HART BENTON, The Kentuckian

58
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A

EDWARD HOPPER, Nighthawks

59
Q

SOCIAL REALISM

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-the Great Depression of the 1930’s caused mass unemployment, hard times, and near social panic-artists portray the dehumanization of urban life andreveal the injustices imposed on ordinary people byan uncaring society

60
Q
A

BEN SHAHN, Handball

61
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A

FRANK LLOYD WRIGHT, Kaufmann House

62
Q

cantilevered

A

horizontal projections are balanced & supported with a fulcrum

63
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A

GERRIT RIETVELD, Schröder House

64
Q

International Style

A

modern architecture developed after WWI-box-like structures of steel, concrete, and glass with no ornamentation or natural materials-influenced by Wright and Piet Mondrian: crisp lines and multiple surfaces

65
Q

MODERN ARCHITECTURE

A

-new steel and metal-frame construction-function was the primary concern; the goal was toachieve clean lines, with minimal decoration-the tensile strength of steel and the invention of highspeed elevators allowed for the development ofskyscrapers

66
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A

LE CORBUSIER, Notre-Dame-du-Haut

67
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A

MOSHE SAFDIE, Habitat

68
Q

POST-MODERN ARCHITECTURE

A

-combined function and technology with no fixed rules-reaction against Modernism, which was felt to be toohard-edged and uncluttered-architects respected the client’s specific needs and embraced history, symbolism, ornamentation, andeclecticism-buildings were designed to work in harmony with thesite, its environment, and its history

69
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A

PHILIP JOHNSON & JOHN BURGEE, PPG Place

70
Q
A

FRANK O. GEHRY & ASSOCIATES, California Aerospace Museum

71
Q

ABSTRACT EXPRESSIONISM

A

-also called “action painting”; a variety of different styles and techniques that were based on freedom ofindividual expression-artists turned against reason, stressing emotions andfeelings more than design and form-art work had a spontaneous feel and was meant to begrasped intuitively by the viewer rather than logically

72
Q

drip paintings

A

; *laid the canvas on the floor and walked on it while dripping,spilling, and throwing paint

73
Q
A

JACKSON POLLOCK, No. 1 (Lavender Mist)

74
Q

POP ART

A

-in the early 1960’s, artists dealt with the commercialaspects of popular culture and mass produced commodities-this style was a reaction to Abstract Expressionism; artistsincorporated hard edges and invisible brushstrokes, withcareful preparation and drawing-artists had an impersonal attitude toward their work andsubject; they poked fun at trendy ideas while incorporatingwit, satire, and humour

75
Q
A

CLAES OLDENBURG, Falling Shoestring Potatoes

76
Q

soft sculpture;

A

*sculpturemade with painted fabric and stuffedwith soft material

77
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A

ANDY WARHOL, 100 Cans

78
Q

OP ART

A

-this style was another reaction to Abstract Expressionism-artists used scientific principles to create the illusion ofmovement-art incorporated carefully calculated and preciselypainted colours, lines, and shapes to make the eye detectmovement

79
Q
A

BRIDGET RILEY, Fall

80
Q

COLOUR FIELD PAINTING

A

-this style developed during the 1960’s & 1970’s; artists created flat fields of colour and precise lines, with nobrush work or emotionalism-enlarged field painting also developed; artists createdmural-sized canvases, using unplanned improvisationaland accidental happenings-artists opened up space in their works by leaving areas ofthe canvas white or completely unprimed

81
Q

minimalism;

A

*non-representationalart using very simplified forms andflat areas of colour

82
Q
A

FRANK STELLA, Protractor Variation,

83
Q
A

HELEN FRANKENTHALER, The Bay

84
Q

Enlarged Field Painting

A

-enlarged field painting; several canvases can work together as a total environment-he poured diluted acrylics on unprimed canvas, then tilted the canvas to createoverlapping, transparent shapes-spontaneous and unplanned, but colour was applied carefully and canvas was tiltedin a controlled manner

85
Q

NEW REALISM

A

-revival of realistic art during the 1970’s -the style was also called Photo-Realism; every detailwas painstakingly reproduced-artists were influenced by commercial art techniquesand photography; no interest in showing the personalityof the subject

86
Q
A

CHUCK CLOSE, Mark

87
Q
A

DUANE HANSON, Self-Portrait with Model

88
Q
A

HENRY MOORE, Sheep Piece

89
Q
A

DAVID SMITH, Cubi XII

90
Q

NEW DIRECTIONS

A

-from the 1960’s on, new ideas are based on an experimental attitude, technology and art is combined,and art is seen as an event to be experienced-there is an emphasis on conceptual art, includingkinetic, environmental, computer/video, performance,installations, and temporary works

91
Q
A

CHRISTO & JEANNE-CLAUDE, Running Fence

92
Q

conceptual art:

A

*art that is intended to convey an idea or concept, rejectingtraditional art

93
Q

installation art: *

A

art that is created for a specific site in order to alter the way aspace is experienced

94
Q
A

JUDY CHICAGO, The Dinner Party

Art History (4 decks)

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