Lectures 16&17

Question 1

Answer 1

Georges Seurat, Sunday Afternoon at the Grande-Jatte, 1886

• color theory: any object has local color- mixture takes place optically vs on palate
• cover entire surface with small paint strokes
• space of leisure where classes mix

access to leisure- nobody is joyful, stiff, carves their own space, alienation

• 11 colors- purest hue of each that he could ifnd
• official day of for French working families
• social hierarchy in parisian parks- lower class industrial area- range of lower-middle class

Question 2

Answer 2

Gustave Eiffel, Eiffel Tower, 1887-9

• 100th anniversary of french revolution
• technological mite of France
• massively tall but light structure- doesnt sway in wind

Question 3

Answer 3

Vincent Van Gogh, Starry Night, 1889

• painted from careful observation and the artist’s imagination- still paints naturalistically but pushes it to extremes w/ color
• sky pulsate with celestial rhythms and blazes with exploding stars- dynamic energy through brush strokes
• idea of life and death- cypress tree- traditional symbol of both death and eternal life which rises dramatically to link the terrestrial and celestial realms
• brightest star is actually Venus, associated with love
• van gogh’s euphoric hope of gaining in death the love that eluded him in life
• rail like strokes of intense color writhe across its surface
• brushwork is immediate, expressive, and intense
• 3 dimmensionality to paint strokes

Question 4

Answer 4

Paul Gaugin, Where do we come from? What are we? Where are we going? 1897-8

–represents the motions of life- young to old

• vivid use of colors- thick brushstrokes
• voyeuristic/anthropological view of “exotic” society

sexualizes the other

jesus loin cloth- picking fruit

Question 5

Answer 5

Yinka Shonibare, Scramble for Africa, 2003

14 life-sized fiberglass mannequins, 14 chairs, table, and Dutch wax printed cloth

• splitting up africa- headless unthinking men
• wearing dutch cloths- trade triangle

Question 6

Answer 6

Gelede Mask, Yoruba
20th century wood

women as foundation of society

snake

Question 7

Answer 7

Sowei Mask, 19th-early 20th century Wood -only mask women solely wore

polished surface (skin)

eyelashes

intricate hair

neck rolls like

Question 8

Answer 8

Olowe of Ise, Veranda posts installed in the Courtyard of the Palace of the Ogaga of Ikere, 1910-1914. Wood and pigment. Yoruba Peoples. Nigeria.

-family portrait-

king seated on throne- distintive crown- w/heads &birds

liminal-part human but part divine

elongated nek

healer at bottom- inbetween of public and royal family

king smaller than queen mother who conduts business

-tall, elegant, gazing fearsome- painted in greater detail

dynamism w/ single post of wood

• long necks and elaborate hairstyle make them appear even taller, in such high relief that upper portions are actually carved in the round
• figures move energetically against an underlying decorative pattern and entire surface of door

Question 9

Answer 9

Satirical Egungun: European Couple Illogbo, Awori, Nigeria, 1982.
-holding a pen, seen together-stereotypes of european tourists

Question 10

Answer 10

Ifa divination board, Opon ifa, 17th century. Wood. Yoruba peoples

• way for people to get in control of their lives
• trickster god- sent to prussian king

cowry shells, palm nuts (to read signs), ivory tapper

Question 11

Answer 11

Areogun of Ise –Ilori, Orisha Priest’s Bowl, wood

-pipe in mouth

shallow relief-center bicycle

someone carrying a book

geometric patterns to mark edges