test 2 Flashcards
J.A.D Ingres, Grande Odalisque, 1814
• Realism and Orientalism
• French academic artist
• male-gaze
Slave Market, 1866. Jean-Leon Gerome
• French academic artist
• male-gaze
Paris Boulevard, Louis Daguerre, 1839
• French photographer
• moving people were not yet photographed
• contains extreme realism, took over from painting due to the need/want to be very realistic. → painting became avant-garde
Mathew Brady, 1861. Lincoln
• historical photographs
Diane Arbus, Lauro Morales in his New York Hotel Room, 1970
• deals with identity/”normalcy”
• challenged us to accept everyone for their inherent value.
• Constructed, not natural. Cultural artifacts created by photographer
Edward Weston, Nautiis shell. 1927 and Pepper 1927
• highlighting artistic elements of lighting, shade, composition, etc.
• sold for 1.1 million at sotheby’s in 2007
Edward Weston, Nude 1936
• not a sexual object, we look at the form, the negative space, etc.
Thomas Couture, Romans of the Decadence, 1847
• won the Academy Award for best picture
• but has nothing to do with life realistically in Paris during this time
• depicts a roman orgy hundreds of years before the painter lived.
Gustave Courbet, The Stonebreakers, 1849
• Avant-garde movement by bringing realism into painting as social commentary
• an unwanted image. He did not think we should use art to escape our reality, yet instead artists should use art to educate, inform, etc.
Edouard Manet, Dejeuner su l’herbe, 1863
• avant-garde
• normal, everyday life, with a normal everyday nude woman.
• horribly offensive to the French public, not ideal woman.
• painted loose and impressionistic, the father of impressionism. He called his work realism
Edouard Manet, Olumpia, 1863
• nude in a whore-house, offensive for the same reasons.
Claude Monet, Impression Sunrise, 1873
• foggy sunrise over the harbor, impeding his vision
Vincent van Gogh, Starry night
Vincent van Gogh, Night Café, 1888
• Dutch from Holland
• post-imporessionism
• red and green
• working with complimentary colors, experimenting with color-theory
• also looked at Starry night
Paul Gauguin, Were do we come from? What are we? Where are we going? 1897
• French artist
• painted after his daughter died, dealing with the meaning of life and death
• traveled to Tahiti
Paul Cezanne, houses in Provence, 1880
- reintroduced structure and volume, inspired Picasso
- post-impressionist from France
- multiple perspectives
Eadweard Muybridge, Running Horse, 1878
Georges Melies, A Trip to the Moon, 1902
• movie magic, very theatrical, special effects, jump cut.
D.W> Girffith, Birth of a Nation, 1915
• first Feature-length film
• heavily racist, sexist, etc. perpetuates stereotypes
D.W> Girffith, Birth of a Nation, 1915
• first Feature-length film
• heavily racist, sexist, etc. perpetuates stereotypes
Hitchcock
• Psycho generating a new film genre in 1960
Hitchcock
• Psycho generating a new film genre in 1960
Hitchcock
• Psycho generating a new film genre in 1960
Diego Rivera, Man at the Crossroads, 1931
• realistic style, but avant-garde because of the subject matter
Wassily Kandinsky, improvisation 28, 1912
• avant-garde in style
• first to make art that does not represent anything
• non-representational, non-objective, totally abstract
• same year picasso is inventing collage.
• russian
Henri Matisse, Madame Matisse, 1905
• taking color and form from van Gogh and pushing it further
• **FAUVISM**
Pablo Picasso, Les Demoiselles d’Avifnon, 1907
• from spain, painted most in french
Pablo Picasso, Still life the chair caning, 1912
• first cubist collage
• added words to the paintining, collage practice, “jou”
Pablo Picasso, Guernica, 1912
• Cubism used in a powerful protest of the Spanish Civil War
• using images from the bullfights
Marcel Duchamp, The Fountain, 1917
• **DADA**
• challenged peoples ideas of what art is
• born in France
Salvador Dali, The Persistence of Memory, 1931
• spain
• surrealist “photograph” of Dali’s dream
• The Accommodations of Desire, 1929
o vagina dentate, Fruedian psycho-analysis
Rene Magritte, The Treachery of Images, 1928
• surrealist
• connected to Saussuer’s signified vs. signifier
Frida Kahlo, Las Dos Fridas,
• surrealist
L.H.O.O.Q – Marcel Duchamp –
• Dada Movement
Fauvism?
Typified by Matisse. Characterized by vivid nonnaturalistic colors, very expressionistic and vibrant. This influenced the German expressionist artists that came later
Nickelodeon?
(a theater devoted
exclusively to the showing of movies)
-cost one nickel and was a personal experience. (only one viewer at a time)
Kinetoscope?
Edison’s workshop developed the Kinetograph camera in 1890 and the Kinetoscope viewer the
following year. Viewers of Edison’s first movies had to look through a peephole, one at a time.
Nonetheless, Kinetoscope theaters opened in 1894 and were soon popular across America.
Among the Edison-sponsored films shown on the kinetoscope was The Kiss (1896)
Diorama?
In 1822, Daguerre built the theater, which he called a diorama, with Charles Marie
Bouton, a former student of Jacques Louis David. The Diorama presented 30-minute shows
involving various lighting effects projected over 45’ by 71’ canvases. Audiences of up to 350 sat
in an auditorium that rotated from one immense scene to another. The Diorama was so popular
that similar theaters were soon erected in other European cities: Berlin, Cologne, Dublin,
London, Liverpool, Manchester, Stockholm, etc. Daguerre’s original Diorama theater burned
down and none of his huge diorama paintings survived.
The male gaze?
Neither Gerome’s slave nor Ingres’ odalisque is simply the passive object of European
Orientalism. They are passive female objects. In both cases, the presumed viewer is a
heterosexual male. The numerous paintings of female nudes in Western art history, of women
posed with their bodies displayed, have led scholars like John Berger to analyze what is termed
“the gaze.” A look or stare heightened by desire, the gaze is never innocent or neutral. It confers
power according to gender, with the female positioned as an object to receive the male gaze
Camera Lucida?
One of the tools Ingres may have employed was the camera lucida (5.17). Invented
around 1807, the camera lucida is simply a four-sided prism mounted on a flexible metal stem.
When an artist looks through the prism at a subject, it appears that an image of the subject is
projected on a piece of paper
placed below the prism. The
image is virtual, not actual, but if
the artist remains still so that the
subject is viewed from exactly the
same position, the image can be
traced. Camera lucida-generated
drawings are said to have
“intense, almost photographic
particularity.”
