Test 4 Flashcards
1
Q
A
The Oath of the Horatii
- Jacques-Louis David
- oil on canvas
- 1785
- French
- Neoclassical
- Revolutionary in both form and content-serious in tome
- sharp contrast in colors and shadows
- figures aligned on a horizontal axis with a space behind them that we can see and measure
- neoclassicism in form and content
- David is interested in rebirthing classical ancient roman values/art: Horatii warriors are on the left, General of the Horarii is offering up his 3 sons (holding up swords, telling sons to win war, sons with arms around each other)
- women show a complexity of emotion and grieving-mother is already in the black of mourning and holding her two young sons, women in yellow is brother to horatii warriors but is married to an Alban warrior, woman in white is brother to Horatii warriors but is married to an Alban warrior, women are willing to show grief in public and private
- shown to have the French people feel this deprivation during the hard times of the 16th century
2
Q
A
The 28th July, Liberty Leading the People
- Eugene Delacroix
- 1830
- oil on canvas
- French
- Romanticism
- Recording the revolution that is taking place
- loosening of form
- Undefined backround
- The canvas is reporting what is going on in this event: real cobble stone streets, Notre Dame is in the backround, coalition of many gropus of people who came together to overthrow the monarch Charles V
- death, violence, and war is in no way made pretty
- Liberty is striding over the dead bodies: must leave this behind to fight for liberty, allegory (woman as liberty)
- interested in getting down the emotion, not the approach to form: Romanticism-emphasis on the artists’ inner feelings and willingness to critics realistic painting technique to create mood
3
Q
A
The Open Door
- William Henry Fox Talbot
- 1843
- salted paper print
- British
- Talbotytpe (photography)
- 1839-invention of photography
- trying to bring photography in line with art-interested in art and romanticism
- open door: not very welcoming-broom in front of door, dark and off putting behind the door (Romanticism)
4
Q
A
Olympia
- Edouard Manet
- 1862-3
- oil on canvas
- French
- Realism
- Manet delivers Realism-gives us an interior reality (reality of context and life)
- Scandelous art-she is presented as a 15 year old hooker (body is youthful, face is businesslike, she was sent flowers from last business deal, she slams her hand into the groin to say show me the money and I will show you the goods)
- cat-symbol of licentiousness
- no details-feel of real paint, broad color
5
Q
A
The Great Wave Off Kanazawa
- Katsushika Hokusai
- 36 Views of Mt. Fuji
- polychrome woodblock print
- 1831
- Doors were opening for Japan art-landscape dominated art\
- “looks cartoonish”
- Exaggerated waves-look like fingers about to consume people on the long boats, shows what it feels like to be on boat from human standpoint
- work is flat-forms all pushing to surface
- Mt. Fuji in backround-looks small compared to waves
- form established in design: outlined in black, decorative, experiential
- colors: blue, white, black
6
Q
A
Impression: Sunrise
- Claude Monet
- oil on canvas
- 1872
- French
- Impressionism
- artists private subjective view of corner of the world
- different then ever seen before but can relate to it
- the sun is very intense
- silouites at the boats, factories and smoke in the air
- he expressed his feelings of movement by exaggerating and distorting the image
- this image is based ont he “frozen second”
- short broken up- loosened brush strokes that help communicate transient nature of reality in the world
- the intensifying color - only uses orange and blue which are complimentary colors
- uses scientific theory of color wheel to maximize potential of color
- radical and new
7
Q
A
The Starry Night
- Vincent Van Gogh
- oil on canvas
- 1889
- Dutch
- Post-Impressionism
- iconography is emotionally expressive
- blue and orange-complementary colors
- loads brush with paint-dense, heavy imposto of paint
- no sense of measurable depth
- broad and repetitive brust stroak-very systematic and emotional: celebration of miracle of nature
- cyprus tree-long and streched brush stroke, color is off creating an ominous note, this is known as a cemetary tree (he killed himself a few months later)
8
Q
A
Mont Sainte-Victoire
- Paul Cezanne
- oil on canvas
- 1887
- French
- Post-Impressionism
- aka victory mountain
- his back yard
- petit cube (style) - uses a pallete knife, when a mark shifts the color shifts
- tensions is a formal element
- stable triangle of the element
- flattens perseptually and the tree shows it
- geometric marks and principles are influential
- tree is foregroung
9
Q
A
Les Demoiselles d’Avignon
- Pablo Picasso
- oil on canvas
- 1907
- Spanish
- Cubism
- 4th dimensions-atempts to show us objects in literal space over time seen from all sides simultaneously
- very radical
- develops cubism-a space time dimension
- destabilized the dymanic view of the world
- artists were engaged in representing this new world-Picasso was very into Physics and this relates to the emergance of this new science
- used african masks on the heads of the two figures on right
- conflicted feelings towards women: they are not enticing, look dead, look like carnivores, repulsing, portrait of of Picasso’s own psychology or a portrait of the time-change in status of women by end of 19th century
10
Q
A
Ritual Mask
- African
- Fang Tribe
- painted wood
- 19th century (Angel)
- shows emotional expressively a abstraction from reality-this is what attracted Picasso to this art
- Ritual mask-supposed to be abstract but also realistic looking at the same time (same relation to how we look, but also an abstraction of reality to show we are entering another realm)
- mask link to the world of the gods
- intense centeralization of facial features-shows emotionality
11
Q
A
Improvisation 28, Second Version
- Vassily Kandinsky
- oil on canvas
- 1912
- Russian
- Nonobjective (Expressionism)
- first non-objective abstractly art in the history of art
- no narrative, no indentifiably form, no perspective, no spatial relationship
- pure mark, pure form, pure color, unrelated in the natural form
- working out of the notions in the subconscious and unconscious
- forms and colors have intrinsic meaning
- begins to title how work with musical titles-makes people accept it as emotional and moving without having a narrative
- this is the abstraction of conplexity
12
Q
A
Composition with Yellow, Red, and Blue
- Piet Mondrian
- 1927
- oil on canvas
- Dutch
- De Stijl
- Starting point is cubism
- Subject not found in center of canvas
- Painting that unites with your own space in your own time
- The red, yellow, and blue is meant to slide off the space in your own time
- the red, yellow, and blue is meant to slide off the space into your own life-we know this because there is no black line bounding it
- it is a dynamic of an implied time continuum beyond the canvas
- art no longer relies on a person with the talented hand
13
Q
A
White on White
- Kasimir Malevich
- oil on canvas
- 1915
- Russian
- Suprematism (Angel)
- abstraction of simplicity
- with square on a white background
- single cubist faced
- the cube is a cool white mixed with a blue
- the outside is a warm white mixed with a yellow
- this is simply about form and color
- perceptually we read this as sliding off the plain into our space
- picture of dynamic
14
Q
A
Fountain
- Marcel Duchamp
- porcelain readymade (multiple)
- French
- 1917
- Dada
- pubic urinal put into an art gallery
- This caused a great deal of shock
- symbol of progress in the 20th cent-becomes an icon of machine age and mondern industry
- turned urinal on side to make look like female pelvic shape
- pelvic and vaginal area helps turn it to a female gendered item
- signed “R. Mutt”=our mother
- Virgin Mary for 20th century
- declared the new movement of surrealism
15
Q
A
Un Chien Andalou (Andalousian Dog)
- Luis Buñuel/Salvador Dali
- film
- 1928
- Spanish
- Surrealism (Angel)
- spanish movie- no idea or image to lend to rationalism- nothing rational about the film
- film has no plot- parade of unconcious images
- surreality is masking reality
- 16 minute silent film
- slice eye
16
Q
A
Persistence of Memory
- Salvador Dali
- oil on canvas
- 1931
- Spanish
- Surrealism
- Work relies on the clash of an intensely illusionistic scene against an unreality of meaning
- landscape blasted - dead tree, everything looks dead
- only certain things lasted after apocolypse - Freudian theory
- time doesn’t matter but memory persists
- clash of the un real with the real creating surreal
- relying heavily with viewer making assoiations with the image
- freudian night mare
- interested in the collective unconsious
- warping time
17
Q
A
The Two Fridas
- Frida Kahlo
- oil on canvas
- 1939
- Mexican
- Surrealism
- paints herself- auto bigraphic
- presenting herself in a schizophrenic state
- linked to another women by an arterie
- disfigured from accident
- trying to staunch (clip) the blood so she lives but can’t
- rebirth of her life (blood) turns into flowers (on her dress)
- holding a locket of her husband- shows that’s where her heart is
- women is split between women in wedding dress and women in painting outfit
18
Q
A
Autumn Rhythm, Number 30
- Jackson Pollock
- mixed media (oil, enamel, and aluminum paint) on canvas
- 1950
- American
- Abstract Expressionism (Action Painting)
- leader of the abstract expression uses radical technique
- painting is very large- he would step and touch his painting
- not interested in a prestine product that is regulated
- unconsious images that is put on painting
- he would spill, splatter, fling, toss the paint
- a wirey black line was usually finishing touch- he would put a hole in the bottom of the can and run along the painting
- holds the painting together and makes it feel like it is something and not just some mass of paint
- surrealists and abstractists are interested in finding the unconsious
- about chaos and loss of control
- like autum it shows the feeling of decay and death
19
Q
A
No. 61 (Rust and Blue)
- Mark Rothko
- oil on canvas
- 1953
- American
- Abstract Expressionism (Color Field Painting)
- extroardinary translucency
- he has to put many layers of paint to build it up ( paint soaked up by canvas)
- can see the various different colors that are underneath the layers
- light penetrates the thin layer of colors and creates a sense that the work is illuminated from within
- his works are typically vertical and use a few floating rectangles and fuzzy edges
- the metaphor is it is an explosion of clouds over landscape that shows the dropping of the atom bomb
- zen buddhism - to live a life of simplicity
20
Q
A
The Seasons
- Lee Krasner
- oil on canvas
- 1957
- American
- Abstract Expressionism
- action painting
- big swirling gestures (big swirls by arm)
- interested in forms showing the rich bursting aspects of nature
- abstract expressionism
- more interested in the form than clear lines
21
Q
A
Cubi XVIII, XVII, or XIX
- David Smith
- polished and welded stainless steel
- 1963-64
- American
- Abstract Expressionism
- forms are cubist in origin
- tension of the abstract expressionist
- artist is attempting to link art with our own space
- it is found outside and not in a building
- geometric forms
- image of a world on the edge, meaning our mind can’t understand how the cubes and rectangles are staying in place
- it is a frozen second just before it becomes crisis
*
22
Q
A
Elvis I and II
- Andy Warhol
- synthetic polymer paint
- aluminum paint and silkscreen on canvas (multiple)
- 1964
- American
- Pop (Angel)
- diptic - two parts put together
- very large
- works with pop icon elvis
- took image from the movie poster and changed it
- numbness in the images
- imepersonal technique and impersonation
- silk screen technique
- moves from color to black and white fading
- elvis is pointing a gun at us
- he is wearing make up - looks much different then when he is stripped of this in black and white
- an element of feminimity and masculinity that is learned
- gender is socially constructed, it is more than a biological characteristic ( like what you wear and how you wear it)
- elvis pointing the gun is intimidating and masculating
23
Q
A
Target with Four Faces
- Jasper Johns
- assemblage with encaustic
- 1955
- American
- Pop
- 4 half faces encased in boxes with shelves that cover the faces
- this art makes us feel anxious-shoot and miss target?, people already dead?
- we can close these faces away-Johns was gay: maybe suppressing his desires
- bright colored target
- different brush strokes- own rhythmic quality
24
Q
A
Flag for the Moon
- Faith Ringgold
- oil on canvas
- 1969
- American
- Pop/Protest Art (Angel)
- Messaged imbedded in it “DIE NIGGER”
- work of extrordinary anger imbedded in pop art
- she suggested this flag for the moon-claims that is an honest representation of how America thinks
- Minimalism-sought to purify art of everything but its irreducable simplistic properties
25
Q
A
Rope Piece
- Eva Hesse
- latex over rope, string and wire
- 1969
- American
- Minimalism
- minimalistic object
- everyday life rope materials
- robes left to hang in various ways from various points of the ceiling
- tangle, diruption, lifelessness of the ropes
- maybe this was a representation of the artist’s thoughts of suicide
26
Q
A
The Dinner Party
- Judy Chicago
- 1974-79
- mixed media
- American
- Feminist Sculpture
- instillation art-the insillation of over life sized or sculpture that incorporates or dominates living space
- most important piece of political resistance and feminist resistance
- tbale, crystal inside of table, place settings, table cloths
- point of the party-invite 39 historic women of achievement to be guests-wanted to reclaim womens history
- equilateral triangle (13 each side)-symbol of equality
- motifs of the certain period are seen in the individual places
- plates-controversial: uses vaginal canal to help design the plates-celebrate female form, beautiful, creative, life-giing
- essentialism-what constitutes female nature then renovates this
- made female sterotypes positive
27
Q
A
Running Fence
- Christo and Jean-Claude
- 1972-76
- woven polypropylene fabric (installed in Sonoma and Marin Counties, CA)
- American
- Site Art
- site art-makes the environment part of the work
- wrapping technique-they would wrap the environment in a sheet for certain time and then unwrap it
- nylon fence that crossed counties in California and terminated in the ocean (24.5 miles long)
- draws attention to land-curtain followed the natural profile of the land itself
- sociological importance of fence-separates nothing from nothing, showing meaningless of fences in general
- autio art-nylon slings and snaps in the wind
- sociological function-do not lose sight of beauty
28
Q
A
I Like America and America Likes Me
- Joseph Beuys
- 1974 (installed in New York, NY)
- German action sculpture
- Performance Art
- record art-taken to make a record of the performance
- visual situation: He lives in the gallery for a week with the wild coyote and they become two respectful coexistances by the end of the week
- all he had was felt to wrap himself in and to give the coyote
- initially there was fear, followed by suspicious contemplation, then finally peaceful
- merging of two unlikely identies (man and animal)-peace abong two unlikely participants is possible!
29
Q
A
Untitled (Installation)
- Jenny Holzer
- 1989-90
- helical tricolor light-emitting diode (LED)
- Guggenheim Museum, New York
- American
- Conceptual Art
- Idea based-wrote aphorisms and imbedded them in a LED light form
- spun them in the interior of the Guggenheim museum
- she is attempting to make us be critical of the surrounding environment
- art must be imbedded in life and be a meaningful part of the environment
30
Q
A
Robie House (Chicago)
- Frank Lloyd Wright
- 1909
- American
- Prairie Style Architecture (Sakai)
- family who ordere the house was the Robies
- domestic building
- no decoration at all
- function followed form
- Wright wanted a fundamentally organic aesthetic - mirror surrounding countryside
- it is mid west with low hills and the house is prairie style
- dialogue or unity of interlocked geology
- interior is deeply radical because there is an absence of walls
- making it a fluid free falling space
31
Q
A
Bauhaus (Dessau, Germany)
- Walter Gropius
- 1925
- German
- International Style architecture
- utopian program
- Industrial and technological look - no decoration
- form following function
- only colod is red on the door and the letters of the building are white
- Gropius comes up with pin wheel formation of building ( design of central core with free floating space)
- stairwell at core
- made art studios - un mediated wide open space and sunlight which was radical idea to not use walls
- modern industrial materials - uses cap concrete and a new material (steel)
- steel curtin frame in glass to help it stay up
32
Q
A
Seagram Building (New York, NY)
- Ludwig Mies van der Rohe (and Philip Johnson)
- 1954-8
- German
- International Style skyscraper
- first sky scraper
- tall office tower in Chicago which is occupied by mostly Germans
- uses steel like Gropius and combines a form following function approach
- reductionist geometric setting
- focuses on steel frame
- cheap because build up and tall with little land taken
- easily duplicated design
- international style
- grace and harmony about his sky scraper
- entry was greats us ( more on our scale than bug sky scraper)
33
Q
A
Notre-Dame-du-Haut (Ronchamps, France)
- Le Corbusier (Charles Edouard Jeanneret)
- 1955
- Swiss
- Neo-Brutalist architecture (Sakai)
- Dominican church for nuns
- wanted a rich, strong, muscular building
- thick conrete walls, swinging roof to resemble enhanced roofs
- looks like a ships bow going out to sea
- form follows function - looks random on exterior
- display of windows look random - decorative pattern
- don’t see the entry way - all about the form
- style of architecture is neo brutalism
- on inside concrete is very textual
- altar is simple and humble
*
34
Q
A
Guggenheim Museum (Bilbao, Spain)
- Frank Gehry
- 1993-97
- American
- Post-modern architecture
- the major tourist destination in Spain
- relying on curves
- looks like a wild cartoon
- looks impossible as architecture
- Neo Brutalism- architecture as a sculpture
- made out of titanum - does not have melting point of steel and can carry heavier loads than steel
- texture
- exterior reflects light
35
Q
A
Memory Foundations (New York, NY)
- Daniel Libeskind (Master Architect)
- 2003-13
- American
- Post-Modern Architecture
- four sky scraper
- two parks surrounded by nature
- two parks are the footprints of the twin towers
- international influence by steel and glass
- neo brutalist that its function doesn’t just go to its form
- sculpturest how it twists
