ART

 HISOTRY  EXAM  STUDY  GUIDE  

WINTER  2010  

Art Piece Name Information about Piece

NEOCLASSICISM • Depicts a story from pre-republic Rome
Jacques-Louis David • Romans choose three Horatius brothers to face the three sons of Curatius family from Alba
(1748 – 1825) • Depicts brothers swearing on the swords “either won or die for Rome”
• The message in the piece is state before family
1784: Oath of the Horatii • Male figures were attractive while female figures were passive
oil on canvas • Women include fiancée (blue) and wife (white)

NEOCLASSICISM • Jean-Paul Marat was best known for his radical journalist and politican from the French Revolution
Jacques-Louis David • Depicts the day after Charlotte Corday stabbed him to death in the bath
(1748 – 1825) • Charlotte pretended to be revealing revolutionists to him but then proceeded to stab him
• He didn’t want people to believe in the scientists, because he thought that the new developments would end in
1793: Death of Marat disaster
oil on canvas • He was educated
• David depicted Marat martyr of France be showing that Marat was writing works for the people of France as
he bathed – he was always working
• Had to take herbals baths due to his skin disorder
• The base figure of his body is Christ in Michael Angelo’s Pieta

NEOCLASSICISM • Followed the tradition of Giorgione and Titian

Jean Auguste Dominique • Cool colour sceem tributes to Parmigianino
Ingres • Drew acid criticism
(1780 – 1867) • Uses light skin tones
• Still contains many elements of the neo-classicism but the taste for ideal
1814: La Grande • Artist makes a strong concession to the contemporary romantic taste for the erotic
Odalisque
oil on canvas
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ROMANTICISM • Depicts a shipreck of Medusa in 1816 off the African coast
Theodore Gericault (1791 • 150 remaining passengers built a raft and there was only 15 survivors
– 1824) • artist sought to capture the emotion of horror and choas in the tragedy
1818/19: The Raft of the • several survivors and corposes in the powerful x shape
Medusa • once the cpaint (who had no experience) ran into trouble left the ship
oil on canvas • in the piece, the survivors are trying desperately to get the attention of a another ship (the Argos) in the
distance
o pyramid shape (goes from death and despair at the bottom left to hope of being rescued to the top
right)

ROMANTICISM • examines the influence of mental states on human faces

Theodore Gericault • acquarly depicts the character of the woman
(1791 – 1824) • studied many of the inmates in these institutions
• this was not a comissioned portrait – no glorification, eyes do not meet the viewer, show destress
1822/23: Woman with • it is not grotesque, paints insanty in a positive way
Mania of Envy
oil on canvas

ROMANTICISM • most dramatic piece in Romanticim

Eugene Delacroix • depicts that last hour of the assyrian king
(1798 – 1863) • depicts Sardanapalus ordering everything to be destroyed and slaves to be killed before comitting suicide and
surrendering
1827/28: The Death of • no perspective and lack of unity – predominance of the picture place (everything is blended together, irrational
Sardanapalus placement)
oil on canvas • alienated critics and the audience
• orgy of violence
• the coloration of the vancas has a predominant red hue, but there is no blood
• errotic overtones
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ROMANTICISM • 17th century drama
Eugene Delacrois • French perseption of the Greeks struggle for freedom from the Turks
(1798 – 1863) • Depicts the allaegorical personification of liberty definitely thrusting forward the republic tricolour banner
• About Greek war for independence
1830: Liberty Leading the • Has the same aspect as the Raft of Medusa (dead bodies laying around)
People (28 July 1830) • Captures the energy of the 1930 French Revolution
oil on canvas • Boy the basis for the character Les Miserables
• Distilled the idea of revolution in art – is an unstoppable force

ROMANTICISM • Artist was the first to embrace etching and aquatint

Francisco de Goya • Depicts an artisting falling alssp while he is working – creatures of the night fly towards him
(1746 – 1828) • When the artist is alseep his imagination loses all borders
• Has the romantic spirit
1797: Capricho #43 The
Sleep of Reason Producers
Monsters
Etching and Aquatint

ROMANTICISM • Depicts French soldiers excuting unarmed spanish peasants which were captured by Napoleonic troops on the
Francisco de Goya 2nd of May
(1746 – 1828) • Artist encourages emphathy on the horified expressions of the peasants
• Emotional drama in inhanced by the use of darks and lights
1814: The Third of May, • Artist was def at this point, which supposedly gave him a much stronger sense of sight (very visual)
1808 • No clear definition of battle lines, which shows the future of war
oil on canvas • It’s hard to tell the difference between civilans and soldiers
• It does not glorify war but shows that in war people turn into beast
• Depicts resistence and patriotism of the Spanish
• Faceless soldiers but the innocent people are individually depicted
• Distance between the civilians and the soldiers is shortened to add dramatic effect
• Gestures of the living person is mimicked with the dead person
• Reflects the catholic notion of transfiguration upon death - The man in the white is a lot bigger than the rest of
the people
• Emulates a lot of contemporary print making at the time; concise
• The buildings in the back help to give location to the painting
• Brutal realism (blood, ugly quality to the dead, truthfulness)
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ROMANTICISM • Crisp acid colours
Caspar David Fridrich • Shows monks carrying a coffin towards the light to represent a better life
(1774 – 1840) • Gives a spiritualistic look
• Allusion to pre-Christian times
1809/10: Abbey in Oak • Depcts the ruins of a gothic church
Forest • Leaning crosses, tombstones, the black of being morned
oil on canvas

ROMANTICISM • Combines his ideas and interests in a highly individual way

William Blake ( • Thie figure united the concept of the creator with that of the wisdom and a part of God
1757 – 1827) • Depicts the all mighty leans forward from a firery orb peering towards Earth unleasing power through
outstretched left arm into twin rays of light
1794: Ancient of Days, • He wrote “if the doors of perception were cleansed anything would appear to man as it is, infinite”
frontispiece of Europe: A • We are capable of knowing all the knowledge in the universe but if we had that knowledge we wouldn’t be
Prophecy able to prioritize what is important
metal relief etching, hand
coloured

ROMANTICISM • His most famous painting

John Constable (1776 – • Same white horse that was depicted in The White Horse
1837) • Focus on the harvest; the card has to go through the water to cool down so that the wheels don’t fall of the axes
1821: The Haywain • This painting won a gold metal
oil on canvas • Very well rendered clouds
• The artist protrayed one with nature that the romantic poet sought
• The significent for percesly what it does not show – shows the civil unrest of the agrarian working class and
the outbreaks of violence and arson
• Rarely does the viewer see the workers engaged in tedious labour
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ROMANTICISM • Bought this work back from the person he sold it to because it meant so much to him
John Constable • This is where he was born and raised
(1776 – 1837)

1819: The White Horse

oil on canvas

SUBLIME • His most famous painting

Joseph Mallord William • The press made fun of his long titles
Turner • Subject of a 1783 incident report
(1775 – 1851) • Incident involved a slave ship and the captin realized that his insurance would reimberse him only for slaves
lost at sea so we ordered the sick and dying slaves to be thrown overboard
1840: Slavers throwing • Emotional depiction of this barbaric notion
overboard the Dead and • Refers the internation conference that was had about slavery
Dying – Typhon coming • Speaks about materialism and a world driven by progit
on (The Slave Ship) • Dark moment of history where people can be bashed in
oil on canvas • Chains of the slaves in the bottom right and ship sailing off in the sun on the left
• Quote with the painting “Aloft all hands, strike the top masts and belay; yon angry setting sun and fierce-edged
clouds…”
• Artist transfers the sun into an incondence comet

SUBLIME • Nominated for the most famous/favourite painting in Britain a few years ago
Joseph Mallord William • A vision of British glory being tugged away to be disposed of; maritime power of the power of being taken
Turner over by the industrial revoluion
(1775 – 1851) • Sense of nostalgia to the past, but hope for the future
• Tickly applied paint
1838: The Fighting • Inspired by the colour theor to Goya
Temeraire Tugged on her
Last Berth to be Broken up
oil on canvas
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PRE-RAPHEALITE • Founder of the pre-raphealite brotherhood
William Holman Hunt • Embodies symbolic realism
(1827 – 1910) • Depicts a kept woman who has a revalation and is moving towards the light that represnts Christ – understands
the wrongs of her ways (she was a mistress)
1853: The Awakening • Very popular to make paintings that tell stories in this time frame
Conscience • Symbolic references in the objects – cat, clock, gloves, etc…
oil on canvas • The story tells of a mistress sitting (scandelous), most women do not keep their hair loose, and finally she does
not have a ring on her finger

PRE-RAPHEALITE • His friend posed for this painting laying in a heated bathtub for hours
Sir John Everett Millais • Most famous of all Pre-Raphaelite paintings
(1829 – 1896) • Represents Hamlet’s drowning of Ophelia
• Floral background painted outside
1852: Ophelia
oil on canvas

PRE-RAPHEALITE • Place for artist to enjoy nature

Theodore Rousseau
(1812 – 1867)

1850: The Forest of

Fontainebleau, Morning
oil on canvas
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PRE-RAPHEALITE • Speaks about the ancient right that people could go back and pick up anything that is left after the harvest
Jean-Francois Millet • Shows the raw reality, the riral life is hard back breaking work
(1814 – 1875) • Depicts three peasant woman performing the back breaking task of gleaning
• Their members of the lowest level of peasent society
1857: The Gleaners • We idealise nature because we only visit and we don’t actually live there
oil on canvas • People forced to the foreground so that we know they are the subject (roots the people below the horizon line)

REALIST • Nothing is glorified in this piece, not even the priest

Gustave Courbet • Also a threatening painting; mainly for its size
(1819 – 1877) • Figure are almost life-size
• Again, to paint such a large canvas of such ordinary people was controversial
1849: Burial At Ornans • A lot of critics said that these people were ugly; no enobelisation, such as the priest
oil on canvas • Different colour of black for every figure
• S-curve to the crowd which keeps your eye moving in space
• Lacked visual emotion or grandeur that was expected from this type of work
• Courbet used sparing bright colour to control the composition in place of the heroic, sublime and dramatic

REALIST • Strong articulation of hands and form

Honore Daumier • Shows now specific portraits but representation of society
(1808 – 1879) • Depicts a cramped railway carriage of the 1860’s for the poor
• Daumier saw the people as they ordinarily appeared their faces vague, impersonal, and blank
1862: The Third-Class
Carriage
oil on canvas

 
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Katsushika Hokusi • Woodblock print
(1760 – 1849) • Aimed at tourist for post cards etc.
• When read in western perspective it seems threatening and when read in eastern perspective it is more about
1834: The Great Wave overcoming an obstacle
(From “36 Views of Mount • Balance between chaos and control of the dominance of nature
Fuji”) • Subtle yellow hue in the sky shows well preserved version
Ukiyo-e (Woodblock Print) • Waves look like fingers

REALISM • Depicts two women, one nude, and two clothed men enjoying a picnic
Edouard Manet • Two men are in fashionable Parisian attire looking like students misbehaving
(1832 – 1883) • Nude in the foreground is unabashed and at ease, gazing directly at the viewer with no shame
• Consistent with Realist principles with all of the foreground figures on living people
1863: Le dejeuner sur • Sexual allusions - woman rubbing toe on mans leg
I’Herbe
oil on canvas

REALISM • Very scandalous to the French public when revealed

Edouard Menet • Depicts a young white prostitute reclining on a bed looking at the audience direction in representation as her
(1832 – 1883) next customer enters the room
• Hints of prostitution is the jewelry she is wearing showing awareness of her nudity
1863: Olympia • A black maid and white prostitute evokes moral depravity, inferiority, and animalistic sexuality
oil on canvas • Criticized for:
o harsh lightening is scene as incomplete
o her boyish figure
o and her shameless stare
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IMPRESSIONISM • Speaks about the struggle to free Mexico from French domination
Edouard Menet • Depicts Spanish forces killing French Emperor
(1832 – 1883) • Contemporary subject matter as others and use of historical painting themes
• Solider in back contains likeness to Napoleon III who is the figure to blame for this
1867: The Execution of
Emperor Maximillian
(Kunsthalle, Mannheim)
oil on canvas

IMPRESSIONISM • Makes the wild a tangible presence

Eugene Boudin • Boudin loved to focus on painting the sky
(1824 – 1898)

1869: The Jetty at Deaville

oil on canvas

IMPRESSIONISM • Break through painting

Claude Monet • Depicts the popular boat ride up and down the Parisian river as recreational activity
(1840 – 1926) • The atmosphere is the focus rather than the people
• Thicker to smaller brush strokes to show depth
1869: La Grenouillere
oil on canvas
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IMPRESSIONISM • Shows the dominant aspect of the contemporary urban scene
Claude Monet • Theme of modernity with the depiction of train stations to show cities wealth
(1840 – 1926) • No one before had painted these new glass stations and painted on the inside
• Optical colours of industrialization used - purple, blue, and black hues
1877: Gare St-Lazare • Captures energy and vitality of Paris’s modern transportation from the use of agitated paint application
oil on canvas

IMPRESSIONISM • Shows the phenomena of light and colour

Claude Monet • Was a part of a series that Money painted from the same view point but at different times of the day
(1840 – 1926) • Was criticized and accused for destroying form and order for fleeting atmospheric effects
• Not about the subject, but a vehicle for his research about the fall of light on a an object according to the
1894: The West Front of change in conditions
Rouen Cathedral
oil on canvas

IMPRESSIONISM • At the time there was a significant change in that no land was seen again, only water
Claude Monet • Focuses on how light creates different coloured hues
(1840 – 1926) • Painting started the showing of water landscapes

c. 1920: The Lily Pond,

Green Reflections
oil on canvas
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IMPRESSIONISM • Depicts a houseboat on the right as a popular eating spot
Pierre-Auguste Renoir
(1841 – 1919)

1869: La Grenouillere
oil on canvas

IMPRESSIONISM • Shows capitalism where the working class can afford pleasure
Pierre-Auguste Renoir • Depicts and celebrates the moment of this recreation of dancing and drinking on a Sunday
(1841 – 1919) • Shows logic of photography with sharp cut on the edge
• The brushstrokes fuse with each other keeping your eye moving
1867: Dance at the Moulin • Grabbing of an instant of life (impression of moment)
de la Galette

IMPRESSIONISM • One of the last paintings he did before switching over to the popular style of the salon
Pierre-Auguste Renoir • Depicts physical pleasure of Renoir’s friends as they converse, eat, and drink
(1841 – 1919) • Woman putting cup to lips is the only one engaged with the audience

1881: Luncheon of the

Boating Party
oil on canvas
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IMPRESSIONISM • Depicts a woman drinking absinthe, a high potent alcohol
Edgar (Hilaire Germain) • It was not considered lady like to be alone and drinking
Degas • The sense of alienation is important that is created from the two people so close but disconnected, giving the
(1834 – 1917) Idea of being alone in a crowd
• Renoir’s take on modernity in response to the new technologies that are making our lives easier but causing
1875-76: In the Café disconnect
(Absinthe)
oil on canvas

IMPRESSIONISM • Depicts older patrons looking at the young ballet dancers

Edgar (Hilaire Germain) • Unusual cropping in the painting that shows
Degas
(1834 – 1917)

1874: Dance Class

oil on canvas

IMPRESSIONISM • Depicts a nude woman crouching and bathing herself in a non-sexual manner - just focus on the human form
Edgar (Hilaire Germain) and action
Degas • Impression is that we are looking through a keyhole to created a domineering angle; oblique
(1834 – 1917) • Described as how an animal is preoccupied by themselves
• Opened a new root of the nude form
1886: The Tub • Inspired by Japanese print
pastel on paper • Looks at formal elements as well as light and colour
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IMPRESSIONISM • Directly painted from a hotel window
Camille Pissarro • Anecdotal stores: people leaning out of their carriages to talk to others
(1830 – 1903)

1898: La Place du Theatre

Francais
oil on canvas

IMPRESSIONISM • Depicts the tender relationship between a mother and child

Mary Cassatt • Most work is about woman and children in domestic situations
(1844 – 1926) • Contrasted with the flattened patterning of the wallpaper and rug while the people are three dimensional
• Strong influence of Japanism: background patternistic
1892: The Bath
oil on canvas

IMPRESSIONISM • Her first submission into a impressionist show display bond between mother and child in domestic settings
Berthe Morisot • Combination of all the other impressionist style: feathery painting, viewing through a keyhole, photographic
(1841 – 1895) moment, Japanese influence

1972: The Cradle

oil on canvas
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IMPRESSIONISM • Commissioned to create a portal
Auguste Rodin • The “three shades” at they top are the same figure rotated in space three times; it is Adam standing up rather
(1840 – 1917) than lying down
• “The thinker” is depicted just above the door which represents internal struggle
1880 – 1917: The Gates of • Made a plaster cast and was reproduced in bronze
Hell
bronze

IMPRESSIONISM • Commissioned for a public sculpture and did not turn out as expected
Auguste Rodin • depicts men who are leaving their city and have given up their lives for the rest of the people in the city
(1840 – 1917) • Immensely emotional and powerful
• Conceived a sculpture as a study of realism and human emotion and not a heroic implication
1889: The Bourgers of
Calais
bronze

POST- • Practice from recording what he saw through impressionism – payed attention to the physical form
IMPRESSIONISM • Gave shape to form using planes
Paul Cezanne • Compositions is more important than subject in his paintings
(1839 – 1906) • Saw structured forms as geometric forms, and he would try to brake down what he said into shapes
• Entire canvas seems twisted to the left – very animated looking at the objects from multiple perspectives –
c. 1895: Still Life with cubism took radical perspective
Plaster Cupid • Cezanne is painting to what he is seeing – painting the physical form
oil on paper • Took multiple view points and amplified it to create the piece
• The apple in the background is the same size as the apple in the forground – the laws of the perspective do not
apply to the painting
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POST-IMPRESSIONISM • Landscape around Alex-en_Provence with the Mont saint-Victoire was something he used very often
Paul Cezanne • Replaced the transitory visual effects of changing atmospheric conditions, a focus for the Impressionists, with
(1839 – 1906) careful analysis of the lines, planes, and colours of nature
• His work was an interpretation of nature rather than an imitation
1885: Mont Saint-Victoire • Had a distinctive style with harsh vertical brush strokes of colour
oil on canvas • “treat nature by it’s basic forms cylinder, con, addressing volume, mass, and weight.”

POST-IMPRESSIONISM • Depicts an island in the Seine River near Asnieres, one of Paris’s rapidly gorwing industrial suburbs
Georges Seurat • Represents modernity
(1859 – 1891) • Monumental volumetric forms
• The physical technique is called pointillism, the theory behind this is called divisionalism
1884 – 1886: A Sunday on • Used primary and secondary colours with tints
La Grande Jatte • Seen from side or front – great inflence from Egyptian art
Oil on canvas • Two women monkey was an exotic pet
• The proportion is made to be scene at the left hand side (standing couple on the right is much larger then the ones
on the left
• Captures public life on a Sunday – a congregation of people from various classes, from the sleeveless worker
lounging in the left foreground to the middle-class man and woman seated next to him. Most of the people wear
their Sunday best, making class distinction less obvious

POST-IMPRESSIONISM • Depicts entertainment in the time period – shows the circus

Georges Seurat • Influenced by complementary subjects of what was happening in his time period
(1859 – 1891) • Shows artifical light
• Started to explore how shapes and lines can envoke more cheerful emotions from the viewers
1891: The Circus • He worked with quodified shapes: the crow foot shape resonates through these different paintings which he
oil on canvas believed envoked and uplifting mood
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POST-IMPRESSIONISM • Moulin Rouge was a cheap night club
Henri de Toulouse-Lautrec • Typically posters were words only, until Toulouse developed the idea of modern advertisements by adding images
(1864 – 1901) – birth of modern advertising
• Artist very good at rendering sketchy scenes and people – became very well-known for this
1891: Moulin Rouge: La
Goulue
4-colour lithograph

POST-IMPRESSIONISM • Depicts a man with a very strong physical presence on the stage
Henri de Toulouse-Lautrec • Owner did not like the poster – didn’t want to put it up
(1864 – 1901) • The actors and general public wanted it – fought to put the poster up
• Understood what the public persevered and wanted to see in a poster
1892: Ambassadeurs:
Aristide Bruant
six-colour lithograph

POST-IMPRESSIONISM • Where he would visit his brother who he wrote to very often
Vincent Van Gogh • Everything including speech is articulated in colour
(1853 – 1890) • The artist very keen on modern life
• The artist often paints the outskirts of the city
1886: Outskirt of Paris • The term banliue refers to where the city ends and the country begins, which is where modernity is supposedly
oil on canvas found (this is where he paints)
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POST-IMPRESSIONISM • The socially excluded low life is the type of people that would hand out in these swanky cafes
Vincent Van Gough • This is where the artist felt comfortable, even though he didn’t like it there
(1853 – 1890) • Everyone in the bar looked like a pirate
• A sight of urban alienation
1888: The Night Café • Entirely means of expression
oil on canvas • Most reproduced work
• Communicates madness from selecting vivid hues
• Thickness, shape and direction of his brush strokes create a tacktile counter part to his intense colours
• Move brush vehemently back and forth or at right angle giving textile-like effect
• Learned the expressive power of a loaded brush
• Learned colour exaggeration from Gauguin
• Was found to be ugly and bad – which was the negative emotion he looked for (red & green colouring) to give a
sense of disorientation
• “I have tried to express the means of humanity through the colours of red and green”
• Painting a compilation of all of the lessons he had learned from the artists of this time
• Exaggerated orthegonals that pull your eye into it, just like the sign outside world, despite its negative atmosphere
POST-IMPRESSIONISM • Depicts a Dutch village
Vincent Van Gogh • Painted when he was in the Saint-Paul-D-Mausole Aslymn where he had committed himself
(1853 – 1890) • Did not represent the sky’s appearance but communicated his feelings about the universe
• The style is a very personal vision
1889: Starry Night • Turbulance brush stroke
oil on canvas • Colour suggests a quiet depression – releft like application of pure colour
• Applied the paint heavily – almount of paint almost makes the piece 3’D
• Rhythmically swirling forms
• Artist thought the piece was unsucessful due the piece not depicting nature – its this quality that makes it so
famous

POST-IMPRESSIONISM • Artist did about 40 self-portraits throughout his life

Vincent Van Gogh • The hard angular features of his face stand out
(1853 – 1890) • Shortly after his suicide attempt
• Interesting due to his mental condition during this time
1889: Self Portrait • The hard angular features of his face stand out
oil on canvas • He seems confident at first, but the longer he stares at you it changes
• Although he tried to control his insanity, it eventually cannot be contained
• Swirling background depicts this
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POST-IMPRESSIONISM • Depicts Breton woman wearing Sunday caps visualizing the sermon they have just heard on Jacob’s encounter
Paul Gauguin with the holy spirit
(1848 – 1903) • This work decievidely rejects both realism and impressionism
• Artist departed from optical realism
1888: The Vision after the • Composed the picture elements to focus the views attention on the idea and intensify the message
Sermon or Jacob Wrestling • Twisted perspective and alloted the space to emphasis innocence and faith
with the Angel • Is not unified with a horizon perspective, light and shade or naturalistic use of colour
oil on canvas • Shapes are harsh
• These art forms contribute to his experiement to transform traditional paintings and impressionism into abstract
• Expressive lines, shapes and pure colour
• Colours begin to become flat (Japanese influence)
• No longer window into reality, looks very 2D

POST-IMPRESSIONISM • Depicts a Young Tahitian woman scared of spirits in her bed

Paul Gauguin • Believed if you slept in the dark you becaomse a vulnerable to spirits
(1848 – 1903) • His mistresses were young the modeled for him
• Reference to Olympia – artist had a photo of her
1892: Spirit of the Dead
Watching
oil on burlap

SYMBOLISM • Religious story about this woman who asks John the Babtis head in trade for a seductive dance for a king
Franz Von Stuck • Depicts sexual disfunction, there is awareness but no one talked about it in public
(1863 – 1928) • Pleasure tinged with fear
• Dance for the king
1906: Salome
oil on canvas
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SYMBOLISM • Depicts the story of Orpheus who is cut up and his head is found by a woman
Gustave Moreau • Young woman gazed into the head of Orphaus
(1826 – 1898) • Head on the lyre (Orpheus’ instrument)
• Shepards playing their lutes
1865: Orpheus • Pervers style
oil on wood • All senses are brought into place
• Turtles in front - made his lyre by strigging two turtle shells
• Maracab overtone when you release what it is about
• Noted for seductive nude models

SYMBOLISM • Artist subjected a figment of the animation as if they were physical colloing it in whimsically
Odilon Redon • Depicts a fedal head by a shy polyphemus with its single-living eyes rising abovr the sleeping galate
(1840 – 1916) • Image of a dream world
• Colour analyzed and disaccoiated from the waking world comes together
1898: The Cyclops
oil on canvas

SYMBOLISM • Last major large canvas work done before the artist’s death
Henri Rousseau • Looks to surrealism
(1844 – 1910) • Reclined nude woman sleeping and is transported to the jungle in her dream

1910: The Dream

oil on canvas
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SYMBOLISM • Depicts Zeus impregnating Danae
Gustav Klimt • A woman at the height of ecstasy
(1862 – 1918) • Graphic shapes to emphasis private parts

1907 – 08: Danae

oil on canvas

SYMBOLISM • Depicts a couple locked in an embrace

Gustav Klimt • Separate but unified bodies – union of the sexes
(1862 – 1918) • She seems turned away from him (her body language is not reciprocating his advances)
• Ultimate symbol of joy and love
1907 – 1908: The Kiss • All that is visable is arm segments of each person’s body
oil on canvas • This patterning is clearly tied to Art Nouveau and Arts and Crafts movement
• Envokes conflict between 2- and 3- dimentional reality
• Entristic to the works of Degas and other modernists
• High attention to detail
• Might be the artist in this picture

SYMBOLISM • Depicts a person walking along a path with two friends, suddenly the sky went red, my friends went on, I stood
Edvard Munch their trembling with anxiety, and I felt a great infinite scream through nature
(1863 – 1944) • General figure we can all relate to
• Figure is crouching
1893: The Cry • It is not a person who is screaming
oil, pastel, and casein on • Taken from a very recognisable spot in Oslow, Norway – common place for painters to paint the city
cardboard • There are 150 versions of this
• Known for suicides, close to a mental asylum for woman and an abattoir
• :this work has to have been painted by a madman” is written in the sky and painted over
• speaks to a modern alienation that we feel, and that we feel powerless to the forces of nature
• Exemplifies his style
• Paint is applied expressionistically, but took 3 years, is not as spontaneous as it seems
• Comes from the real world but the image departs from visual reality
• The sweeping curvilinar lines resenable the shape the mouth and dead, almost like an eco
• Red and yellow stipes give the sjy and eree glow contributing to the works resona resonance
• Not famous until after WWII, when scream therapy became popular
• One of the few paintings that forces itself into great art by its response of the general public (rather than critics)
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SYMBOLISM • Depicts his sister Sophie and her death effected him a lot - her sister died of tuberculosis
Edvard Munch • His sister was his inspiration for this painting and he explained to the people at the exhibition that they didn’t have
(1836 – 1944) to endure this
• Very tired eyes conveyed; the feeling of when your sick, how hard it is to open your eyes
1896: The Sick Child • As the artsits started to paint the details of the room and the faces, he scaped it countless times until he was
oil on canvas satisfied
• In the autumn exposition (in 1896) it was unveiled and called rubbish – no painting had caused such a ruckus
• Returned to the artists themes of death, dispair and illness

EXPRESSIONALISM • Depicts the modern rural bustle

Ernst Ludwig Kirchner • The beginnings of a series of street scenes
(1880 – 1938) • Enxiety of the modern city
• Jarring and dissonant in both composition and colour
1908: Street, Dresden • Steep perspective in the street threatens to push woman into view space
oil on canvas • Artist perspective, disquieting figures, and colour choice influence Edvard Munch and used similar formal
elements of the screen
• Even though many people are surrounding you in the city, you still feel alienated and alone

EXPRESSIONALISM • Not a representation of the actual scene, but a representation through artist’s eyes
Andre Derain
(1880 – 1954)

1906: Charing Cross Bridge

oil on canvas

s
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EXPRESSIONALISM • The entire arrangement of the place becomes expressive

Henri Matisse • Portait of the artist’s wife
(1869 – 1954) • Name “the green stripe” was given by the green slash through the face
• Divides the face in conventional portrait style (the green represents the shadow)
1905: Madame Matisse • Used colour to describe the image (light source and content)
(The Green Stripe) • Believes in linear quality
oil on canvas • Use of modern sense of stability

EXPRESSIONALISM • Flatness is one of the defining characteristics of modern art

Henri Matisse • Depicts a red studio
(1869 – 1954) • Red is the longest light wave – it’s the most shocking colour
• Drawing attention to the flatness of the cancas
1911: The Red Studio • Red room was obkects, paintings, places tables, pencils, a clock, etc…
oil on canvas • The red is so vibrant that when you close your eyes you can still feel it
• There are no hands on the clock, representing that time is frozen in this place

EXPRESSIONALISM • Painted pieces of paper and cut them out

Henri Matisse • Decisive approach to linerarity
(1869 – 1954) • Process of distilling human for into shape

1943: ‘Icarus’ Plate VIII of

Jazz
gouache on paper, attached
to canvas
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EXPRESSIONALISM • The artist has yet to develop a unique style when creating this work
Pablo Picasso
(1881 – 1973)

1901: Absinthe Drinker

oil on canvas

EXPRESSIONALISM • Depicts two talked people and a woman with a baby with nude paintings behind them
Pablo Picasso • Most significant painting in this period
(1881 – 1973) • The man is pointing across the room to the baby
• The male figures origionally had the artist’s face – in the end, the man had the artist’s dead friend’s features
1903: La Vie • An image of deep melancholy and emotion – the basic cycles of life
oil on canvas

EXPRESSIONALISM • Depicts five woman in the red light district of Barcelona

Pablo Picasso • Removed the male figures from his preliminary drawings - originally a student and a sailer was in the piece
(1881 – 1973) • Rejected traditional modes of feminine beauty
• One of the artists’ break through paintings
1907: Les Demoiselles • Was only shown to a selective people – sat in his studio till 1916 because he didn’t know what to do with it
d’Avignon • Exemplifies modernity for today’s society - exorcism - Questioning the role of traditionalism
oil on canvas • Space is fragmented, like shattered glass – depicts through fractured shapes and jagged planes that represent
drapery – suggests combination of views (as if seen from more then one place in space simulateneously)
• “proto-cubism”
• artist influenced by Egyptian art and Afircan masks and primitive art
• references traditions with the curtains wrapping the frame (baroque framed set) and the fruit at the bottom
• African masks are a way of facing up to the unknown, magical qualities
• Created in his “negro period”
• “Art is not the truth, it is a lie that makes us realize the truth”
• paint focuses on order and disorder – looks like shards of glass with no groundings
• 2D/3D combination is tention between representation and abstraction
• traditional concept of order and unified pictorial space is replaced by interplay of time and space
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EXPRESSIONALISM • Analytic Cubism
Pablo Picasso • Intellectual engagement through the absence of colour
(1881 – 1973) • Eliminates the emotional response
• Dismantles subject and reassembles them
1910: Portrait of Ambroise
Vollard
oil on canvas

EXPRESSIONALISM • Synthetic cubism: constructed paintings and drawsin from objects and shapes out of form paper and other
Pablo Picasso amterials to represent parts ot the subject
(1881 – 1973) • Opitcally suggestive of the real, but is allusion of representation of object
• The first collage; first time a painter had ever applied anything to a canvas but paint
1912: Still Life with Chair- • Newspaper, Oil and oilcloth on canvas
Caning • Is the rope a frame or the edge of the table?
oil and oilcloth on canvas • Puts concept and process first of the subject
• Plays on levels of reality (what’s on top of what)
• Contemporary piece

EXPRESSIONALISM • Depicts terror and grief that flooded through Spain in the civil war on April 26th, 1937
Pablo Picasso • Franco allied Germany and borrowed the German air force to bomb Guernica (he was a Fascist)
(1881 – 1973) • Demorlized people
• Modern warfare turned against the people
1937: Guernica • Night time images though the bombing really took place during the day
oil on canvas • Lost of symbolism
• Didn't accept offer until Guernica had been destroyed in an air raid by Nazi bombers
• Visceral outcry of human greif shown
• Bull represents "brutality and darkness"
• Used fragmentation of objects and dislocation of anatomical features
• Color palette aids in representing the scene's severity and starkness
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FUTURISM • Influence of Maret
Giacomo Balla • Legs of dog drawn over and over again to show motion for one instant
(1871 – 1958) • Interest of motion and cubist dissection of form is evident
• Simultaneity of views was central to Futurist program
Dynamism of a Dog on a
Leash, 1912
Oil on canvas

FUTURISM • Succesive motions of body

Umberto Boccioni • Simultaneity what is seen and what is remembered- Surging mass of people where certain elements are
(1882 – 1916) abstract and some are figurative
• Definitive work of Futurist sculpture
Unique Forms of • Highlights the formal and spatial effects of motion rather than their source (human figure)
Continuity in Space, 1913 • Figure is so broken in plane that it almost dissapears behind movement
(cast 1931) • Reaches majestic expression
Bronze • Symbolic of the dunamic quality of modern life
• Notable for ability to capture the sensation of motion

FUTURISM • Free the viewers form a material world

Kasimir Malevich • Shows political function
(1878 – 1935) • Everyone and anyone can participate
• Creates unversal language so anyone can engage in art
1915: Dynamic • Involves populous (regardless of background or class)
Suprematism
oil on canvas
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CONSTRUCTIVISM • Photomontage
El Lissitzky • Propaganda photo
(1890 – 1941) • The merging of two peoples faces suggests that gender rolls will be equal in this soviet society
• Application of photo montage technique- being realistic without painterly realism
1929: U.S.S.R. Russian • Constructive tradtional painting vs. photography to represent function in reality
Exhibition (USSR • Traveled and spread these ideas in Dutch movements and in Germany
Russische Ausstellung)
Poster: gravure

CONSTRUCTIVISM • Try to involve you and make a great connection

Aleksandr Rodchenko • Suggests new ways of viewing the world
(1891 – 1956) • Photography can lead to development of a new form of artistic expression and vision

1928: At The Telephone

Sliver Gelatin Print

ABSTRACT • A lot of the artist’s work received names like this piece
Vasily Kandinsky • The revelation of Saint John
(1866 – 1944) • Deals with the theme of deluge (flood)
• A work that gives over to colour and form
1912: Improvisation 28 • So abstract that the image is unrecognizable
(second version) • Given into colour and form and their interaction with each other
oil on canvas
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ABSTRACT • Regenerative processes
Paul Klee • Plays on the structure of nature
(1879 – 1940) • Evokes different generative processes

1932: Ad Parnassum
oil on canvas

ABSTRACT • This work was redone many different times in different ways
Piet Mondrian • No curves, very rigid
(1872 – 1944) • Limits colouration reflects cubism
• Reducing the visable world into geometric pieces
1921: Composition with • Leader of the distilled movement
red, black, blue and yellow • Pimary colors are purest colours
oil on canvas • In each painting, the grid size and color planes were placed differently to create an internal cohesion and
harmony. (maintained dynamic tention tension in his paintings)

DADA • Collages made out of pieces of civilization

Kurt Schwitters • Went by the name of Merz Pictures
(1887 – 1948) • Takes a picture of society that is ruled by numbers, letter and math
• visual poetry from cast-off junk of modern society
1920: Merz 19 • Merz used as generic title for a whole series of collages derived from a German word meaning commerce
Paper collage bank
• Collages still resonate with the meaning of the fragmented found objects they contain
• Recycled elements acquire nre meanings through their new
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DADA • Cutlery is used to show the status of where woman are in domestic work
Hannah Hock • Woman as objects, as well as members in society
(1889 – 1978)

1930: Indian Dancer (From

an Ethnographic Museum)
Cut-and-pasted gravure,
relief halftone, & silver-
and-gold-embossed foil on
buff paper

DADA • Shows patriotic Hitler followers eating a bike at the dinner table
John Heartfield • Referring to the following the Nazi party is as stupid as
(1891 – 1968) • Similar to propaganda ad
• Hindenburg- one of main German leaders- repesented in pic, as is the Swastika
1935: Hurrah the Butter is • Literal representation of people eating iron- showing Nazi propaganda as being absurd to follow
all gone
photomontage

DADA • A male urinal on its side with fictitious signature on the side
Marcel Duchamp • Most influential Dadaist
(1887 – 1968) • Readymade sculptures were mass-produced common objects which he modified or combined with other
objects
Fountain (original version • The art of his artwork lies in the artists choice of objects, which has the effect of conferring the status of art
produced 1917) on it and forces the viewer to see object in a new light
Ready-made glazed • Ordinary article of life and placed it so that its useful significance disappeared under the new title and p.o.v
sanitary china with black
paint
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Dada • An anigma (cannot be explained/dense)

Marcel Duchamp
(1887 – 1968)
1915 – 23: The Bridge
Stripped Bare by Her
Bachelors, Even (The
Large Glass)
Oil, lead, wire, foil, dust,
and vernish on glass
• Delivery guys dropped it upon delievery creating cracks in the glass, which was immediately accepted by
Duchampe (the chance factor of Dadaism)!!
• Once of his most visually and conceptually challenging works
• Simultaneously playful and serious examination of humans as machines
• Oil paint, wire, and lead foil sandwiched in between two large glass panels
• Top half represents the bride, whome Duchamp has depicted as a motor fueled by love gasoline
• Tthe bachelers appear as uniformed male figures in the lower half of the work
• Chocolate grinder represents masturbation
• He considered life and art matters of chance and choice freed from the conventions of society and tradition (each
act individual and unique

SURREALISM • The use of dark shadows is used to create an artifical world and shows a dream-likes state
Giorgio de Chirico • The spaces and buildings evoke a disquieting sense of foreboding
(1888 – 1978) • Images transcend their physical appearances
• A few inexplicable and incongruous elements punctuate the sceneès solitude (small girl, empty van, and ominous
1914: Mystery and shadow of a man emerging from behind building
Melancholy of a Street • The eerie mood and visionary quality of Meloncholy and mystery of a street excited and inspired surrealist artists
oil on canvas who sought to portray the world of dreams

SURREALISM • Shows an image of a pipe and a the phrase “this is not a pipe”
Rene Magritte • This is a representation of a pipe through paint, not an actual pipe
(1898 – 1967) • Challenges the viewers reliance on the conscious and the rational in the reading of visual art

1928 – 1929: The

Treachery (or Perfidy) of
Images
oil on canvas
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SURREALISM • Misinterpretation of reality
Salvador Dali • Tried to nurture the state of innocuousness to paint while consciousness
(1904 – 1989) • Aimed to paint “images this concrete irrationality”
• Realistically rendered landscape featuring three “decaying” watches, he created a haunting allegory of empty
1931: The Persistence of space where time has ended
Memory
oil on canvas

ABSTRACT • Emphasize the creative process

EXPRESSIONIST • Artist’s mural-size canvases consist of rhythmic drips, splatters, and dribbles of paint that envelop viewers,
Jackson Pollock drawing them into a lacy spider web
(1912 – 1956)

Number 1, 1950 (Lavender

Mist), 1950
Oil, enemel, and aluminum
paint on canvas

ABSTRACT • Artist was hired to make paintings for a restaurant – he had a meal there and realized the prices and cliental in the
EXPRESSIONIST restaurant would not appreciate his art
Mark Rothko • Artist returned the check and kept his 9 paintings
(1903 – 1970) • Artist had an un-perceivable depth to the paintings from the layering of the paint
• Was picky to how his work should be displayed (diffused lighting from the top, no direct light)
1959: Moral for End Wall
(Seagram Mural)
oil on canvas
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ABSTRACT • A raven coming out of a wall
EXPRESSIONIST • Used transfer and print techniques
Robert Rauschenberg • Vernacular glands
(1925 – 2008) • Works that speak about the area he is living in
• Notion of being bombarded with imagery
1959: Canyon • Combines intersperse painted passages with sculptural elements
Combine mixed media • Incorporates pigment on canvas with pieces of printed paper, photographs, a pillow, and a stuffed eagle

ABSTRACT • Topographical images of the time

EXPRESSIONIST • Looking at the proliferation of images
Robert Rauschenberg • Displays a snap shot of society
(1925 – 2008) • Looking at the pre-feral of images through tv, ads, etc…

1964: Retroactive I
oil and silkscreen on
canvas

POP ART • Bought for over 40 million dollars in 1980

Jasper Johns • The artist felt you needed to test yourself to improve, so he worked with encaustics
(b. 1930) • The artist put newspaper on the canvas and then painted on top of it
• Does the meaning of the flag change when it is painted on wood
1954 – 1955: Flag • Isn’t art just like reality
Encaustic, oil and collage • Addresses a society obsessed with patriotism and the social political problems of the time (concealment and
on fabric mounted on revelation)
plywood • Question where the meaning of a flag changes when it is painted and not fabric
• Very significant statement towards American art
• Wanted to draw attention to common objects that people view frequently but rarely scrutinize
• Made several series of paintings of targets, flags, numbers, and alphabets
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POP ART • The target is the painting
Jasper Johns • Notion of partially being able to see text
(b. 1930) • Isolated between self-evidence and the mysterious
• Again painted over newspaper
1955: Target with Plaster • Roll of wooden boxes that contain bodyparts
Casts o Notion of coming in and out of the closet (the door is wide open)
mixed media o The viewer is a participant and completes the meaning
• Social targeting being a condition of American society
• Art doesn’t matter until somebody sees it
• The idea is what is important
• The audience looks at a Michelangelo for his master technique and Jaspher Johns work for his social connections
• Influence of Dada – shifting the notion from technique to idea – called New Dada

POP ART • Depicts the values of modern consumer culture through figures and objects cut from glossy magazines
Richard Hamilton • Toying with mass-media imagery typifies British Pop Art
(b. 1922) • First expression of pop art for most people
• Address the consumers dreams
1956: Just What Is It That • London had been devastated by bombing at the time and from that came the abundance of consumer goods and it
Makes Today’s Homes So was celebrated
Different, So Appealing? • Reference to cinemas
Collage • Tape recorder – state of the art at the tme
• Man with a pop penis looking at a woman naked on a couch

POP ART • Addresses gender rolls

Roy Lichtenstein • Woman are seen in a passive, teary roll
(1923 – 1997) • Men are strong, worked and engaged in war
• Comic books appealed to the artist because they were mainstay of American pop culture, meant to be read and
1965: Ask Brad discarded
oil on canvas • Pop artist immortalized their images on large canvases
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POP ART • Artist first did them by hand and later did it by silkscreen
Andy Warhol • Hung it like you would see groceries in a store
(1928 – 1987) • The label hadn’t changed in 50 years
• There are as many cans as there are kinds of soup
1962: Campbell’s Soup • He iconisizes items through his work
Cans • Adressing items that have been commericialized and unrecogniable because of the common consumer goods
oil on canvas

POP ART • Celebrated as well as honded by the media in her name

Andy Warhol
(1928 – 1987)
1962: Marilyn Diptych
oil, acrylic, and silkscreen
enamel on canvas
• She took her life in (or overdosed by accident)
• Died in the height of her career
• High gloss but transient, bold but vulnerable
• Applies silkscreen like makeup (makeup of a persona of a star)
• Connotations to drag queens
• One side colour and the other black and white with over inking
• One side is glossy and bright and the other slows darkness and drabness
• Reinforced her status as a consumer product, her glamorous visage confronting the viewer endlessly, as it did the
American public in the aftermath of her death

POP ART • Depicts filled balloons with helium and released them into the atmosphere
Fluxus • Group of artists that share a desire to reconfigure the artist and audience as a production
• Create performances
1960s: Happenings
Allan Kaprow GAS, Long
Island (1966)
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POP ART • Materiality of the things he is making
Claes Oldenburg • Altering the size shows the visual attration of objects
(b. 1929)

1962: Floor Burger (Giant

Hamburger)
Printed sailbloth stuffed
with foam