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Dry cascade and pools, upper garden, Saihoji temple, Kyoto, Japan, 14th century

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entrance to a temple; sit and reflect

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slow, stillness, in the moment, a-temporal, emphasis on current

Meditative quality

zazen meditation “just sitting”

practices: tea ceremony, calligraphy, painting, flower arranging, gardening, art

simplicity; active self-restraint

seek truth, truth about self, and nature of things

personal expression of meditation-induced insights

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Donatello, St. George, from Or San Michele, Florence. ca. 1410-20.

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- contrapposto form

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Architecture:

Harmony of proportions

symmetry

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Jan van Eyck, Man in a Red Turban (Self-Portrait?). 1433.

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- verism (authenticity of form & apperance)

- possibly idealized soft textures

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Imitatio Chrsiti

emphasis on linear perspective

revival of classical architectural forms like Corinthian capitals (even in painting)

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The Unicorn in Captivity, from the Unicorn Tapestries, South Netherlandish or French. ca. 1500.

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repetitive pattern & symbol

lack of pictorial space (only in specific areas by choice)

images intended to convert

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Historical Context:

The Protestant Reformation

Printing press invented

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painterly brushstrokes

sfumato

emphasis on landscape; non-narrative

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- more realistic muscular form (possibly influenced by Classical & Hellenistic revival)

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Painting:

Linear perspective, linear brushstroke, overly emphasized musculature

Superhuman bodies, now placed in various poses

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pictorial space & scale (variation of background to foreground)

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"expression of cultural crisis" OR "product of an elite classes identity and taste"

distortion of proportions with elongated, attenuated figures

jarring colors, compression of space on shallow plane

reject serenity and confidence of High renaissance

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idealized figures

chiaroscuro

illusion (perspective or light)

incorporation of light

diagonals

emotion of figures

drama of action/story

in the moment

viewer-involving

glorifies the Catholic Church (saints, religion, convert by looking)

grand feel

quadratura

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light

chiaroscuro

less dramatic - sense of calm

softer diagonals

less drama of narrative

idealized figures

promote/or not the church

quadro riportato

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natural figures/non-idealized

everyday/ordinary

tenebrism

viewer-involving

in the moment

dramatic/emotion of figures

glorifies Catholicism (sometimes)

immediacy/collapse background; diagonals

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Georges de La Tour, Joesph the Carpenter. ca. 1642.

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naturalistic baroque

high contrasting light & shadow (creating a focal point)

in the moment, every day life with religious themes

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- more verism --> highly realistic texture (hair, face, clothing)

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grandiose attitude all around

dramatic lighting & sweeping gestures

nature's secrets

"style of absolutism"

new scientific discoveries

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Architecture:

classical vocab.

perfection --> oval/ellipse

steeper profiles --> punctuate the sky

"design principles based on amorphous shapes that used classical ornamentations but not its principles

Painting:

propaganda towards Papacy

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Antoine Watteau, Return from Cythera, 1717-19 

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Graceful/ballet-like postures

fete galante subject matter

Feathery trees

painterly brushstroke

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Historical Context:

shift to the "immoral"; depicting life and pleasure/leisure/drama of aristocracy rather than "moral" values

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William Hogarth, from Marriage à la Mode series (c. 1745): The Breakfast Scene

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detailed textures

dynamic poses; casual life of artisocracy

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Historical Context:

shift to the "immoral"; depicting life and pleasure/leisure/drama of aristocracy rather than "moral" values

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soft textures; pastel (yet, some bright) colors; contrasting colors

image made for "pleasure"

questionable (at the very least) sexualization of an infant Cupid

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Historical Context:

shift to the "immoral"; depicting life and pleasure/leisure/drama of aristocracy rather than "moral" values

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Suzuki Harunobu, Evening Bell at the Clock, ca. 1766 

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subject matter drawn from the urban

pleasure quarters of Edo

flattening of pictorial space via isometric perspective

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Antoine Jean Gros, Napoleon at the Pest House at Jaffa, 1804

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propaganda towards Napoleon

Napoleon taking on a Christ-like parallel

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transition back to moral art (based on antiquity)

"awe-inspiring"

Paintings:

idealized figures

linear brushstrokes

escape to classical past (common theme)

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Historical Context:

Industrialization

“anywhere but here, anytime but now”

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Caspar David Friedrich, Abbey in an Oakwood. 1809-10.

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sublime landscape over

(spiritual) escape to a nature

desire to escape to (religious) past

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Romanticism:

attitude, not style

liberation through creative freedom

chaos; response to violence & ugliness of the world

created for the artist

morality not prioritized

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Historical Context:

Industrialization

“anywhere but here, anytime but now”

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Theodore Gericault, Raft of the Medusa, 1818-19

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disturbing scenery to evoke uncomfortable reality/emotion (shock value)

muddled, desaturated colors --> tone

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Romanticism:

attitude, not style

liberation through creative freedom

chaos; response to violence & ugliness of the world

created for the artist

morality not prioritized

---

Historical Context:

Industrialization

“anywhere but here, anytime but now”

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Francisco Goya, Saturn Devouring His Children, 1819-23

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gore being the only saturation to evoke the violence and horror

unnatural forms emphasizes the disturbing story

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Romanticism:

attitude, not style

liberation through creative freedom

chaos; response to violence & ugliness of the world

created for the artist

morality not prioritized

---

Historical Context:

Industrialization

“anywhere but here, anytime but now”

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Joseph M. W. Turner, The Slave Ship, 1840

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chaos; ugliness of slavery

painterly; desaturated landscape + saturated sky = powerful clash

shock value

---

Romanticism:

attitude, not style

liberation through creative freedom

chaos; response to violence & ugliness of the world

created for the artist

morality not prioritized

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Historical Context:

Industrialization

“anywhere but here, anytime but now”

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Gustave Courbet, The Stone Breakers. 1849.

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- realistic form, scale, and other proportions (both the men and the scenery around them)

- desaturated & limited color palette

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Historical Context:

invention of photography influenced the use of cut-off figures

Marx's (socio-economic) Communist Manifesto

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Camille Pissarro, Climbing Path, L'Hermitage, Pontoise. 1875.

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- form (or lack thereof in pectoral space?) through impressions of color and texture

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Paintings:

short, choppy brushstroke

seeking instantaneity

complimentary colors

flattened canvas

Historical Context:

invention of oil paints in tubes

Haussmannization of Paris

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too free expression to new heights

break tradition

independence of color

abstract pictorial space --> contiguous planes of color

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Henry Ossawa Tanner, Angels Appearing before the Shephards. ca. 1910.

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- tone through color & eerie composition & textures (vague, impressionistic shapes give a sense of uncertainty in what you are looking at)

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“flattening of the canvas”

fin de siecle

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Egon Scheile, Self-Portrait (Man Twisting Arm Around Head). 1910.

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- shapes & form loose and exaggerated (possibly to express the artist's emotions either with themselves or just their mood at the time --> expressing what/how it felt to draw at the time

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meaning in gestures

grotesque physical and psychological tensions (German)

intensity, erupting emotions, compositional furor

neurotic & disturbing visual imagery (Austrian)

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- harmonious through repetition in a carefully determined composition

- variety in texture & pattern

- limited color palette

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"innovative style" --> new way to think about art

abstraction --> analysis of the language of painting

reflection

"use of conflicting styles"

Historical Context (early 20th century):

self-referential

expressionist art trend

formalist art trend

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Bruno Taut, Glass Pavilion, Werkbund Exhibition, Cologne. 1914.

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- geometric form

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included expressionism & modernism in architecture

historicism & conventional revivalism --> eliminate distinction of form and function

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Umberto Boccioni, Unique Forms of Continuity in Space, 1913

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distortion of figure

smooth technique

sense of painful separation and disappearance (emotional energy)

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view of permanent revolution

manifestation (acceptance of modernity)

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Context:

result of Cubism

Futurist Manifesto

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Historical Context (early 20th century):

self-referential

expressionist art trend

formalist art trend

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Kasimir Malevich, Suprematist Composition: Airplane Flying, 1915

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sensation of movement

relates to experience

"sense of human hand applying paint to canvas"

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Historical Context (early 20th century):

self-referential

expressionist art trend

formalist art trend

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Hannah Höch, Cut with a Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany. ca. 1919.

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- haphazard composition

- the tone being mocking (given the dada movement), but possibly also saying another emotion given the title (its giving bitter)

---

level order though "nonsense"; random

tabula rasa (goal)

fresh understanding of the world

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Context:

Dada did not refer to itself at an art movement; anti-art

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Historical Context (early 20th century):

self-referential

expressionist art trend

formalist art trend

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Vladimir Tatlin, Project for Monument to the Third International, 1919-20

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dynamic motion/construction/direction

geometric design

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dynamism

propaganda

utopian thematics; new society

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Historical Context (early 20th century):

self-referential

expressionist art trend

formalist art trend

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Le Corbusier, Villa Savoye, Poissy-sur-Seine, France, 1928-9

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could be built anywhere

industry

more functional than aesthetic

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Piet Mondrian, Composition in Red, Blue, and Yellow, 1930

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geometric

solid colors; solid lines

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utopian; radical

embodied universal harmony; universal order

spiritual

NO national identification

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Salvador Dali, The Persistence of Memory, 1931

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no real focal point

dreamscape; metaphor

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expresses absence of control

exploration of unconscious mind

influence of Freud's thoughts on dreams, etc.

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Frank Lloyd Wright, Kauffman House (Falling Water), Bear Run, Pennsylvania, 1936

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built to be accommodating/respectful to nature

fits the composition of the scenery around it

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Jackson Pollock, Autumn Rhythm: Number 30. 1950.

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- feels haphazard, but limited color palette & similar brush strokes (texture) give a feeling of harmony that allows a more thoughtful composition

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abstract gesture painting

metaphoric process

innermost feelings

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Dan Flavin, the nominal three (to William of Ockham). 1963.

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- limited composition (largely effected by repetition)

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lacks evidence of artist's touch

unconventional materials used

exploration of new characterization in art

"no reference to things beyond themselves"

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Joseph Kosuth, One and Three Chairs, 1965

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shows process & inspiration

makes words apart of the piece

like a physical manifestation of a prop sheet

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the idea becomes the piece

scale of work

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strength of a triangle; strength in women together

fluer-de-lis

sense of community

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gender identity & issues

women's issues; violence towards women; homage to women

designed to support women; redefined aesthetic of value in contemporary art

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Maya Lin, Vietnam Veterans Memorial, Washington, D.C., 1981-83

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minimalistic

meant to be reflective (emotionally and literally)

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encompassing history in nature

(sometimes) politically motivated

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John Nash, Royal Pavilion, Brighton, 1815-23

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evoke national architectural heritage

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Other Notes:

gothic articulation (depending on the culture)

classical plan

placed here, because this one's date is confusing

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- heavy emphasis on line & line variation

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performance art

rejecting abstract expressionism?

three dimensional volume using flat dots & flat black lines