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Baptistery of San Giovanni, Florence, Italy 1300s

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Baptistery of San Giovanni, Florence, Italy 1300s

Andrea Pisano 1330: bronze doors that represent John the Baptist

Competition for the best artist for bronze set of doors

The Sacrifice of Isaac (Abraham and Isaac) 1401-03: Filipino Brunelleschi and Lorenzo Ghiberti (won the competition)

Attracted to the classical past and the dramatic gothic renaissance

Filippo goes into architecture in Rome

Filippo Brunelleschi. Done of Florence cathedral (Santa Maria feel Fiore) 1420-36

scaffolding was used out of wood for the dome but there were not long enough pieces

Competition was held to create the dome: Filipino and Lorenzo head to head again

Hollow with two shells to make it lighter (didn’t need 10 foot walls)

Contained metal and wooden ribs to bind it together

Invented new pulley system and interlock system: new technology

Skeletal structure and chains to hold it together

Scaffolding used to create the design

Symbol of Florence to the people

Renaissance: rebirth of the classical past (Greek and Roman past of art and philosophy)

Humanism: natural and realistic human body (new thought of human beings having great potential)

Key words:

Column: Doric, ionic, Corinthian

Capital

Base

Stylobate

Frieze

Relief Sculptures

Pediment

Arch

Roman architecture innovations

Arcades: multiple arches next to each other

Barrel vault: one arch behind the other

Groin vault: one arch on each side creating an x

Dome: round arch

Facade: fake front

Palasters: flat columns

Leon Bautista Alberti. Facade of Santa Maria Novelle, Florence. 1420-70

arcades

Classical

Corinthian capitals

Columns

Palasters

Pediment

Frieze

Bringing heaven and earth together in this building

Orsanmichele, Florence

stored grain here inside city walls

Nanni di Banco, Quattro Coronati (four Saints). Ca. 1409-17

Niche: a shallow recess in a wall to display a statue

Discussing their fate (sculptures that refused to make a sculpture for the emperor).

Christian sculptures wouldn’t create a sculpture of Gods they didn’t believe in

Calm and comfortable discussion between the sculptures

Stonemason gild: story is told without words

Donatello, St Mark, ca. 1411-13 (for Or San Michele)

linen pillow

Linenworks gild

St mark was their patron saint

Lion is the symbol of St mark

Contrapposto: counter balance pose and weight

Naturalistic

Greek and Roman art

Cloth Gild

Donatello. David. Ca. 1420s-60

courtyard of the palace

First free standing nude bronze statue since classical times

Life size sculpture

Victorious posture

Linear Perspective

Brunelleschi Experiment

Vanishing points

Horizon line

Orthogonal lines

Comparison--Donatello David: Similarites: nude, contrapposto, smooth surface

Differences: material time frame: after victory and before; relaxed vs. vigilant, watchful; adds psychologial intensity, yet body is calm, stable; potential for action, ready to spring young adolescent vs. ideal adolescent; superhuman (his is a giant!)

Galleria Accademia, Florence (long line): imposing, must walk around; powerful

Lorenzo Ghibert, Gates of Paradise, east doors of the Baptistery of San Giovanni, Florence, 1425-52

protecting the original artwork but using replica of the real doors

New Old Testament stories

Square panels

Relief and bronze to look gold

Lorenzo Ghiberti. The sacrifice of Isaac. 1401-03

Ghiberti: Difference in Isaac? (doesn’t struggle; heroic pose)

Classical torso

Technical finesse: cast in one piece

Worked on for 20 years; artists of next generation would have spent time there

Lorenzo Ghiberti. Panel of the Gates of Paradise, ca. 1435

depth and details (relief sculptures)

Visual depth

Linear perspective

People get smaller and higher

Lorenzo Ghiberti. The story of Jacob and Esau, panel of the Gayes of Paradise, Baptistery of San Giovanni. Ca. 1435

Jacob and Esau

Continuous narrative: storytelling that involves some of the same characters in different parts of the composition

During the Renaissance more people started signing their work

rise in status

Painting

Leon Battista Alberti. Facade of Santa Maria Novelle, Florence. 1458-70

Masaccio. The Holy Trinity with the Virgin, St John, and two Donors. Ca. 1425

Mary, John and Jesus

Two patrons that commissioned the work in the front (wanted this artwork

Behind Jesus is God the Father

Fresco

Linear perspective

Skeleton shown to represent death and a reminder of death

Triangle portrayed to bring everything to Christ

Depicting truth different then the churches during this time

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Baptistery of San Giovanni, Florence, Italy 1300s

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Pietro Perugino. The delivery of the keys. 1482

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Left wall of Brancacci Chapel Florence, with frescoes by Masaccio and others Masaccio. The Tribute Money. Ca. 1425

Fresco

Jesus Christ and his 12 apostles (old testament story)

Tax collector in mini skirt, dresses differently then the others (shown three times)

Continuous narrative

Peter wearing yellow (shown three times)

Jesus Christ wearing red and blue

Getting the fish and paying money to the tax collector

Naturalistic

Formal Characteristics

Space

mountains behind the building (atmospheric perspective)

Building is in linear perspective

Orthogonal lines lead to the vanishing point on horizon line

Overlapping people

Light and shadow (shading) to create 3D shapes

Peter gets smaller and higher on the plain

The halos are taking up space and have dimensions

Depth of the feet (ground breaking) weight on their feet

Domenico Veneziano. Madonna and Child with Saints. Ca. 1445

three sections

Painted on a board

Sacra conversazione: sacred conversation ( not a specific story)

Elaborate painting

Tempra

Pastel and soft colors

Half life size

Icronography: hooded person= saint francess, hair from an animal= John the Baptist (hair skirt from an animal), Mary= bigger and centered in the middle, Jesus= little boy in the arms of Mary, saint zenobius= holding staff with jewels, saint lucy = crystals in her hands

Saints that were worshiping Jesus Christ

Classical: arches (rounded and pointy), contreposto stance, weight on their feet, Corinthian capitals, Jesus is nude, light and shadow, linear perspective, title pattern, focal points (two on both sides or to the middle), symmetrical balance, and proportions.

Northern European influences in Early Renaissance Art

The Wilton Diptych. Ca. 1400- international Gothic Style

royalty was the main focus

Blue was very expensive, more then the gold

Pattern in the background and flowers

Kind of England

Detail in the fabrics

Size and proportions were different

Paolo Uccell. Battle of San Romano. Ca. 1438

rich materials

Attention to detail in the patterns on the hat and clothing

For shortening of different objecting including uniforms

Linear perspective created through broken spears (creates his own)

San Marco Convent, Florence

One artist created these, he was a munk

Fresco

Fra Angelico. Annunciation. Ca. 1440-45

Mary and Gabriel

Annunciation= announcement

Fresco

The necks and the head are long, not proportional

Rich material and colors

Micha= shiny and sparkly rocks

The flowers are patterned

Patterns seen throughout

Early Italian influence: columns, classical

Simplicity

Proportions and scales (figures are bigger)

Sandro Botticelli. Primavera. Ca. 1482

Venus, cupid, three graces, mars or mercury (hermis and Aries), zephyr, Clovis (goddess of spring)

Classical artwork

Halo around Venus’s head created by nature

No linear perspective

Atmospheric perspective (little bit)

Contropasto

The figures float and are elegant (international gothic style)

Attention to detail and pattern

Oranges were a symbol of the Medici family

human body

Tempra

Interest in a sense of line

Early Renaissance- portraiture

Piers della Francesca

profile angle: include from coins (noble)

Atmospheric perspective

Domenico Ghirlandaio. An old man and a young boy ca. 1480

man is the middle profile and boy is in profile

European influence

Line work in the hair of the boy

Tempra

Early Renaissance art outside of Florence

Andrea Mantegna, Camera Picta. 1465-74

Italian painted room

Very little of the architecture is real, it’s just painting

Fresco

Illusionistic ceiling

Di Sotto in su: underneath

A joke is created through the plant and objects being dropped on us

Giovanni Bellini St. Francis in the Desert. Ca 1480

all our creatures God and King

Surrounded by nature and animals

Christian symbolism

Oil and Tempra

Light and dark

Giovanni Bellini. Madonna and Saints (San zaccaria altarpieces), 1505

oil painting

Color fading into color

Linear perspective

Sacred conversation

Mary and Jesus in the middle surround by saints and Peter and st Catherine

Platter of crystals held by saint Lucy and saint jerone (translates the Bible into Latin)

Symbol of king David on the throne to show Mary’s royalty

Half dome and plasters

Pietro Perugino. The delivery of the keys. 1482

Peter receiving the keys

Classical buildings

Linear perspective

Rome

Fresco (on the wall)

Continuous narrative

The pope authority

First work to mark Rome as an artistic center during the renaissance

Masaccio, Holy Trinity, 1425

Giovanni Bellini, Madonna and Saints, 1505

Similarities

Both are Christian subjects featuring Christ and Mary

Both use a pyramidal composition

Both use naturalistic modeling, or chiaroscuro, in the       drapery, etc.

Both feature classical architecture such as pilasters (flat   columns) and arches

Both feature figures from different time periods (donors on the left, saints on the right)

Both use linear perspective to show a naturalistic illusion of space

Differences; L=Left, R=Right

L is fresco; R is oil

L has less variation between lights and darks due to the fresco medium; R has a wider range of values and more vibrant, glowing colors due to the oil medium

L has obvious signs of divinity (haloes, dove, God the Father standing above); R shows divine figures more humanly

L: Figures fill up most of the space; R: Figures take up left than half of the composition

L: Figures appear formally posed and focused on Christ’s crucifixion; R: Figures appear less formal in that they appear engrossed in reading, etc. and focus in different directions

These two works both show:

Naturalism through chiaroscuro, contrapposto, linear perspective during Early Renaissance.

The pyramidal and symmetrical compositions in each work show the Early Renaissance love for stability, order, and calm.

The difference in medium shows the introduction of oil paint from Northern Europe via Venice (in northern Italy).

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Pietro Perugino. The delivery of the keys. 1482

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Leonardo da Vinci. The Virgin of the Rocks. Ca. 1485

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High Renaissance in Italy (1495-1520)

Theme: Search for perfection

Key Words:

Quatrefoil
Sacristy
Niche
Contrapposto
Linear Perspective
Pediment
Coffers
Pilaster
Capital
Barrel Vault
Sacra Conversazione
Chiaroscuro
Foreshortening
Sfumato
Martyrium
Terribilitá

Leonardo da Vinci. Portrait of Ginevra de’ Benci. Ca. 1474-78

young girl that is 14

Bride that is getting married

Wealthy, beautiful, and wise

Juniper bush= purity and Chasity (fertility)

The only painting in the United States by him

Leonardo da Vinci. Vitruvian Man. Ca. 1487

perfect shapes represent perfection

Putting a human body in a circle and square= we are perfectly made

We are Gods greatest creations

Leonardo da Vinci. The Virgin of the Rocks. Ca. 1485

Foreshortening: distortion of objects not parallel to the picture plane to show depth

Nature is a holy place

Gestures used

Eyes are moving from one gesture to the next

Pyramidal

Details that is put in the foliage

Oil painting

Mysterious backgrounds

Sfumato= (smoky); subtle gradations of light to dark

Domenico Ghirlandaio. Last supper 1480 (early Renaissance)

common treatment

Out in a place of eating where the popes couldn’t talk while eating

Christ has a halo

Judas is separated physically and spiritually

Leonardo da Vinci. The last supper ca 1495-98

symbolism is shown throughout

The story of the last supper

Judas is away from Jesus by leaning the opposite way of Him

Jesus is in the center as the vocal point (vanishing points lead here)

Every line leads us to Christ

Roman arch and classical architecture create subtle halo

Light shines around Christ with the rest darker

Landscape behind them

Leonardo da Vinci. Mona Lisa

she was stolen

We all know about the painting without being taught a ton about it

She has a presence and she’s memorable

What is so special about her?

Fumanto

Very subtle drawing of a women with a slight smile

Donato Bramante. Tempietto, San Pieto in Montorio, Rome. 1502-11

marked the place where they believe Peter was killed

Martyrium= Chapel in honor of a martyr

Honoring St. Peter

Small but perfectly balanced and Renaissance building

Balanced: symmetrical balance

Triangular shape created in architecture

Classical: dome, columns, capitals, proportional, sense of harmony,

Christian

Temple of Hercules, Rome

Rottgen Pieta, Bonn, Germany, 1300

Mary and the crucified Christ

Michelangelo. Pietá. Ca. 1498

created at age 29

Perramitial  composition

Balanced and calm

Naturalistic not realistic

Naturalism vs Realism

Realistic= true to life (Mary is 3x the size of Jesus)(Mary should look older)

Naturalistic= looks natural (the flesh of the shoulder being pushed up)

Represents Mary as a young virgin and crucified Christ

Michelangelo. David. 1501-04

large about 18 feet tall

The hands and head are too big for the body

Relaxed and clam stance (contrappasto)

Placed in a courtyard of the mettachi palace before taken to a museum

Sling in the hand

Wonderful look in his face

Details in the face

Glance that says he’s ready to show his strengthen and potential

David has become a giant because of his faith and knowledge

Christianity

Michelangelo. Moses. Ca. 1513-15

Terribilitá= awesome force

seated contrapposto

Attention on the toes to spring into action

Calm and relaxed pose

Created for the light to reflect off Moses

Symbol of spiritual and physical strength

Interior of Sistine Chapel showing Michelangelo’s ceiling fresco, 1508-12, Vatican, Rome

different stories of the Creation and gospel

Still a sacred place and church

Fresco

Different levels of reality

Attention to detail on every figure

Male models were used for men and women

Muscular bodies

Relaxed and clam poses

Creation of Adam (gets a lot of attention)

Full reaching arms (we have to ask and reach for him)

Reminder of how great Gods creations are

Message to the future (shape of the brain and body)

Heavenly Father has a body along with the angels (pre existence)

Michelangelo: Sculpturally solid figures, pyramidal composition (also Leonardo); interaction of figures, grouping

Leonardo da Vinci: Graceful, lyrical, soft chiaroscuro, landscape settings, gestures

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Leonardo da Vinci. The Virgin of the Rocks. Ca. 1485

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Titian, Madonna with Members of the Pesaro family. 1526.

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Raphael. La Belle Jardiniere. 1507

Mary, Jesus Christ, and John the Baptist

John the Baptist: wearing animal skin and gazing at Jesus Christ, and halo on his head

Jesus Christ: Looking up at Mary, reaching for the book, and a halo on his head

Foreshadowing used here in what is to come of Jesus Christ (the cross, Mary holding back trying to protect Jesus from his future, and Christ reaching for the book while leaning on Mary

Mary: holding Jesus Christ and holding back a little from him, and has a halo on her head

The composition are perramitial with Mary as the focal point

Nature is an important factor in the painting (throne for Mary)

Sweet, harmonious, and gentle nature

Figures are proportional and complex poses (rounded and 3D)

Portraiture

Raphael. Frescoes of the Stanza della Segnatura, Vitican Palance, ROme. 1508-11

Michelangilo and Raphael worked together on the frescos

Each wall represented one branch of learning (theology, philosophy, law, and arts)

Religious connections(pope) catholic

Art as represented through poetry

Raphael. The school of Athens, Stanza della Segnatura, 1508-11, Vatican Place, Rome

Greek philosophers represented

Combining the classical age (thinkers, architecture of Rome)

One women: Athena (god of wisdom)

Athena is paired up with Apollo(god of music)

Classroom where people are discussing, learning, and studying

Raphael placed a self portrait in the painting

Plato (pointing up) talking about things of heaven and Aristotle (pointing to the ground) talking about things of the earth (both in the center)

There were many contemporary artist used to make the figures (they were models)

Renaissance: the idea of rational thinkers

Humanist

Religious thought (in the library of the pope) all works together in the studies of God and the Heavens

High Renaissance in Venice

Giorgione. The Tempest. ca. 1505

Student of Bellini

Panel Paintings: Oil Paint

Unique art from the rest of the work in this time

There is no story (not very clear)

Madonna and Child?

Contemporary man in the left corner

Rich color (tempest) shades of color and weather

Poetic rather than literal

Making these painting for private collectors and wealthy people

Titian. Man with a Blue Sleeve. ca. 1520

Student of Bellini

Lots of portraits (including the pope)

The man can not be identified (we don’t know his name)

Royalty, noble, arrogant, mysterious, proud, confident, and wealthy

Side eye look along with the sticking out of the elbow

We are below him, he is looking down at us

Blue was an expensive color, blue clothing was expensive (used lots of cloth)

Figure is broad from the sleeve

There is a lot of personality portrayed through the body language, color, and facial expressions

Titian, Madonna with Members of the Pesaro family. 1526.

Painting for churches

Commission from the Pesaro family (donors)

Donors are in prayer in front right of the painting

Victory of the navel in the Pesaro family that defeated turks

Pesaro is a gift to venes, praise

Mary and Christ as the vocal point

Peter in the blue with key on his ankle

Oil paint

Rich color with deep shadows

Light and dark variations

Classical architecture (arches and columns)

Saints from different time periods

Madonna and Child are elevated from the rest (on thrones)

Saints are in conversation with each other (sacred conversation)

Mary and Christ are at the point of the pyramid composition

Naturalism: there are no halos and the poses of the figures are unique (relaxed)

Lighting is used to help (single unified light source) in their faces

Proportions of the human body

Arch shape in the real architecture of the church

Tow point linear perspective

Emphasis on different things

Different types of balance (symmetrical and asymmetrical)

Different ways that people would view the artwork

One point linear perspective

Diagonal

Venice

Cast shadows

Charateristics:

Linear perspective, contrapposto perfected
Still looking to ancient architecture, sculpture, mythology, philosophy

Fresco, oil, marble

Religious (Christian) subjects, portraits, mythology/history

Sfumato, pyramidal compositions, ¾ pose, naturalism in human body and more complex poses

Idea of artist as genius; perfect proportions; elegance and perfection

Venice: emphasis on mood, light, color, nature

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Titian, Madonna with Members of the Pesaro family. 1526.

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Mannerism:

Technical virtuosity

Unbalanced compositions

Complexity

Elegance

Erudite subject matter

Expressiveness

Distortions of proportions

Artifice/exaggeration

Beauty for beauty’s sake

Theme: “Where we gonna go from here?”

Michelangelo. St. Peter’s, Rome, seen from the west. 1546–64

Largest church in the world in any religion

Julius got his wish (greatest church)

Proportions are great and elegant

Elegance and lightness

Emphasis on vertical lines that lead you eyes up

Lantern on top

Michelangelo. The Last Judgement. 1534-41

The dead are being called up by angels

They are being called to judgment

The righteous are being brought up and the wicked are being pushed down

Very physical

Muscular figures (men and women)

Twisted and complex poses

Peter is holding a big giant key

Jesus Christ is in the center of the art piece

There is light represented behind Jesus Christ to show he is the light of world

Jesus Christ is huge compared to Mary on his left who is smaller

Proportions were not the most accurate to put emphasis on certain figures

The damned man is surrounded by snakes and look of realization and regret

Dramatic action isn’t of relaxed poses for figures

Titian. Rape of Europa. 1559-62

Stories of the Love of the god Jupiter

Having affairs with mortals

Tricked people into affairs

Disgusted himself as a white bull

Oil painting

Rich color

Europa is being abducted by Jupiter

Not blending the paint strokes (can see that he’s dragged the brush)

Lose brush stroke

Form of shade and texture

Different mood

Paola Aronese. The Feast in the House of Levi. 1573

Protestant reformation had happened (changed cathotasism)

Church police called inquisition (try strict with catholicism rules)

Christ is in the middle of the table surrounded by his apostles

Drunks and germans and dwarfs and dogs/cats are surrounding Christ

Loud and boisterous (not reverent)

Levi is a tax collector that is a republican

“Eating with sinners” there are the people that need me

Distortions

Chaotic

High nature

Jacopo Tintoretto. The Last Supper. 1594

On the right side of an alter

The angles are translucent (not high reniessance)

Multiple perspectives (orthogonal line) mixed up visual points

Animals

A lot of motion created through the figures

Each figure has its own halo

Judas does not have a halo above him

Christ is focused on the bread and wine

Light source is Christ, the most light comes from him (from within)

The angels are coming from the oil lamp

Spiritual experience and feeling

The servants don’t see the angels (only those that are spiritually enlightened)

Elegant poses (exaggerated)

Figures are stretched out

There is no symmetry but the space is filled well (balanced)

Contrast (dark darks and lights)

Looser brush stroke

People in chaos

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Giulio Romano, interior courtyard façade of Palazzo del Te, Mantua, Italy 1525-35

- Mannerist features

- encaged columns

- oversized keystones

- Niches and blind windows

- Paintings

- Fall of the Giants: A fresco that dissolves the room's architecture

- intellectual amusement for the Gonzaga family and their guests

- multisensorial space that makes the viewer question the building's stability

- Frescos were created to line the interior

Michelangelo and Bartolommeo Ammanati. Vestibule of the Laurentian Library, Florence. Begun 1523; stairway designed 1558–59

- Mannerist architecture

- expensive and exaggerated design

- dark imposing space

- recessed columns that appear to struggle against the wall

- three flights of steps that create the visual effect of a waterfall

- built above monastic quarters on the east range of the cloister

- blank tapering windows framed in pietra serena

- grey columns

- linear perspective

- an early example of Mannerism and a revolutionary use of space

Rosso Fiorentino. The Descent from the Cross. 1521

- Highly dramatic

- Painting

- Moment when Jesus' body is being lowered from the cross

- intensely contorted figures

- Vibrant colors

- raw emotion

- Stylized forms

- exaggerated moments

- grief and anguish

- Italy

- Elongated figures

- exaggerated gestures

- Dramatic lighting

- Chaos and instability

- awkward angles

- Christ, Joseph of Arimathea, Nicodemus, Mary Magdalene, the virgin Mary, and St. John the Evangelist

Jacopo da Pontormo. Pietà/ Or Descent from the Cross. ca. 1526–28

- Highly dramatic

- Painting

- the moment Jesus' body is being lowered from the cross\

- elongated and twisting figures

- swirling composition

- intense emotion and anguish

- weightless and floating figures

- exaggerated poses

- vibrant colors

- focus is on the emotional impact of the scene

- Christ, the Virgin Mary, mourners, Nicodemus, and Women

Parmigianino. Self-Portrait. 1524

- Depicts the artist at age 21

- Celebration of the artists talents and use of illustration techniques

- Artist's hand is elongated and distorted by the mirror

- artist's forehead and right cheek have a lustrous tone to evoke the sheen of the mirror

- range of brushstrokes to evoke their texture

- demonstrated Parmigianino's ability to manipulate optical illusions

- considered one of the Italian Renaissance's great masterpieces

- paved the way for other bold artists

- painted on a specially prepared convex panel to mimic the curve of the mirror

- shows us the self-examination and exploration processes that the artist must go through in order to channel their creativity

- Painting

- Distorting

- Dramatic by facial expression on his face

Parmigianino. The Madonna with the Long Neck . ca. 1535

- depicting the Virgin Mary holding the infant Jesus

- Painting

- extremely elongated neck

- elongated body parts

- idealized elegance and grace

- long neck symbolizes Mary's purity and divine nature

- comparing her neck to an ivory tower

- Madonna is seated on a high pedestal with a group of angels crowded on one side, St. Jerome appears on the other

- remained incomplete at the time of Parmigianino's death

- Italy

- a statuesque figure reminiscent of Michelangelo, but with unnaturally elongated forms

Bronzino, Portrait of a Young Man, c. 1530

- Painting

- a painting of an unknown young man in a Florentine palace

- young man is arrogant and self-assured

- porcelain-hard face and roughly cropped hair

- emphasizes the social status of the sitter more rather than a human connection

- holds a book with his fingers between the pages

- He stands in a Florentine palace, He rests on a green-covered table, and Pink drapery is behind him

- Young man's appearance may be a mask, like the grotesques on the table and chair

- hidden theater of desire behind the drapery includes a statue of Bacchus, the god of wine, which implies hedonism

- The young man is probably well-educated and had a high social status

- book of poetry

- emblem on his helmet indicates an interest in the classics

- Milanese armor alludes to the profession of an ideal courtier

Sofonisba Anguissola. Self Portrait. 1556

Women were not common as artists during this time

Pendent of a self portrait

Holding a medallion with her name on it along the boarder

Shows her hands to show that she painted this

She was very proud of being a women artist

She wanted people to know that she could paint Christ beliefs also

Her teacher painting her as a self portrait

Just late renaissance

No distortions and classical

Could pass as high renaissance

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Theme: Reformation

Matthias Grünewald, Isenheim Altarpiece, ca. 1509/10–15

Crucifiction scence

Predella

Demonstrates that Christ understands all of our different trails during this time

Designed for the diseases that people are going through during this time

There are people losing limbs from the diseases

Painting

Midevil

Scale is different

Distorted

Christ, Mary, Mary Magdalen, John, and John the Baptist

John the Baptist is next to the lamb with the cross pointing his finger

Medieval

Northern European renaissance

Matthias Grünewald. The Annunciation; Madonna and Child with Angels; The Resurrection. Second view of the Isenheim Altarpiece ca. 1509/10–15

Perspective

Good body proportions

Light and calmer

Hopeful scene

Light sources creates all throughout different pieces

Demonstrates different treatments

Music was a treatment (shown in choir of angles)

Bathing treatment

Plants of herbs treatment

Light treatment

Demonstrate the feeling of hope in different treatments

Make connections with the people

Personal

Annuciation

Christ is born

Resurrection

Depiction of Christ’s life

Seen on weekends and Sundays

Protestant Reformation 1517

Martin Luther

Iconoclasm= Destruction of images

Protestants destroyed catholic artwork when they left the church

Violent

Believed that artwork was going against the 10 commandments

Lucas Cranach the Elder, An Allegory of law and Grace, c. 1530

Protestant Plan of Salvation

Two halves: living half and dead half

Heaven and Hell represented

The fall

Albrecht Durer. Self Portrait. 1500

Head and hands are the most important part of art

Made himself look like Christ

People during this time thought this could be the end of the world when Christ was coming

He has Christ is coming on his mind when creating this

Serious and powerful

Thinking about the second coming

Painting

Oil on panel

Love of detail

Renaissance and Northern tendency mix

Figures with weight

Albrecht Durer. The Four Horsemen of the Apocalypse. 1498

Wood block print

Death= pitch fork, Famine= scales, war= sword, pestilence=arrow

Ahead of his times with wood cut and engravings

Very skilled in his area

Shading

Second coming represented

Love of detail

Figures with weight

Renaissance and Northern tendency mix

Albrecht Durer. The Four Apostles. 1523-26

Weighted figures

Renaissance and Northern tendency mix

Painting

Oil

Declaration of his faith

Follower of Martin Luther

Left the catholic church

Protastant

John, Peter, Mark and Paul

Catholics would emphasize Peter but Durer put him behind John

John 1:1

Read the words is more important then following the pope

People to read the scriptures

Printing press was created for people to read their own scriptures

Translation of the Bible

Latin into German

Apostasy was being demonstrated by catholics

Quotes of scriptures about apostasy

John and Paul are emphasized with the word of God

City Hall

Statement of Protestant beliefs

Hans Holbein the Younger, Portrait of Sir Thomas More, 1527, Frick Collection, NY

Sir Thomas Moore (advisor of King Henry)

Letter of recommendation

Portrait

Northern European: Detail of texture and fabric, Velvet and gold, Stubble on the chin

Naturalism

Combine of Italian and northern renaissance

Hans Holbein the Younger. Henry VIII. 1540 Barberini Palace, Rome

elbow out to make him look powerful and strong

Square within a square

Wealthy and powerful

Portrait

Pose is full frontal pose (saved for royalty and wealthy)

Painting

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Hans Holden the Younger, Jean de Dinteville and Georges de Selve (“The Ambassadors”). 1533

Oil painting

Linear perspective

Musician

Left is rich (clothing and sword in his hand) man of action

Right is more simple and reserves (less flamboyant)

Left has a lot of fur and fabric

Explorers (globes surrounding them) celestial and earthly globe

People that have a good education and understanding of heaven and earth

Renaissance men, men of science

Skull on the ground (can be seen less distorted from the side): stretching perspective (Christian death; need for a savior; fall and death of Adam)

Men that are in their twenties

Ambassadors of France

Tile has for shorting and perfect perspective

Patterns everywhere (love of pattern)

Lots of detailed textures

Music book is open with the clear notes (hymn by Martin Luther)

Lots of symbols

Broken string is simple of the time and split of the churches (catholic and protestant)

Crucifix in the back left corner in the painting

Catholics of Catholicism

Symbols were ways to represent their religion without getting in trouble

Tight brush strokes (carefully blended)

Timeless

England

Anamorphic perspective: Elongated in a diagonal way (looks different from different angles) has to be looked at from the right angle

Pieter Aertsen. The Meat Stall. 1551

The cow head is the focal point and the our eyes move around

Painting

Meat is the subject

Places here have shops with a lot of game (open market)

Art is being sold by this artist in the open market

Wealthy people who were also selling bought his artwork (commissioning)

No guarantee that people were going to buy your art

In the Netherlands this was a typical scene and daily life

This painting is not just meat there is other symbolism

Christian symbolism: Fish in a bowl (fish is a symbol of Christ), fish, meat hanger, and pig feet are in a cross shape, perception of Mary with Jesus Christ in her hands and joshes in front of her, flight of Egypt(people in the background) Good Samaritan, Window on the right (tavern scene) places of evil and earthly lusts, shells/ousters on the ground were symbols of lust, and pretzels (symbols of prayer).

Which appetites are you going to follow in your life (Mary and Christ or earthly lusts)

Genre scene: Scene from everyday life

Pieter Bruegel the Elder. The Return of the Hunters. 1565

Loved to create landscapes

LInear perspective

Depth (atmospheric perspective)

Wealthy buyers

Painted 5 seasons

Winter is demonstrated

Joyful

Painting

Not a religious piece of art

Shape: houses are demonstrated with different triangles, birds, dogs, people (strong sense of shape)

Line (leading lines): Trees (diagonal line)

Unity and variety: Hunters, arches, lakes, trees, color of water and sky, contrasting the blue and orange red, complimentary color (warmth and cool)

Principles and elements of design are being used

Charming painting

Harshness of winter (hunters with not much food and women working in the cold)

People joyful (work and play demonstrated)

Choosing to find the joy in the winter

Pieter Bruegel the Elder. Peasant Wedding ca. 1568

Renaissance in Italy

Linear perspective (tray, walls, and tables)

Foreshortening (little boys head in the corner)

Clothing is not Renaissance

Netherlands

Proportions are not exactly correct

Naturalism

Composition and leading our eye through

Contrast of colors (blue and orange)

Person who wanted this painting were not peasants, they were wealthy

Fascination for the wealthy (respectfully done)

Bruegel snuck into this event to get into their lives, he dressed up as a peasant

Grain in many different places: floor, beer, food, walls, and little boys bowl

Bride didn’t eat at her wedding lunch (sitting dignified) paper crown above her

Land owner In the right corner

Person in the chair ran the ceremony

This day was about the bride

Day in the life

Best clothing that these people had

Delightful, warm, friendly, and brings you in

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Nicolas Poussin. The Death of Germanicus. 1627–28

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Baroque Art in Italy and Spain: 17th century (1600s)

Theme: Counter-Reformation

Characteristics

⁃                Drama

⁃                Energy and movement

⁃                Dynamic balance (diagonals, curves, countercurves, etc.)

⁃                High contrast (dark & light, etc.)

⁃                Emotion

⁃                Element of time

⁃                Viewer involvement

⁃                Naturalism of the Renaissance

Counter-Reformation

⁃                Movement in the Roman Catholic Church to offset the Protestant Reformation;

⁃                Papacy patronized art on a large scale, hoping to make Rome the most beautiful city “for the greater glory of God and the Church.”

Key Points:

⁃                Counter-Reformation

⁃                Art as a means to conversion

⁃                Caravaggio introduces tenebrism and influences Baroque art for the rest of the century

⁃                Velazquez carries on Titian’s technique of the loose brushstroke

Baroque Art in Italy

Caravaggio. The Calling of St. Matthew, Contarelli Chapel, San Luigi dei Francesi, Rome. ca. 1599–1600

⁃                Painting

⁃                Church in Rome (San Luigi dei Francesi)

⁃                Calling of St. Matthew

⁃                Matthew: The youngest one with the light shining on him (the guy with his head down and everyone is pointing to) (guy pointing to himself)

⁃                Natural light source that also seem spiritual

⁃                Christ is demonstrated on the far right with the slight halo on his head

⁃                Artist makes you want to put

⁃                Personal conversation

⁃                Catholic counter reformation movement

⁃                Get members to be more solid in their conversations

⁃                Peter: Man next to Christ (trusted man)

⁃                High contrast (hand of Christ, boys face)

⁃                Christs hand looks like the hand of Adam

⁃                Parallel with Adam and Christ (death and eternal life)

⁃                Different types of dressed people

⁃                Oil painting

⁃                Bare feet and rugged place (down to earth people) wasn’t normal for these figures

⁃                Symbolism: Cross in the window pain

⁃                Repenting and changing our lives (just like St. Matthew)

⁃                The calling of St. Matthew by Christ to follow Him

Tenebrism: Strong contrasts of light and dark (a type of chiaroscuro)

Caravaggio, The Conversion of St. Paul, Cerasi Chapel, Santa Maria del Popolo, Rome. ca. 1601

⁃                Paul and Saul

⁃                Contrast of light and dark

⁃                Night scene

⁃                Spiritual and natural light

⁃                Conversion story

⁃                Empty in the center

⁃                Focal point: The head of Paul

⁃                Groomsmen with the horse (not existent)

⁃                Personal conversion story

⁃                Oil painting

⁃                Rome

⁃                Judith is cutting the head off of the man that is trying to control their place and her

⁃                Judith asks God for help to achieve this task

Artemisia Gentileschi, Judith and Holofernes, 1611-12

⁃                Tenebrism (extreme light and dark)

⁃                Drama

⁃                Oil painting

⁃                Judith is be heading the man that is trying to take advantage of her

⁃                Realistic and naturalist

⁃                Figures look more realistic and powerful

⁃                Upside down pyramid

⁃                Handmaid is helping her achieve this

⁃                Heroic

⁃                Determination

⁃                Judith is shown as a powerful women

⁃                Italy

Artemisia Gentileschi. Judith and Her Maidservant with the Head of Holofernes. ca. 1625

⁃                Feeling of suspense

⁃                After Judith cuts the head odd of Holofernes

⁃                Emotion

⁃                Lights and dark (tenebrism)

⁃                Dramatic

⁃                Rich colors (saturated yellow and purple)

⁃                Naturalism: modeling of the clothing, proportions in figures, foreshortening of her hand, hand coming into our space, and head really close to us

⁃                Oil painting

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Nicolas Poussin. The Death of Germanicus

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Juan Sanchez Cotan. Quince, Cabbage, Melon, and Cucumber, ca. 1602

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Book of Iconology

- book that allowed artist to know how to include symbolism in their artwork

- Idea of painting: show a woman with dark and messy hair with a pallet and paint brush un her hand. Along with a necklace, dress that has iridescent colors, and she should be at work painting

Artemisia Gentileschi. Self-portrait as the Allegory of Painting (La Pittura) ca. 1638-39

- Painting

- Abstract idea with something that is visual

- Symbolism of a women painting herself while she paints herself painting

Baroque Architecture

Carlo Maderno. Façade of St. Peter’s Rome. 1607-12

- Facade: front base of the a building

- Early stage of baroque art in Italy

- Classical characteristics: Pediment, columns, Corinthian columns, pilasters

- Baroque characteristics: crescendo like music, uneven amount of space in between the columns, colossal order (large columns), drama, and oval and trapezoid shapes (new feeling of rhythm and drama)

- Bernini called his colonnades “the welcoming arms of the church”

- Bernini finished up the church by including the colonnade (open column area in front of the church)

Bernini. Baldacchino. 1624-33. At crossing. St. Peter, Rome

- Spiral columns (continuation of times) energetic and look very good

- Bronze (very expensive)

- 8 stories high

- Dramatic

- animals and cupid babies (poutines)

- Large crown and the cross

- Catholicism will be victorious (strong as a church)

- Catholic

- Monument to the Marter that the church is named for

- Largest church in Rome

Francesco Borromini. Façade of San Carlo alle Quattro Fontane, Rome ca. 1665-67

- small church (already existed but was reconstructed)

- Façade

- created sculpture out of architecture

- Energy and movement

- Curves and counter curves

- Drama

- Sculptural feel

- geometric shapes that fit perfectly in the dome

-  used unique shapes to create the dome

-  half domes that the come together with the dome

-  symbol of the dove represented in the middle of the dome

- Dynamic balance

Gianlorenzo Bernini, David. 1623

- Curves and counter curves (in his back along with his leg)

- Facial expression and position show motion

- Movement

- In the middle of the action (middle of battle)

- new moment depicted of this story

- split second of time

- contrast (Shadows and highlights) under his arm, arch of his chest, and his hair line created through the position

- off balance (unstable)

- up in your face (get out of the way)

- close contact

- armer under him that he did not use for battle

- Arm is textured

- Smaller in size

Gianloreno Bernini. The Ecstasy of St. Teresa (Cornaro Chapel, Santa Maria della Vittoria) 1645-52

-oppera was a genre of music during this time

- theater

- Lots of arts combines together to create the artwork

- architecture, painting, and sculpture

- St. Teresa of Avila (Spain) canonized 1622 (Saint)

- St. Teresa wrote about her spiritual experiences and read her daily exercises (church wanted to represent that to all their saints)

- Vision that an angle came to her with a golden area and pieced her heart (love of God that was piercing but joyful)

- Spiritual and physical experience

- full of action

- face is full of emotion

-Texture that brings it to life (clouds and drapery)

- Stage (we are all there for the same purpose)

- Daily practice of strengthening faith and feeling the spirit

Francisco de Zurbaran. St. Serapion. 1628

- Christian marder (looks like Christ) wearing white

- Peaceful death

- killed by pirates in 1240

- not a lot of movement and drama

- High contrast of light and dark

- viewer involvement

- Paper that tells his name and artists name (life like)

- Trompe L’oeil= Fool the eye

- quiet and meditation

- Monastery chapel where funerals were held

- Dark chapel with flickering candles

- The death is not the end

- Catholic

Juan Sánchez Cotán. Quince, Cabbage, Melon, and Cucumber. c 1602

13. Diego Velázquez. Juan de Pareja. 1650

- curve and dynamic

- Dramatic with the canvas black

- new world vegetables

- Spain was colonizing more states in the world

- Reminder that these things are not going to last

- Vegetables placed like a human figure

- new genre

Baroque art in Spain

Juan Sanchez Cotan. Quince, Cabbage, Melon, and Cucumber, ca. 1602

- Dynamic balance with the diagonal line (curved)

- Not symmetrical

- Dark background

- Tenebrism (contrast darks and light)

- Dramatic contrast

- The cucumber looks like its going to come out of the painting

- Involves the audience and pulls us into the painting (feels like we can reach in)

- Time: these vegetables are all going to rot and go bad

- Not perinate

- Moral: life is short, and pleasures are fleeing (be prepared and continue to come closer to Christ each day)

- Sign of power (colonizing occurring bringing over produce)

- Movement from the curve

- Sense of anticipations from the black background (energy)

- Hanging fruit so that it won’t rot

- Naturalism of the renaissance

- painting

- technical skills

Diego Velazquez. Juan de Pareja. 1650

- Portrait of a man

- Well kept (wealthy)

- Bored

- Elbow out which demonstrates dominance and confidence

- Pose has a sense of dignity but his face looks more humble

- Hole in his sleeve

- Slave and servant to Velazquez

- Velazquez bought the freedom of this servant (became an artist)

- Practicing the pose to paint the pope of England

- Painting

- Life like

- Loose brushstroke (sense of movement)

- Smokiness and adds highlights

- Harder edges, texture, and highlights/shadows

Diego Velazquez. The Maids of Honor. 1656

- Detailed and loose brushstrokes

- Realistic

- Naturalistic: lighting (life like)

- Lighting comes from the window and the door in the background

- People are Lifesize

-  rich cool and warm colors that adds contrast (doesn’t use straight black or white)

- variations of color blended (complement each other)

- The colors help add movement to the painting

- Painting (royal portrait, self-portrait, genre scene) different levels of the background

- geometric shapes (balanced by the human organic shapes)

- Linear perspective

- Focal point: little blond girl (little princess) the soul er of Spain

- Royal family

- The artist is on the left (self-portrait) audacious to put himself in the royal family

- Portrays himself as dignified (red cross: order of knighthood) greatest honor as an artist (painted after his death)

- Had three strikes against him (the pope and king supported him and the honor) considered a craftsman

- kings study (location)

- attending to the princess (whole hope is on the little girl)

- Little people there to entertain the princess

- Important people of court

- king and queen only in the mirror (reflection of her parents) spirits are still there

- Dog: sign of fidelity (family loyalty)

- Spain is very powerful (represents the power in Europe that this family has)

- Costume (record of fashion in the royal family)

- Court painter and mix genres

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Juan Sanchez Cotan. Quince, Cabbage, Melon, and Cucumber, ca. 1602

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Baroque Art in the Netherlands

Theme: New Subject Matter

Peter Paul Rubens. The Raising of the Cross. 1610-11

- Confident, educated, sophisticated

- Studied in Italy (influences of the Italian Renaissance and Baroque at in Italy)

- Served as an ambassador and diplomat

- Interested in the human body and naturalism

- Alter piece

- Depiction of the raising of the cross

- tryptic: three panels that open and close

- cathedral in Belgium (part of the Netherlands in these days)

- Flanders

- Roman soldiers on the right, Mary and John on the left, morning people below, and central panel people raising the cross

- People in the middle demonstrate muscular figures with power and dominance (weight that they are barring and pulling with all their might)

- energy and movement: people raising the cross, the tree in the background, the mane of the house,

- Dramatic scene: faces of the people and the event that is being represented

- Dynamic balance: diagonal cutting across (not a stable balance) not frozen in time, something that is going to change

- High contrast: not extreme light and dark but you can see the Christ is highlighted and contrasted with the darks around him

- Women on the left have a look of terror and holding back

- Time: Not a frozen moment, continuing story

- People pulling towards us making us feel like we are part of the painting

- Naturalism: Rich colors, detail (in plants and dog), muscular (high renaissance)

Anthony Van Dyck. Portrait of Charles I Hunting. Ca. 1635

- Rubens top student

- This is a portrait of a King

- Doesn’t have the clothing and attire that a normal king would have in a portrait

- Made sure to show the kinglike act of Charles I without the fancy accessories

- Elbow jutting out at us to how dominance

- Use of rich colors to show elegance

- Looks down at us, as if we are kneeing in front of him

- Very fine clothing even though he’s hunting

- hat frames his head to show importance

- the horse to the right seems to be bowing down to the king

- Not too long after this painting was created there was a civil war and Charles was beheaded

Patronage more and more from rising middle-class merchants, bankers, and other private collectors

New Subject matter: portraits, views of home interiors, still-life, genre scenes (depiction of everyday life) and landscapes.

Scenes for the people: Art that people wanted to hang up in their homes

Jacob Jordaens, The King Drinks, 1638

- a lot of disturbing things happening here in this photograph; The women wiping her babies butt on the right, man throwing up on the left, people drinking, and parties

- Scene that people loved during this time (drinking scene)

- Scene representing epiphany

- painting

- The king that drinks is not a real king

- Scene where a family (everyday people) where they have drawn names to see what character they are throughout that day (roleplay)

- Party of drinking and good time

- Moral: always in baroque art

- The moral is written on the palak on the top of the painting

- The artist of this painting does not support the actions of the figures he is painting

- People are the Netherlands were very religious and Christian

Jan Steen. The Feast of St. Nicholas. Ca.1660-65

- Enjoyed by families

- Shows homelife

- description of an interior of home in the Netherlands

- fun and chaos of Christmas morning

- Lot of stuff on the floor including lots of food (special loaf of bread)

- multi generation family (two parents, lots of children, and grandparnets)

- The little girl with her little bucket of goodies

- Roster on a stick is a lollypop

- girl received a St. John the Baptist doll

- Big brother in the background is crying and older sister got a shoe to see if there would be a treat inside of it

- little boy got coal in his shoe for being naughty

- Other boy and lots of other people are laughing at the coal that he got in his shoe

- Shoes were used a stocking during this time

- The grandma in the back is pushing the curtains and demonstrating that its all just a joke

- Big brother point up the chimny to explain the situation of santa coming to drop the presents off

- Moral: Beware of those little human fables (greediness, jealousy, pettiness) that happen in family life.

Clara Peeters, Still Life with Nuts, Candy and Flowers, 1611

- One of the first great women artists in the Netherlands during this period

- New genre: Still life (banquet scene)

- Great amount of skill is different surface textures, reflections of light, and detail in the nuts and dates

- Women could set up still life scenes in their homes, didn’t have to have access to models or training in figure drawing

- Viewers see her skills as an artist and that she is a women artist through a reflection of her

- She would be painting a self-portraits in the reflections of many different objects (vases)

Willem Claesz. Heda. Still Life with Oysters, a Roemer, a Lemon, and a Silver Bowl. 1634

-  Painted many painting with the same color scheme and same objects arranged in different ways

- Still life’s popular: artists were selling painting for homes, small enough for middle class to afford and fit in a home

- Skill shown in the reflection, detail, texture of the surfaces, texture of the lemon

- Northern love of detail

- Show off their wealth, objects that they had in their home or wealthy enough to buy the painting (humble brag)

- Carries a moral message: Nice items on the table but there are broken and tipped over objects (Things are not going to last)

- Lemon was exotic (import them from Italy or Spain) showed wealth

-  Pleasures of life are fleeing and not going to last very long

- Moral: Don’t put all your stocks into things because we cant take our things with us, we are all going to die and be face to face with Christ to be judge. Remember that we need to turn to Christ and look to Him always. Put your trust in God and look to him throughout life because it’s not long. Not give into our earthy appetites, focus on the spiritual.

Vanitas: Reminder of the brevity of life

Memento Mori: Reminder that you will die

Rachel Ruysch. Flower Still Life. After 1700

- Focused on flowers and insets

- Her dad studied anatomy (learned the Latin names for flowers and insects)

- Hidden insects throughout the flowers in her paintings

- Moral: Life is short (insects and flowers)

- Imaginary still-life, never could have stood it up (different times of flowers)

- Memento mori: Look for spiritual and not just earthly pleasures

- Represents the season of life (come and go)

- Strong diagonal that gives it a feeling of movement and energy (flowers falling and rising)

- Dramatic: reaching and there is a sense of exotic flavor from different seasons

- Dynamic sense of balance: diagonal

- High contrast of lights and darks

- Time: different types of flowers at different parts of their life

- Viewer involvement: Finding the bugs and hidden things (surprise you)

- Naturalism (renaissance)

Jan Vermeer, Girl with the Pearl Earring, 1665

-National treasure (Dutch mona lisa)

- Mauritshuis Museum The Haque, Netherlands

- small portrait (really small)

- Mouth is open as if she is about to speak to us

- Her head is turned to look as if we just entered the room

- Contrast of light and dark on her face and earring

- earring is too big to be a pearl earing (used a tin earing as a model)

- Not a specific person (character painting)

Tronie: Character painting

- Exotically dressed Dutch women (not what was typically worn) Someone from the middle east

- Her face gives us the hint that there are many different emotions going on in her head

- Ambiguity: helps us identify the emotions we feel the woman is going through

- Half smile can be read in many ways

-Rich colors

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Frans Hals. The Jolly Toper. Ca. 1628-30

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Baroque Art in the Netherlands

Jacob van Ruisdael. Blenching Grounds Near Haarlem. Ca. 1670

- New subject matter: Landscapes

- Landscape and cityscape

- city of Harlem (windmills and big church)

- 2/3 of the canvas is devoted to the sky with a low horizon line

- a lot of attention to the clouds and the movement of the clouds

- Naturalism and detail

- little people down below working in the fields with long rolls of linen

- hard working people (salt of the earth)

- bands of light and dark created from the clouds in the sky creating contrast and drama

- Small painting

- Fit in a home

- enjoyed by someone familiar with this area

- Moral: Hard work (fruits of ones labors) blessed by the light coming from the heavens

- added creativity in art

Frans Hals. Baquet of the Officers of the St. George Civic Guard. 1616

- Group portrait (new)

- Militia group

- Not hire soldiers (volunteers)

- Banquets together in banquet halls

- document the members of the civic guard

- Hang in their building hall

- dynamic group portrait (composition is interesting)

- Informality and casual nature

- All dressed up in nice clothing, table is set in a formal way and flags in the background

- Informal by people not all looking at us, people just looking, and ones already looking

- Seems to be a seat at the table for us

- every member would pitch in to get equal attention in the portrait

Frans Hals. The Jolly Toper. Ca. 1628-30

- Loose brushstroke

- Not tightly depicted, loose streaks that suggest movement and details

- Allegorical portrait: represent the 5 senses

- Not a portrait of someone specific

- Jolly Toper: Happy drinker

- Class of wine: Taste and smell
- Touch: Hand is outstretched and touching us

- Hearing: Mouth is half open (said something or is about to say something)

- hat adds interest and makes the person look more dynamitic

- Diagonal lines especially from the hat add the detail needed

- Hats are a great framing tool (uses a lot in portraits)

Judith Leyster. Self- Portrait. Ca. 1633

- Student of Frans Hals
- loose brushstrokes

- Spontaneity

- member of the artist guild

- master with her own students

- Her master work (masterpiece)

- Masterpiece: Showed that you were able to move on to become a teacher (people in your studio)

- Self portrait of herself painting

- Person playing the violin with their talent and has a sense of joy

- She is very dressed up which would be hard to paintin that really big collar

- The large collar and position of the elbow show her status and confidence

Judith Leyster. The Proposition. 1631

- Different

- somber mood and shadow tones

- There is nothing in the background, so attention goes to the women doing needle work

- Lady is approached by the man behind her

- candlelight

- contrast of light and dark

- spooky shadow casts behind the man bringing a scary feeling to the painting

- painting

- The man is holding money out to the women

- Proposition: sex for money (Not an uncommon theme in baroque art)

- Jovial women and men partying together where a women is collecting money

- The women are not looking happy and that she wants to be left alone

- She has not invited this proposition

- Painted by a woman to show the women’s point of view of these propositions

Rembrandt van Rijn, The Night Watch (The Company of Captain Frans Banning Cocq). 1642 Rijksmuseum, Amsterdam

- One of his most famous

- Really large painting that has been cut down to fit into a certain space

- exciting scene with a lot going on

- several characters

- Contrast of lights and darks

- Diagonal lines

- actions

-appeal to the scenes (drummer drumming and the dog in the corner) people loading their rifles and fired (smell the gunfire)

- dramatic lights and darks

- another group portrait

- engaging to the viewers by making it look like a story and exciting

- viewers feel that they can enter the scene

- Foreshortening of the captain’s hand and the way that it casts a shadow on his lutenin

- The little girl behind the captain that stands as a mascot for this group (chicken hanging from her belt) name of group meant chicken claws

- felling of comminatory (looking at all the people and finding the details)

- self portrait of Rembrandt behind two men in the back

- Not everyone was happy about this portrait because there are some more prominent than others (got a discount on price or people were upset)

- Very popular almost immediately after it was painted

Rembrant van Rijn. The Hundred Guilder Print. Ca. 1647

- Master of printmaking (made 100s of prints)

- printmaking (more people could afford them over paintings)

- Named after the price

- sold for quite a lot because it was super popular

- extreme darks and lights

- Light is an outline and it gets darker it become a shadow

- Matthew 19:1-2; 21-24: background behind the print

- Healing demonstrated

- People who are sick

- Man is being brought laying down on a cart

- people are coming or being brought to Christ to be healed

- Little boy on the left side polling towards Christ but being held back by people

- Women holding an infinite

- Christ has his hand out towards the children and telling them to come to Him

- Christ is the center with a ray of light behind him like a halo

- Christ is shown as soft, gentle, and merciful (personal and full of life)

- “Come follow me” -Christ

- Camel in the background on the right

- Man pulling away in the right corner (leaving) Rich man leaving and not ready to give his all to Christ

- Makes viewers want to come to Christ and follow Him through the way he created Christ

Artists would depict themselves because there was not photography back then

Rembrandt van Rijn. Self- Portrait. 1658

- Painting

- Portrait in his 50s

- effects of time and age on his face (wrinkles, double chin, gained weight, not glamorizing himself)

-Change happening in his life

- Portrayed himself in the full-frontal pose (only used for royalty and deity)

- Like Duer this may seem a little audacious for an artist to portray himself with the pose

- Similar: frontal pose, self-portraits, hands and face highlighted (important parts), texture and detail

- Difference: style of the brushstroke (Duer has a tight brushstroke, Rembrandt is looser), Duer reminds us of Christ and Rembrandts reminds us moer of royalty (king of painting)

- Confidence with a stick in his hand (like a kings would hold his scepter)

- Rembrandt is holding a maulstick, artist tool used to support your hand while painting to keep it steady

- Dressed up in costume

- collected exotic costumes for his sitter

- Robe that a king would wear with a red sash

- King of painting

- colors of blues, yellows and red (not naturalistic for a face)

Impasto= Thickly applied oil paint

Jan Vermeer. Woman Holding a Balance. Ca. 1664

- Didn’t paint very many painting (33 paintings)

- Very popular today

- quite interior scenes with women

- Women going about their daily life

- Full of symbols

- Contrast of light and dark

- Holding a balance: scale that is weighting something

- Vail: white but quite black on the right side

- coins and jewels are on the table to be weighed

- Showing that she is balancing many different things throughout her life

- She is holding the balance carefully so that it doesn’t tip or fall

- The composition is balanced (line down the center with the wall and painting)

- The painting is balanced with her head going through the middle

- The painting in the back is a last judgement painting (weighing and balance) the weighing of souls

- Catholic subject (he was a catholic in the Netherlands)

- Married into a catholic family, committed to the catholic

- She is seen weighing souls

- hole in the painting right near where her pinky is (stretch string to make his perspective lines)

- linear perspective that adds perfect balance

- painting

- Woman is pregnant (weighing your life and priorities) earthly goods or role as a mother

- Change in her life

- Carefree and independent to being dependent and a mother

- Window in the left corner (light is shining through onto the woman’s face) demonstrating that she is going to make the right choices

- Natural light source

- decision that she is happy with

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Frans Hals. The Jolly Toper. Ca. 1628-30

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Claude Lorrain, A Pastoral Landscape. ca. 1648

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Baroque Art in France

Theme: “Grand Manner”

Georges da La Tour. Joseph the Carpenter. Ca. 1642

- Joseph and Jesus

- Settle and calm (not straight forward with who they are)

- extreme Dark and lights

- Spiritual light that lights up Christ’s face and lights up Josephs face

- Joseph looks like a man of God

- Joseph is a carpenter (Christ is helping him)

- Symbols is Joseph using carpenter tool that looks like a cross

- Candle was used for lighting

- Composition of josephs pose leaning over to create the triangle shape

- Movement around the painting created through gestures

- Dark colors with natural light

Georges de la Tour. Magdalene with the Smoking Flame, c.

- conversion scenes

- saints

-momenta mori

Nicholas Pussin. The Death of Germanicus. 1627-28

- Carefully planned drawings

- dignified subject matter

- French academy (Pussin to be the model) order of the king

- Heroic death scene

- Classical subject, composition, dignity and restraint (no strong darks and lights or loose brushstrokes)

- Renaissance panting like

- subject matter is new

- Dramatic poses

- Lots of action

- not a follower of cadivajio

- Men to have wives and children

- Made dozens of paintings and wax models

- Stage like (posed)

- Intellectual style

- Clear and carefully drawn

- Moral

Nicolas Poussin, Et in Arcadia Ego, 1637-38

-

Nicolas Poussin. Landscape with St. John on Patmos. 1640

- Mid day

- St. John writing the book of Revelations at the end of the Old testament

-

Claude Lorrain, A Pastoral Landscape. ca. 1648

- Poetic

- Lots of shades of green

- First artists recorded to take his painting outside (oil sketches)

- Capture outside colors and time of day

- Idyllic landscape (natural simplicity)

- Dawn

Le Nain Brothers, Peasant Family in an Interior, c. 1640

- Founders of French royal academy

- Painting of peasants

- Painted for the middle-class people interested in the lower class

- dignified peasants

- Simplicity demonstrated

- Only have what they need, nothing fancy

- This peasant family is represented with a sense of virtuousness and morality, simplicity.

- Even through their poverty there is something good about them, and there are several generations of the family.

- Tools around them and sitting straight to show they are hardworking and not lazy

- Dark and light contrast

- Composition is spread out (classical temple frees)

- Movement and action demonstrated in the gestures

- Horizontal and vertical lines

- Baroque and classical characteristics

- Folds demonstrated in their drapery

- Classical mood

- Order

- Simple interior with a cat and dog

- Figure playing an instrument

- Figures arranged in a relief across the foreground (light that rakes through)

- Colors are very simple (brown, beige, gray, off-white, and green)

- Tone to show the different models of light as they hit the cloth

- Natural light coming from one source (window, fireplace or candle)

- Movement and action shown in the gestures of the people

- Using lights and shadows to create a sense of phycological depth

- Naturalism

- Loose brushstrokes

- Sense of calm

- Simplicity shown through the clothing (way they are dressed)

- The food on the table for them to eat (bowl of salt and one loaf of bread and class of wine)

- Sacrament that gives them a spiritual vibe

Hyacinthe Rigaud. Portrait of Louis XIV. 1701

- absolute authority

- Ballet dancer

Jules Hardouin-Mansart, Louis Le Vau, and Charles Le Brun, Galerie des Glaces (Hall of Mirrors), Palace of Versailles. Begun 1678

- Absolute authority

- Very large and long in size

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Jean-Antoine Watteau. Gersaint’s Signboard. 1721

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Rococo Art (1710-1760)

Theme: Fashionable, Flamboyant, Flirtatious, Frivolous and French

Characteristics:

- luxury, opulence

- aristocratic tastes

- conspicuous leisure

- pastel colors

- subjects of love, flirtation

- fantasy

- private, intimate scenes

- lush landscapes
Poussinistes vs Rubenistes

- Poussinistes: Moral and tight brush storkes (drawing and line)

- Rubenistes: Loose brushstrokes and romance/love (more attention to the landscape)

Nicholas Pineau. Room in the Hotel e Varengeville, 217 Boulevard St. Germain, Paris. Ca. 1735

- Wealthy people

- Detail and texture

- Architecture

- Gold

- Gold accessories and furniture

- Patterned walls, furniture, and rug

- Fancy room and parties called Salon which filled with artists and aristocrats

- Filled with witty banter and has around 20 people each

-m two traits of social suicide at the time was sincerity and enthusiasm

- Elegance

- light colors

- Ornateness

- France

Jean- Antoine Watteau. Gersaint’s Signboard 1721

- Wealthy people

- Dresses very fancy

- elegant things for elegant people

- Painted for his friend’s shop

- Hung outside Pineau’s shop before quickly bought

- Painting of Louis the 14th being put away after his passing

- Elegance

- Dealer is selling work to these people

- Painting

- Rich colors

- Looser brushstroke

- Ushers

- His last painting

- Mirrors and clocks being sold

- Gersaint’s shop

- France

Jean- Antonine Watteau. A Pilgrimage to Cythera. 1717

- Aristocracy: leisure time

- elegantly dressed

- Outdoor entertainment

- Subject matter

- People in action

- Painting

- Cupid babies: mythological (symbol of love)

- Fete galante

- Venus represented by statue in the bushes

- Lots of people liked the painting

- There were many characteristics that were off for this time period

- Made the Fete galante genre after him

- Venus presiding over this group of people

- Different stages of a dance throughout the painting

- Island of Cythera

- Island of love

- Couples are getting together at this place (island) or heading to the island of love together

- No mural just represents love

- Loose brushstroke

- Attention to color

- Lush landscape

- France

-dancelike figures represent interest in opera and theater

-painted for french academy

-The use of color and open brushwork in this detail reflects Watteau's affinity with which camp of French Academic artists= the Rubenists

-lush and sensuous

-playfulness of love and sexuality

-artistocratic life

-fele grante

Jean- Simeon Chardin. Soap Bubbles. Ca. 1733

- Brotherly loves

- Middle class values

- Watteau was middle class himself

- bubbles show the fleeing of life

- Simple

- Middle class man

- Middle class values

- Family love

- momenta mori with the bubble

- Fashion and hairstyle is from the period

- pastel colors (soft)

- Casual look

- Intimate scene (small gathering)

- Man blowing bubble with little boy watching in the back

- France

- Painted many times for his clients

“Fete galante”: Elegant painting that depicts elegant people having an outdoor party

Jean-Antoine Watteau. Seated Young Woman. Ca. 1716

- Black, white and red (pastels)

- Sketch

- Covered the whole range of human figure

- Mark making

- Broad strokes

- Chalk pastels

- France

Francois Boucher. Portrait of Madame de Pompadour. 1756

- Held a role in monarchy

- Middle class women that made her way up to the royal palace

- Lady in waiting for the queen

- Court mistress to the King when this painting was made

- elegant

- sophisticated

- Advisor to the king

- Intelligent

- Book in her hand (she can read)

- Letter and papers surrounding her (she can write)

- Ribbons and roses used on her dress

- Pastel colors

- Gold frame that shows a mirror that’s reflecting

- Royal large, elegant dress

- Gold curtains

- Pompadour hair style: wealthy wore

- France

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Rococo Art in Venice

fête galante: outdoor painting for the aristocracy

Jean-Antoine Watteau. The Swing. 1767

- Lush landscape

- Frivolous subject matter

- Patel colors

- Subject matter:

-indulgence

- Women is the mistress of the man lying in the bushes

- man in the back is her bishop watching out for her but doesn’t see the man in the bushes

- Wanted a painting of his mistress

- Mistress is kicking off her shoes to show under her skirt to the man laying looking underneath

- Dog symbolizes fertility

- Cupid represents secret love with his hand shushing

- Love affair

- Leasure time

- Aristocracy

- Skirt is big and fluffy

- meant for a home (this guy’s home)

- Private commission

- Fantasy

- luxury

- Painting

- France

-Fragonard's The Swing reflects the indulgence that characterized the French aristocracy in the years before the Revolution.

-scandal and flirtation

-secret love affair

-surrounding sculptures=love and amorous playfulness

-luxurious womens clothing and mischief and playfulness are central focus that pull your eye in

-Diderot and other Enlightenment thinkers rebelled against the frivolous lifestyle and pleasure-seeking of the ruling classes, which is depicted in Rococo art.

Rosalba Carriera. Charles Sackville, Second Duke of Dorset. Ca. 1730

- Women Artist

- Portraits

- Pastels (finished product) Chalky

- Light colors

- Young aristocrats

- Quick medium to use so people could be on their way (didn’t have to dry)

- Italy

- Man with an elegant hat

-Wealthy

- Charles undertook the grant tour

-Embordered jacket

- Tricorn hat

- Festive atmosphere

- Attracted the wealthy

Canalotte, Entrance to the grand Canal, Venice, c. 1730

- Painting like a post card

- His name means little canal

- Hundreds of paintings made

- Tourist loved to bring these

- oil painting

- Perspective

- Detail in architecture

- Landscape

- Loose brushstrokes

- Different scenes (similar)

- Continue making paintings while ones are drying

- Owned a camera obscura (used to create the paintings): different size box that has a hole with light coming from outside, image comes in and reflects (allowed him to trace)

- Italy

Rococo Art in England (London)

Thomas Gainsborough, Mr. and Mrs. Andrews, c. 1750

- People wanted portraits during this time

- Tiny, pointed shoes with big skirt stretch all over the bench

- intimate scene

- lush landscape

- Take a couple and put it on a landscape so he could draw landscape still

- Make them look wealthy and they own all this land

- Rich colors

- Wedding pictures

- Showed extent of their property

- wrinkled socks, fancy clothes and getting ready to go shooting

- Too nice of clothes to work or hunt on the farm

- intelligent face

- Dog showing fertility

- Portrait and landscape

- Elegant

- Leasure time

- England

William Hogarth. The Rake’s Progress. Ca. 1734

- didn’t make fortune from paintings

- Painting stories

- People of the lower and middle class would buy his prints

- Lower class people collected these

- poked fun at the aristocracy

- Paintings were made as models for his prints

- immoral

- Story to tell a moral

- Warning to not be like this

- Rich colors

- Wealthy people

- The bad things the higher-class people would do

- Rose tavern, very well-known place

- Prostitution, dancing, and drinking

- Black spots: Syphilis (sores covered to look like beauty marks)

- Man is very drunk and oblivious

- Leaving loosely and giving his money away

- Pride

- Spends his money gambling and on worldly things

- Marries a wealthy woman to get more money after burn through all of his

- Belum: complete chaos (mental institution) goes completely mad

- Sarah is loyal till the end

- Mistress has his child but he put her aside

- Downfall that money brought

- Wealthy people would go to mental asylums to make fun of the people for entertainment

- People would find humor in scenes like these

- Symbols represented that we don’t understand today

- Prints are backwards (reverse image)

- England

Moral Narratives: A story that conveys a lesson or guiding principle about right and wrong

The Grand Tour:  A European art and cultural journey that took place from the 17th to early 19th centuries. It was a rite of passage for young aristocrats and a way to complete their classical education.

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Jaques- Louis David. The death of Marat. 1793

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Neoclassicism (Art in the Age of the Enlightment: 1750-1800)

Theme: “Return to Reason”

- time of enlightenment

- Bring back morals and purpose to art

- Rococo art and discovery of old ruins of Pompeii inspire this art period

- The grand tour (people would end up in Rome)

- Europe (Rome)

Two types of Revelation

- Industrial Revolution (began in Britain c. 1760),

- Political revolutions (U.S. in 1776, France in 1789)

Times of transitions (major changes)

- Rule by aristocracy to democracy

- Agriculture to industry

- Rural life to urban life

Characteristics of Neoclassicism

- Planarity: single plain/ Classical set up

- Linearity: really strong sense of line

- Tight brushwork

- Even lighting

- Sculptural forms

- Classical architecture, figures, dress, and themes

- Serious, moralistic subjects

- Strong hero figures

- Austerity and reduction of form: Opposite if frivolous (strict/simple)

- Nationalism expressed through patriotism

Words to Know

The Enlightenment

Pompeii discovery

The Grand Tour

Traditional hero figure

Royal Academy opens in England

Rousseau’s “natural poor”

French Revolution of 1789

Jean- Antoine Houdon. Voltaire Seated. 1781

- French contemporary thinker

- Looks like a German philosopher

- Commissioned by Voltaire’s niece, Madame Denis

- Demonstrates Voltaire’s intelligence and spiritual vitality

- Form of memorialization

- Salon 1781

- Demonstrates his unique character and ideas

- Modeled after a live mask create from Voltaire during his last trip to Paris

- Hands created from a mask create on Voltaire’s deathbed

- Very popular

- Many copies were created of this statue

- A copy was given to the Comédie Française

- Sculpture

- Detail in the clothing

- Simple/ pastel color

- Terra Cotta (plaster)

- Marble

- Paris, France

- Houden used classical athletes to model for this sculpture

- Houden is a neoclassical artist

- Doctrine of Progress: progress (through science, knowledge) is good

spirit of empiricism; studied nature; specialized in portraiture and depicted major thinkers of the Enlightenment, including Diderot, Rousseau, Louis XVI, Catherine II of Russia, and Benjamin Franklin;

Captured look and character of sitter

Terra-cotta cast from original plaster (one in LACMA)

Empiricism: sagging skin on neck, sunken mouth (toothless), slumping shoulders

Character: shows sharp intellect and wit, lively in spirit although weak in body

Classicized: Roman toga and headband, antique-style chair

Jaques-Louis David. The Oath of the Horatii. 1784

- New and nothing like it

-Not neoclassical

-defend Rome to the death (men in battle)

-rejects poetic style of Rococo style paired down and heavily structured

-Greco-Roman and renaissance sculptures (anatomy and lighting)

-The story of the Oath of the Horatii emphasizes the

heroicism of self-sacrifice for the sake of a greater moral cause instead of concern over one's own personal interests.

-Oath of the Horatii reflects the Enlightenment idea that

women were too emotional and devoted to self and family

- History painting that established a new style

- Depicts virtuous behavior

-moral example

-Roman history

- Shows how rational should matter more than spiritual and earthly wants

- Made before French Revolution but after the American Revolution

- Three brothers from each side righting but intermarriages mean both sides loose

-  Father of the sons is swearing them into fight

- Families will be torn apart in the battle

- Eyes closes is showing how women can’t handle civic responsibilities

- Men= strength Women= Weak

- Looks back to Rome when painting bodies

Lighting is similar to roman relief

Simplified architecture

- Vanishing point where the swords are being held

- Artist voted for beheading of the king

- Was held in the French academy art show- Salon

- Champion warfare of Rome against Albany

- Paris

Jaques- Louis David. The death of Marat. 1793

- Commemorates a hero of the revolution

- David was voted to execute the kind and in charge of propaganda for the revolution

- Three different pieces, this is one of them

- Man was murdered in the bathtub and Marat let her in because the letter that he is holding

- No sign of the real skin disease he had

- Calls back to Christ being taken down from the cross

- Resets the old world calendar: proclaims year 2

- In between new iconography’s (no angles can be used)

- David is later imprisoned for bring in the revolution and then became a court painter for Napoleon

- July 13th, 1793, Charlotte Corday stabbed Marat with a knife while he was taking a bath

- Corday was a member of the aristocracy and a royalist from Caen

- She was arrested immediately after the murder and sentenced to death by guillotine

-Christ figure

-French revolution

Angelica Kauffmann, Cornelia Presenting Her Children as Her Treasures,

ca. 1785

- They look like they might have stepped directly off a temple’s pediment

- Painting

- Exemplum virtutis or a model of virtue

- Story that Kauffmann painted is that of Cornelia, an ancient Roman women who was the mother of future political leaders Tiberius and Gaius Gracchus

- The brothers Gracchi were politicians in second-century BCE Rome

- Sought social reform and were seen as friends to the average roman citizen

- A visitor has come to her home to show off a wonderful array of jewelry and precious gems what one might call treasure

- To her visitor’s chagrin, when she asked Cornelia to reveal her treasures she humbly brings her children forward instead of running to get her own jewelry box

- Father had the artist educated and she had her own Salon and was friends with Joshua Renolds

Thomas Jefferson, Monticello, 1772 (America)

- Classical-revival style took off in America: Why?

- New republic modeled after democracy of ancient Greece and Rome

- White House, Capitol building; also churches, banks, government buildings

- Thomas Jefferson amateur architect; designed his home (Monticello)

- Columns in the front

- Symmetrical

- Brick and white

- Classical

- Dome

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The Village Bride, or the Marriage: The Moment When a Father Gives His Son-In-Law a Dowry. 1761

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Neoclassicism (Art in the Age of the Enlightenment: 1750-1800)

Theme: “Return to Reason”

Benjamin West. The Death of General Wolfe. 1770 (America)

- French and Indian war

- Honor the British general (general Wolfe)

- Died in battle but was heroic

- Painting

- Painted 8 years after the event

- people felt with the scene

- People in England loved this painting

- Tried to be accurate in the uniforms

- True to the scene

- People felt involved through the painting

- Someone is dying for a cause

- Nationalism

- Dramatic flow of the painting

-No classical setting and dress

-virtue and self-sacrifice

-Traditional hero figure

-naturalism

-contemporary scene

- Subject matter fits

- Classical posses

- Roman profile pose

- all on one plane

- Stage like

- Sweeping store adds romanticism

- Deposition painting of Christ

- America

Jean- Baptiste Greuze. The Village Bride, or the Marriage: The Moment When a Father Gives His Son-In-Law a Dowry. 1761

- Look to poor people for models, how to behave, and family life

- Father gives his son in a law a dowry

- Rich colors

- Story telling

- Moral: Hardworking family that cares about one another

- Mother and sister are sad to lose their sister

- Marriage scene that is simple

- Tight brushstrokes not loose and feathery

- Primality

- Austerity: no thrills

- Plain and simple background

- Good moral

- Attention in the robes and folds of clothing

- Classical flavor

- Real family loves each other

- One daughter looks jealous of marriage

- Little bag of money but excepts it so graciously

- Authentic and natural during that time

- Dramatic looking

- pure and holy

Contemorary subjects

Marie- Louise-Elisabeth Vigee-Lebrun, Portrait of Marie Antoinette, 1783

- Talented artist at a young age

- painted people’s portraits

- Made it look flattering and realistic

- Made adjustments to peoples features to make them more attractive

- Have to get a license to paint

- Had to be a member of the French academy

- Couldn’t paint as a business

- Married a man with an in on famous people

- Marie Antoinette gets her into the French academy

- Feels Rococo

- Flowery and faltering

- Big dress

Marie- Louise- Elisabeth Vigee- Lebrun. Self-Portrait with Daughter. 1789

- Roman clothes

- Roman headband

- Self-portrait with daughter Julie

- French Revolution is happening causing changes in social circles

- She has to change her style

- Self-preservation and pleasing people

- Royalty is in big trouble

- She is considered one of the royals now

- Family devotion

- Austere background

- Disguise did not work

- Attempt to show different values

- appeals to different sense of sensibilities

- Love of mother and daughter

- Simple and plain

- Change style to fit the time

- Flee Paris and stay away for 12 years

- Paints Russian and other counties royalty

- Images effect our thoughts and actions

- Plain but rich colors

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Francisco Goya, The Family of Charles IV, 1800

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Art in the Age of Romanticism

Fascination with…

- Power of nature, the “sublime”

- Exoticism/ Orientalism

- Supernatural elements, fantasy, dreams

- Violence/ horrific themes

- Longing for the past

- Intense emotion, passion

- Naturalism expressed through a return to one’s personal past (revival of folk stories, folk music, native myths and architecture)

- Less consistent in formal qualities; can have tight or loos brushstrokes

- Iconography and subject matter

- Lots of loose brushstrokes

Romanticism in Spain

Francisco Goya, The family of Charles IV

- Self portrait

- Portrait painter to the kings of Spain (Charles 3 and 4)

- Member of the royalty

- Veloscus

- Once big painting being painted on

- Self portrait painting

- Queen in the middle as the focal point like the princess

- Dress and medals on the kinds of jacket look sparkling and metallic

- People look wealthy and royal

- Candidate for the world’s most awkward family photos

- Not everyone is looking at us

- One person is looking away in an awkward way

- Rich colors

- King is staring off in the distance in his own head

- Queen has the double chin

- Hyper realistic

- Birthmark on the women

- Like a photograph was painted

- bronze, gold, and red

- Stab in the family (he did not respect this king)

- felt that the queen was leading the show

- Critical of this family

Francisco Goya. The Third of May 1808- 1814

- Critical of society and call to enlightenment (royal family and clergy)

- Prints of things going on around him that he criticized

- bring the enlightenment but keep imagination

- war

- most famous work

- light source on the man with

- Spanish rebellion

- Napoleon takes power in France and wants more power (invaded Spain)

- Napoleon sends his brother to rule over Spain

- People rebelled against the brother and upright is caused

- Anyone on the street would get killed on this day

- Innocent people were rounded up and killed

- Even those with little weapons doing their normal tasks were killed

- Lined up in front of the firing squad

- Firing squad doesn’t have faces

- Blood and gore

- Man with his arms raised is a heroic figure (willing to die for a cause) innocent with no name (Christan Marder)

- The heroic figure is like Christ with prints in his hands but is very different

- Look at the senseless and horrors of war

- War makes everyone lose reason

- Plain

- Weapons are right in the middle

- Stance of the firing squad (triangle stance)

- Less noble

- how close the firing squad is (less nobility)

- Loose brushstroke

- Drama and emotional

- Outlook on war (war doesn’t make sense)

- Contemporary

- Close to the war back then (6 years)

- painting as he remembers this event

- emphasis violence

-Christian Iconography

-Man getting shot represents Jesus Christ

-French Reign of Terror

-Napoleon taking over Spain

Romanticism in England

John Henry Fuseli. Thor Battering the Midgard Serpent. 1790

- The figure is muscular and fighting

- opposite of neoclassicism

- uneven lighting (dramatic) baroque lighting

- straight back, goes into the distance (not on a plane)

- Loose brushstrokes

-  no Greek mythology (stories from northern Europe)

- Local personal stories

- Battle with the serpent

- Both die in this battle

- Ambiguous (anti-hero): worried about personal concerns

- Thor is not heroic, he is anti-heroic

- Oden in the man floating in the back

William Blake. Elohim Creating Adam, 1795

- Biblical story

- Adam shows his ribs to show that eve is coming next

- God and Adam

- The serpent represents Satan

- physic energy through their hair sticking straight out (power and energy)

- Dramatic

- Life is going to be hard even before you take your first breath

- Life is not easy but can be amazing

- member of royal academy in England (didn’t like it and strict rules)

- didn’t want to be classical

- Printmaking technic (mono print)

- paint on glass or metal surface

- water base paint

- wanted to be different

- struggle

John Constable. The Haywain (Landscape: Noon), 1821

- English countryside where Constable grew up

- From his childhood

- Stable composition

- Nature is the main subject

- Appreciation for nature

- Went against the characteristics of this time (no dramatic landscape)

- in the academy they thought this was ordinary

- Love of the detail of his childhood home

- Hint of longing for the past (big clouds and lower clouds coming from the factor)

- Industrial revolution

- Rural life is already becoming part of the past

- Oil sketches outside

- Broke academy rules: didn’t get much attention

- Landscape paintings were 6 foot wide

- Important enough to be made large

- Hay wagon

- Guy leading the wagon is not the important thing

- Workers in the back harvesting

- Loved cloud study (change and shift)

- Atmosphere and weather of this day

- Specific in all details

- Capture light and reflection (water, trees, objects) shimmering feeling

- First shown in the royal academy in Londen

- Solon in Paris (French academy show) showed a sensation being able to capture nature

- Won the big prize in the solon in Paris

- young painter saw this painting and was so impressed by the sky (was inspired)

- Love of landscape

JMW Turner, Snowstorm: Hannibal and His Army Crossing the Alps, 1812

- Epic landscapes

- Shows the power of nature

Sublime: something in nature that is beautiful that evokes aw, wonder, and terror(fear) or aw of spiritual feeling such as God

- Leader of an army that was attacking Rome in the fall of Rome

- Northern Africa

- Heroic and road on an elephant (constable)

- Storm

- Dramatic

- Hard to find who the hero is (cannibal is the one in the white) bottom right corner

- Napoleon was in power

- Territories to France and build empire

- Respond to Napoleons empire building

- Cannibal was an empire building person also

- The storm is the powerful thing in this painting

- Down playing the power of men and showing the power of God

- The men are small compared to storm

- Loose brushstrokes

- No one had painted that loosely before

JMW Turner, The Slave Ship, 1840

- Contemporary event (current event)

- True story

- Beautiful but ugly painting

- Colors of the sunset and brushs toke

- Loose and thick brushstrokes

- Caking the paint on

- Ugly story

- True practice late 1700s

- Captain of a ship that was doing slave trade

- Slaves were getting sick (collect insurance of your slaves) property and objects

- Got insurance if the slaves fell overboard not died on the ship

- Slaves were thrown in the water when sick for the owner to receive insurance

- People as object and property

- Fish eating the people

- Chackles in the water

- Body parts in the water (arms, legs)

- Violence and guar

- Anti slavery work of art (protest)

- In England slavery was abolished during this time

- Talking to the world at large (horrible practices)

-Based on Poem

-Storm suggest the power of nature

-sold to an American abolitionist

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Francisco Goya, The Family of Charles IV

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Jean-Auguste-Dominique Ingres. Portrait of Napoleon on His Imperial Throne. 1806

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Romanticism in Germany

Casper David Fredrich, Monk by the Sea, 1810

- German artist

- Landscape painting

- Little figure is the monk (kind of hard to see)

- Colors are moody and somber

- Subline of nature: Waves have white capstones (big and powerful) and the big sky

- We are small in the face of nature (small main figure)

- Spiritual aw

- Preached on the shores of the Baltic Sea

- nature was the temple and place to talk about God

- Preached in nature

- Dark and light colors

-Spirituality

-Friedrich's depiction of nature as vast and uncontrollable in Monk by the Sea is characteristic of the philosophical notion of the Sublime

-Connected to Abbey in an Oak Forest

-futility of man's accomplishments:Ruins of cathedral

-the passage of human time

-spirituality (importance of spirit world)

-promise of rebirth and resurrection

Caspar David Friedrich. Abbey in an Oak Forest, 1809–10

- End of his story

-landscape painting

- The monk has passed away

- Funeral was held for him

- Everything seems to be dead or dying

- Abby is old

- Winter and nature are dead

- Tiny sliver of moon in the sky

- Slumber painting

- Fascinated with death

- Experienced death of loved ones

- Mournful feeling

- Germany wasn’t a country during this time (city-states) not united

- Hope of the unification of these state

- Political morning

-pre-christian spiritual ideas

- Hope seen in this painting: The moon is at its smallest stage, but it will come back, the sun is setting but it will come back up, the trees are dead but they will come back to life, winter will pass, and the monk will be resurrected

- Spiritual hope

- we are like the monk; we will die but rise again

- painting of hope

Romanticism in America

- First time that we have really seen American art

- Complex

- Philadelphia and Boston

- Training after the French and Londen academy

- Americans followed the trends

- We don’t have ancient ruins to paint

- New country with not much of a past

- Wild wilderness( landscape is our temple

- Hudson river painters: travel down the Hudson River and paint landscape

Thomas Cole. The Oxbow , 1836

- Part of the Hudson river painters

- New era and experiment

- Quick view of stages of civilization

- Civilization is strong and built on the left

- Tame: field on the right and civilization was building

- Pride cycle: civilization rises and falls

- Self-portrait: Painting himself (in the bottom middle) small

- symbols: equipment (flag) represents the cross, mountain side (spells Noah) starting a new civilization or upside down it spells all mighty (blessing and helping new settlers)

Romanticism in France

Jean-Auguste-Dominique Ingres. Portrait of Napoleon on His Imperial Throne. 1806

- Rich colors (bold)

- Lights and darks (contrast)

- Over the top

- Beyond neoclassicism

- exotic characterizes

- Looks like a god

- Throne looks like the pope in another art piece

- frontal position

- wanted to be like Charlamagne

- He is in line and inherited the right to rule

- Splendorous items like the rug

- Exotic things that he can bring to the court because has colonized so many countries

- Black spots are the tips of the tails of the ermine

- Wealth

- Power

- Naturalistic detail

- Idealizing
Antoine-Jean Gros, Napoleon in the Pesthouse at Jaffa, 1804

- Devein (David) was his teacher

- Classically based (poses)

- reflects a classical theme (Jesus Christ healing he sick)

- Napolean looks like a Christlike figure

- Palestine

- Military campaign

- Hires artist to go on campaigns with him to make a good image of him

- did this so everyone would see what a great military leader he was

- Propaganda

- Dammed man (Michelangelo)

- Architecture is Islamic

- exoticism

- Napolean looks like a hero but he is an anti-hero

- Napolean poisoned these soldiers because they meant nothing to them

- Complete lie

- Not black and white
Géricault, The Raft of the Medusa, 1818–19

- Horror and gore

- Murder and cannibalism

- Ship wreck that went aground

- Waving to a ship in the back for a cry for help

- Waving of the clothes

- The ship didn’t see them

- Peak of hope that is eventually lost

- Political painting

- actual event

- many emotions

- New monarchy in France was just as bad as the old

- the monarchy didn’t care about the people

- New king is corrupt

- Nepotism

- What decaying bodies looked like (from the morgue)

- Used real bodies to help him paint this

- Soldiers and civilians that were going to colonize Africa

- on the edge of Africa (ship wreck)

- They had to build the raft on the ship as it was sinking

- Out at sea for 2 weeks

- Starving and dying

- 150 people on this raft (15 survived) some died after they got back

- Jericho interviewed these people so that he would know what the raft would look like (accurate)

- Gardavagio (baroque art): comes into the viewers space, intense lighting

- Really big painting, diagonal lines (rubens raising of the cross)

- Painting
Eugène Delacroix, Scenes from the Massacre at Chios, 1824

- Artist

- Boy that saw constables sky and wanted to be like him

- Went back to work on his sky

- model for photography

- Greek revelation (ruled by the Turks)

- Greek wanted to revolute against the Turks (Turks were stronger)

- Turks took these people and rounded them

- Rape and pillage

- Suffering and no hope

- Ways that these people are suffering (don’t know what is going to happen)

- This mattered to the French because they knew about revelation (could sympathize with them) Both were Christian and the Turks were Muslim

- naturalistic poses
Eugène Delacroix, Liberty Leading the People, 1830

- Feeling of hope

- Later revelation (freedom)

- Details that are in Leimiz

- Rich and poor (different social classes)

- Different ages of people

- Death on both sides

- Man in the nightgown

- Real event (contemporary event)

- Monarchy wanted to make an example

- Dragged people (soldiers revolting)  from their houses to show people that this is what would happen tot hem if they revolted

- Soldiers of the revolutionary

- Olgavare

- Allegory figure that stands for liberty holding the French flag

- Patriotic painting

- Paint for his country

- Suffering on both sides

- emotional and dramatic

- Her breasts are showing to demonstrate her femalism

- Liberty, fraternity, and equality

-Depicts people from both sides dead

-Revolutationary Republic
Eugène Delacroix, Death of Sardanapalus, 1827

- based on a poem by Lord Byron

- serine king that is corrupt

- King is attacked by the outriders (rebels) doesn’t fight back

- feels overpowered

- Women is being killed right in front

- Says that if he goes down then everyone in his palace goes down with him

- Everyone is going to die

- exotic things like elephants and jewels (vestals)

- Orientalism

- No straight lines (curing) S-curves all over (figures)

- Fire in the background that was started to kill these people

- No hearo (anti-hero)

- No one his fighting for a cause

- Suffering

- No hope shown in this painting

- Got to paint in the women’s house

- Love of exotic

- Exaggeration

- When the light is intense and bright the shadow is not black (they have color) first one to discover this

- Shadows have color

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Jean-Auguste-Dominique Ingres. Portrait of Napoleon on His Imperial Throne

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Styles: Realism, Impressionism, Pre-Raphaelite Brotherhood, Arts and Crafts Movement,
Aesthetic Movement
Ukiyo-e (Japanese prints)
flat shapes
sharp contours
compressed space
cropping
angles
asymmetry
Color Theories: Optical Blending, Complementary Colors
Leisure Time (upper and upper-middle classes)
Art for Art’s Sake
Communist Manifesto (support of workers’ rights)
Independent Art Shows
Realism vs. Naturalism
• French poet and critic Charles Baudelaire argued that the arts should reflect the here-
and-now
• Emphasis on ordinary, everyday, modern experience; neither idealized nor dramatized
• Championed laborers and common people
Impressionism
Interest in capturing:
everyday subjects
on-the-spot outdoor scenes
fleeting moments, impermanence
atmosphere, light, colored shadow
modern urban life, leisure activities

upper middle class/nouveau riche
times of day/year
look of ukiyo-e (Japanese prints)

Pre-Raphaelite Brotherhood (England)
Secret society started by 3 students at the London Royal Academy: William Holman Hunt, John
Everett Millais, and Dante Gabriel Rossetti
Wanted to reform ills of the Industrial Revolution through spirituality and art
Looked to Early Renaissance and Gothic art (art before Raphael) as pure, genuine art
Wanted to depict “truth” by close observation of nature and details
Work is characterized by rich, pure color on a white ground; also included symbolism
Looked to literature for subject matter, especially Shakespeare, the Bible, and Arthurian
legends
Arts and Crafts Movement
Reaction to Industrial Revolution and mass production of items with poor quality
William Morris started a company that made items for homes emphasizing craftsmanship and
truth to materials
Nature was an important inspiration
The Aesthetic Movement: Art for Art’s Sake
Art that focused on formal elements of art rather than story-telling or symbols
Whistler compared art to music, which depends on harmony and form rather than subject
matter

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Utagawa Hiroshige. Plum Estate, Kameido, from the series 100 Famous Views of Edo. 1857

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Realism, Impressionism, and the Pre-Raphaelites

Theme: “Art of the everyday”

Charles

-Second empire style

- Opera

- Landmark of this period

- Opponent style

- Napoleon was the first emperor

- Grand staircase (elegant)

- Elegant

- nooks for conversation and people watching

- Important place for the painters of the day

- women artists were not allowed to hangout in the café and bars with the other artist

- Anyone even women could come together to paint here

- Observe and sketch

- Ballets when the opera wasn’t going

- Rich colors

- gold and red

- Symmetrical

- obsessed with Japan (anything Japanese)

- Japonisme and Japanese prints

- exotic to them

- Wrapped stuff in wood cut prints

Ukiyo-e: Japanese woodblock prints of everyday life

- New idea that people loved

Characteristics

flat shapes

sharp contours

compressed space

cropping

angles

asymmetry

Color Theories: Optical Blending, Complementary Colors

Leisure Time (upper and upper-middle classes)

Art for Art’s Sake

Communist Manifesto (support of workers’ rights)

Independent Art Shows

Kitagawa Utamaro, Naniwa Okita Admiring Herself in a Mirror, ca. 1790–95

- Europeans never depicted things this way

- Flat color

- flat shapes

- Interesting angle

- Women is cut off and looking into the mirror

- Ordinary everyday moments

Katsushika Hokusai, The Great Wave, from the series Thirty-six Views of Mount Fuji, c. 1830-32

- Series of wood cut prints

- Mount fuji

- Interesting perspective

- Makes the mountain look berried by the wave

- looks like its snowing

- Strong sense of outline

- Unity and verity

- Flat color

- Flat shapes

- Crushion blue

- Different presses (9 separate blocks)

- over 5000 prints were made

- Japanese influence

- World fair (displayed in Paris)

- Still loved today

Utagawa Hiroshige. Plum Estate, Kameido, from the series 100 Famous Views of Edo. 1857

- strong diagonal line that cuts across

- Tree is looking near to us

- Cropping of the tree

- flat shape

- Flat color

- Details

- Woodblock print

- Grand colors

- Near and far of the branches

- Variation of colors

- Roller and ink

- Ombre color (gradation)

- Smashed in (into the tree)

- Compressed

- Strong angles

- Asymmetrical

Had a strong influence on art in Europe

European artist were reading books about color theory (new ideas about color)

Introducing the color wheel

Complementary colors (conscious of it)

Delequa (shadow is made of color not just black)

Two colors next to each other but didn’t physically blend them your eye will mix them for you (visual blending)

Paint was sold in tubes

Painting outdoors

Realism

- people wanted true event

- Attention on working people (works and laborers)

- Iconography

- Subject matter

Realism vs. Naturalism

• French poet and critic Charles Baudelaire argued that the arts should reflect the here-

and-now

• Emphasis on ordinary, everyday, modern experience; neither idealized nor dramatized

• Championed laborers and common people

Naturalism: realistic to life (space, people, place, details)

Realistic: true to real life (real background)

Gustave Courbet. The Stone Breakers. 1849

- poverty

- represents lowest class

- rips in the close

- Man in is young and boy is young

- Digging to create a road

- Working towards something people will benefit from

- Few people will congratulate them

- Hard work

- required to do this work

- No way to get out of the classes

- Different ages

-Young boy will be doing this work for the rest of his life

- Purposeful: faceless (have to do work and no one will know who they are)

- True story and event

- Detail to the whole painting (equally detailed)

- People are building a road (subject matter)

- Close up (not background extension)

- Less drama

- Everyday life (struggle)

- destroyed in Word War 2 (railroad cart was bombed)

- Doesn’t exist anymore

Gustave Courbet. Burial at Ornans. 1849–50

- Very large 10 feet by 22 feet

- Painting

- Historical subject matter for large painting

- Went against the rules

- Showed that ordinary people can be hero

- Ordinary scene

- No main focal point

- person on the cross (uncle)

- Everyone is looking at something different

- Different gestures

- Different subject matters

- His family members and regular people used as members

- no rays of light

- everyday life

- Horizontal freeze (wave line)

- no divinity

- No big story

- Funeral

- This was strange to people

- Dark color

- event only important to the artist

- Have to see it and come from real life to paint it during this time

Rosa Bonheur. Plowing in the Nivernais. 1849

- Painted when she was 14 (in the Lou)

- Father wanted her to have a good education

- Loved animals and study them

- Painted animals throughout her life

- To paint animals she had to go to dirty and muddy places

- People in this time had long dresses with lots of layers

- She wanted to wear pants to paint in

- She got a special license from the police to wear pants

- Confidence lady

- Living in the countryside

- painted oxen

- Ordinary place and people

- Strengthen of the countryside

- Aways be people taking care of the land no matter the world circumstances

- Out of anything she painted oxen

- Painting

- naturalism and realism

- Close up

- The cattle are the heroic looking people

- Cattle create the horizon line

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Utagawa Hiroshige. Plum Estate, Kameido, from the series 100 Famous Views of Edo. 1857

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Realism

Thomas Eakins. Max Schmitt in a Single Scull

- Champion rower, Mac Schmitt

- Painted while he was practicing

Philadelphia

- Self-portrait in the back (on boat) and the artist signed the boat in back

- idealization phase

- Paints the champions exactly how he looks

- Nothing glamorous just the athlete’s daily life

- Doesn’t idealize the panting

- Painting

- Everyday life

- Painted just as it is

- Eakins wanted to get all the details right

Did lots of sketches of different angles

- painted different angles of these boats

- Gone to France and saw the realization brought it back to America

- America

- Huge sport and still is popular today

- Painted outside

- Clouds: Realistic and true to that day

Edouard Manet. The Luncheon

- Monett has made the people contemporary

- Women is a real woman and used it as a model

- Known for his scandalistic art

- Not classical nude

- Contemporary nude

- Corvey and needed to see the subject to paint it

- Sent to the Salon to be in the big show (yearly) and was rejected

- Lots of people in the Salon so people got rejected because they had to choose

- Salon of the rejects was open by Monett after this (one chance to be seen)

- Nude figures (naked) whereas Venus never wears clothes

- Man posed a lot like Adam

- Clothed men and nude women

- breaking rules: different finished parts (loose brushstrokes), Collapsing space, far away person is a little too large, people are flat (no soft modeling)

- Looks like an impressionist

Edouard Manet, The Railway, 1872-73

- Main figure: Little girl that is turned away

- We don’t know how the figures are related

- Women looks annoyed

- Ambiguity: Can’t tell what’s going on and what the subject is

- Sense of behind or in front of the fence

- Interaction we are having with the subject is different in Paris

- Rejecting the finish and construction of painting

- People of Paris were experience it in a new way

- Bringing classes together that they had never experienced (mixing)

- Trains were for everyone

- Space is compressed

- Drawing attention to the front plain not deep plain

- Women is looking right at us (scandalous) disturbing

- Cant tell relationship between figures

- Details: black. Choker and black headband, hair down and hair up, blue dress and white accents and white dress with blue accents

- New things are occurring

- Women is cropped

- Cropping was influence by the Japanese prints

- Advent of photography and cropped things in new ways

Edouard Manet. A Bar at the Folies-Bergere.1881-82

- Bar maid behind the bar

- reflection of this women

- Interesting view

- Frame of the mirror shown around the edges

- Popular French bar (entertainment) feet of an acrobat

- Looks noisy (can hear the noise)

- New perspective

- Painting

- The women is disconnected from the rest of painting

- Consumerism and roles of women

- Someone is talking to her (reflection of the man close to her)

- Feel like we are the man coming up close to her

- Old subject

- Man is holding his hand and offering money in a private way

- Judith proposition scene

- Her face is red, and she looks disturb (rather be anywhere then right here)

- Dress was a signal that she is available

- Marble is a sign of not being available in France

- Society has placed her in a situation she doesn’t want to be in

- Real life

Edgar Degas, The Dance Class, 1874

- Franch impressionist

-Painted

- Showed in the shows

- Transitional figures

- Realist (he called himself that)

- Loose brushstroke is impressionist

- First impressionable exhibitions (not put there)

- Graceful ballerinas but actually not elegant (biting figures and awkward)

- Dancer in the front with flower is the focal point

- Diagonal line of perspective

- Different layers of people (foreground, middle, and background)

- We are at eye level (makes us feel part of the scene)

- Real life

- Dressed in tutus

- Behind the scenes (real moment practicing)

- Painted realist, awkwardness and behind the scenes

- Only elegant one is the girl doing the

- Relaxation

- Mirror in the back that shows the new city Paris

- Window reflects in the mirror

-Emptiness of the floor and diagonal line (Japanese)

- Floor is tipped that goes straight up (compression of space) Japanese

- Cropping of the image (photography) Japanese

-Bronze replicas

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Claude Monet

-Painting outdoors

- Teacher in his hometown that encourage him to paint outside (poudan)

- Artwork changed overtime and his styles

- Understood reflections, oil paint, atmospheric perspective, landscape paintings

- Brushstroke changed overtimes

- Focused on colors (vivid)

- All the same saturation (No gradually going back into space) Keep eye on the surface

- Compression of space

- Visual truth

- Lila Cabot Perry

- Forget objects before you and paint just as it looks to you (color and shape not the object)

- Optical truth

Claude Monet. Impression, Sunrise. 1872

- In the first impressionist show

- Loose group of artists that did not like the Salon system (often rejected) not open to new

- Created a group of people that put up their own show (impressionism) independent artists

- 8 Shows all together

- Paris

- Leove (where he grew up)

- Impressions not finished paintings is what the critics said

- Complementary colors (blue-green and red-orange) blue and orange

- reflections and water

- No deep space, on the same surface

- Calling attention to the flat canvas and not hiding that

- Rich colors

- Experiencing the moment

- Sounds of the waves

- Goal of optical truth

- Took a long time for these artist to gain popularity (strong vision)

- Artists were poor until 40 or 50-60

Claude Monet. The Gare Saint-Lazare: Arrival of a Train. 1877

- Train station

- Mixing of classes is represented

- Painting

- Loose brushstrokes

- Smoke is demonstrated from the trains

- Capture the light (reflections)

- Foggy look to the painting

- Background is apartments

- Modern day Paris

- Old was replaced with the new

- Wide streets with shops

- Middle class luxury and living

- Contrast to the expectations of art during this time

- Impressionist exhibitions

- Busy train station

- Everyday place

- Feel what it was like at this train stations during new Paris

- Paris

- Architecture of steel and glass (modern shed)

- 10 versions of this in different conditions

- Capturing the color and light during the time

- Fascinated with light

- Train dissolved in the light and atmosphere (cared more about then objects)

- People are little brushstrokes

Claude Monet, Rouen Cathedral, 1893

- Painting the same cathedral over 30 times

- Created in different times of the day

- Form over detail

- Colors and light show different times of the day

- Paintings

- rented an apartment room to paint from across for the cathedral

- More than 30 canvas going at the same time

- Light and the way it hit the cathedral effects the color

- Different details shown depending on the light

- Series of paintings

- In the moment

- hard stone dissolves away

- Light and atmosphere

- Represented their heritage

- Reflection dissolves the detail of the stone wall

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Impressionism (1870-1890)

Characteristics

-              All about painting outdoors

-              Interest In capturing

-              Everyday subjects

-              On the spot outdoor scenes

-              Fleeing moments,

-              impermanence

-              atmosphere

-              light

-              colored shadows

-              modern urban life

-              leisure activities

-              upper middle class

-              Nouveau riche

-              Times of day/year

Auguste Renoir. Dance at La Moulin de la Galette, 1876

- Dance at the biscuit mill

- outdoor dance hall

- scene of people interacting

- Perfect for the impressionist fleeting moments

- Theater hall is shown filled with working class (few top hats)

- Renior is drawn to intimacy and interaction

- People are set up in groups

- Our eye is drawn to any specific ones instead it is allowed to freely roam the canvas

- The paint and color is a kaleidoscope of loose brush stroke that makes it painterly and unfinished in a beautiful way.

- Asymmetry is also used because the bottom half is so heavy

- Shown at the third exhibition held by the impressionist and not the salon

- Has use of dappled sunlight

- One a large canvas painted entirely outside (not just sketched)

- Not perfectly composed instead if feels like we are in the space

- Sun and light showing through in spots

- Middle class now has leisure time

Auguste Renoir. Luncheon of the Boating Party. 1881

- Exhibited at the seventh impersistent exhibition in 1882

- Identified as the best painting in the show by three critics

- Painting

- Combining figures

- Still-life

- Landscape

- Depicts a group of Renior’s friends relaxing on a balcony at the Maison Fournaise restaurant along the Seine river in Chatou, France.

- Painter and art patron, Gustave Calliebotte, is seated in the lower right

- Renoir’s future wife, Aline Charigot is the foreground playing with a small dog

- He diagonal of the railing serves to demarcate the two halves of the composition, one densely packed with figures

- Pyramidal composition

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

- Painting

- Example of Pissarro’s impressionist style

- Depicts the atmospheric conditions of an overcast day

- road, river, field, sky, and shows signs of industrialization

- Showed a work in all 8 of the impressionist  shows

- He painted outdoors, and he often painted out in the country- workers

- He came from a family of merchants but money was withheld because he married a servant

- So, he lived in the country

- An interest in visual struct and paths for our eyes to follow

- However, iit’s so compressed and smashed that it makes our eyes climb up instead of going back

- Very little depth/atmospheric perspective

Berthe Morisot. Cradle, 1872

- Morisot painted her sister Edma Portillon, who is watching over her sleeping daughter Blanche

- Exhibited for the first time in the First Impressionist Exhibition, Opened on April 15th, 1874

- The former studio of the photographer Nadar on the Parisian Boulevard des Capucines

- Some critics praised the painting of its grace and beauty

- It did not attract much interest and Morisot failed to sell it

- Was in the family until 1930

- Woman in her class struggled to move and work as an artist because they did not have access to what males did

- The child is angelic looking and almost reflects Christ and Mart in a domestic setting

- Shows contemplation of mother good and reflects how the middle-class family was seen

- Diagonals of gauze curtains and painting show how the mother is locked into the domestic space

- Bruch work is loose and shows the artists hand and her virtuosity of paint

Berthe Morisot. Summer’s Day, ca. 1879

- In every impressionist show expect one because she gave birth

- Manet wad her brother-in-law was known for painting women in the upper middle class

- Most daring loose brush strokes of all the impressionists-zigzag strokes

- List-loose brush stokes

- Flattened atmospheric perspective

- Shoes leisure time as a subject

- upper and middle class

- Diagonal lines from Japanese prints along with asymmetrical and the cropping

- Its painted outdoors

- Fleeting moment

- Shadows have colors

Mary Cassatt. The Child’s Bath. 1891–92

-              The Child’s bath or the bath

-              A 1893 oil painting by American artist Mary Cassatt

-              Continues her interest in depicting bathing and motherhood but it is distinct in its angle of vision

-              Both the subject matter and overhead perspective were inspired by Japanese Wood cut prints and Edgar Degas

-              Cholera outbreaks in France and public health campaigns called on people to bathe regularly

-              Reflects the work Madonna and Christ Child

-              Indicate depth Cassatt painted the faces receding into space

-              Paint strokes are layered and rough creating thick lines that outlined the figures and make them stand out from the patterned background

-              Hand of the artist is evident through the roughness of the strokes

-              Convinced her family to move to paris so that she could paint she met Edward degra

-              Introduced to the impressionist movement

-              Japanese print inspo patterns on pattern down view

Mary Cassatt, In the Loge, 1878

- At the opera

- Served as one of the only social settings that women could freely attend

- Cassatts choice of setting has been interpreted by scholars as a means if highlighting the growing agency of women in the 19th century society

- Displays a bourgeois woman in a loge at the opera house looking through her opera glasses while a man in the background looks at her

- Woman’s costume and fan make clear her upper class status

- Art historian see the painting as commentary on the role of gender, looking and power in the social spaces of the nineteenth century

- The woman may be aware of the man staring at her, yet does not let that distract what she is watching

- Stuck between our eyes and the mans

- Japanese print- Diagnoal lines and feels flat

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William Holman Hunt. The Awakening Conscience. 1853

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Pre-Raphaelite Brotherhood

William Holman Hunt. The Awakening Conscience. 1853

-              Appears to depict a momentary disagreement between husband and wife

-              Title and a host of symbols within the painting make it clear that this is mistress and her lover

-              The woman’s clasped hands provide a focal point and the position of her left hand emphasizes the absence of a wedding ring

-              Newness of everything is fake

-              Round the room are dotted reminders of her “kept” status and her wasted life

-              The cat beneath the table toying with a bird, the clock concealed under the glad, tapestry that hangs unfinsied on the piano

-              We can see her looking outside from the mirror and her wanting to escape

-              Influenced by Van Dyke

William Holemanhunt, John Everett Millais and Dante Garbiel Rossetti started a secret society to paint differently from the English Academy. Wanted art to focus on a simpler more spiritual time. Trying to not be like Raphel – liked Van Eyek Brothers

Secret society started by 3 students at the London Royal Academy

Wanted to reform ills of the Industrial revolution through spirituality and art

Looked to Early Renaissance and Gothis art (art before Prahael) as pure, genuine art

Wanted to depict “truth” by close observation of nature and details

Work is characterized by rich, pure color on a white ground; also included symbolism

John Everett Millais. Christ in the Carpenter’s Shop. 1849–50

-              depicting the Holy family in saint joseph carpentry workshop

-              extremely controversial  when first exhibited, prompting many negative reviews

-              depicts the young Jesus assisting Joseph in his workshop

-              Joseph is making a door, which is laid upon his carpentry worktable

-              Jesus had cut his hand on an exposed nail symbolizing the stigmata and foreshadowing Jesus’s crucifixion

-              Some of the blood has fallen onto his foot

-              As Jesus’s grandmother, Anne, removed the mail with a pair of pincers

-              John the Baptist brings water to wash the wound

-              A ladder referring to Jacob’s ladder leans against the back wall

-              A dove which represents the Holy Spirit rests on it

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William Holman Hunt. The Awakening Conscience. 1853

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William Morris (Morris & Co.). Green Dining Room (William Morris Room). 1867

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William Morris (Morris & Co.). Green Dining Room (William Morris Room). 1867

- The Green Dining Room is one of the best surviving examples of the aesthetic of William Morris, designer, poet, socialist, and preservationist. The room was commissioned in 1865 as a refreshment room in what was then called the South Kensington Museum (now the Victoria and Albert Museum). Morris and his colleagues (primarily painter Edward Burne-Jones and architect Philip Webb), created a tranquil, nature-inspired spot for museum patrons to enjoy a cup of tea. In keeping with the ideals of the Aesthetic Movement (where artists sought to create works that were admired simply for their beauty rather than any narrative or moral function), the harmonious muted color-scheme, emphasis on craftsmanship, and the medieval vibe of the stained glass and woodworking, the room shows Morris’s style of interior design at its finest.

- Patterns

- green, blue, yellow, red and white

- dipictions of Christ

- Spiritual

- Stain glass windows

- The graland weavers

- Flowers and floral

- Dog running on the top after hares

- Women in floating white dress

- Line work and horizontal and vertical

- Connection to the outdoors

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William Morris (Morris & Co.). Green Dining Room

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The Aesthetic Movement

-              Looking at art for just the formal qualities

-              Painting is the poetry of sight (harmony of sound and color) Whistler

James Abbot McNeill Whistler. Nocturne in Black and Gold: ca. 1875

-              The teems river and gardens

-              Impressionist

-              Loos upstroke

-              Abstract

-              Hard to tell what anything is

-              Your imagination works

-              Legal issues

-              Said this was a work created by just through people

-              Damaging the critics reputation

-              Harmony: color and tones

-              There is no place that stands out more than another

-              About color

-              Night music

-              Comparing to music

-              First expressive art

-              Tells a story

-              Narritve art

-              Went to court over this art piece

-              Couple of days to paint

-              No art if it only took two days

-              Charging for his whole life that he put into this art piece

-              Time that it took to gain all the skills that he has

John Singer Sargent, Madame X, 1897

-              Life size

-              Scandalous for the thin straps and low neck line

-              People criticized

-              Repainted because

-              Never sold the painting until a few years later

-              Took time to get popular

-              Line

-              Shape

-              Contrast

-              Not much skin was shown during this time

-              Beautiful painting for us today

-              Big blow

-              Thought this would make his reputation great

-              Classical elements: Crescent neckline, profile position, and the Grecian hairstyle

-              Thin strapped dress

-              People thought he looked at women as objects (for body)

-              Wife of a French banker

-              Portrait of wealthy lady

-              Famous for her beauty and rumored affairs

-              Sargent traveled all over the world painting

-              Flattering and fashionable way

-              Sargent painted this is draw attention to his career (worked- contention at first and then happiness)

-              Sargent considered himself an American artist

-              Critics got mad at him for this scandalous art piece

-              Sargent said it was his best work

John Singer Sargent, Carnation, Lily, Lily, Rose, 1885-86

-              Color harmony

-              Music

-              Lilies on the page that look like music notes

-              Reputation across the page in the lanterns and flowers

-              Painted at dusk

-              Garden in England

-              Painting outside

-              Blue light from the sky and orange light from the lanterns

-              Cropping

-              Friends with Monet

-              Had all his friends set up

-              Rich place

-              Painted for only 15 mins each day

-              Japanese prints

-              Paper lanterns

-              Compressed space

-              Beautiful colors

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Ideas to Know:
• Escaping modernity
• What do the Post-Impressionists share in common with the Impressionists? Where do
they vary?
• Symbolism: Emphasized world of dreams, moods, fears, and desires over the everyday,
contemporary world; dissatisfaction with modernity
• Art Nouveau (1890-1900): Mostly architecture and decorative arts; characterized by
abstract organic forms; influenced by William Morris’s Arts and Crafts Movement

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Georges Seurat. A Sunday on La Grande Jatte. 1884

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Post-Impressionism

Theme: Escaping Modernity

- Brings us into the 20th century

Arts wear buraus

Paul Cezanne

-  Showed in the impressionist shows

-  Change impressionism

-  Father of modern art:

Paul Cézanne. Still Life with Apples in a Bowl. 1879–83

-  Modern (looks traditional)

- Started in baroque 1600s period

-  Doesn’t have clarity

-  Background is more detailed

- Simplicity

-  Not symbolism

-  Less depth and space

- Space is inconstant

- Different perspectives represented (points of view)

-  As we are walking around viewing this piece

- Shifting point of view

- Ambiguous with space: stuff going on in background and foreground

- Dimension shown through light and dark (shadows)

-  Patchy brushstrokes give dimension

-  The flat background look like it has dimension and the object that should have depth is flat

Paul Cézanne. Mont Sainte-Victoire. ca. 1885–87

-  Loved being in southern France

- Local mountain from his home

- Landscape

- Not modern

-  Not as much visual depth

-  Ambiguous: What’s bigger (tree or mountain)

- Colorful

- Mountain that should be fading out has an outline

-  Japanese prints: mountain far away and tree really close

- Cropping

-  Clear definitions of shapes

-   Cutting off the tree

-   Line work (thick lines)

- Thinking about the mountain

- Depth: leaves

-   Variation of color

-   Patchy brushstrokes

-  Sky and leaves have the same brushstrokes and has dimension

-  Not disappear into the background

-    Flat surface and not going to disguise it

-   Painting

-  Bring our attention to the flatness of the surface

-   Paint on canvas

-  Flatness of the picture plain

-   Painted outside

-   Sense of impressionism

-  Solid

-   Outline

-  Freedom of brushstroke

Paul Cézanne. Mont Sainte-Victoire Seen from Bibemus Quarry. ca. 1900

-   Compression of space (Japanese print)

-   Same plain

-  Climb up with our eyes

-   Flat

-   Patchy brushstrokes

-   Rich color

-  Japanese print

-   Cropped

-  Solid outline

Georges Seurat. A Sunday Afternoon on the Island of La Grande Jatte. 1884–86

-   Died young

-   Don’t have much art from him

-   Very famous

- Solid outline

-   Large painting

-   Different from impressionism

-    Figures look frozen

-  Tight brushstrokes

- Controlled painting

-   Dotted brushstroke

-    Colors: Vibrant

-  Color theory

-   Fuzzy and not mixed together all the way

-     Painting

-     Soft

-   Sketches outside but painting was painted in his studio

-    Dozens of sketches

-   Studies and sketches

-   Love of leisure time

-   Mixing of classes

-    Enjoying a Sunday afternoon’

-     Light, happy and social look

-  Exotic pet and women

- Women is dressed like a prostitute

- Women in fishing for men

-  Place of flirtation

- Colors next to each other

-  Wants the audience to blend the colors he doesn’t mix them

-              Pointillism: Dots

-              Divisionism: colors being divided but having our eye mix them

-              Neo-impressionism

Henri de Toulouse-Lautrec, At the Moulin Rouge, 1892

-              Short (genetic disease)

-              Social aspects of Paris

-              Spent his days in the night life and night clubs

-              Colors of light

-              Unnatural color of light

-              Greenish representation of light

-              Emphasizes the green night glow

-              Japanese prints: diagonal line and cropping

-              Self-portrait: Short guy in the back with his friends

-              Night club

-              Famous dances

-              Celebrities demonstrated

-              Camodery of the people

-              People drinking

-              Night time scene

-              Didn’t enjoy outdoor painting

-              Effects of light but different type of light

Henri de Toulouse-Lautrec. La Goulue. 1891

-              Advertising

-              Advertising can be art

-              Rhythm that is demonstrated

-              Hear and feel of the moulin rouge

-              Repeating words

-              Equal space

-              Hard lines

-              Categories and boxes

-              Groups

-              Reputation of threes and yellow

-              Gaslights that give off a little smoke

-              Lamp having from the sky that we are looking down on

-              Two dancers

-              Feet are tapping

-              Repetition of lines

-              Dance floor goes straight up

-              Japanese print influence

-              Cropping

-              Valentine the boneless and louis vaber

-              Realism: Shows this moment as it as

-              Real time and moment that occurred

-              Women is shown as relaxed, tired, hunched over, and real dancer

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Post-Impressionism

-     Awkard in proportions

-   No formal art training

-   Started painting in his 20s

-   Came from Holland

-  Ambisious work

-Dark colors

-    Reflections and highlights

-  Baroque art

-  Look and grew up in baroque art period

-   Light source from the lamp in the center (single light source)

-  Spiritual and useful life

-  Tried lots of professions: art dealer, teacher, preachers/missionary, book seller, and many other (unsuccessful)

-   Brother was an art dealer but wouldn’t sell his work

-  Likes painting peasants

- Felt that people needed to earn what they received in life

-    Eventually turned to bright colors

- Changed to loose brushstroke

-  Went to Paris and was introduced to post impressionism

-   Japanese prints

-   Not mixing of colors

-   Had a dream of a group of artists to paint together

-   Only one person took up his offer

-   Hard to live with: moody and bad hygiene

-   Gogan couldn’t stand it anymore (cut off ears)

-  Painted outdoors

-   Thick brushstrokes

Vincent van Gogh. Night Café. 1888

-  No blending of colors

-  Dreary

-  Less optimistic

-   People look asleep and drunk

-  Complementary colors (red and green) to give a sense of uneasiness and unrest

-   Really later at night

-   Mans hair is green

-  Phycological isolation (van Gogh was feeling isolated)

-  He had dreams of unity

-    Wanted to paint a feeling of harmony, peace and unity

-    Painting is tilted down to make it seem like everything is coming at the audience

-    Feeling and expression

- Titled perspective

Vincent van Gogh. Starry Night. 1889

-     Vibrant and pulsating feeling

-  Harmony

-  Peace

-   Unity

-   Church mirrors the cypris tree

-  Steeple points to heaven

-    Cyprus trees represent eternal life around cemeteries

-  Spirituality (church and nature)

-     Curving of lines

-   Repetition (curves in sky, lights in village, curve in bushes)

-              Harmony between nature and this town (created from

-              Did not seen this scene from the window or in real life

-              Could see colors in the night sky that were more intense during the day

-              Expressing how he feels and sees

-              Ultimate expressionist painter

-              Beautiful colors

-              Oil on canvas

-              Loose brushstrokes

-              See God’s goodness

-              Yellow, blue and white

-              Thick brushstrokes

-              Feeling and expression

Paul Gauguin. The Vision after the Sermon, 1888

-              Lived with Van Gogh for 2 months

-              Stoke broker

-              Had a family and children, left because they didn’t like the lifestyle of a poor artist

-              He wanted to stay in Paris

-              Devoted his life to art

-              Colored impressionism art

-              Showed with the impressionists (art show)

-              No color blend

-              Wanted to get away from

-              Did like modern city life

-              Wanted pure and innocent

-              Painted out in the countries where people lived a similar life

-              Coast of Britney in France

-              Peasants (dressed)

-              Simple way of life

-              Spiritual

-              Shows these people after church

-              The preacher

-              Vision that the saints are seeing

-              Women praying and seeing this vision live

-              Book of Genesis

-              Story comes to life

-              Japanese prints

-              Cropping

-              Heads are compressed into our space

-              Flat areas of color (red)

-              Church dressed

-              New and old kinds of art (folk art, children’s art, stain glass, medieval art)

-              Loved look at different and expressive types of art

-              Other ways the renaissance art to show emotion and expression

-              Grass and field is not red

-              Expressive painting

-              Tree separates the early from the heavenly

-              Mirroring (position of the cow and the heavenly figures)

-              Westling in the vision

-              Oceanic art

-              Expressive

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Symbolism

Odilon Redon. The Eye Like a Strange Balloon Mounts Toward Infinity, 1878

-   Edgar Allen Poe inspiration

-   Print (lithograph)

-    Dreamlike irrational quality

-    Weird

-   French

Henri Rousseau, The Sleeping Gypsy, 1897Edvard Munch.

-   French

-   Unschooled artist

-    Primitive artist

-   Artists of the 20th century loved his work

-   Innocence was admired

-  Outlines with light

-   Magical

-   Dream like world (different world)

-   Rich colors

-  Tighter brushstrokes

Edvard Munch.The Scream. 1893

-  Observation from real life

-  Rich colors

-  Loose brushstrokes

-  Curved lines

-  Harmony

-              Expressive

-              Blood red sky (sky was red): Volcanic eruption

-              Norway

-              Landmark seen in Norway

-              Body of water in the back

-              Rhythm

-              Skull like in figure

-              Expressing anxiety

-              Hold head on

-              Not a physical scream but on in his head

-              Oil and pastel

-              Black and white print

-              Different visions of this screen

-              Tilted perspective

Gustav Klimt. The Kiss. 1907–08

-              Unique

-              Square painting

-              Looked at art of the past (not traditional art)

-              Patterns

-              Strong outlines

-              Japanese prints

-              Byzantine art (mosaics): patterns against patterns

-              Tone of skin contrasts with gold (green)

-              Other sources for inspiration

-              Green, red

-              Seeing women’s as seductive and drags you down

-              Visual representation of union between a man and a women

-              Complete each other

-              Women has more curve and patterns look more soft

-              Male is blockier and patterns are more geometric

-              Vines are growing across over her legs (represents eternity)

-              Edge of the cliff, she’s going to drag him down

-              Hold halo around them to represent spiritual

-              Union is spiritual and physical

-              Shapes

Henry Ossawa Tanner. Angels Appearing before the Shepherds. ca. 1910

-              Bottom right corner three figures that represent shepards

-              Fires

-              Two figures with angle wings

-              Biblical scene

-              Walls of Jerusalem

-              Angles appearing

-              Japanese prints

-              Cropping

-              Point of view

-              African American

-              American that went to Paris

-              Trained under Thomas Akens

-              Found prejudice in America

-              In American was the black art and in Paris known as American artist

-              More successful in Paris because of race

-              Spirituality

-              Biblical scenes

-              Makes the viewer seem as an angle

-              If we got to see this scene from the spirit world

-              Christ being born into the world

-              Looseness of brushstroke

-              Capturing and spiritual

-              Other worldly

-              Capture spiritual inside

Auguste Rodin. The Burghers of Calais. 1884-89

-              Sculpture

-              Big projects that he made in bronze

-              Donte

-              Made casts of it independently

-              Bronze

-              Influence by Michelangelo

-              Hyper muscular figure

-              Dammed man was an influence

-              Looseness in modeling (loose brushstrokes)

-              Conflict between physical and mental

-              Balance between mental, physical, and spiritual

-              Casts being used today to make more models with permissioned

-              France

-              Muscular figure

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Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

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Art Nouveau

-              National style

-              Architecture and decorative arts

-              Abstract organic forms

-              Influenced by William Moris

-              Arts and crafts movement

Victor Horta. Interior stairwell of the Tassel House, Brussels. 1892–93

-              Everything works together

-              Lamps to the stair railing plants and lines

-              Nature but abstracted from nature

- a stunning interior stairwell with a sinuous iron railing, whiplash wall and floor motifs, and a mosaic floor, all illuminated by a flower-shaped chandelier, creating a dynamic and organic space

- considered one of the earliest and most influential examples of the Art Nouveau style in architecture.

- The central staircase is a defining feature, with its elegant, curved iron railing resembling vines and flower stems, creating a sense of lightness and airiness.

- The design incorporates the characteristic "whiplash" lines, which are organically curved and undulating, repeating in the floor tiles, wall paintings, ironwork, and even the structure of the stairwell.

- "Gesamtkunstwerk" or total work of art.

- The design subtly juxtaposes natural and industrial elements, with the stair hall visible on the exterior, featuring a riveted green iron I-beam and stained-glass windows depicting water and flowering plants.

- The house features an innovative open plan, allowing spaces to flow into each other and be filled with light, resulting in a sense of openness and fluidity.

Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

-              Rich colors

-              Influence of Japanese prints

-              Strong outlines

-              Love of pattern

-              Flat shapes

-              Symmetry

-              Decorative quality

-              Easy to like

-              Pleasing

-              Nice on the eye

-              Interest in nature

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Alphonse Mucha, Dreaming (Reverie), lithograph, 1897

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The Modernish Revolution

Theme: Point of No Return

20th Century Characteristics

-              Rapid change

-              Individualism

-              Exploration

-              New inventions

-              Challenging assumptions of the past

Constantin Brancusi. Bird in Space. 1928 (unique cast)

-              Rodin’s student

-              Naturalism with the looseness (start of abstraction)

-              Suggests an essence of a bird

-              Looks like a feather

-              Tall and reaching for the sky

-              Motion of birds when their wings are in

-              Arrow dynamic

-              Narrow

-              Foreshortened

-              Simplified but suggests so much

-              Simplicity

-              Gold

-              Pattern of a wing

-              Suggestion of flight

-              Sent to a museum in New York for a big art show

-              Had to go through US customs

-              Custom people put a tax on it and said it was not art

-              Thought to be equipment something industrial

-              This idea was fresh and new to be considered art

-              Glossy

-              Not looking at tradition art (renaissance)

-              Looks like a fertility sculpture

-              Oversized proportions

-              Powerful

-              Expressive

-              Wasn’t seen as naturalistic

-              Speaks to the audience

-              Enough information for us to understand what Is going on but doesn’t tell us the whole story

-              Minoan, African art, and syclatic art

Fauvism

-              Critic that was looking at his work

-              Unnaturalistic colors

-              Loose brushstrokes

-              Wild beast=fauv

-              Untraditional aspects

Henri Matisse. Femme au chapeau (Woman with a Hat). 1905

-              Portrait of his wife

-              Colors are not the same of those natural human colors

-              Colorful

-              Didn’t care about the classical art

-              Expressing emotions through color

-              Not trying to make this look naturalistic

-              Breaking rules from the past

-              Job of color: provides meaning symbolically, colors that they would see in real life, and used for modeling (shadow and light)

-              Disregarded these jobs

-              Completely expressionist (even background and wall)

-              Used color in a new and opposite way

-              Van Gogh, Gogan, Cezanne (post-impressionist artist)

-              Colors are bright and saturated (abstract way)

-              Flat color (doesn’t give it dimension)

Henri Matisse. The Red Studio. 1911

-              Pictorial space

-              Color red redefined pictorial space

-              Color red: personalizes the painting and show that its his (own flavor)

-              Realistic to the studio (but hard to know that)

-              His studio and art is demonstrated

-              Wants us to look at his art

-              Chairs and tables disappear more

-              Red everywhere flattens the space

-              Color to flatten

-              Sense of space in the direction of the chair and the corner (diagonal lines)

-              Outlines of furniture (reserve or ghost lines under the red) hint of things

-              Red shows that this is his studio (personal)

-              Joy of life

-              Different pieces of artwork

-              Most joyful paintings in art history

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Pablo Picasso. Guitar, Sheet Music, and Wine Glass. 1912 

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Cubism

Pablo Picasso. Les Demoiselles d’Avignon (The Young Ladies of Avignon). 1907 (Pre-Cubism)

-              Sense of humor

-              People liked to make fun of him

-              Butt of a lot of jokes

-              Into traditional art at first but then broke rules

-              Said he wanted more like a child as he was getting older

-              Backwards in time

-              Analytical and openly creative

-              Confrontation work

-              Large

-              Street in Spain

-              Simplified

-              No difference between the background and foreground

-              Same angles

-              Sharp shards of line

-              Ambiguous

-              Colors change and don’t work as well for a human body

-              Expressionistic

-              Shape: geometric shape

-   Break the rules of consistent shape

-  Perspective rules are broke

-   Women looks like she should be laying down but she’s standing up

-   Beautiful nudes and women in art but its broken

-   Prostitutes and sexual disease

- Scared

-  African masks

-  Archaic figures from ancient Spain (Spanish) and Iberian

-  He is moving around and looking at these women from different angles and perspectives

-    Intentionally raw and ugly

-  Outside of western perspective and traditions

-   Paul Cezanne

Analytic Cubism

Georges Braque, The Portuguese, 1911 (Analytical Cubism)

-   Analytic cubism

-  Showing all sides of object but on a flat surface

- Focus on form

-  All points of view

-  Abstract

-   Geometric

-   Muted color pallet

-   Point of views (bottom of the guitar, players face, arm going down)

- Something is broken down, analyzed, and fractures to see the whole thing

-  Broken apart and then put back together

-  We have to analyze it

-  Bit of words and fonts

-  Understanding a language or seeing it as gibberish

-   If we don’t know the language of cubism this artwork looks chaotic, and we can’t understand it

-   As we understand analytic cubism, we can understand the language and the message being conveyed

-   The man is wearing a suit while playing the guitar on the deck

-   People can see this artwork in many ways as they interrupt this artwork

-   Understand all the parts and lay them out

-    Portuguese

-  Different perspectives on this painting depending on the viewer and experiences throughout life (also knowledge that we have)

-   Perspectives being fractured

-   There is lot of things that we still don’t know just like in this painting

-  There is more to everything that we see (message conveyed)

-  Brown and black

-   Didn’t want you to be dazzled by color to take away from the message

-  Logic

-   Analyzing

-   No emotion really being portrayed

-  Braque was an English speaker

-   Letters themselves are abstract symbols

-  Abstract art is not different from the rest of the world we deal with

Synthetic Cubism

Pablo Picasso. Guitar, Sheet Music, and Wine Glass. 1912 (Synthetic Cubism)

-   Putting pieces together

-   Collage

-   Assembling and full of games

-   Newspaper in French

-  Working in Paris

-  Jou=play (on the newspaper at the bottom)

-  Playing with the idea of a guitar

-  Sound hole is the thing on top (physical depth) opposite should be a hole

-   Playing with the ideas of music (notes)

-   Means nothing if you haven’t learned about music and how to read it

-   Abstract

-   Cut out objects and sticky paper

-  Didn’t draw it

-  Only can read this piece if you understand music and that language

-   Looks like wood but was cheap wood grain paper

-   Depict things in a new point of view

-  Playing with abstraction

-   Music is abstract

-  Comes together to understand a concept

-    Limited color, muted colors

-    Manmade object but recreated (guitar)

-   Created in a new and unique way

-  Multiple perspective

-   Shadow is shown through crisscross lines

-   Humor

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Pablo Picasso. Guitar, Sheet Music, and Wine glass

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Vasily Kandinsky, Improvisation 28 (second version), 1912

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German Expressionism: Die Brücke (the bridge)

-   Eastern England (Germany)

-     Felling of natalism

- What is really German (gothic cathedrals)

- 2D art

-  Wood cut prints

-    Crude

-   Raw

-   Nationalistic style

-   Look to the past but work to be really expression

-  Appeal to your cut more to your eye

-  Unsophisticated

Ernst Ludwig Kirchner. Street, Dresden. 1908

-     Dynamics of Urban life

-   Loose expressive brushstrokes

- Vivid colors

-   Crowed street scene

- Evoked a feeling of anxiety

-  Alienation of the individual in the crowd

-    Urbanism in Germany

- Swirling crowds

-   Electric lights

-  Social change

- Distorted figures

-   Emotional intensities

-   Feeling of isolation

Ernst Ludwig Kirchner, Street, Berlin, 1913

-    Munch (distorted colors, bright)

-   Van Gogh (bright colors, loose brushstrokes)

-  Tipped ground

-   Dega, Gogan

-   Creepy vibes (claw like hands)

-   Maties (colors in faces)

-   Lots of influences in this piece

-   The group called themselves “the bridge” because it was the cross from the past to the future

-   Self-discovery

-  Breaking away from the routines of the world

-    Pointy in abstraction

-     Felt alienated from Germany from the crowdedness and business

-    Crowded and compressed

-  Longated and swished

-   Claustrophobic

-  Felt that the cities were being over industrialized

-   People were become materialistic and losing their values

-  Materialistic cities

-  Prostitutes being represented

-   No pretty subjects

German Expressionism: Der Blaue Reiter (The Blue Rider)

Vasily Kandinsky, Improvisation 28 (second version), 1912

-     Cross the line between abstraction and understanding

-   Know as the first artist to cross that line

-     Connecting art and music

-   Form of visual music

-  Color

-    Shape

-   Lines

-    Factors all used as musical harmony and rhythm

-   Hear music and see colors for different notes

-   Totally harmonies

-  Elements from the natural world (mountain, hill with buildings, water)

-              Apocalyptic themes (flood of Noah, rainbow)

-              Earth will be cleansed like the days of Noah

Vasily Kandinsky. Sketch I for “Composition VII.” 1913

-              On its side (forgot about his painting)

-              Didn’t know what he had painting

-              Not subject matter

-              Harmony

-              Color

-              Line

-              Shape

-              Elements of design

-              Painting

-              Composition 7

-              Artistic breakthrough

-              Just paint formal elements

-              New idea of science at this time

-              Further division of the atom (crumpling of the atom)

-              Division of the atom and the world

-              Atom makes up the whole world

-              Symbols and classical iconography could crumple just like the scientific world can be broken down by the atom

-              Everything we assumed about the world changes

-              Atom is the smallest thing (thing that everyone knew was not true)

-              Art did not have depict something unlike what people thought during this day

-              Art can be unique and have no subject matter

-              Abstract= take something from the natural world and push it

-              Non-objective art

-              Non-narrative art

-              Non-representational art

Paul Klee. The Niesen. 1915

-              Felt like picasso

-              Childlike

-              Expressive

-              Innocent, calm and magical

-              Art should have magic

-              Mountain, tree and sky

-              Building blocks

-              Tree (single tree) = tree of life (book of Mormon and new testament)

-              Religions (half-moon Islam star is Jewish hieroglyphs)

-              Including all the religions here

-              Devine in religions and nature

-              Quiet simplicity

-              Symbolistic about religion

-              Simple

Paul Klee, Twittering Machine, 1922

-              Lots of influences

-              Stained glass

-              Egyptian

-              Bright colors

-              Stick figures

-              Simple lines

-              Primitive

-              Playful

-              Crazy bird things on the edge

-              Imagining us turning the handle

-              Turning the bird’s upside down

-              Not from the natural world

-              Had a lot of fun with art

-              Unique

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Vasily Kandinsky, Improvisation 28 (second version)

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Umberto Boccioni. Unique Forms of Continuity in Space, 1913

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Italian Futurism

-              New developments in photography (motion photography)

-              Bet was made with the owner of Stanford and his friend (if a horse is galloping if all four legs are off the ground)

-              Inspired futurists

-              Complete rejection of the past and rules in art

-              Push past art in the past

-              Embrace the future and reject the past

-              Extremists (burn libraries and get rid of museums)

-              Rejected classic Italian culture

-              Machines, technology, anything in the future

-              Replace the past

Giacomo Balla, Dynamism of a Dog on a Leash, 1912

-              Influence of Murages experiences

-              All moments of time

-              Cubism gone into time

-              All point of view and time

-              Movement

-              Legs moving in all ways

-              Lesh moving in all direction

-              Feet moving fast

-              Only move in the future

Umberto Boccioni. Unique Forms of Continuity in Space, 1913

-              Motion

-              Dynamitic imagery

-              Social progress

-              Emotions

-              Can’t hold that pose forever

-              Metal work looks like its moving and brushing by

-              Helmet on to charge for the future

-              Legs are having wings/body made up of wings

-              Abstract

-              Figure in different points of time

-              Flames are legs in space as he’s charging forward

-              Continuity of space and time

-              Trying to get rid of all the past

-              No sculptures looked like this before

-              Different points of view

-              Different moments of time

-              Learned from cubists

-              Nike of Samothrace

-              Sense of protentional energy

-              Ready to be acted on

-              Things whipping back

-              Flowing lines

-              No escaping the past

-              Compared to something in the past

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Umberto Boccioni. Unique Forms of Continuity in Space, 1913

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Responses to Modernism

Marcel Duchamp. Nude Descending a Staircase, No. 2. 1912

-              Showed in the armory show

-              Shocked Americans

-              Modern work from Paris

-              New to American (never seen art

-              Picasso and

-              Lack of color

-              New conception of space

-              Line work

-              Look of analytic cubism (color scheme)

-              Marbridge (study of motion)

-              Motion and movement

-              Italian futurism in time

-              Succession of motions

-              Geometric shapes (machine like) robotic

-              Most people assume it’s a woman, could be a man

-              Nudes in art were usually women in the past

-              Fascinated by technology

-              Use mechanical shapes

-              Inspiration from cubism

-              Singled out for ridicule in 1913 show

-              Painting

Marcel Duchamp. Bicycle Wheel, 1913

-              Readymade: found objects that were unrelated to come up with something unique and unfunctional

-              Big challenges

-              People were craftsman during this time (made with hands)

-              Presenting something that is already man made altered the idea of art

-              Challenging that art has to be about making something with your own hands

-              Not about craftmanship

-              About vision, idea, and concept

-              Bicycle wheel in a stool

-              Looks like a fan

-              Look like an eye

-              Spin wheel

-              Look at it as a concept instead of literally

-              Big rule breaker

-              We use our imagination

Marc Chagall. I and the Village. 1911

-              He was mission someone in his hometown, so he painted this

-              Influences of the work in Paris was combines

-              Fauvism and cubism with his own sense of fantasy

-              Vibrant colors

-              Sharp lines

-              Drawing of animals

-              Tree of life underneath (came from him

-              Included personal stuff to him

-              Remembering his village back home

-              Memories and dream like

-              No gravity (moon, stars, people, tress)

-              Harmony

-              Interdependence

-              Milking a cow

-              Harvesting

-              Remembrance of death and life

-              Fond memories of back home

-              Sharp angles of cubism

-              Fauvist color used

-              Energetic

Giorgio de Chirico. Mystery and Melancholy of a Street. 1914

-              More fractured then analytic cubism

-              Conflicting angle

-              Not true linear perspective

-              Experiencing with plains and angles

-              Erry mood

-              Shadow of a statue in a town square (threatening)

-              Empty space makes this seem dangerous (ominous danger)

-              Classical rules (colonnade)

-              Town is going to empty out because of World War one

-              Warn the girl of danger

-              Horror and danger are created

-              Painted feelings and about war

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Russian Suprematism

Kazimir Malevich. Suprematist Composition Airplane Flying. 1915 (dated 1914)

-              Supported the Russian revolution

-              Felt that something needed to change in Russian society (government)

-              Supported the revolution through art

-              Everything needs to change in government and art

-              High ups lead the country

-              Only the higher up got to learn and enjoy art

-              Wanted everyone to understand his work (simple shapes)

-              Fascinated with new technology of the age

-              New technology would bring usher and peace

-              Rectangles

-              Different colors

-              Express the movement and acylation of being in an airplane

-              Texture in brushstroke

-              Shapes are simple

-              Man has new relationship with the universe (fly now)

-              Abstract

-              Expressive

Kazimir Malevich, White on White, 1918

-              White square on a white background

-              So reduced and early

-              Ideas of being more pure society through Russian revelation

-              Express a forward movement

-              Two shades of white

-              Utopian work

-              Irony: Thought that anyone could understand this (no one understands)

-              He thought it would be understood by anyone, but no one understood it unless it was explained

-              Had ambitions for his art

-              Optimistic about new idea of art

-              Universal truths

-              Abstract art could be spiritual and Utopian

-              Big goals for his art to have meaning

-              Creative output

-              Never got stuck on one medium or style

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Art Between the Wars

Theme: Looking Inward

-              Time between the two world wars

-              Feelings of nationalism

-              War would make things better

-              Debree of the past

-              Individual look at art

Dada

-              Reaction against Worl War l

-              Focused on absurdity, element of change (Enlightment values of logic and reason only lead to war)

-              Challenged status quo in art, culture, etc

Hans Arp, Squares Arranged According to the Laws of Chance, 1916-17

-              Met at the Café Voltaire with other artist

-              Escape war

-              Tore up his work and threw it on the floor

-              This is the result of throwing his art piece on the ground

-              Shoved everything into the square

-              Poets were talking about (chance and obscurity)

-              Universal forces and truths

Marcel Duchamp. Fountain. 1917

-              Wanted to get a public reaction

-              New it would get mocked and rejected

-              Collective unconscious

-              New York

-              The world has turned everything upside down

-              Art that makes no sense (it was turned upside down)

-              Absurd

-              Black and white photo cause the sculpture was lost

-              Issues about what is art

-              Art was an idea

-              Nothing to do with craftsman ship

-              Notions of beauty (doesn’t have to be beautiful)

-              Be funny

-              Makes people mad

-              R. Mutt (store where he bought it from)

-              Sound poems

-              World war one had made the world worse

-              Strips art from what we think art is made of

-              Not made with his hands (manmade)

-              Made a urinal into a fountain

-              Arts and craft movement was distroyed

Raoul Hausmann. Mechanical Head (Spirit of the Age). ca. 1920

-              Germany

-              Vamar republic (new government)

-              Time of hardship

-              Dusha (already made to be a manikin or dummy)

-              Didn’t make it or carve it

-              Took something that was already made and stuck stuff on top of it

-              Took objects and just put them together

-              Typical Germans don’t have any capability then the chance that is glued on their head, their head is empty

-              Hitler comes into power very soon

Hannah Höch, Cut with the Kitchen Knife through the Beer-Belly of the Weimar Republic,1919

-              Doesn’t think highly of new government

-              Filled with government leads

-              Grouped of dada and anti dada

-              Lenion is included

-              Portraits of artists

-              Floating head is other German artist (Kollwitz)

-              Self portrait

-              Interested in politics and what’s going on

-              Machinery included

-              Machines have lead to destruction (forces)

-              Kitchen knife to create this

-              Photo montage

-              Printed resource and collaged together

-              Not about beauty

-              Making a political statement and protest

Käthe Kollwitz. Never Again War! 1924

-              Lots of lithograph

-              Art that could be mass produced

-              Everyone could see it (didn’t have to be fancy)

-              Protest

-              No war again

-              War was super destruction

-              Her son joined world war l

-              Lied about his age and was too young

-              Killed the first week out in the front

-              Devastation to her

-              Husband was a doctor to the poor in the was

-              Saw peoples lives who were being disrupted and changed because of the war

-              Speaking out war

-              Crude

-              Opposite of art you would find in the academy

-              New kind of art

-              For the people

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René Magritte, The Treachery of Images, 1928-29

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Surrealism

-  1930s

-  Elements of Chance (like dada)

-   Randomness related to dream states

-  Juxtaposition of unrelated objects

-    Exploration of the subconscious mind

-   Dream images

-  Stream of consciousness

Joan Miró. Composition. 1933

-    France

-   Seen nonobjective art

-    Noon representation and non-objective

-     Little faces in these odd shapes

-    Biomorphic forms

-   Ameba

-  Flatness

-   Line

-   Shape

-     Field of color

-    Flat color

-  No depth

-    Layering

-   Prehistoric/ Primal feeling

-    Hallucinating because he was starving

-   Drew when hallucinating

-   Drew the images he saw in his mind

-   Imaginative

-   Childlike

-    Paul Clay

René Magritte, The Treachery of Images, 1928-29

-   Pipe with writing

-   Wrote in French (this is not a pipe)

-    Just a surface and representation of things

-   Saying that this isn’t real

-  White background

-   From Belgium

-    Representational

-  Most of his works were false interpretation

-  Felt that if he called his works a pipe or mirror, he would be lying

-  Our eye are optical tools

-    Represented pipe with French words underneath it

- Eyes are not truthful

-    Simple

Salvador Dalí. The Persistence of Memory. 1931

-  Little painting

-  In the moment

-  Popular viewed paintings in the Moma

-  Dream and other things that are irrational

-   Memories are irrational

-    We don’t always remember things exactly how they are

-              Feeling of dreams

-              Sinking

-              Something in focus and then we lose it (fades off)

-              Subject is someone’s face

-              Melting clocks shows measure and time (fading away)

-              Time is never the same (changes all the time)

-              Time can be irrational

-              Inorganic

-              Tree grows out of something that is inorganic

-              House along the Mediterranean

-              Water is frozen like things are frozen in time

-              Process of time

-              Cliffs in the back

-              Changing and evolving

-              Painting

Man Ray. The Gift. 1921 (1958 replica)

-              Hand crafted

-              Two functional things an d tranformaed them together as something non functional

-              Feels violent

-              Looks like an iron with spikes

Meret Oppenheim. Object (Luncheon in Fur). 1936

-              Two materials

-              Pleasant association

-              Fur

-              Teacup

-              Not pleasant when you put them together

-              Fur in your mouth when you drink

-              Take two functional things and make one object that is unpleasant

-              Paris

-              Sculpture and painter

-              Only knows her for this work

-              Met Picasso and other artists

-              Create this piece with a tea cup and fur

Pablo Picasso. Guernica, 1937

-              World more famous after war art (protest)

-              Rising fascism in Europe

-              Graco that brought war to Spain

-              Ask for help from Hitler

-              Bombed the city that was defenseless

-              Outrage to the rest of the world

-              Hitler bombed the city

-              Black and white

-              Read it in the newspaper

-              Hatching lines (newsprints)

-              Horrific story

-              Was there himself but getting it in the new paper

-              Pain and suffer

-              Inhumanity of war

-              Man, that’s arms are raised (third of may) crucifix

-              Baby is dead and mother is grieving

-              Broken weapons

-              Gash in the horse

-              Dove of peace has been destroyed and falling to the ground

-              Bull (abrasion and violence)

-               Horse is a simple of innocence

-              Two kinds of light

-              Eclectic light (new and found power light)

-              Candlelight (old way that are being overthrown)

-              Gigantic painting

-              World’s fair to protest

-              Inhumane bombing of the city

-              Painting is not to paint rooms

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René Magritte, The Treachery of Images, 1928-29

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Organic Sculpture of the 30’s:

Alexander Calder. Lobster Trap and Fish Tail. 1939

-              Mondrian and Mirro

-              Invented the Mobil (hung above cribs for babies)

-              Playful

-              Giant works

-              Carefully balance

-              So all small parts move in the bigger part

-              Free moving

-              Drawing and sculpture

-              Drawing in space (takes up space)

-              Shapes and drawing

-              Move around (pieces)

-              Never see it exactly the same

-              Fans are put in museums to move the piece around

-              Father was coal miner

-              Went to art school

-              Plaster cast from Mexico and inspired by the shapes

-              Flatness and roundness combined

Henry Moore. Recumbent Figure. 1938

-              Reclining figure

-              Carved from stone

-              Stone is rough in the detail

-              Associations of something ancient

-              Ancient fertility figure

-              Women of Villendorf

-              Voids and the solids

-              Womb is a void (carry a child here)

-              Organic things

-              Mountains and tidepools

-              Nature

-              Earth goddess

-              Mother earth

-              Ancient and modern

-              Abstract

-              Neighbor with Hepworth

-              Organic feel

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Piet Mondrian. Composition (Composition with Red, Blue, and Yellow). 1930

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De Stijl (the style)

-              Dutch movement

-              Sought to create utopian environment through geometric abstraction

-              Sough universal order that would make nationalism obsolete

-              Also called internation style and neo-plasticism

Piet Mondrian. Composition (Composition with Red, Blue, and Yellow). 1930

-              Dutch from Holand

-              Completely illuminate a sense of space

-              Color in vans of black to illuminate space

-              Abstract

-              Wanted his art to show universal truth

-              Nature of the universe

-              Everything is held together in the universe

-              Balanced

-              Antidote to the world

-              United

-              Get rid of nationalism

-              Evolution

-              Thought and process that lead him to his point

-              Worked really hard with the things he say and created

-              Lots of titles

-              Squares

-              Red, blue and yellow

-              Pulls of balance even with red huge square in the top by the yellow square

-              Tumbles if the yellow rectangle wasn’t there

-              Harmony

-              Unity

-              Spiritual

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Piet Mondrian. Composition (Composition with Red, Blue, and Yellow). 1930

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Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940.

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American Art between the Wars

Georgia O’Keeffe, Yellow Calla, 1926

-              Giant flowers

-              Started in New York

-              No one in New York has time to stop and look at a flower

-              Even busy people will stop and look at the flowers

-              Taking nature and making it abstract

-              Hard edge (strong outlines) soft sense of modeling

-              Green (lime green)

-              Reflection of light

-              Simple

-              Influential in art around her

-              Wantd to emphasize nature

-              Let those that chose to not stop and enjoy nature to experience it through art

-              Smooth and soft

-              Simple

-              Detailed in a simple way

-              Can tell it is a flower

Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

-              Started in New York

-              Skull of a animal

-              Moved to New Mexico

-              Love the scenery there

-              Imagery she

-              Mountain near her called the pedernal

-              Surrealist look

-              Tighed to nature

-              Abstraction (blows things up) size

-              Naturalistic

Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940.

-              No dull color

-              Bright colors

-              Many different colors

-              Inspired by cubism

-              Exciting

-              Looks like a party

-              Musical

-              Wanted to evoke the energy and jazz and lights of New York city

-              Not capturing what it looks like visually

-              Capturing what it feels like to be in New York city

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Stuart Davis, Hot Still-Scape for Six Colors - 7th Avenue Style. 1940.

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American Regionalism

Grant Wood, American Gothic, 1930

-              Chicago art institute

-              Sold to the art institute

-              Iconic painting

-              Crisp and grid like

-              Very vertical and horizonal lines

-              Tight brushstroke

-              Style tells us something about the people

-              Neat people, clean and crisp

-              Painting clearly tells us about these people

-              Rigid (follow the rules)

-              Religious and spiritual

-              Ready for church (Best clothing)

-              Window is a gothic pointed arch

-              Gothic

-              Lines point to the heavens

-              Steeple and pointed window

-              People of people and stanch faith

-              Cross in the window (repeated) pitchfork

-              Pitchfork is repeated in the overalls

-              Classical art (look classical and line work)

-              Full of great symbolism

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Jacob Lawrence. “In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series, 1940-41

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Harlem Renaissance

-              Music, literature, visual arts

“In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series, 1940-41

-              Simplifying shapes

-              Pack a punch

-              Crude look

-              Tempera

-              Turning away from traditional art materials

-              didn’t want carefully shaded look

-              60 painting that tell a story

-              Journalistic

-              Mass migration of African Americans from the southern states to the norther states

-              Titles: tell very objectively what was happening

-              No emotional judgement

-              Positive and negative things

-              Objective titles

-              Three simplified girls

-              Girls grow in height and in their minds (education)

-              Movement (moving across and change)

-              Changing time

-              Went to the north for racial harassment and law, more industrial life and jobs

-              Leaving for a better life )didn’t always work out well)

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Mexican Art between the Wars

-              Cultural tradition

-              Choosing rejection of European influence (old Europe)

-              Likes the modernism of Europe

Diego Rivera, Flower Carrier, 1935

-              Cultural movement

-              Bring art to the people

-              Didn’t want art to be illetuous

-              Art for everyone

-              Ecco his past culture

-              See forms that reminiscent of lion and Aztec culture

-              Traditional dress

-              Peasant paintings

-              Guy on the ground with a heavy load

-              Women helps support the load

-              Women looks larger

-              Husband and wife work together to support each other’s load

-              Burden on his back (beautiful) flowers

-              Overtime our burdens become beautiful

-              Figures are simplified

-              Not much attention to proportion

-              Direct impact

-              Looks more like folk art

Frida Kahlo, The Two Fridas, 1939

-              Two women

-              Wife of Rivera

-              Tough life growing up

-              Horrible accident (hit by a bus) had many surgeries

-              Never pain free

-              Spent most time in best to heal from surgeries

-              Mirror on the ceiling to help paint herself

-              Autobiographical paintings

-              Self portraits

-              Shows pain and suffering

-              Physical paint (blessing vein)

-              Emotional pain

-              Fridas

-              Reflect two sides of the artist

-              Family history

-              Father was European

-              left: skin is lighter, European dress

-              mother: native and Creta descent: peasant dress, poor, and folk/native dress

-              Locket of Rivera after they got divorced

-              Division of the delf (native self) native waws the one that Rivera loved

-              Division of her different selves

-              Organs on the outside to represent physical pain

-              Rivera and her got back together (remarried)

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Protest Art

Pablo Picasso. Guernica. 1937

-              Powerful anti-war painting

-              Responded to the bombing of Basque town of Guernica

-              Spanish Civil war

-              Horrors and suffering of the war

-              Monochromatic Cubist style

-              Innocent people getting killed

-              Monumental piece

-              No color

-              Dull

-              Shows sadness

-              Conveys emotion

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Social Realism

Edward Hopper, Night Hawks, 1942

-              Late night diner

-              Four figures

-              Urban isolation and loneliness

-              A dark and empty street

-              Oil painting

-              Symbol of 20th century

-              Brightly lit diner

-              Line work

-              Figures are lost in their own thoughts and disconnected from each other and the world outside

-              Contrast between warm inviting interior and the dark empty street (isolation and alienation

-              Anxieties of the time

-              Fear of attack after Pearl Harbor

-              Art institute of Chicago

-              American art

-              Strong sense of light

Dorothea Lange. Migrant Mother, California. 1936

-              Had a grant from the FSA under president franklin D Rosevelt

-              Grant for artist to make contemporary work

-              Took photographs as she went around

-              Figures on the side of the road

-              Car was broken down

-              Migrant from the dust bowl

-              Came to California to find jobs

-              No one wanted them there in California

-              People had lost everything

-              Husband had gone into town to get car parts

-              Had a feeling that she didn’t say or do all that she needed to (holy ghost)

-              Turns around and talks more to these people

-              Friends with her subjects

-              Immediately published

-              Took notice to these people that had lost everything

-              Took awareness to this topic

-              Art that made a different and had power

-              The people saw and felt the importance of this art

-              Set up relief camps for these people that lost everything

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Social Realism

The piece of artwork that moved me the most emotionally and spiritually that we have studied this semester is “Migrant Mother” by Dorothea Lange. Migrant Mother is a photograph taken of an immigrant family as they were in search for a job throughout California. This photograph was taken in 1936 during the Great Depression and Dust Bowl era and represents social realism. The woman in this photograph is Florence Owens Thompson, holding her infant and her two older children leaning against her shoulders. Florence is waiting on the side of the road homeless while her husband searches for work. Dorothea Lange captured this photo the after going back a second time pass these people. The first time that Dorothea Lange passed Florence and her children they talked for a few minutes, and she captured a few shots. As Lange was driving away, she had a feeling that she had not yet captured the photograph that she needed to. So, she listened to the prompting and went back to Florence and her kids to capture some more photographs. That is when she had the opportunity to learn more about this family and capture this expressive art piece. This photograph was published immediately after it was submitted and brought awareness to the government about these people’s situation. The government supported and gave these immigrants, including Florence and her family, the money and jobs that they needed.

Migrant Mother demonstrates a lot of emotion and draws the viewer in to want to know more about Florence’s situation. For me this piece demonstrated bravery, courage, determination, listening to the spirit, trusting in God, and that we need to work for the things that matter most in our lives. I believe that this photograph will always be famous and move people no matter how old it gets. Growing up I have had many experiences where it has felt hard to keep moving forward and this piece shows that everyone struggles just in different ways. I want to be a strong mother like Florence even if I do it in a different way than she did. It is easy to tell that she loves her children and would do anything for them. Florence and her family had lost everything and were in search of any money or help they could get. She is trusting in the plan that the Lord has for her and so was Dorothea Lange when she returned to capture this photograph.

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Precisionism

Charles Demuth, My Egypt, 1927

-              Leading the world in technology and food

-              Celebration of good time in America

-              Beginning of the great depression in a few years

-              Time of plenty

-              Spotlights that advertise a car place

-              Painting something industrial

-              My Egypt: bible story to get grain in Egypt

-              Jospeh storing grain in times of plenty

-              Time of famine

-              Foreshadowing of time of plenty and then a famine

-              This is my monument of my day

-              Showing human potential and capabilities

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Mark Rothko No. 61 (Rust and Blue), 1953

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Postwar to Postmodernism

Theme: Breaking Boundaries

-              After World Wars II

-              World had been turned upside down

Abstract Expressionism: Action Painting

Jackson Pollock Autumn Rhythm: Number 30. 1950

-              Mondrian

-              Didn’t just wake up one day and threw paint

-              Working and taking on all the influences of the day

-              Logical extension of what he was doing in his work

-              Breaking all the rules

-              Canvas on the floor and throwing/dripping paint

-              Doing a dance

-              Reflects movement

-              Nontraditional materials: industrial paint (car paint) flowy

-              Really large

-              Qualities of line, shape and movement

-              Looks like thrown on paint

-              Full colors

-              Painting

-              “I am nature”

-              Personal

Abstract Expressionism: Color Field Painting

Mark Rothko No. 61 (Rust and Blue), 1953

-              Large plains of color

-              Overlapping of edges

-              Ragged edge

-              No hard outline

-              Subject clouds, sky, atmosphere through edge

-              Absorbed by these painting

-              Stand close and be enveloped

-              Suggest universal forces and truth

-              Spiritual

-              Emotional

-              Feel transported away from the physical world into a spiritual one

-              Surrounded by the colors

-              Has a deeper meaning them seen when first looked at

-              Really large painting

-              Heroic sublime man

-              Rules of thirds

-              Proportion

-              Greek and roman times

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Mark Rothko No. 61 (Rust and Blue), 1953

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Helen Frankenthaler. Mountains and Sea. 1952

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Post-Painterly Abstraction

Helen Frankenthaler. Mountains and Sea. 1952

-              Inspired by Jackson pollock

-              Laid her canvas on the ground

-              Didn’t use a paintbrush

-              Invented her own technique

-              Expressive painting

-              No gesture really

-              Large canvas unprimed (raw)

-              Very thin oil painting

-              Draw sketches (overall plan) charcoal

-              Pour paint onto the canvas and tilt it

-              The paint would seep into the canvas since it was so thin

-               Invented the technique “Post painterly abstraction”

-              Stain painting

-              Colorful

-              Muted colors

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Helen Frankenthaler. Mountains and Sea. 1952

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Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60

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Postwar Sculpture

Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60

-              Find junk on the street

-              Pick up the scraps to build to the boxed

-              Shadow boxes

-              Floor to ceiling high

-              Painted them with a solid color

-              Not always black

-              Cast a certain mood

-              Mood: twilight mood

-              Wanted the lights down when viewing this art

-              Things become unrecognizable

-              Took ugly garbage and transformed it into beauty

-              Look at the world around you and you can give it new life

-              We can take garbage and make it beautiful

-              Hand crafted

-              Emotional and expressive

-              Conveys emotion through color and background

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Post Abstraction

Robert Rauschenberg, Bed, 1955

-              Used a real quilt

-              Real pillow

-              Real objects in our life

-              Tilted the bed up so no one could really sleep on it

-              Colors

-              Realism

-              Paints on top of the real bed

-              Wanted to make are out of the real world

-              Mocking of post abstraction

-              Homage to the generation that had come before him

Jasper Johns. Three Flags. 1958

-              Make art out of the real world

-              Painted on top of the flags

-              Stacked three flags onto of each other

-              Different canvas stacked

-              Surface is very unflag like

-              No dimension in a flag

-              Gives it dimension (painterly thick, oncotic, and stacking the flags)

-              Roman times and byzantine days

-              Painterly feel

-              Contradictory

-              This is not a flag, you can’t fly it or hand it (denies being a flag and flat object)

-              Take the emotion out of things but can’t really take that out

-              Every has a respond to it

-              48 stars and that many states during that time

-              Lead into pop art

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Installation Art

Allan Kaprow, Yard, 1961

-              Pile of ties

-              Room full of tires

-              Anyone could fill a room with tires

-              Not very meaningful to us

-              Rules that he is breaking are exciting

-              You had to touch this art (not usual)

-              People could walk over this art and touch it

-              Pollock look with no focal point

-              Whole thing is important

-              Not one part you are supposed to look at

-              Insulations really took off

-              Breaks the rule of art being collectable

-              Depends on galleries to install them

Yayoi Kusama, Infinity Mirrors, 2017

-              Polka dots

-              Platform is not noticeable with the mirrors

-              Has the sense of forever

-              Can be walked on

-              Room full of mirrors

-              Set up in the museum

-              Permanent artwork

-              Created by hand

-              Man made but designed by her

-              Brings happiness

-              Joy

-              Expressive

-              Spiritual

Yayoi Kusama, A Dream I Dreamed, 2014

-              Lage pumpkins

-              Space that you are completely surrounded

-              Polka dots

-              You can go into the rooms that she has created

-              You can feel that there is nothing around you

-              Colorful

-              Can’t see the platform

-              Playful

-              Feeling of continuing on forever and ever

-              Infinity mirror give a sensation of forever

-              Transformation of the area into a polka doted playground, mirrors and colors

-              Self-obliteration

-              Repetition of patters and colors

-              Diverse surfaces and large scale

-              Sculpture and painting

-              Immersive and sensory experience

-              Sculpture of giant flowers

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Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

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Performance Art

Joseph Beuys, How to Explain Paintings to a Dead Hare, Nov. 26, 1965

-              Mythology of being shut down In a play during world war 2

-              Said that these mythologic creatures took care of him after his devasting crash and healed him.

-              Healing to the world through his strange performing art

-              Face is covered with honey and gold leaf

-              Dead hare in his hands

-              Talked to the hare and explained the meaning of art

-              Art needed to be direct

-              If art needed to be explained, then it was not good art

-              Ironic

-              Art should be spiritual

-              Appear to the soul of the viewer

-              Weird point of view

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Pop Art

-              Like dada

Roy Lichtenstein. Drowning Girl. 1963

-              Comic strip art

-              Blowing up a comic strip and in an art gallery

-              Telling the world that there isn’t a different in art made in comic books then pieces of “fancy art”

-              Benday dots

-              Painted them into his big canvases

-              Making fun of the gender roles during this time

-              Women are helps and men are strong

-              Melodramatic

-              Rather sink then call on a man to help

-              Emotional

-              Not going to make anyone cry

-              Making fun of the emotional times of art

-              Not expressive/emotional

-              Art is just art (no levels)

Andy Warhol. Campbell’s Soup Cans. 1961–64

-              Art created mass production

-              Perfectionist

-              Hand was always in the work

-              Pass it off as a machine

-              All the flavors that you could get of this soup

-              World of mass production

-              Time of plenty

-              Lots of choices on the shelves

-              New America

-              Prosperous

-              Appropriating something was designed by someone else

-              Hand painted by him

-              Rubber stand

-              Individual painting on a grid

-              Fells like mass production on a shelf

-              Large

-              Belong in the Moma of New York

-              Realist by saying this is my life

-              He ate a can of soup every day for lunch

-              Represents how people sat down and ate their soup

-              Repetition

-              Being a machine

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Minimalism

Ellsworth Kelly. Red Blue Green. 1963

-              Perfect flat

-              Hard edge to create these shape

-              Acrylic paint

-              Hard edge abstraction

-              Water in the blue, grass in the green, and house in the red

-              Look of typography

-              Can make of it as you want

-              Simple

-              Flat

-              Distinct hard edges

-              Acrylic

Frank Stella. Empress of India. 1965

-              What you see is what you see

-              Canvas made in V shapes

-              Put the V shapes in different arrangements

-              Hand painted them

-              Stripes are reserve lines (painted lines)

-              Stella broke the rule of rectangle canvas

-              Star guy stella=star

-              Simple

-              Muted colors

-              Painting and sculpture

-

Donald Judd, Untitled. 1969

-              Climbs that wall

-              Defies the idea of a sculpture

-              In between on the wall and on a pedistool

-              Didn’t make any of this

-              Ordered boxes (specific ones)

-              Hs design

-              Top and bottom are mad of plexiglass

-              Made of copper on the edges

-              Design changes in the light as you move around it

-              Did not create it had the museum do it for him

-              Just sent the boxes to the museum and gave them on instruction on how to put it up

-              Art that is conceptual

-              Work of art only need to be interesting

-              Blue and bronze

-               Interesting perspective

-              Not very common of see this type of artwork

-              Foreshortening

-              Changes over time and distance

-              Tempted to climb on it

-              Shadows are different from different perspectives

-              Wanted you to think about the negative space

-              How your presence effects the art piece

-              Changes depending on where your standing (your shadow)

-              Critics did not like that minimalists were not responding to their day

-              Responding by retreating and not respond in the ay that was expected

-              World was feeling too chaotic and messy, so they wanted to clear it up with their art

-              Order

-              Neat

-              Repetitive

-              Soothing

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Christo and Jeanne-Claude. Running Fence Sonoma and Marin counties, California. 1972–76

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Earthworks

Robert Smithson. Spiral Jetty, Great Salt Lake, Utah. 1970

-              You can see it today

-              Deposited thousands of tons of earth and rock in the shape of a spiral (6 thousand tons)

-              Looked at Earth and the Lake as his canvas

-              Invites you to be part of it

-              Walk on it and experience it with you body and your eyes

-              Spiral shape is an ancient shape (petroglyphs and hieroglyphs)

-              Meditative symbol (labyrinths)

-              Did not think that it would last forever

-              55 years its been around

-              Ephemeral art

-              One day it would go back into the earth and no trace of it

-              Change with time and season/weather

-              Microorganisms grow around it to give it a pink color

-              Time in the 1980s that you could see it cause it was covered with water

-              Water has receded because if drought yearers

-              Covered with salt

-              Didn’t want people to keep rebuilding it and add more rocks

-              Wanted it to go back into the earth

-              Somewhat temporary art

-              Not forever

Christo and Jeanne-Claude. Running Fence Sonoma and Marin counties, California. 1972–76

-              Two-week shelf life (up for people to see)

-              Fence of nylon on polls

-              Spans around 24 miles long

-              Went across ranch land and hill

-              Norther California

-              Lead to the Pacific Ocean

-              Went through the city and had to make a space for the road

-              The work of art was the whole process not the final product

-              Made lots of drawing of what the art was going to look like

-              Costed 3,000 dollar

-              Made money for this by selling his drawings

-              Envisioned this through his drawings

-              Part of the process was getting permission of where it went through all the land and cities

-              Was really time consuming

-              Hired hard head worked (college age) to construct the artwork

-              Photography had preserved it and video footing

-              Went across lots of people land and the city limits

-              Lots of the people thought that this artwork was stupid, and he was wasting money

-              Felt that he was spending so much money on just a rag that goes 24 miles

-              Did think that this was art

-              Managed to win the hearts of the people over time

-              People reported after that they were having spiritual experiences from having this artwork on their land

-              One rancher and his son slept next to the fence and had a cool nature and light experience

-              Jeanne was the partner but Christo did most of the work

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Christo and Jeanne-Claude. Running Fence Sonoma and Marin counties, California. 1972–76

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Betye Saar, The Liberation of Aunt Jemima, 1972

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Activist Art

Betye Saar, The Liberation of Aunt Jemima, 1972

-              Been exhibited all over the world

-              Become very iconic

-              Image is representation and repreated of Aunt Jemima

-              Pancake lady

-              Cheerful looking Black women with a bandana

-              Innocent enough at first

-              Harmful a stereo type like this is

-              Slave women that is happy with her work and raise white people’s children

-              Women is good natured and not super intelligent

-              Indicial

-              Stereotype was very harmful to the people

-              She then decided to take the symbol back and empower it

-              Its not that she approves of violent but sometimes a weapon is the only way to get someone’s attention

-              Giving power back to a person (slave)

-              Having a message to get across to other people

-              Women movement

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Betye Saar_ The Liberation of Aunt Jemima [lava thomas selection]

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Feminist Art

Judy Chicago. The Dinner Party. 1979

-              Told a story about how she was a minimalist artist

-              Need to do something to call attention to the women that had been ignored in the past

-              Did a lot of research and made a list of women that had contributed to the world

-              Gave 39 women a change to be at the table

-              Dedicated to women that made a difference in all different areas of the world

-              Wrote the names of other women that she wanted to be part of the artwork

-              Used artforms that women were permitted to do when they couldn’t be part of them

-              Women have been encouraged to do table work

-              Table places were knitted

-              Painted parselene

-              Ceramic dishes that are hand painted

-              Hand painted tile and tile work

-              Didn’t do this by herself

-              Collaborative work

-              Got women together to create it

-              Women who have been forgotten over time

-              On the plates are abstract depiction of women genitalia

-              Powerful work

-              Installation work (can be permanent)

-              Permanent) instillation

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995

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Video Art

Nam June Paik. Electronic Superhighway: Continental U.S. 1995

-              German and American

-              Express that the world has changed over time

-              Screens are on and each one is different for each state

-              Each state is represented here

-              Bombarde with lots of sensory overload

-              We get our information not by traveling but traveling through our eyes in screen

-              The screen for us has become real life instead of the thing itself

-              Permanent insulation in the museum

-              Neon light

-              Very important medium

-              Real life

-              Change from different periods

-              Want it to relate to the time

-              Technology was our lives and causing a lot of chaos

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995

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Torn and Twisted Curtain. Joseph Havel. 2004 - 2005

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Post Modernism

-              Desertification of modernist art

-              Architecture

-              Emphasizes meaning (call attention)

-              Multi-cultural