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Arts & 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

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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Activist Art: Art as political statement

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· The earth is the canvas

· Interactive

· Out of the gallery—less elitist

· Not collectible

· Some felt minimalists were escapists, not confronting issues of the day; wanted to put emotion back into art

· Also called Land Art or Enviornmental Art

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· Unemotional

· Reduced to most basic parts

· “What you see is what you see”—denial of meaning

· Reaction to abstract expressionism; sought to make unemotional art

· Eliminated any sense of space

· Art for art's sake

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· Reaction to elitism of Abstract Expressionism; unemotional
· Similar to Dada in love of ready-made, common objects

· Sought a mass-produced look—accessible

· Interested in mass media and pop culture

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· Installation Art: Art as experience, Not collectible

· Performance Art: Art as life, Improvisation; unpredictable

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· Abstract Expressionism (two branches—Action Painting and Color Field Painting); Influenced by Surrealism; Art about emotion, myth, universal forces; Brought attention to the paint on the canvas (rather than hiding); Brought NYC to the center of the art world

· Post-Painterly Abstraction: “Stain painting”

· Post Abstraction: “Combines”

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· Immersive, large-scale installation: mirrors, lights, and polka dots create a dreamlike, infinite space

· Themes: infinity, self-obliteration, and psychological exploration

· Use of repeating patterns: Kusama’s signature polka dots and nets symbolize the endlessness of the universe

· Mirrors reflect the viewer, blending them into the artwork: encourages self-reflection and dissolution of the self

· Exploration of the subconscious: Kusama's works often express her personal struggles with mental health and her obsession with infinity

· Interactive experience: the viewer becomes part of the artwork, challenging traditional boundaries between art and audience

· Emphasis on repetition: reflects Kusama's experiences with obsessive-compulsive disorder, where repetition is both a compulsive and meditative act

· Light installation: creates a sense of vastness and eternity, as if the space extends infinitely

· Personal connection: Kusama often explores themes of isolation, infinity, and the smallness of the individual within the universe

· Contemporary relevance: Kusama's work continues to resonate with themes of self-expression and the overwhelming nature of modern life.

4o mini

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995

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Nam June Paik. Electronic Superhighway: Continental U.S. 1995

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· Monitors behind each state with different imagery

· Prevalence of tv in America, rapidly changing

· Most Americans experience the world through tv screens; tv=real life

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· Began feminist art movement

· Background as a minimalist (one of the boys); not included in reviews of shows

· Cutting edge group of artists still very traditional in one way: domination by males

· Decided to pay homage to important women throughout history, many ignored in history books

· Extensive research

· 39 place settings, 13 at each side (symbolism?)

· 919 other women’s names inscribed in tiles

· Hand-painted ceramic plates in period style, embroidered runner also in period style: mediums associated with women: needlework, painted china, ceramics

· Sense of community and ritual (Last Supper now spiritual communion of women)

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Betye Saar. The Liberation of Aunt Jemima. 1972

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Betye Saar. The Liberation of Aunt Jemima. 1972

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· Betye Saar’s found object assemblage, The Liberation of Aunt Jemima (1972), re-appropriates derogatory imagery as a means of protest and symbol of empowerment for black women.

· Emerging from a historical context fraught with racism and sexism, Saar’s pivotal piece works in tandem with the civil rights and feminist movements. The cotton balls at the feet of the Jemima figure, the broom, and the image of the woman with the white child each speak to specific roles into which African American women were historically allocated. Saar takes these painful memories and alters them, arming the stereotypically docile mammy figure with a gun and hand grenade and giving agency to the traumatized icons of the past.

· Aunt Jemima has been armed and empowered with a new identity. She’s done making pancakes.

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Christo and Jeanne-Claude.  Running Fence Sonoma and Marin counties, California. 1972–76

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Christo and Jeanne-Claude.  Running Fence Sonoma and Marin counties, California. 1972–76

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· How can art compete with mass media? The masses don’t go to art museums, so he decided to bring art to the people

· Not lasting museum pieces: felt that the creative process was more important than the finished work: the recording of the work by the media (let the media work for you—like Salvador Dali, Andy Warhol)/working with farmers to get their permission to use their land/getting local people to help with the construction/beauty of finished project: Jars us into seeing the environment in a new way; natural element of wind

· Local people skeptical at first, but many were proud of it at the end; hard-hat workers moved by the experience; also by his total belief in what he was doing; charismatic, converted people to his art (story about one rancher who had fought it slept next the the fence one night with his son and had a transformative experience

· Not elitist—brought art experience to normal people; link between fine art and real world

· Cost 3 million dollars; Christo funded himself through drawings, but hundreds of thousands saw it vs. painting sold to private collector and never seen

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· Questions traditional categories of painting and sculpture

· Reliance upon geometry, mathematical measurements; emphasized conceptual rather than emotional content; favored materials and processes of mass production

· Lacks artists’ hand; not personal; no sign of artist except in concept

· Non-art materials: plexiglass, fluorescent tubes, galvanized steel

· Wanted to make art that did not look like art—nothing but what you see; no references

· Admire what you see: scale, color, texture, proportions; takes away base, glass case—props that announce an object to be a work of art

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· Entirely flat, pinstripes=lines of canvas showing through

· Canvas now has a life of its own—not rectangular; sculptural (blurs distiction between painting and sculptures)

· No push-pull of space

· “What you see is what you see.” No hidden meanings, symbols, references: stripped down vocabulary=Minimal Art

· (so why title?)

· Geometrical precision

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· Imagery of mass media; took “low art” forms (commercial art) and made it into “high art”;

· Revealed manipulative impact of mass media

· Make art that doesn’t look like art (idea from Environments, Happenings)

· Looked to comic books, newspapers; liked the bold outlines, lack of depth/dimension

· Known for seeing beauty in low art

· Blurs distinctions between fine art and mass culture

· Used benday dots; when seen up close, they become flat abstract patterns

· Reveals cultural stereotypes of men and women at the time

· Artist’s hand/presence not visible; machine-like (opposite AE artists)

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Joseph Beuys. How to Explain Paintings to a Dead Hare. Nov. 26, 1965

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Joseph Beuys. How to Explain Paintings to a Dead Hare. Nov. 26, 1965

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· Autobiographical: fighter pilot in Hitler’s Luftwaffe in WW2; told story that his plane was shot down in a snowstorm over Crimea and that nomads saved him from freezing by covering him in animal fat and felt (materials here reflecting humanity and spirituality: felt on shoe, fat on chair; steel attached to right foot to show hard reason; face covered in honey (life force) and cold—magical, shaman-like

· Moved lips for 3 hours instructing dead hare about pictures surrounding him; meaninglessness of conventional picture-making that has to be explained; art should be spiritual, direct, understandable to viewer.

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· Eternal unlimited universe, love for humanity, and longing for peace in the world—these concepts become increasingly serious through the development of my philosophy of life and art.

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· Environments or installations

· Interested in Rauschenberg, Nevelson using objects from everyday life

· Allover look of Jackson Pollock (wrote that the next step after Pollock was to make environmental art)

· Not permanent

· Walk through it, experience

· No meaning attached; left to viewer

· Performance Art, Happenings

· Simultaneous actions: painting, juicing oranges, speaking fragments of sentences: human participation, element of change

· Like a combine in time and space

· Reminds me of switching channels on tv or radio

· Lots of performance art followed

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· Friends with Rauschenberg; began as a window decorator

· Chose everyday, familiar forms

· Takes readymades and paints over them

· Paintings about painting: non-illusionistic, no specific meaning or emotion (can you remove emotion from flag?)

· Wax-based encaustic; painterly

· 3 canvases stacked: 3-D from canvases, not from illusionistic painting; an image is a sign or symbol of something else, not the thing itself (this is a painting of a flag, not a flag—Magritte: This is not a Pipe)

· Predecessor to Pop Art

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· New generation of artists rejected Abstract Expressionism

· Rauschenberg: “It was all about suffering and self-expression and the State of Things. I just wasn’t interested in that, and I certainly did not have any interest in trying to improve the world through painting.”

· Took off where Duchamp left off: painted canvases completely white; in response, avant-garde composer John Cage wrote a piano piece called 4’33”, first performed in Woodstock, NY in 1952: pianist opened keyboard, did nothing else for 4 minutes and 33 seconds; audience listened to sounds of the real world; then the keyboard case was shut, signaling the end of the piece

·“I don’t want a picture to look like something it isn’t. I want it to look like something it is. And I think a pictures is more like the real world when it’s made out of the real world.”

· Combines: works that combined painting, sculpture, collage, found objects

· Odalisk: lamp (electric light inside); magazines, newspapers, thrift shops, garbage—mass production, throwaway

· Title: pun on odalisque and obelisk; sexual allusions but no explanation; this is life

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Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60

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Louise Nevelson. Sky Cathedral—Moon Garden Plus One. 1957–60

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· Black boxes filled with found objects; fragments of furniture and architecture; also became larger, wall-sized

· Fragments of civilization, of one’s life, of the cosmos

· Nevelson wanted her black works to be illuminated by a blue light, suggesting twilight, when things begin to look different and to change into something else—moment of transformation

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Mark Rothko. No. 61 (Rust and Blue). 1953

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Mark Rothko. No. 61 (Rust and Blue). 1953

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· Flip side of Abstract Expressionism: Color-Field Painting

· Mystical quality: Large meditative planes of color to express universal forces; sublime (vast, large canvases)

· Main color-field painters: Mark Rothko, Barnett Newman, Clifford Still; all started out by making Surrealist paintings based on mythical themes

· Rothko: flat planes of color; no storytelling, no symbols; mystical, oneness with cosmic forces

· Thin layers of paint; glowing,  “spiritual light”; ragged edges, cloudlike, organic; suggest infinity, spiritual aura

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Jackson Pollock. Autumn Rhythm: Number 30. 1950

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Jackson Pollock. Autumn Rhythm: Number 30. 1950

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· After WWII: Turning point in the art world: focus shifted from Paris to NY

America’s first major art movement, Abstract Expressionism; evolved from Surrealism; influence of many European artists in NY during wars

· Like Matisse, Picasso, Kandinsky—breaking new rules (how many?)

· Story: Asked his wife Lee Krasner “Is this a painting?”

· Gesture paintings: about process; Allover paintings: no focal point; culmination of trend of the emergence of the picture plane as an independent entity (since Cezanne—even Manet)

· Existentialism reaction to destruction of world wars: no absolute truths

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· De Stijl (The Style): Dutch movement; sought to create utopian environment through geometric abstraction; sought universal order that would make nationalism obsolete;
also called International Style and Neo-Plasticism

· Regionalism: Representational; local (Midwest) imagery

· Harlem Renaissance: After WWI, hundreds of thousands African-Americans moved from the south to escape racism and poverty and moved to the northern states; many to Chicago and NYC (Harlem); search for cultural identity; movement called Harlem Renaissance; Wanted to tell their story and experience from their own point of view

· Mexican Art: Mexican Revolution in 1910-1921; focus on indigenous traditions while rejecting European influences; Government building campain led to mural commissions; rise in muralists such as Diego Rivera, David Siquieros, and Jose Clemente Orozco; Socialists or Communists; proclaimed murals as the true art of the people

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· Reaction against World War I

· Focus on absurdity, element of chance (Enlightenment values of logic and reason only lead to war)

· Challenged status quo in art, culture, etc.

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· 1930’s; element of chance (like Dada)

· Randomness related to dream states

· Juxtaposition of unrelated objects

· Exploration of the subconscious mind

· Dream images

· Stream of consciousness

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· Influences of Cubism reaches US

· Grain elevators

· Hard-edged, geometric, Cubist; Precisionism (not only because of precise line, but also because of precision of machines and industry; unlike Cubism, not distorted

· Title: Americas pyramids; mighty

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Dorothea Lange. Migrant Mother, California. 1936

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Dorothea Lange. Migrant Mother, California. 1936

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· Grant from FSA (Farm Security Administration) under Franklin D. Roosevelt’s New Deal

· Captures destitution, emotional distress of migrant workers

· Immediate impact: government sent food to CA and opened relief camps for migrant workers; power of images

· Powerful portrayal of hardship during the Great Depression: mother and children struggling in the face of poverty

· Themes: resilience, suffering, and the human condition

· Emphasis on the emotional intensity of the mother’s expression: worry, strength, and endurance

· Iconic representation of migrant workers: central to Lange's work documenting the impact of the Dust Bowl and economic hardship

· Simple, stark composition: focuses on the figures, with little distraction from the environment

· Soft focus and light: adds a sense of empathy and warmth to the harsh reality depicted

· Symbolizes the plight of rural America and the working poor

· Use of framing: the mother is the clear focal point, with children’s faces turned away, enhancing the focus on her emotional depth

· Black-and-white photography: emphasizes the gravity and timelessness of the subject

· This image became an emblem of the suffering of migrant families and was used to advocate for government relief programs

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· Garish light and colors of Van Gogh’s Night Café, 1888· Iconic depiction of urban isolation: figures in a diner late at night, disconnected from one another

· Sharp contrasts of light and shadow: creates a sense of loneliness and desolation

· Use of geometric forms: clean, straight lines and flat surfaces emphasize solitude and stillness

· Themes: urban alienation, isolation, and the American experience

· Empty, sterile atmosphere: the diner seems abandoned, though inhabited

· Cold, artificial lighting: heightens the sense of detachment and unease

· Silent figures: the absence of interaction suggests emotional distance

· The diner as a modern sanctuary: a temporary refuge in an impersonal world

· Psychological depth: evokes a feeling of existential melancholy

· Realistic portrayal of American life, but with an undercurrent of loneliness and existential questioning

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· Fascist rise to power: Mussolini in Italy, Hitler in Germany, Franco in Spain, Hirohito in Japan

· Spanish Civil War: Hitler provided military support for the Nationalists under leadership of fascist dictator Franco; Nazi pilots used saturation bombing to attack the undefended Basque town of Guernica, killing thousands of civilians.

· Painted as a protest;  This large canvas embodies for many the inhumanity, brutality and hopelessness of war (compare to Goya 3rd of May); crucifixion pose

· Why black and white? Thought color would distract

· Why lines of hatching? Newspaper look; immediacy of journalism; contemporary event

· Bull=forces of brutality and darkness; horse=the people

· Bird=dove of peace (annihilated)

· Picasso refused to let Gernica be displayed in Spain while Franco was still alive

· Last major history painting; end of belief that a painting can be a catalyst for change (we are too bombarded by images daily)

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· began painting while recovering from a bus accident at age 18; interested in native folk art and dress; introspective and about emotional and physical pain

· Left: European Frida; pale, Victorian dress (father was Hungarian Jew); right is Mexican Frida, darker and in peasant costume (mother Indian and Creole)

· European Frida cuts the blood connection to the indigenous self

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· Echoed forms of Aztec and Mayan art

· Depicts a man carrying a large bundle of flowers on his back: symbolic of labor and sacrifice

· Bold, vibrant colors: highlight the contrast between the man's labor and the beauty of the flowers

· Themes: class struggle, the dignity of labor, and Mexican identity

· Use of exaggerated, muscular figures: emphasizes the physicality and hardship of the worker

· Focus on the working class: Rivera often depicted workers as heroic figures

· Stylized, almost monumental forms: gives a sense of timelessness to the worker's struggle

· Floral imagery: both a symbol of Mexican culture and a commentary on the labor behind beauty

· Strong lines and geometric shapes: characteristic of Rivera's work, linking figures and environment

· Political message: advocates for the rights and recognition of laborers, particularly in the context of Mexican society

· Influence of Mexican folk art and pre-Columbian art: merging cultural heritage with modern political themes

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“In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series. 1940-41

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“In the North the Negro Had Better Educational Facilities,” from the Migration of the Negro series. 1940-41

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· Series of 60 paintings documenting mass migration (6 million) of African Americans from the south to the north

· Factors included racism and Jim Crow laws, but also jobs to fill in the industrialized north

· About movement and change

Jacob Lawrence. “In the North the Negro Had Better Educational Facilities”, from The Migration of the Negro series. 1940-41; Harlem Renaissance and Social Realism

· Part of a 60-panel series documenting the African American migration from the South to the North

· Bold, simplified forms and flat colors: dynamic storytelling through visual abstraction

· Themes: racial inequality, hope, and opportunity in the face of adversity

· Depicts African Americans in the North benefiting from improved access to education

· Emphasis on positive change and the promise of a better life

· Use of sharp lines and contrasting colors to create movement and energy

· Narrative-driven: conveys the social and economic struggles of migration

· Represents both the hardships and progress of African American life during the Great Migration

· Focus on collective experience: the migration as a transformative chapter in African American history

· Visual balance of realism and abstraction: human figures and the environment are stylized yet evocative

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· Shown at the Art Institute of Chicago in 1930 (still there), brought Wood to national attention

· Window into Midwest world where Wood grew up and lived

· Fictitious father and spinster daughter, God-fearing descendants of settlers

· Religious: numerous crosses: windows, porch, overalls (repeats pitchfork pattern), church steeple, Gothic window

· Neat and clean: crisp drawing, verticals and horizontals

· Industrious: pitchfork, plants on porch

· Frugal: old-fashioned clothes, nothing modern (time of Depression)

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

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

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· Essence of the modern experience through abstraction—influenced by Armory Show: flying in an airplane, looking down from a towering skyscraper, riding in a speeding car, advertising, jazz, pulse and energy

· Like synthetic Cubism

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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Georgia O’Keeffe, Deer’s Skull with Pedernal, 1936

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· Symbolic still life: juxtaposes the skull of a deer with the iconic Pedernal mountain in New Mexico

· Themes: death, nature, spirituality, and connection to the land

· Focus on form and texture: the smooth curves of the skull contrast with the jaggedness of the mountain

· Bold use of color: muted earth tones highlight the arid, desert landscape

· Abstracted, almost minimalistic composition: strong, simplified shapes give the piece a sense of timelessness

· Represents O'Keeffe's deep connection to the New Mexico landscape, a central subject in her work

· The deer’s skull as a symbol of life’s cyclical nature: death leading to regeneration

· Attention to detail: O’Keeffe’s style emphasizes texture and natural forms

· Geometric abstraction: the smooth, rounded skull contrasts with the sharp, angular mountain, creating a harmonious balance

· Mysterious and meditative: evokes a sense of reverence for nature and the passage of time

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· First showed her work at Alfred Stieglitz’s gallery (“At last, a woman on paper”)

· Close-ups of flowers; image so magnified it becomes abstract (influenced by close-up photography of Paul Strand)

· Critics felt it had sexual references

· O’Keeffe denied that they were about sexuality;  “if you see other things in the flower, it is because of the universality present in nature”

· Quote: “I’ll paint it big, and they will be surprised into taking time to look at it. . . I will make even busy New Yorkers take time to see what I see of flowers.”

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

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

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· Mondrian with other artists in Amsterdam founded a movement called De Stijl:; spiritual mission;

· Friend and philosopher Schoenmaekers wrote that there was an underlying mathematical structure to the universe that constituted true reality;

· Mondrian based art on this theory; called it Neo Plasticism

° Asymmetrical but harmonious; no foreground or background; all on same plane (asserts the presence of the picture plane—going back to Manet, Cezanne, etc.)

· Tries to convey complexity and simplicity of universe; everything fits together

· Mondrian felt that art can be a catalyst for change; new language (like Malevich)

· Cubist influence; also stained glass

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· Influenced by Brancusi, Arp, Miro, Picasso

· Also non-western art, including Pre-Columbian art

· Reminiscent of a Classical reclining river-goddess; but based more directly on Pre-Columbian figures.

· Interested in portraying elemental and universal

· We see woman but know it is also stone; millions of years old; one with the stone

· Earth goddess or fertility figure; also a landscape; mother earth

· Interplay between solid and void; suggests womb or tide pools

· Many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire. His ability in later life to fulfill large-scale commissions made him exceptionally wealthy. Yet he lived frugally and most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts.[1]

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Alexander Calder. Lobster Trap and Fish Tail. 1939 

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Alexander Calder. Lobster Trap and Fish Tail. 1939 

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· American, settled in Paris, befriended Miro and Mondrian

· Started making mobiles in the early 1930’s; painted sheet metal, balanced so that movement in air makes them glide and turn in space

· Organic shapes like Miro and Arp; suggest natural forms

· Sculpture? Flat; like drawing in air; but moves in space

· Simple colors: primary, secondary, black and white

· Childlike, joyous

· Flat space and depth combined

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Meret Oppenheim. Object (Luncheon in Fur). 1936 

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Meret Oppenheim. Object (Luncheon in Fur). 1936 

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· Daughter of a Jungian psychologist

· Juxtaposition two desirable things; becomes disturbing

· Fur-covered teacup, saucer, and spoon: juxtaposes tactile luxury with everyday objects

· Themes: fetishism, sensuality, and the absurd

· Unsettling contrast: soft fur with functional objects of refinement and everyday use

· Subverts normal function: challenges societal norms and expectations of utility

· Use of unexpected materials: emphasizes surreal transformation of the familiar

· Erotic undertones: the fur evokes tactile and sexual associations

· Surrealist fascination with the unconscious: explores hidden desires and contradictions

· Objectification of everyday items: elevates mundane objects to the realm of art

· Reflection of Surrealist interest in dreamlike, irrational worlds

· Evokes discomfort: questions boundaries of taste, function, and art

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· Surrealist object

· Gift for composer Erik Satie

· Tacks glued onto flat side of an iron

· Suggests pain, violence, uselessness?

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René Magritte. The Treachery of Images. 1928-29

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René Magritte. The Treachery of Images. 1928-29

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· The Treachery of Images is a painting by the Belgian René Magritte, painted when Magritte was 30 years old. The picture shows a pipe. Below it, Magritte painted, "Ceci n'est pas une pipe.", French for "This is not a pipe."

· "The famous pipe. How people reproached me for it! And yet, could you stuff my pipe? No, it's just a representation, is it not? So if I had written on my picture "This is a pipe", I'd have been lying!"

· Iconic image of a pipe with the inscription "Ceci n’est pas une pipe" ("This is not a pipe")

· Challenges perception and representation: blurring the line between reality and illusion

· Themes: reality versus representation, language and meaning

· Depicts an object (pipe), but asserts it is not the object itself: highlights the gap between image and reality

· Subverts traditional art conventions: art as a reflection of thought, not just reality

· Simple, clear composition: focuses attention on the paradox

· Use of hyperrealistic style: creates a tension between clarity and contradiction

· Questions the power of symbols and how we assign meaning to objects

· Emphasizes the surreal: the bizarre and thought-provoking nature of the everyday

· Intellectual exploration: engages the viewer in questioning perception and truth

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· From Barcelona, went to Paris, started painting from his imagination (or hallucinations brought on by starvation, he claimed)

· Wiry line, childlike drawing of Paul Klee

· Biomorphic forms float on top of minimal color field (behind drawings)—oil, but thin like washes

· Suggest microscopic forms, spirits, prehistoric forms; mythic images, primal state

(how many ways can we not show depth?)

· Biomorphic forms

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· Made drawings and prints because they could be mass-produced, wider audiences;

· Didn’t like elitist nature of art, academies (couldn’t get in because she was a woman)

· Sympathized with working class and victims of war; husband was a doctor who treated the poor; became the subjects of her art

· Reminds me of Liberty Leading the People (new cause)

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

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

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· Photomontage

· Images of contemporary life made by photographers for popular press; camera is another machine associated with technological advances that led to war

· Manipulated images by hand; cut with kitchen knife (no machinery); humanized the mechanical; antiwar

· Antiwar Kathe Kollwitz at center, antidada at sides

· Didn’t use collage to make something beautiful or refined; looked crude and anti-art; message of protest about modern society and regime of Weimar Republic

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

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

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· Assemblage: made of found objects assembled

· Mindless, lifeless dummy; mechanical, robotic, no personal identity

· “The typical German has no more capabilities than those which chance has glued onto the outside of his skull; his brain remains empty.”

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· Duchamp went to NYC to escape war

· “DADA” applied in retrospect; similar goals

· “Readymade”; entered in 1917 independent art show

· Rejected (although non-juried show); Duchamp knew committee would not consider it art

· Issues: What is art? Does it have to be created? (He CHOSE it); art is about ideas

· Defies conventional notions of beauty

· HUMOR

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

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

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· Worked on a few things over and over again, used different materials

· Also designed pedastol, height of display (low for newborn, high for bird in space)

· We don’t see a bird; Spirit of flight

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Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

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Ife Portrait Heads, c. 14th-15th century, brass, 35 cm high, Ife, Africa

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· Ife=Ife Uncovered (5:10)

· Portrait = Ife Remembered (4:33)

· Not all African art is abstract

· Discovered near a palace in Ife (in Nigeria); believed to have been used in royal burials/funerary ceremonies

· Portrait quality

· Ife believed to be the land of the gods, first holy city, center of creation

· Related to the garden of Eden

· Head=center of power

· Lost wax casting technology

· Scarification

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Akua’ba, n.d., (Asante people) Ghana, wood

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Akua’ba, n.d., (Asante people) Ghana, wood

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· Used to help with conception

· Demonstrates three important qualities of womanhood (wisdom (large forehead), girth (ringed neck is intended to denote rolls of fat, showing that woman is capable of bearing a healthy child), and the prime of life) that relate to her physical and mental abilities.

· Akua’ba figures were important fertility aids among Akan-speakers in Ghana in the past. They depict an abstracted female form in wood and were created by male carvers.

· Depicts a highly abstracted and idealized woman in the prime of life

· The figure is also always female, since Akan culture is matrilineal.

· Taken out of the Akan context, altered by Western tastes (which might add beads and paint), and marketed as a universal symbol of Africa, the akua’ba figure is now part of Western popular culture.

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Headdress: Male Antelope (Ci Wara), 19th–20th century Mali, Bamako region

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Headdress: Male Antelope (Ci Wara), 19th–20th century Mali, Bamako region

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· Refer to the mythic culture hero Ci Wara, a divine force conceived of as half man and half antelope. Bamana oral traditions credit Ci Wara with introducing to humanity agricultural methods and an understanding of earth, animals, and plants

· Worn in village-wide performances that celebrated the skills of successful farmers. · These performances featured a pair of dancers wearing sculpted headdresses, one representing a male antelope and the other a female. They held sticks in their hands to paw the earth just as the mythic Ci Wara did when he first taught men to plant seeds.

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Reliquary guardian figure (mbulu ngulu), Gabon, Kota (or Bakota), Gabon, c. 1920

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Reliquary guardian figure (mbulu ngulu), Gabon, Kota (or Bakota), Gabon, c. 1920

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· Wood covered with metal sheets of brass or copper

· Formal elements? Geometric shapes, flat

· Headdress

· Body abstracted to diamond shape framing empty space (negative space)

· Also covered a reliquary containing ancestral bones; traditional (ironically inspired breaking with tradition in western Europe)

· Ancestor cult: they lay the deceased out in the forest and later buried in the earth; later, skulls of important leaders were excavated and placed in large baskets with other remembrance objects.

· Baskets sealed and preserved in sacred shrine huts

· Reliquary guardian figures attached to each vessel with triangular portion reaching into the vessel

· Baskets brought out for important ceremonies, opened and contents presented, explained, honored

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Reliquary Guardian Figure (Eyema-o-Byeri), Gabon, Fang peoples, 18th-19th century

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Reliquary Guardian Figure (Eyema-o-Byeri), Gabon, Fang peoples, 18th-19th century

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· The Fang people of Gabon associate large heads with infancy, an age in a state of greater harmony with ancestors

· Ready to spring into action

· Calm=ideal

· Exagerrated proportions

· Placed on a reliquary chest as a guardian figure

· Symbolizes connection with ancestors and desire for continuation (children)

timelessness

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· Idea that art need not refer to any reality outside of itself and that geometric forms could be positioned to give the illusion of movement and limitless space

· Radical reduction: minimalistic use of white and off-white tones

· Exploration of pure abstraction: no representational forms

· Geometric shapes: a square within a square, emphasizing simplicity

· Emphasis on form and color: white as a symbolic void

· Themes: transcendence, spirituality, and the infinite

· Rejects perspective, depth, and traditional art conventions

· Focus on the essence of painting: the materiality of the canvas

· Representation of a new artistic and philosophical vision

· Radical shift toward the non-objective: art for art’s sake

· Reflection of the Russian avant-garde movement's ideals

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

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

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· Trying to show experience of flying; new relationship to the universe

· Reproductions don’t show organic qualities, hand of the artist

· Abstract, geometric forms: pure expression of sensation

· Focus on basic shapes: squares, rectangles, and lines

· Non-representational: rejects traditional depiction of reality

· Evokes movement and flight through dynamic arrangement

· Themes: liberation of form, non-objective art

· Minimal color palette: stark contrast of black, white, and red

· Emphasis on spiritual and intellectual freedom in art

· Abstracted representation of technology: airplane as symbol

· Embraces the idea of art as pure visual experience

· Celebrates modernity: the machine age and innovation

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

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

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· Strong diagonal lines, disjointed space like Cubism

· Classical buildings, figurative=allegiance to classical past

· Dreamlike, eerie atmosphere: sense of unease

· Stark contrasts of light and shadow: heightened drama

· Elongated shadows: distortion of time and space

· Empty plaza: loneliness and mystery

· Themes: enigma, memory, and the subconscious

· Simplified, geometric forms: timeless and abstract

· Vanishing perspective: leads viewer into the unknown

· Influence of Renaissance art: classical architecture

· Symbolism: girl and cart suggest innocence and danger

· Evokes introspection: psychological depth and ambiguity

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· Influences: Cubism (fracturing), stained glass windows (worked in that medium), folk art

· symbolism?: circles=cycles of life

· Blooming bush=birth

· Farmer with scythe=death

· Tree of life

· Having been in Paris for just one year, Chagall painted this work from memories of his native village outside Vitebsk, Belarus. The cow and the man stare directly into one another’s eyes, suggesting the mutual dependence of peasants and animals. For orthodox Jews, animals were humanity’s link to the universe; look closely and you’ll see the sun, the earth and the moon in orbit. In reference to his very personal response to Cubism, Chagall once said "Lines, angles, triangles, squares, carry me far away to enchanting horizons.”

· Chagall saw Jesus on the Cross as a universally recognizable symbol of human suffering. Chagall hoped that Jews and non-Jews alike would be able to relate to this symbol. By making Jesus unmistakably Jewish, he was highlighting the fact that the Romans crucified Jesus as a Jew. In the midst of the Holocaust, Chagall wanted to make the universality of Jesus’ crucifixion specific again, he wanted the world to look at Jewish suffering.

· I and the Village is one of Chagall's earliest surviving works. In it, he ignored the laws of gravity. Objects are upside down, things appear to float and perspective is disregarded entirely. Instead, Chagall chose to focus on color, form and shape. The artist also disregarded natural colors and used his imagination to fill the shapes defined by black contours, characterized by a cubist art style. The result is a very emotional work - a visual diary of Marc Chagall's life.

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· Significance of “Readymades”: Art is about ideas, not just something beautiful to look at

· Challenges notion that art requires technical skill and craftsmanship

· Interpretations? Pedastol with bust?

· Combines everyday objects: bicycle wheel and stool

· Challenges concept of art: found objects as art

· Rotating wheel: motion and playfulness

· Themes: anti-art, critique of traditional aesthetics

· Rejects craftsmanship: focus on concept over skill

· Influence of Dada: absurdity and rejection of norms

· First "readymade": redefined the role of the artist

· Questions function: objects removed from utility

· Interactive element: encourages viewer engagement

· Iconic symbol of 20th-century art revolution

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

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

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· Influenced by Cubism, Futurism

· Machinelike: idealizes progress, motion, modernity, science’s ability to improve the world

· 1913 Armory show: an art critic for the New York Times wrote that the work resembled "an explosion in a shingle factory," and cartoonists satirized the piece. It spawned dozens of parodies in the years that followed.

· Fragmented, overlapping forms: motion and time

· Monochromatic palette: focus on structure and movement

· Combines Cubist geometry with Futurist dynamism

· Abstracted human figure: blends machine and body

· Influence of chronophotography: sequential motion

· Themes: modernity, technology, mechanization

· Vertical composition: descent and energy

· Controversial at the time: challenged traditional art

· Symbolizes movement through space and time

· Playful and intellectual: pushes boundaries of form and meaning

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913

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Umberto Boccioni. Unique Forms of Continuity in Space. 1913

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· Dynamic, flowing forms: celebration of movement

· Abstracted human figure: energy and motion over detail

· Bronze material: industrial modernity

· Themes: speed, progress, mechanical power

· Influence of Cubism: fragmented, geometric forms

· Figure seems to dissolve and reform: continuity in space

· Symbolizes the Futurist manifesto: rejection of the past

· Combines human and machine: cyborg-like quality

· Interplay of mass and void: sense of propulsion

· Monumental and forward-looking: embodies Futurist ideals

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

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

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· After the Futurists visited Paris together in 1911, several of them adopted aspects of Cubism, though they altered the technique to focus more clearly on Futurist concerns like modern technology, movement, and speed

· More than one moment at a time; impermanence;  influence of Cubism, photography

· Optimism of modernity: machines, motion, etc.

· Focus on movement: blurred, repeated forms

· Emphasis on speed and dynamism: key Futurist ideals

· Black and white contrast: clarity and immediacy

· Depicts a dog and owner in motion: kinetic energy

· Inspired by chronophotography: sequential imagery

· Themes: modernity, motion, technological progress

· Curved, rhythmic lines: sense of fluidity

· Fragmented shapes: breakdown of static perception

· Celebration of the machine age: movement as art

· Playful yet radical: challenges traditional representation

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· Italian Futurism: sought to reject the past and bring Italy into the future; interest in new technology, speed, and movement

· Russian Suprematism: “supremacy of feeling;” pro-Russian revolution; wanted to create a new vocabulary and language of art removed from the elitist past

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· Die Brücke (the bridge): dissatisfaction with industrial modern life; looking to German past with woodblock prints

· Der Blaue Reiter (the blue rider): looking for spirituality and “universal truths;”

Abstract art vs. non-objective art, non-narrative art, non-representational art

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· Analytic Cubism: deconstructing space; showing more than one viewpoint at the same time; influence of Cezanne

· Synthetic Cubism: building up images; use of collage; “real” vs. illusion

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· watercolor with gouache, pen-and-ink, and oil transfer on paper

· Delicate, whimsical linework: childlike quality

· Mechanical elements combined with organic forms: surreal tension

· Humor and menace: ambiguous emotional tone

· Simplified shapes: abstraction and playfulness

· Influence of Dada: absurdity and critique of modernity

· Themes: nature versus machine, fragility of life

· Muted, textured color palette: subtle emotional depth

· Symbolism: birds and machine as a metaphor for control

· Balances spontaneity with precision: Bauhaus principles

· Evokes sound and movement: visual and sensory interplay›

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· Combined influences found in The Blue Rider Almanac, including children’s art, tribal art, music

· Grid of Cubism

· Colors like Matisse, Kandinsky

· Directness and naivete of children’s and folk art

· Luminescent colors of stained glass windows

· Sense of spirituality

· Symbols: Jewish star of David, Islamic crescent moon, primitive hieroglyphic suns

· Tree: life (same rays as suns: earth and sky connected)

· Rectangular planes: trees, ,plants, fire, sky, earth?

· Understated; strips everything inessential

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

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

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· “A scientific event cleared my way of one of the greatest impediments. This was the further division of the atom. The crumbling of the atom was to my soul like the crumbling of the whole world.”

· Completely non-objective; wanted to express universal spiritual forces, abstract mystical powers;

· Simple, direct, spiritual

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Vasily Kandinsky. Improvisation 28 (second version). 1912

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Vasily Kandinsky. Improvisation 28 (second version). 1912

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· Musical titles: focus on communicating directly with the senses

· Like Whistler

· Felt music was free from imitation: color, line, form counterparts of notes, chords, rhythms, harmonies

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Ernst Ludwig Kirchner. Street. Berlin, 1913

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Ernst Ludwig Kirchner. Street. Berlin, 1913

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· Critique of modern society

· Jagged, distorted forms; dynamic energy

· Bold, unnatural colors: emotional unease

· Crowded urban scene: alienation and modernity

· Figures: elongated, mask-like faces; dehumanization

· Influence of African and Oceanic art: primal energy

· Angular lines: chaos and movement of city life

· Tension between glamour and discomfort

· Themes: urbanization, isolation, societal change

· Psychological depth: critique of modern society

· Vibrancy contrasts with eerie mood: duality of modern life

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

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

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· Synthetic Cubism: in 1912 Braque and Picasso began working in collage;

complicates notion of real and illusion; paper/ wallpaper/ chair caning is real and an illusion (a picture)

· Woodgrain was painted by Picasso and cut out

· “Instead of a window, the picture surface became a tray on which art was served.” (art is on top of the canvas, not behind)

· What has the most depth? the modeled glass, which is the only thing drawn?

· Instead of breaking down images, now building up

· Introduced a variety of textures and colors  (in analytic Cubism they used monochromatic colors)

· Used musical themes because music is abstract, like their art; also notes are abstract symbols

· Play with space: guitar soundhole should be negative space, but it is a solid circle of paper

· Le Jou—again, pun about Le Journal, jouer (to play)

· La Bataille s’est Engage (the battle is joined): First Balkan war in Europe; also battlefield between Picasso and Braque working on a new medium

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· Fragmented forms: multiple viewpoints simultaneously

· Monochromatic palette: focus on structure, not color

· Letters and numbers: integrate text into visual space

· Interplay of light and shadow: flattening of depth

· Influence of Cézanne: geometric simplification

· Dissection of subject (musician): abstraction over realism

· Shifting planes: dynamic interplay of figure and ground

· Emphasis on intellectual perception: art as analysis

· Themes: deconstruction, reassembly of visual reality

· Collaborative dialogue with Picasso: innovation in Cubism

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· Flattened perspective; rejects traditional depth

· Vibrant red: emotional intensity and abstraction

· Combines decorative style with expressive power

· Depicts Matisse’s studio: artworks within an artwork

· Objects and artworks outlined in yellow; emphasize shapes

· Suggests interiority and creative process

· Inspired by Post-Impressionism and decorative arts

· Symbolic use of color: passion, warmth, creativity

· Furniture and objects simplified; focus on space and color

· Subtle tension: interplay of order (lines) and chaos (red field)

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· removing the naturalistic description function from color

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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

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· 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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Alphonse Mucha. Dreaming (Reverie), lithograph. 1897

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Alphonse Mucha. Dreaming (Reverie), lithograph. 1897

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· Advertisement for publishing house

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

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

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· Style began in Belgium

· Wrought iron columns, railings in stairwell; linear patterns of sinuous curves; organic fluidity (things growing)

· Furniture, jewelry, interiors; related to styles of Beardsley, Munch, Gauguin

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Auguste Rodin. The Burghers of Calais. 1884-89

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Auguste Rodin. The Burghers of Calais. 1884-89

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· Commissioned to commemorate 6 citizens who agreed to sacrifice themselves during the 1347 siege of Calais in the Hundred Years’ War;

· In exchange for the 6 burghers, the English agreed to lift the siege and spare the town (6 were eventually freed)

· Emotionally charged: confront death with fear, resignation, anguish

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

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

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· African American; studied with Thomas Eakins in Philadelphia, but went to Paris because little hope of opportunities for black artist in America

· Son of a preacher; religious imagery

· We are in the sky with the angels looking down on holy land; shepherds and fire

Material world dissolved, ethereal

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· Inspired by Munch “The Kiss” 1897, and Rodin’s sculpture “The Kiss”

· Fascination with patterns and shapes, jewel like (gold like Byzantine mosaics)

· Passion beautiful, dangerous (abyss)

· Decorative; wanted to break down the hierarchy between fine arts and decorative arts (Vienna Secession: avant-garde artists’ organization; anti academic art)

· Vienna

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Henri Rousseau. The Sleeping Gypsy. 1897

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Henri Rousseau. The Sleeping Gypsy. 1897

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· Self-taught, labeled “primitive painter” because of naïve style

· Hard edges of Ingres, looks simplistic, charming, direct

· Also seeking simplicity of pre-civilization

· Not widely recognized during his lifetime; later Picasso and his circle admired his flatness, abstraction, directness, untaught style

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

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

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· Lithograph

· Influenced by Goya, psychological tales of Edgar Allan Poe (popular in France)

· Visual poems (not illustrations); evoke world of Poe’s imagination

· Soft, hazy, indistinct

· Balloon morphs into a hairy eyeball, head severed at the nose

· Life, death, eternity; uncertainty, troubling

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Paul Gauguin. The Vision after the Sermon. 1888

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Paul Gauguin. The Vision after the Sermon. 1888

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· Felt western civilization lacked spirituality—too materialistic

· Believed art of ancient and non-western cultures had more spiritual strength

· Went to Brittany (western France) to live among peasants; seeking a simpler society in tune with nature

· Religion still part of everyday life for peasants; still wore distinctive regional costume? tried to depict their simple, direct faith through art that was direct, authentic, and free of civilized influences (perspective, shading)

· Looked at folk art, children’s art, medieval art, medieval stained glass windows

· Women have just heard a sermon about Jacob wrestling with the angel; they see a vision of the story along with a cow (spirituality in every thing—struggling shapes have shape of cow)

· Shapes reduced to flat, curvilinear, outlined areas; little shadow (like Japanese prints and stained glass)

· Background plane tilted up, flat red (mystical; felt deep space was distracting to message)

· Diagonal of apple tree like Japanese prints

· Perspective of Degas

· Hats, bonnet strings look animated

· Influenced a lot of other painters

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· Painted after he committed himself to a mental institution

· Mood?

· Emotional intensity

· Surging, rhythmic lines

· Everything in the landscape is echoed in the town:

· Cypress trees planted beside graveyards as symbols of eternal life (echoes church steeple)--spiritual

· Lit houses in rural village protected by surrounding hills

· Yellow in windows and in the stars; light, spiritual light

· Expressive: not realist or Impressionist

· People in harmony with the universe (Van Gogh’s desire); commitment to humanity

· Committed suicide 1 year later

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· Used color and brushwork to express emotion

· Wanted to “express the terrible passions of humanity by means of red and green”

Symbolic use of complementary colors: makes harsh, acidic, sour (green light in waiter’s hair)

· Also tipped perspective: puts us at dis-ease; looks threatening

· Psychological isolation

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Henri de Toulouse-Lautrec. La Goulue. 1891 

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Henri de Toulouse-Lautrec. La Goulue. 1891 

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· Became widely known for his lithographic posters

· Influence of Japanese prints: flat silhouettes, block shapes, cropping, tilted space,

· Influence of Degas: above and subject matter

· Different: more abstract, cartoonish, caricature, simplified; minimum of marks, more flat planes and outlines

· Makes very 2-D

· Moulin Rouge--Cabaret

· Dancer: Louise Weber, credited with creating the cancan

· Profile in front: “Valentin the boneless,” known for his idiosyncratic dancing

· Satirical: Appealing? Illusion of gaiety, but emptiness:

· Psychological isolation of dancer, weary expression;  lurking profile of Valentin; dark shapes of onlookers

· We can feel rhythm of the dance: repeated feet, movement, repeated words, yellow gas lamps (rhythm), lines of floorboards)

· Yellow shape on left: globes of the modern electric chandelier that hung over the dance floor

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

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

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· Painted night life of Paris; optimistic? Garish light, cropped

· Self-portrait in back (crippled by a genetic disease; very short); Spent life in night spots of Paris, died of alcoholism

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

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

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· Compare with first Mont Sainte-Victoire

· Becomes increasingly abstract

· More compressed; less depth

· Balance between observation of nature and a desire to abstract nature: show things as color, shape

· Paint strokes stand on their own; Freed painting from representational role

· Had a powerful influence on Picasso and Matisse

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

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

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· Like Impressionism: Painted outdoors, bright outdoor colors, broad brushstrokes, flickering light

· Different: structural, formal, frozen; even sky looks structural

· Push and pull between depth and flat space: brushstrokes are flat marks asserting the surface of the canvas (conflict between abstraction and representational: we know it’s a real scene, and we also know it’s a flat canvas with lines, color, and paint; no longer a window onto nature—ideal since Renaissance)

· Looks quickly done, but meticulous about every mark (each painting took a couple of years)

· Looked for geometric substructure in all things; shapes echo each other (curves in tree, slope; diagonals in field, mountains, paint strokes

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

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

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· Look at balance (shape, color, etc.)

· Patchy, “slablike” brushstrokes: make it monumental looking

· Space/Perspective? Strange perspective in dishes, tabletop climbs up the canvas; changes viewpoints

· Subject is structure, form; felt that all forms in nature were based on cones, spheres, and cylinders

· Push and pull between flat and 3-D again: leaves in wallpaper look 3-D/ table looks flat

· Cloth: shadows make it look 3-D, but strong feeling of just paint makes it look 2-D

Representational, but acknowledges that it is first paint on a canvas; arrangement of lines and colors (like Whistler)

· Subject: still life traditions in the 17th century: breaking rules of naturalism

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· 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

· Denounced most painting since Raphael; liked art they perceived as simple, direct, and sincere: Fra Angelico, Jan van Eyck; also spirituality of late Gothic period

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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)

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Ukiyo-e (Japanese Prints)

· Flat shapes

· Sharp contours

· Compressed space

· Cropping

· Angles

· Asymmetry

· In 1854 Commodore Perry, US naval officer, led an expedition that forced Japan to end its policy of isolation, this opened up trade between Japan and US and Europe

· Japanese prints were shown in the Paris Universal Exposition of 1867; these prints influenced art in US and Europe

· Woodblock printing had begun in China in the 4th cent. AD; in the 6th Cent Buddhist missionaries brought the technique to Japan

· First used for printing words; in the 16th cent.  Artists began to use them to illustrate texts

· 17th-cent they began using color

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

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

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· The title comes from the refrain of a popular song "Ye Shepherds Tell Me" by Joseph Mazzinghi, a pastoral glee for a trio of male voices, which mentions Flora wearing "A wreath around her head, around her head she wore, Carnation, lily, lily, rose".[3]

· The work is set in an English garden at Farnham House in Broadway in the Cotswolds, where Sargent spent the summer of 1885 with Millet shortly after moving to England from Paris to escape the scandal caused by his 1884 painting Portrait of Madame X

· Sargent wanted to capture the exact level of light at dusk so he painted the picture en plein air – outdoors and in the Impressionist manner. Every day from September to November 1885, he painted in the few minutes when the light was perfect, giving the picture an overall purple tint of evening

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· The model was an American expatriate who married a French banker, and became notorious in Parisian high society for her beauty and rumored infidelities. She wore lavender powder and prided herself on her appearance.

· Singer painted her in attempt to raise his reputation—no commission; received more ridicule than praise. Kept for thirty years, then sold to the MET; “I suppose it is the best thing I have done.”

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

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

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· As he emphasized color and form, he became increasingly abstract: Nocturnes (music term for night scenes) of the Thames Rives (fireworks)

· John Ruskin accused Whistler of “Flinging a pot of paint in the public’s face.”

· Whistler sued him for slander:

· “By using the word 'nocturne' I wished to indicate an artistic interest alone, divesting the picture of any outside anecdotal interest which might have been otherwise attached to it. A nocturne is an arrangement of line, form

and color first”

· When Whistler was on the stand, he was questioned on the amount of time it took to finish one of the paintings.

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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

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· John Ruskin writer, artist championed PRB and urged creation of beautifully designed, hand crafted objects that workers could take pride in producing over mass-produced products;

· Morris started company that manufactured beautifully crafted fabrics, wallpaper, tapestries, carpets, tiles, furniture, and stained glass; he designed most of the wallpaper and fabrics

· From nature, considered spiritual

· Gold background above wainscoting=12 months of the year; like late Gothic art, cycles of seasons and life

· Emphasized truth and quality: no disguising materials, no pre-fabricated materials, no cheap materials

· Launched Arts and Crafts movement, which soon spread to the US

helped to erase Renaissance-influenced perceptions that valued the so-called “higher” art forms over the “lower” work of traditional craftsmen.

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William Holman Hunt. The Awakening Conscience. 1853 

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William Holman Hunt. The Awakening Conscience. 1853 

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· Very religious, came from a poor working-class family

· Victorian morals;

· Inspired by a passage in Charles Dickens’s David Copperfield

· Prostitution in the city; perceived as only hope of bettering their situation

· Woman becomes aware of the lyrics of the song they are singing, returns to her family

· Cluttered with objects of consumerism, also cluttered with details

· Compare with Jan van Eyck’s Arnolfini Portrait, which was in collection of National Gallery in London in 1842

· Symbolism like Van Eyck: cat and bird (kept woman’s position); clock: almost 12 (little time left for action); window reflected in mirror: freedom, beauty and simplicity of nature, freedom

· Biblical passages on bottom

· Tate Britain