Thursday, May 4, 2017

19th-21st century art styles from presentations


figure 28-2 
impression: sunrise- claude monet
1872, oil on canvas
en plein air, no preliminary sketch
short brushstrokes of pure color
figure 28-5
paris: a rainy day- gustave caillebotte
1877, oil on canvas
transitory bc buildings & people are cut off
brushstrokes are not like monet's impressionistic ones
subject is impressionist
setting: junction of new boulevards (redesigning of Paris in 1852)
Napoleon III ordered Paris rebuilt
composition is asymmetrical & violated academic norms
"impression" of modern urban life
figure 28-8
the rehearsal- edgar degas
1874, oil on canvas
human body in motion
high viewpoint & off-center placement of figures
antithesis of classically balanced composition
center is empty- floor takes up most of the canvas
cutting off of people on the right = transitory

figure 28-9
the tub- edgar degas
1886, pastel
influence of japanese prints
unaware of viewers' prescences
sharp angle- table & floor seem to be vertical surfaces 

figure 28-17
a sunday on la grande jatte- georges seurat
1884-1886, oil on canvas
19th cent. color theory- study of optical reception
applies pure component colors in tiny dots/points
the viewers' eyes blend the colors
figure 28-19
starry night- vincent van gogh
1889, oil on canvas
whirling & exploding stars
expressive line, shape, & color
he was living at the asylum of Saint-Paul-de-Mausole
communicated feelings about the electrifying vastness of universe
church= attempt to express conflicted views about religion?
cypress trees
figure 28-29
the scream- edvard munch
1893, tempera & pastels on cardboard
primal emotions, figural distortion
curves = make the scream echo
figure 28-30
the kiss- gustav klimt
1907-1908, oil on canvas
exemplify the viennese fin-de-siecle spirit
reveals only small segments of each lover's body
extravagant flat patterning, flamboyance
ties to art nouveau
patterns signify gender contrasts
figure 28-33
walking man- auguste rodin
1905, bronze
headless/armless figure in midstride
mastery of anatomy & ability to capture transitory motion
interest in effect of light on sculpted sculptures
google AP Art History notes
figure 29-2A
le bonheur de vivre- matisse
arbitrary color, rejection of imitative colors
figure 29-9
woman w dead child- kathe kollwitz
1903, etching & soft-ground etching, overprinted lithographically w a gold-tone plate
theme of mother mourning over dead child comes from pieta
universal statement of maternal loss & grief
figure 29-1
les demoiselles d'avignon- pablo picasso
1907, oil on canvas
inspired by "primitive" (African/Iberian) art
ambiguous planes
figure 29-16
guernica- pablo picasso
1937, oil on canvas
cubist techniques, fragmentation of objects
dislocation of anatomical features
condemnation of the Nazi bombing of the Basque capital
figure 29-22
dynamism of a dog on a leash- giacomo balla
1912, oil on canvas
motion by repeating shapes
interest in motion & cubist dissection of form
simultaneity of views
figure 29-23
unique forms of continuity in space- umberto boccioni
1913, bronze
expanded figure, curves= movement
google AP Art History notes
figure 29-55
the persistence of memory- salvador dali
1931, oil on canvas
images of concrete irrationality
realistic landscape
3 decaying/melting watched/clocks
allegory of empty space where time has ended
figure 29-56
the treachery (or perfidy) of images- rene magritte
1928-1929, oil on canvas
painted briar pipe & words saying "this is not a pipe"
challenges viewer's reliance on conscious & rational in the reading of visual art
trompe l'oeil (pipe)
figure 29-56A
the false mirror- rene magritte
figure 29-57
object (le dejeuner en fourrure)- meret oppenheim
1936, fur-covered cup
flair for magical transformation
anthropmorphic quality
figure 29-76
the two fridas- frida kahlo
1939, oil on canvas
personal, sensual
psychological memories
sides to artist's personality
frida on right represents indigenous culture
frida on the left represents imperialist forces
google AP Art History notes
figure 30-6
number 1, 1950 (lavender mist)- jackson pollock
1950, oil, enamel, aluminum paint on canvas
pure abstraction
emphasize creative process
rhythmic drips, splatters, dribbles of paint
gestural abstraction
figure 30-8
woman I- willem de kooning
1950-1952, oil on canvas
rooted in figuration
energetic application of pigment
inspired by female models on billboards
gestural abstraction
figure 30-11
no. 14- mark rothko
1960, oil on canvas
chromatic abstractionist painting
hazy rectangles of pure color
simple but compelling visual experience
figure 30-19
hang-up- eva hesse
figure 30-27
green coca-cola bottles- andy warhol
1962, oil on canvas
icon of mass produced consumer culture & multiplied it,
reflecting coke's presence in american society
silk screen technique
repetition & redundancy = saturation of product

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