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| onement- barnett newman 1948, 27.25 x 16.25 in more cerebral in approach to painting "zipped painting" verticality as a stand-in for humanity simplicity of description thinks of painting as metaphysical/bordering religious experience conversation around humanity being vertical vs. horizontality of animal world |
-painters making paintings after that/new painters inspired/draw from newman
-blurred, loose painting, mixing paint on the palette
-painters painting like/trying to make paintings look like abstract
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| vir heroicus sublimus- barnett newman 1950-51 color field painting large abstract planes of color small vertical lines called zips |
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| four darks in red-mark rothko |
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| rothko chapel |
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| mountains and sea- helen frankenthaler 1952 post-painterly abstraction large painting, referencing landscape in title but in composition, it's far removed hard to tell what she was looking at unprimed canvas flat on studio floor, poured paint directly from container |
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| canyon- helen frankenthaler 1965 title responding to the image it created (painting came first then the title) |
- Greenberg uses Helen Frankenthaler as a bridge between Rothko & Pollack (painters in 1960s)- color from Rothko, horizontal work from Pollack
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| whirl- kenneth noland 1960 concentric circles, geometric no color mixing |
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| shoot- noland 1964 triangular, no color mixing, geometric, symmetrical big scale 103 x 126, extremely flat compare to mondrian's linearity or cezanne's bathers in triangularity |
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| cleopatra flesh- jules olitski 1962 height of modernist painting (greenberg) |
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| patutsky in paradise- jules olitski high powered spray guns on canvas = seamless layers of sheer color 1966, 115x161 flow, color just exists as color- no shape capture effect of pure color in air (defying limits of 2D canvas) patutsky references "prince patutsky", olitski's nickname from stepfather |
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| saraband- morris louis 1959, acrylic resin, 101x149 pouring paint & manipulates canvas, removes brush, gravity does the work for him color is affected by each other greenberg sees this as the true endpoint of the modernist avant-garde project anyone can stand in front of it and understand it |
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| delta theta- morris louis 1961 |
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| flag- jasper johns 1954, 3' 6" x 5'1" symbol: american flag- we all know it flat, geometric applique newspaper & encaustic wax to build up/layer surface on panel |
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| target w four faces- jasper johns 1955 following "rules" by making it geometric but has texture & is referential compare w noland's whirl weird elements at top- bottom of faces |
- greenberg emphasizes object
- jasper johns emphasizes maker
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| marilyn diptych- andy warhol 1962 what makes a warhol a warhol is him & his personality |
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| bed- robert rauschenberg 1955 employed (similar to johns) the ideas of abstract expressionism in modernism but undercuts seriousness of it made a painting on his bed & hangs it on the wall abstract expressionism: paint dripping, leaving a lot blank space to let geometry through, emphasizing surface (like leaving canvas blank) comes w a lot of meaning already worked horizontally & lifted it vertically but keeps it a bed |
- rauschenberg met joseph albers, john cage at black mountain
-farm, cabins, classes (very strict about what kind of artwork they wanted you to make; rauschenberg was trying to make paintings that nobody has made before but albers hated it so he hid them from albers)
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| skyway-rauschenberg |
___________________________________________
REALISM
- naturalism: representing objects as they exist in the real world & how things act upon them
- realism: more political, representing real life & struggles
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the stonebreakers- courbet
1849
quasi-anonymous
rough landscape rendering, unpolished/crudeness quality
portrait of who gets left behind in industrial revolution
humans like machines
ominous feeling from dark background
uses local/earthy/unmodified/unromanticized colorslack of depth, stark color contrast, print-influenced bringing stories & life experiences of marginalized to eyes of bourgeoisie public sphere |
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| lady agnew of lochnaw- john singer sargent 1893 naturalism 100cm x 124cm bedroom flirty eyes |
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| forty-two kids- george bellows 1907, 42x60 in. uses photography as a way to create compositions & from those photographs, he abstracts everything |
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| two girls- isabel bishop |
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| american landscape- charles sheeler 1930, oil on canvas scene of industrial area but very pristine representing history & making a claim it's a truly american landscape (very cleaned up) ignoring a lot of other factors beautification of industry just bc it represents industry doesn't make it realistic or naturalistic but there are elements of both |
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| the subway- george tooker 1950 palette- red blue okra subject: woman right in the center, biggest; only one given humanity many men; she looks scared, nobody is actually looking at her she is boxed in by the architecture psychology- anxiety (?) subway: product of industrialized, new economy opposite of american landscape which beautifies; this one makes it creepy bars make it seem like jail |
-professor argues as realism
-when writing about art, literally describe what you see
-when writing about art, literally describe what you see
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| the terrace at vernonnet- pierre bonnard 1920-39, oil on canvas same time as mondrian & malevich more focused on arbitrary colors, atmospheres w/in painting of every day life can be symbolic sense from paintings is that he's responding to composition as much as he is to the out there every part of painting is important but instead of breaking into geometric forms, it refers to natural world |
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| woman w a red umbrella seated in profile- henri matisse 1919-1921, oil on canvas flat, color, investing just as much energy |
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| portrait of a young man- elaine de kooning (de kooning's wife) representation of something that already exists in the world but still responding to the canvas in the making rather than representing the person blue brushstrokes repeated in figure & background = acts to flatten weird rendering of face gives it a little of depth but blue flattens brushiness of yellow & green making pieces of modernism & approaching it differently than avant-garde |
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| o'hara nude w boots- larry rivers 1954, 8 ft. tall |
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| self portrait in the studio- fairfield porter 1968 making art same time as olinski, judd, warhol- well aware of greenberg approaching modernism differently- representational, referring back to the real world similarities: focus on every corner of painting, every bit is important big paintings, about life size= american scale |
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| under the elms- porter 1971-72 replicating real world but not in naturalistic way highlighting shape & color, existing together 2 main components: landscape/background & figure = basic principle background: beautiful cool blues & greens & yellows, speckled throughout, almost flattens it even though he creates sense of depth figure is very pink compared to very cool background replicates the way the light hits the figure & the background, equality of background & foreground |
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| aline by the screen door- fairfield porter 1971 green vs. pink artist is individual observer principles of abstraction & modernist painting & applying to every day life |
easter (1958), snow (1958), columbus day (1967)- fairfield porter
-same view, same tree, same houses
-extended relationship w something, coming back to it
-conservative notion of observer & artist, still rooted in reality
-he's mediating the images
- warhol- disjointed observer, observes through mediated images
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| night fall- jane freilicher 2006 flowers on windowsill |
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| early new york evening- freilicher 1954 quality of painting changes elements of matisse turn focus towards domestic, represented & exist in domestic space |
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| peonies on a table- freilicher 1954 ignoring a lot of external factors, separate from their time |
professor: what's the point/pursuit? why would i expect anyone else to care? what does it have to do as a record of my time? what thought goes into this? SO WHAT? does it need to respond to the time you're living in? does it exist outside of the time- what's it do?
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| iced coffee- fairfield porter 1966 |
porter: we can enjoy the paintings as viewers but seems divorced from reality that we understand & find ourselves in. seems like he's intentionally putting blinders on to everything around him; looking at a rich guy's paintings
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