IMPRESSIONISM
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 |
POINTILLISM
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 |
POST-IMPRESSIONISM
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 |
SECESSIONISM
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 |
FAUVISM
figure 29-2A
 |
| le bonheur de vivre- matisse 1905-1906 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 |
CUBISM
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 |
FUTURISM
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 |
SURREALISM
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 1928 |
figure 29-57
 |
| object (le dejeuner en fourrure)- meret oppenheim 1936, fur-covered cup flair for magical transformation anthropmorphic quality |
RENEGADE 3
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 |
ABSTRACT EXPRESSIONISM
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 |
MINIMALISM
figure 30-19
 |
| hang-up- eva hesse |
POP ART
figure 30-27
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 |
No comments:
Post a Comment