Transcript Slide Show One

IMPRESSIONISM (1880-1910)
Claude Monet
Waterloo Bridge, Sunlight Effect, ca. 1900 (dated 1903).
Oil on canvas.
Milwaukee Art Museum, Bequest of Mrs. Albert T. Friedmann.
The Farm at Les Collettes, Cagnes, 1908–14
Pierre-Auguste Renoir (French, 1841–1919)
Mary Cassatt
Portrait of the Artist,
1878
gouache on wove
laid paper down to
buff-colored wood
pulp paper, 23 5/8 x
16 3/16 inches (60.1
x 41.2 cm)
Metropolitan Museum
of Art, NY
Mary Cassatt
Mother about to
Wash Her Sleepy
Baby
1880 oil on canvas
39 3/8 x 25 7/8
inches (100 x 65.7
cm),
Los Angeles
County Museum of
Art.
Renoir, Pierre-Auguste
A Girl With a Watering
Can
1876
Oil on canvas
39 1/2 x 28 3/4 in.
(100 x 73 cm)
The National Gallery of
Art, Washington
Cypresses, 1889
Vincent van Gogh (Dutch, 1853–1890)
Vincent van Gogh.
The Starry Night.
1889. Oil on
canvas, 29 x 36
1/4" (73.7 x 92.1
cm).
(The view from his
barred window in
the asylum.)
Vincent Van Gogh 1853-1890
Born (1853) on the day of his brother’s death one year prior—
given his brother’s name
1877 begins studying to become a minister. After becoming a
minister, he gives away all of his belongings due to his overlycaring nature for the down-and-out and needy, and he ends up
homeless; when the elders of his church find him dirty, unkempt,
etc. they fire him.
1880 becomes aware of his love of art and pursues it.
Van Gogh’s personality: in addition to being extremely caring,
he was high-strung, manic, extremely intelligent, and
multilingual; he was also addicted to Absinth, an extremely
hallucinogenic drug in the liquor people drank at the time w/
sugar cubes and water.
Vincent Van Gogh 1853-1890
“Ear Story”: while high on absinth, he thought he heard people
saying, “lend us your ear, give us your ear” so he cuts off his
lobe, puts it in an envelope and gives it to Rachel, an extremely
down and out prostitute whom he took in and cared for.
Gougan, who influenced Van Gogh to paint from his imagination
instead of solely from a model, was at first accused of killing VG
since they had been drinking together all day; the two friends
never saw each other again.
Van Gogh signed his works with first name only because he
wanted people to be his friend—loneliness marks his life, due in
large part to his mental illness, depression and mania.
Yellow, representing love, family, life, etc. becomes his
“hallmark” color because he used it so often.
Vincent Van Gogh 1853-1890
1889 mental illness causes him to enter an asylum, where he
desperately tries to get the staff to help the other 10 inmates.
Highly addicted to Absinth upon entering the asylum, VG suffers
tremendously; he is not allowed to paint or smoke.
Eventually he’s allowed to paint again, so he self-medicates by
eating his own paint to ease his withdrawal. He paints Starry
Night while in the asylum a year before his suicide.
1890: while affected by Absinth, he shoots himself and dies (at
age 37) in his brother Theo’s arms. His brother never recovers
from the loss and dies six months later.
Only one of his paintings sold in his life time for $10.00. His
sister-in-law found all he had given away and sold them.
Expressionism
(1910-1940)
Vincent van Gogh
Self-Portrait
Oil on artist's board
mounted on cradled panel,
1886/87; 41 x 32.5 cm
Joseph Winterbotham
Collection, 1954.326
Vincent van Gogh. The Potato-Eaters. April 1885. Oil on canvas. Vincent van Gogh
Foundation, Rijksmuseum Vincent van Gogh, Amsterdam, the Netherlands.
The Scream (or The Cry)
Edvard Munch
1893; 150 Kb;
Casein/waxed crayon and
tempera on paper
(cardboard), 91 x 73.5 cm
(35 7/8 x 29");
Nasjonalgalleriet (National
Gallery), Oslo
Pablo Picasso
The Old Guitarist, 1903/04
Oil on panel
122.9 x 82.6 cm
Spanish, 1881-1973;
worked in France starting in 1904
The Art Institute of
Chicago
Max Beckmann 1884-1950
• Born into middle-class family in Germany
• Transformed by traumatic experiences of
WWI (in which he served as a medic) and the
German Revolution at the end of the war
• His art changed from “academically correct”
depictions to a distortion of both figure and
space, revealing his altered vision of himself
and humanity
• A true “painter-thinker,” he strove to find the
hidden spiritual dimensions in his subjects
Max Beckmann 1884-1950
• Popular in the 1920s but fired in 1933 by Nazi
government from his teaching position at the Art
School, due to Hitler’s dislike of modern art
• Many of his paintings express the agonies of Europe in
the first half of the 20th century; those from the 30s on
contain references to the brutalities of the Nazis.
• Beyond those immediate concerns, his subjects and
symbols assume a larger meaning, voicing universal
themes of terror, redemption, and the mysteries of
eternity and fate
• Beckmann spent the end of his life in the United States
teaching in Washington and New York.
Max Beckmann
The Night August 1918-March 1919
Oil on canvas 52 3/8 x 601/4 in.
Self-Portrait with Red Scarf
1917
Max Beckmann
Family Picture
Oil on canvas
1920
Max Beckmann
25 5/8 x 39 3/4 in.
Hell of Birds
1938
Max Beckmann
Cubism
(1907-1935)
Analytical and Synthetic Cubism are phases of a
painting style created by Pablo Picasso and
George Braque. Throughout their time together,
Braque and Picasso were searching for
themselves, a reaction to the culture of the day.
There were questions about God, the
subconscious, and life on the planet that all
played a role in creating this new art.
“Analytic Cubism”
Developed from 1907-1912
Analytical broke refers to the “analysis” or “breaking
down” of form and space. Surfaces are broken down
into sharply defined planes but are not complexly
fragmented. Forms still retain an illusion of volume,
and perspective, and though dramatically shortened,
is not obliterated. Analytical Cubism visually laid
out what the artist thought was important about the
subject rather then just mimicking it. Body parts and
objects within the picture were broken down into
geometric shape. At its inception, cubists employed
only a limited range of colors, such as ochres,
browns, greens, grays and blacks.
“Synthetic Cubism”
Developed from 1912-1914
Later, the “analysis” of objects was abandoned and replaced by
“constructing” or “synthesizing” them through the overlapping of
larger, more discrete forms that seemed as if they might have been
cut and pasted to the canvas. Picasso and Braque replaced parts of
the pictures of real things with abstract signs and symbols. Paper
would be applied over canvas, pencil and charcoal combined with
paint to create yet another way of putting objects in a painting.
Fragmentation of the surfaces in the paintings permitted a more
thorough exploration of form. This new form of cubism became
popular in the ’30s, featured brighter colors, ornamental patterns,
undulating lines, and ragged as well as jagged shapes.
Pablo Picasso
Girl Before A
Mirror
1932
PABLO PICASSO
Mandolin and Guitar
Oil with sand on canvas,
55 3/8 x 78 7/8 inches
(Mandoline et guitare), 1924.
Pablo
Picasso
Spanish,
1881-1973
Oil on
canvas
101.1 x
73.3 cm
The Art Institute
of Chicago
Pablo Picasso. Guitar.
After March 31, 1913.
Pasted paper, charcoal,
ink, and chalk on blue
paper, mounted on
ragboard, 26 1/8 x 19
1/2" (66.4 x 49.6 cm).
Georges Braque
Violin and Candlestick, 1910
Georges Braque, Woman with a Guitar, 1913
Nature Morte au Compotier
Georges Braque
May 13, 1882 – August 31, 1963
He began painting while working for his father, a
house decorator. He moved to Paris in 1900 to study
and later met Picasso, a meeting that marked a huge
turning point in Braque's development; together they
evolved as leaders of Cubism.
In establishing the principle that a work of art
should be autonomous and not merely imitate nature,
Cubism redefined art in the twentieth century.
Braque's large compositions incorporated the Cubist
aim of representing the world as seen from a number
of different viewpoints. He wanted to convey a feeling
of being able to move around within the painting.
He described "objects shattered into fragments… [as] a way
of getting closest to the object…Fragmentation helped me to
establish space and movement in space”.
He adopted a monochromatic and neutral color palette in the
belief that such a palette would work simultaneously with the
form, instead of the interfering with the viewer's conception of
space; and would focus, rather than distract, the viewer from
the subject matter of painting.
Braque's loyalty to a Cubist approach of painting long after
Cubism ultimately hindered his career as a notable avantgarde artist. In relation to Picasso, who continuously
innovated and reinvented his approach to painting to adapt
with future avant-garde movements, such as Surrealism,
Braque was considered mundane and of the past.
Still Life with Budda 2
Everett
Spruill
Painting - Mixed Media
On Canvas 2009
Umberto Boccioni (Italian, 1882–
1916.)
Dynamism of a Soccer Player
[Dinamismo di un footballer]. (1913)
Oil on canvas, 6' 4 1/8" x 6' 7 1/8"
(193.2 x 201 cm)
The Museum of Modern Art, New
York. The Sidney and Harriet Janis
Collection
Patrick Henry Bruce
Born: 1881, Campbell
County, Virginia, United
States of America
Died: 1936, New York, New
York, United States of
America
Peinture
1917–18
Oil and graphite on canvas
Image: 10 1/16 x 12 5/8 in.
(25.6 x 32.1 cm) Frame: 12
3/4 x 15 5/16 in. (32.4 x 38.9
cm)
Terra Foundation for
American Art, Daniel J. Terra
Collection, 1999.21
Pablo Picasso
1881-1973
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Imitation
Blue Period—1901 (expressions of human misery)
Rose Period—1904 (circus people dominant)
Nude Boys & Horses--1906
Cubism—1907
Collage—1912
Realism / Surrealism--1914
Classical—1921-27 (ie. Roman / Greek sculptures)
1930s—Picasso’s love often depicted
1930s (late)—death a common subject
Picasso: "Guernica"
Guernica, depicting the bombing of Guernica, Basque Country, during
Spanish Civil War, 1937, shows the tragedies of war and the suffering it
inflicts upon individuals, particularly innocent civilians. This work serves as
a reminder of the tragedies of war, an anti-war symbol, and an embodiment
of peace.
Surrealism 1920-1950
Surrealism grew out of the despair caused by WWI as artists lost
faith in humanity and rational thought. Though born out of
Dadaism, Surrealism is a positive expressive art form, rather than
art aimed at negation like Dada art.
Surrealists felt that the outside world had failed them, so they
turned to the subconscious mind for inspiration. Freud’s theories
about the human mind and his writings on the interpretations of
dreams strongly influenced their work.
Dreams, fantasy and the element of chance played an important
role in their work. The main themes underlying much of surrealist
work include eroticism, socialism, dreams and the subconscious,
atheism and symbolism.
Joan Miró. The Beautiful
Bird Revealing the
Unknown to a Pair of
Lovers. 1941
Gouache, pencil, and oil
wash on paper, 18 x 15"
(46 x 38 cm).
René Magritte, The
Future of Statues,
1937
Painted plaster relief,
33.0 x 16.5 x 20.3
cm, Tate Gallery,
London.
Yves Tanguy (French-American, 19001955), Reply to Red, 1943
Oil on Canvas, Minneapolis Institute of
Arts
Peter Blume
(American, born
Russia, 19061992), South of
Scranton, 1931,
Oil on canvas,
56 x 66 inches
(142.2 x 167 cm),
Metropolitan
Museum of Art,
NY.
Nude (Study), Sad
Young Man on a Train
Marcel Duchamp
1911–12. Oil on
cardboard, 100 x 73 cm.
Salvador Dalí.
The Persistence of Memory. 1931.
Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm).
Salvador Dalí Spanish
(1904 - 1989)
Oedipus Complex,
1930
24 1/8 in. x 19 3/4 in.
(61.28 cm x 50.17
cm)pastel on
paperCollection
The Dream
1931
The Dream
Salvador Dali
René Magritte, The Reckless Sleeper, 1928, Oil on
Canva, 116.0 x 81.0 x 2.0 cm, Tate Gallery, London.
Salvador Dali
Soft Construction
with Boiled Beans:
Premonition of Civil
War
1936
Oil on canvas
39 3/8 x 39 in.
Philadelphia
Museum of Art
Marc Chagall (French, born Belarus. 1887–1985.
Over Vitebsk [Au dessus de Vitebsk]. 1915–20 (after a painting of
1914)
Oil on canvas, 26 3/8 x 36 1/2" (67 x 92.7 cm)
The Museum of Modern Art, New York.
Mid-Unit Check
1. Name the Art Movement
represented by each of the
following works.
2. Provide the artist’s name for
3 of the works.
#1
#2
#3
#4
#5
#6
#7
#8
#10
#9
Abstract Expressionism
1945-1960
Pollack, Jackson Autumn Rhythm 1950 (207” wide)
“Drip painting” technique. In this piece, thinned paint was
applied to unprimed canvas that lay flat on the floor (not
propped on an easel). Paint was poured, dribbled, dripped,
flicked, and splattered onto the canvas. Pollock also used
trowels , sticks, knives—anything to build up the dense, lyrical
composition. He worked with the canvas on the floor and
continually moved around it, applying paint from all sides.
Pollack, Jackson
Greyed Rainbow, 1953
Oil on canvas
182.9 x 244.2 cm
Gift of the Society for Contemporary American Art, 1955.494
Jackson Pollock, Number 1, 1950
(Lavender Mist),1950, National Gallery of Art, Ailsa
Mellon Bruce Fund, 1976.37.1
"It is impossible to make a forgery of Jackson Pollock's work," Time magazine
critic Robert Hughes claimed in 1982. “Pollock used the patterns caused by the
separation and marbling of one enamel wet in another, the tiny black striations in
the dusty pink, to produce an infinity of tones."
It is what his imitators could never do, and why there are no successful Pollock
forgeries: they always end up looking like...spaghetti, whereas Pollock--in his best
work--had an almost preternatural control over the total effect of those skeins and
receding depths of paint. In them, the light is always right. Nor are they absolutely
spontaneous; he would often retouch the drip with a brush.
In all of his works, layered skeins of paint generate beauty out of seemingly
random gestures. Pollock's daring abstract work legitimized the convergence and
mastery of chance, intuition, and control.
Toward the end of his life (he died in a car accident in 1956), Pollock said, “I’m
very representational some of the time, and a little all of the time. But when
you’re working out of your unconscious, figures are bound to emerge…Painting
is a state of being…Painting is self-discovery. Every good artist paints what he
is.”
Willem de Kooning,
Woman IV
1952/53
Netherlands (1904-1997)
Willem De Kooning
Saturday Night
Willem de Kooning
Composition, 1955
Oil, enamel, and
charcoal on
canvas
79 1/8 x 69 1/8
inches.
Foundation/
Artists Rights
Society (ARS),
New York.
Hans Hofmann, American
(born in Germany), 1880–
1966
Integration
(about 1944)
Mixed media on gessoed
plywood.
76.2 x 60.96 cm (30 x 24 in.)
Note: Hans Hofmann was actually one of the first to
develop the “drip” painting technique that Pollock made
famous after his first creation in 1947.
Mark Tobey ©
Advance of History,
1964.
Gouache and
watercolor on paper,
65.2 x 50.1 cm.
Peggy Guggenheim
Collection. 76.2553
PG 140.
Artists Rights
Society (ARS), New
York/Zurich
Thomas, Alma
Starry Night with
Astronauts, 1972
Acrylic on canvas
152.4 x 137.2 cm
POP ART 1960-1970’S
“Everything is beautiful.
Pop is everything.”
~Andy Warhol
Heidi Cody
American
Alphabet
Installation, 2000
Brooklyn-based artist Heidi Cody frequently uses consumer
products, packaging, and logos in her work. The letters
shown here are part of American Alphabet, all 26 letters of
which she took from corporate logos. So far Cody has not
had any legal troubles. Ad agencies have even purchased
parts of the Alphabet.
A – All laundry detergent
B – Bubblicious gum
C – Campbells’s soup
D – Dawn diswashing liquid
E – Eggo waffles
F – Fritos
G – Gatorade
H – Hebrew National
I – Ice
J – Jello (blue background = sugar-free version)
K – Kool Aid
L – Lysol
M – M&Ms
N – Nilla Wafers
O – Oreo
P – Pez
Q – Q-Tips
R – Reese’s
S – Starburst
T – Tide detergent
U – Uncle Ben’s rice
V – V8
W – Wisk
X – Xtra laundry detergent
Y – York Peppermint Patties
Z – Zest soap
Product Slogans (2010)
1. Taste the Rainbow
10.
2. Just Do It
3. Obey Your Thirst
11.
4. Like a Rock
12.
5. Mmmm Mmmm Good
13.
6. You’re in Good Hands
7. Head for the Border
14.
8. You’ve Got Questions
15.
We’ve Got Answers
9. You Can Do It; We Can Help
Melts in Your Mouth,
Not in Your Hands
Eat Fresh
Grab Life by the Horns
Where a Kid Can Be a
Kid
I’m a Big Kid Now
Play. Laugh. Learn.
Product Slogans (2010)
1.
2.
3.
4.
5.
6.
7.
8.
9.
Skittles
Nike
Sprite
Chevy
Campbell’s Soup
Allstate Ins.
Taco Bell
Radio Shack
Home Depot
10.
11.
12.
13.
14.
15.
M & Ms
Subway
Dodge
Chucky Cheese
Huggies
Fisher Price
Jasper Johns
Flag. 1954–55
Encaustic, oil, and collage on fabric mounted on plywood (three panels)
42 1/4 x 60 5/8" (107.3 x 154 cm)
The Museum of Modern Art, New York
Campbell
Soup Can
Andy Warhol
Marilyn
Andy Warhol
On the occasion of
Marilyn Monroe’s
suicide in August
1962, Warhol used
this image for his
screenprinting. It
was a publicity
shot by Gene
Korman for the
film Niagara,
made in 1953.
Andy Warhol. Roll of Bills. 1962. Pencil, felt-tipped pen, and crayon
on paper, 40 x 30 1/8" (101.6 x 76.4 cm). Purchase. © 2002 Andy
Warhol Foundation for the Visual Arts/Artists Rights Society (ARS),
New York
Lichtenstein, Roy
Crying Girl 1964
Enamel on steel
46 1/8 x 46 1/8 in.
Roy
Lichtenstein
Blam
1962
Oil on canvas
68 x 80 in
Yale University
Art Gallery,
New Haven
Roy Lichtenstein
In the Car
1963
Magna on canvas
172 x 203.5 cm (67 5/8 x 80 1/8 in.)
Roy Lichtenstein
Still Life with Glass and Peeled Lemon
1972
Oil and Magna on canvas 42 x 48 in
Keith Haring
Untitled
1982
Vinyl paint on vinyl tarpaulin
144 x 144 in
Private collection
Yellowheart and a Devil ARTIST: Jim Dine WORK DATE: 1987
CATEGORY: Mixed Media MATERIALS: Etching / hand painting
Street Crossing ARTIST: George Segal
WORK DATE: 1992 CATEGORY: Sculptures
MATERIALS: Bronze with white patina
Man on Bench ARTIST: George Segal
WORK DATE: 1985 CATEGORY: Sculptures
MATERIALS: Bronze with white patina and metal bench
Claes Oldenburg and
Coosje van Bruggen
Ordinary objects are the
starting points for
independent sculptures
on a monumental scale,
which create a dynamic
interchange with their
surroundings and
redefine the relation
between art and
architecture.
Mistos (Match
Cover), 1992
Steel, aluminum,
fiber-reinforced
plastic; painted
with
polyurethane
enamel
Overall: 68 ft. x
33 ft. x 43 ft. 4
in. (20.7 x 10.1 x
13.2 m)
Vall d'Hebron,
Barcelona
Clothespin, 1976
Cor-Ten and
stainless steels
45 ft. x 12 ft. 3 in.
x 4 ft. 6 in. (13.7 x
3.7 x 1.4 m)
Centre Square
Plaza, Fifteenth
and Market streets,
Philadelphia
Shuttlecocks,
1994
Aluminum and fiber-reinforced plastic painted with polyurethane enamel
Four shuttlecocks, each 17 ft. 11 in. (5.5 m) high x 15 ft. 1 in. (4.6 m) crown diameter
and 4 ft. (1.2 m) nose diameter, sited in different positions on the grounds of the
museum
The Nelson-Atkins Museum of Art, Kansas City, Missouri
Christo and Jeanne-Claude's
"The Gates" was on view in Central Park from
Feb. 12-28, 2005.
Christo and Jeanne-Claude
Wrapped Reichstag, Berlin, 1971-95
© Christo and Jeanne-Claude
Photo: Wolfgang Volz
Christo and Jeanne-Claude
The Pont Neuf Wrapped, Paris 1975-85
More Fun Pop Art Stuff
Michael Kalish: License Plate Art
Called by some critics, “the present day Andy
Warhol”
**Play: CBS News piece on Michael Kalish
license plate art
Dan Dunn Paint Jam: Art & Entertainment
**Play on YouTube