Art History Ii Final

Le Déjeuner sur l'Herbe

or Luncheon on the Grass by MANET

1863, oil on canvas, 7 X 8'8", Musée d'Orsay, Paris, Realism but starts the new movement Modernism

-was first titled The Bath

-some fruit, a brioche, and a roll on the left bottom

-difficult to determine meaning of painting, intentional

-spacial problems including woman in back too large

-exhibited in the Salon des Refusés which was set up by Napoleon III

-controversial bc you could recognize the models and the nudity is not masked by mythology or holiness

-references two paintings: TITIANs Pastoral Symphony and RAPHAELs Judgement of Paris (borrows composition)

Olympia MANET

1863, oil on canvas, 4 X 6, Musée d'Orsay, Paris

-draws from Classical Greek/Roman mythology but does something radically modern

-references TITIANs Venus of Urbino but strips away the academic technique and the veil of mythology

-challenges the established ideas of art

-the subject is a prostitute, the name is common

-her servant brings flowers from her customer and her and the cat on the bed are startled as someone walks in

Ophelia SIR JOHN EVERETT MILLIAS

Tate Gallery, London, 3 X 4, oil on canvas, 1852

-quintessential Victorian/Pre-Raphaelite painting

-the drowning is a Shakespearean subject, moment after Hamlet murdered her father and she goes mad, lets herself drown

-very botanically accurate, he encountered vast troubles painting outside

-her palms upturned in submission

-her name was Elizabeth Siddal, she posed in a bathtub heated by candles/lamps but she got sick and died from pneumonia

-he bought the antique dress modeled

Impression: Sunrise CLAUDE MONET

1872, oil on canvas, 2 x 2, Musée Marmottan, Paris

-hostile critic called their style of paintings Impressionism and Monet and his circle embraced the label for their movement

-established their own exhibition bc they couldn't get into the Salon

-Monet not interested in giving up on the Salon jury

-this style has a lack of finish, light makes the form, quickly

The Rehearsal EDGAR DEGAS

Glasglow Art Galleries and Museum (Burrell Collection), 2 X 3, oil on canvas, 1874, Realism

-cut off figures of dancers

-he tries to reproduce fleeting moments

-also influences by his fascination in photography and Japanese prints

-appeared in the first Impressionist exhibition in 1874

1889, oil on canvas, 3 X 3, Museum of Modern Art, New York, Post-Impressionism

-exceptional not only bc of its quality but bc the subject of night landscapes is rare

-"the stars are the roadmap to heaven" "study of night"

-brother Theo managed a Parisian art gallery and was a gifted connoisseur of contemporary art

-Van Gogh believed to commit suicide by shotgun, cut off part of ear to impress girl, depended on brother financially

A Sunday on La Grande Jatte GEORGES SEURAT

Art Institute of Chicago, 7 X 10, oil on canvas, 1884-1886, Neo-Impressionism

-seurat takes from traditions of impressionists and imposes on them the science of vision

-all pointillism, purple is red/blue dots

-brings a sense of classicism and is very structured/organized like a chessboard

-large sense of contour line

-made very clear it is not real life with the two smokestacks of the steam boats going in opposite directions

Les Demoiselles d'Avignon or

The Young Ladies of Avignon PABLO PICASSO

1907, oil on canvas, 8 X 8, Museum of Modern Art, New York (fifth floor)

-picasso Spanish artist that painted in Paris

-avignon a street associated with prostitution/brothel

-piece about female nudes and sexually transmitted diseases

-is the foundation of cubism

-in the original sketches there were two male figures

-the two faces on the right reference African masks and the left references archaic figure, Iberian art before classical period

-asks us can art be raw, ugly?

The Burghers of Calais, bronze exact multiples, Musée Rodin, Paris, during the Hundred Year's War between England and France

Man Pointing No.5, explores the moment when you recognize someone you know

-abstract expressionism

-Des Moines Art Center 6ft bronze

1950, oil, enamel, aluminum paint on canvas, 7 X 10, National Gallery of Art, Washington D.C,, Abstract Expressionism

-all splatters, no lavender, meant for the eye to carry throughout but there is a focal point of blue paint towards the top left

Vir Heroicus Sublimis BARNETT NEWMAN

Museum of Modern Art, New York, Colorfield/Minimalist style, 8 X 18, oil on canvas, 1950-1951

what is modernist view? paint is nothing more than paint on canvas

1963, oil on canvas, 7 X 11, Museum of contemporary art, Sand Diego, Colorfield/Minimalist/Post Abstract style

explores how colors interact next to each other

stainless steel, 9ft, 1963, Smithsonian Institution, Washington D.C.

Just What Is It That Makes Today's Homes So Different, So Appealing? RICHARD HAMILTON

1956, Collage, 10 X 9ft, Kunsthalle Tübingen

-reflects the values of modern consumer culture

-ceiling is moon, man holding tootsie pop instead of tennis racket, canned ham on table, Television, tape recorder

-the most famous in British post-war art, an icon of Pop art

Whitney Museum of American Art, New York, oil on canvas then screen printed, 1962

-he is the quintessential Pop artist icon of mass-produced, consumer culture "no amount of money can get you a better coke"

-more machine-like, get away from human touch

Lipstick (ascending) On Caterpillar Tracks CLAES OLDENBURG

1969, painted steel, aluminum, fiberglass, 21ft, Morse College, Yale University, New Haven

-designed as a speaker's platform for antiwar protestors of Vietnam war

-originally the lipstick tip was soft red vinyl and had to be inflated

-trying to re-examine everyday objects by making them huge

Walker Art Center, Minneapolis, 9 X 7, acrylic on canvas, 1967-1968

-goal was to translate photographic info into painted info

-also talks about icons-- he is an icon

joseph kosuth 1965