American Visual Art Flashcards
(140 cards)
1
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Anonymous, Elizabeth Freake and Baby Mary, c. 1671-4
Art reflects tastes and attitudes of the home country (England)
2
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Anonymous, John Freake 1671-4
3
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Thomas Smith, Self-Portrait, c. 1690
Only self-portrait of puritan painter.
4
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Thomas Smith, Major Thomas Savage. 1679
window tells something about the sitter
5
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Justus Englehardt Kuhn, Henry Darnell the 3rd as a child, c. 1710
This painting is an example of how African Americans are painted/depicted in Art
6
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John Smibert, Dean George Berkeley and his Family (Bermuda Group) . 1729
physiognomy: comparing facial features
7
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Copley, Mrs.Thomas Boylston. 1766
Does not idealize sitter. Grand Manor
8
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John Singleton Copley, Paul Rivere, 1768
Idealized Image, Grand Manor
9
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John Singleton Copley, Watson and the Shark. 1778
Deliberate Iconography. Grand Manor
10
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C.W Peale, General George Washington at the Battle of Princeton. 1779
11
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Gilbert Stuart, George Washington (Vaughn Portrait). 1795
12
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Gilbert Stuart. George Washington (Lansdowne Portrait). 1796
Grand Manor, Symbols
13
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Jeane Antoine Houdon, George Washington (sculpture) 1788
Neo-Classical
14
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Rembrandt Peale. Porthole Portrait of George Washington. 1795.
tromp l’oeil, Grand Manor
15
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Edward Savage, The Washington Family. 1789-96
family man. Grand Manor
16
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Anonymous, New England, G.W. and Family, c. 1810
paiting and needlework. woman?
17
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Benjamin West. The Death of General Wolfe. 1770
West invents contemporary historical paintings. Grand Manor.
18
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John Trumbull. The Death of General Montgomery in the Quebec, 1786.
19
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Washington Allston, Elijah in the Desert. 1818 ( 19th century)
Prodminately Landscape.
20
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Samuel F.B. Morse, Gallery of Louvre. 1831-33
genre + still life. Grand Manor
21
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Charles Wilson Peale, Arist in His Museum .1822
Room in the same building the Declaration of Independance was signed in.
22
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Charles Bird King, The Poor Artist’s Cupboard. 1815
Lack of support for the artist.
23
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John Lewis Krimmel, Fourth of July in center spuare Philadelphia. 1810-12
1st significant Genre painting in the U.S.
24
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William Sidney Mount, The Painter’s Triumph. 1838
25
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William Sidney Mount, *Bargaining for a Horse*. 1835
wife in background.
26
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William Sidney Mount, *Eel spearing in the Setauket*. 1845
luminism technique.
27
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George Caleb Bingham, *Fur Traders descending the Missouri*. 1845
No sign of Industrial Revolution. "OTHERS"
28
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George Caleb Bingham, *The Jolly Flatbotmen in Port*. 1857
modern day American Arcadian figures.
29
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Lily Martin Spencer, *Kiss Me and you'll Kiss the Lasses*. 1856
Domestic Genre. Men culture, Women nature.
30
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David Gilmore Blythe, *Art versus Law*. 1859-60
iconography.
31
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John Vanderlyn, *Murder of Jane McCrea*. 1803-04
Traditional Style. Vanderlyn wants to fire up patriots.
32
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Charles Bird King. *Young Omahaw, War Eagle, Little Missouri, and Pawnees*. 1822
33
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George Catlin. *Mah-To-Toh-Pa (Four Bears) , Mandan Chief*. 1832-34.
preservationist.
34
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George Catlin. *The Last Race, Part of Okipa Ceremony* (Mandan). 1832
to document.
35
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Seth Eastman. *Lacrosse Playing Amona Sioux Indians.* 1851.
Landscape Fusions.
36
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Thomas Morgan. *Grand Canyon of the Yellowstone*. 1872
what began the National Parks System.
Bought for 5,000 by Congress.
37
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James Audubon, *Golden Eagle Femal Adult*. 1833-34
Audubon Society.
38
Thomas Cole, *The Oxbow*
1836*.*
Romantic Landscape
\*Hudson River Artist
39
Asher B. Durand, *Kindred Spirits*. 1848
landscape
\* Painting in honor of Cole
40
Fredrish Edwin Church, *Niagra* 1857
landscape
\*Truly American
41
Frederic Edwin Church, *Heart of the Andes.* 1859
landscape
\* special window frame
42
Robert Scott Duncanson, Blue Hole, Little Miami River. 1851
landscape ( not a pure landscape)
\*half Black artist
43
Albert Bierstadt, The Rocky Mountains Landen's Peak.
1863
landscape
\* Reflection + Native Americans
44
Fitz Hugh Lane, *Boston Harbor at Sunset*.
1850-5
seascape
\* luminism, lifes spiritual voyage
45
Martin Johnson Heade, *Thunderstorm on Narragansett Bay.*
1868
landscape
\*luminism
46
George Inness, *Sunny Autumn Day.*
1892
landscape
\*inventive technique
47
Richard Caton Woodville, *Old 76' and Young 48'.*
1849
genre
\*puzzle of interpretation
48
Richard Caton Woodville, *More News from Mexico.*
1848
genre
\*very popular painting, integrated slaves, women, and men in painting
49
Emmanuel Leutze, *Westward the Course of Empire Takes it Way ( Westward Ho!).*
1861-2
landscape + genre
\* PREDELLA, manifest destiny
50
Pedro Antonio Fresquis, *Our Lady Dolores.*
late 18th- early 19th c.
folk art
\* santero (religious picture maker), Mexican culture being introduced
51
Winslow Homer, Prisoners from the Front, 1866
52
Winslow Homer, Snap the Whip, 1872
53
Winslow Homer, The Cottton Pickers, 1876
Women are depicted in a non stereotypical way, they are also painted with dignity and respect
54
Winslow Homer, Lifeline, 1884
55
Winslow Homer, The Gulf Stream, 1899
56
Thomas Eakins, Max Schmitt in a Single Scull, 1871
57
Winslow Homer, Breezing it Up, 1876
58
Thomas Eakins, The Gross Clinic, 1875
59
Thomas Eakins, The Pole Vaulter, 1884
60
Thomas Eakins, William Rush Carving his Allegorical Figure of the Schuylkill River, 1876-7
\* Wanted to give Rush some notoriety, shows women with all lump and bumps
61
Thomas Eakins, Nude Woman Wearing a Mask, 1866
\*Mask was Eakins making a statement towards the people who made him use one.
62
Thomas Eakins, The Swimming Hole, 1885
\* Figures were actually his students
63
John Rogers, Slave Auction, 1859
\*very popular figurines
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John Rogers, The Fugitive's Story, 1869
65
Henry Ossawa Tanner, The Banjo Lesson, 1893
\* showing how African Americans are not innately gifted with musical ability, showing lenial relationship
66
Henry Ossawa Tanner, The Thankful Poor, 1894
\* shown in a private moment
67
Henry Ossawa Tanner, Resurrection of Lazarus, 1896
\* African American portrayal after post civil war
68
Edmonia Lewis, Forever Free, 1867
\* Female African American artist, who worked in marble
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Edmonia Lewis, Hagar, 1875
\* exquisite detail
70
John Singer Sargent, Daughters of Edward Darley Boit, 1882
\* girls not connected with each other, captured more as a candid, psychological depth?
71
John Singer Sargent, Madame X, 1884
\* first professional beauty, Sargent was very attracted too this lady
72
John Singer Sargent, Wyndham Sisters, 1899
\*Portrait of mother in background
73
Albert Pinkham Ryder, Toiers of the Sea, 1883-84
\* painted his imagination
74
Albert Pinkham Ryder, Jonah, 1885
\* barely see the whale, used candle wax as a medium
75
William Michael Harnett, After the Hunt, 1885
\* affirming a masculine world
76
William Michael Harnett, The Faithful Colt, 1890
\* suggests vansihed age. Nostalgia, changing America
77
Matthew Brady, *Mark Twain*. 1845
\* Establishes a hold on the past. photography is not a mirror
78
Matthew Brady, *Abraham Lincoln* 1860 (left)
Matthew Brady, *Abraham Lincoln* 1865 (right)
\* Cannot do much to make someone look better through photography at this time. Brady phtotographed the Civil War extensively.
79
Matthew Brady, *General Robert Potter and Staff, Matthew Brady Standing Next to a Tree*, 1865
\* self-portrait \* 2 messages. a.) Brady subject? Potter?
b.) Potter is not wearing a hat
80
Timothy O'Sulivan, *Ancient Ruins in the Canyon de Chette Arizona.* 1873
\* landscape portraiture \* meant to document topography, but also used his own art conceptions.
81
Jacob Riss, *Five Cents a Spot Lodging House, Bayard Street,* 1889
\* Riss was a reporter \* self-taught photographer \* turned photographs into a book called *How The Other Half Lives \** concerned with the welfare of the immigrants living in poverty \* Photographs made to lobby for change
82
Robert Henri, *Fifty-Seventh Street, New York.* 1902
\* His work is a little hazy (Whistler?) \* Captures the dirty coolness in the city
83
Robert Henri, *Laughing Child,* 1907
\* Captures momentary expression \* Captures the humanity in people
84
William Glackens, *Chez Mouqin*, 1905
85
Maruice Prendergast, *The Promenade,* 1913
\* Paint in Mosaic fashion \* "Freed from the hypocriacy of "official taste" "
86
George Luks, *Hester Street*, 1905
\* Americanization movements beginning \* Celebratory canvas
87
George Luks, *The Spielers*, 1905
\* German dance \* Lower class urban life \* expressionism movement \* the eight
88
George Bellows, *Pennsylvania Excavation,* 1907-09
\* thick brushstrokes \* Industrial \* Unlike Henri with is use of gold in the sky, not all gray and dreary
89
George Bellows, *Cliff Dwellers,* 1913
\* oppresive heat \* immigrants were believed to deserve poverty
90
George Bellows, Both Members of this Club. 1909
\* Recreational theme like Eakins rowing scens, and Dega's ballerinas \* Black men were only allowed to fight in the club not allowed to go any other time.
91
John Sloan, *Fun, Once Cent.* 1905
\* etching \* genre \* new sexual freedon
92
John Sloan, *The Hairdresser's Window,* 1907
\* small vertical \* journalestic eye \* street scene
93
Alfred Stieglitz, *Spring Showers.* 1900-01
\* pictorialism \* compare to a Whistler? \* suppressing detail purposefully
94
Alfred Stieglitz, *The Steerage*, 1907
\* straight photography \* only cares about shape and form, not subject matter like Henri and Sloan
95
Alfred Stieglitz, *Equivalent*, 1930
\* not representational \* equivalent to emotions
96
Arthur Dove, *The Lobster,* 1908
\* antithesis of the city painters \* extractions of nature
97
Arthur Dove, *Nature Symbolized #2*. 1911-14
\* extracted form \* shapes organic growth \* pastel
98
Marsden Hartley, *Portrait of a German officer,* 1914
\* abstract \* studied in Cleveland
99
Georgia O'Keeffe, *Black Iris*, 1929
\* precisionist \* interpreted by some as labia
100
John Marin, *Lower Manhattan,* 1922
\* different than Ashkin school \* preferred watercolor \* influenced by caligraphic quality of Japanese art
101
Max Weber, *Rush Hour, New York*, 1915
\* restricted pallette \* Weber interested in cubism \* and futurism
102
Marcel Ducham, *Nude Descending a Staircase,* 1912
\* cubism + futurism \* muted hues \* fractured like photography
103
Joseph Stella, *Brooklyn Bridge*, 1917
\* dynamic \* cubist influence \* fusion of old & new \* technological achievement
vs. John Marin
104
John A. Roebling, *Brooklyn Bridge*, 1869-93
\* technological advancement
105
Charles Demuth, *I Saw the Figure Five in Gold*, 1928
\* based on poem *"The Great Figure"* \* precursser to pop art \* precisionism ( style )
vs. Hartley
106
Charles Demuth, *My Egypt,* 1927
\* precision \* functioning American landscape through modernist lingo
107
Charles Sheeler, *American Landscape*, 1930
\* precisonist \* functional factory architecture, not nature
108
Charles Sheeler, *Drive Wheels*, 1939
\* interested in formal elements \* Ford was a problematic man
109
Charles Sheeler, *Criss-Crossed Conveyors,* 1921
\* industrial landscape \* new American landscape
110
Stanton Macdonald-Wirght, *Abstraction on Spectrum*, c. 1914
\* 1st abstract color movement \* non-representational + abstract \* complex color harmonies
\*\*\*
111
Morgan Russell, *Synchromy in Orange : To Form*, 1913-14
\* abstract \* visual and auditory connection \* symphony of color
112
Raphael Soyer, *In the City Park,* 1934
\* union square \* Walter Brough (model) " Rembrandt eyes"
113
Ben Shahn, *The Passion of Sacco and Venzetti*, 1931-32
\* depicts the sacco and vanzetti trial \* "another crucifixtion" \* social realism , larger polictical issues
114
Louis Lozowick, *Lynching from 1936*
\* etching \* self-portrait \* master at etching
115
Paul Cadmus, *to the Lynching,* 1935
\* expressionistic \* pastel
116
Pter Blume, *The Eternal City,* 1937
\* precisionist \* WPA \* sureal style \* anti-facist canvas
117
Isabel Bishop, *Lunch Hour*, 1940
\* gender effects approach \* realistic
118
Reginald Marsh, *Hudson Bay Fur Company*, 1932
\* real people for models \* conveys movement \* women portrayed as sexy
119
Dorothea Lange, *Migrant Mother*, Nipomo, California, 1936
\* FAP \* Farm Security Administration \* documentary photography (staged) \* propped photography
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120
Ben Shahn, *Rehabilitation Clients,* Boone county, Arkansas, 1935
\* textures \* focuses on emotional appeal
121
Margaret Burke-White, *First Life cover*, Fort Peck Dam, Montana, November 23,1936
\* NOT FSA \* ineterested in shadow and shape
122
Thomas Hart Benton, *The Lord is my Shepherd,* 1926
\* exaggerated figures, expressionistic \* core values \* benton was a nativist
123
Thomas Hart Benton, *City Building, from America Today mural series*, 1930
\* W.P.A. \* molding works in
124
Jack Levine, *The Feast of Pure Reason,* 1937
\* satire \* W.P.A. \* mayor and policeman taking bribes \* close up framing \* problems in America
\*\*\*\*\*\*
125
Grant Wood, *American Gothic,* 1930
126
John Steuart Curry, *Baptism in Kansas*, 1928
\* nothing to do with social realism or FSA \* piety of Midwestern folk, free brush \* energized forms
127
Meta Warrick Fuller, *Awakening of Ethiopia*, c. 1914
\* "new negro" \* a little stylized \* sculpture
128
James Van Derzee, Couple in Raccoon Coats, 1932.
\* props provided \* focused on black identity and self-esteem \* dazzling record of middle class black life
129
Aaron Douglas, *Crucifixion,*1927
\* limited pallete \* flatly painted \* primitive "others"
130
Palmer Hayden, *Midsummer night in Harlem*, 1936
\* WPA artist \* interested in flat forms and stylized figures
comparrison : cliff dwellers, & old kentucky home
131
Archibald J. Motley Jr., *Mending Socks*, 1924
\* grandmother \* symbolism escape to better life \* division (wall)
132
William H. Johnson, *Jesus and the Three Marys*. 1935
\* black Jesus \* transcends stylistic category \* expressionistic, simple primitivism \* NO black style \*
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133
William de Kooning, Women 1. 1950-52
\* art after WW11 \* woman series \* some recognizable features \* violent brushstrokes
134
Jackson Pollock, *Autumn Rythym , Number 30*, 1950
\* influenced by benton \* abstract expressionist \* movement (swirls) \* process of art \* goal : overwhelm \* controlled accidents \* liberates canvas from eisel
\*\*\*\*\*\*\*\*
135
Franz Kline, *Chief.* 1950
\* gesture \* white canvas, black lines \* architecture qualities
136
Mark Rothko, No. 7 (Green and Maroon) . 1953
\* several were to be hung together \* rothko had traumatic life \* color
137
Mark Rothko, *Rothko Chapel, Housten, Texas*. 1964
\* non-denominational \* black gradient canvases \* color field painting
138
Barnett Newman, *Vir Heroicus Sublimis*. 1950-51
\* _zip_ of color \* matured artistic style \* destroyed previous work before abstraction \* sublime heroic man \* newman is space \* universal experiance \* clement loved newman
139
Helen Frankenthaler, *Mountains and Sea*. 1952
\* stain painting \* liberation from narrative \* content not as important as form \* post-painterly color field \* embraced by greenburg
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