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Flashcards in Exam 2 Deck (20)
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1
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Paul Cézanne,The Sea at L’Estaque,1878-79, France

  • Around the time he was working with Pissarro
  • Brush strokes don’t seem to be following any specific flow
  • Monet’s is a bit more active, while Cezanne uses plaques of color
  • not much of individual characteristics to each house
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Cézanne, Still Life with Jug and Fruit, c. 1900, France

  • Almost random brush strokes, not really sure what they are representing
  • Everything is tipping forward very awkwardly
  • Cezanne throws of expectations on how space works and puts together his own rules
  • Does not use traditional modeling techniques• Weirdness of how paint is overlapping different parts
  • Often not clear what we’re looking at as he is not that committed to replicating reality
  • short brush strokes in a way that’s almost random/patchy
  • perspective skewed again
  • not using traditional modeling techniques for demonstrating the shapes of objects
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Cézanne,The Great Bathers, 1898-1905, France

  • Tons of figures
  • Definitely not interested in bathing being sexy
  • I really have no idea what the fuck is happening in this and it’s gross and are the trees making a v because vagina or because it’s just windy or is it supposed to be a triangle for like interest in the eye
  • No haha splash splash aka no interaction
  • emphasizing the actual act of it and the community (there are many many bathers, not just a few here)
  • he’s interested in less sexiness of the nude
  • they are there to be clean and not flirtatious
  • not as classical, the colors
  • relationship of the figures to the background
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Paul Sérusier, The Talisman, 1888, France

  • Most radical painting from this Pont-Aven school (Group of artists working at the same place in Brittany)
  • Strong color, large blocks of color
  • Became inspiration for an entire group of painters that were friends with him
  • he condemns copying stuff from life and not being original with subject matter
  • true art comes from the mind as well and not just duplicating what we see
  • the mental image of what we see is formed from thinks like memory and individual sensations - and that’s what’s really important!
  • he’s not a huge fan of models - real people move and have thoughts and a model in the studio isn’t going to help you capture that
  • he’s very anti-nature, wants people to focus on what’s in their head
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James Ensor, Christ’s Entry Into Brussels in 1889, 1888, Belgium

  • Profoundly dark sense of humour
  • Makes jokes at expense of society
6
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Fernand Khnopff, Caresses, 1896, Belgium

  • Reference to Oedipus and the Sphinx
  • Man seems bedazzled and vulnerable, very kinky
  • Strange sexual, animal human undertones
  • Strange shape, almost like a decorative frieze
7
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Edvard Munch, The Dance of Life, 1899-1900, Norway

  • Have a strange zombie face thing going on
  • Something crucial, life/death, time passing, innocence vs unhappy or experience
  • Figures on either side of the painting look similar and they may be a representation of life and death
  • stylized human depictions, fairly two dimensional looking, hard to give it an exact setting
  • distortion of faces and colors, zombie-like features
  • left half is happier looking and the right looks spookier and more glum
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Maurice Denis, Ascent to Calvary, 1889, France

  • Religious subject
  • Gives lots of numbered
  • very symbolic
  • he is very adamant about what’s good and what is bad
  • the triumph of the imagination and emotion of the beautiful over the lie of other things
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Maurice Denis, Homage to Cézanne,1900, France

10
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Gustav Klimt, Beethoven Frieze - detail, The Hostile Forces, 1902, Austria

  • Gorilla with no arms representing hotility
  • Tons of decorative paintwork
  • Feeling of the painting is both deeply traditional in that it looks like Egyptian art, but also creating an alternative universe with no weight or space
  • Experimenting with a long list of techniques and media
  • End of painting represents Beethoven’s ode to joy
  • Sexy embrace of nude features in gold and painted decorations
  • very much symbolism painting
  • comissioned for exhibition on Beethoven
  • exaggeration of forms, proportions are elongated and kinda frightening
  • doesn’t really depict any space that we know of
11
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Pablo Picasso, Daniel-Henry Kahnweiler, 1910, Spanish, worked in France

  • non-representation
  • contrast between light and dark
  • intense brush strokes, some follow shapes, some don’t
  • cubistic portrait, of an art dealer
  • drab color palatte
12
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Salvador Dali, Inventions of the Monsters, 1937, Spanish

  • idea of the unconscious being accessible through dreams
  • very dreamy colos, due to subject matter
  • bottom right, used to be a blue dog, pigment has faded over time
  • Dali and wife at table
  • sent museum telegraph explaining the peice
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