Final Flashcards
(60 cards)
1
Q
Romanticism
A
- Stylistic diversity and range of subjects
- emphasis on imagination and emotion (reaction to the Enlightenment)
- interest in nature
- awesome, uncontrollable and unpredictable power of nature
- man’s struggle against these powers/smallness in the face of nature
- interest in the individual and the subjective
- exploration of psychological and emotional states
- fascination with animals as forces of nature & metaphors for human behavior
- interest in exotic subjects
- orientalism (imitation or depiction of aspects of Middle Eastern and East Asian cultures by writers, designers, and artists in the West)
2
Q
A
- Antoine-Jean Gros, Napoleon at the Plague House at Jaffa, Romanticism. Oil on canvas
- Middle eastern setting - horseshoe arch, stripes Muslim/Islamic architecture
- clothing - eastern “costume”
- architecture as structuralizing element - organize and separate different segments
- Napoleon - contrapposto pose - drawn from sculpture of Apollo
- quasi-divine; healing like Christ
3
Q
A
Jean-Auguste-Dominique Ingres, Grande Odalisque, Romanticism. Oil on canvas
- elongated spine → pretty, sensual
- narrowness of upper body → delicate
- face, hair, etc drawn from Raphael’s Portrait of a Young Woman
- mood of luxury, sensuality of eastern unknown
- orientalism
- use of primary colors - blue, yellow, red
- sharp, crisp outlines
4
Q
orientalism
A
imitation or depiction of aspects of Middle Eastern and East Asian cultures (Romanticism)
5
Q
Realism
A
- c. 1840 to late 19th century
- aftermath of 1848 revolution (February Revolution)
- Democracy in art
- direct observation of modern world
- rejected Neoclassical idealism, Romantic exoticism
- subjects drawn from everyday life, common people
- truthful; objective
- increasing emphasis on science, closely connected to direct observation and experience
- only what could be seen was “real”
- emphasis on painting as pictorial construction
6
Q
A
Gustave Courbet, Burial at Ornans, Realism. Oil on canvas
- Ornans = rural community in France
- represents the clergy, family and friends (have a reaction to the funeral - weeping)
- village funeral - small community - range of attention and investment
- empty hole - no view of the deceased
- skull next to the grave
- plainness, matter-of-factness to people - rugged and unrefined features
- criticized for portraying funeral as “ordinary”
7
Q
A
Edouard Manet, Olympia, Realism. Oil on canvas
- rough and unfinished depiction of reclining female nude
- non-sensual
- straight eye contact - angle of view - blunt, blatant, aggressive
- harsh outline around the figure → calls attention to construction of the body, of the painting
- references to Titian’s Venus of Urbino - red couch, white cloth, green drapery, presence of small animal
- truthful, rather than romanticized view of female
8
Q
A
Francisco Goya, The Sleep of Reason Produces Monsters, from Los Caprichos (The Caprices), Romanticism. Etching and aquatint
- title references Enlightenment ideals
- dream-like subject
- depiction of animals as representative of human emotions/behavior
- emphasis on psychology, emotion
9
Q
Impressionism
A
- influenced by realism, photography, Japanese prints, scientific/industrial developments
- color
- pure color; not blended on the palette - pigments placed in small dabs, eye does work of blending
- light and atmosphere
- capture specific and momentary atmospheric conditions
- unfinished appearance
- sketch-like
- modern subjects
- landscape, still-life, genre scenes
10
Q
Post-Impressionism
A
- analytic interests
- structural aspects of form, space, color, optics
- pointillism - Seurat; separate color into component parts applied in tiny dots - optically blend pigment dots
- expressive interests
- Van gogh
- examination of emotive and expressive possibilities of form, color and composition
11
Q
A
Edgar Degas, At the Races in the Countryside, Impressionism. Oil on canvas
- smooth, hazy color in sky - lines
- visible brushstrokes
- modern subject/scene - doesn’t depict nobility
- unbalanced composition inspired by Japanese prints
- cropping of horses and carriage = influence of photography
12
Q
A
Claude Monet, Rouen Cathedral, Facade, Impressionism. Oil on canvas
- foggy, hazy effect
- absence of black as shading pigment - uses optical ability to blend colors instead
- thick paint → texture
- en plein air - painting outdoors
13
Q
A
Vincent van Gogh, Ravine, Post-Impressionism. Oil on canvas
- harsh visible lines
- little depth
- unnatural color scheme
- post-impressionism: line, form, shape → structure
- en plein air - painting outdoors
14
Q
A
Paul Cézanne, Fruit and Jug on a Table, Post-Impressionism. Oil on canvas
- skewed perspective
- visible lines
- breaking down structure of forms
- accumulate pigments according to what he sees at a given moment
- experience of observing the objects/scenes - beginnings of cubism
15
Q
A
Pablo Picasso, Les Demoiselles d’Avignon, Cubism. Oil on canvas
- pre-Cubist work
- traditional subject matter - the female nude
- Avignon - refers to a street in Spain - brothel
- influence from outside Western world - African art/masks
- simplification of forms, angular features, geometric
- cubism - “dismissal of a system of perspective”
- combination of different angles of viewing
- limited color variation → unify composition
16
Q
A
Georges Braque, The Portuguese, Cubism. Oil on canvas
- analytic cubism
- Portuguese musician playing in a café
- combine one spanse of time into a single moment
- painting rendered obsolete by technology? → new modes of representation
- creating a “truthful image” - do not concede to “the lies of optics and perspective”
17
Q
A
Pablo Picasso, Still-Life with Chair-Caning, Cubism. Oil, oilcloth, and rope on canvas
- synthetic cubism
- incorporates elements of analytic cubism
- illusion of glass café table
- experimenting with ideas of collage - mixed media
18
Q
analytic cubism
A
first phase developed by Picasso and Braque in which artists analyzed forms from every possible vantage point to combine the various views into one pictorial whole
19
Q
synthetic cubism
A
later phase in which paintings and drawings were constructed from objects and shapes cut from paper or other materials to represent parts of a subject
20
Q
futurism
A
- founded by Filippo Tommaso Marinetti
- Manifesto issued in 1909
- published in Paris
- copies sent to leading figures in Italy
- followed by manifestos on futurist, painting, sculpture, music, etc.
- precedent of extremism
- dynamism
21
Q
A
Giacomo Balla, Dynamism of a Dog on a Leash, Futurism. Oil on canvas
- represent motion across time (multiple points in time at once)
- multiple legs, tails, etc
- view of motion, vibration, etc.
22
Q
A
Otto Dix, Der Krieg (The War), Die Neue Sachlichkeit. Oil and tempera on wood
- arranged as a triptych with predella - mimic religious altarpiece
- physical, emotional, psychological damage of war
23
Q
Die Neue Sachlichkeit
A
- The New Objectivity
- alternate translations: new resignation, new sobriety, new dispassion
- recurrent themes of horrors of war, social hypocrisy and moral decadence, plight of the poor, rise of Nazism
24
Q
De Stijl
A
- formed in Holland in 1917
- main figures = Piet Mondrian and Theo van Doesburg
- Utopian ambitions
- unification of visual arts
- expressions of perfect harmony
- total design (painting, architecture, furniture) → total integration of art and life
25
Piet Mondrian, *Composition with Red, Blue, and Yellow,* De Stijl. Oil on canvas
* complete abstraction - eliminate form → pure shape and color
* escapism
26
Sinan Bey(?), *Sultan Mehmed II Smelling a Rose*, Ottoman. Watercolor on paper
* proportions are somewhat off - large upper body, compressed lower body
* profile portrait (¾ angle)
* gentle, peaceful, casual pose
* standards in Ottoman world - enthronement on rugs and cushions
* cartoon-like style of painting
* little depth - flat representation
27
Sedefkâr Mehmed Aga, Blue Mosque (Mosque of Sultan Ahmed), Ottoman, Istanbul Turkey.
* centrally domed structure - dominating feature
* sits on top of vast, open interior
* surrounded by smaller half domes and quarter domes
* 6 minarets - thin towers - typical of mosque construction - produced for the calls of prayer - vertical presence
* often built at beginning of new dynasty - mark the new dynasty
* link Ottoman Sultan with holy areas of the prophet
* constructed as a way for Sultan Ahmed to insert himself into the artistic history of the Ottomans
* openness of space under dome → group prayer, hold many people
28
Maqsud of Kashan, carpet from the funerary mosque of Shaykh Safi al-Din, Ardabil, Iran, Safavids
* one of two identical carpets created for funerary mosque
* design based on geometric and floral/plant-based forms
* central medallion
* flanked by textile representation of lamps
* disruption in symmetry - different sized lamps on either side
29
Bichitir, *Jahangir Preferring a Sufi Shaykh to Kings*, Mughal. Opaque watercolor on paper
* Jahangir = Mughal ruler - connections fo spiritual life
* Sufi Shaykh = Islamic priest - receiving gift of embellished text
* incorporates ideas of indigenous styles of representation
* stacking of figures on left side - inconsistent in size
* from bottom to top: artist (holding picture of himself bowing to king), English King James I, unidentified figure (representation of Ottoman world)
* angels - like in Christian art
* central figure is enthroned, depicted as the largest figure
* large flat disk behind him - reminiscent of a halo, or the sun with crescent moon around it
* roles of figures communicated through size
* throne is an hourglass
30
Frederick W. Stevens, Victoria Terminus (now Chhatrapati Shivaji Terminus), Mumbai (Bombay), India, India under Colonial Rule
* reminiscent of architecture from Venice - arches
* medieval revival styles permeating Indian landscape because of British colonial presence
* western influences
31
*Maharaja Jaswant Singh of Marwar*, India under Colonial Rule. Opaque watercolor on paper
* Western styles of representation
* presence of sword - elite portraiture
* Western style of dress
* casual, relaxed pose; not quite straight on view of face
* perspective - sense of space
32
Buddhism
* The Historical Buddha, 563-483 BCE
* born Siddhartha (“He who achieves his goal”) in Lumbini
* becomes known as Shakyamuni
* abandoned privileged lifestyle at 29; spent 6 years as ascetic (simplest life)
* achieved enlightenment (‘bodhi’) at Bodh Gaya at age 35
* Preached first sermon at Sarnath
* died in Kushinagara at age 80
* begins in India, spreads to China
33
Lakshanas
* body attributes indicating the Buddha’s superhuman nature
* ushnisha → cranial bump shown as hair on earlier images, as part of the head in later images
* urna → curl of hair between the eyebrows, shown as a dot
* palms and soles imprinted with wheel → less frequent; wheel = symbol of Buddha’s teaching, most strongly connected to tenets of Noble Eightfold Path
34
Mudras
* hand gestures conveying fixed meanings
* Dhyana (meditation) → right hand over left, palms upward
* Bhumisparsha (earth-touching) → right hand down reaching toward ground, calling the earth to witness Enlightenment
* Dharmachakra (teaching) → right thumb and index finger forming circle
* Abhaya (do not fear) → right hand up, palm outward, gesture of protection or blessing
35
Buddha - Eight Great Events
1. birth
2. enlightenment
3. first sermon at Sarnath
4. miracles at Shravasti
5. descent from the Heaven of the 33 gods
6. taming of a wild elephant
7. monkey’s gift of honey
8. death
36
*The Birth of the Buddha*, Buddhism in Japan. Ink, color and gold on silk
* emerges from the side of his mother
* mother dressed in finery - privileged world Buddha was born into
37
Seated Bodhisattva, Buddhism in China. Glazed porcelain
* adorned in riches and princely dress → worldly connection
* cranial bump, dot on forehead
* beading of porcelain
* Buddha is simple; bodhisattva is more elaborate
38
Bodhisattva
special figures who have achieved enlightenment, but elect not to enter Nirvana to help ease the suffering of others
39
Illustrated manuscript of the *Lotus Sutra*, Buddhism in Korea. Gold and silver on indigo-dyed mulberry paper
* Lotus Sutra believed to be last sermon preached by the Buddha
* often luxurious due to importance of text
* borders of image - thunderbolt and wheel - spark of enlightenment, wheel of Buddhist law
* vajra = thunderbolt
* chakra = wheel
* intricate and detailed image - brings in Asian print aesthetic
* metaphors for good Buddhist practice
40
Kano Hogai, *Bodhisattva Kannon*, Buddhism in Japan. Ink, color and gold on silk
* produced specifically to be exhibited in France
* not didactic - not produced for context of Buddhist practice
* jeweled and adorned in princely garments
* standing watch over infant floating in “protective bubble”
* looks back to older iconography (presence of child underscores role as caretaker)
* Nihonga → Japanese-style paintings
* made in accordance with traditional Japanese artistic conventions, techniques and materials
* Coined during Meiji period to distinguish works from Western-style paintings
* backlash against influx of Western artistic forms and styles into Japanese tradition
41
Zhao Mengfu, *Sheep and Goat*, Painting in China. Ink on paper
* typical to have artists who are both painters and calligraphists
* capturing spirit of object - shapes, textures, movements of animals
* writing offers description of painting - “I have painted horses before, but have never painted sheep [or goats]...”
* reverence for tradition - ancient masters - “Though I cannot get close to the ancient masters, I have managed somewhat to capture their essential spirit.”
* red ink stamps - part of ancient Chinese practice of ownership and viewing
* owner adds his/her seal
42
Kano Eitoku, *Chinese Lions*, Painting in Japan. Color, ink and gold leaf on paper; six-panel screen
* Kano school
* dynamism in form, movement, composition
* painting largely for Momoyama warlords
* convey power, energy, luxury, wealth
* fantastic representation of lions - quasi-humanised (faces, chests)
* walking on golden background - confused landscape - walking down from clouds onto rocky landscape?
* split between sky and ground is fuzzy
43
Giuseppe Castiglione (Lang Shining), *Auspicious Objects*, Painting in China. Hanging scroll, ink and colors on silk
* Jesuit missionary → China; becomes member of Qing dynasty court
* combine standard of Western representation with traditional aspects of Chinese painting
* horizon line fades out - suggestion of vast space
* Western influence:
* single light source; uniformly lighting the image
* 3-dimensional volume - shading and gradation
* Chinese tradition:
* textural detail
* symbolism of objects depicted (red mushrooms, eagle, etc.)
44
Ogata Korin, *Waves at Matsushima*, Painting in Japan. Ink, color, and gold leaf on paper
* Matsushima = canonical view of Japan; embedded in identity and culture
* consistent frontal perspective - looking out at horizon line
* waves and clouds combine, but are distinct
* made majestic through golden sky and silvery waves
* linear definition of forms
* Rinpa style
45
Takahashi Yuichi, *Oiran (Grand Courtesan)*, Painting in Japan. Oil on canvas
* Yoga style - Western style art in Japan
* ¾ portrait view
* gradations of light and dark in facial features
* traditional Japanese aesthetic - lower portions of the robe - embroidered
46
Rinpa style
* alternative system to dominant Kano school
* style featured vivid color, extensive gold and silver, decorative pattern
47
The Founding of Tenochtitlan, *Codex Mendoza*, Aztec. Ink and color on paper
* manuscript form
* commissioned by a European
* account of Aztec life
* symbols speak to the power of the Aztec - ideas of military prowess and conquest
* center of image = eagle on a cactus - marked spot where Aztec should build capital
* behind it - division into 4 quadrants of Tenochtitlan
* blue lines = waterways (island with system of waterways)
* images of conquest warriors fighting against enemies (difference in size)
48
Coyolxauhqui, from the Great Temple, Tenochtitlan, Aztec. Stone
* moon goddess; sister of Huitzilopochtli (god of war)
* daughter of 2 other deities - children attacked mother because she was pregnant
* brother cuts off her limbs, takes off her head, tosses it into sky where it becomes the moon
* aftermath of myth
* sacrificial victims had hearts cut out in Temple - land on/near the stone, then dismembered
* serpents part of belt and adornment - associated with water - ubiquitous in Mesoamerican culture
49
Temple of the Sun (Qurikancha), Cuzco, Peru, Inka.
* built into the landscape
* indeterminate purpose - estate for Inka emperor?
* Ashlar masonry → cut and regularly shaped blocks of stone fitted together without mortar
* most important temple in Inka civilization
* covered on interior with sheets of solid gold
50
Eagle transformation mask (closed and open), Arts of the Americas. Wood, feathers, string
* tribal context - functional, ritual objects - related to ceremony, religious practices
* shifting forms & changing identities
* vibrant head/face of eagle - primary colors
* open mask - stylized human face
* move back and forth between animal and human identity
51
Bill Reid, *The Raven and the First Men*, Arts of the Americas. Laminated yellow cedar wood
* mix native and traditional iconography, subjects, etc. with modern and contemporary ideas about art/artistic production
* subject comes from tribal lore - men emerged from giant clamshell - afraid, didn’t want to come out
* raven = powerful, persuasive creature - urges the men out
* bold, simple figures
* design elements on wings - reflect totemic carvings
* sharp, clean lines = modern and contemporary western artistic traditions
* elements of humor (men emerging from clamshell)
52
Juane Quick-to-See-Smith, *Trade (Gifts for Trading Land with White People)*, Arts of the Americas. Oil and mixed media on canvas
* combination of contemporary and traditional elements/themes
* ideas of categorization
* call attention to/critique legacy of Columbus’s arrival in America
* divided into 2 parts: chain strung across the top - American stereotypes of Natives Americans
* on canvas - traditional canoe, cut images/newspaper clippings connected to traditional imagery of Native peoples
* combo of tribal symbolism/imagery/heritage with modern collage/mixed media techniques
53
Dilukái, Arts of Oceania. Wood, paint and kaolin
* nude, splayed female figure sculpted or painted above main entrance to bai
* tradition - Dilukái is sister of troublesome man who flees with his sister to a bai; he is expelled - naked image of sister placed above entrance to prevent him from coming back
* OR Dilukái - has connection with the sun and the crops
* OR promiscuous woman - mark of shame, warning to village women
* tradition of marking boundaries, protecting sites of passage/transition - through imagery
* adorned with objects of status and power (wristband)
54
A’a, Arts of Oceania. Wood
* presented to British as sign of acceptance of Christianity
* A’a = creator god
* figure is in the process of creating other gods and men - smaller figures become part of body, facial features
55
Kuka’ilimoku, Arts of Oceania. Wood
* the snatcher of land
* posture, facial features, muscular appearance → warlike god
* masking of the face - enlarged eyes, flared nostrils, snarling/frowning mouth lined with teeth
* convey ideas of threat and aggression, power, might, strength
56
Oceania
art played important role in religious and communal life
57
Akati Akpele Kendo, Warrior figure, Arts of Africa. Iron
* Gu --\> God of War
* believed it protected the king - placed it on battlefield
* bocio - empowerment figure
58
“Beautiful Lady” dance mask, Arts of Africa. Wood
* part of costume ensemble
* female mask worn by men
* act as wives of mals masks
* mask = key art form of Africa
59
El Anatsui, *Black River*, Arts of Africa. Aluminum, bottle caps and copper wire
* liquor bottle caps and wrappers
* names = "dark sailor" and "black gold" --\> African history of slavery and colonialism
* conflicts over natural resources and oil
* black river - symbolic of oil? people? water? alcohol?
60
