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History of Art > Identity > Flashcards

Identity Flashcards

1
Q

When was Gentileschi’s self-portrait as St Catherine painted?

A

1615

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2
Q

When was Gentileschi’s self-portrait as the allegory of painting started?

A

1638

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3
Q

When was Gentileschi’s Judith Beheading Holofernes painted?

A

1612

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4
Q

When was Manet’s Olympia painted?

A

1863

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5
Q

When was Lebrun’s self-portrait in a straw hat painted?

A

1782

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6
Q

When was Ruben’s portrait of Susanna Lunden painted (and why might this inspire Lebrun to remake it over 100 years later?)

A

1622, in the piece Lunden has her arms crossed over her chest looking meekly at the viewer in a very demure pose- inspiring Lebrun to remake it as a woman looking at herself rather than a man looking at a woman

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7
Q

When was the Huhne vase and I am a man by Grayson Perry, made?

A

2014

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8
Q

When was Caravaggio’s Judith beheading Holofernes painted and how did this inspire Gentileschi’s

A

1602, Caravaggio had been her father’s friend meaning she had intimate knowledge of his methods- Judith is meek and unrealistic, the painting focusing more on her beauty than the horrific act itself

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9
Q

When was the temple of heaven constructed, and under which emperor?

A

1420, Yongle Emperor of Ming Dynasty

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10
Q

What symbolism is present in the temple of heaven?

A
  1. Circles represent heaven, while squares are earth- the temple is all circles with square courts outside
  2. Surrounded by 9 plates on each level, 9 is for the emperor
  3. 4 inner, 12 middle and 12 outer pillars in the Hall of prayer- 4 seasons, 12 months and 12 hours
  4. Blue represents heaven, green is earth and red is imperial China
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11
Q

When was the Parthenon constructed and who by?

A

447BC, Pericles of Athens

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12
Q

What was the purpose of the Parthenon

A

Civic pride, to house the statue of Athena made of ivory and gold, and to act as the end point to the Panathenaea

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13
Q

Visual analysis of Parthenon

A

Made of Pentellic marble (supporting domestic trade) which turns golden when the sun hits it, gives jobs to freedmen, placed on the acropolis to watch over the city, freize is obscured by columns which means its made for Athena not the populous

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14
Q

When did Zaha Hadid finish the Heydar Aliyev Cultural Centre in Azerbaijan

A

2012

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15
Q

When did Zaha Hadid finish the London Aquatics Centre

A

2011

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16
Q

Visual Analysis of the Heydar Aliyev Cultural Centre

A
  1. White slopes blending into the landscape like clouds, soft and inviting
  2. Curves are similar to Islamic calligraphy (Hadid was native to Iraq)
  3. Lots of glass and natural light to suggest state transparency (while some might argue the function of this building is culture and space- this is incorrect, rather it is a reflection of the Azerbaijani government)
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17
Q

“They [self-portraits] are made as love letters, appeals for clemency, campaigns against specific people or the art world in general”

A

Laura Cumming, a face to the world 2009

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18
Q

“I am a man” Grayson Perry, when was it made and how does it reflect gender identity

A

2014, inspired by the Hyde Park statue of the boyish icon Peter Pan and based off of a trans man Alexander White-Higgins. Holds masculine trinkets, guitar, alcohol and missiles, to show materialism of masculinity and the performance of it

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19
Q

Andrea del Vercocchio’s “Bust of Lorenzo de Medici” when was it made and how does it show civic identity

A

1480, red cap shows him as a Florentine and therefore his pride and importance to the city. Brow is furrowed to show him deep in thought and modelled off of his death mask. Showing deep connections between family of Medici and Florentine achievements

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20
Q

2017, “Women in European History” Camille Guzman quote (Gentileschi, gender identity)

A

“Gentileschi in order to continue Ruffo’s patronage had to play into the gendered assumptions of femininity of her time”

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21
Q

Gerrard 390

A

“a woman’s name raises doubts until her work is seen” -Gentileschi

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22
Q

Shearer West’s “Portraiture” 2004, playing roles quote

A

“[women] play roles, such as historical figures, goddesses or other characters other than themselves”

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23
Q

Shearer West, “Portraiture” 2004, male self portraits portray what

A

“technical ability, social identity and their gender”

24
Q

Shearer West, “Portraiture” 2004, individuality quotes

A

“The very idea of individuality is… socially and historically constructed (..) portraiture grows from and reinforces this particularly Western concept

25
Q

Shearer West, “Portraiture” 2004, origins of identity quote

A

“(pre-17th century) identity was seen to be rooted in those external attributes”

26
Q

Shearer West, “Portraiture” 2004, purpose of portraiture quote

A

“link them to a particular social milieu”

27
Q

Shearer West, “Portraiture” 2004, 16th century portraiture quote

A

“Before the 16th century, such elusive qualities as ‘character’ were not the primary concern of portraitists, whose principal purpose was to capture likeness”

28
Q

Shearer West, “Portraiture” 2004, constructing portraiture quote

A

“Portraits construct identity not only from the individuality of the sitter, but from their social and gender status”

29
Q

Richard Brilliant, Portraiture, photographic age portraiture quote

A

“not simply to capture a likeness, but to capture the whole individual”

30
Q

Richard Brilliant, Portraiture, portraiture as a reflection quote

A

“Portraits reflect social realities…”

31
Q

John Berger, Ways of Seeing 1972, men and women quote

A

“Men act and women appear”

32
Q

John Berger, Ways of seeing 1972, men’s presence quote

A

“a man’s presence is dependent upon the promise of power which he embodies”

33
Q

T.J. Clark, The Painting of Modern Life 1984

A

“a nude is a picture for men to look at in which ‘woman’ is constructed as an object of somebody else’s desire”

34
Q

R. Parker and G. Pollock, Old mistresses 1984

A

“All present woman as an object to a male viewer/possessor outside the painting”

35
Q

Shearer West, Portraiture 2004, allegorical paintings quote

A

“open up the possibilities of seeing women outside the constraints of their domestic and social roles”

36
Q

Nicholas Chare “Sexing the canvas” 2010

A

“The sexing of substance has been overlooked (..) Artist’s materials are, however, always invested with significance”

37
Q

Edward W. Said, “Orientalism” Western Conceptions of the Orient” 1978

A

“The Orient was almost a European invention, and had been since antiquity, ‘a place of romance, exotic beings, haunting memories and landscapes”

38
Q

“Lebrun confirms the trend of artists to present themselves as beautiful, affluent, and well dressed”

A

Gilian Perry, Gender and Art 1999

39
Q

How have political cultural and artistic contexts contributed to the appearance and meaning of Ai Weiwei’s Sunflower Seeds

A
  • 2008 Sichuan Earthquake, Chinese government refuses to publish the death lists. Many schools built on the fault lines collapsed and Weiwei accused negligent government
  • Chairman Mao often called the sun and the people of China the flowers (follow the sun)
  • Mao created a massive amount of propaganda (1 image of him in every home) so seeds show not only populous but also propaganda scale
  • Created in Jingdezhen which made porcelain before the industrial revolution (Mao made them poor because of machination)
40
Q

When was Frida Kahlo’s self portrait on the border line painted

A

1932

41
Q

When was Ai Weiwei’s seeds made

A

2010

42
Q

How does Kahlo’s Self-portrait on the border line reflect her identity

A

GENDER:

  • Placed on pedestal (wall) implement of honour but also expectation. Has Carmen Riviera written on it (her christian name + her husband’s name)
  • Wearing classic housewife dress but it is see-through, showing her body to viewer

ETHNIC

  • Carmen erases her Hungarian-Jewish identity
  • Stands on the border between her birthplace, Mexico and her home, USA
  • Mexico is feminine and organic while USA is industrial and masculine- Kahlo belongs in neither by standing in the middle
  • Outside of her domestic sphere
43
Q

How does Artemisia Gentileschi’s 1612 Judith Beheading Holofernes show gender identity?

A
  • Contrasts traditional gender roles by showing that Judith is in control
  • History paintings barred from women before
  • 1602 Caravaggio’s Judith is different, she is meek, blonde, in white, and hesitant
  • Judith has her sleeves rolled up and brow furrowed in focus as she overpowers him
  • Holofernes is beneath the women, the gendered pyramid turned on its head
  • Most efficient angle on sword, blood spurting out, no sympathy as she enacts God’s will
  • Holofernes near the viewer with his size exaggerated, amplifying strength of women
44
Q

“People begin hating themselves as the default man inside them berates them for being different”

A

Grayson Perry, The Rise and fall of Default Man 2014

45
Q

“Previously, identity was seen to be rooted in those external attributes, conveyed through body, face and deportment, that distinguished one individual from another”

A

Shearer West, Portraiture 2004

46
Q

“The idea that portraits should communicate something about the sitter’s psychological state or personality”

A

Shearer West, portraiture 2004

47
Q

Summarise the London Aquatics Centre by Zaha Hadid 2011

A
  • Huge undulating, biomorphic, wave-like roof which shelters the pool
  • Created for the London Olympics in 2012, therefore had an objective to represent the UK
  • The swimming stroke “Butterfly” is mirrored in the wave shape as well
  • Others have said it looks like a Manta Ray
  • Large windows and natural light to emulate the outside
  • Interior ceilings contain leaf-shaped lights which adds to the organic motif of the building
48
Q

Summarise Zaha Hadid’s “Heydar Aliyev Centre” in Azerbaijan 2013

A
  • Suprematism: “i took refuge in the form of the square” Malevich. Hadid hugely inspired by Malevich’s simplicity of shapes
  • With a rolling exterior form devoid of a single straight line, the design is as much landscape as it is architecture
  • Rolling white clouds, curling like arabic scripture which bends round on itself
  • Large windows and light colours makes government look more transparent (named after former soviet leader)
49
Q

Summarise the temple of heaven by yongle ming dynasty 1420

A
  • Site of ritual imperial ceremony in Ming dynasty, pray for good harvest and give thanks to the ancestors
  • Successful harvest meant good reign for emperor, so it was very important
  • Wood and warm coloured red represent dignity of Chinese imperial court
  • Complex design reflects relationship between heaven and earth + cosmological laws
  • Number 9 for the emperor = slabs of mound altar laid in 9 multiples
  • 28 columns divided into 4 pillars for seasons
  • 12 inner for months and 12 outer for hours
  • Circular design of buildings show circle of life and boundless vitality
50
Q

Grayson Perry default man quote

A

“Ideas of default man lead to gender stereotyping and toxic masculinity”

51
Q

Grayson Perry gender as a performance

A

“Identity is an ongoing performance which changes according to our surroundings”

52
Q

“She [Vigee Lebrun] was acceptable only in so far as her person, her public persona, conformed to the current notion of Woman, not artist”

A

Rozsika Parker and Griselda Pollock, “Old Mistresses” 1981

53
Q

“[Gentileschi’s] intervention in an established and popular genre of female subjects through a contemporary and influential style”

A

Rozsika Parker and Griselda Pollock, “Old Mistresses’ 1981

54
Q

What paintings can you use for Lebrun?

A
  1. Self Portrait in a Straw Hat 1782
  2. Marie Antoinette and her Children 1787
  3. Marie Antoinette in a Chemise Dress 1783
55
Q

“The complexity in the drawing became complexity in the architecture”

A

“Zaha Hadid” by Phillip Jodidio 2016

56
Q

“inspired by the fluid geometry of water in motion”

A

Zaha Hadid, Phillip Jodidio 2016

57
Q

“The building itself merges into the landscape…blurring the boundary between building and the ground’

A

Phillip Jodidio, Zaha Hadid 2016

History of Art (7 decks)

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