Impressionism to art after 1950 Flashcards
(94 cards)
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CLAUDE MONET, Rouen Cathedral: the Portal
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series
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many paintings exploring the same theme over period of time
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pointillism
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colours are systematically applied in small dots, producing a vibrant surface
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lithography
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printmaking process inwhich a flat stone, previously marked witha greasy substance that retains ink, ischarged with ink, placed against paper,and run through a press
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expressionists
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communicates strong personal & emotional feelings to viewer
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primitive
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art produced by untrained or naïve artists
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EDGAR DEGAS, The Absinthe Drinker
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AUGUSTE RODIN, The Thinker
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GEORGES SEURAT, A Sunday on La Grande Jatte
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PAUL CEZANNE, Mont Sainte-Victoire
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VINCENT VAN GOGH, The Starry Night
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EDVARD MUNCH, The Scream
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HENRI ROUSSEAU, The Sleeping Gypsy
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Early Expressionism
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- some European painters began to express theirpersonal dissatisfaction with contemporaryurban life
- triggers the beginnings of Expressionism
15
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Post-Impressionism
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- this term was used to describe a major change in the 1880’s& 1890’s; a variety of unique styles develop
- artists combined colour & light theory of Impressionismwith traditional design & composition concerns
- artists were often critical of society & its ills and were nolonger interested in recording fleeting/spontaneous moments
- 2 main directions emerged:
a) interest in form and design (Cézanne & Seurat)
b) emphasis on personal and emotional expression(Van Gogh & Gauguin)
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Impressionism
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- during the 2nd half of 1800’s; style began in France as areaction to realism & academic traditions
- revolutionized art; fascinated with the effect of light oncolour/surfaces (light & colour as subject matter)
- painters worked outdoors; tried to record fleetingimpressions of nature at different times of the day
- paint was applied in small brightly coloured dabs orstrokes, which lack firm outline
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Optical mixing
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Impressionist technique; the viewers eyes blend juxtaposed dabs of colour from a distance
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avant-garde
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any contemporary stylerepresenting a new form of visualexpression
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EXPRESSIONISM
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-artists expressed their emotional attitudetoward the world and themselves in symbolicand/or personal ways
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Fauvism
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-artists were called fauves (“wild beasts”) by critics-their art incorporated flat abstract forms, distortedperspective, and intense clashing colours
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HENRI MATISSE, The Red Studio
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German Expressionism
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-artists used distorted forms and vivid colours-2 main groups emerged: Die Brücke & Der Blaue Reite
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PAULA MODERSOHN-BECKER, Old Peasant Woman Praying
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Die Brücke (The Bridge)
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-style lasted from 1905-1913-artists were figurative expressionists; they distorted figures andused violent colours to protest the conditions prior to WWI
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EMIL NOLDE, Masks
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Der Blaue Reiter (The Blue Rider)
-style lasted from 1911-1912-artists were abstract expressionists; they simplified andabstracted shapes until the subject was almost unrecognizable
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Expressionism in the Americas
-artists created social statements about thestruggles of common people
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DIEGO RIVERA, Liberation of the Peon
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ABSTRACT ART
-artists are concerned with composition/designand how the various parts relate instead ofexpressing feelings
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Cubism
-this style was invented by Picasso and Braque-the primary concerns were design and abstraction-2 phases: the first was Analytic Cubism and thesecond was Synthetic Cubism
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collage
(\*materialssuch as paper, cloth, etc. are glued to a surface)
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simultaneity
\*the technique of depicting objects from separate vantagepoints in one art work
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PABLO PICASSO, Three Musicians
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MARCEL DUCHAMP, Nude Descending a Staircase, No. 2,
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Futurism
-artists observed that speed fragments outlines-represents new interest in mechanical advancements
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JOSEPH STELLA, Brooklyn Bridge
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UMBERTO BOCCIONI, Unique Forms of Continuity in Space
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De Stijl
-nonobjective style of art-complete reliance on design and the elimination of allfeeling and emotion
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CONSTANTIN BRANCUSI, Bird in Space
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FANTASY ART
-artists turned to psychological fantasy toexpress themselves-art works are imaginative and dream-like
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MARC CHAGALL, I and The Village,
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Dada
-style was developed as a protest against WWI-created nonsense art that was intended to outrage theviewer-wanted to convey the message that everything wasmeaningless
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JEAN (HANS) ARP, Birds in an Aquarium
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assemblage
; \*art made up of bits ofobjects/materials originally intended forother purposes
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Surrealism
-style was based on weird imagery from dreamsand the subconscious mind-symbols are personal and unexplained
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SALVADOR DALI, The Persistence of Memory
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RENÉ MAGRITTE, Time Transfixed
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ASHCAN SCHOOL
-artists expressed their feelings about American lifein crowded cities-critics called them the “Ashcan School” because they felt that “low-life urban subjects” were fit for the ash can (used to throw away cigarette butts)
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GEORGE BELLOWS, Cliff Dwellers
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AMERICAN ABSTRACTION
-after WWI, abstraction became an important elementin American art, but it was not fully accepted by thepublic
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GEORGIA O’KEEFFE, From the Plains I
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CHARLES DEMUTH, The Figure Five in Gold
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ALEXANDER CALDER, Lobster Trap and Fish Tails
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mobile;
\*balanced construction with moving parts, suspended from above
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stabiles;
\*standing sculptures with moveable parts
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AMERICAN SCENE PAINTING
-many artists continued to work in a Realist style; theypainted the farmlands and cities of America-the Regionalists were a group of Midwestern artistswho limited their subject matter to the area wherethey lived
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THOMAS HART BENTON, The Kentuckian
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EDWARD HOPPER, Nighthawks
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SOCIAL REALISM
-the Great Depression of the 1930’s caused mass unemployment, hard times, and near social panic-artists portray the dehumanization of urban life andreveal the injustices imposed on ordinary people byan uncaring society
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BEN SHAHN, Handball
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FRANK LLOYD WRIGHT, Kaufmann House
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cantilevered
horizontal projections are balanced & supported with a fulcrum
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GERRIT RIETVELD, Schröder House
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International Style
modern architecture developed after WWI-box-like structures of steel, concrete, and glass with no ornamentation or natural materials-influenced by Wright and Piet Mondrian: crisp lines and multiple surfaces
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MODERN ARCHITECTURE
-new steel and metal-frame construction-function was the primary concern; the goal was toachieve clean lines, with minimal decoration-the tensile strength of steel and the invention of highspeed elevators allowed for the development ofskyscrapers
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LE CORBUSIER, Notre-Dame-du-Haut
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MOSHE SAFDIE, Habitat
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POST-MODERN ARCHITECTURE
-combined function and technology with no fixed rules-reaction against Modernism, which was felt to be toohard-edged and uncluttered-architects respected the client’s specific needs and embraced history, symbolism, ornamentation, andeclecticism-buildings were designed to work in harmony with thesite, its environment, and its history
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PHILIP JOHNSON & JOHN BURGEE, PPG Place
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FRANK O. GEHRY & ASSOCIATES, California Aerospace Museum
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ABSTRACT EXPRESSIONISM
-also called “action painting”; a variety of different styles and techniques that were based on freedom ofindividual expression-artists turned against reason, stressing emotions andfeelings more than design and form-art work had a spontaneous feel and was meant to begrasped intuitively by the viewer rather than logically
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drip paintings
; \*laid the canvas on the floor and walked on it while dripping,spilling, and throwing paint
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JACKSON POLLOCK, No. 1 (Lavender Mist)
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POP ART
-in the early 1960’s, artists dealt with the commercialaspects of popular culture and mass produced commodities-this style was a reaction to Abstract Expressionism; artistsincorporated hard edges and invisible brushstrokes, withcareful preparation and drawing-artists had an impersonal attitude toward their work andsubject; they poked fun at trendy ideas while incorporatingwit, satire, and humour
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CLAES OLDENBURG, Falling Shoestring Potatoes
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soft sculpture;
\*sculpturemade with painted fabric and stuffedwith soft material
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ANDY WARHOL, 100 Cans
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OP ART
-this style was another reaction to Abstract Expressionism-artists used scientific principles to create the illusion ofmovement-art incorporated carefully calculated and preciselypainted colours, lines, and shapes to make the eye detectmovement
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BRIDGET RILEY, Fall
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COLOUR FIELD PAINTING
-this style developed during the 1960’s & 1970’s; artists created flat fields of colour and precise lines, with nobrush work or emotionalism-enlarged field painting also developed; artists createdmural-sized canvases, using unplanned improvisationaland accidental happenings-artists opened up space in their works by leaving areas ofthe canvas white or completely unprimed
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minimalism;
\*non-representationalart using very simplified forms andflat areas of colour
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FRANK STELLA, Protractor Variation,
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HELEN FRANKENTHALER, The Bay
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Enlarged Field Painting
-enlarged field painting; several canvases can work together as a total environment-he poured diluted acrylics on unprimed canvas, then tilted the canvas to createoverlapping, transparent shapes-spontaneous and unplanned, but colour was applied carefully and canvas was tiltedin a controlled manner
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NEW REALISM
-revival of realistic art during the 1970’s -the style was also called Photo-Realism; every detailwas painstakingly reproduced-artists were influenced by commercial art techniquesand photography; no interest in showing the personalityof the subject
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CHUCK CLOSE, Mark
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DUANE HANSON, Self-Portrait with Model
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HENRY MOORE, Sheep Piece
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DAVID SMITH, Cubi XII
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NEW DIRECTIONS
-from the 1960’s on, new ideas are based on an experimental attitude, technology and art is combined,and art is seen as an event to be experienced-there is an emphasis on conceptual art, includingkinetic, environmental, computer/video, performance,installations, and temporary works
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CHRISTO & JEANNE-CLAUDE, Running Fence
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conceptual art:
\*art that is intended to convey an idea or concept, rejectingtraditional art
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installation art: \*
art that is created for a specific site in order to alter the way aspace is experienced
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JUDY CHICAGO, The Dinner Party
