Midterm Flashcards
(86 cards)
1
Q
A
Henri Matisee, The Serf, 1900-1903 (1908 cast), bronze
- Inspired by Rodin’s Walking Man
- Idea of motion is not present
- Looks planted, frozen
2
Q
A
Henri Matisse, Jeannette V, 1916, Bronze
3
Q
A
Henri Matisse, The Back I, c. 1909, Bronze
4
Q
A
Henri Matisse, The Back II, 1916, bronze
5
Q
A
Henri Matisse, The Back III, 1916, bronze
6
Q
A
Henri Matisse, The Back IV, 1931, bronze
7
Q
A
Henri Matisse, Luxe, calme et volupté, 1904-05, oil on canvas
- Not a spontaneous placement of color, there is a study of the color
- Reference to Seurat’s A Sunday Afternoon, by the positioning and the stances of the people
- Conflation (collapsing) different inspiration from Seurat and Cezanne
- Not covering the entire canvas with paint; which is something that does not usually happen
- Different from Seurat in that Seurat puts colors right next to each other while Matisse shows canvas in between color
- Reclining female nude reference to Manet’s Olympia
- Clothed figures are a mother and a child wrapped in a towel
- Woman in child is Madame Matisse
- Wrapped child is Matisse’s son
- Nude- reference to the past, mythological
- Naked- a real person with no clothes
8
Q
A
Henri Matisse, The Open Window, 1905, oil on canvas
- Fauve is a very short period
- No depth
9
Q
A
Henri Matisse, The Woman with the Hat, 1905 oil on canvas
- Madame Matisse
- Color changes and represents different things; we know that the neck ends where it does because the color changes from orange to blue
- Showing how color can work in new ways, trying to experiment with space
10
Q
A
Henri Matisse, Portrait of Madame Matisse, 1905, oil on canvas
11
Q
A
Matisse, Le Bonheur de vivre (The Joy of Life), 1906, oil on canvas
- Manifesto, not just a painting
- Moving away from Fauvism
- Straight out of the tube color
- Figures look familiar from other works by him
- Lose gender in works; conflicted moment where social and formal (binaries?) come to play
- Dionysus scene; total free for all, people dancing, people relaxing
12
Q
A
Picasso, Les Demoiselles d’Avignon, June, July 1907, oil on canvas
- Not Fauvist
- Not using full palette
- Distinct shapes using lines
- First moment where we have multiple perspectives interacting; suggesting you get different moments of observation collapsing into each other
- Figure in the center is lying down and not standing up; position she is in, she would not be able to stand
- Disegno
- Woman on the right; implication of Egypt
- Primitivism; Egypt, other
- Prostitutes
- Models are looking at you
Colorito- modeling things through color
Disegno- modeling things through line
13
Q
A
Henri Matisse, Reclining Nude I (Auorora), 1907, bronze
14
Q
A
André Derain, The Dance, 1905-06, oil and distemper on canvas
- Palette is the same colors
- People enjoying life; Dionysian
15
Q
A
Henri Matisse, The Blue Nude: Souvenir of Biskra, 1907, oil on canvas
- Evoking Africa
16
Q
A
Pablo Picasso, Portrait of Gertrude Stein, oil on canvas, 1906
- Conceptual collage of the face
- One of Picasso’s largest patrons
17
Q
A
Henri Matisse, Dance II, 1910, oil on canvas
- A Russian commissioner wanted a painted size mural
18
Q
A
Henri Matisse, Bathers with a Turtle, 1908, oil on canvas
- Models not looking at you; maybe not at anything that is in the plain
- Serene, no confrontation of the figures
19
Q
A
Henri Matisse, Harmony in Red, 1908, oil on canvas
- Everything in the painting is activated; everything has a bold color
- Making evil of the “decorative”
- In reference to his La Desserte (Dinner Table)
- Still painting something representational while finding a way to stylize it
20
Q
A
Gustav Klimt, Jurisprudence, 1903-7, oil on canvas
- Unfinished
- Mix of old and new
- Justice; woman in the middle on the top holding a scale
- Figures in the foreground; could be considered juries; justice is sleep, justice is too hard and punishable, justice is confused → if they were to be on jury
- Man with the octopus is the one being judged
21
Q
A
Egon Schiele, Nude Self-Portrait in Gray with Open Mouth, 1910, gouache and black crayon on paper
22
Q
A
Wassily Kandinsky, Cover for Der Blaue Reiter Almanac, 1911, watercolor, india ink and pencil
- Referencing St. George on a horse
23
Q
A
Ernst Ludwig Kirchner, The Street, Dresden, 1908, oil on canvas
- The flat road is pink
- Black eyes
- Colors convey a feeling of unnatural light in an urban landscape,
- Flatness of the picture plane
- Diagonal up the left of the painting drawing us back into the picture
- Car is in the back of the painting; confusion and chaos
24
Q
A
Franz Marc, The Fate of the Animals, 1913, oil on canvas
25
- Pablo Picasso, Portrait of Daniel- Henry Kahnweiler, 1910, oil on canvas
## Footnote
- analytic cubism
- Flat
- Still has a depth, each piece of the background is modeled with different colors
- Lacks black
- Representational? Or Abstraction?
- Breaking the plain into a mirrored worlds
- Icon- just as a stick figure represents a person, we can assume that pieces from this painting shows a man; a unified symbolized meaning
- Symbol- symbolic order where it can be a plain or maybe a nose, for example
26
- Georges Braque, The Portuguese (The Emigrant), 1911-1912, oil on canvas
- Print is present
- Maybe cubism asks more questions than it answers
27
- Pablo Picasso, Houses on the Hill, 1909, oil on canvas
28
-Pablo Picasso, Girl with a Mandolin (Fanny Tellier), late spring 1910, oil on canvas
## Footnote
- analytic cubism
- Passage
- Modeling through lights and darks
- Suggestion of 3D
- Flat area while still having a dimension
- Holding a mandolin, which represented independence and freedom, also has erotic meaning
- Picasso is telling us that he has a love fling with this woman
- The idea that music is abstract
29
- Pablo Picasso, Still Life with Chair Caning, 1912, oil and pasted oilcloth on canvas surrounded by rope
- synthetic cubism
- Collaging
- Mechanical representational with chair
- Rope around the painting, eluding a tabletop?
- Maybe we are looking down on a chair
- Foreshortening on the tabletop
- Multiple points of perspective
30
- Georges Braque, Fruit Dish and Glass, 1912, charcoal and pasted paper
## Footnote
- synthetic
- Plains get formed through collage through cutting and placing
31
- Pablo Picasso, Violin, 1912, pasted paper and charcoal
## Footnote
- Question of the newsprint
- The two pieces of paper are the same paper, but they are split into two
- Suggestion of foreground and background via the paper
- Interest in symbols and you can make what you want of the paper; for example
32
Pablo Picasso, Bottle of Vieux Marc, Glass and Newspaper, 1913, charcoal and pasted and pinned paper
33
Pablo Picasso, Glass and Bottle of Suze, 1912, pasted paper, gouache, and charcoal
## Footnote
- Not only has the newsprint brought us language while also being in a café and talking about what is happening in currant times
- Anti war pictures
- People discussing political issues
- Representational because it represents the world around him
34
- Fernand Léger, Contrast of Forms, 1913, oil on canvas
35
František Kupka, Amorpha, Fugue in Two Colors, 1912, oil on canvas
36
Piet Mondrian, Tableau No. 2/ Composition No. VII, 1913, oil on canvas
37
Robert Delaunay, Premier disque simultané (Disk [The First Disk]) 1913-14, oil on canvas
38
- Sonia Delaunay, La Prose du Transsiberian et de la Petite Jehanne de France (The Prose of the Transsiberian and of the Little Jeanne of France), 1913, watercolor on paper
39
Piet Mondrian, Compositie 10 in Zwarf Wit (Composition No. 10 in Black and White), 1925, oil on canvas
40
Piet Mondrian, Composition in Line, 1916/17, oil on canvas
41
Piet Mondrian, Compostition with Grid 9, Checkerboard Composition with Light Colors, 1919, oil on canvas
42
Mondrian, Composition with Yellow, Red, Black, Blue, and Grey, 1920, oil on canvas
## Footnote
- Not symmetrical but balanced
- Neoplasticism
- Pattern there, but then it reinvents itself
43
Vimos Huszar, Cover of De Stijl, vol 1, no. 1, 1917, letterpress on paper
44
Theo van Doesburg, Project for a University in Amsterdam-Sud, 1922, pencil, gouache, and collage on card
45
Theo van Doesburg, Architectural Analysis counter Construction, 1923, print enhanced with gouache
46
Gerrit Rietveld, Red and Blue Chair, 1917-18, painted wood
47
Francis Picabia, Portrait of a Young American Girl in the State of Nudity, 1915, reproduced in 291
## Footnote
- How the interest in the young American nude is correlating to a mass produced object
- Spark plug- a plug that you put in a car to make it start
48
Giacomo Balla, Girl Running on Balcony, 1912, oil on canvas
## Footnote
- Representational
- Synesthesia- trying to involve other senses through visual work; and kinesthesia
49
Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast in 1931), bronze
## Footnote
- Compare to Victory of Samothrace
- Maybe this person is in motion of walking
- Bronze casting
50
Giacomo Balla, Dynamism of a Dog on a Leash, 1912, oil on canvas
## Footnote
- Light as a destroyer of forms
- Representational
51
-Umberto Boccioni, Dynamism of a Speeding Horse and House, 1914-15, gouache, oil, wood, paste-board, copper, and painted iron
## Footnote
- Multiple mediums
- Horse in the house, horse is charging through a domestic space
- It was once held in a child’s nursery
52
- Carlo Carrà, Interventionist Demonstration, 1914, tempera and collage on cardboard
- Nationalistic
- Favoring the middle class and the newspaper
- Telephone/ telegraph lines → communication
- Feeling and commotion of the city
53
Giorgio Di Chirico, The Disquieting Muses, 1925, oil on canvas
## Footnote
- Representation of a world that is not the real world
- Designo
54
Carlo Carrà, Metaphysical Muse, 1917, oil on canvas
## Footnote
- Painting within painting → indication of 1917, disengaging with the real world
- Designo
55
Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912, oil on canvas
## Footnote
- Post-cubist
- Portrait?
56
Vladimir Tatlin, Selection of Materials: iron, stucco, glass, asphalt, 1914,
57
Vladimir Tatlin, Corner Counter-Relief, 1915, Iron, aluminum, primer
## Footnote
- the material dictates the form and not the opposite
- Truth to materials
58
- Marcel Duchamp, Bicycle Wheel, 1913, Readymade, bicycle wheel fixed to a stool
- Traditional sculpture
59
Marcel Duchamp, Fountain, 1917, Readymade: porcelain
## Footnote
- Rejection of the art world
- Maybe he wants you to look around the urinal and pay attention to the painting behind it or the pedestal
- Training our eye to see the world
60
Kazimir Malevich, Warrior of the First Division, Moscow, 1914, oil and collage on canvas
## Footnote
- Transforming the picture into an envelope
- The readymade as collage atom
- Legacy of futurism and cubism
61
- A view of the "0.10" exhibition in Petrograd, 1915,
## Footnote
- Malevich hanging this up in this particular way
- We have the rectangle of the paint, rectangle of the canvas, rectangle of the walls, etc., suggestion that the paintings are moving around the room considering they are not perfectly aligned
62
Kazimir Malevich, Red Square (Painterly Realism of a Peasant Woman in Two Dimensions, 1915, oil on canvas
## Footnote
- Utopia
- Icons that will replace religion → the religion of abstraction
- Saying how geometry is a perfect system yet an imperfect system
63
Vladimir Tatlin, First Model of the Monument to the third International in the former Academy of Arts, Petrograd 1920, wood
64
Alexander Rodchenko, Oval Hanging Construction No. 12, ca. 1920
- Construction was said to be based on ‘scientific’ mode of organization in which ‘no excess materials or elements’ were involved
65
Aleksandr Rodchenko, Pure Red color, Pure yellow color, pure blue color, 1921, oil on canvas
66
Kazimir Malevich, Suprenatist Painting (White on white), 1918, oil on canvas
67
Hugo Ball in "Magical Bishop” costume at Cabaret Voltaire, Zurich, June 1916
68
- Marcel Janco, Mask, c. 1919, paper, cardboard, string, gouache, and pastel
## Footnote
- Janco- Romanian; 1895-1984
- Made of paper and painted
- “Dada” maybe “yes, yes” in Romanian
- “Dada” maybe baby language, nonsense language
- African masks
69
- Paul Klee, Once emerged from the Gray of Night, 1918, watercolor and pen drawing
70
Paul Klee, Angelus Novus, 1920, India ink, colored chalks, and brown wash on paper
71
- Duchamp, The Bride Stripped Bare by Her Bachelors, Even (The Large Glass), 1915-23, oil, varnish, lead foil, lead wire, and dust on two sheet of glass panels
- Index- a representation of an object that brings us back to the object making the representation i.e. a tire painted black and then rolled will make a tire track
- Has the look of a readymade
- Glass etching
- Chocolate grinder- representation of scatological humor
- Painted on glass
- Viewer is apart of the work
- Representational or non-representational?
- The piece is flown across the ocean and it cracked; he says that it is finished → embracer of chance
72
- Duchamp, Three standard Stoppages, 1913-14, thread, glue, and paint on glass panels fitted in a wooden box
- Takes string and randomly sees how string falls and then cuts wood in the shapes that the string has fallen
- Non- art ? anti art?
73
Hans Arp, Collage of Squares arranged according to the laws of chance, 1916-17, collage of colored papers
## Footnote
- Construction paper ripped up → child art
- Dropped paper on the ground and then glued them to the paper
- Reminds us on Mondrian and his use of a grid→ cubism, memory of the grid
74
Duchamp, Tu m’, 1918, oil and graphite on cavnas
75
First International Dada Fair at Kunstalon Dr. Otto Burchard, Berlin, June 1920
76
Hannah Höch, Cut with the kitchen knife through the Beer Belly of the Weimer Republic , c. 1919, collage
## Footnote
- Höch (1889-1978)
- Advertising images
- Photomontage
- Still has one hand drawn image
- Socio/political
- Cutting up political figures
- Taking the civilized work and making it into a non-civilized piece
- Taking an object of order and making into an object of discussion
- dada through the last Weimar beer belly cultural epoch of Germany
77
Raoul Hausmann, Mechanical Head (The spirit of our time), c. 1920, wood, leather, aluminum, brass, and board
- Gives you the normal shape of the human head
- Taking societal norms and making them look different
78
John Heartfield, The meaning behind the Hitler salute: little man asks for big gifts. Motto: millions stand behind me!, 1932, photomontage
79
Curriculum of the Weimer Bauhaus
- Model that has yet to be tested – an experiment
- Intro courses leading to your 3 year completion point
- Learn how to work materials and master then to eventually make an architectural design
80
Lyonel Reininger, Cathedral of the Future, 1919, woodcut for the 1919 Program of the bauhuas
81
- Laszlo Moholy Nagy, Light Space, Modulator, 1930, kinetic scultpture of steel, plastic, wood and other materials with electric motor
82
Walter Gropius, the Bauhaus buildings, Dessau, c. 1925
83
Marcel Breuer, Slat Chair, 1922, pearwood
84
Le Corbusier, interior of the Pavillon de L'Esprit Nouveau, 1925
85
Fernand Léger, Three Women, 1921, oil on canvas
- Making the human form into futurist cylinders
86
Fernand Léger, The Baluster, 1925, oil on canvas
