Midterm Pieces Flashcards
(24 cards)
Readiness
Arno Breker
1939
- allegorical title
- emphasizes military attributes and props
- classical ideal of the male body
- to the Nazis all other art= degenerate
- thinks contagious and will spread- so get rid of it
- healthy male body- remodel the German people, also make them seem all the same- no individuality
- makes many artists leave- France does not repsond well- leads to allogorical figures of France herself
- leads to the response of the new school of Paris - that will create a new renassiance after the war
Jean Fautrier
Tete d’Otage
1944
- word for hostages
- makes works in hiding from gestapo
- hear hostage executions in the woods
- not clear depictions- more indirect
- Malraux called “heiroglyps of suffering”
- human flesh -rosy orange
- abstrac scarification-brushy traits
Jean Dubuffet
Orator at the Wall
1945
- can still see the training Dubuffet has
- childish- colors (pop of white)
- orators body= twisted, possibly what he is saying is also twisted
- colors by mouth- all brownish- show nastiness
- art is very skeptical- after war- ideas of rebuilding, how should, what’s best- show Dubuffets opinion on other’s about this subject
Jean Dubuffet
The Jewish Women
1950
- use of think painting manner
- wants to bring bodies back to earth
- “art brute”
- pancake body spread out- spread to ends of painting
- show painting itself as a body
Wols
Untitled (Kidneys on Fabric)
1938
- confronts you- feel like been waiting for you and they just happened to be there
- very upsetting
- thinks that putting objects into anthropomorphism view is wrong- should be looking at inhuman gaze
- seem like portraits- gaze of objects
- thinking about surrealism and unlikely juxtapositions
- finding himself in the exterior things- not a master of, is open to
Wols
Painting
1946-47
- bright colors coming out of the “eyes”
- thematizing- not an image to look at
- facial structure
- gives the air of creation or destruction
Alberto Giacometti
Man Who Capsizes
1950
- figure gives sense of distance- no matter how close
- “absolute distance”
- elongation
- surpress multiplicty- seen as unity
- show exposure to harm
- wants to break with surrealists, go back to human models
- rise of “situated apperance”
Antonin Artaud
Self Portrait
1946
- imaging of theater of cruelty- bodies trapped/confined
- constant implied violence on bodies
- don’t want to worry about below surface
- away from representation
Raymond Hains
Jacques de la Villegle
Heperile Eclate
1953
- similiar decollege with language
- notes of famous poets writing
- book of nonsense phonetic lang.
- meant to be read
- show musicality of language
- shows what becomes of language in new urban context- we are always assualted by language- becomes white noise= too much
Fernand Leger
Lesuire Activities: Homage to Louis David
1948-49
- leisure- going back to 1930’s
- emblems of French Neo classicism
- show world of leisure communist policies would produce
- aruges art can be classic, modern and communist
Andre Fougeron
Parisian Women at the Market
1947-48
- picture= manifesto
- new realism: emphaizes subject matter- the issues of working class
- empethetic
- showing facts
- starting point between battle of realism and abstraction
- says abstraction is imposture
- most famous socialist realist- sets stage
Fougeron
Atlantic Civilization
1953
- shows vast themes drawn from newspapers- shows the continuing conditions from the war
- like dadism- with the collages
- crticizes: nothing wrong with thems- but so many symbols, hard to read
- unusual juxtapositions and scale
- after Stalin dies- he is testing the limites of acceptability for socialist realism
Renato Guttoso
The Discussion
1959-60
- newspaper fragments
- palatte subdued
- working class subject matter
- after Stalin’s death- hold on more to realism
- thinks that should not wipe out modernism, but hold on to it
Pablo Picasso
The Charnel House
1944-45
- picture has violence- illegiability
- can’t find subject matter
- grayscale (like Guernica)
color of ambiguity or hopelessness
- timed with survivors coming from camps, shown among Talitsky- seen to have correlation
- political statement? like Guernica?
Pablo Picasso
Massacre in Korea
1951
- inconsitency- things of war and styles
- naked people (like ancient sculpture)
- allegorical domain- looking back to traditions
- communists don’t like- think hiding American aggressors
- modernists- think asethtic failure, lackey to communist party
- can art concepts represent historical events or is it impossible in modernist domain?
Friedrick Kiesler et al.
Totem for All Religions
1947
- have all sorts of symbols
- shows place where don’t have to choose a religion or symbol- found a community to identify
Simon Hantai
Sexe- Prime: Hommage a Jean-Pierre Brisset
1955
- huge piece
- title misleading
- bodily clusters- brown pigment
- gestural movement and markings
- work in brochure- seen horizontal, like Jackson Pollock
- this is when Hantai starts to value american abstraction-break away from Surrealists
Simon Hantai
Peinture
1958-59
- entire work covered with handwriting- copying directly West great texts
- takes a year
- response to Mathieu for not editing-quick
- let go of unconsious
- Hantai-not interested in individual, must overcome ego
- coming to terms with ordinary-
Georges Mathieu
La Bataille de Bouvines
1954
“lyrical abstraction” ideology: working very fast creates rejection of preconvcieved gestures, idea that one works intrance like state
- one saience- not edited
- actualy historical event- wants to recreate the battle
- performance of painting=just as important
- imports the act of painting of Pollock into France- painting=backdrop, painter=actor
Hannah Hoch
Mourning Women
1945
- somber setting-glow of light=highlights
- no setting-religious like
- no movement- static frieze like
- see timeless suffering, but still solid wall
- solidarity qualities- like Nazis sculptures with repition- fine line
immediately after war try to get rid of- might be prolonging
Fritz Cramer
Buchenwald Memorial
1958
-Buchenwald rhetorical rebuilding of a state
1st version-looked to victimized, end is frieze like-wall of resistance
- show “proper” socialist art
- show limitations of socialist art
Willi Baumeister
Original Forms
1946
-appeals to cave paintings- going back to primordial
common to all men
-shows abstraction as universal human language
Gerhard Richter
Tisch (Table)
1962
- claims is logically first painting after reconfiguring
- when painting from photo-doesn’t need technique- frees from tradition
- not a personable choice- just executing
- not having a “style”
- goes along with ready-made of Warhol and Duchamp
- wants to go along with Western actions- but hanging on to realism of socialists
Gerhard Richter
Volker Bradke
1966
- everyday highschool student- making hero like
- individualizing- identifying a consumation society
but show that people becoming more and more the same in the society
-not what the socialists think
