Total War, Totalitarianism and the Arts <ul><li>Chapter 34:  Looking at Benton, Rivera, and Lange </li></ul><ul><li>Humani...
Benton, Rivera and Lange <ul><li>What do these three artists have in common?  How would you describe the contribution of e...
Thomas Hart Benton <ul><li>United States, 1889-1975 </li></ul><ul><li>best-known muralist and regionalist painter of 1930s...
<ul><li>What mood is created by how Benton uses these elements:  composition, content, black and white, and overall design...
Some say this painting foreshadows the coming storm of World War II.  Do you agree or disagree? Next:   The Ballad of the ...
<ul><li>In what way could the images, colors or composition in this painting be considered uniquely American? </li></ul>
Benton <ul><ul><li>Romance,  1931-1932 </li></ul></ul>What does this painting suggest about rural American life? <ul><ul><...
 
Thomas Hart Benton <ul><li>Lithograph,  Approaching Storm,  1938 </li></ul><ul><li>Paintings: </li></ul><ul><ul><li>The Ha...
Diego Rivera <ul><li>Mexico, 1886-1957 </li></ul><ul><li>Inspired by native Mexican culture and European study </li></ul><...
Diego Rivera <ul><li>Night of the Rich,   1928.  Fresco, North wall, Courtyard of the Fiestas, Ministry of Education, Mexi...
Rivera:  A Dream of a Sunday Afternoon in Alameda Park, 1947-48, Alameda Hotel Next:  Detail of mural’s center
<ul><li>Rivera is shown here, holding hands with a a skeleton, a symbol of death, popularized during the Mexican Revolutio...
Rivera <ul><li>Detail of right side,  A Dream of a Sunday Afternoon in Alameda Park,   1947-48 </li></ul>What mood does Ri...
Rivera <ul><li>The Flower Carrier, 1935 </li></ul>What’s the hidden message?  What does Rivera want you to think about  th...
Rivera <ul><li>Flower Day , 1925 </li></ul>
Dorothea Lange <ul><li>United States, 1895-1965 </li></ul><ul><li>powerful documentary portraits of rural America during t...
Dorothea Lange <ul><li>To live a visual life is an enormous undertaking, practically unattainable. But when the great phot...
Dorothea Lange <ul><li>That's the first day I ever made a photograph actually on the street. I put it on the wall of my st...
Dorothea Lange <ul><li>One should really use the camera as though tomorrow you'd be stricken blind. </li></ul>Next:  Photo...
 
 
 
Dorothea Lange <ul><li>The billboards that were up at the time I photographed. Savage, savage billboards. This is what we ...
Sources of Slides... <ul><li>Mark  Harden’s   Artchive </li></ul><ul><li>Museum of the City of San Francisco  </li></ul><u...
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Pp Chap34 War

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  • Source: Mark Hardin Artchive
  • Source: Mark Hardin Artchive
  • Source: Mark Hardin Artchive Trail Riders , 1964-1965
  • Source of Slides: Mark Hardin’s Artchive
  • Source: Mark Hardin Artchive Rivera, Diego , Night of the Rich, 1928, Fresco North wall, Courtyard of the Fiestas Ministry of Education, Mexico City
  • Source: Mark Hardin Artchive Rivera, Diego A Dream of a Sunday Afternoon in Alameda Park 1947-48 Fresco Alameda Hotel, Mexico City
  • Source: Mark Hardin Artchive Rivera, Diego A Dream of a Sunday Afternoon in Alameda Park 1947-48 Fresco Alameda Hotel, Mexico City
  • Source: Mark Hardin Artchive Rivera, Diego A Dream of a Sunday Afternoon in Alameda Park 1947-48 Fresco Alameda Hotel, Mexico City
  • Source: Mark Hardin Artchive Rivera, Diego , The Flower Carrier, 1935 Oil and tempera on masonite 48 x 47 3/4 in. (121.9 x 121.3 cm) San Francisco Museum of Modern Art
  • Día de las flores, 1925 Oleo sobre tela Los Angeles County Museum of Art Flower Day, 1925 Oil on canvas Los Angeles County Museum of Art
  • http://thecity.sfsu.edu/pacific.pix/WEBPAGE/dorothea3.html
  • http://thecity.sfsu.edu/pacific.pix/WEBPAGE/dorothea3.html
  • Source: http://thecity.sfsu.edu/pacific.pix/WEBPAGE/dorothea3.html
  • Pp Chap34 War

    1. 1. Total War, Totalitarianism and the Arts <ul><li>Chapter 34: Looking at Benton, Rivera, and Lange </li></ul><ul><li>Humanities 103 </li></ul><ul><li>Instructor Beth Camp </li></ul>Copyright, 1996 © Dale Carnegie & Associates, Inc.
    2. 2. Benton, Rivera and Lange <ul><li>What do these three artists have in common? How would you describe the contribution of each? </li></ul><ul><li>Do these slides help you define “social realism” given your reading of Chapter 34? </li></ul>
    3. 3. Thomas Hart Benton <ul><li>United States, 1889-1975 </li></ul><ul><li>best-known muralist and regionalist painter of 1930s and early 1940s </li></ul><ul><li>Sharply criticized for his rural views. His paintings were very popular, but critics called them vulgar </li></ul><ul><li>Noted for his dramatic American themes </li></ul>What key elements do you see in the next works by Benton?
    4. 4. <ul><li>What mood is created by how Benton uses these elements: composition, content, black and white, and overall design in this lithograph? What is Benton trying to say? </li></ul>
    5. 5. Some say this painting foreshadows the coming storm of World War II. Do you agree or disagree? Next: The Ballad of the Jealous Lover, 1934
    6. 6. <ul><li>In what way could the images, colors or composition in this painting be considered uniquely American? </li></ul>
    7. 7. Benton <ul><ul><li>Romance, 1931-1932 </li></ul></ul>What does this painting suggest about rural American life? <ul><ul><li>Next: Trail Riders , 1964-1965 </li></ul></ul>
    8. 9. Thomas Hart Benton <ul><li>Lithograph, Approaching Storm, 1938 </li></ul><ul><li>Paintings: </li></ul><ul><ul><li>The Hailstorm, 1940 </li></ul></ul><ul><ul><li>The Ballad of the Jealous Lover, 1934 </li></ul></ul><ul><ul><li>Romance, 1931-1932 </li></ul></ul><ul><ul><li>Trail Riders , 1964-1965 </li></ul></ul>Do the images of these works reinforce uniquely American values?
    9. 10. Diego Rivera <ul><li>Mexico, 1886-1957 </li></ul><ul><li>Inspired by native Mexican culture and European study </li></ul><ul><li>Painted large murals dealing with Mexican life, history and social problems </li></ul><ul><li>Also painted murals in United States celebrating socialism and industrial America </li></ul><ul><li>What are his key images, themes? </li></ul>
    10. 11. Diego Rivera <ul><li>Night of the Rich, 1928. Fresco, North wall, Courtyard of the Fiestas, Ministry of Education, Mexico City </li></ul><ul><li>Banner in Spanish: “All the hard/cruel money” </li></ul>What does this painting tell you about class differences in Mexico at this time?
    11. 12. Rivera: A Dream of a Sunday Afternoon in Alameda Park, 1947-48, Alameda Hotel Next: Detail of mural’s center
    12. 13. <ul><li>Rivera is shown here, holding hands with a a skeleton, a symbol of death, popularized during the Mexican Revolution by Posada, his teacher, to show the need for struggle. </li></ul><ul><li>Rivera painted personal memories with history in this mural, from despotic Mexican leaders, to Cortez, and the poor, who were once excluded from Alameda Park. </li></ul><ul><li>What reaction do you think Rivera was striving for? What do you think of the scale of this painting? </li></ul>
    13. 14. Rivera <ul><li>Detail of right side, A Dream of a Sunday Afternoon in Alameda Park, 1947-48 </li></ul>What mood does Rivera create with his drawings of the common people?
    14. 15. Rivera <ul><li>The Flower Carrier, 1935 </li></ul>What’s the hidden message? What does Rivera want you to think about the working conditions shown?
    15. 16. Rivera <ul><li>Flower Day , 1925 </li></ul>
    16. 17. Dorothea Lange <ul><li>United States, 1895-1965 </li></ul><ul><li>powerful documentary portraits of rural America during the Great Depression of the 1930s and the Japanese Internment during World War II </li></ul><ul><li>What key themes can you find in her work? </li></ul>
    17. 18. Dorothea Lange <ul><li>To live a visual life is an enormous undertaking, practically unattainable. But when the great photographs are produced, it will be down that road. But I have only touched it, just touched it. </li></ul>Migratory Cotton Picker, Eloy, Arizona, 1940, FSA Collection, Library of Congress
    18. 19. Dorothea Lange <ul><li>That's the first day I ever made a photograph actually on the street. I put it on the wall of my studio and customers, people whom I was making portraits of would come in and glance at them. And the only comment I ever got was, &quot;What are you going to do with this kind of thing? I didn't know. But I knew that picture was on my wall, and I knew that it was worth doing.&quot; </li></ul>White Angel Breadline, San Francisco, Ca. 1933, Oakland Museum Collection
    19. 20. Dorothea Lange <ul><li>One should really use the camera as though tomorrow you'd be stricken blind. </li></ul>Next: Photographs of the Japanese Internment
    20. 24. Dorothea Lange <ul><li>The billboards that were up at the time I photographed. Savage, savage billboards. This is what we did. How did it happen? How could we? </li></ul>
    21. 25. Sources of Slides... <ul><li>Mark Harden’s Artchive </li></ul><ul><li>Museum of the City of San Francisco </li></ul><ul><li>Library of Congress, “Women Come to the Front” </li></ul><ul><li>Oakland Museum of California </li></ul><ul><li>Virtual Diego Rivera Web Museum </li></ul><ul><li>A Few Quotes from Dorothea Lange </li></ul>
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