Ap art history term 3 test 3

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  • 1. AP Art History Term 3 Test 3
  • 2.
    • Gare St-Lazare
    • 1877; Claude Monet
    • Off moment
    • Smoke, familiar buildings
    • One of 7 paintings made of the famous Paris train station that served the suburbs
    • The work was an example of modern iron-frame-and-glass architecture
    • It was an enormous vault filled with steam and bustling with movement
    • Used rapid, sketchlike brush strokes
    • Captured light as it poured through the glass roof and mixed with the whirling clouds of steam
    • Impressionist focus on city life
  • 3.
    • Rouen Cathedral: The Portal
    • 1894, Monet
    • Monet desired to place Impressionism within the great traditions of French art
    • Seen in his series of works devoted to the play of light over the Rouen Cathedral
    • Chose the subject for its iconographic associations
    • The building symbolizes the continuity of human institutions such as the Church and the presence of the divine
    • The work argues that beneath the veneer of shifting appearances is a complex web of durable and expanding connections
    • He tried to place Impressionism in a more enduring context
    • Pattern of rejection and reform
  • 4.
    • Le Moulin de la Galette
    • 1876; Pierre-Auguste Renoir
    • Liked to paint the upper-middle classes
    • Encouraged by Monet to create pleasant, light-filled landscapes
    • Shows dancers dappled in bright afternoon sun
    • The place was an old-fashioned dance hall
    • He glamorized its working class clientele by replacing them with his friends and their models
    • Figures exude innocence and congeniality
    • Painting knit together by the mood
    • Idyllic image of a carefree age of innocence, a kind of paradise
  • 5.
    • Young Dancer Fourteen Years Old
    • 1880, Edgar Degas
    • He was the only American invited to exhibit with the Impressionists
    • Between realism and impressionism
    • Bronze, but not for such a grand subject
    • Many criticized his work for that
    • Light flickers on the subject
    • Works with Mary Cassatt
  • 6.
    • Maternal Caress
    • 1891; Mary Cassatt
    • After 1800 she moved toward a firmer handling of form and more classic subjects
    • Shift in focus on mother and child
    • One of the many colored prints she produced
    • Shows her sensitive response to the tradition of the Madonna and Child
    • The infant shares a tender moment with its adoring mother
    • Their intimacy is underscored y the subtle harmony of apricots and browns
    • The patterns, simple contours, and sharply sloping floor derive from Japanese prints
    • Aiming for timeless and universal
  • 7.
    • Paris Street, Rainy Day
    • 1877, Gustave Caillebotte
    • This work shows the city’s rebuilding
    • Caillebotte selected a complex intersection near the St. Lazare train station
    • He distorted the size of the buildings and the distance between them to create a wide-angle view
    • Reflects the sweeping modernity of the city
    • His family owned property in the busy neighborhood shown here
    • Highly crafted surface, monumental size, geometric order, elaborate perspective
    • Gaslight used to separate foreground from middle and distant
    • Meant to capture the momentary quality of everyday life
  • 8.
    • Barmaid at the Folies-Bergere
    • 1881; Edouard Manet
    • Contradicts the happy aura of works such as Moulin de la Galette
    • The elegant crowd is reflected in the background
    • He painted a glorious still life of the many pleasures for which the Folies Bergere was famous
    • The liquor bottles also associate with the barmaid herself, with her wide hips, strong neck, and hair
    • Her demeanor, however, refutes these associations
    • She appears to be self-absorbed and depressed
    • Her reflection tells a different story
    • There appears now to be no pyschological or physical distance between them
    • Wanted 2 contrast longing 4 happiness with reality of existence?
  • 9.
    • Nocturne in Black and Gold
    • 1875; James Abbott McNeill Whistler
    • He emphatically rejected the precise depiction of objects in earlier drawings
    • Sued a critic on behalf of this piece and won
    • Depicts a fireworks show over the Battersea Bridge in London
    • He was more interested in atmospheric effects than providing details of the actual scene
    • Spatial ambiguity set against structure of line and form
    • Qualities of energy and stillness
  • 10.
    • Harmony in Blue and Gold
    • 1876-77; Whistler
    • The Peacock Room from a house owned by Frederick Leyland
    • Inspired by the Japanese theme of his own painting ( The Princess from the Land of Porcelain) painted the shutters with peacocks
    • He eventually painted the entire room, covering the walls with gilded peacock feathers
  • 11.
    • At the Moulin Rouge
    • 1892-95; Henri de Toulouse-Lautrec
    • Darker version of Galette
    • Edgy nightclubs
    • Comes from a wealthy family
    • Self portrait included
    • Makes $ print making
    • No longer leisure world
    • Darkness - end of century
    • He included many famous people of his day
    • The eerie green light of the interior evokes an unhealthy atmosphere
    • He added to the visual drama by utilizing different lines
  • 12.
    • Japonaiserie: Flowering Plum Tree
    • 1887; Vincent Van Gogh
    • Oil copy of Hiroshige’s
    • Learns flattened color world
    • Wants to start an art colony
    • Wanted to go to Japan but actually goes to Arle, France
    • Here, his color comes alive
    • Direct Japanese influence
    • One of 3 that he painted
    • Steep transitions from red to yellow to green create a banding effect that vertically balances out the painting
    • Bolder in color
  • 13.
    • Plum Orchard Kameido
    • 1857; Hiroshige; from 100 Views of Edo
    • Foreground dominated by a branch of plum blossom
    • Depicts scene from everyday life
  • 14.
    • Starry Night
    • 1889; Van Gogh
    • He adopted Seurat’s divisionism but he didn’t apply paint in dots
    • He used thick applications of pigment
    • Gave his works a greater sense of physical energy and a palpable surface texture
    • Great example of expressionism
    • Painted from his window in the asylum at Saint-Remy
    • Above the quiet town, the sky pulsates with celestial rhythms and blazes with exploding stars
    • Theory that after death, people journey to a star where they continue their lives
    • Cypress tree = symbol of death and eternal life
    • Brightest star = Venus
  • 15.
    • Mahana No Atua (Day of the God)
    • 1894; Paul Gauguin
    • Inspired by nonacademic sources like medieval stained glass, folk art
    • Rejected Impressionism because it neglected subjective feelings
    • Called his style synthetism
    • = it synthesized observation of the subject in nature with the artist’s feelings about that subject
    • It was expressed through abstracted line, shpae, space, and color
    • Tahitian subject, but painted in France during Gauguin’s return after 2 years in the South Pacific
    • Wanted to find paradise in Tahiti but found a colonized country whose native culture was disappearing under the pressures of Westernization
    • Ignored this reality & showed the Edenic ideal in his imagination
    • 3 horizontal zones in increasing abstraction
    • Upper centers around a statue of a god
    • 3rd zone = pool evokes “the mysterious centers of thought”
  • 16.
    • The Cry (Scream)
    • 1893; Edvard Munch
    • Image of modern alienation
    • merges Symbolist suggestiveness with expressionist intensity
    • The scream fills the landscape with clouds of “actual blood.”
    • Chiefly a dread of death
    • Fear of open spaces
    • Reflects influence of Gauguin
  • 17.
    • A Sunday Afternoon on La Grand Jatte
    • 1884-86; Georges Seurat
    • Exhibited at the 8th and final Impressionist exhibition
    • Theme of weekend leisure
    • Rigorous divisionist technique
    • Stiff formality of figures
    • Highly calculated geometry
    • All produce a solemn , abstract effect quite at odds with the causal naturalism of earlier Impressionism
    • Depicts a contemporary subject in a highly formal style
    • Recalls much older art, such as that of ancient Egyptians
    • Meant to criticize the Parisian middle class?
  • 18.
    • Mont Sainte-Victoire
    • 1885-87; Paul Cezanne
    • Sought to create art with a greater degree of formal order and structure
    • Had little professional success
    • Studied art in Aix then in Paris
    • Participated in the circle of realist artists around Manet
    • Sought to create a sense of order in nature through a methodical application of color
    • Shows a prominent mountain near his home in Aix
    • The tree echoes the mountain’s contours
    • Creates visual harmony between the two principal elements of the composition
    • Sense of timeless endurance
    • Handles painting more deliberately and constructively
    • Breaks contours
    • Forms interpenetrate
    • Over multiple vantage points
    • Concept of time
  • 19.
    • Still Life with Basket of Apples
    • 1890; Cezanne
    • Spatial ambiguities
    • Many objects seem incorrectly drawn
    • Right side is higher than the left
    • Shows his willful disregard to the rules of traditional scientific perspective
    • He studied different objects from different positions
    • Composition is complex and dynamic and seems on the verge of collapse
    • “ a construction after nature”
  • 20.
    • Burghers of Calais
    • 1884-1889; Auguste Rodin
    • Trained as decorative craftsperson
    • Failed 3x to gain entrance to the Ecole des Beaux-Arts
    • Created vigorously modeled figures in unconventional poses, which were scorned by academic critics and admired by the public
    • He won the competition to create this work
    • Commissioned to commemorate an event from the 100 Years War
    • Edward III had offered to spare the city of Calais
    • Shows the 6 volunteers preparing to give themselves up
    • The commissioners weren’t pleased with his conception of the event
    • He showed ordinary-looking men in various attitudes of resignation and despair
    • Stylized the human body for expressive purposes
  • 21.
    • The Waltz
    • 1892-1905; Camille Claudel
    • Assistant to Rodin
    • Became his mistress
    • Suffered from psychosocial problems and went to an asylum
    • Depicts a dancing couple
    • She had to add drapery to the female nude when the Ministry of the Beaux-Arts found it indecent
    • The commission was never carried out
    • Conveyed an illusion of fluent motion
    • Encourages viewer to see the piece from all sides
    • Little actual physical contact between figures
    • Physical closeness reveals no passion
    • Sought to portray love as a union more spiritual than physical
  • 22.
    • Stairway to Tassel House
    • 1892-93; Victor Horta
    • Largely responsible for introducing the Art Nouveau style in architecture
    • Worked in the office of a Neoclassical architect in Brussels
    • Private commission by Professor Tassel
    • Intricate series of long, graceful curves
    • Impressed with the stylized linear graphic of the English Arts and Crafts movement
    • Concern for integrating the various arts into a more unified whole
  • 23.
    • Casa Mila
    • 1906-10; Antonio Gaudi
    • Alive, bending, curving
    • Hand cut stone
    • Emphasizes craftsmanship
    • Roof filled with clay pots
  • 24.
    • Jane Avril
    • 1893; Henri de Toulouse-Lautrec
    • Lithograph
    • Dedicated himself to depicting the social life of the Parisian cafes, theaters, dance halls, and brothels
    • Designed advertisements for popular night spots and entertainers
    • Demonstrates remarkable oringianlity
    • Juxtaposes the dynamica figure of Avril dancing onstage at the upper left with the cropped image of a bass player
    • Influence of Degas
    • But he departs from Degas naturalism
    • Radical simplification of form
    • Flattening of space
    • Integration of blank paper into the composition
    • All suggest influence of Japanese woodblock prints
  • 25.
    • The Kiss
    • 1907-08; Gustav Klimt
    • Characteristically Art Nouveau in their intricate ornamental quality
    • Tension in the couple’s physical relationship
    • They kneel close to the edge of a precipice
    • Unsettles the initial impression of a beautiful surface
    • Flat, looks like glass
    • Made $ as portrait painter
  • 26.
    • World’s Columbian Exposition
    • 1893
    • Landscape design by Frederick Law Olmstead
    • Head architect: Richard Hunt
    • Abandoned metal and glass architecture in favor of “permanent buildings”
    • Single style associated with birth of democracy in ancient Greece and the imperial power of ancient Rome
    • Reflects US pride in its democratic institutions
    • Provided a model for the American city of the future
  • 27.
    • Wainwright Building
    • 1890; Louis Sullivan
    • Studied at MIT
    • His first major skyscraper
    • Has a U-shaped plan
    • Provides an interior light well for illumination
    • Seven floors
    • Attic wrapped in a foliate frieze of high-relief terra-cotta
    • Philosophy of functionalism
    • Corner piers not needed for support
    • They emphasize upward thrust