After abstract expressionism dominated American art in the late 1950s, minimalism emerged featuring artists like Robert Rauschenberg and Jasper Johns. Rauschenberg is known for works like his White Paintings from 1951 and Erased de Kooning Drawing from 1953, where he erased a Willem de Kooning drawing. He sought to bridge the gap between art and life. Johns is known for iconic works like Flag from 1955 that incorporated common objects and images. Both artists collaborated and helped establish the Neo-Dada movement that rejected abstract expressionism in favor of incorporating objects and images from everyday life.
The document summarizes a trip to the Science Museum to see two photography exhibitions. It describes visiting the Alec Soth exhibition and seeing sections from his various photography series including "Sleeping by the Mississippi", "Broken Manual", "Niagara", and "Songbook". For each series, the document provides a brief description and notes that Soth's photos capture real life in an honest, down to earth manner through his documentary style landscape and people photographs.
Esta presentación fue realizada para introducir a grupos de varias edades en la técnica del autorretrato. Posteriormente realizamos una actividad estudiando la proporciones de su rostro y realizando su propio autorretrato. El resultado lo colgaré próximamente en mi blog el cual está todavía en proceso de construcción. Obviamente la actividad fue impartida en inglés.
I made this presentation in order to draw my lovely kids into the Self-portrait along the Art History. Then we worked with the proportions and features of each one face. The result was very interesting and I'll show you soon in my blog. The activity was made in English. I'm still studing and improvering my English, I'm sorry if you find some mistakes.
The Dada art movement emerged in response to World War I and rejected traditional styles. It had no uniform characteristics and encouraged non-artists to create non-art works using techniques like collage and photo montage. Cubism, created by Picasso and Braque, also rejected traditional perspective and depicted fragmented objects from multiple viewpoints in each piece. Cubism had two phases - analytic Cubism showed objects breaking into smaller detailed parts with muted colors and some realism, while synthetic Cubism showed objects combining into larger forms using brighter colors and collage techniques.
Minimalism began in the 1960s as a reaction against abstract expressionism. It emphasized simplicity and directness, featuring geometric shapes, industrial materials, and a rejection of emotion or hidden meanings. Two influential minimalist artists were Frank Stella, known for his black stripe paintings, and Carl Andre, who created sculptures using simple arrangements of common objects or materials. Minimalism sought to focus attention solely on the artwork itself rather than representing the outside world.
Abstract Expressionism developed in New York in the 1940s as an art movement after World War II. It combines the emotional intensity of German Expressionism with the anti-figurative aspects of European abstract art. Abstract Expressionism has two main styles - action painting, which uses gestural brushwork, and color-field painting, which uses large areas of flat color. Action painting emphasizes the process of applying paint spontaneously, while color-field painting focuses on the interaction of color planes. Major artists associated with these styles include Jackson Pollock, Willem de Kooning, and Franz Kline.
Elizabeth Murray was an American painter known for her colorful abstract works that broke from traditional rectangular canvases. She began drawing at a young age and was interested in expressionism and the unconscious mind. Her large-scale paintings from the 1970s-80s featured biomorphic and geometric shapes fitted together like puzzles in layered bold colors. Murray sought to blur boundaries between painting and object to create unified yet open-ended compositions exploring emotion and the psyche. She found artistic inspiration in everyday objects and scenes.
Abstract Expressionism was a post-World War II art movement characterized by nonrepresentational and emotionally expressive styles. There were two main types: color field painting, which used large areas of flat color; and action painting, where paint was spontaneously dripped or smeared onto the canvas to show the physical act of painting. Major artists included Helen Frankenthaler, who pioneered color field painting techniques like soak staining, and Jackson Pollock, who specialized in drip paintings and was a pioneer of the abstract expressionism movement overall.
Still life paintings depict collections of inanimate objects arranged together. They allow viewers to see everyday objects in a new light by capturing them in specific arrangements and through the use of light, shades, and colors. Important early examples include works from the 16th century Dutch painter Georg Flegel and 17th century Spanish painter Francisco de Zurbarán, while Paul Cezanne produced influential still life works in the 19th century. Artists use techniques like modulating light and dark values and tints or shades of color to realistically depict volume and reflect light in the objects.
The document summarizes a trip to the Science Museum to see two photography exhibitions. It describes visiting the Alec Soth exhibition and seeing sections from his various photography series including "Sleeping by the Mississippi", "Broken Manual", "Niagara", and "Songbook". For each series, the document provides a brief description and notes that Soth's photos capture real life in an honest, down to earth manner through his documentary style landscape and people photographs.
Esta presentación fue realizada para introducir a grupos de varias edades en la técnica del autorretrato. Posteriormente realizamos una actividad estudiando la proporciones de su rostro y realizando su propio autorretrato. El resultado lo colgaré próximamente en mi blog el cual está todavía en proceso de construcción. Obviamente la actividad fue impartida en inglés.
I made this presentation in order to draw my lovely kids into the Self-portrait along the Art History. Then we worked with the proportions and features of each one face. The result was very interesting and I'll show you soon in my blog. The activity was made in English. I'm still studing and improvering my English, I'm sorry if you find some mistakes.
The Dada art movement emerged in response to World War I and rejected traditional styles. It had no uniform characteristics and encouraged non-artists to create non-art works using techniques like collage and photo montage. Cubism, created by Picasso and Braque, also rejected traditional perspective and depicted fragmented objects from multiple viewpoints in each piece. Cubism had two phases - analytic Cubism showed objects breaking into smaller detailed parts with muted colors and some realism, while synthetic Cubism showed objects combining into larger forms using brighter colors and collage techniques.
Minimalism began in the 1960s as a reaction against abstract expressionism. It emphasized simplicity and directness, featuring geometric shapes, industrial materials, and a rejection of emotion or hidden meanings. Two influential minimalist artists were Frank Stella, known for his black stripe paintings, and Carl Andre, who created sculptures using simple arrangements of common objects or materials. Minimalism sought to focus attention solely on the artwork itself rather than representing the outside world.
Abstract Expressionism developed in New York in the 1940s as an art movement after World War II. It combines the emotional intensity of German Expressionism with the anti-figurative aspects of European abstract art. Abstract Expressionism has two main styles - action painting, which uses gestural brushwork, and color-field painting, which uses large areas of flat color. Action painting emphasizes the process of applying paint spontaneously, while color-field painting focuses on the interaction of color planes. Major artists associated with these styles include Jackson Pollock, Willem de Kooning, and Franz Kline.
Elizabeth Murray was an American painter known for her colorful abstract works that broke from traditional rectangular canvases. She began drawing at a young age and was interested in expressionism and the unconscious mind. Her large-scale paintings from the 1970s-80s featured biomorphic and geometric shapes fitted together like puzzles in layered bold colors. Murray sought to blur boundaries between painting and object to create unified yet open-ended compositions exploring emotion and the psyche. She found artistic inspiration in everyday objects and scenes.
Abstract Expressionism was a post-World War II art movement characterized by nonrepresentational and emotionally expressive styles. There were two main types: color field painting, which used large areas of flat color; and action painting, where paint was spontaneously dripped or smeared onto the canvas to show the physical act of painting. Major artists included Helen Frankenthaler, who pioneered color field painting techniques like soak staining, and Jackson Pollock, who specialized in drip paintings and was a pioneer of the abstract expressionism movement overall.
Still life paintings depict collections of inanimate objects arranged together. They allow viewers to see everyday objects in a new light by capturing them in specific arrangements and through the use of light, shades, and colors. Important early examples include works from the 16th century Dutch painter Georg Flegel and 17th century Spanish painter Francisco de Zurbarán, while Paul Cezanne produced influential still life works in the 19th century. Artists use techniques like modulating light and dark values and tints or shades of color to realistically depict volume and reflect light in the objects.
Portraiture and Self-Identity Secondary Education PowerPoint-KS3 BoysAnne
The document discusses portraiture and self-identity through the works of various male artists. It provides learning objectives about creating portraits reflecting self-identity and introduces the artists Chuck Close, David Hockney, Chris Ofili, and Rembrandt van Rijn. For each artist, it discusses their style, materials used, and how they convey personality and experiences through their portraits. The document encourages choosing an artist style to emulate for a self-portrait activity and provides techniques for mixing skin tones.
Surrealism was an artistic movement that brought together artists interested in expressing unconscious thoughts and dreams. It was led by Andre Breton and drew inspiration from Freudian psychoanalysis. There were two main trends - the Automatists who focused on free expression through abstraction, and the Veristic Surrealists who sought to represent unconscious images realistically. Notable Surrealist artists included Salvador Dali, Joan Miro, Rene Magritte, and Max Ernst, each with their own unique styles exploring the surreal, paradoxical nature of dreams.
Surrealism is an avant-garde movement that combines elements of dreams and reality. It was founded in 1924 and was influenced by Sigmund Freud's theories of the unconscious mind. Some key surrealist artists explored their subconscious through automatic painting techniques, using unexpected juxtapositions of objects to push boundaries and express sexuality, anger, and desires in their work.
Robert Rauschenberg was an American artist known for bridging Abstract Expressionism and Pop Art. He developed new techniques using silkscreen printing to incorporate images from books and magazines onto his canvases. His pieces had no single meaning, as the loosely organized images allowed for free association by the viewer. Analysis of his 1970 work "Signs" notes the collage of visual images gives the illusion of many possible meanings, such as an astronaut representing the first moonwalk and a jeep symbolizing the Vietnam War.
Edward Hopper was an American realist painter best known for his paintings of mundane and solitary scenes of modern American life. He was part of the Ashcan School and studied under Robert Henri. His most famous painting, Nighthawks, depicts solitary figures in a late-night diner, using precision and lighting to convey a sense of loneliness and leaving the viewer wondering about the subjects' relationships and stories. Many of his works provide commentary on themes of isolation and urban loneliness in American life during the 20th century.
This document summarizes the key elements and principles of art. It discusses the elements of line, color, value, shape, form, space, and texture. It then explains the principles of design used to organize these elements, including balance, emphasis, contrast, rhythm, movement, pattern/repetition, unity, variety, and proportion. Examples of famous artists are provided to illustrate each element and principle.
The document provides details on several famous self-portraits by notable artists: Gustave Courbet's 1845 self-portrait depicting despair; Egon Schiele's 1912 self-portrait showing him as self-confident and fragile; M.C. Escher's 1935 lithograph reflecting his interest in unusual perspectives; Frida Kahlo's 1939 painting symbolizing her cultural duality and divorce pain; David Hockney's 1954 teenage self-portrait against a newspaper backdrop; Lucian Freud's 1965 unsettling portrait with his tiny children; and Pablo Picasso's 1972 last self-portrait facing his mortality.
The document provides an analysis of the curvilinear paintings of artist Virginia Jaramillo exhibited at the Menil Collection. It describes how Jaramillo uses elements like light, space and depth to create abstract, curved lines in her paintings using acrylic pigments. Her paintings have a minimalist and bold style that stands out. The analysis states her work shows both delicacy and geometry in its abstract lines, though each painting has its own unique meaning. The impression given is of modern art with an edge of admiration that can motivate viewers and show how simple things can be extraordinary art. The qualities that make Jaramillo's art unique include it being calming, with a sense of purpose and original creativity.
The document summarizes the student's experiences visiting an art gallery and analyzing various works. It describes several pieces including an installation by Emma Rochester called "Touching the Earth" which featured pink objects hanging in a room giving a feminine expression. It also analyzes a similar piece by Rochester and Janell Wysock called "Leaning into the Earth" which the student interpreted as representing celestial bodies leaning toward the Earth. Another work by Jen McCleary called "Pollination" incorporated digital scraps to depict different seasons.
The document provides instructions for a partner activity where students independently choose an image, write down 3 reasons they think it is or is not a work of art, then share their reasons with a partner. It also includes examples of different styles, mediums, and classifications of art as well as artworks and favorite artists of various teachers.
The document discusses the influence of Robert Rauschenberg on artist Peter Blake in the 1950s. Blake's "Rauschenbergs" were a formalized version of Rauschenberg's work, which used paint in an abstract expressionist style. The document also mentions Jasper John's "Target" from 1961 and Peter Blake's "The First Real Target" from the same year.
This document discusses the author's inspirations and ideas about art. It mentions Jackson Pollock and his philosophy of painting freely without tools. It also references Mark Rothko and his goal of clarity and eliminating obstacles between the artist, painting, and observer. The author expresses that their art reflects how they live and escape through conveying deepest emotions without planning through chaos, color, texture and new techniques.
The document provides information on Abstract Expressionism, a modern art movement that began in New York City in the 1940s. It describes influences like Cubism and Surrealism and the two main types of painting within Abstract Expressionism: action painting and color field painting. Key artists discussed include Jackson Pollock, Willem de Kooning, Joan Mitchell, Franz Kline, Lee Krasner, Mark Rothko, Adolph Gottlieb, Helen Frankenthaler, Kenneth Noland, and Barnett Newman.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
The document provides information on different art movements including Impressionism, Post-Impressionism, the Group of Seven, and contemporary activist art, outlining their key characteristics such as subject matter, style, and how artists used their work to bring awareness to social and political issues. Impressionist artists painted outdoor landscapes and scenes of everyday life using loose brushstrokes and bright colors, while Post-Impressionists and the Group of Seven built upon this style to incorporate more expression and abstraction. Contemporary artists discussed use their artwork as a form of activism to address topics like environmentalism, violence, and global concerns.
This document provides details about an individual's personal study on how humans have affected nature. It discusses three artists - Nils Udo, Anselm Kiefer, and Alan Sonfist - that incorporate themes of human impacts on the environment in their work. For each artist, it analyzes specific art pieces through descriptions of materials, dimensions, and interpretations of meaning. The study aims to gain ideas for practical work by exploring different techniques used by the artists to represent human effects like global warming, deforestation, and pollution.
The document discusses how the depiction of landscapes in art has changed over time. It begins by showing examples from ancient times to the 16th century where landscapes were mainly depicted as background settings for religious or figural scenes. During the Renaissance, artists began viewing landscapes as subjects in their own right, corresponding to a growing interest in the natural world. Later, landscape artists helped depict foreign lands during periods of exploration. Realism remained popular but Impressionism introduced new styles of landscape depiction. The document examines different art movements like Expressionism, Post-Impressionism, and Surrealism and how they influenced interpretations of landscapes. Students are assigned homework to analyze a landscape artwork in terms of the movement that influenced its depiction.
Late 1950s-early 1960s saw the emergence of two influential art movements in Europe: Nouveau Realisme in France and Arte Povera in Italy. Nouveau Realisme focused on using found objects and readymades in new contexts to subvert traditional notions of art. Key figures included Yves Klein who was known for monochrome paintings and anthropometric art involving human bodies. Around the same time, Arte Povera explored concepts of ephemerality and incorporated low-brow everyday materials, as seen in Piero Manzoni's controversial works involving his own breath and excrement. Both movements influenced the rise of conceptual and process-based art practices.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet who coined the term "Art Brut" to describe outsider art, and Alberto Giacometti whose elongated figural sculptures reflected postwar anxiety. In England, Francis Bacon and other members of the "School of London" used distorted figures and thick paint to confront human brutality. Meanwhile in Japan, the Gutai group pioneered performances and installations using found materials and the human body to challenge artistic conventions.
This document discusses the key developments and changes in European art from the early 16th to early 17th centuries. It notes the rise of humanism and secular patronage as well as changes in subject matter with the emergence of a cash-based economy. The Protestant Reformation started by Martin Luther in 1517 challenged the political power of the Catholic Church and led to changes in patronage and depictions of religious imagery. The Counter-Reformation saw the Catholic Church assert its authority and make appeals to personal faith alongside works. New printing technologies also allowed for wider dissemination of ideas. Specific artists and works mentioned include Cranach, Durer, Holbein, Bruegel, and the Isenheim Altarpiece by G
16th c italy (ekueblerwolf's conflicted copy 2017 02-01)Beth Kuebler-Wolf
The document summarizes key aspects of the 16th century Renaissance in Italy and Northern Europe. It describes the era as the "Age of Giants" in Italy due to great artists like Michelangelo, Leonardo da Vinci, and Raphael. Their work exemplified the new ideals of humanism, scientific investigation, and changes in patronage and subject matter that occurred during the Renaissance. The document provides examples of major works by Leonardo, Michelangelo, and other Renaissance artists that demonstrated these developments and the growing skills of figure painting and linear perspective.
After the abstract expressionist movement of the 1940s and 1950s, American art in the late 1950s saw the emergence of Minimalism. Key figures in this movement included Robert Rauschenberg, Jasper Johns, and John Cage. Rauschenberg is known for works like his White Paintings from 1951 that explored the boundaries of painting, and works incorporating found objects like his iconic Bed from 1955. Johns is known for paintings of flags and targets that questioned ideas of object versus subject. Both artists collaborated and their works from this period challenged assumptions about the definition of art.
Portraiture and Self-Identity Secondary Education PowerPoint-KS3 BoysAnne
The document discusses portraiture and self-identity through the works of various male artists. It provides learning objectives about creating portraits reflecting self-identity and introduces the artists Chuck Close, David Hockney, Chris Ofili, and Rembrandt van Rijn. For each artist, it discusses their style, materials used, and how they convey personality and experiences through their portraits. The document encourages choosing an artist style to emulate for a self-portrait activity and provides techniques for mixing skin tones.
Surrealism was an artistic movement that brought together artists interested in expressing unconscious thoughts and dreams. It was led by Andre Breton and drew inspiration from Freudian psychoanalysis. There were two main trends - the Automatists who focused on free expression through abstraction, and the Veristic Surrealists who sought to represent unconscious images realistically. Notable Surrealist artists included Salvador Dali, Joan Miro, Rene Magritte, and Max Ernst, each with their own unique styles exploring the surreal, paradoxical nature of dreams.
Surrealism is an avant-garde movement that combines elements of dreams and reality. It was founded in 1924 and was influenced by Sigmund Freud's theories of the unconscious mind. Some key surrealist artists explored their subconscious through automatic painting techniques, using unexpected juxtapositions of objects to push boundaries and express sexuality, anger, and desires in their work.
Robert Rauschenberg was an American artist known for bridging Abstract Expressionism and Pop Art. He developed new techniques using silkscreen printing to incorporate images from books and magazines onto his canvases. His pieces had no single meaning, as the loosely organized images allowed for free association by the viewer. Analysis of his 1970 work "Signs" notes the collage of visual images gives the illusion of many possible meanings, such as an astronaut representing the first moonwalk and a jeep symbolizing the Vietnam War.
Edward Hopper was an American realist painter best known for his paintings of mundane and solitary scenes of modern American life. He was part of the Ashcan School and studied under Robert Henri. His most famous painting, Nighthawks, depicts solitary figures in a late-night diner, using precision and lighting to convey a sense of loneliness and leaving the viewer wondering about the subjects' relationships and stories. Many of his works provide commentary on themes of isolation and urban loneliness in American life during the 20th century.
This document summarizes the key elements and principles of art. It discusses the elements of line, color, value, shape, form, space, and texture. It then explains the principles of design used to organize these elements, including balance, emphasis, contrast, rhythm, movement, pattern/repetition, unity, variety, and proportion. Examples of famous artists are provided to illustrate each element and principle.
The document provides details on several famous self-portraits by notable artists: Gustave Courbet's 1845 self-portrait depicting despair; Egon Schiele's 1912 self-portrait showing him as self-confident and fragile; M.C. Escher's 1935 lithograph reflecting his interest in unusual perspectives; Frida Kahlo's 1939 painting symbolizing her cultural duality and divorce pain; David Hockney's 1954 teenage self-portrait against a newspaper backdrop; Lucian Freud's 1965 unsettling portrait with his tiny children; and Pablo Picasso's 1972 last self-portrait facing his mortality.
The document provides an analysis of the curvilinear paintings of artist Virginia Jaramillo exhibited at the Menil Collection. It describes how Jaramillo uses elements like light, space and depth to create abstract, curved lines in her paintings using acrylic pigments. Her paintings have a minimalist and bold style that stands out. The analysis states her work shows both delicacy and geometry in its abstract lines, though each painting has its own unique meaning. The impression given is of modern art with an edge of admiration that can motivate viewers and show how simple things can be extraordinary art. The qualities that make Jaramillo's art unique include it being calming, with a sense of purpose and original creativity.
The document summarizes the student's experiences visiting an art gallery and analyzing various works. It describes several pieces including an installation by Emma Rochester called "Touching the Earth" which featured pink objects hanging in a room giving a feminine expression. It also analyzes a similar piece by Rochester and Janell Wysock called "Leaning into the Earth" which the student interpreted as representing celestial bodies leaning toward the Earth. Another work by Jen McCleary called "Pollination" incorporated digital scraps to depict different seasons.
The document provides instructions for a partner activity where students independently choose an image, write down 3 reasons they think it is or is not a work of art, then share their reasons with a partner. It also includes examples of different styles, mediums, and classifications of art as well as artworks and favorite artists of various teachers.
The document discusses the influence of Robert Rauschenberg on artist Peter Blake in the 1950s. Blake's "Rauschenbergs" were a formalized version of Rauschenberg's work, which used paint in an abstract expressionist style. The document also mentions Jasper John's "Target" from 1961 and Peter Blake's "The First Real Target" from the same year.
This document discusses the author's inspirations and ideas about art. It mentions Jackson Pollock and his philosophy of painting freely without tools. It also references Mark Rothko and his goal of clarity and eliminating obstacles between the artist, painting, and observer. The author expresses that their art reflects how they live and escape through conveying deepest emotions without planning through chaos, color, texture and new techniques.
The document provides information on Abstract Expressionism, a modern art movement that began in New York City in the 1940s. It describes influences like Cubism and Surrealism and the two main types of painting within Abstract Expressionism: action painting and color field painting. Key artists discussed include Jackson Pollock, Willem de Kooning, Joan Mitchell, Franz Kline, Lee Krasner, Mark Rothko, Adolph Gottlieb, Helen Frankenthaler, Kenneth Noland, and Barnett Newman.
Introduction To Portrait Painting PresentationFrank Curkovic
This document discusses how portrait paintings can convey meaning through facial expressions, posture, color, surroundings, and backgrounds. Artists may use swirling backgrounds to represent how they are feeling, or include more than just a face to provide context. Self-portraits allow artists to celebrate events or talents, and can show the artist from different stages of life. Elements like pose, brushwork, color, and background can reveal an artist's character, mood, beliefs, or talents in their own self-portrait. Various examples of portrait paintings are provided.
The document provides information on different art movements including Impressionism, Post-Impressionism, the Group of Seven, and contemporary activist art, outlining their key characteristics such as subject matter, style, and how artists used their work to bring awareness to social and political issues. Impressionist artists painted outdoor landscapes and scenes of everyday life using loose brushstrokes and bright colors, while Post-Impressionists and the Group of Seven built upon this style to incorporate more expression and abstraction. Contemporary artists discussed use their artwork as a form of activism to address topics like environmentalism, violence, and global concerns.
This document provides details about an individual's personal study on how humans have affected nature. It discusses three artists - Nils Udo, Anselm Kiefer, and Alan Sonfist - that incorporate themes of human impacts on the environment in their work. For each artist, it analyzes specific art pieces through descriptions of materials, dimensions, and interpretations of meaning. The study aims to gain ideas for practical work by exploring different techniques used by the artists to represent human effects like global warming, deforestation, and pollution.
The document discusses how the depiction of landscapes in art has changed over time. It begins by showing examples from ancient times to the 16th century where landscapes were mainly depicted as background settings for religious or figural scenes. During the Renaissance, artists began viewing landscapes as subjects in their own right, corresponding to a growing interest in the natural world. Later, landscape artists helped depict foreign lands during periods of exploration. Realism remained popular but Impressionism introduced new styles of landscape depiction. The document examines different art movements like Expressionism, Post-Impressionism, and Surrealism and how they influenced interpretations of landscapes. Students are assigned homework to analyze a landscape artwork in terms of the movement that influenced its depiction.
Late 1950s-early 1960s saw the emergence of two influential art movements in Europe: Nouveau Realisme in France and Arte Povera in Italy. Nouveau Realisme focused on using found objects and readymades in new contexts to subvert traditional notions of art. Key figures included Yves Klein who was known for monochrome paintings and anthropometric art involving human bodies. Around the same time, Arte Povera explored concepts of ephemerality and incorporated low-brow everyday materials, as seen in Piero Manzoni's controversial works involving his own breath and excrement. Both movements influenced the rise of conceptual and process-based art practices.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet who coined the term "Art Brut" to describe outsider art, and Alberto Giacometti whose elongated figural sculptures reflected postwar anxiety. In England, Francis Bacon and other members of the "School of London" used distorted figures and thick paint to confront human brutality. Meanwhile in Japan, the Gutai group pioneered performances and installations using found materials and the human body to challenge artistic conventions.
This document discusses the key developments and changes in European art from the early 16th to early 17th centuries. It notes the rise of humanism and secular patronage as well as changes in subject matter with the emergence of a cash-based economy. The Protestant Reformation started by Martin Luther in 1517 challenged the political power of the Catholic Church and led to changes in patronage and depictions of religious imagery. The Counter-Reformation saw the Catholic Church assert its authority and make appeals to personal faith alongside works. New printing technologies also allowed for wider dissemination of ideas. Specific artists and works mentioned include Cranach, Durer, Holbein, Bruegel, and the Isenheim Altarpiece by G
16th c italy (ekueblerwolf's conflicted copy 2017 02-01)Beth Kuebler-Wolf
The document summarizes key aspects of the 16th century Renaissance in Italy and Northern Europe. It describes the era as the "Age of Giants" in Italy due to great artists like Michelangelo, Leonardo da Vinci, and Raphael. Their work exemplified the new ideals of humanism, scientific investigation, and changes in patronage and subject matter that occurred during the Renaissance. The document provides examples of major works by Leonardo, Michelangelo, and other Renaissance artists that demonstrated these developments and the growing skills of figure painting and linear perspective.
After the abstract expressionist movement of the 1940s and 1950s, American art in the late 1950s saw the emergence of Minimalism. Key figures in this movement included Robert Rauschenberg, Jasper Johns, and John Cage. Rauschenberg is known for works like his White Paintings from 1951 that explored the boundaries of painting, and works incorporating found objects like his iconic Bed from 1955. Johns is known for paintings of flags and targets that questioned ideas of object versus subject. Both artists collaborated and their works from this period challenged assumptions about the definition of art.
Beginning in the late 13th century, the Renaissance emerged in Italy, marked by a transition from medieval to early modern society with increasing urbanization, trade, and secular powers. Power was held by city-states like Florence, Venice, and Milan rather than centralized nations, and they were politically aligned with the Pope or other aristocratic families. During this time, Humanism grew as a philosophy focusing on human beings, history, science, and the arts. Important early Renaissance art included Duccio's Maestà altarpiece for Siena Cathedral, which celebrated the city's patron saint and victories, and Giotto's fresco cycles in the Scrovegni Chapel that advanced realistic, narrative painting. Sculpt
Beginning in the late 13th century, the Renaissance emerged in Italy, marked by a transition from medieval to early modern society with increasing urbanization, trade, and secular powers. Power was held by city-states like Florence, Venice, and Milan rather than centralized nations, and they were politically aligned with the Pope or other aristocratic families. During this time, Humanism grew as a philosophy focusing on human beings, history, science, and the arts. Important early Renaissance art included Duccio's Maestà altarpiece for Siena Cathedral, which celebrated the city's patron saint and victory over Florence, and Giotto's fresco cycles in the Scrovegni Chapel that advanced realistic, narrative painting with
02 art in america after ww ii (elizabeth kuebler-wolf's conflicted copy 2016-...Beth Kuebler-Wolf
After WWII, New York became the new center of the art world as many European artists fled from the war and Hitler. This led to the emergence of Abstract Expressionism, also known as the New York School, in the late 1940s and 1950s. The movement had two main divisions - gestural abstraction as seen in the works of Pollock and de Kooning who dripped and flung paint onto large canvases, and color-field painting exemplified by Newman and Rothko who used large fields of color. Pollock's iconic drip paintings from this period, such as Lavender Mist and Autumn Rhythm, came to define the abstract expressionist style.
The document discusses key developments in 15th century Italian Renaissance art and culture, with a focus on Florence. It introduces concepts like linear perspective developed by Brunelleschi, and provides examples of art from the period including works by Masaccio, Donatello, Botticelli that demonstrate these developments and the influence of classical Greek and Roman art and culture. Major artworks discussed include Masaccio's frescoes in the Brancacci Chapel and Donatello's life-sized bronze David statue.
This document discusses key artists and works associated with minimalism, including Josef Albers, Ellsworth Kelly, Donald Judd, Tony Smith, Dan Flavin, and Sol LeWitt. It provides examples of their serial, reductionist, formally focused artworks from the 1960s-1970s that emphasized simple geometric forms, use of grids, and industrial materials to reduce art to its most essential elements.
After WWII, art in Europe explored existential themes through abstract styles like Tachisme and Lyrical Abstraction. Key artists included Jean Dubuffet, who coined the term "Art Brut", focusing on outsider art. Alberto Giacometti created elongated figural sculptures reflecting postwar anxiety. In England, Francis Bacon and others formed the "School of London" known for figurative works. In Japan, the Gutai group pioneered performance and installation works using found materials, influenced by Zen Buddhism. Their goal was an "art of embodiment" reflecting postwar rebuilding.
This document provides context on art movements in the early-to-mid 20th century, including Dadaism, Surrealism, and the beginnings of Abstract Expressionism. It discusses key figures like Marcel Duchamp who pioneered readymades and the concept of choosing everyday objects as art. The effects of World War II are also noted, leading to new movements in the postwar period like Action Painting in New York which emerged as a new center of the global art world.
This document discusses Edward Steichen's career shift from pioneering art photographer to photographer focused on informational and commercial work. It notes his turning point during World War I as chief of the US Army Photographic Section, where he took realistic photographs for documentation. After the war, his style fully changed as lead photographer at Condé Nast publications from 1923-1937, where he took sharp, clear pictures intended for popular consumption. Examples of his early soft-focus art photographs are contrasted with his later realistic wartime and commercial photographs.
The document discusses the role of film and photography during World War 1. It provides examples of early camera technologies that made photography more portable and durable for documenting battles. It then shares over 20 images taken during the war that capture scenes from the front lines, battlefield surveillance from airplanes, the aftermath of bombings and battles, and portraits of soldiers. The images document major battles like Passchendaele and Verdun and come from photographers including Edward Steichen who served with the US Air Service.
This document discusses how artists depicted the truth and horrors of World War I through their art. It provides examples of paintings, drawings, and sculptures that aimed to realistically portray experiences of soldiers like life in the trenches, gas attacks, and treating wounded veterans. The art sought to convey the bitter reality of war to those on the home front. It also examines how postwar German artists like Otto Dix and George Grosz used a style called Neue Sachlichkeit to critically depict the devastation caused by the war through disturbing, graphic images.
WWI marked the beginning of modernist culture in Europe. The war had widespread impacts on visual culture and the arts. Governments on both sides used propaganda posters to encourage military recruitment and support for the war effort, often depicting their own citizens and soldiers in a heroic light and the enemy as barbaric. New artistic styles like Cubism and Expressionism developed during this period that broke from traditions of realism. Film also emerged as a new medium for documenting and spreading messages about the war.
This document provides context on art movements in the early-to-mid 20th century, including Dadaism, Surrealism, and the beginnings of Abstract Expressionism. It discusses key figures like Marcel Duchamp who pioneered readymades and the concept of choosing everyday objects as art. The effects of World War II are also noted, leading to new movements in the postwar period like Action Painting in New York which emerged as a new center of the global art world.
Pop Art emerged in the 1950s as an art movement that celebrated popular culture and mass media. Artists like Andy Warhol and Claes Oldenburg embraced imagery and objects from everyday life and commercial culture. Warhol in particular is known for his silkscreen paintings of mass produced consumer items like Campbell's Soup cans and Coca Cola bottles, as well as celebrities like Marilyn Monroe and Elvis Presley, which he repeated in series. Through these works, Pop Art brought elements of popular culture and advertising into the fine art world.
Vorticism was a short-lived early 20th century modernist movement in Britain that was inspired by Cubism. Key figures included David Bomberg and Wyndham Lewis. Vorticism featured abstract, geometric styles. Dada was an anti-war, anti-bourgeois art movement that began in Zurich during World War I. Key figures included Tristan Tzara, Jean Arp, and Marcel Duchamp. Dadaism used techniques like cut-up words, chance operations, and found objects to subvert traditional artistic conventions. Marcel Duchamp pioneered the concept of the "readymade" artwork by selecting mundane mass-produced objects and designating them as art.
This document discusses several anti-German propaganda pieces from World War 1 including political cartoons, posters, and reports. It references an article from The New York Sun criticizing German atrocities in Belgium, a poster depicting the Kaiser committing atrocities, and the Bryce Report examining alleged German war crimes. It also lists propaganda pieces aimed at promoting the U.S. Navy and discouraging sympathy for Germany.
The scene inside abstract expressionism & jackson pollockProfWillAdams
The document discusses Abstract Expressionism and its key figures like Jackson Pollock. It summarizes the movement's origins and influences, which included European modern art styles, surrealism, psychoanalysis, and American and Mexican artists. Abstract Expressionism focused on non-representational, emotional expression through techniques like action painting and color field painting. Key influences included surrealist automatism, Hans Hofmann's teachings, and existentialist philosophy.
The document provides an overview of the artists Jasper Johns and Robert Rauschenberg, who are seen as bridging Abstract Expressionism and Pop Art in the 1950s-1960s. It discusses key works by each artist that incorporated everyday objects and images in new ways, challenging traditional notions of what art could be and paving the way for Pop Art. Rauschenberg in particular is seen as undermining the idea of a singular meaning or illusion in art through his combines and erasures.
This document summarizes the differing views of Clement Greenberg and Harold Rosenberg on Abstract Expressionism. Greenberg represented a formalist view that focused on the formal elements of a work like line, color and form. He believed art progressed towards increasing abstraction and purity of form. Rosenberg represented a non-formalist view, emphasizing the meaning and content of a work. He saw the act of painting as more important than the finished product. These divergent views influenced whether art was seen as "art about art" or "art as life" in the 1950s-60s.
Abstract Expressionism was an influential art movement based in New York between the 1940s-1960s. It aimed to tap into emotions and the unconscious through spontaneous gestures and application of color. Key artists like Pollock, de Kooning, Rothko, and Kline created large nonrepresentational works using nontraditional techniques like dripping and pouring paint. The movement focused on subjective personal expression and the creative process over traditional aesthetics.
Robert Rauschenberg was an American painter and graphic artist whose early works anticipated pop art. Some key influences on his style included his mother's dressmaking from scraps, his painting instructor Josef Albers, and composers John Cage and Merce Cunningham who encouraged the use of found objects and chance in art. Rauschenberg is known for combining diverse materials and images in his artworks, rejecting the seriousness of abstract expressionism.
Wassily Kandinsky was a Russian painter and art theorist who is among the early pioneers of abstract art. He studied law and economics but later turned to painting, studying in Munich. Kandinsky was influenced by synesthesia and Claude Monet's
The document provides frames to analyze artworks, including structural, cultural, postmodern, and subjective frames. It then presents an example artwork analyzing it through these frames. The structural frame looks at visual elements like color and shape. The cultural frame examines ideas and beliefs. The postmodern frame considers humor and parody. The subjective frame focuses on personal feelings and perspectives.
After WWII, Abstract Expressionism became the first truly American art movement, centered in New York City. It featured gestural abstraction like Jackson Pollock's drip paintings and chromatic abstraction works by Mark Rothko using blocks of color. Meanwhile, Pop Art emerged in the 1960s as a reaction, appropriating imagery from popular culture in works like Richard Hamilton's collage. Sculpture also evolved through minimalism which emphasized objecthood over imagery in sculptures by artists like Donald Judd.
Robert Rauschenberg was an American artist known for pioneering pop art in the 1960s by incorporating nontraditional materials and questioning distinctions between art and everyday objects. He worked across many mediums including painting, sculpture, and collage, allowing chance to determine arrangements without predetermined meanings. Andy Warhol and Roy Lichtenstein credited Rauschenberg's collages as inspiration for pop art.
Abstract Expressionism was an influential art movement from the 1940s-1950s known for spontaneous, expressive styles. It encompassed action painting and color field painting. Key artists included Jackson Pollock, Willem de Kooning, and Mark Rothko. Op Art from the 1950s-1970s used optical illusions to create the illusion of movement through geometric shapes and lines. Pop Art emerged in the late 1950s-1960s as a reflection of consumer culture, using images from popular culture and advertising. Andy Warhol and Roy Lichtenstein were influential Pop artists. Minimalism of the 1960s-1970s stripped art to basic geometric forms and materials to remove expression. Key minimalist artists were Richard Serra,
This document discusses art in the 1960s and provides examples of different art movements that emerged during this period. It introduces abstract and representational art and shows works by artists like Jackson Pollock, Frantisek Kupka, and Robert Rauschenberg to illustrate these concepts. The text then summarizes some 1960s art movements like Pop Art, Minimalism, Conceptualism, and Performance Art that questioned notions of reality and engaged audiences in new ways. Examples of works by artists such as Roy Lichtenstein, Andy Warhol, Carl Andre, and Christo demonstrate these diverse 1960s approaches to art making.
Roy Lichtenstein was an American pop artist best known for adapting comic strips and advertisements into large-scale paintings in the 1960s. His work Takka Takka from 1962 was painted in an abstract expressionist style, but from 1961 onward he began incorporating cartoon images and advertising imagery into his paintings. Works like Whaam! from 1963 recreated comic book scenes using techniques like Benday dots to mimic the mechanical printing process. Lichtenstein's pop art works referenced mass media while transforming the source material in colorful, geometric compositions that commented on postwar consumer culture.
Ivan Kramskoy was a 19th century Russian painter and art critic who was an intellectual leader of the democratic art movement from 1860-1880. He believed in the principles of realism and asserted the high public duty and moral substance of art. He was one of the founders of the Company of Itinerant Art Exhibitions.
Ivan Kramskoy was a 19th century Russian painter and art critic who was an intellectual leader of the democratic art movement from 1860-1880. He believed in the principles of realism and asserted the high public duty and moral substance of art. He was one of the founders of the Company of Itinerant Art Exhibitions.
Abstract Expressionism was an American post-WWII art movement centered in New York City that focused on spontaneous, raw expression and large canvases to depict inner emotions and the subconscious. Key artists included Jackson Pollock, known for his drip paintings; Willem de Kooning who used gestural abstraction; and Mark Rothko whose color field paintings conveyed transcendental experiences through large areas of color without subjects. The movement sought to express universal feelings through new techniques arising from surrealism, abstractionism, and the influences of the Depression and World War II.
Modern art refers to art created between 1867-1975 and includes major movements like Impressionism, Expressionism, Dadaism, Op art, and Pop art. Impressionism uses blurred images and short brushstrokes to depict daily scenes, while Expressionism uses bold colors and distorted figures to evoke emotion. Cubism incorporates multiple perspectives in fragmented, abstracted images. Dadaism emerged during World War I as an anti-war, anti-establishment movement. Surrealism represents subconscious ideas in dreamlike or bizarre works. Pop art commented on mass media and culture through depictions of popular icons.
Damien Hirst is a British artist known for works featuring dead animals preserved in formaldehyde. His most famous piece is "The Physical Impossibility of Death in the Mind of Someone Living," featuring a shark. Hirst became famous in the 1990s for pushing boundaries with works centered around death. Gerhard Richter is a German painter who began in realism and incorporated elements of chance and abstraction. He is known for photorealist paintings rendered in shades of gray that appear blurred, combining photographic effects with his painterly technique. Major works by Richter include the series "Matrosen" and the painting "Domplatz Hundekopf (Lassie)."
Avant garde art after 1945 (Selectivity)mfresnillo
After WWII, American artists developed Abstract Expressionism, seeking to compete with European art. It had two major trends - Action Painting and Color Field painting. Action Painting by Pollock, de Kooning, and Kline used impulsive, irrational techniques. Color Field used large color surfaces without details. Minimalism emerged in the 1950s emphasizing simplicity and impersonality. Major artists included Judd, who made geometric wall elements, and Flavin, who sculpted with neon light. Pop Art referenced mass culture, with Warhol famously reproducing images through silkscreen printing.
The document discusses Abstract Expressionism, an art movement that began in the 1940s in New York City. It involved spontaneous and emotional painting styles like action painting and color field painting. Key artists included Jackson Pollock, Willem de Kooning, Lee Krasner, and Mark Rothko. They reacted against traditional art and sought to directly express inner emotions, often dealing with trauma from World War II. Though critics were initially hesitant, it came to influence many later art movements.
The document discusses the evolving concept of the artist from pre-modern to modern times. Prior to the Renaissance, artists were seen as anonymous craftsmen fulfilling commissions from patrons. In the Renaissance, artists had more independence but were still constrained by contracts. The modern concept of the unique, individual artist emerged in the 19th century with Romanticism. This saw the artist as a troubled genius existing outside of society. In the 20th century, postmodern and conceptual art challenged the notion of the singular artistic author/genius through ideas like collaboration, appropriation, and deconstruction.
The document discusses psychedelic art of the 1960s. It was born within the hippie subculture in San Francisco and was inspired by psychedelic drug experiences. Key characteristics included bright contrasting colors, optical effects, curvilinear shapes, illegible text, and collage techniques. Notable psychedelic artists mentioned include Victor Moscoso, Wes Wilson, Heinz Edelmann, Marijke Koger, and Keiichi Tanami. They created concert posters and album covers for bands like the Grateful Dead, Jefferson Airplane, and The Beatles. By the early 1970s, psychedelic art had been commercialized and co-opted by mainstream advertising.
1. The document discusses key 20th century art movements and ideas that influenced postwar art, including Marcel Duchamp's readymades which introduced everyday objects as art, Walter Benjamin's theories on mechanical reproduction, and Surrealism's emphasis on the unconscious and automatism.
2. It provides context on the impact of World War 2, including the rise of totalitarianism, the Holocaust, use of atomic weapons, and millions of casualties. The postwar period saw the rise of Abstract Expressionism in New York as the city became the new center of the art world, influenced by European artists who fled the war.
3. Key figures and works discussed include Duchamp, Clement Greenberg, Salvador Dali,
The document discusses the early 20th century art movement of Modernism and how it was influenced by industrialization, technology, and World War I. It introduced Americans to European modern art styles like Cubism through controversial exhibits like the 1913 Armory Show. Art movements like Futurism embraced noise, speed, and machinery and rejected traditional aesthetics. During WWI, artists incorporated camouflage techniques and depicted the new realities of modern warfare, helping to develop Cubist and Futurist styles further.
The Shang Dynasty ruled from around 1500-1100 BCE during the Bronze Age in China. They developed advanced bronze metallurgy techniques like piece-mold casting to produce ritual vessels. They also created one of the earliest forms of Chinese writing through oracle bone inscriptions used for divination. An important Shang site was discovered at Yinxu containing remains of palaces, tombs like that of Fu Hao, and thousands of oracle bones providing evidence of their advanced script and bureaucracy.
This document appears to be a collection of images and information related to the history of photography and art in China from the mid-19th century through the mid-20th century. It includes photographs taken by both Chinese and foreign photographers documenting various aspects of Chinese culture and society during this period. It also includes paintings and information about several Chinese artists like Xu Beihong, Fu Baoshi, Luo Gongliu, and Sun Zixi and how their works related to important historical events and eras in China like the Cultural Revolution.
This document provides an overview of key concepts and timeline for Chinese art history. It introduces several famous Chinese artists such as Ai Weiwei and discusses some of their notable works. Examples of art from major Chinese dynasties are presented, ranging from pottery from the Longshan period to paintings from the Yuan dynasty. A comparative timeline also orients the major Chinese dynasties with corresponding artistic periods in the Western world.
The Yuan Dynasty ruled China from 1279 to 1368 following the Mongol conquest. During this period, artistic styles became more individualistic and archaic as Chinese scholars retreated from public life under Mongol rule. Notable Yuan artists included Zhao Mengfu, who painted in a style close to ancient masters, and the Four Masters - Huang Gongwang, Ni Zan, Wang Meng, and Wu Zhen - who were renowned landscape painters.
This document describes a funeral banner from the tomb of Lady Dai that was divided into three sections. The top section featured the Queen Mother of the West. The middle section depicted Lady Dai's soul in her tomb. The bottom section showed a feast with ritual vessels and offerings. The document also mentions a silk flying banner found in the tomb of the Marquis depicting a portrait of the deceased and a banquet scene.
This document discusses Chinese art since the Tiananmen Square protests in 1989. It mentions works by artists such as Yue Minjun who created satirical portraits commenting on Chinese politics. It also discusses Xu Bing's Book from the Sky installation which used invented characters to comment on censorship. Finally, it discusses politically-influenced pop art by artists like Wang Guangyi, the Luo Brothers, and Cai Guo-Qiang known for his explosive gunpowder drawings.
This document provides information on artworks from the Sui and Tang dynasties in China from 618-907 CE. It lists several paintings including portraits of ladies and figures from banquets, as well as descriptions of emperors visiting palaces and sections from autobiographies. The artworks showcase different aspects of life during this period of Chinese history.
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This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
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3. • Robert Rauschenberg (1925-2008)
“"Painting relates to both art and life.
Neither can be made. (I try to act in that
gap between the two.)"
• Jasper Johns (1930-)
• John Cage (1912-1992)
• “Neo-Dada”
5. “I think that I'm never sure of what the impulse is
psychologically. I don't mess around with my
subconscious. I mean I try to keep wide awake. And if I
see in the superficial subconscious relationships that I'm
familiar with, cliches of association, I change the picture. I
always have a good reason for taking something out but I
never have one for putting something in. And I don't want
to, because that means that the picture is being painted
predigested. “ Rauschenberg in 1963.
‘There was a whole language that I could never make
function for myself in relationship to painting and that was
attitudes like tortured, struggle, pain. And I never could I
don't know whether it was from my Albers training or my
own personal hangup, but I never could see those qualities
in paint.’”
Robert Rauschenberg:
“I think that I'm never sure of what the impulse is psychologically. I don't mess around with my subconscious. I mean I try to keep wide awake. And if I see in the superficial subconscious relationships that I'm familiar with, cliches of association, I change the picture. I always have a good reason for taking something out but I never have one for putting something in. And I don't want to, because that means that the picture is being painted predigested. Rauschenberg in 1963.
‘There was a whole language that I could never make function for myself in relationship to painting and that was attitudes like tortured, struggle, pain. And I never could I don't know whether it was from my Albers training or my own personal hangup, but I never could see those qualities in paint.’”
a young artist Rauschenberg married the painter Susan Weil. The two met while attending the Academie Julian in Paris, and in 1948 both decided to attend Black Mountain College in North Carolina to study under Josef Albers.
The White Paintings of RR at BMC are said to have directly influenced Cage in the composition of his completely "silent" piece titled 4'33" the following year.
the summer of 1951 Robert Rauschenberg created his revolutionary White Paintings at Black Mountain College, near Asheville, North Carolina. At a time when Abstract Expressionism was ascendant in New York, Rauschenberg's uninflected all-white surfaces eliminated gesture and denied all possibility of narrative or external reference. In his radical reduction of content as well as in his conception of the works as a series of modular shaped geometric canvases, Rauschenberg can be seen as presaging Minimalism by a decade.The White Paintings shocked the artistic community at Black Mountain, and word of the "scandal" spread to the New York art world long before they were first exhibited at the Stable Gallery in October 1953. While generally misunderstood at the time, the works were highly influential for Rauschenberg's frequent collaborator, the composer John Cage. Under the sway of the Buddhist aesthetics of Zen, Cage interpreted the blank surfaces as "landing strips" or receptors for light and shadow, and was inspired to pursue the corresponding notion of silence and ambient sound in music. His response, 4'33" (1952), consisted of the pianist sitting quietly at the piano without touching the keys for four minutes and thirty-three seconds so that incidental sounds in the surrounding environment—such as the wind in the trees outside or the whispering of audience members—determined the content of the piece.
Rauschenberg's moves in white are part of the grand gesture that his early work strove for and often achieved. His colleague John Cage recognised this when he wrote: "The white paintings were airports for the lights, shadows and particles." Rauschenberg was able to make nothing the subject of a painting in a way that Cage would, after him, make nothing the subject of a piece of music. Then everything could enter in. "Having made the empty canvases (a canvas is never empty), Rauschenberg became the giver of gifts."
When the White Paintings were exhibited at the Stable Gallery in New York in the autumn of 1953, Cage wrote a statement for them: "... No subject/ No Image/No taste/No object/No beauty/No message/ No talent/No technique.../No idea..
It apparently took Rauschenberg one month to get the sheet relatively clear of marks. No photograph exists of the work he erased;
It also helps to know that another significant Rauschenberg cohort, Jasper Johns, did the lettering, which states: "Erased de Kooning Drawing, Robert Rauschenberg, 1953." It was a collaborative act; later, Rauschenberg's collaborative theatre work with Cunningham, Cage, Trisha Brown and others formed an essential part of his activity.
Combine painting: oil and pencil on pillow, quilt, and sheet on wood supports, 6' 3 1/4" x 31 1/2" x 8"
Bed is one of Robert Rauschenberg's first Combines, the artist's term for his technique of attaching cast–off items, such as tires or old furniture, to a traditional support. In this case he framed a well–worn pillow, sheet, and quilt, scribbled on them with pencil, and splashed them with paint, in a style reminiscent of Abstract Expressionism.
Legend has it that the bedclothes in Bed are Rauschenberg's own, pressed into use when he lacked the money to buy a canvas. Since the artist himself probably slept under this very sheet and quilt, Bed is as personal as a self-portrait, or more so—a quality consistent with Rauschenberg's statement, "Painting relates to both art and life. . . . (I try to act in that gap between the two)." Although the materials here come from a bed, and are arranged like one, Rauschenberg has hung them on the wall, like a work of art. So the bed loses its function, but not its associations with sleep, dreams, illness, sex—the most intimate moments in life. Critics have also projected onto the fluid-drenched fabric connotations of violence and morbidity.
Robert Rauschenberg, Portrait of Iris Clert
Rauschenberg's approach was sometimes called "Neo-Dada," a label he shared with the painter and close friend, Jasper Johns. Rauschenberg's oft-repeated quote that he wanted to work "in the gap between art and life"
Rauschenberg's submission consisted of a telegram sent to the gallery declaring "This is a portrait of Iris Clert if I say so."
Born in Port Arthur, Texas in 1925, Robert Rauschenberg began his artistic career in the late 1940s. Following a series of trips to Europe and attendance at several art schools, Rauschenberg moved to New York and set up a studio in the same building as Jasper Johns with whom he formed a profound friendship. During this time, Rauschenberg began to produce his influential Combines, a term he invented to describe this new art form that broke down barriers between painting and sculpture. After his first exhibition, in 1958 at the Leo Castelli Gallery, Rauschenberg met Marcel Duchamp, whose "ready-mades" and work with found objects had a significant influence on the young artist
In 1964, Rauschenberg won the Grand Prix at the Venice Biennale
1961, Rauschenberg took a step in what could be considered the opposite direction by championing the role of creator in creating art's meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, where artists were to create and display a portrait of the owner, Iris Clert. Rauschenberg's submission consisted of a telegram sent to the gallery declaring "This is a portrait of Iris Clert if I say so."
These so-called "Combine Paintings" ultimately came to include such heretofore un-painterly objects as a stuffed goat and the artist's own bed quilt, breaking down traditional boundaries between painting and sculpture, reportedly prompting one Abstract Expressionist painter to remark, "If this is Modern Art, then I quit!" Rauschenberg's Combines provided inspiration for a generation of artists seeking alternatives to traditional artistic media.
Robert Rauschenberg - 'Canyon', 1959, oil, housepaint, pencil, paper, fabric, metal, buttons, nails, cardboard, printed paper, photographs, wood, paint tubes, mirror string, pillow & bald eagle on canvas National Gallery of Art (Washington, D. C.) A Combine Painting
transgressed the traditional boundaries of a painting by placing elements outside of the pictorial rectangle
“I don't really trust ideas, especially good ones. Rather I put my trust in the materials that confront me, because they put me in touch with the unknown. “
B
. In Canyon (1959, Sonnabend Collection), an American bald eagle perches on a cardboard box nest, "feathered" by a pillow hanging below. The bird appears to fly out of the canvas into the space of the viewer.
1954 Rauschenberg began to break down the rigidly held barriers between the mediums of painting and sculpture by combining both mediums into one work of art. He started by collaging photographs, newsprint, and other forms of photographic reproductions into his paintings. Soon after he was incorporating all kinds of materials from the realm of everyday life into his canvases: clothing, urban detritus, cast-off commodities, even taxidermied animals. He coined the term "Combine" to differentiate these works of art from traditional painting; they were neither painting nor sculpture, but rather an indelible mixture of the two. While the term Combine technically refers to works made between 1954 and 1962, Rauschenberg continued throughout his career to produce series of Combine-style works that deployed this strategy of radical collage and combination. This breakdown of traditional genres permitted another important aspect of Rauschenberg's work to flourish -- the slippage between the arenas of high and low culture -- for the works marry the painterly gestures of fine art to everyday objects.
Monogram (1955–59, Moderna Museet, Stockholm), which displays a paint-daubed angora goat, girded by an automobile tire and mounted on a kind of pasture seeded with urban debris
Rauschenberg's combines, like the work of his friend and mentor Marcel Duchamp, are seeded with such puns, parallels and quirks of meaning. Like Duchamp, he was given to embedding a kind of ironic lechery in his images—the supreme example being Monogram, 1959. Monogram remains the most notorious of Rauschenberg's combines: a stuffed Angora goat, girdled with a tire. The title is self-fulfilling—it is Rauschenberg's monogram, the sign by which he is best known—but why did it become so famous? Partly because of its unacknowledged life as a powerful sexual fetish. The lust of the goat, as William Blake remarked in a somewhat different context, is the bounty of God, and Monogram is an image of copulation
Says Rauschenberg: "We were relieved of the responsibility the abstract expressionists had. They had fought the battle of showing there was such a thing as American art; we didn't have that problem. We were undistracted by things we couldn't imagine, like art collectors and taxes. There was a very strong sense of just getting up and doing something."
Nothing could be farther from the truth than the often-raised notion that Rauschenberg was engaged in some Oedipal battle against abstract expressionism. This idea was fostered by one of his best-known gestures, that of erasing a de Kooning pencil drawing. Actually, de Kooning gave Rauschenberg the drawing for that purpose; as far as the younger artist was concerned, it was an act of homage to de Kooning. Indeed, the painted areas of Rauschenberg's combines, with their spattering bravado of touch, are a meditation on the abstract expressionist legacy: they extend rather than reject it.
Jasper Johns
He is best known for his painting Flag (1954-55), which he painted after having a dream of the American flag. His work is often described as a 'Neo-Dadaist', as opposed to pop art, even though his subject matter often includes images and objects from popular culture. Still, many compilations on pop art include Jasper Johns as a pop artist because of his artistic use of classical iconography.
In New York, Johns met a number of other artists including the composer John Cage, the choreographer Merce Cunningham, and the painter Robert Rauschenberg. While working together creating window displays for Tiffany's, Johns and Raushenberg explored the New York art scene. After a visit to Philadelphia to see Marcel Duchamp's painting, The Large Glass (1915-23), Johns became very interested in his work. Duchamp had revolutionized the art world with his "readymades" — a series of found objects presented as finished works of art. This irreverence for the fixed attitudes toward what could be considered art was a substantial influence on Johns. Some time later, with Merce Cunningham, he created a performance based on the piece, entitled "Walkaround Time.“
Early works were composed using simple schema such as flags, maps, targets, letters and numbers. Johns' treatment of the surface is often lush and painterly; he is famous for incorporating such media as Encaustic (wax-based paint), and plaster relief in his paintings. Johns played with and presented opposites, contradictions, paradoxes, and ironies, much like Marcel Duchamp (who was associated with the Dada movement). Johns also produces intaglio prints, sculptures and lithographs with similar motifs.
Johns' breakthrough move, which was to inform much later work by others, was to appropriate popular iconography for painting, thus allowing a set of familiar associations to answer the need for subject. Though the Abstract Expressionists disdained subject matter, in the end it could be said that they simply changed subjects. Johns neutralized the subject, so that something like pure paint--painted surface--could declare itself.
In contrast to the concept of macho 'artist hero' as ascribed to Abstract Expressionist figures such as Jackson Pollock and Willem de Kooning, whose paintings are fully indexical (that is, standing effectively as an all-over canvas signature), "Neo-Dadaists" like Johns and Robert Rauschenberg seem preoccupied with a lessening of the reliance of their art on indexical qualities, seeking instead to create meaning solely through the use of conventional symbols, painted indexically in mockery of the hallowed individuality of the Abstract Expressionists. There is also the issue of symbols existing outside of any referential context; Johns' flag, for instance, is primarily a visual object, divorced from its symbolic connotations and reduced to something in-itself.
Detail of Flag, 1954-55
The story is 'I dreamt one night that I painted the flag of America. The next day I did it
don't think I'm gifted; I just think I'm receptive ... I think I have this peculiar kind of sensibility as a painter where things are handed to me and I just use them . . . I suppose I'm lucky in that images just drop in as if they were handed down to me.'
By the time Johns and Rauschenberg met in 1954, becoming friends and lovers, Rauschenberg had been to art school in Paris and at Black Mountain College, was a frequent visitor to the Club and the Cedar Tavern, and had been exhibiting in New York for several years. Johns, five years Hauschenberg's junior and with little formal art training, absorbed his friend's esthetic before moving on to develop his own. Leo Steinberg wrote in 1972, "I once heard Johns say that Rauschenberg was the man who in this century had invented the most since Picasso. What he invented above all was ... a pictorial surface that let the world in again."(6) Of primary importance for Johns, along with certain techniques of picture making, was Rauschenberg's conception of the canvas as a literally flat surface (what Steinberg called the flatbed picture plane") which served as a repository for familiar, man-made objects and images appropriated from the culture (what Johns referred to as "things the mind already knows"). Also essential to Johns was Rauschenberg's refusal to depict the human figure except through photographs, tracings and body imprints; Johns extended the latter practice into three-dimensions with his body casts.
I said: 'I take it that when you're making art you're often saying to yourself 'It would be interesting to see that."' Johns answered: 'Or "it would be interesting to do that", which is not the same
The modern art community was searching for new ideas to succeed the pure emotionality of the Abstract Expressionists. Johns' paintings of targets, maps, invited both the wrath and praise of critics. Johns' early work combined a serious concern for the craft of painting with an everyday, almost absurd, subject matter. The meaning of the painting could be found in the painting process itself. It was a new experience for gallery goers to find paintings solely of such things as flags and numbers. The simplicity and familiarity of the subject matter piqued viewer interest in both Johns' motivation and his process. Johns explains, "There may or may not be an idea, and the meaning may just be that the painting exists." One of the great influences on Johns was the writings of Austrian philosopher Ludwig Wittgenstein. In Wittgenstein's work Johns recognized both a concern for logic, and a desire to investigate the times when logic breaks down. It was through painting that Johns found his own process for trying to understand logic.
Johns' concern for process led him to printmaking. Often he would make counterpart prints to his paintings. He explains, "My experience of life is that it's very fragmented; certain kinds of things happen, and in another place, a different kind of thing occurs. I would like my work to have some vivid indication of those differences
The fast-setting medium of encaustic enabled Johns to make each brushstroke distinct, while the forty-eight-star flag design — contiguous with the perimeters of the canvas — provided a structure for the richly varied surface, which ranges from translucent to opaque.
he explained, the imagery derives from "things the mind already knows," utterly familiar icons such as flags, targets, stenciled numbers, ale cans, and, slightly later, maps of the U.S.
White Flag" of 1955, recently acquired by the Metropolitan from the artist's own collection, exemplifies Johns's early style, which engendered a wide range of subsequent art movements, among them Pop Art, Minimal Art, and Conceptual Art. During the 1950s and 1960s Johns frequently appropriated well-known images (such as targets, flags, and beer cans), elevating them to cultural icons. Throughout his oeuvre — which includes painting, prints, drawings, and sculpture — images are constantly recycled and combined in extensive series
"White Flag" is the largest of his flag paintings and the first in which the flag is presented in monochrome. By draining most of the color from the flag but leaving subtle gradations in tone, the artist shifts our attention from the familiarity of the image to the way in which it is made. "White Flag" is painted on three separate panels: the stars, the seven upper stripes to the right of the stars, and the longer stripes below. Johns worked on each panel separately. After applying a ground of unbleached beeswax, he built up the stars, the negative areas around them, and the stripes with applications of collage — cut or torn pieces of newsprint, other papers, and bits of fabric. He dipped these into molten beeswax and adhered them to the surface. He then joined the three panels and overpainted them with more beeswax mixed with pigments, adding touches of white oil.
The use of plaster casts is an example of another favorite medium of the time: here they are taken from the same model, though carefully rearranged to avoid the impression of a sequence that had been inadvertently produced by the steady relaxation of the model's jaw throughout the casting, thus avoiding the impression of a mouth opening to speak. The wooden structure in which the casts are contained, despite its slightly sinister regimentation, provides another sort of the compartmentalization that Johns frequently employs."
Collage includes book pages, astrological charts, and other possibly meaningful fragments like “History and Biography” above.
Jasper Johns, Do It Yourself (Target), 1960
Painted Bronze (Ballantine Ale) 1960
JOHNS, JasperPainting with Two Balls1960Encaustic and collage on canvas with objects165.1 x 137.2 cm (65 x 54 in.)
In Periscope (Hart Crane), the straightedge "device" has sprouted a hand, and it looks as though the periscope is opening onto the blue sea, helpfully labeled "BLUE" in the lower panel. A black arrow on the right points downward. In Pictures of Nothing, his posthumously published lectures on abstract painting at the National Gallery, Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, mentions Johns' "title mania." Doesn't the title encourage us to think of Hart Crane's suicidal dive into the Gulf of Mexico in 1932, after he was beaten up for coming on to a crew member? Doesn't that extended hand suggest a crucifix, an image, presumably, of gay martyrdom? But Weiss—and probably Johns, too—will have none of this. The periscope is a mechanical device, like the compass and quadrant that Crane mentions in his poem At Melville's Tomb. The painting, Weiss argues, is really about "the compound relationship between instrument and body," which in turn "recalls the Target paintings with plaster casts."
Diver. 1962Oil on canvas with objects (five panels)7' 6" x 14' 2"
The 1962 work, on five panels, is 7 1/2 feet high and 14 feet wide.
In Diver (1962), his first monumental, multipanel work, and a series of related paintings, Johns turned to spiritual themes. Diver has generally been interpreted as an illustration of the suicide by drowning of the South Carolina-born poet Hart Crane, whom Johns read and admired.(13) The figure schematically represented by hand and footprints at the center of the composition has been identified as Crane diving into a stormy sea. The painting also appears to represent the crucifixion of Christ.(14) In the magnificent large-scale drawing which, atypically for Johns, began as a study for the painting (but was completed after, in 1963), a series of fines and arrows sweep out in arcs to the left and right of the lower set of handprints, so that a spreading of the arms is indicated. The resulting posture is that of an inverted cross.
In the Diver painting, the crucifixion image is set in the midst of a dispersed, multipart composition rendered in radiant colors
The painting incorporates all of the known themes - a target, the words ''Red,'' ''Yellow'' and ''Blue,'' and angular blocks of color - that the artist worked on in the early 60's
A set of seven inflatalble plastic pillows that are painted wilth images taken from Duchamp's The Bride Stripped Bare by her Bachelors, Even (The Large Glass) 1915-1923 that were created for Merce Cunningham's Walkaround Time dance performance 1968.