A 555 w uinverata ave 858xxxxxx Summary of Skills Education and Coursework United Sates of America Experience Work History M , Tucan, Nevada 96059 | H: Languages Arabic and English Extremely organized Microsoft Office, Excel, PowerPoint proficiency Quick learner Issue resolution Attention to detail Bachelor of Science, Political science University -, Will graduate in Fall 2016 University Minor in Merchandising will graduate in Fall 2016 University- 2011 Program in Intensive English Saudi Ladies Institute 2009 - Dammam, Saudi Arabia Worked one year as an English Teacher. Worked as Students supervisor for tow weeks Kindergarten - English Teacher 2010Aleshraq School - Dammam, Saudi Arabia Students supervisor for Tow weeksKing Fasial University - Dammam, Saudi Arabia | xxxxxxxxx Outstanding interpersonal skills Cooperative team member Excellent analytical skills ART HISTORY 132 Fauvism (French Expressionism) Fauvism (c. 1904-07)principal artists: Matisse, Derain, Vlaminck, Dufydefinition: “the wild beasts” pejorative label coined by critic Louis Vauxcelles anything but an opponent general tone far from unfavorable; emphasized his close association w/ artistsdemise: Cezanne retrospective 1907 presented at Salon d’Automne changed emphasis to concern w/ form over colorcontext: Anarchismdefinition: political theory that aims to create a society w/out political, economic or social hierarchiesaim: to oppose government & capitalismmethodology: critiques current society, while at same time offers vision of potential new societyFauves:purely artistic radicalismsubject matter does not approach urban & labor issues color as “sticks of dynamite” (Derain) Henri Matisse (1869-1954)training: student of Redonclosely studied work of Manet and Cezannebought a small Cézanne Bathers in 1899became interested in Divisionism (c. 1904) became friends w/ Signac & painted w/ him @ St. Tropez role: leader of Fauves (“The Wild Beasts”)tendency: Romantic tradition aim: expressiveness of colormotto: art as being like “a good armchair”“Instinct … thwarted just as one prunes the branches of a tree so that it will grow better” Matisseinfluence of Signac:subject: pastoral & classical landscapes (c. 1890s)in decades before 1880, avant-garde painters rarely depicted France’s southern shore due, in part, to cultural affiliation between southern France and academic classicismlinked w/ cultural and political conservatism represent anarchist ideal of natural order and harmony that would be found in golden age to comeradicalizes seemingly innocuous depictionsMatisse’s Luxe, calm et volupte (1904-05)title inspired by Baudelaire’s “L’invitation al Voyage”dreamy idyll of languorous nudes far less specified by time, place or politics“mixed” brushwork & completely arbitrary use of color condemned as a lifel.

1. A
555 w uinverata ave
858xxxxxx
Summary of Skills
Education and Coursework
United Sates of America

2. Experience
Work History
M
, Tucan, Nevada 96059 | H:
Languages Arabic and English
Extremely organized
Microsoft Office, Excel, PowerPoint
proficiency
Quick learner
Issue resolution
Attention to detail

3. Bachelor of Science, Political science
University -,
Will graduate in Fall 2016
University
Minor in Merchandising will graduate in Fall 2016
University- 2011
Program in Intensive English
Saudi Ladies Institute 2009 - Dammam, Saudi Arabia
Worked one year as an English Teacher.
Worked as Students supervisor for tow weeks
Kindergarten - English Teacher 2010Aleshraq School -
Dammam, Saudi Arabia
Students supervisor for Tow weeksKing Fasial University -
Dammam, Saudi Arabia
| xxxxxxxxx

4. Outstanding interpersonal skills
Cooperative team member
Excellent analytical skills

5. ART HISTORY 132
Fauvism
(French Expressionism)
Fauvism
(c. 1904-07)principal artists: Matisse, Derain, Vlaminck,
Dufydefinition: “the wild beasts” pejorative label coined by
critic Louis Vauxcelles anything but an opponent general tone
far from unfavorable; emphasized his close association w/
artistsdemise: Cezanne retrospective 1907 presented at Salon
d’Automne changed emphasis to concern w/ form over
colorcontext: Anarchismdefinition: political theory that aims to
create a society w/out political, economic or social
hierarchiesaim: to oppose government &
capitalismmethodology: critiques current society, while at same
time offers vision of potential new

6. societyFauves:purely artistic radicalismsubject matter does not
approach urban & labor issues color as “sticks of dynamite”
(Derain)
Henri Matisse
(1869-1954)training: student of Redonclosely studied work of
Manet and Cezannebought a small Cézanne Bathers in
1899became interested in Divisionism (c. 1904) became friends
w/ Signac & painted w/ him @ St. Tropez role: leader of
Fauves (“The Wild Beasts”)tendency: Romantic tradition aim:
expressiveness of colormotto: art as being like “a good
armchair”“Instinct … thwarted just as one prunes the branches
of a tree so that it will grow better”
Matisseinfluence of Signac:subject: pastoral & classical
landscapes (c. 1890s)in decades before 1880, avant-garde
painters rarely depicted France’s southern shore due, in part, to
cultural affiliation between southern France and academic
classicismlinked w/ cultural and political conservatism
represent anarchist ideal of natural order and harmony that
would be found in golden age to comeradicalizes seemingly
innocuous depictionsMatisse’s Luxe, calm et volupte (1904-
05)title inspired by Baudelaire’s “L’invitation al
Voyage”dreamy idyll of languorous nudes far less specified by
time, place or politics“mixed” brushwork & completely
arbitrary use of color condemned as a lifeless theory of
paintingmore belligerent critics recommended Matisse exile
himself to “land of the Bushmen,” where he’d surely be “taken
for a master”

7. MatisseGreen Stripe (Madame Matisse)c. 1905brushwork:
painterlyrejects finesse of Impressionismrejects Post-
Impressionist dots & dashesvariation of Post-Impressionist
patchy, impasto application (e.g., Cezanne)forms: outlined w/
thick, dark contours introduced by Post-Impressionism (e.g.,
Gauguin, van Gogh)retains naturalistic proportionscomposition:
stablecolor: combination of arbitrary & naturalistic
flesh toneslight/shadow: nearly absent
(Left) Matisse’s Fauvist Green Stripe (1905)
vs.
(right) Bank of America advertisement “See How You’ll Look
When You Retire” (2014)
MatisseWoman in a Hat (1905)brushwork: painterlyrejects Post-
Impressionist dots & dashescloser to patchiness of
Cezanneform:outlined w/ thick, dark contours introduced by
Post-Impressionism (e.g., Gauguin, van Gogh)retains
naturalistic proportions color: vibrantexpressive & arbitrarydoes
not correspond to realityintends to shock viewer
psychologicallyobviates need for light/shadow
(Left) Matisse’s Woman in a Hat (1905)
vs.

8. (right) Matisse’s Red Madras Headdress (1907)
Matisses’s The Joy of Life
(1905-06)
MATISSE’s Fauvist The Joy of Life (1905-06)
vs.
TITIAN’s Venetian Renaissance Bacchannal (c. 1525)
Matisse’s Harmony in Red
(1908)
Matisse’s The Dance
(1909)
Matisse’s The Red Studio
(1911)

9. Andre Derain
(1880-1954)born at Chatou artists’ colony at the gates of
Parisquiet, picturesque spot spared from industrial activity
father was a successful patissier (pastry chef) and town
councillor middle-class educationtraining:first lessons in
painting in 1895 from old friend of his father’s and of
Cézanne’s Académie Carriere (1898) in Paris, where he met
MatisseJune 1900 he met Maurice de Vlaminck, and formed a
close friendship with himrented a disused restaurant in Chatou
which they used as a studiooften shocked their neighbors w/
their anticsmeanwhile, copying in the Louvre and visiting
exhibitions of contemporary artextremely impressed by Van
Gogh retrospective at Bernheim-Jeune Gallery
Derain1905:dealer Ambroise Vollard, to whom he had been
introduced by Matisse, bought the entire contents of his studio
(he did the same with Vlaminck)exhibited at the Salon des
Indépendants (sold four paintings)then exhibited at the Salon
d'Automne w/ Matisse, Vlaminck and othersfollowing success at
the Salon d'Automne, Vollard commissioned views of London;
returned in 1906
1906: spent summer painting at L'Estaque (S. FR)met Picasso;
and next year signed a contract w/ Daniel-Henri Kahnweiler,
Picasso's dealer married on strength of his new financial
securitywent to live in Montmartre, with his wife, Alice
Derain’s Charing Cross Bridge
(1906)

10. (Left) Derain’s Fauvist Charing Cross Bridge, London (1905-
06)
vs.
(right) photographic postcard of River Thames
(Left) Derain’s Charing Cross Bridge, London (1906)
vs.
(right) Monet’s Parliament, Effect of Fog (1904)
IMAGE INDEXSlide 3: DERAIN, Andre. Portrait of Matisse
(1906), Oil on canvas, 21 5/8 x 18 1/8 in.Slide 5:
MATISSE. Green Stripe (Madame Matisse), 1905, Oil and
tempera on canvas, 15 7/8 x 12 7/8 in., Royal Museum of
Fine Arts, Copenhagen.Slide 6: (Left) Matisse’s
Fauvist Green Stripe (1905); vs. (right) Bank of
America advertisement “See How You’ll Look When You
Retire” (2014)Slide 7: MATISSE. Woman with a Hat
(1905), Oil on canvas, 32 1/4 x 23 3/4 in., Collection of
Mrs. Walter A. Haas, San Francisco. Slide 8: (Left)
MATISSE’s Woman with a Hat (1905); and (right)
MATISSE’s The Red Madras Headress (Summer 1907), Oil
on canvas, 39 1/8 x 31 3/4 in., Barnes Foundation,
Merion, PA.Slide 9: MATISSE, Henri. The Joy of Life (1905),
Oil on canvas, 69 1/8 x 94 7/8 in., Barnes Foundation,
Merion, PA.Slide 10: (Left) MATISSE’s Fauvist The Joy of
Life (1905); and (right) TITIAN’s Venetian Renaissance

11. Bacchannal of the Andrians (c. 1520).Slide 11:
MATISSE. Harmony in Red (Spring 1908), Oil on canvas,
70 7/8 x 86 5/8 in., Hermitage Museum, St Petersburg,
Russia.
IMAGE INDEXSlide 12: MATISSE, Henri. The Dance (early
1909), Oil on canvas, 8‘ 6 1/2" x 12'9 1/2“ in.,
Museum of Modern Art (MoMA), New York.Slide 13:
MATISSE. The Red Studio (1911), Oil on canvas, 71 1/4
x 86 ¼ in., The Museum of Modern Art (MoMA), New
York.Slide 15: VLAMINCK, Maurice de. Portrait of Andre
Derain at Collioure, (1905), Metropolitan Museum of
Art, New York.Slide 16: DERAIN, Andre. Charing Cross
Bridge (1906), oil on canvas, 31 5/8 x 39 1/2 in., John
Hay Whitney Collection, National Gallery of Art,
Washington, D.C.Slide 17: (Left) Derain’s Fauvist Charing
Cross Bridge, London (1905-06) vs. (right)
photographic postcard of River Thames.Slide 18: Comparison
between (left) DERAIN’s Fauvist Charing Cross Bridge,
London (1906); and MONET’S Impressionist Parliament,
Effect of Fog (1904), Oil on canvas, 32 1/2 x 36 1/2 in.,
Museum of Fine Arts, St. Petersburg, FL.
IMAGE INDEXSlide 21: DERAIN, Andre. The Turning Road,
L'Estaque (1906), Oil on canvas, 4’2 1/2 x 6’ 4 1/2 in.,
Museum of Fine Arts, Houston.Slide 22: Comparison between
(left) DERAIN’s Fauvist The Turning Road, L'Estaque
(1906); and (right) MONET’s Impressionist The Red
Road near Menton (1884), Oil on canvas, 25 5/8 x 32 in.,
Private collection.

12. ART HISTORY 132
Symbolism
Symbolism
(c. 1865-1915)
term: applied to both visual & literary arts (e.g., Rimbaud)
aim: not to see things, but to see through them to
significance & reality far deeper
definition: subjective interpretation reject observation of optical
world fantasy forms based on imaginationcolor, line, & shapes
used as symbols of personal emotions, rather than to conform to
optical image
function: artist as visionaryto achieve seer’s insight, artists
must become derangedsystematically unhinge & confuse
everyday faculties of sense and reason
themes: religion, mythology, sexual desire (vs.
Baudelairian everyday life)
Odilon Redon
(1840-1916)biography: born to a prosperous family
training: failed entrance exams at École des Beaux-Artsbriefly
studied under Gérôme (1864)career: interrupted by Franco-
Prussian War remained relatively unknown until cult novel by
Huysmans titled Against Nature (1884 )story featured decadent
aristocrat who collected Redon's draw
“… [to bring] to
life, in a human way, improbable beings and making them

13. live according to the laws of probability, by putting – as far as
possible – the logic of the visible at the service of the
invisible”subject matter: “fantastic” influenced by writings of
Edgar Allen Poe strange amoeboid creatures, insects, plants w/
human heads, etc.themes: “fantastic” creaturesmythological
scenes
(Left) Redon’s Symbolist Eye Balloon (1878)
and
(right) Crying Spider (1881)
Redon’s Symbolist Eye Balloon (1878)
vs.
Daumier’s Nadar (c. 1860)
Redon
Cyclops (1898)subject: mythologicalPolyphemus &
psychologicalconscious vs. unconsciouswaking vs.
sleepingtone: hauntingbrushwork: painterly (Impressionist)
composition: dynamiccolor: vibrantwhimsical
harmoniousperspective: aerial

14. Redon’s Symbolist Cyclops (c. 1900)
vs.
Carracci’s Italian Baroque Polyphemus in the Farnese Gallery
(c. 1600)
Henri Rousseau
(1844-1910)biography:served in French army bureaucrat in
Paris Customs Office (1871-1893)took up painting as a hobby
accepted early retirement in 1893 to devote himself to art
career: suffered ridicule & endured poverty
aesthetic: “naïve”
themes: jungle scenes
sources: claimed inspiration from his military experiences in
Mexicoin fact, sources were illustrated books & visits to
zoo/botanical gardens in Paris
Rousseau’s Sleeping Gypsy
(1897)
Rousseau’s The Dream
(1910)
James Ensor

15. (1860-1949)nationality: Belgian
personal crisis: family forbade him to marryplunged to depths
of despair returned to painting religious subjects sold contents
of his studio in 1890s
aesthetic: avant-garde Les XX (the Twenty)goal to promote new
artistic developments throughout Europegroup’s
leader/foundertreated harshly by art critics disbanded after a
decade challenged rules of perspective free use of color and
space and brushwork to enhance the psychological impact
mood: macabre people shown wearing masks that cannot be
distinguished from their true faces
Ensor’s Christ Entering the City of Brussels in 1889
(1888)
(Left) Ensor’s Christ Entering the City of Brussels in 1889
(1888)
vs.
(right) Tintoretto’s Mannerist Last Judgment (c. 1575)
Edvard Munch
(1863-1944) nationality: Norwegianbiography:damaged by
childhood and family tragedy mother dies at age of five
(5)favorite sister dies at age fifteen (15)obsessed by sickness,
insanity and deathmid-age crisis: age 45, profound depression

16. spent eight months in sanatorium in Denmark aim: to describe
“modern psychic life”powerlessness over love & deathemotional
states of jealousy, loneliness, fear, desire, & despairaesthetic:
abstract spent several years in FR & Germanyinfluenced by
Post-Impressionists color, line & figural distortions
Munch
Puberty (1894-95)theme: ages of lifesubject: biographical (?)
death of sisterfigure: naturalisticpose: iconic
frontalitycomposition: stablecolor: mutedlight/shadow: evenly
distributedsymbolic
Munch
Madonna (1894)theme: biblicalsubject: biographicaldeath of
mothererotic, pre-Freudian wish fulfillment (?)figure:
idealized/sexualized formspose: Classical sensuousness
composition: stable enlivened by Classically arranged upraised
elbow tilted headcolor: muted w/ primary accentslight/shadow:
evenly distributed
MunchThe Scream (1893)original title: Despairepigraph: “I
stopped and leaned against the balustrade, almost dead w/
fatigue. Above the blue-black fjord hung the clouds, red
as blood and tongues of fire. My friends had left me, and
alone, trembling w/ anguish, I became aware of the vast,
infinite cry of nature”subject: mental anguish brushwork:
impastofigure: abstract distortion of form facial
features/gestures: expressionisticcomposition: synthetic
dynamismcolor: vibrant compliments vs. mutedlight/shadow:

17. assumed by role of colorperspective: linear & aerial
(Left) Detail from Michelangelo’s Last Judgment (c. 1535)
vs.
(right) Munch The Scream (1893)
Gustav Klimt
(1862-1918)ethnicity: Austrian (Vienna) significance: Vienna
Secession (1897)motto: “To every age its art and to art
its freedom" reaction to chokehold of Academy aimed to bring
more abstract and purer forms to designs target of violent
criticismimages sometimes displayed behind screen to avoid
corrupting youths’ sensibilities Klimt w/drew eight years
laterthemes: (sexual) desire and anxietyaesthetic:
decorativeluxurious forms/figuresflattened spatial
ordersumptuous surfaces/tracery vivid juxtaposition of
colorsgold background
Klimt’s The Kiss
(1907-08)
(Left) full image of Klimt’s The Kiss (1907-08);

18. and
(right) detail of upper torsos and faces
IMAGE INDEXSlide 2: MOREAU, Gustave. The Apparition
(1874-1876), Oil on canvas, 3’ 5’ ¾” x 2’ 4 1/2 “,
Musée du Louvre, Paris.Slide 3: REDON, Odilon. Self
Portrait (1880), Oil on canvas, Musée d'Orsay,
Paris.Slide 4: REDON. (Left) Eye-Balloon (1878), Charcoal,
42.2 x 33.2 cm., The Museum of Modern Art (MoMA),
New York; and (right) The Crying Spider (1881),
Charcoal, 49.5 x 37.5 cm., Private collection, The
Netherlands.Slide 5: (Left) Redon’s Symbolist Eye Balloon (c.
1895); and (right) Daumier’s Nadar (c. 1860).Slide 6:
REDON. The Cyclops (c. 1914), Oil on canvas, 64 x 51
cm., Museum Kroller-Mueller, Otterlo, The
Netherlands.Slide 7: (Left) REDON’s Symbolist Cyclops (c.
1895); and (right) CARRACCI’s Italian Baroque (c.
1600) Polyphemus and Ariadne (c. 1600).
IMAGE INDEXSlide 8: ROUSSEAU. Myself, Portrait-
Landscape (1890), Oil on canvas, 56 1/4 x 43 1/4 in.,
National Gallery, Prague.Slide 9: ROUSSEAU. The Sleeping
Gypsy (1897), Oil on canvas, 4’3" x 6'7"; The Museum of
Modern Art (MoMA), New York.Slide 10: ROUSSEAU. The
Dream (1910), Oil on canvas, 6' 8 1/2" x 9' 9 1/2“, The
Museum of Modern Art (MoMA), New York. Slide 11:
ENSOR. Self Portrait.Slide 12: ENSOR. Christ’s
Entry into Brussels (1889), Oil on canvas, 99 1/2 x 169
1/2 in. 5/ 8 in., J. Paul Getty Museum, Los Angeles.
Slide 13: (Left) Ensor’s Christ Entering the City of Brussels in
1889 (1888); and (right) Tintoretto’s Mannerist Last

19. Judgment (c. 1575)Slide 14: MUNCH. Self-Portrait with
Burning Cigarette (1895), Oil on canvas, 110.5 x 85.5
cm., National Gallery, Oslo.
IMAGE INDEX
Slide 15: MUNCH. Puberty (c. 1895), Oil on canvas, 59 5/8 x
43 1/4 in., Nasjonalgalleriet (National Gallery), Oslo,
Norway.Slide 16: MUNCH. Madonna (1895), Oil on canvas,
91 x 70.5 cm., National Gallery, Oslo, Norway. Slide 17:
MUNCH. The Scream (c. 1895), Casein/waxed crayon and
tempera on cardboard, 35 7/8 x 29 in.,
Nasjonalgalleriet (National Gallery), Oslo.Slide 18:
(Left) Detail from Michelangelo’s Last Judgment (c.
1535); and (right) Munch The Scream (1893)Slide 19:
Photograph of Gustav KLIMT.Slide 20: KLIMT. The
Kiss (1907-08), Oil and gold on canvas, 5’10 ¾” x
5’10 ¾”, Osterreichische Galerie, Vienna.Slide 21: (Left) Full
image of Klimt’s The Kiss (1907); and (right) detail of
upper torsos and faces.
ART HISTORY 132
German Expressionism

20. German Expressionism:
Der Blaue Reiter (“The Blue Rider”)aim: unrestricted freedom
of expression
name: derived from K’s drawing on cover of Almanac featuring
blue horseman blue also Marc's favorite colormotif of horse
favorite subject for K & M
exhibition history: December 1911: launched in Munich
featured 43 artists (including Rousseau and Delaunay)1912:
second exhibition (Munich)grander scale315 works by 31 artists
(including Picasso, Braque, Klee and Goncharova)1913:
Kandinsky, Marc, and Klee exhibited together at influential
“First German Salon d’Automne” in Berlin
Wassily Kandinsky
(1866-1944)
biography: influence of musicK learned piano & cello at early
agefascinated by music’s emotional powerallows freedom of
interpretationnot based on literal qualities; instead, abstract saw
color, as he heard musicused color in highly theoretical way
Schönberg’s First String Quartet (1905)abandons tonal &
harmonic conventionsradically opens musical compositional
structureschromatic structure defined as a “developing
variation”career:studied law & economics at Univ. of Moscow
(1886)lectured at Moscow Faculty of Lawattended Impressionist
exhibition (1895) left Moscow for Munich to study life-
drawing, sketching & anatomy (1897)
German Expressionism:

21. Der Blaue ReiterKandinsky’s On the Spiritual in Art (December
1911)treatise about non-objectivity; saw it as future for
innovative visual artbased on artist’s emotions, rather than
objective reality or materialism“interior necessity” intuition vs.
rationalityform: outward visual expression of artist’s inward
needs color: liberated from form (see Fauvism)composition:
described in overtly musical terms
“melodic”subordinated to a clearly apparent form (e.g.,
geometrical forms or simple lines that create general movement
2) “symphonic” complex; consisting of several formsprincipal
form may externally be very hard to findconclusion: musical
metaphor to describe deliberately cloaked pictorial construction
of form and color
Kandinsky’s Composition IV
(1911)
Kandinsky’s Composition VII
(1913)
KandinskyComposition VIII (1923) theme: moves from
apocalyptic emotion to geometrical rhythm
aesthetic: see influence of Russian Constructivism
absorbed by K while in Russia prior to return to Germany to
teach at Bauhausform: greater compositional role than
colorcomposition. dynamic (symphonic)color: colors w/in forms

22. energize their geometryspatial order: undefined
spacebackground enhances dynamism layered colors define
depthforms recede & advance creating quasi- “push-pull” effect
Franz Marc
(1880-
painteroriginally a theology studenttrained at Munich Academy
of Arttravels to Paris (1903) where he spends several months,
also visiting Brittanyexcited by Impressionists runs away to
Paris, abandoning fiancé day before marriage ceremony
(1907)return to Paris:again entranced by
Impressionistsdiscovers work of Gauguin and Van Goghbegan
intensive study of animals which lead to his mature stylemeets
August MackeIntroduces him to Fauves views Matisse
exhibitintroduces M to future patronWWI: volunteers; dies near
Verdun
MarcBlue Horse (1911)aesthetic::mature stylemixture of
Romanticism, Expressionism and Symbolismmotif: animalpurity
and communion w/ nature that humans had lost“the irreligious
humanity which lived all around me did not excite my true
feelings, whereas the virgin feeling for life of the animal world
set alight everything good in me” spatial order: 3-d perspective:
linear & aeriallight/shadow: establishes volume vs.
principleastri
opposed/overcome

23. Marc’s Fate of the Animals
(1913)
Marc’s Fighting Forms
(1914)
Käthe Kollwitz
(1867– democratmother
expelled from
official state church in PrussiaOct 1914: lost youngest
son on battlefield during World War Itraining:
influenced by grandfather's lessons in religion and
socialism1888: Women's Art School (Munich)twice visited
Paris; enrolled at Académie Julian to learn sculpturethemes:
tragedy of war during first half of 20C subject matter: human
condition for less fortunate that embraced victims of
poverty, hunger, and warnarrative tone: empathetic
political ideology: committed socialist & pacifistmedium:
graphic arts
KollwitzWoman with Dead Child (1903)motif: pietabiography:
subsequently lost youngest son on battlefield during World
War I (Oct 1914)color scheme: prints on themes of social
comment were carried out predominantly in black and
whitehuman form: sculptural massiveness 1904: K attends
Académie Julian where she learnt the basic principles of
sculpturecomposition: crouching, naked female figure w/ child

24. on her lapspatial order: ambiguouslight/shadow: chiaroscuro
effects
KollwitzHelp Russia(1921)“People from bourgeois sphere were
altogether w/out appeal or interest. All middle-class life seemed
pedantic to me. On the other hand, I felt proletariat had guts. It
was not until much later... that I was powerfully moved by the
fate of the proletariat and everything connected w/ its way of
life.... “… compassion and commiseration were at first of very
little importance in attracting me to the representation of
proletarian life; what mattered was simply that I found it
beautiful."
Die Brücke
(1905-13)art movement: “The Bridge”association of artists
linking past to futureworked together in rented storefront
studiosprogram: “protest” artdrawn together by what they were
against, rather than in favor of call on all youth to fight for
greater artistic freedom against older, well-established
powersstyle: expressive possibilities of color, form &
compositional distortionsinspired by van Gogh’s clear
expression of “inner-necessity” vs. Impressionism interest in
material world & finesserapid development of personal styles
Fauvist strong colors (influenced by Matisse exhibit in Berlin in
1908)media/techniques: life drawing in studios“plein air” (e.g.,
Moritzburg lakes near Dresden, at the island of
Fehmarn)woodcuts, lithographs, and drawings
Ludwig Kirchner

25. (1880-1938)
Self-Portrait (1905)founder of Die Brücketraining:studies
architecture in Dresden (1901)studies painting in Munich (1903-
04)short stay in Nuremberg, views Dürer’s original woodblocks
(c. 1500) figures: non-academic“fifteen-minute nudes”attempt
to directly access motifnatural posesangular physical featuresno
regard for anatomical correctness or spatial relations
Kirchner
Two Women in the Street (1913)aesthetic: permutation of
Fauvism subject: mocks bourgeoisiespatial order:
compressedperspective: tiltedfigures: grotesque; distortedbrutal
simplificationsjagged & geometricangular & elongated
featurescomposition: dynamiccolor: vibrant/complimentary, yet
garish
Kirchner
Self-Portrait as Soldier (1915)biography: WWI mobilized to
field artillerysuffers nervous breakdown brushwork:
painterlyperspective: shallow; compressedfigures:
angularsetting: artist’s studionude model paintings placed
against wallssymbolic mutilation bloody stump cut off at wrist,
instead of paintbrush
Emile Nolde
(1867-1956)biography:1884 and 1888: trained as craftsman in

26. furniture 1889: School of Applied Arts in Karlsruhe 1892-1898:
drawing instructor in SW 1898: rejected by Munich
Academy1899-1902: spent next three years taking
private painting classes, visiting Paris, and becoming
familiar w/ Impressionismcareer:already 31 by
time he pursued career as an artistnot original member of Die
Brücke; joins in 1906resigns from group in 1907group pressure
to develop style more closely aligned to other membersas a
result, works in isolationthemes:religiousnudeslandscapes
Nolde
Crucifixion (c. 1915)aesthetic: abstractsubject: religious (see
Gauguin)tone: visceral & forcefulspatial order: ambiguous
settingfigures: grotesquebloody woundsrugged facial
featuresflattened volumescolor: vibrant; large &
unmodulatedbrushwork: crude “impasto”
Neue Sachlichkeit (“New Objectivity”)1923: Gustav Friedrich
Hartlaub, director of Kunsthalle in Mannheim, coined the
term“What we are displaying here is distinguished by — in
itself purely external — characteristics of objectivity w/ which
artists express themselves”aim to "tear the objective form of the
world of contemporary facts and represent current experience in
its tempo and fevered temperature”themes: to present a
direct/honest image of society & warsubject matter:
Romanticattacked society they felt perpetuated inequalities
reaction to firsthand WWI experience urban activity collective
beliefs, rather than personal tone: harsh, bitterprincipal
artists:Grosz (1893-1958)Beckman (1884-1950)Dix (1891-1959)

27. George Grosz
(1893-1959)
Hunger (c. 1915)aesthetic: Expressionisticlinear
“angst”compressed spatial ordertheme: indictment of economic
effect on proletariat figures: realistic facial
featuresclothingperspective: linear
Grosz
Eclipse of the Sun (1925)aesthetic: Romantictheme: post-WWI
societyfigures: caricaturedtone: satirical composition:
dynamiccolor: vibrant & complimentaryperspective:
tiltediconography: militaristicreligiouseconomic
Otto Dix
(1891-1969)
training: entered Academy of Applied Arts (1910)
biography: WWI commander of machine gun unitlater
describe recurring nightmare in which he crawled through
destroyed housescareer: founder of Dresden Secession group
(1919)joins Berlin Secession (1924)themes: Romanticmodern
war’s violence verging on savageryaftermath of warscornful
portrayal Germany's Weimar Republic
Dix
DixSkull (1924)theme: horror of warmedium: graphic
artsaesthetic: grotesquecomposition: dynamiccolor:

28. monochromaticshadow: chiaroscuro
Dix’s The War
(1929-32)
Max Beckmann
(1884-1950)biography: traumatic experiences of WWI career:
dramatic transformation from academic style to distortions of
figure and spacefortunes changed w/ rise of Hitler 1933:
dismissed from teaching1937: > 500 of B’s works confiscated
from German museums; several put on display in “Degenerate
Art” exhibition in Munichessay: “The Artist in the State”
(1927)artist as conscious shaper of transcendent idea “Art is the
mirror of the God that humanity is”“Art becomes a symbol and
source of power for the partly still dormant power in
responsible human beings”
Beckmann
Deposition (1917)aesthetic: expressionisticinfluence: German
Gothicperspective: tiltedfigures: angular &
elongatedcomposition: dynamiccolor: muted flesh
tonesiconography: accurateperspective: deliberately
mishandled
Beckmann’s Night

29. (1918-19)
Beckmann’s Departure
(1933)
IMAGE INDEXSlide 2: Photograph of Wassily
KANDINSKY.Slide 4: KANDINSKY. Sketch for the Blaue
Reiter Almanac (1911), Watercolor, 11 3/8 x 8 ¼
in. Slide 5: KANDINSKY. Murnau with Church (1910), Oil
on cardboard, 25 1/2” x 19 3/4”,
Lenbachhaus, Munich. Slide 6: KANDINSKY.
Composition IV (1911), Oil on canvas, 62 7/8 x 98 5/8
in., Kunstsammlung Nordrhein-Westfallen, Dusseldorf,
Germany. Slide 7: KANDINSKY. Composition VII (1913),
Oil on canvas, 6’ 6 ¾ in. x 9’ 11 1/8 in., Tretyakov
Gallery, Moscow. Slide 8: KANDINSKY. Composition
VIII (1923), Oil on canvas, 55 1/8 x 79 1/8 in.,
Solomon R. Guggenheim Museum, New York.Slide 9:
MACKE, August. Portrait of Franz Marc (1910), Oil on
canvas, Nationalgalarie, Berlin.Slide 10: MARC,
Franz. Blue Horse (1911), Oil on canvas, Oil on canvas,
112.5 x 84.5 cm., Stadtische Galerie im
Lenbachhaus, Munich.
IMAGE INDEXSlide 11: MARC, Franz. The Fate of the
Animals (1913), Oil on canvas, 196 x 266 cm.,
Kunstmuseum, Basel, Switzerland.Slide 12:
MARC, Franz. Fighting Forms (1914), Oil on canvas, 91

30. x 131 cm., Staatsgalerie moderner Kunst, Munich.
Slide 13: Photograph of Käthe KOLLWITZ.Slide 14:
KOLLWITZ, Käthe. Woman with Dead Child (1903),
etching, National Gallery of Art, Washington,
DC.Slide 15: KOLLWITZ, Käthe. Help Russia (1921),
Lithograph, 15 ¾ x 18 ¾ in., Museum of Modern Art
(MoMA), New York. Slide 16:PECHSTEIN, Max.
Poster for Die Brücke Exhibition (c. 1910).Slide 17:
KIRCHNER, Ludwig. Self-Portrait (c. 1910), woodcut.
IMAGE INDEXSlide 18: KIRCHNER. Two Women in the
Street (c. 1915), Oil on canvas, 120.5 x 91 cm.,
Dusseldorf, Germany.Slide 19:KIRCHNER. Self-portrait as
Soldier (1915), Oil on canvas, 27 1/4 x 24 in.,
Allen Memorial Art Museum, Oberlin College,
Ohio.Slide 20: NOLDE. The Prophet (1912), Private
Collection.Slide 21: NOLDE, Emil. Dance Around the Golden
Calf (1910), Oil on canvas, 88 x 105.5 cm.,
Staatsgalerie moderner Kunst, Munich.Slide 22:
NOLDE. Crucifixion (1912), Oil on canvas, 200.5 x
193.5 cm, Nolde-Stiftung Seebull.Slide 23:
GROSZ. Hunger (1915), Pen and ink.Slide 24:
GROSZ. Eclipse of Sun (1926), Oil on canvas, 210 x
184 cm., Heckscher Museum, Huntington, NY.
IMAGE INDEXSlide 26: DIX. Self-Portrait as a Soldier (1914),
ink and watercolor on paper, 68 x 53.5 cm,
Municipal Gallery, Stuttgart.Slide 27: DIX. Skull
(1924), Historial de la Grande Guerre,
Péronne.Slide 28: DIX. The War (1929-323), Oil on
canvas, Gemäldegalerie Neue Meister,

31. DresdenSlide 29: BECKMANN. Self-Portrait (c. 1925).Slide
30: BECKMANN. Deposition (1917), Oil on canvas, 59 1/2
x 50 3/4 in., The Museum of Modern Art (MoMA), New
York.Slide 31: BECKMANN. Night (1918-19), Oil on
canvas, 4’4 3/8” x 5’ ¼”, Kunstsammlung
Nordrhein-Westfalen, Düseldorf.
Cubism:
Dutch & Russian
ART HISTORY 132
*
De StijlPiet Mondrian (1872-1944)early work: naturalistic
context: Theosophya type of philosophical mysticism that seeks
to unite material and spiritual worlds to disclose concealed
essences of realityaestetic: “non-objective”aim: take Cubism to
logical its conclusioninspired by Cézanne breaks down
compositional elements into geometric facets of colorschema:
rigid, strictly imposed pure geometrysurface grid of horizontal
& vertical lines at 90ºcolor
Mondrian’s Red Tree
(1911)

32. Mondrian’s Grey Tree
(1912)
Mondrian’s Composition
(1913)
Mondrian’s Composition in Grey and Ochre
(1918)
De Stijl
Composition (1920)style: non-objectivesevere iconoclastic
theme: renounces world of appearances (see
Theosophy)subject: formalistspatial order: emphasis on 2-d,
flattened plane of canvas surface line: two
directions (horizontal & vertical) of varying widths
composition: irregularcolor: limited schemablack & white
linesprimaries on perimeter
De Stijl
Broadway Boogie Woogie (1943)subject: painted upon arrival
in NYCspatial order: emphasis on 2-d, flattened plane of
canvas surface line: two directions (horizontal
& vertical) of varying widths composition: irregularcolor:

33. w/in centralized area
Mondrian’s De Stijl (“Neo-Plasticism”) Broadway Boogie
Woogie (1943)
vs.
Trowbridge’s Politics of Time (2012)
*
Russian Avant Garde:
SuprematismMalevich (1878-1935) training: Kiev School of
ArtMoscow Academy of Fine Arts (1904-10)political context:
Communist Revolutionaesthetic: non-objectiveaim: to
reduce painting to most simplified elementscolor: pure
geometric zonesaims: to free art from material worldno longer
bound to canvas (picture plane) pure, unapplied formto set up
genuine world order, new philosophy of lifepublications:From
Cubism to Suprematism (1915)The Non-Objective World (1927)
Suprematism:
Malevich
Suprematism (1915)aim: “to free art from burden of
object”effect: radical geometric simplicityaesthetic: non-

34. objectivean art of extreme reductionno reference at all to
realitylimited to formal elements of line, form & colorspatial
order negatedinfluence: Theosophy“The object in itself is
meaningless... the ideas of the conscious mind are worthless”
Suprematism:
Malevich
Airplane Flying (1915)theme: utopianaesthetic: non-
objectiveforms: large, geometric areas of unmodulated
color (see Synthetic Cubism)composition:
dynamicdiagonal arrangementinterlocking formsspatial order:
emphasizes 2-d surface of canvascolor:
primaries + b/wlight/shadow: obviatedbrushwork: deemphasized
Russian Avant Garde:
ConstructivismRodchenko (1891-1956) biography: childhood in
St. Petersburgtraining: 1910-14: provincial art school 1915:
moves to Moscowmature work: investigates material &
formal logic of artartistic maturity w/ rise of Bolshevik
Revolution (1917)deeply committed to ideals of Communist
Revolutionrose to prominence in Lenin’s new cultural
bureaucracy (1918-21)Stalin era: (1924-53) embroils him in
great tragedyutopian aspiration yields to violent dictatorship
Constructivism:
Rodchenko

35. Line & Compass Drawing (1915) medium: compass-and-ruler
drawingaesthetic: non-objectivemechanical precision artistic
self-image as technician or engineerspatial order: emphasizes 2-
dforms: fractured by quasi-Cubist network of
linescomposition: dynamic sense of movement
(see Futurism)color: reduced to black & white
Constructivism:
RodchenkoTwo Circles (1920)aim: revolutionary goal to
achieve ordered, technologically advanced
societyaesthetic: non-objectiveimpersonal; mechanically
precisestripped of narrativemeaning: devoid of
spiritual/metaphysical trappingsarrangement of forms implies
political ideologyperspective: reduced to 2-d
emphasizes planar surface of canvascomposition:
centralizedcolor: completely absent
Russian Avant Garde:
ConstructivismTatlin (1885-1953)early work:exhibited at
several avant-garde exhibitions in Russia (1910)visited Berlin
and Paris (1914) met Picassoresponds to Synthetic Cubism Post-
Communist Revolution (1917)worked for new Soviet Education
Commissariate used art to educate the publican officially
authorized artutilized “real materials in real space”design
principles based on inner behavior and loading capacities of
material
Constructivism:

36. TatlinThird International Tower (1920)patron: Dept. of Artistic
Work of the People’s Commissariat for
Enlightenmentsite: intended for central Moscow; never
constructedaesthetic: utopianaim: “union of purely plastic forms
for utilitarian purpose”power/benefits of industrialization
visual reinforcement of social & political realityforms:
reductive geometry function: monument to honor Russian
Revolution propaganda & news centermaterials: “the culture of
materials”revolving glass & ironsheet metal & woodscale:
envisioned as twice as tall as Empire State Building (c.
early 1930s)composition: dynamictilted spiral cagethree (3)
geometrically shaped chambers to rotating at different speeds
around central axis
Constructivism:
TatlinThird International Tower (1920)arrangement: decreasing
size of chambers paralleled decision-making
hierarchy in political system most authoritative, smallest group
at apexbottom huge cylindrical glass structure used for lectures
& meetings revolves once/yearmiddle cone-shaped chamber
administrative functionsmonthly rotationstopcubic information
centerissues news bulletins & proclamations via most modern
means of communicationopen-air news screen (illuminated @
night)instrument to project words on clouds on overcast
daysdaily revolution
IMAGE INDEXSlide 2: Photograph of Piet MONDRIAN.Slide
3: MONDRIAN. Red Tree (1911), Oil on canvas, 30 7/8 x
42 3/8 in., Haags Gemeentemuseum, The Hague.Slide 4:
MONDRIAN, Piet. Gray Tree (1912).Slide 5:

37. MONDRIAN. Composition in Line and Color (1913), Oil
on canvas, 34 5/8 x 45 1/4 in., Riksmuseum, The
Netherlands.Slide 6: MONDRIAN, Piet. Composition
in Grey and Ochre (1918), oil on canvas, 80.5 x
49.5 cm., Museum of Fine Arts, Houston, TX.Slide 7:
MONDRIAN, Piet. Composition in Red, Yellow, and
Blue (c. 1920), Oil on canvas, 20 ½ x 23 ½ in.,
Museum of Modern Art, New York.Slide 8:
MONDRIAN, Piet. Broadway Boogie Woogie (c. 1945).
IMAGE INDEXSlide 9: MALEVICH, Vladimir. Self Portrait
(1933), Oil on canvas, 73 x 66 cm, The Russian
Museum, St. Petersburg, Russia.Slide 10:
MALEVICH, Vladimir. Suprematism (1915), Oil on
canvas, 34 1/2” x 28 3/8”, State Russian Museum, St.
Petersburg, Russia.Slide 11: MALEVICH,
Vladimir. Aeroplane Flying (1915), Oil on canvas,
22 5/8 x 19 in., The Museum of Modern Art
(MoMA), New York.Slide 12: Photograph of Alexsandr
RODCHENKO.Slide 13: RODCHENKO, Aleksandr. Line and
Compass Drawing (1915), pen and ink on paper, 10
1/16 x 8 1/16 in., Rodchenko Archive, Moscow.Slide 14:
RODCHENKO, Aleksandr. Construction, No. 127 (1920),
Oil on canvas, 24 5/8 x 20 7/8 in., The Pushkin State
Museum of Fine Arts, Department of Private
Collections, Moscow.
IMAGE INDEXSlide 15: TATLIN, Vladimir. Self-portrait as a
Sailor (1911), Tempera on canvas, 28 1/8 x 28 1/8
in., Russian Museum, St. Petersburg, Russia.Slide
16: TATLIN, Vladimir. Monument to the Third International

38. (c. 1920), Museum of Modern Art, Stockholm,
Sweden.Slide 17: PUNIN, Nikolai. Monument to the Third
International (1920), Cover with letterpress
illustration on front, 11 x 8 5/8 in., Gift of The Judith
Rothschild Foundation.
*
ART HISTORY 132
Surrealism
Surrealism
(c. 1925-45)
definition: Breton’s First Manifesto of Surrealism
(1924)“Surrealism rests in the belief in the superior reality of
certain forms of association neglected heretofore; in the
omnipotence of the dream”
definition: Breton’s Second Manifesto of Surrealism (1930)“…
a certain state of mind from which life and death, the real and
the imaginary, past and future, the communicable and the
incommunicable, height and depth, are no longer perceived as
contradictory”
André Breton

39. (1896-1966)biography: petit-bourgeoisie studied medicine and
later psychiatrymet Freud in Vienna (1921)WWI: served in
neurological ward attempted to use Freudian methods to
psychoanalyze his patientswartime meetings w/
Apollinairejoined Paris Dada group (1916)major periodicals:La
Révolution surréaliste (1924-30)Le Surréalisme au service de la
révolution (1930-33)process: “pure psychic automatism”high
degree of immediate absurdity“a monologue poured out as
rapidly as possible, over which the subject's critical faculty has
no control”“The dictation of thought, in the absence of all
control by reason, excluding any aesthetic or moral
preoccupation”
Surrealismcontext: Freud’s The Interpretation of Dreams
(1899)Surrealists preoccupied w/ F’s methods of
investigati
unconscious to resolve a conflict, whether something recent or
something from the recesses of the past unconscious must
distort and warp meaning of its information to make it through
censorship of preconsciousimages in dreams are often not what
appear to be and need deeper interpretation if they are to inform
one symbol or image may have multiple meanings
Max Ernst
(1891-1976)biography:born near Cologneson of amateur painter
& teacher of deaftraining: self-taught while studying
philosophy and psychiatry @ University of Bonn (1909-1914)
exhibited at first German Autumn Salon in 1913in 1914, became
acquainted w/ Arp and they began lifelong friendshipWWI:

40. drafted into German military (1916 )after war, settled in
Cologne founded Cologne Dada group w/ ArpDada:exhibition of
1920 in Cologne closed by police on grounds of obscenityErnst
exhibited w/ Paris Dada group and moved to Paris in 1922leaves
behind wife and sonenters illegally settles into ménage à trois
w/ Paul Éluard and wife, Gala, who eventually married Salvador
Dalí in 1929
Ernst
Oedipus Rex (1922)subject: Freudianloving & hostile wishes
children experience towards parents at height of
phallic phasetheme: sadismstyle: illusionisticperspective: linear
& aerialscale: disjointedarchitecture: dislocated
Ernst
Two Children Are Threatened by a Nightingale (1924)theme:
Freudiansubject: childhood fears & anxiety produced
by dreamstechnique: tromp l’oeil scale: intimateaesthetic:
illusionisticperspective: linear & aerial
Salvador Dalí
(1904-89)biography: son of prosperous notary training:
Academy of Fine Arts (Madrid)read Freud w/ enthusiasm
expelled for indiscipline (1923)met Gala Eluard when she
visited him w/ her husband, poet Paul Eluard (1929)became
Dali's lover, muse, business manager, and chief
inspirationWWII: clashed w/ Surrealists who were

41. predominantly Marxistfascination for Hitlerrelations w/
Surrealist group became increasingly strained after 1934break
finally came when D declared support for Franco in 1939Dali
and Gala escaped from Europe, spending 1940-48 in the United
his name) in 1940
DALI’s The Persistence of Memory
(1931)
DalíPremonition of Civil War (1936)alternative title: “Soft
Construction w/ Boiled Beans”method:
“paranoiac-critical”aesthetic: illusionisticnarrative: allegorical
of auto-strangulation”break w/ Surrealists
came when Dali supported Spanish dictator, Franco, in
1936figure: grotesquedismembered & contorted ecstatic
grimacepetrifying fingers & toeslandscape: lifeless
(Left) Dalí’s Surrealist Premonition of Civil War (1936)
vs.
(right) Goya’s Romantic Saturn Devouring His Son (c. 1815)
Dalí
Crucifixion (1954)relate to Renaissance:figure along

42. CVAaerial & linear perspectivenaturalistic drapery, shadows,
musculaturevariance from Renaissancefloating formsmisplaced
nails & absence of woundsfigures’ scale reversedviewer
deprived of C’s human emotion
Rene Magritte
(1898-1967)nationality: Belgianbiography: mother committed
suicidetraining: Académie Royale des Beaux Arts in
Brussels (1916-18) style: illusionistic; deliberate
literalismexhibition history:first exhibition in Brussels in 1927;
critics heaped abuse depressed by failure, moved to Paris where
he became friends w/ Bretonaim: to challenge pre-
conditioned perceptions of realitysubject: “pre-
consciousness” state before /during waking updid not draw on
hallucinations, dreams, occult phenomena, etc.method:
disjunction between context, size, or juxtaposition of object
Magritte’s Surrealist False Mirror (1926)
Magritte’s Surrealist Lovers (1928)
Magritte’s Surrealist The Treachery of Images (1929)
Joan Miró

43. (1893-1983)
biography: Catalanremained in Paris from 1936 to 1941returned
to Barcelonamoved to NYC after WWII relation to Surrealism:
realm of dreams and fantasyimages evoke subconscious
recognition gained through automatismforms: schematized &
whimsicalfanciful juxtapositions human, animal &
(Altamira)
Miro’s Surrealist Carnival of the Harlequin (1925)
Detail from MIRO’s Surrealist Carnival of Harlequin (1925)
vs.
detail from MATISSE’s Fauvist Harmony in Red (1910)
Miró
Painting (1933)aim: unconscious mindtechnique:
“automatism”freely drawing series of lines w/out considering
what they might be or becomeabsence of all control exercised
by the reason outside all aesthetic or moral
preoccupationsconsciously reworkedforms: abstract;
weightlessspatial order: flattened

44. IMAGE INDEXSlide 2: ERNST, Max. A Friends’ Reunion
(1922), Oil on canvas, 130 x 195 cm, Museum Ludwig,
Köln, Ger-many.Slide 3: Image and photograph of Andre
Breton.Slide 4: Photograph of Sigmund FREUD.Slide 5:
Photograph of Max ERNST.Slide 6: ERNST, Max.
Oedipus Rex (1922), Oil on canvas, 93 x 102 cm., Private
collection, Paris.Slide 7: ERNST, Max. Two Children Are
Threatened by a Nightingale (1924), Oilon wood with
wood construction, 2’ 3 ½” x 1’ 10 ½” x 4 ½”, Museum
of Modern Art, New York.Slide 8: MAN RAY. Salvador Dali
(1929), photograph.Slide 9: DALI, Salvador. The Persistence
of Memory (1931), Oil on canvas, 9 1/2” x 13”,
Museum of Modern Art (MoMA), New York.
IMAGE INDEXSlide 10: DALÍ, Salvador. Soft Construction
with Boiled Beans: Premonition of Civil War (1936), Oil
on canvas, 39 ¾ x 39 in., Philadelphia Museum of
Art.Slide 11: (Left) Dalí’s Surrealist Premonition of Civil War
(1936); and (right) Goya’s Romantic Saturn Devouring
His Son (c. 1815)Slide 12: DALI. Crucifixion ('Hypercubic
Body') (1954), Oil on canvas, 194.5 x 124 cm.,
Metropolitan Museum of Art, New York.Slide 13: Photograph
of René MAGRITTE.Slide 14: MAGRITTE, René. The False
Mirror (1926).Slide 15: MAGRITTE, René. The Lovers
(1928), Oil on canvas, 21 3/8 x 28 7/8 in., Museum
of Modern Art (MoMA), New York.Slide 16: MAGRITTE. The
Treachery of Images (1929), Oil on canvas,
23 1/2” x 37”, Los Angeles County Museum of
Art.
IMAGE INDEXSlide 17: MIRO, Joan. Self-Portrait.Slide 18:
MIRO. Carnival of Harlequin (1925), Oil on canvas, 66 x

45. 93 cm, Albright-Knox Art Gallery, Buffalo, N.Y.Slide
19: (Left) Detail from MIRO’s Carnival of Harlequin (1925);
and (right) detail from MATISSE’s Harmony in Red
(1910).Slide 20: MIRO. Painting (1933), Oil on canvas, 4’
3 ¼” x 5’ 3 ½”, Wadsworth Atheneum, Hartford, CT.
ART HISTORY 132
Dadaism
&
Pittura Metafisica
Dadacontext: environmentalZurich (Switzerland)neutral
territory during WWIrefuge for avant-garde artistsaim: to
shock Swiss bourgeoisie w/ non- sensical performancesterm:
child’s wooden [hobby]horsefirst syllables spoken by children
learning to talkscope: international movement originated in
Zurich and New York at the height of WWIquickly spread to
Germany (Berlin, Cologne, Hanover) and Paris
Dadaaim: destruction of bourgeois values in art and society
credo: “Everything the artist spits is art”
significance: first art movement to turn avant-garde weapons of
confrontation & contradiction
against itself
aesthetic: nihilistic & iconoclasticno formal aesthetic no use for
the person of “sensibility” to take refuge in beauty to attack the
icons of the old culture

46. methods: a kind of “anti-art”iconoclastic attitude toward
traditionexalts commonplace objects, by taking them out of
contextincorporates effects of randomness & chance playful &
experimental (e.g., doodling, automatic writing)historically
unacceptable techniques & materials
Marcel Duchamp
(1887-1968)biography:born to successful notaryfamily interests
included music, art, literature & chessjoined brothers in Paris,
after graduating high schooltraining:1904-05: Academie Julian;
but did not attend classes very oftenabsorbed variety
of influences outside Academy (e.g., Cezanne, Symbolism,
Fauvism, Cubism, et al)career: mastered all avant-garde styles,
before rejecting its formulas; abruptly ends creating
works, in order to play chesssignificance: impact upon
subsequent generations after WWII supersedes Picasso and
Matisse
Duchamp
Bicycle Wheel (1913)aim: to provoke & expose hypocrisy
of avant-gardeargument: avant-garde relying on
formulaemethod: “Conceptual”manipulator of context rather
than forms or objectseffect: subversive definition of originality
Duchamp
Fountain (1917)significance: iconoclastic rendering of
traditional formeven rejected by Salon d’Independantsaesthetic:
conceptual vs. retinalmedium: ‘Ready-Made’ (a.k.a. “found
object”)mass-produced objecttaken out of contextdeprived of

47. original functioninvertedsignature: ironic & random
Duchamp
L.H.O.O.Q. (1919)aesthetic: iconoclasticno use for person of
“sensibility” to take refuge in beauty attacks icon of old
culturemedium: “assisted ready-made”retouched poster of Mona
Lisaadds moustache & goatee (graffiti)issue: gender
hot ass”
DuchampLarge Glass (1915-23) aesthetic: non-objective
(?)subtitle: Bride Stripped Bare by her Bachelors,
Even?officially declared unfinishedmeaning: machine of
sufferingnarrative: intricate mechanical diagrammaterials:
unconventionalcolor: monochromaticmethod: incorporates
effects of chance & randomnesscomposition: two large
panels glass planes placed above other spatial order: top panel
-
Jean Arp
(1887-1966)career: founding member of Dada movement
in Zürich (1916)1920: along w/ Max Ernst, set up
Cologne Dada group1925: appeared in first exhibition of
Surrealist group in Parisdefinition: Dadaism is “revolt of
unbelievers against misbelievers”aim: “Art is a fruit that grows
in man, like a fruit on a plant, or a child in its mother’s

48. womb”method: free association & chancedesire for liberation
from rationalityto remove artist’s will from creative
actrepresented fundamental law of organic realmstyle:
abstractflat pattern curvilinear contours pure bright coloreffect:
maximum expressiveness w/ elementary forms
Arp
Laws of Chance (1915)aesthetic: non-objective;
collagematerials: non-traditional (torn paper)aim: free of human
intervention and closer to nature to divorce imagery from “the
life of the hand”method: chance operationsdrop pieces of paper
on floor arranging them on piece of paper more or less the way
they had fallenforms: irregular composition: irregularspatial
order: flattenedmeaning: randomness/absurdity of who
lives or dies during WWI
Schwitters
(1887-1948)training: Dresden Academy of Artsignificance:
20C’s greatest master of collageassemblages from scraps of
colourjuxtapositionsabstraction and realismaesthetics and
rubbish delicate balance between content and form intricate
interplay of coarse and filigree exhibition history:Sturm Gallery
in Berlin (1918) Sturm Gallery (mid-1919)abstract Merz works
& whimsical Dada drawingscaused a furore among the
criticsthrived on public oppositionfrom 1919 to 1923 created
succession of Merz pictures
Paul Klee

49. (1879-1940)biography: Swiss painter who spent most of
adult life in Germany until expelled by Nazis in 1933
career: taught at the German Bauhausprocess: “psychic
improvisation”influences: related fields of natural history,
anatomy and anthropology nature characterized by permutation
scale: small
mixed media: watercolor washes often combined w/ elaborate
line drawingsaesthetic: coloré traditionwrote extensively about
it; lectures Writings on Form and Design Theoryconceived as
moving around central axis dominated by primary
colorssettings: mysterious dream world tone: satirical & ironic;
gently humorous iconography: Jung’s “collective unconscious”
archaic signs and patternsallusions to dreams, music, and
poetrynarratives: simultaneous, independent themesdistillation
of personal experiences
KleeTwittering Machine (1922)scene: evokes abbreviated
pastoral that fuses natural w/ industrial worldtone:
contrasting sensibilities of humor and
monstrositytechnique: automatic drawing technique
of Surrealists aesthetic: comparisons to caricature &
children's art forms: imaginative likeness to naturewiry, nervous
linecreatures bear resemblance to birds only in beaks and
feathered silhouettescloser to deformations of nature spatial
order: flatcolor: pastel washeslight/shadow: subordinated to
color
Hannah Hoch
(1889-1978)

50. context: Weimar Republicpost-WWI Germany addressing fears
and hopes for modern German womensignificance: dramatic
redefinition of gender roles and sexuality of
womenmedium: photomontagesadapts Cubist idea of collage to
new purpose materials: subversivemade of litter (e.g., bus
tickets, sweet wrappings and other scraps)process: arranging
and glue photographs, advertisements or other found
illustrative material onto a surfacecomposition: puzzling
and incongruous juxtapositions of forms and letters
Hoch
Beautiful Girl (1920)subject: optimism for technology and its
relationship to modern woman narrative:
fracturedmotifs: mass-produced/Industrial Rev.automobile
tirestime pieces (watches)electric light bulbfigure: clad in
modern bathing suite w/ light bulb for her headpose:
seated on a steel girderbackground: silhouette of woman’s
head w/ cats eyeslurks behind scenes stares out at audience
Giorgio de Chirico
(1888-1978)biography: born in Greece to Italian
parentstraining: Polytechnic Institute (Athens, 1900)Academy
of Fine Arts (Munich, 1906)influence of Symbolist painter
Böcklin influence of Nietzsche’s writings to “refute
reality”motifs: strange cityscapessource of imagery was Turin
(Italy)created a fantasy town, a state of mindelements deserted
city arcades & piazzasbrooding statues mannequinslengthening
shadowspassing trainstheme: “metaphysical”signifies alienation,
dreaming and lossaims to destabilize meaning of everyday
objects by making them symbols of

51. fearalienationuncertainty
de Chiricocontext: aesthetic when Surrealists first discovered
him, saw him as “a fixed point”however, became “a
metaphysical or mystic rope to be placed afterwards round our
necks” (Breton)represented in every number of La Révolution
Surréaliste, but article devoted to him by Breton in June 1926
issue passed a crushing judgment on himdue to perceived shift
in style post-1919declared de Chirico unworthy of “marvels” of
his metaphysical period
Pittura Metafisica:
de Chirico
(1888-1978)Melancholy & Mystery of a Street date: 1914theme:
“metaphysical”to destabilize everyday objects symbols of fear,
alienation & uncertaintynarrative: isolation &
forebodingcomposition: dynamicperspective: linear &
aerialMannerist exaggerationsbizarre spatial constructions
color: limited rangelight/shadow: black silhouettes
de Chirico
The Disquieting Muses (1916)setting: TurinMontparnasse train
stationpiazzafactory smokestackscentral figures: Classical
originsClassical sculpture combined w/ mannequin
headabstracted human femalescale: deliberately
disproportionateperspective: mannered light/shadow: dramatic
long shadows

52. IMAGE INDEXSlide 2: TZARA, Tristan. Poster for Dada
Movement (c. 1917). Slide 4: Photograph of DUCHAMP.Slide
5: DUCHAMP, Marcel. Bicycle Wheel (1915).Slide 6:
DUCHAMP, Marcel. Fountain (1917), Readymade:
porcelain urinal, Original lost, Height 60 cm.,
Philadelphia Museum of Art, Philadelphia.Slide
7: DUCHAMP, Marcel. L.H.O.O.Q. (1919), color
reproduction of Leonardo da Vinci’s Mona Lisa altered
with a pencil, 7 3/4 x 5 in., Philadelphia Museum of
Art, Philadelphia.Slide 8: Photograph of Jean ARP.Slide 9:
ARP, Jean. The Laws of Chance (1916-17), torn and
pasted paper, 1’ 7 1/8” x 1’ 1 5/8”, Museum of
Modern Art (MoMA), New York.
IMAGE INDEXSlide 10: SCHWITTERS, Kurt. L’Oeil
Cacodylate (1919).Slide 11: Photograph of Paul KLEE.Slide
12: KLEE. Twittering Machine (1922), Watercolor and pen
and ink on oil transfer drawing on paper, mounted on
cardboard, 25 1/4 x 19 in., (MoMA), New York. Slide
13: Photograph of Hannah HOCH.Slide 14: HOCH, Hannah.
Beautiful Girl (1920).Slide 15:DE CHIRICO, Giorgio. The
Child’s Brain (1914), Oil on canvas, Moderna Museet,
Stockholm, SweedenSlide 16: Photograph of Giorgio DE
CHIRICOSlide 17: DE CHIRICO, Giorgio. Mystery and
Melancholy of a Street (1914), Oil on canvas, Private
Collection.Slide 18: DE CHIRICO, Giorgio. The Disquieting
Muses (1916).

53. ART HISTORY 132
Cubism:
Tubism, Orphism & Futurism
Fernand Leger
(1881-1955)training: failed entrance exam to Ecole des Beaux-
Arts in 1903studied at Ecole des Arts Decoratifs and Academie
Julian
biography: WW Igassed while serving as a stretcher-bearer on
the frontcontact w/ men of different social classes came as a
revelation
art movement: Tubismforms: curvilinear & tubularspatial order:
flattenedcolor: vibrant
post-WWI aesthetic: renounces abstraction discovers beauty of
common objectsclean and precise forms: defined in simplest
terms color: vibrant subject matter: cityscape and machine parts
Leger’s Tubist The Card Players
(1917)
(Left) CEZANNE’s Post-Impressionist The Cardplayers (c.
1890)
vs.
(right) LEGER’s Tubist The Cardplayers (c. 1915)

54. LEGER’s The City
(1919)
LEGER’s Tubist Three Women
(1921)
(Left) LEGER’s Tubist Three Women (c. 1925 CE)
vs.
(right) Classical Greek Three Goddesses (c. 500 BCE)
Robert Delaunay
(1885-1941)Orphism (c. 1911-14)movement name assigned by
reek
mythology) rather than cubes or tubes, experimented w/ color
circleemphasizes “simultaneity”
aim: to depict luminous essence of nature
light: organizing role of representation
aesthetic: coloré traditionas opposed to Cubists who experiment
only in line, giving color secondary role laws of complementary
& simultaneous contrastsobservation of “movement of

55. colors”studies in transparency of colorsimilarity to musical
notes drove D to discover "movement of color"
Delaunay
The Red Tower (1911)phase: self-designated
“destructive”motif: Eiffel Towersign of modernity and progress
subject: vast space, atmosphere, and lightforms: disjointed;
fractured light: fractures space & formsspatial order: imploding
composition: symmetricalviews from awindow framed by
curtainsbuildings bracketing tower curve like draperycolor:
primaries and secondaries located at centermuted
hues frame image
(Left) Delaunay’s Orphist The Red Tower (1911)
vs.
(right) Seurat’s Neo-Impressionist Eiffel Tower (1889)
Delaunay
Homage to Bleriot (1914)theme: airflightfirst Frenchman to fly
over English Channelnarrative: non-temporal &
simultaneousmotif: Eiffel Towerspatial order: suggests depth
through scalecomposition: lyrical use of circlescolor: vibrant &
complementaryprismatic dispersion evenly across
canvaslight/shadow: unifies composition brushwork: non-
divisionist/schematic

56. Umberto Boccioni
(1882-1916)training:1901: Romeattends Accademia di Belle
Artilearns Divisionist techniques from Balla1902: Parisstudies
Impressionism & Post-Impressionismbiography: 1906: travels to
Russia1906-07: moves to Venice1907: settles in
Milanassociated w/ Carrà & meets poet Marinetti1910: helps
formulate Futurist manifestos1911: Parismeets
Picasso/Apollinaire through Severiniexhibition history:1912:
first Futurist show in Parisexhibition travels to London, Berlin,
& Brussels1913: solo show of sculpture & paintings in
ParisWorld War I: July 1915: enlists in army w/
Marinettisuffers accident during cavalry exercisesdies August
1916
Boccioni’s States of Mind: Farewell
(1911)
Boccioni
Dynamism of a Soccer Player (1912)concept:
motioncomposition: compactcolor: subdued primariesspatial
order: implodeslight: fractures formsforms: interpenetratelines
of forcearabesque curves
Boccioni’s Dynamism of a Cyclist

57. (1913)
BoccioniUnique Forms of Continuity in Spacedate:
1913medium: bronzesurface texture: polished aesthetic: adopts
Cubist method of fracturing of planesaim: speed & dynamism of
contemporary lifeform: to make objects live by
showing their extensions in spaceprocess:
“systematization of the interpenetration of
planes”force-linesarabesque curves
(Left) BOCCIONI’s Unique Forms of Continuity in Space (c.
1915)
vs.
(right) Hellenistic Greek Winged Victory (c. 250 BC)
Giacomo Balla
(1871-1958)training:studied briefly at Accademia Albertina di
Belle Arti and the Liceo Artistico in Turin In 1891 exhibited for
the first time under the aegis of the Società Promotrice di Belle
Arti studied at the University (c. 1892) moved to Rome (1895)
worked for several years as an illustrator, caricaturist, and
portrait painterexhibition history:work included in Venice
Biennale (1899) exhibited regularly for the next ten years in
Esposizione internazionale di belle arti at the galleries of the
Società degli Amatori e Cultori di Belle Arti in 1904,
represented in Internationale Kunstausstellung in

58. DusseldorfIn1909, exhibited at Salon d'Automne in Parisin
1900, spent seven months in Parisabout 1903, began to instruct
Severini and Boccioni in divisionist painting techniquesFuturist
painting manifesto of 1910 signed the second with Boccioni,
Carrà, and Severinialthough did not exhibit with the group until
1913in 1912, traveled to London and Dusseldorf, where he
began painting his abstract light studies
Balla
Dynamism of a Dog on a Leash (1912)concept: motion &
speedmethod: superimpositionspatial order: simultaneous
viewsforms: flattenedcomposition: dynamiccolor:
monochromatic
Balla’s Abstract Speed - The Car has Passed
(1913)
Gino Severini
(1883-1966)training:studied at Scuola Tecnica in Cortona
moving to Rome in 1899attended art classes at the Villa Medici
by 1901 met Boccioni Together, Severini and Boccioni visited
studio of Balla introduced to painting w/ “divided” rather than
mixed colorsettles in Paris in November 1906:studied
Impressionist painting met Neo-Impressionist Paul Signaccame
to know most of the Parisian avant-garde (e.g., painters Braque,
Gris, & Picasso, as well as poets Apollinaire & Max

59. Jacob)Futurism:signed “Technical Manifesto” (April 1910),
along w/ Balla, Boccioni & Carra however, less attracted to
subject of machine frequently chose form of dancer to express
Futurist theories of dynamism in art
Severini’s Dynamic Hieroglyphic of the Bal Tabarin
(1912)
Severini
Armored Train (1915)subject: outbreak of WWItheme: speed &
dynamism of mechanized worldnarrative: combat
soldierscomposition: figures placed along central vertical
axissurrounding space penetrated by diagonalscolor: primaries
& secondariesbrushwork:
ART HISTORY 132
Impressionism
*
Napoléon III

60. (1808-1873)
nephew of Napoleon Bonaparte
tried 2x to overthrow Louis Philippe
exiled to NYC for four years; sentenced to life-sentence;
escaped in 1846 to England
returns to FR w/ onset of Revolution of 1848
elected President of Second Republic (1848)
two days of violent fighting in Paris
opposition in rural provincesseveral hundred killed26K
arrested; 10K transportedleading legislators arresteddrastic
revision of 1848 constitutionextends presidential term to 10
yrssharply reduces legislature’s powers1852: declares Second
Empire. 1850s: authoritarian phasepress censorship restrictive
right to assembledeprived Parliament right to debate1860s:
liberalizationpolitical exiles amnestied and allowed to
returnParliament given right to present formal resolutions to
emperor and engage in free debates relaxed controls on press
and public assemblybroadened public education
“Haussmannization”
date: c. 1852-1870
location: downtown Paris renovated
effect: working class neighborhoods moved to
outskirts of Parisstatistics:
cost of 2.5B francs
doubled acreage of city through annexation
at height of reconstruction, 1 in 5 Parisian workers employed in
building tradeachievements:clearing of dense, irregular
medieval slumsregulations imposed on bldg facadeswidened
streets into boulevardsouter circle of railways round
Parissewers/water works (80M francs)construction of expansive

61. parks by end of 1860s, Paris had 2x as many trees as in
1850most transplanted full grown
Franco-Prussian War
& Siege of Paris
(July 1870 – May 1871)Franco-Prussian Warpretext: vacancy of
Spanish throne 1868 revolt deposed Bourbons offered to
Hohenzollern Prince Leopoldnephew of Prussian king Wilhelm
Icauses provocation by Bismarckoutcome: German victory after
44 days, Napoleon III surrenders at Battle of
Sedaneffect:unification of German Empire end of Second
[French] Empireformation of [French] Third RepublicSiege of
ParisGerman army continues towards Paris after Napoleon III’s
surrender at SedanPairs bombarded w/ heavy caliber Krupp
gunsseveral months of famine
[Paris] Commune
(March – May 1871)significance: “most tremendous event in
history of European civil wars”
(Marx)Communards aim to “break up bureaucratic and military
machine” of bourgeoisierecruit from petty artisansinfluenced by
Socialist revolutionariescalled for separation of church and
state“Central Committee" alternative to political and military
power of National Assembly (Thiers)increasingly radical
stanceseparation of church and stateright to vote for
womengrants pensions to unmarried companions/children of NG
killedremission of rents (during Siege)pawnshops return
workmen's tools/household items postpones commercial

62. army to seize cannonsLa Semaine Sanglante (“Bloody
10Kepilogue: Paris remains under martial law for five
years
Impressionism
Charles Baudelaire
(1821-1867)
significance: “father of modern criticism”B prophesized after
Salon of 1845"He shall be the true painter who can pull out of
everyday life its epic side….”
-old, ex-priest and widower;
married 26 year-old orphan1841: B voyage to India to cure
syphillis1842: on return to Paris, meets Jeanne Duvalwoman of
mixed racebecame his mistress 1848: fought at barricades
during Revolutionassociated w/ [Socialist] Proudhon 1851:
opposed coup d'état of Louis-Napoleon
aesthetic: “Decadents” formed w/ Mallarmé and VerlaineThe
Flowers of Evil (1857)sympathy for prostitute, who revolts
against bourgeois familyfound guilty of obscenity The Painter
snobbish aesthete
“Japonisme”context: ethnographicexhibitions in Holland during
1830s of Japanese print collections and books (e.g., Hokusai’s
Manga)appreciation of all things Japanese stimulated by Paris

63. Exposition Universelle (1867)part of 19C’s continuing
“romantic” dialogue w/ exotic culture
aim: to “designate a new field of study — artistic, historic, and
ethnographic”
opens Japanese ports, after two centuries of
isolation_economics/tradeprints & decorative arts (e.g.,
porcelains, furniture) flood into Europe, creating a craze in
1860savidly collected by artists, critics, and
connoisseursJapanese goods obtainable in Parisian department
stores (grand magasins) by 1880
critics (“avant garde”): continually supported value of Japanese
artErnest Chesneau’s “Beaux-Arts, L’Art Japonais” (1868)“…
the authority of the principle of observation in Japanese art is
that it renders w/ a remarkable aesthetic power and an
inimitable perfection of design (re: asymmetry)”Zacharie
Astrucdefender and friend of Manetarticles for L’Etendard
(1867-68) spoke out on Japanese art at Exposition
UniverselleP
Édouard Manet
(1832-83)
daughter of diplomat and goddaughter of the Swedish crown
-ranking Minister of Justice uncle (maternal)
uraged him to pursue painting; often took
M to Louvretraining:1845: M enrolls in drawing course; meets
Proust (future Minister of Fine Arts and
subsequent life-long friend)1850: studio of Thomas
Couturecredo: “Painter of modern life” (Baudelaire)exhibition
history: believed success only obtained by
recognition @ Salonoften rejected; exhibited @ Salon des
Refusés (1863) never exhibited w/ Impressionistsfully supported
their aimsworked closely w/ Monetartistic sources:

64. “universalist”Renaissance (Florentine &
Venetian)BaroqueVelazquez (SP Baroque)Dutch still
lifesJapanisme
Manet’s The Luncheon on the Grass
(1863)
MANET’s Impressionist Luncheon on the Grass (1863)
vs.
GIORGIONE’s Venetian Renaissance Pastoral Symphony (c.
1510)
*
MANET’s Impressionist Luncheon on the Grass (1863)
vs.
detail from RAPHAEL’s High Italian Renaissance
The Judgment of Paris (c. 1520)

65. Manet’s Luncheon on the Grass
detail: still-lifebrushwork: painterlyforms est. by building up
paint, rather than through contourtextures:
varietyfruitleaveswickerblanketlight/shadow:consistent source
creates sense of volume
Manet’s Olympia
(1863)
(Left) Titian’s Venetian Ren. Venus of Urbino (c. 1535)
vs.
(right) Manet’s Impressionist Olympia (1863)
*
(Left) CABANEL’s The Birth of Venus (1863)
vs.
(right) MANET’s Olympia (1863)

66. MANET’s Impressionist The Railroad
(1872-73)
Details from Manet’s The Railway
Manet’s Bar at the Folies-Bergère
(1882)
Details from Manet’s Bar at the Folies-Bergere
*
James Abbot McNeill Whistler
(1834-1903)biography: American-born, British-based
artistattended West Point (for only two months)leaves for Paris,
never to return to USAtraining: Paris (c. 1855)rents studio in
Latin Quarter; adopts life of bohemian artisttraditional art
methods Ecole Impériale atelier of Charles Gabriel Gleyreself-
study (copying at Louvre)friendship w/ Henri Fantin-
Latourintroduced to circle of Courbetincluding Manet &
-60:
London1861-63: Paris1864-65: London1866: visits Chile for

67. political reasons1867-78: London1879: Venice
(Left) WHISTLER’s Caprice in Purple and Gold: The Golden
Screen (1864)
vs.
(right) WHISTLER’s Arrangement in Grey and Black: Portrait
of the Painter's Mother known as “Whistler's Mother” (1871)
Whistler
Nocturne in Blue and Gold: Old Battersea Bridge (1872-
75)process: utilized method of composing
from memorytransposing forms of a scene to canvas w/out
visually returning to actual motifbrushwork: work rapidly
thinned oil paintspecially prepared "sauce“able to bring the
entire canvas to a level of finish in a single sessionsimilar to
f: debt to Japanese art
(Hiroshige)almost abstract span of the bridgebridge itself is
unpaintedannounces its form by leaving dark ground of canvas
exposed
(Left) WHISTLER’s Nocturne in Blue & Gold: Old Battersea
Bridge (1872-75)
vs.

68. (right) HIROSHIGE’s Japanese “Riverside bamboo market”
(1857)
from series One Hundred Famous Views of Edo
WhistlerNocturne in Black and Gold: The Falling Rocket
(1875)exhibition history: Grosvenor Galleryalternative to Royal
Academyshown alongside Pre-Raphaelites 1877: W sues critic
John Ruskin for libelR had been champion of Pre-Raphaelites
and J. M. W. Turnerpraised B-J, while attacked W“ill-educated
conceit of the artist so nearly approached the aspect of willful
imposture”“I have seen, and heard, much of Cockney impudence
before now; but never expected to hear a coxcomb ask two
hundred guineas for flinging a pot of paint in the public's face”
but only awarded mere farthingcourt costs splitsends W into
bankruptcy
Claude Monet
(1840-1926)significance: leader of the Impressionistsaesthetic
aim: fleeting effects of natureapplication of paint:
“impasto”color:dabs of pigment blend in viewer’s eyescreate
sparkle & vibration“complimentary” pairs:red & green; blue &
orange; yellow & purpleoeuvre: remarkable transformationearly
work: directly seen objects (e.g., streets and harbors, beaches,
roads, and resorts) usually filled w/ human beings or showing
traces of human play and activitymature/late work: excludes
human figure gives up still-life genreincreasingly silent &
solitary world

69. Monet’s Impression: Sunrise
(1872)
Monet
Boulevard of the Capucines (1874)setting: boulevard of Nadar’s
studiosubject: winterscapeperspective: linear &
aerialcomposition: dynamiccolor: muted; pastelslight/shadow:
even distributionfigures: abbreviated, implied formsbrushwork:
painterlyfluid & intuitiveforms built up by paint, rather than by
line/contour
Monet: mature style
(c. 1890s)late 1880s and the 1890s: gained critical and financial
success primarily due to efforts of Durand-Ruelsponsored one-
man exhibitions of Monet’s work organized first large-scale
Impressionist group show in United States
aesthetic: more expansive and expressive stylestrictly
illusionistic aspect began to disappearthree-dimensional space
evaporated purely optical surface atmosphere
“serial” paintings:“fixes” the subject matter paints subjects
from more or less same physical position treats subject like an
experimental constant changing effects of could be measured
and recorded allows only natural light and atmospheric
conditions of varying climatic and seasonal conditions to vary
from picture to picturecolor scheme: contrived and artificially
heightened

70. MONET’s (Left) Wheatstacks: End of Summer (1890-91)
and
(right) Grain Stacks: Snow Effect (1890-91)
Monet’s Impressionist Water Lilies
(c. 1900)
(Left) Monet’s Impressionist Water Lilies (c. 1900)
vs.
(right) Hollander’s Water Lilies: Snapper Creek (2015)
Monet’s Japanese Bridge
(1924)
Pierre-Auguste Renoir
(1841-1919)
biography:good friends w/ Monet when both poor &

71. strugglingoften painted w/ Monet in Paris & its suburbsjoyous
personalitysubjects: delightful, intimate outdoor scenes leisure
time & gaiety of middle-class Parisians at cafes and concerts
narrative: spontaneous effect of photography light & shadow:
fleeting effects of sunlightfalls in patches, dappling the
surfacehandling of paint:loose & rapidthick application
(“impasto”)
*
Renoir’s Le Moulin de la Galette
(1876)
RENOIR’s Impressionist Le Moulin de la Galette (c. 1875)
vs.
POUSSIN’s Dance to the Music of Time (c. 1625)
Renoir’s The Luncheon of the Boating Party
(1881)

72. *
Renoir
The Terrace (1881)subject: portraituretheme: bourgeois
economic freedombrushwork: painterlyperspective:
-off by
CVAdynamic: enlivening elementsdiverted gazesdiagonal
railingcolor: vibrant & complimentarylight/shadow: dappling
effects
(Left) RENOIR’s Impressionist The Terrace (c. 1875)
vs.
(right) LEONARDO’s High Renaissance Mona Lisa (c. 1500)
Details from Renoir’s The Terrace
(1881)
Renoir’s The Bathers
(1887)

73. Renoir’s Later Classicizing Tendency
(c. 1890)
205.psd
Berthe Morisot
(1841-1895)biography:daughter of a top civil servant
granddaughter of Rococo painter Fragonardmarried to Eugène
Manet, brother of painter Édouard Manet
training/association:taught by Corot (Barbizon)met Manet in
1868modelled for him & became his pupilbegan working in
“plein air”introduced to Impressionist circle in Parismature
style: impasto brushwork subjects: upper-middle class women,
children & domestic life restricted by social conventions
and constraints of her gender and class subjects chosen from her
family and domestic circles
MorisotHide-and-Seek (1873)subject: bourgeois mother &
childnarrative: calm and staticbrushwork: painterlyfluent, agile,
and spontaneousbold/vigorous streaks, dashes & dabs animated
and energetic rhythmsforms: blur & obliterate
drawingrudimentary characterization of features and
texturesrelatively scant indications of shape and modeling
perspective: linear (implicit)aerialcomposition: stablecolor:
vibrantwarm tonalities subtle use of
complimentarieslight/shadow: diffuse, flickering

74. Morisot’s Servant Hanging Laundry
(1881)
Edgar Degas
(1834-1917)biography:aristocrat from a banking family w/ ties
to cotton industry in New Orleanspolitically & socially
conservativedid not think art should be available to lower
classsubjects:ballet“down-and-outs”emotional indifference of
bourgeoisiestyle: more “linear”strict academic training aim to
appear unstudied, despite working methodically“sense” of
spontaneity in loose brushworkcompositions: influenced by
photographyvoid spacesseverely croppedsharp angles &
perspectives
DegasThe Absinthe Drinker (1876)theme: genre scenesubject:
addiction/isolationfigures: prostitute w/ rag picker
(proletariat)brushwork: sketch-like, yet forms
bordered by dark contourscomposition: dynamic arrangement of
sharp diagonals cropped figures & forms (relate to
photography)void spacescolor: mutedlight/shadow: high-keyed
(morning ?)
DegasWomen Ironing (1884)medium: oiltheme: genre
scenesubject: proletariatnarrative: moment of respite vs.
heroicfigures: massivebrushwork: sketch-likeforms: bordered by
dark contourscomposition: dynamic high anglearrangement of
sharp diagonals color: mutedlight/shadow: even distribution

75. Degas’ Place de la Concorde
(1875)
Degas’ The Rehearsal
(c. 1875)
Mary Cassatt
(1844-1926)biography: born in Pittsburgh, PAtraining: PA
Academy of Fine Arts (1860-62)Jean-Léon Gérôme
(1865)career:1868: Mandolin Player accepted @
Salon1874: resettles in Paris after fleeing Franco-
Prussian Warshows regularly in Salons1877: D invites her to
Impressionistsonly American associatedexhibits in four of eight
shows (1879, 1880, 1881, and 1886)subject matter: common
events in women's lives (see Utamaro) exhibition: ukiyo-e @
École des Beaux- Arts in Paris (Spring 1890)
*
(Left) CASSATT’s Girl Arranging Her Hair (1886)
vs.

76. (right) DEGAS’s Woman Combing Her Hair (1886)
(Left) UTAMARO’s ukiyo-e print Midnight (c. 1790)
vs.
(right) CASSAT’s drypoint etching Maternal Caress (1891)
*
Gustave Caillebotte
(1848-94)
biography: wealthy young man in midst of avant garde
strugglerole: Impressionist groupmanager/marketing agent de
facto negotiated to keep group together through periods of
fractious disagreementrented exhibition space, paid for
advertising, bought framespatron bought paintings from his
needy colleagues & close friendsuncannily astute judgment
bequest of his collection to Francecareer: largely
forgottensubjects: images of urban life compositions: innovative
(see Degas)
Caillebotte’s Paris: A Rainy Day
(1877)

77. Auguste Rodin
(1840-
admission to Ecole des Beaux-Arts 3x due to judges'
Neoclassical tastesearned living as craftsman and ornamentor
for next two decades 1862-63: stricken by death of sister;
w/drew to monastery1870: enlisted in Nat’l Guard during
Franco-Prussian War1875: traveled to Italy for 2 mos. to
study Michelangelo & Donatello1883: began ten-year affair w/
student, Camille Claudel, then 19 yrs oldsignificance: first
sculptor since Berniniaim: to create “new
classics”poses/themes: derived from Hellenistic
Greek art; also Michelangelo
surface texture: unfinished, rough areasrelate to Impressionist
adoption of “sketch-like” brushwork
*
RodinThe Thinker (c. 1880)first cast in 1902 and displayed at
St. Louis World's Fair in 1904approx. 20 other original castings
as well as various other versions, studies, and posthumous
castingsfigure: seated malepose: seatedderived from Greek
Hellenism melancholy (see Raphael’s portrait of
Michelangelo in School)musculature: well-definedfacial
expression: stoicspatial order: negativesurface texture:
“unfinished” roughness allows for dramatic interplay of
light/shadow
(Left) Detail of face from RODIN’s The Thinker

78. and
(right) detail of feet from RODIN’s The Thinker
(Left) RODIN’s The Thinker (c. 1875 CE)
vs.
(right) Greek Hellenistic Tiber Muse (c. 200 BCE)
(Left) RODIN’s The Thinker (c. 1875 CE)
vs.
(right) detail from RAPHAEL’s High Ren The School of Athens
(c. 1500)
(Left) RODIN’s The Thinker (c. 1875 CE)
vs.
(right) Greek Hellenistic Seated Boxer (c. 50 BCE)
Rodin
The Old Courtesan (1885)figure: seated femalemusculature:
naturalistic aging processpose: derived from Hellenistic interest

79. in everyday lifespatial order: negativefacial
expression: stoicsurface texture: “unfinished”roughness allows
for dramatic interplay of light/shadow
(Left) RODIN’s Impressionist The Old Courtesan (c. 1875 CE)
vs.
(right) Greek Hellenistic Old Market Woman (c. 2nd century
BCE)
Rodin
The Kiss (1888)patron: French state for Universal
Exhibition in 1889subject: from Dante’s Infernosecond circle in
Hell (infidelity)Paolo & Francescafigures: seated musculature:
naturalisticpose: derived from Hellenistic interest in
everyday lifespatial order: negativefacial expression: hidden by
embracesurface texture:smooth human qualitiesrough,
“unfinished” natural forms
(Left) RODIN’s Impressionist The Kiss (c. 1885 CE)
vs.
(right) Greek Hellenistic Eros and Psyche (c. 150 BCE)
(Left) RODIN’s Impressionist The Kiss (1885)

80. vs.
(right) CANOVA’s Neoclassical Eros and Psyche (1793)
IMAGE INDEXSlide 2: WINTERHALTER, Franz Xaver.
Portrait of Napoleon III (1852), oil on canvas, 240 x
155 cm., Museo Napoleonico, Rome. Slide
3: Aerial photograph of Parisian boulevard.Slide 4: Map of
Prussia.Slide 5: Pierre Duchene, La Dictateur Thiers
(1871).Slide 7: NADAR. Photograph of Charles
Baudelaire.Slide 8: Henri FANTIN-LATOUR. Edouard Manet
(1867), Oil on canvas, 117.5 x 90 cm., Art Institute
of Chicago.Slide 9: MANET. Luncheon on the Grass
(1863), Oil on canvas, 7’ x 8’10”, Musée d’Orsay,
Paris.Slide 10: (Left) MANET’s Luncheon on the Grass (1863);
and (right) GIORGIONE’s Venetian Renaissance
Passtoral Symphony (1510).Slide 11: (Left)
MANET’s Impressionist Luncheon on the Grass (1863);
and (right) detail from RAPHAEL’s High Italian Renaissance
The Judgment of Paris (c. 1520).
*
IMAGE INDEXSlide 12: Detail of picnic basket from
MANET’s Luncheon on the Grass
(1863)Slide 13: MANET. Olympia (1863), Oil on canvas,
51 3/8 x 74 3/4 in., Musee d'Orsay, Paris.Slide 14:
(Top) MANET’s Impressionist Olympia (1863); and
(bottom) TITIAN’s Venetian Renaissance Venus of
Urbino (c. 1525).Slide 15: (Left) CABANEL’s The Birth of

81. Venus (1863); and (right) MANET’s
Olympia (1863)Slide 16: MANET. Portrait of Zola (c. 1868),
Oil on canvas, 57 1/8 x 44 7/8 in., Musee
d’Orsay.Slide 17: MANET. The Railway (1872-73), Oil on
canvas, The National Gallery of Art,
Washington, DC.Slide 18: Details from MANET’s The
Railway Slide 19: MANET. Bar at the Folies-Bergeres (1881-
82), Oil on canvas, 37 3/4 x 51 1/4 in.,
Courtauld Institute Galleries, London.
*
IMAGE INDEXSlide 20: Details of MANET’s Bar at the Folies-
Bergeres. Slide 21: WHISTLER. Self Portrait (1872), Oil on
canvas, 29 ½ x 21 in., Detroit Institute of Art.Slide 22:
(Left) WHISTLER’s Arrangement in Grey and Black:
Portrait of the Painter's Mother known as "Whistler's
Mother“ (1871), Oil on canvas, 56 3/4 x 64 in., Musee
d'Orsay, Paris; and (right) WHISTLER. Caprice in
Purple and Gold No 2 – The Golden Screen (1864).
Slide 23: WHISTLER. Nocturne: Blue and Gold – Old
Battersea Bridge (1872-77), Oil on canvas, 26 7/8 x 20
1/8 in., Tate Gallery, London.Slide 25: (Left)
HIROSHIGE’s “Riverside bamboo market at
Kyobashi” (1857), from series One Hundred Famous Views
of Edo; and (right) WHISTLER’s Nocturne: Blue and
Gold – Old Battersea Bridge (1872-77).
IMAGE INDEXSlide 26: WHISTLER. Nocturne in Black and

82. Gold: The Falling Rocket (1875), Oil on wood, 23 ¾ x
18 3/8 in., Detroit Institute of Art.Slide 27:
Photograph of MONET.Slide 28: MONET. Impression,
Sunrise (1872), Oil on canvas, 19 x 24 3/8", Musee
Marmottan, Paris.Slide 29: MONET. Boulevard des
Capucines (1873), Oil on canvas, 31 1/4 x 23 ¼
in., Nelson-Atkins Museum of Art, Kansas City,
Missouri.Slide 33: MONET. (Left) Wheatstacks: End of
Summer (1890-91); and (right) Grain Stacks: Snow
Effect (1890-91), Oil on canvas, 60 x 100 cm .,
Hill-Stead Museum, Farmington, CT.
IMAGE INDEXSlide 34: Slide 10: (Left) MONET’s Poplars on
the Epte, Autumn (1891), Philadelphia
Museum of Art; (right) Poplars along the River
Epte, Winter (1891), Oil on canvas, 39 3/8 x 25 5/8 in.,
Private collection.Slide 35: MONET. Water Lilies (1903),
Oil on canvas, 29 3/8 x 41 7/16 in., Private
Collection.Slide 36: MONET. The Japanese Bridge (c. 1918-
24), Oil on canvas, 35 x 45 3/4 in., Minneapolis
Institute of Arts.Slide 37:BAZILLE. Portrait of Renoir (1867),
Oil on canvas, 37 x 32 1/3 in., Musee d'Orsay,
Paris. Slide 38:RENOIR. Le Moulin de la Galette (1876), Oil
on canvas, Musee d'Orsay, Paris.Slide 39:
Comparison between (left) RENOIR’s Impressionist Le
Moulin de la Galette (c. 1875); and (right)
POUSSIN’s French Baroque Dance to the
Music of Time (c. 1625).
IMAGE INDEXSlide 40: RENOIR. The Luncheon of the
Boating Party (1881), Oil on canvas, 51 x 68 in.,
Phillips Collection, Washington, DC.Slide 41: Detail of glass in

83. RENOIR’s The Luncheon of the Boating Party
(1881).Slide 42: RENOIR. On the Terrace (1881), Oil on
canvas, 39 ½ x 31 7/8 in., The Art Institute of
Chicago.Slide 43: (Left) RENOIR’s Impressionist The
Terrace (c. 1875); and (right)
LEONARDO’s High Renaissance Mona Lisa (c. 1500).Slide 44:
RENOIR. Bathers (1887), Oil on canvas, 3’ 10 3/8 x 5’7 ¼
in., Philadelphia Museum of Art.Slide 45: (Left)
RENOIR’s Impressionist Bathers (1887); and (right)
CARRACCI’s Italian Baroque Venus and Anchises (c.
1600) from the Farnese Gallery, Rome.Slide 46:
Details from Renoir’s The Terrace (1881).Slide 47:
MORISOT. In the Garden at Maurecourt (1884), Oil on
canvas, 21 ¼ x 25 5/8 in., The Toledo Museum
of Art.
*
IMAGE INDEXSlide 48: MORISOT. Peasant Hanging out the
Washing (1881), Oil on canvas, 18 x 26 ¼ in.,
Carlsberg Glyptotek, Copenhagen,
Denmark.Slide 49: MORISOT. Hide-and-Seek (1873),
Oil on canvas, 17 3/4 x 21 5/8 in., Bellagio
Gallery of Fine Art, Las Vegas, NV. Slide 50: DEGAS. Portrait
of Degas Reading (1895), Gelatin silver
print, 11 5/16 x 15 5/8 in., J. Paul Getty Museum.Slide 51:
DEGAS. The Absinthe Drinker (1876), Oil on canvas, 36
1/4 x 26 3/4 in., Musee d'Orsay, Paris.Slide 52:
DEGAS. Women Ironing (1884), Oil on canvas, 29 7/8 x
31 7/8 in., Musee d'Orsay, Paris.Slide 53:
DEGAS. Place de la Concorde (1875), Oil on canvas, 30
7/8 x 46 1/4 in., Hermitage, St. Petersburg,

84. Russia.Slide 54: DEGAS. The Rehearsal (c. 1873-78), Oil
on canvas, 18 1/2 x 24 3/8 in., Fogg Art Museum,
Harvard University, Cambridge, MA.
*
IMAGE INDEXSlide 55: CASSATT, Mary. Self-portrait (c.
1880), Watercolor on ivory wove paper, 33 x 24
cm, National Portrait Gallery, Washington, DC.Slide
56: (Left) CASSAT’s Girl Arranging Her Hair (1886); and
(right) DEGAS’ Woman Combing Her Hair (1886)Slide
57: (Left) UTAMARO’s ukiyo-e print Midnight (c. 1790); and
(right) CASSAT’s Maternal Caress (1891),
Drypoint and soft -ground etching, third state,
printed in color, 14 3/8 x 10 9/16 in., The
Metropolitan Museum of Art, New York.Slide 58:
CAILLEBOTTE. Man on a Balcony (1880), Oil on canvas,
117 x 90 cm., Private collection. Slide 59:
CAILLEBOTTE. Paris: A Rainy Day (1877), Oil on
canvas, 83 1/2 x 108 ¾ in., The Art Institute of Chicago.
Slide 60: CAILLEBOTTE. The Floor-Scrapers (1875), Oil on
canvas, 40 x 57 ¾ in., Musee d'Orsay, Paris.Slide
61: Photograph of Auguste RODIN.Slide 62: RODIN, Auguste.
The Thinker (1879-89), bronze, height 27 1/2”,
Metropolitan Museum of Art, NY.
*

85. IMAGE INDEXSlide 63: Detail of face and feet from RODIN’s
The ThinkerSlide 64: Comparison between RODIN’s The
Thinker and (Greek) Hellenistic style Tiber
Muse (c. 200 BC).Slide 65: (Left) RODIN’s The Thinker (c.
1875 CE); and (right) detail of Michelangelo from
Raphael’s School of Athens (c. 1500)Slide 66: Comparison
between RODIN’s The Thinker and (Greek)
Hellenistic style Seated Boxer (c. 50 BC), Bronze, approx.
50” high, Museo Nazionale Romano, Rome. Slide 67:
RODIN, Auguste. The Old Courtesan (1885), Bronze, 20
1/8 x 9 7/8 x 11 3/4 in., Musee Rodin, Paris. Slide 68:
Comparison between RODIN’s The Old Courtesan and
Hellenistic Old Market Woman (c. 2nd century BC),
marble, 49 1/2”, Metropolitan Museum of Art, New
York. Slide 69:RODIN, Auguste. The Kiss (1885), Bronze, 87
x 51 x 55 cm., Musee Rodin, Paris.
*
IMAGE INDEXSlide 70: (Left) RODIN’s Impressionist The
Kiss (1885); and (right) Hellenistic Eros and Psyche
(c. 150 BC), marble, 49” high, Museo
Capitolino, Rome.Slide 71: (Left) RODIN’s Impressionist
The Kiss (1885); (right) CANOVA’s Neoclassical
Eros and Psyche (1793), Musee Louvre, Paris.
ART HISTORY 132
Baroque: Italian

86. Baroque: Italiancontext: ecclesiasticalCouncil of Trent (c.
1565)part of the larger [Catholic] Counter Reformationdefined
role assigned to arts in Catholic Churchheadings:1) clarity,
simplicity & intelligibility2) realistic interpretationin contrast
to Renaissance idealizationappropriateness of age, gender, type,
expression, gesture & dress3) emotional stimulus to piety
Baroque: Italian
“Realist” tendencyCaravaggio (1573-1610)biography: in
permanent revolt against authorityfled
Rome because charged w/ manslaughterdied of malariastyle:
“realist” tendencyrejection of Mannerisminterest in surface
textures & appearanceshuman figure not prettifiednarrative:
heightened emotionmoment of recognition powerful
foreshortening light/shadow: dramatic chiaroscurospatial order:
systematically destroys space between event in
painting and viewer
CaravaggioCalling of St. Matthew (c. 1600)narrative:
NTmoment of recognitiongenre scene: anachronisticmundane
environmentcontemporary clothescomposition: dynamicnarrow
range of browns & flesh tones punctuated by primaries that
circulate vision through compositionlight: chiaroscuro &
“tenebrism”dark setting envelopes occupantssharply lit
figurese.g., Christ’s gesture highlighted by sharply descending
diagonal

87. Caravaggio
Conversion of St. Paul (c. 1600)narrative: NTmoment of
recognitionemotional stimulus to pietyfigures: realisticsetting:
ambiguous & distilledcomposition: clarity, simplicity &
intelligibilitycolor: narrow range punctuated by
complimentslighting: tenebrism & chiaroscurospatial order:
shallowdramatic foreshorteningoverlapping
CaravaggioEntombment (c. 1600)narrative: emotional stimulus
to pietyspatial order: shallow depth;
distilledforeshorteningoverlappingfigures:
realisticagednesscorpse of Christ discolored dangling
armcomposition: dynamiccompact, distilled arrangementvisually
coherentcolor: narrow range punctuated by primaries light:
“tenebrism” & chiaroscurodark backgroundselective
illuminationestablishes volume & mass
Caravaggio
Caravaggio’s Italian Baroque Entombment (c. 1600)
vs.
Raphael’s High Renaissance Deposition (c. 1500)

88. CARAVAGGIO’s Italian Baroque Entombment (c. 1600)
vs.
MICHELANGELO’s High Renaissance Pieta (c. 1500)
Caravaggio’s Supper at Emmaus
(c. 1600)
Baroque: Italian
“classicizing” tendencyCarracci (1560-1609)aesthetic:
“classicizing”movement against Mannerist artificiality training:
private teaching academy drawing from life & Roman
sculptures, coins, medallions clear draftsmanship medium:
fresco (“Grand Manner”)figures: heroic
characteristics:illusionistic surfacesHigh Renaissance
decorationdraws inspiration fromMichelangelo’s Sistine
ChapelRaphael’s frescos in Vatican
CARRACCI’s
“classicizing” tendency Italian Baroque
Flight into Egypt
(c. 1600)

89. Carracci Farnese Gallerystyle: “Classicizing”patron:
Farneseprogram: mythological themessee Ovid's
Metamorphosis also alludes poem written by Lorenzo de Medici
(c. 1475)format: illusionistic enhancement of
architectural space (“quadri riportati”)themes:
mythological moralizing messages hidden religious content
Carracci’s Triumph of Bacchus & Ariadne
Farnese Gallery (c. 1600)
CarracciFarnese Gallery (con’t.)Polyphemus & Galateasubject:
of ancient Greek sculpture Classical DiscobolusHellenistic
Laocoönreverses legsone arm extended down, other uphead
tilted
Carracci’s Italian Baroque Polyphemus and Galatea (c. 1600
CE)
vs.
Myron’s Classical Greek Discus Thrower (c. 450 BCE)
Carracci’s Italian Baroque Polyphemus and Galatea (c. 1600

90. CE)
vs.
Hellenistic Greek Laocoön (c. 150 BCE)
RENI’s “classicizing” tendency
Italian Baroque
Aurora
(1613-14)
Bernini
(1598-1680)significance: successor to Michelangelounique
ability to capture essence of narrative momentaim: to
synthesize/unify sculpture, painting and architecture into
coherent conceptual and visual wholepatrons: many associated
w/ papacyearly age, came to attention of papal nephew,
Scipione Borgheseknighted at age 23, by Gregory XVUrban VII,
Alexander VII, Clement IXquality of naturalism: realismlight:
used as metaphorical device in religious settings often, hidden
light source intensifies focus of religious worship
Bernini
Bust of Scipione Borghese (1632)subject: portraiturepatron:
Cardinal Scipione Borghese maternal uncle elected to papacy as
Pope Paul V (1605)placed SB in charge of internal and external

91. political affairs entrusted w/ finances of papacy and Borghese
familyB’s first patron (c. 1618-24); also patron of
Caravaggiocomposition: dynamicnarrative moment: mid-
speechquality of naturalism: realistic
BerniniApollo and Daphne (1622-25)patron: Cardinal Scipione
Borghesesubject matter: early 17C Italian poetrysee Ovid’s
Metamorphoses intellectual context: frustrated desire and
enduring despair and pain, provoked by lovemeaning:
personal, special resonance for SB, who was widely ridiculed
for his attraction to other mennarrative moment:
transformativeA reaching out toward river nymph D, just as she
is transformed into laurel tree by her father prevent D from
being burned by touch of god of sunfigural type: androgynous
male (see Hellenistic Greek)
Bernini
David (c. 1625)patron: Cardinal Scipione
Borghesescommissioned to decorate Galleria Borghese at
private villastyle: “dynamic” tendenciesinfluences: Hellenistic
GreekBaroque qualities:spatial order: active vs. self-
containedrealism of detail & differentiation of texturedrapery:
abstract play of folds & crevasses attempting pictorial effects
traditionally outside sculpture’s domain
Classical Greek Discus Thrower (c. 450 BCE)
vs.
BERNINI’s Italian Baroque David (c. 1625 CE)

92. *
(Left) DONATELLO’s Italian Early Ren. David (c. 1450)
vs.
(right) BERNINI’s Italian Baroque David (c. 1625)
(Left) BERNINI’s Italian Baroque David (c. 1625)
vs.
(right) MICHELANGELO’s Italian High Ren David (c. 1500)
Bernini
Cornaro Chapel (c. 1650)function: funerary dedicated: Saint
Teresa mystic of Spanish Counter-Reformation 1st Carmelite
nun to be canonizedaesthetic influence: Humanism materials:
multimediamarble panelspainted ceilinggilded bronzesculpture
portraitslighting: windows, both hidden & apparent
Detail (“transverberation”) of Bernini’s
Ecstacy of St. Teresa
(c. 1650)

93. (Left) Detail of BERNINI’s Italian Baroque Ecstasy of St.
Teresa (c. 1650)
vs.
(right) MICHELANGELO’s High Renaissance Pietá (c. 1500)
IMAGE INDEXSlide 3: CARAVAGGIO. Detail of self-
portrait from David (1606- 07), Oil on wood, 90.5 x
116 cm, Kunsthistorisches Museum, Vienna.Slide 4:
CARAVAGGIO. The Calling of Saint Matthew (1600), Oil
on canvas, 10' 7 1/2" X 11' 2”, Contarelli
Chapel, San Luigi dei Francesi, Rome.Slide 5:
Detail of Christ and St. Peter from CARAVAGGIO’s
Calling of St. Matthew.Slide 6: CARAVAGGIO.
Conversion of St. Paul (1600-01), Oil on
canvas, 90 1/2 x 70 in., Cerasi Chapel, Santa Maria del
Popolo, Rome. Slide 7: CARAVAGGIO.
Entombment (c. 1600), Oil on canvas, 300x 203
cm., Pinacoteca Vaticana, Rome.Slide 8: Detail of Mary
from CARAVAGGIO’s Entombment.Slide 9: Comparison
between CARAVAGGIO’s Entombment (c.
1600) vs. RAPHAEL’s High Renaissance Descent from the
Cross (c. 1500).
IMAGE INDEXSlide 10: CARRAVAGIO. Supper at Emmaus
(1601), Oil on canvas, 77 by 55 in., National Gallery,
London.Slide 11: Portrait of Annibale CARRACCI. Slide 12:
CARACCI. Flight into Egypt (c. 1603-04), Oil on canvas,

94. 4’ x 7’6”, Galleria Doria Pamphili, Rome. Slide
13: CARACCI. Loves of the Gods (c. 1600), Ceiling frescoes
in the gallery, Palazzo Farnese, Rome.Slide 14:
CARRACCI. Bacchus and Ariadne, central ceiling panel
from Farnese Gallery (c. 1600).Slide 15:
CARRACCI. Polyphemus and Galatea, from Farnese
Gallery (c. 1600).Slide 16: Comparison between
(Left) CARRACCI’s Polyphemus and Galatea vs.
(right) Classical Greek Discuss Thrower (c. 450
BCE).Slide 17: Comparison between (left) CARRACCI’s
Polyphemus and Galatea vs. (right)
Hellenistic Greek Laocoön (c. 200 BCE).
IMAGE INDEXSlide 18: RENI. Aurora (1613-14), ceiling
fresco in the Casino
Rospigliosi,Rome.Slide 19: BERNINI. Bust of Scipione
Borghese (1632), marble, 31in. high, Galleria
Borghese, Rome.Slide 20: BERNINI. Apollo and Daphne
(1622-25), marble, 96 in. high, Galleria
Borghese, Rome.BERNINI. David (c. 1625), Marble, , lifesize,
Galleria Borghese, Rome.Slide 20: Portrait
of Bernini by BACICCIO (c. 1665)Slide 21: Comparison
between Classical Greek Discuss Thrower (c. 450
BCE) vs. BERNINI’s Baroque David (c. 1625).Slide 22: (Left)
DONATELLO’s Early Renaissance David (c. 1425);
and (right) BERNINI’s David (c. 1625)Slide 23: (Left)
MICHELANGELO’s HIGH Renaissance David (c.
1500); and (right) BERNINI’s David (c. 1625)Slide 24:
BERNINI. Cornaro Chapel (c. 1650), Church of Santa
Maria della Vittoria, Rome.Slide 25: BERNINI.
The Ecstasy of Saint Therese (c. 1650), Marble,
Cappella Cornaro, Santa Maria della Vittoria, Rome.

95. ART HISTORY 132
Baroque: Spanish
Diego Velázquez
(1599-1660)
biography:1623: became court painter to Phillip IV1628:
Rubens’ visit to SP influenced V to visit Italy1629: lives
in Italy for year and a half1649: second visit to Italystyle:
“Realist” tendencyinfluence of Caravaggio’s interest in surface
texturescolor: Venetian richness (re: Titian)brushwork:
“painterly”light: “chiaroscuro” & fascination w/ depicting
fleeting effectsthemes: genre scenesmythologicalroyal portraits
(political & religious)
VelázquezWaterseller of Seville (c. 1625)scene: genretheme:
mercytendency: realismage & facial
featuresclothingcomposition: stable; intelligiblecolor: muted,
narrow rangelight/shadow: tenebrism & chiaroscuro spatial
order: shallow overlappingforeshorteningsurface textures:
reflectionsbeads of water
(Left) Detail from VELÁZQUEZ’s Waterseller of Seville (c.
1625)
vs.

96. (right) detail from CARAVAGGIO’s Entombment (c. 1600)
Detail of water droplet on surface of jug
in VELÁZQUEZ’s Waterseller of Seville (c. 1625)
VelázquezFeast of Bacchus (1628-29)title: a.k.a. “Los
Borrachos”patron: Phillip IVnarrative: mock homagefigures:
ancient god w/ realistic humansspatial order: shallow
perspective: limited to overlapping and
foreshorteningcomposition: frieze-like arrangementbilateral
toneslight/shadow: manipulatedbleached-out Bacchus evenly
distributed humans
(Left) Detail from VELÁZQUEZ’s Los Borrachos (c. 1625)
vs.
(right) CARAVAGGIO’s Bacchus (c. 1600)
Velazquez
Los Borrachos (con’t.)contemporary figures:realistic, vigorous
naturalismruddy facesleathery skinplain garmentscomplex
gestures, gazes & poses enlivens narrative, despite frieze-like
composition

97. VelázquezSurrender at Breda (1635)significance: inspired by
1st trip to Italysubject: history paintingtheme: SP/Catholic
triumph/conquest over Dutch (Protestant)narrative:
courtly tone modified from Perugino’s
Deliverycomposition: Classical frieze-like
arrangementfigures: densely packedlandscape:
panoramicbrushwork: “painterly”color: vibrantlight: evenly
distributedperspective: aerial
(Left) detail from VELÁZQUEZ’s Surrender of Breda (c. 1635)
vs.
(right) detail from PERUGINO’s Italian Early Ren Delivery of
the Keys (c. 1475)
(Left) VELÁZQUEZ’s Spanish Baroque Surrender at Breda (c.
1650)
vs.
(right) UCCELLO’s Italian Early Renaissance Battle of San
Romano (c. 1450)
VelázquezMaids of Honor (c. 1650)title: a.k.a. Las Meninas
genre: royal group portraittheme: implicit Humanismcomparison

98. to Alexander the Great visiting his painter (Apelles) in studio
attendants, & court illip
IV
Velázquez
Las Meniñas (con’t.)self-portraitpainting as endeavor worthy of
courtly recognitionpose: frontalV ordained into royaltyinsignia
of Royal Order of Santiagostylized red crossdid not receive
honor of knighthood until 1659 (three years after execution of
painting)
Velázquez
Las Meniñas (con’t.)Princess Margaritafive-year old daughter
of Philip IV & second wifebrushwork: painterlyelaborate dress
& jewelsmultiplicity of texturesdetails dissolve into intuitive,
chaotic mixture of color
IMAGE INDEXSlide 2: VELÁZQUEZ. Self-portrait (1640),
Oil on canvas, 45.5 x 38 cm., Museo Provincial, Valencia,
Spain.Slide 3: VELÁZQUEZ. The Waterseller of Seville (c.
1625), Oil on canvas, 42 x 31 7/8”, Wellington Museum,
London.Slide 4: (Left) detail from VELÁZQUEZ’s The
Waterseller of Seville (c. 1625); and (right) detail from
CARAVAGGIO’s Entombment (c. 1600).Slide 5:
Detail of water droplet on surface of jug in
VELÁZQUEZ’s The Waterseller of SevilleSlide 6:
VELÁZQUEZ. Los Borrachos (1628-29), Oil on canvas,
65 x 88 ½ in., Museo del Prado, Madrid.Slide 7: (Left)