ARH 151 Chapter 21 Guide The New York School • Abstract Expressionism emerged in New York in the mid-20th century. • The art of the New York School emphasized: - spontaneity. - gestural brushstrokes. - nonobjective imagery. - fields of intense color. • Some Abstract Expressionists, like Jackson Pollock, focused on gestural painting methods. • Other Abstract Expressionists, like Mark Rothko, explored subtle interactions of color. Jackson Pollock • Gestural painting method • “Action painting” 1 - Fig. 21.1 Jackson Pollock at work in his Long Island studio (1950). 2 - Fig. 21.2 Jackson Pollock, One (Number 31, 1950) (1950). Oil and enamel paint on canvas, 8’ 10” x 17’ 5 5/8”. Joan Mitchell • Second generation Abstract Expressionist • Female artist whose gestural painting methods earned her recognition 3 - Fig. 21.5 Joan Mitchell, Cercando un Ago (1957). Oil on canvas, 94 1/8” x 87 5/8”. 4 - Joan Mitchell, Bonjour Julie (1971). Birmingham Museum of Art, Birmingham, AL. Mark Rothko • Chromatic painting • “Floating squares of color” 5 - Fig. 21.6 Mark Rothko, Number 22 (1949). Oil on canvas, 117” x 107 1/8”. 6 - Fig. 21.7 Mark Rothko, Black on Grey (1970). Acrylic on canvas, 80 1/4” x 89”. Post-Painterly Abstraction • Color field painting & Amorphous shapes (Fig. 21.8) • Hard-edge painting & shaped canvases (Fig. 21.14) 7 - Fig. 21.8 Helen Frankenthaler, The Bay (1963). Acrylic on canvas, 80 1/4” x 81 3/4”. 8 - Fig. 21.14 Frank Stella, Mas o Menos (More or Less) (1964). Metallic powder in acrylic emulsion on canvas, 118” x 164 1/2”. Constructed Sculpture 9 - Fig. 21.9 David Smith, Cubi XVIII (1964). Stainless steel. • Components of constructed sculpture may include materials such as rods, bars, tubes, planks, dowels, blocks, fabric, wire, thread, glass, plastic, and machined geometric solids . • David Smith burnished the surface of this constructed steel sculpture, leaving “gestural” marks reminiscent of Pollock’s signature painting style. Pop Art 10 - Fig. 21.17 Richard Hamilton, Just What Is It That Makes Today’s Homes So Different, So Appealing? (1956). Collage, 10 1/4” x 9 3/4”. • Pop Art relies on universal images of popular culture, such as movie posters, billboards, magazine and newspaper photographs, and advertisements. • Through their selections of commonplace and familiar objects, as seen in Richard Hamilton’s collage, Pop artists challenged commonplace conceptions about the meaning of art. Robert Rauschenberg 11 - Fig. 21.18 Robert Rauschenberg, The Bed (1955). Combine painting; oil and pencil on pillow, quilt, and sheet on wood supports. 75 1/4” x 31 1/2” x 6 1/2”. • Combine paintings blurred the boundaries between painting and sculpture • Rauschenberg aimed “to bridge the gap between art and life” in his selection of materials and subject matter Jasper Johns 12 - Fig. 21.19 Jasper Joh.

1. ARH 151 Chapter 21 Guide
The New York School
• Abstract Expressionism emerged in New York in the mid-20th
century.
• The art of the New York School emphasized:
- spontaneity.
- gestural brushstrokes.
- nonobjective imagery.
- fields of intense color.
• Some Abstract Expressionists, like Jackson Pollock, focused
on gestural painting methods.
• Other Abstract Expressionists, like Mark Rothko, explored
subtle interactions of color.
Jackson Pollock
• Gestural painting method
• “Action painting”

2. 1 - Fig. 21.1 Jackson Pollock at work in his Long Island studio
(1950).
2 - Fig. 21.2 Jackson Pollock, One (Number 31, 1950) (1950).
Oil and enamel paint on canvas, 8’ 10” x 17’ 5 5/8”.
Joan Mitchell
• Second generation Abstract Expressionist
• Female artist whose gestural painting methods earned her
recognition
3 - Fig. 21.5 Joan Mitchell, Cercando un Ago (1957). Oil on
canvas, 94 1/8” x 87 5/8”.
4 - Joan Mitchell, Bonjour Julie (1971). Birmingham Museum
of Art, Birmingham, AL.
Mark Rothko
• Chromatic painting
• “Floating squares of color”
5 - Fig. 21.6 Mark Rothko, Number 22 (1949). Oil on canvas,
117” x 107 1/8”.

3. 6 - Fig. 21.7 Mark Rothko, Black on Grey (1970). Acrylic on
canvas, 80 1/4” x 89”.
Post-Painterly Abstraction
• Color field painting & Amorphous shapes (Fig. 21.8)
• Hard-edge painting & shaped canvases (Fig. 21.14)
7 - Fig. 21.8 Helen Frankenthaler, The Bay (1963). Acrylic on
canvas, 80 1/4” x 81 3/4”.
8 - Fig. 21.14 Frank Stella, Mas o Menos (More or Less) (1964).
Metallic powder in acrylic emulsion on canvas, 118” x 164 1/2”.
Constructed Sculpture
9 - Fig. 21.9 David Smith, Cubi XVIII (1964). Stainless steel.
• Components of constructed sculpture may include materials
such as rods, bars, tubes, planks,
dowels, blocks, fabric, wire, thread, glass, plastic, and
machined geometric solids .

4. • David Smith burnished the surface of this constructed steel
sculpture, leaving “gestural” marks
reminiscent of Pollock’s signature painting style.
Pop Art
10 - Fig. 21.17 Richard Hamilton, Just What Is It That Makes
Today’s Homes So Different, So Appealing? (1956). Collage,
10 1/4”
x 9 3/4”.
• Pop Art relies on universal images of popular culture, such as
movie posters, billboards,
magazine and newspaper photographs, and advertisements.
• Through their selections of commonplace and familiar objects,
as seen in Richard Hamilton’s
collage, Pop artists challenged commonplace conceptions about
the meaning of art.
Robert Rauschenberg
11 - Fig. 21.18 Robert Rauschenberg, The Bed (1955). Combine
painting; oil and pencil on pillow, quilt, and sheet on wood
supports. 75 1/4” x 31 1/2” x 6 1/2”.

5. • Combine paintings blurred the boundaries between painting
and sculpture
• Rauschenberg aimed “to bridge the gap between art and life”
in his selection of materials and
subject matter
Jasper Johns
12 - Fig. 21.19 Jasper Johns, Three Flags (1958). Encaustic on
canvas, 30 7/8” x 45 1/2” x 5”.
• Neo-Dada
• Johns created encaustic paintings of commonplace objects—
flags, targets, and maps, placing
the recognizable images in new contexts, giving new meaning to
them.
Andy Warhol
13 - Fig. 21.20 Andy Warhol, Green Coca-Cola Bottles (1962).
Synthetic polymer, silkscreen ink, and graphite on canvas, 82
3/8”
x 57.
• Silkscreen printing
• Repetition and variety

6. • Consumer culture
Photorealism
Photorealism represented a new endeavor to depict subjects with
sharp, photographic precision. It was,
in part, a reaction to the expressionistic and abstract movements
of the 20th century.
14 - Fig. 21.23 Audrey Flack, World War II (Vanitas) (1976-
1977). Oil over acrylic on canvas, 96” x 96”. Incorporating a
portion of
Margaret Bourke-White’s photograph The Living Dead of
Buchenwald, April 1945.
15 - Fig. 21.25 Chuck Close, Big Self-Portrait (1967-1968).
Acrylic on canvas, 107 1/2” x 83 1/2”.
Realist Sculpture
16 - Fig. 21.24 Duane Hanson, Touris ts (1970). Polyester
resin/fiberglass, life-sized; man, 5’ high; woman 5’ 4” high.
Realist sculptures, like Duane Hanson’s Tourists, often fool
viewers, serving to blur the boundaries
between art and life and to erode divisions between high and

7. low art forms.
Minimalism
17 - Fig. 21.26 Donald Judd, 100 Unti tled Works in Mill
Aluminum (1982-1983). Interior detail. Machined aluminum
boxes
housed in abandoned buildings (renovated by Judd) on the
former U.S. Army base Fort D.A. Russell, Marfa, Texas.
• Minimalists sought to reduce their ideas to their simplest
forms.
• They created geometric shapes or progressions of shapes or
lines using minimal numbers of
formal elements—for example, the minimum amounts of colors
and textures.
• They did not attempt to represent objects or figures.
Performance Art
• Performance art privileged action over object, public spaces
over museum settings, the
impermanent over the permanent, and, often, audience
participation over passive spectatorship.
• Most of the pioneering work in performance art is
memorialized in still photographs, if at all.
• Today, a subgenre of performance art is performance video.

8. 18 - Fig. 21.27 Recreation of Allan Kaprow’s Fluids (April 25-
27, 2008). One of twenty rectangular enclosures of ice blocks,
each
measuring approximately 30’ long, 10’ wide, and 8” high
19 - Fig. 21.29 Yoko Ono and John Lennon in a Bagism way in
April 1969.
Conceptual Art
20 - Fig. 21.31 Joseph Kosuth, One and Three Chairs (1965).
Wooden folding chair, mounted photograph of a chair, and
mounted photographic enlargement of the dictionary definition
of chair.
• The conceptual art movement, which began in the 1960s,
asserts that art lies in the mind of the
artist; the visible or audible or palpable product is merely an
expression of the artist ’s idea.
• Conceptual art challenges the traditional definition of art as
involving technical mastery of a
craft.
• Some scholars trace the origins of conceptual art back to
Duchamp’s ready-mades.

9. Art and Identity
• The dominant art movements of the 1950s and 1960s were
almost exclusively white male. Many
artists in the second half of the 20th century explored gender,
sexual, racial, and ethnic identity
through visual representation, using their art to articulate
difference and challenge the status
quo.
• This concerted effort to diversify the art world, which
launched in the 1970s, continues today.
21 - Fig. 21.32 Barbara Kruger, Untitled (We Don’t Need
Another Hero) (1987). Photographic silkscreen, vinyl; 109” x
210”.
22 - Fig. 21.45 Kehinde Wiley, Napoleon Leading the Army
Over the Alps (2005). Oil on canvas, 9’ x 9’.
Feminist Art
• Feminist art explores the role of gender in society, including
in the arts.
• Artists like Judy Chicago created iconic feminist works, using
mediums linked to women to

10. celebrate women’s achievements (Fig 21.34)
• Artists like Ana Mendieta used their own bodies in their works
to challenge the ever-present
male gaze (Fig 31.35)
23 - Fig. 21.34 Judy Chicago, The Dinner Party (1974-1979).
Painted porcelain, textile, and needlework; 48’ x 48’ x 48’ x 3’.
24 - Fig. 21.35 Ana Mendieta, Arbol de la Vida, no. 294, from
the Arbol de la Vida / Silueta (Tree of Life / Silhouette) series
(1977). Color photograph, 20” x 13 1/4”. Documentation of
earth-body sculpture with artist, tree trunk, and mud, at Old
Man’s
Creek, Iowa City, Iowa.
The Guerrilla Girls
25 - Guerilla Girls appearing on Late Night with Stephen
Colbert in 2016.
26 - Fig. 21.36 Guerilla Girls, Poster (c. 1987).
www.guerillagirls.com.

11. Sexual Identity
27 - Fig. 21.39 Robert Mapplethorpe, Ken Moody and Robert
Sherman (1984). Platinum print, A.P. 1/1, edition of 10; 19
1/2” x
19 5/8”.
• As women have sought to express their individuality and
social concerns through art, so have
members of the LGBT community.
• Photographer Robert Mapplethorpe created many black-and-
white images of people struggling
in a world that was hostile to them because of their sexual
identify.
Racial Identity
28 - Fig. 21.40 Romare Bearden, The Dove (1964). Cut-and-
pasted paper, gouache, pencil, and colored pencil on cardboard.
13
3/8” x 18 3/4”.

12. 29 - Fig. 21.42 Jean-Michel Basquiat, Melting Point of Ice
(1984). Acrylic, oil paintstick, and silkscreen on canvas, 86” x
68”.
30 - Fig. 21.43 Kara Walker, Insurrection! (Our Tools Were
Rudimentary, Yet We Pressed On) (2000). Installation view
(detail).
Cut-paper silhouettes and light projections, site-specific
dimensions.
Faith Ringgold: Quilting as an Art Form
31 - Fig. 21.41 Faith Ringgold, Tar Beach (1988). Acrylic on
canvas, bordered with printed, painted, quilted, and pieced
cloth. 74
5/8” x 68 1/2”.
Kerry James Marshall at the BMA
32 - Kerry James Marshall, School of Beauty, School of Culture
(2012). Birmingham Museum of Art. Visit:
Ethnic Identity
33 - Fig. 21.46 Jaune Quick-to-See Smith, Trade (Gifts for
Trading Land with White People) (1992). Oil and mixed media
on
canvas, 5’ x 14’ 2”.

13. Modern Architecture
• Modern architecture rejected the ideals and principles of the
classical tradition in favor of
experimental forms of expression. Streamlined, geometric forms
of glass, concrete, and steel
became integral to the modern aesthetic.
• Modern architects felt free to explore new styles inspired by
technology and science, psychology,
politics, economics, and social consciousness.
• Steel-cage structure
34 - Fig. 21.51 Ludwig Miës van der Rohe, Farnsworth House,
Fox River, Plano, Illinois (1950).
35 - Fig. 21.52 Ludwig Miës van der Rohe and Philip Johnson,
Seagram Building, New York (1958).
Post-Modern Architecture
• By the end of the 1970s, architects continued to create steel-
cage structures, but drew freely
from past styles of ornamentation, including classical columns,

14. pediments, friezes, and a variety
of elements from ancient Egypt, Greece, and Rome.
• This architectural movement, known as Postmodernism,
“warmed up” buildings, linking them to
the architectural past.
36 - Fig. 21.53 Burgee Architects with Philip Johnson. SONY
Plaza (formerly AT&T Building), New York (1984).
37 - Fig. 21.54 Michael Graves, Humana Building, Louisville,
Kentucky (1985).
Please close this link to return to your course.
ARH 151 Chapter 19 GuideNeoclassicism
· Modern art declared its opposition to the whimsy of the late
Rococo style with Neoclassical art of the late 18th and early
19th centuries.
· Neoclassical art contained:
· harsh sculptural lines.
· a subdued palette.
· planar recession.
· Classical (especially Roman) subject matter.
· Neoclassical painters, such as Jacques-Louis David, were
referred to as Poussinistes, for they embraced the linear,
systematic approach of Nicolas Poussin. Jacques-Louis David

15. 1 - Fig. 19.1 Jacques-Louis David, The Oath of the Horatii
(1784). Oil on canvas, 11’ x 14’.
· David was the preeminent Neoclassical painter in France.
· This painting, which features a Roman subject, was viewed by
the French public as a call for revolution. Ever the opportunist,
David joined the fight in 1789.Angelica Kauffman
2 - Fig. 19.2 Angelica Kauffman, The Artist in the Character of
Design Listening to the Inspiration of Poetry (1782). Oil on
canvas, D: 24”.
· Female artist Angelica Kauffman carried the Neoclassical
style to England.
· Notice the Classical columns, costume, and subject
matter.Neoclassicism: Art As Propaganda
· Napoleon solidified his rule by commissioning artists, like
David, to paint his portrait in a Neoclassical style. (See Fig.
21.44).
· The emperor’s sister (Pauline Borghese) had herself portrayed
as the Greco-Roman goddess Venus. Notice the strong contours
and the frigid rendering of the reclining female.
3 - Fig. 21.44 Jacques-Louis David, Napoléon Crossing the Alps
(1800). Oil on canvas, 8’ 10” x 7’ 7”.
4 - Fig. 19.3 Antonio Canova, Pauline Borghese as Venus
(1808). Marble, life-sized. Romanticism
· Both Neoclassicism and Romanticism reflected the
revolutionary spirit of the times.
· While Neoclassicism emphasized restraint of emotion, purity
of form, and subjects that inspired morality, Romantic artists
sought:
· extremes of emotion.
· virtuoso brushwork.
· a brilliant palette.
· Romantic artists, such as Géricault and Delacroix, were

16. dubbed Rubenistes, for they embraced the painterly, emotive art
of Peter Paul Rubens. Théodore Géricault & Eugène Delacroix
· Refers to contemporary shipwreck off the African coast (Fig.
19.4)
· Abolitionist sentiment
· Reference to Byron’s poem about ancient Assyrian king
Sardanapalus (Fig. 19.5)
5 - Fig. 19.4 Théodore Géricault, Raft of the Medusa (1818-
1819). Oil on canvas, 16’ x 23’.
6 - Fig. 19.5 Eugène Delacroix, The Death of Sardanapalus
(1826). Oil on canvas, 12’ 11 1/2” x 16’ 3”. Louvre Museum,
Paris, France. Francisco Goya
7 - Fig. 19.6 Francisco Goya, The Third of May, 1808 (1814-
1815). Oil on canvas, 8’ 9” x 13’ 4”.
· Spanish artist Goya depicts massacre of Spanish civilians by
Napoleonic troops in Madrid
· Tragic subject, fluid brushwork, symbolism of color and
lineCompare & Contrast: The Odalisques
· Some European artists traveled to Africa and the Middle East
in the 19th century. This exposure to and fascination with the
East (known as Orientalism) impacted the development of
Western art in the 19th century.
· The stylistic differences between Ingres’ and Delacroix’s
paintings of odalisques are indicative of the
Neoclassical/Romantic divide.
8 - Fig. 19.7 Jean-Auguste-Dominique Ingres, Grande Odalisque
(1814). Oil on canvas, 35 1/4” x 63 3/4”.
9 - Fig. 19.8 Eugène Delacroix, Odalisque (1845-1850). Oil on
canvas, 14 7/8” x 18 1/4”. The Academy
10 - Fig. 19.9 Adolphe William Bouguereau, Nymphs and Satyrs

17. (1873). Oil on canvas, 102 3/8” x 70 7/8”.
· The style of art with the least impact on the development of
modern art was the most popular type of painting in its day.
· Academic art derived its style and subject matter from
conventions established by the Royal Academy of Painting and
Sculpture in Paris.
· Established in 1648, the Academy maintained a firm grip on
artistic production for more than two centuries. Realism
· The “modern” painters of the 19th century objected to
Academic art because the subject matter did not represent real
life and because the manner in which the subjects were rendered
did not reflect reality as it was observed by the naked eye.
· Realist artists chose to depict subjects that were evident in
everyday life, using an optical approach—rather than a
conceptual approach—to rendering subjects. Gustave Courbet
11 - Fig. 19.11 Gustave Courbet, The Stone-Breakers (1849).
Oil on canvas, 63” x 102”. Formerly Staatliche
Kunstsammlungen, Dresden (destroyed in World War II).
· Set up the Pavilion of Realism (1855)
· Depicts lower-class workers on large-scaleÉdouard Manet
· Naked woman seated in a Parisian park among men (Fig
19.12)
· Lacks the traditional glossy and realistic finish associated
with academic art
· Parisian prostitute stares boldly at the viewer (Fig 19.14)
· Lacks academic modeling, tonal gradations, and subject matter
12 - Fig. 19.12 Édouard Manet, Le Déjeuner sur l’Herbe
(Luncheon on the Grass) (1863). Oil on canvas, 7’ x 8’ 1”.
13 - Fig. 19.14 Édouard Manet, Olympia (1863-1865). Oil on
canvas, 51 3/8” x 74 3/4”. Japonisme
· The opening of trade between Japan and the West in the mid-
19th century led to Japanese woodblock prints flowing into
Paris and other cities.

18. · Some European artists collected Japanese works. This
exposure to and fascination with Japanese art (known as
japonisme) impacted the development of modern art in the late
19th century and early 20th century.
14 - Fig. 19.45 Katsushika Hokusai, Under the Wave off
Kanagawa (also known as The Great Wave) (Edo period, c.
1837). Polychrome woodblock print.
15 - Fig. 19.46 Ando Hiroshige, Sudden Shower over Shin-
Ōhashi Bridge and Atake (1857). Color woodblock
print. Impressionism
· Impressionist artists reacted against the constraints of
Academic style and subject matter.
· They advocated painting outdoors (en plein air) and chose to
render subjects found in nature.
· They studied the dramatic effects of atmosphere and light on
people and objects.
· Using a varied palette of colors, they captured the actual
colors—or local colors—of objects under different lighting
conditions.
· Impressionist painters juxtaposed:
· complementary colors to reproduce the optical vibrations of
looking at objects in full sunlight.
· primary colors to produce, in the eye of the spectator,
secondary colors.
· Some scholars argue that both photography and Japanese
prints had an impact on Impressionist compositions (i.e.,
cropping, high vantage point). Claude Monet
16 - Claude Monet, Impression, Sunrise (1872). Musée
Marmottan, Paris.
17 - Fig. 19.19 Claude Monet, Rouen Cathedral (1894). Oil on
canvas, 39 1/4” x 25 7/8”. Pierre Auguste Renoir & Berthe
Morisot

19. · Modern leisure activities of the bourgeoisie (Fig. 19.20)
· Effects of light on surfaces
· Female artists were often relegated to painting women and
interiors (Fig 19.21)
18 - Fig. 19.20 Pierre Auguste Renoir, Le Moulin de la Galette
(1876). Oil on canvas, 51 1/2” x 69”.
19 - Fig. 19.21 Berthe Morisot, Young Girl by the Window
(1878). Oil on canvas, 29 15/16” x 24”. Post-Impressionism
· The Post-Impressionists of the late 19th century were drawn
together by their rebellion against what they considered the
Impressionists’ excessive concern for fleeting impressions and a
disregard for traditional compositional elements.
· Post-Impressionists fell into two groups that parallel the
stylistic polarities of the Baroque and the
Neoclassical/Romantic periods.
· The works of Georges Seurat and Paul Cézanne maintained a
more systematic approach to compositional structure,
brushwork, and color.
· The works of Vincent van Gogh and Paul Gauguin coordinated
line and color with symbolism and emotion. Georges Seurat
20 - Fig. 19.23 Georges Seurat, A Sunday Afternoon on the
Island of La Grande Jatte (1884-1886). Oil on canvas, 81” x 120
3/8”.
· Conventional Realist/Impressionist subject
· Pointillist technique: application of tiny dots of pure color
(based on scientific color theory) to create formPaul Cézanne
· Traditional subject matter (landscape and still-life), but avant-
garde approach to representation through:
· geometrization of nature.
· abandonment of scientific perspective.
· rendering of multiple views.
· emphasis on the two-dimensional surface of the canvas.

20. 21 - Fig. 3.14 Paul Cézanne, Mont Sainte-Victoire Seen from
Bibemus Quarry (c. 1897).
22 - Fig. 19.24 Paul Cézanne, Still Life with Basket of Apples
(c. 1895). Vincent van Gogh
· View from asylum window (Fig. 19.25)
· Notice expressive, swirling brushwork, thick impasto, and
color contrasts
· Self-portrait in Arles (Fig. 19.26)
· Notice visible brushstrokes, vibrant color, and Japanese print
on wall
23 - Fig. 19.25 Vincent van Gogh, Starry Night (1889). Oil on
canvas, 29” x 36 1/4”.
24 - Fig. 19.26 Vincent van Gogh, Self-Portrait with Bandaged
Ear (1889-1990). Oil on canvas, 23 5/8” x 19 1/4”.Paul Gauguin
· In Brittany to escape urban life (Fig (19.27)
· Uses arbitrary colors that emphasize flatness of picture plane
· In Tahiti to find “primitive” life (Fig. 19.15)
· Transforms tradition of reclining female nude
25 - Fig. 19.27 Paul Gauguin, Vision after the Sermon (Jacob
Wrestling with the Angel) (1888). Oil on canvas, 28 3/4” x 36
1/2”.
26 - Fig. 19.15 Paul Gauguin, Te Arii Vahine (The Noble
Woman) (1896). Oil on canvas, 38 3/16” x 51
3/16”. Expressionism
27 - Fig. 19.29 Edvard Munch, The Scream (1893). Casein on
paper, 35 1/2” x 28 2/3”.
· In their vibrant palettes and bravura brushwork, van Gogh and
Gauguin foreshadowed Expressionism.
· Expressionism is the distortion of nature—as opposed to the
imitation of nature—to achieve a desired emotional effect.

21. · Edvard Munch expressed feelings of despair by simplifying
forms, heightening color contrasts, and leaving visible
marks. Primitivism
· European artists saw African, Oceanic, and Iberian sculpture
in private collections or public ethnographic museums in Paris
and other cities.
· This exposure to and fascination with non-Western art forms
and principles (known as primitivism) impacted the
development of modern art in the late 19th and early 20th
century.
28 - Fig. 19.42 Ancestral couple, Dogon, Mali (c. 1800-1850).
Wood, 2’ 4” high.
29 - Fig. 19.52 Uli statue, from New Ireland, Papua New Guinea
(18th or early 19th century). Wood, ocher, and charcoal; 4’ 11
1/8” high.
30 - Fig. 20.8 Mask, Etumbi region, Republic of Congo. Wood,
14” high. Birth of Modern Sculpture
31 - Fig. 19.36 Auguste Rodin, The Burghers of Calais (1884-
1895). Bronze, 79 3/8” x 77 1/8”.
· One 19th-century sculptor, Auguste Rodin, changed the course
of the history of sculpture by applying principles of modern
painting in his work.
· Rodin included in his sculptures a newfound realism of subject
and technique, a more fluid or impressionistic handling of the
medium, and a new treatment of space. Please close this link to
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