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Exam 3 Handout
- 1. EXAM 3 -REVIEW REALISM Édouard Manet OLYMPIA,1863 • Subject's eye contact with viewer • Realistic and unidealized representation of the woman • Story and narrative created within work • Play on history of art (reference to the female nude) • Visible brushstrokes/no attempt to hide technique IMPRESSIONISM Claude Monet IMPRESSION: SUNRISE, 1872 • Nature as subject and studio • Snapshot quality - changing of conditions & movement of time • Importance of light • Impressionism as alternative to Salon established styles POST IMPRESSIONISM Paul Gauguin, Mahana no atua (Day of the God) 1894 • 'Exotic' subject matter - 'Primitive art' • Use of bright color • Avoiding simple in favor of complicated representations • Play on depth throughout work- especially in pool • Importance of symbolism FAUVISM Henri Matisse LE BONHEUR DE VIVRE (THE JOY OF LIFE), 1905-19 • Bright and vivid colors as expression • Spatial distortion • Not representative of the realities of nature • Wildly sensual • Reference to the history of art in many ways - formal academic art of Titian, for one GERMAN EXPRESSIONISM Ernst Ludwig Kirchner STREET, BERLIN, 1913 • Symbol of modern city through prostitutes • Visible brushstrokes • Bright colors used to create harshness • Meant to elicit emotional response of anxiety and lonelins • Politically motivated commentary on modern life POST-CUBISM:DE STIJL Piet Mondrian COMPOSITION WITH YELLOW, RED, AND BLUE 1927 • Neoplasticism as non-representational form • Introduction of primary colors after neutral colors of Cubism • More ordered than Cubist analytical forms • Work without a curve - importance of the line • Representative of universal truth - precursor to abstract expressionism DADA Marcel Duchamp FOUNTAIN 1917
- 2. • Introduction ofthe nonsensical in light of WWI • Art as the intention of the artist • Conception vs. Perception • Use of everyday objects made something else • Gender as flipped Vocab: readymade/ assisted readymade SURREALISM Joan Miró COMPOSITION 1933 • Representative of both dream and automatic surrealism • Recognizable forms • Destruction of reality of space • Random drawing - importance of psychology • Recurring motifs of birds, eyes, moon MEXICAN MURALS Diego Rivera, MAN CONTROLLER OF THE UNIVERSE, 1934 • Fresco mural meant for ground floor of Rockefeller Center • Politically motivated by Communist ideals • Depiction of Lenin and Soviet Russian festivities • Depiction of contemporary culture • Lenses in corners of work called 'elongated ellipses' • Murals as important for Communist revolutions at the time - intersection of art and politics ABSTRACT EXPRESSIONISM Mark Rothko LAVENDER AND MULBERRY 1959 • Color field painting • Use of depth • Light as illuminating painting • Meant to express human nature and emotion • Meditative quality BEAT GENERATION Robert Rauschenberg, CANYON, 1959 • Introduction of craft into fine art • Hybrid work ('combine') with elements of collage, paint, sculpture, found objects • Importance of the artist's own life (with the inclusion of his own son's picture in the combine) POP ART Andy Warhol MARILYN DIPTYCH 1962 • Silver canvases with silkscreened photograph • Importance of reproduction element of work • Factory made, assistant helped make work • Reference to Christian painting as invitation to worship Marilyn • Demands attention due to scale of painting • Disappearing as image fades - repetition drains her life MINIMALISM Donald Judd UNTITLED 1969
- 3. • Use ofindustrial materials • Repetition of shape • Use of area around work - the wall in this case • Artist never actually touched this work - Conception as important POST MINIMALISM Bruce Nauman SELF-PORTRAIT AS A FOUNTAIN 1966-1967 • Body art - pushing boundaries of the human body • Importance as artist as own subject • Questioning traditional role of artist • Functions of language in title • Reference to Duchamp's Fountain