Line
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The document discusses the use of line in artworks by various European and Asian artists such as Leonardo da Vinci, Rembrandt, Van Gogh, Picasso, Kandinsky, Mondrian, Pollock, Freud, and others. It also discusses examples of nesting line compositions and how lines have been used to translate paintings into other forms.
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Moma New York
This document lists the titles, artists, and dates of various paintings and sculptures housed at the Museum of Modern Art in New York City. It includes works from major artists such as Cézanne, Seurat, van Gogh, Gauguin, Rodin, Picasso, Klimt, Matisse, Rousseau, Delaunay, Boccioni, Miró, Dalí, Kahlo, Mondrian, Pollock, Duchamp, Rauschenberg, Warhol, Bourgeois, Whiteread, and Serra spanning from 1885 to 1998.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
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Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ﾊEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
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2) There are 6 visual questions worth 10 points each about identifying people, artworks, discoveries and films.
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AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
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Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
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Romaine Brooks,
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Hopper, Steps in Paris, 1906
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Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ﾊEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
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The document provides an overview of an exhibition titled "Alice in Wonderland" held at Tate Liverpool from November 4th, 2011 to January 29th, 2012. It features information on Lewis Carroll, the author of Alice's Adventures in Wonderland, illustrations from the book by John Tenniel, photographs taken by Carroll, and how the story of Alice has inspired various artists over different time periods in their work.
World Lit II - Class Notes for April 5, 2012
This document provides an overview of influential figures and works from the 20th century in various fields such as literature, art, philosophy, science, and music. Some of the key people and creations mentioned include Charles Darwin's theory of evolution, Karl Marx's philosophical and economic theories, Sigmund Freud's theory of psychoanalysis, Albert Einstein's theories of relativity and quantum mechanics, Pablo Picasso's influential artworks like Les Demoiselles D'Avignon, Frank Lloyd Wright's architectural design of the Robie House, T.S. Eliot's modernist poem The Love Song of J. Alfred Prufrock, and Walter Gropius' Bauhaus school of art and design. The document also references
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AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docx
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Line
- 1. Elements of Design: Line
- 2. Line in European Art
- 3. Leonardo “Study for the Last Supper”
- 4. Leonardo “Study of Turbulent Water”
- 5. Leonardo “Study of Heads”
- 6. Rembrandt “Study of an Elephant”
- 7. Goya “The Dream of Reason Produces Monsters” - from “Los Caprichos”
- 8. Van Gogh study for “The Starry Night” 1889
- 9. Van Gogh “Cypresses” 1889
- 10. Van Gogh “Harvest in Provence”
- 12. Picasso “Head of a Woman”
- 14. Kandinsky “Composition VIII” 1928
- 15. Mondrian “Flowering Trees” 1912
- 17. Schiele “Self-portrait” 1913
- 19. Smith, David “Untitled”
- 22. Pat Stier “Green One”, 2001
- 24. Marden “Cold Mountain 3”
- 25. Twombley, “Leda and the Swan”, 1962
- 26. Haring “Untitled” 1984
- 27. Line in Traditional Asian Art
- 29. Gao Jianfu: Pine Tree 1936
- 30. Xugu: Fish and Willows 1895
- 31. An example of Japanese ink painting (Sumi-E)
- 33. Su Shih “Poems” China 13thC
- 36. Leonardo “Sketchbook page: study of cats”
- 37. Durer “Study of Pillows”
- 38. Leonardo “Sketchbook page: Study of Flowers”
- 39. Schaus: Study Page: Ears
- 40. “ Nesting” Line Compositions
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- 42. Example of nesting lines
- 43. James Siena, “
- 44. James Siena
- 45. James Siena
- 46. James Siena
- 47. James Siena
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- 49. Nesting Lines by Dana Jefferson FD 09
- 50. Nesting Lines by Iwona FD 09
- 52. Van Gogh study for “The Starry Night” 1889
- 53. Van Gogh’s “Starry Night”
- 54. Van Gogh “Cypresses” 1889
- 56. Monet “Cliffs at Etretat” translated by Katherine Bourne FD 09
- 57. Rosenquist “” translated to line by Dana Jefferson FD 09