This document discusses representations of race, gender, clan, and class in artworks from various time periods and cultures. It includes analysis of artworks that depict racial stereotypes like Aunt Jemima, gender roles shown in works by Rubens and David, the importance of genealogy in ancient Roman art, and how works by Velazquez, Fragonard, and others illustrated different social classes like royalty, the aristocracy, and working classes. The document examines how art can both reflect and challenge societal attitudes regarding these identity factors.
Few painters have achieved success so early and remained so successful throughout their lives as Velazquez. Even in his teens he was acclaimed as a master painter. By the age of 24 he had become Court Painter to King Philip IV. For nearly 40 years he produced an incomparable series of the king and of other figures at court. H e created an art as moving and as varied as any in Europe and less comfined to its age than many other, seemingly freer, painters.
It is a slideshow about the life and works of Thomas Cole and the painters of the Hudson River School. It also includes his painting series on The Course of Empire and Voyage of Life. Apart from paintings by the Hudson River School, the slideshow also touch upon the European Romanticism painters. Thomas Cole was an American artist known for his landscape and history paintings. He is regarded as the founder of the Hudson School of painters. Cole’s work is known for its romantic portrayal of the American wilderness. This is one of a series of Powerpoints on the American Painters.
This lecture will be a comprehensive overview of the historic art movement of Romanticism in the 17th Century. The influences and pioneers of this movement have been discussed so students can understand the core concepts of Romanticism,
Few painters have achieved success so early and remained so successful throughout their lives as Velazquez. Even in his teens he was acclaimed as a master painter. By the age of 24 he had become Court Painter to King Philip IV. For nearly 40 years he produced an incomparable series of the king and of other figures at court. H e created an art as moving and as varied as any in Europe and less comfined to its age than many other, seemingly freer, painters.
It is a slideshow about the life and works of Thomas Cole and the painters of the Hudson River School. It also includes his painting series on The Course of Empire and Voyage of Life. Apart from paintings by the Hudson River School, the slideshow also touch upon the European Romanticism painters. Thomas Cole was an American artist known for his landscape and history paintings. He is regarded as the founder of the Hudson School of painters. Cole’s work is known for its romantic portrayal of the American wilderness. This is one of a series of Powerpoints on the American Painters.
This lecture will be a comprehensive overview of the historic art movement of Romanticism in the 17th Century. The influences and pioneers of this movement have been discussed so students can understand the core concepts of Romanticism,
Slideshow complements Gardner's Art Through the Ages (Global) textbooks. Prepared for ART 102 - Montgomery County Community College - Jean Thobaben - Adjunct Instructor.
6. "Unflattering images of African Americans
have been common in popular culture
over the past 150 years - Aunt Jemima, a
domestic servant whose title of 'aunt' was
a commonly used term of subordination
and familiarity for domestic servants,
nannies, and maids. Aunt Jemima is a
caricatured jolly, fat character who has
been used recently to sell commercially
prepared pancake mix. Saar used three
versions of Aunt Jemima to question and
turn around such images. The oldest
version is the small image at the center,
in which a cartooned Jemima hitches up
a squalling child on her hip. In the
background, the modern version shows a
thinner Jemima with lighter skin,
deemphasizing her Negroid features. The
older one makes Jemima a caricature,
while the new one implies she is more
attractive if she appears less black..
Betye Saar, "The Liberation of Aunt Jemima," 1972
7. "The middle Jemima is the largest
figure and the most emphasized. Her
checked and polka-dotted clothing is
very bright and colorful. Her black skin
makes her white eyes and teeth look
like dots and checks, too. This Jemima
holds a rifle and pistol as well as a
broom. A black-power fist makes a
strong silhouette shape in front of all
the figures, introducing militant power
to the image. The idea of Aunt
Jemima, in any of its forms, can no
longer seem innocuous. Saar
enshrined these images in a shallow
glass display box to make them
venerable. Symmetry and pattern are
strong visual elements."
8. Not a "Nice Indian
Storyteller": James Luna
Coming to Maine
His stories are about the
strife, misconceptions and
commodification of ethnicity
in America than about Indian
people alone.
15. Hung Liu, Trauma, China/USA, 1989
Women showing bound feet…shameful
Dead student in Tiananmen Sq…shameful
Map of China
Upside down above
Bloodstained below
Bowl
Represents China and artist
Emptied and refilled by the cycles of history
35. Fragonard, The Swing, 1766
Frivolous sexual escapade
French aristocratic class:
leisure class
power assimilated by King
duties assumed by middle class
36. HYACINTHE RIGAUD,
Louis XIV, 1701.
Oil on canvas, approx.
9’ 2” x 6’ 3”. Louvre,
Paris.
Master of political strategy and
propaganda
Sun King— ruled by divine right
Began work on the Louvre
Converted a royal hunting lodge at
Versailles into a great palace
36
41. The Spring Festival Along the River, Zhang Zeduan,
A close-up view of the rainbow bridge.
Detail of a 12th c. handscroll 10”x207”
42. June
Harvest time - the peasants
are mowing the meadow in
unison, with the Hotel de
Nesle, the Duc's Parisian
residence, in the background.
The building on the right is the
Chapelle Royale, which is
unchanged to this day.
43. Illustrates the growing
artistic interest in
naturalism—close
observation of the natural
world and the depiction of a
perceptual reality—revealed
here in careful architectural
detail, convincing shadows
and people in the scene.
44.
45. Seurat, Sunday Afternoon on the Isle of the Grand Jatte, 1884
Over the past several decades, many scholars have attempted to explain the meaning of this great
composition. For some, it shows the growing middle class at leisure. Others see it as a
representation of social tensions between modern city dwellers of different social classes, all of
whom gather in the same public space but do not communicate or interact.
46. Renior, Luncheon of the Boating Party, 1880-81
The painting also reflects the changing character of French society in the mid- to late 19th
century. The restaurant welcomed customers of many classes, including businessmen, society
women, artists, actresses, writers, critics, seamstresses, and shop girls. This diverse group
embodied a new, modern Parisian society.
49. Uji Bridge, Japan, Momoyama period, 16th-17th c. six-fold screen, color on paper, 62” H
The painting expresses qualities of simplicity and beauty, perishable with the passing of
the moment.
Commissioned by the warrior-rulers to decorate their castles.
50. Ukiyo-e prints…artwork of the middle class.
itagawa Utamaro, Komurasaki of the Tamaya
Teahouse, c. 1794
The subject of this print, Komurasaki, was an
oiran, which is the highest rank in the hierarchy
of the Yoshiwara courtesans. She wears a
voluminous kimono of richly patterned fabric
and her obi is tied in the front which is a
trademark of an oiran. She is the height of
fashion with her towering hair, full of
decorative pins, and the long pipe she holds in
her right hand. Her left arm is supported by an
armrest that is hidden by the fabric of her
kimono.
The market for this type of print was married
men, who would see in these women for hire a
fleeting beauty and an erotic perfection that
they desire.
51. Simon Rodia, Watts Tousers, 1921-54
10’ H mixed media and found
materials
Working-class man for a working-
class neighborhood in LAX.
Italian immigrant…to pay tribute to
his adopted land.
Outsider art…folk art…native art.