*NOTE: This was a slideshow with audio. For the full version, see it now on YouTube at https://www.youtube.com/watch?v=e_gOezyDhGg.
For my US History class, a brief discussion of modernist art in the early years. CC Lisa M Lane Attribution-NonCommercial-ShareAlike 2012.
*NOTE: This was a slideshow with audio. For the full version, see it now on YouTube at https://www.youtube.com/watch?v=e_gOezyDhGg.
For my US History class, a brief discussion of modernist art in the early years. CC Lisa M Lane Attribution-NonCommercial-ShareAlike 2012.
Impressionism & Post-Impressionism Art HistoryS Sandoval
AP ART HISTORY Crash Course - Impressionism and Post-Impressionism
Impressionism artists: United by their depiction of modern life, and rejection of established European Styles, embracing new experimental ideas "Avant-Garde".
The use of synthetic pigments and ready made paint in solid tubes. Impressionist artists were interested in "plein air" landscape painting.
2137ad - Characters that live in Merindol and are at the center of main storiesluforfor
Kurgan is a russian expatriate that is secretly in love with Sonia Contado. Henry is a british soldier that took refuge in Merindol Colony in 2137ad. He is the lover of Sonia Contado.
Hadj Ounis's most notable work is his sculpture titled "Metamorphosis." This piece showcases Ounis's mastery of form and texture, as he seamlessly combines metal and wood to create a dynamic and visually striking composition. The juxtaposition of the two materials creates a sense of tension and harmony, inviting viewers to contemplate the relationship between nature and industry.
2137ad Merindol Colony Interiors where refugee try to build a seemengly norm...luforfor
This are the interiors of the Merindol Colony in 2137ad after the Climate Change Collapse and the Apocalipse Wars. Merindol is a small Colony in the Italian Alps where there are around 4000 humans. The Colony values mainly around meritocracy and selection by effort.
Explore the multifaceted world of Muntadher Saleh, an Iraqi polymath renowned for his expertise in visual art, writing, design, and pharmacy. This SlideShare delves into his innovative contributions across various disciplines, showcasing his unique ability to blend traditional themes with modern aesthetics. Learn about his impactful artworks, thought-provoking literary pieces, and his vision as a Neo-Pop artist dedicated to raising awareness about Iraq's cultural heritage. Discover why Muntadher Saleh is celebrated as "The Last Polymath" and how his multidisciplinary talents continue to inspire and influence.
6. Eugène Delacroix, The Lion Hunt, 1861.
Oil on canvas, 30-1⁄8 × 38-3⁄4”
The Art Institute of Chicago. [Fig. 01-08]
7. Théodore Géricault, Cheval Devoré par un Lion (Horse Devoured by a Lion),
1820–21. Lithograph; black lithographic ink on prepared “stone” paper,
10-13⁄16 × 14-9⁄16”
British Museum, London. [Fig. 01-04]
8. Francisco de Goya y Lucientes, “This Is Worse,” Plate 37 from The
Disasters of War, 1810–11. Etching, 1863 edition, image 5 × 6-1⁄8”
The Metropolitan Museum of Art, New York. [Fig. 01-07]
9. John Constable
The Hay Wain
1819–21
Oil on canvas
51-1⁄4 × 73”
The National Gallery
London
[Fig. 01-10]
10. Jean-François Millet, The Angelus, 1857–59.
Oil on canvas, 21-1⁄2 × 25-7⁄8”
Musée d’Orsay, Paris. [Fig. 01-13]
11. Joseph Mallord William Turner, The Burning of the Houses of Parliament,
1834–35.
Oil on canvas, 36-1⁄2 × 48-1⁄2” The Cleveland Museum of Art. Bequest of
John L. Severance. 1942.647. [Fig. 01-11]
20. Honoré Daumier, Rue Transnonain, April 15, 1834, published in
L’Association Mensuelle, July 1834.
Lithograph, 11-1⁄2 × 17-1⁄2”
Graphische Sammlung Albertina, Vienna. [Fig. 02-13]
21. Gustave Courbet, A Burial at Ornans,
1849–50.
Oil on canvas, 10’ 3-1⁄2” × 21’ 9”
Musée d’Orsay, Paris.
[Fig. 02-14]
22. Rosa Bonheur, Plowing in the Nivernais
1849
Oil on canvas
70-7⁄8 × 102-3⁄8”
Musée d’Orsay, Paris. [Fig. 02-16]
Editor's Notes
James McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, c. 1875. Oil on panel, 23 × 18” (60.3 × 46.4 cm). Detroit Institute of Arts, Detroit. [Fig. 01-01]
Jacques-Louis David, The Oath of the Horatii, 1784. Oil on canvas, 10’ 10” × 14’ (3.4 × 4.3 m). Musée du Louvre, Paris. [Fig. 01-02]
Jean-Auguste-Dominique Ingres, Grande Odalisque, 1814. Oil on canvas, 36 × 64” (91 × 162 cm). Louvre, Paris. [Fig. 01-05]
Eugène Delacroix, The Lion Hunt, 1861. Oil on canvas, 30-1⁄8 × 38-3⁄4” (76.5 × 98.4 cm). The Art Institute of Chicago. [Fig. 01-08]
Théodore Géricault, Cheval Devoré par un Lion (Horse Devoured by a Lion), 1820–21. Lithograph; black lithographic ink on prepared “stone” paper, 10-13⁄16 × 14-9⁄16” (27.4 × 37 cm). British Museum, London. [Fig. 01-04]
Francisco de Goya y Lucientes, “This Is Worse,” Plate 37 from The Disasters of War, 1810–11. Etching, 1863 edition, image 5 × 6-1⁄8” (12.8 × 15.5 cm). The Metropolitan Museum of Art, New York. [Fig. 01-07]
John Constable, The Hay Wain, 1819–21. Oil on canvas, 51-1⁄4 × 73” (130.2 × 190 cm). The National Gallery, London. [Fig. 01-10]
Jean-François Millet, The Angelus, 1857–59. Oil on canvas, 21-1⁄2 × 25-7⁄8” (55 × 66 cm). Musée d’Orsay, Paris. [Fig. 01-13]
Joseph Mallord William Turner, The Burning of the Houses of Parliament, 1834–35. Oil on canvas, 36-1⁄2 × 48-1⁄2” (92.7 × 123.2 cm). The Cleveland Museum of Art. Bequest of John L. Severance. 1942.647. [Fig. 01-11]
Louis-Jacques-Mandé Daguerre, Boulevard du Temple, Paris, c. 1838. Daguerreotype. Bayerisches Nationalmuseum, Munich. [Fig. 02-06]
Julia Margaret Cameron, Mrs Herbert Duckworth, c. 1867. Albumen print, 13-3⁄8 × 9-5⁄8” (34 × 24.4 cm). International Museum of Photography at George Eastman House, Rochester, New York. [Fig. 02-09]
Julia Margaret Cameron, Unknown Girl, Ceylon, 1875–79. Albumen print. J. Paul Getty Museum, Los Angeles. [Fig. 02-10]
Mathew Brady, Dead Soldier, Civil War, c.1863. Gelatin-silver print. Library of Congress, Washington, D.C. [Fig. 02-11]
Honoré Daumier, Rue Transnonain, April 15, 1834, published in L’Association Mensuelle, July 1834. Lithograph, 11-1⁄2 × 17-1⁄2” (29.2 × 44.5 cm). Graphische Sammlung Albertina, Vienna. [Fig. 02-13]
Gustave Courbet, A Burial at Ornans, 1849–50. Oil on canvas, 10’ 3-1⁄2” × 21’ 9” (3.1 × 6.6 m). Musée d’Orsay, Paris. [Fig. 02-14]
Rosa Bonheur, Plowing in the Nivernais, 1849. Oil on canvas, 70-7⁄8 × 102-3⁄8” (180 × 260 cm). Musée d’Orsay, Paris. [Fig. 02-16]
![James McNeill Whistler
Nocturne in Black and
Gold: The Falling Rocket
c. 1875
Oil on panel
23 × 18”
Detroit Institute of Arts,
Detroit
[Fig. 01-01]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)