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Bible Quilt (1886) Harriet Powers |
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Bible Quilt 1886 Harriet Powers |
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vernacular art (according to D'Alleva) |
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Vernacular: (usually language or dialect) used by ORDINARY PEOPLE. Vernacular art: A term used in the "New Art History" to describe what was previously called low, naive, folk, or popular art. Ex. include embroidery made by medieval women, pottery made by African-American Slaves, or contemporary photographic portraits of working-class immigrants. Usually the people creating these works of art were not trained artists, and were marginalized in society by race, class, and gender. |
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Old Dahomey being a region and culture group in West africa; influencing Powers quilt. Appliquéd items were part of the political paraphernalia of kings and chiefs, containing symbols of their identity and depictions of the major events in their reigns.
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Practiced by scholars who largely started publishing in the 1970s. They argued that the discipline was so involved in formal analysis and connoisseurship that it had become purely descriptive and a service industry to the art market. Challenges the discipline to engage with critical theory, with politics and ideology, with art in/as social context. |
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| Théodore Géricault, Raft of the “Medusa” (originally titled A Shipwreck Scene) 1818-19 |
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| J.M.W. Turner, “Snowstorm: Hannibal & His Army Crossing the Alps", 1812 |
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| John Constable, The White Horse, 1819 |
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| Casper David Friedrich, Wanderer above a Sea of Mist, c. 1818 |
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| Frederic Edwin Church, Niagara, 1857 |
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Early-Nineteenth-Century. Featured dramatic and intensely emotional subject matter drawn from literature, history, or the artist's own imagination. Some painted humble images of rural landscape infused with religious feeling. In architecture, Romanticism took the form of revivals of historical styles that exressed among other things, an escapist fascination with other times and places. |
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Adjective describing a concept, thing, or state of high spiritual, moral, or intellectual value; or something awe-inspiring. The sublime was a goal to which many nineteenth-century artists aspired in their artworks.
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A style of depiction that seeks to imitate the appearance of nature—appears to record the visible world. It presented closely observed images of tranquil nature, meant to communicate religious reverence for the landscape and to counteract the effects of industrialization and urbanization that were rapidly transforming it. |
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School focused on landscape painting during the nineteenth-century Romantic Movement. Development of an American Landscape.
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| Thinkers that seek to transcend the man-made world and look to nature to define the ultimate and spiritual truth. Ex. Emerson, Henry David Thoreau |
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Louis Sullivan, Wainwright Building, St. Louis, MO, 1890-91 *Form follows function |
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Mark Rothko, No. 61: Brown, Blue, Brown on Blue, American, Abstract Expressionism, oil on canvas, 1953
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Juane Quick-to-See Smith, Trade (Gifts for Trading Land with White People), oil and collage on canvas with other materials, Salish-Cree-Shoshone, Postmodern, 1992
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A quote from Louis Sullivan. Which holds that the function of a building should dictate its design. This is illustrated in his Wainwright building, which features a clearly articulated, tripartite design in which the different character of each of the building's parats is expressed though its outward appearence. |
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Late 1930's--September 2, 1945 Rise of fascism and the outbreak of war, led many leading European artists and writers to move to the US. |
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After many of the European writers and artists came to US to escape war, Abstract expressionism evolved from abstract artists who were deeply affected by the ideas of the Surrealists (Dali). A wide variety of work, not all abstract and not all expressionistic--produced in New York between 1940 and 1960. Followed pschological schools of Freud and Carl Jung (notion of the unconscious and collective unconscious), Abstract expressionists sought the universal themes within themselves. Most famous of Abstract expressionists: Jackson Pollock (not Sarah's fish, the other guy). |
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Manifest Destiny was the belief that the United States was destined to expand from the Atlantic seaboard to the Pacific Ocean; it has also been used to advocate for or justify other territorial acquisitions. Advocates of Manifest Destiny believed that expansion was not only good, but that it was obvious ("manifest") and certain ("destiny"). a political catch-phrase of the 19th century. |
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Cultural pluralism is a term used when small groups within a larger society maintain their unique cultural identities. In a pluralist culture, unique groups not only co-exist side by side, but also consider qualities of other groups as traits worth having in the dominant culture. |
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of relating to, or constituting several cultural or ethnic groups within a society. (couldn't find this in reading, not exactly sure its connection to our material) |
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| Pablo Picasso, Desmoiselles d’Avignon, oil on canvas, 1907 |
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Chris Ofili, The Holy Virgin Mary, paper collage, oil paint, gliter, polyester resin, map pins & elephant dung on linen, British, 1996
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in its literal sense is the process of globalizing, transformation of some things or phenomena into global ones. It can be described as a process by which the people of the world are unified into a single society and function together. This process is a combination of economic, technological, sociocultural and political forces. |
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Banning or destruction of images, especially icons and religious art. (ie. 16-17 century Protestant territories arose from differing beliefs about the power, meaning, function, and purpose of imagery in religion.) If Maya Lin's monument were not allowed to be built, it would have been a form of iconoclasm. |
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refers to an artistic movement in particular which originated as a reaction to the Enlightenment, or the general tendency to idealize any social behavior judged relatively simple or primitive, whether in the arts, social sciences or elsewhere. Ex. Desmoiselles d'Avignon, or Kara Walker, Endless Conundrum, An African Anonymous Adventuress, 2001
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| National Endowment for the Arts (NEA) |
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The National Endowment for the Arts (NEA) is a United States federally funded and donation assisted program that offers support[citation needed] and funding for projects exhibiting artistic excellence. It was created by an act of the U.S. Congress in 1965 as an independent agency of the federal government. Gave grants to artists such as Maplethorpe and Ofili(?) and were criticized by right-wing politicions, familiy associations, and the religious right for supporting "offensive images." |
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