Term
|
Definition
| Benjamin West, The Death of General Wolfe, 1771-historical painting, big work, historical narrative- needs to be read/understood by many- obvious realism- idealization of bodies/scene and we are directed to staged scene in foreground of near death event- receives great acclaim- general wolfe dying in french and indian war in 1759- glorifying the dramatic scene/hero but no gory blood, pyramid presentation draws our eye in, figure in center looks like lamentation of christ, political undercurrents- shows british strength (propaganda) |
|
|
Term
|
Definition
| Emanuel Leutze, Washington Crossing the Delaware, 1851-historical painting, defining the american revolution even though painted in Germany- full of inaccuracies, dramatic moment in narrative- historical painting of turning pt in the war, makes washington look like a hero- high pose at the top of the pyramid, regal and at same level as the flag- leading the army across the deleware from 1776- very contained brushstroke that shows an idealized scene where washington is unaffected by conditions, foreshadows victory and advertises success of the country that is hard-working |
|
|
Term
|
Definition
| less about public involvement and more about their interpretation, trade, technology, politic, urban live is thriving with pop culture- places and spaces of progress vs. rural maintains tradition, ppl beginning to share common spaces- theatre, parks, middle class |
|
|
Term
|
Definition
| high category of art for skilled artists, mutlifigural compositions, complex, impressive, usually big in size and scale, shows wealth, consumes audience, part of popular convo, representation of the past that is invested in constructing collective memories to feed people one interpretation, freezing and making official historical accounts of the events |
|
|
Term
|
Definition
| roughly 1800-1850- not one particular style, emotional, high, grand- love, death drama, german and english oftentimes, nature is often main protagonist- dramatic moments, expressive brushstrokes, visually engaging composition, rich and emotive palette, not always naturalistic, grabs audience's attention |
|
|
Term
|
Definition
| Caspar Friedrich, Abbey in the Oakwood, 1809-10- romanticism- epic even though the event isnt, landscape painting is a genre of truth, wanted to make natural world accesible- severe/barren landscape, austere image, german landscape- shell of a former abbey/graveyard with a glow in the cetner- symbolic light, remnant of a gothic church, church nature and spirituality, linear brushstroke, hard edges, coldness/reserve, solemn, formal, desolate- pushes you towards what you believe- bodies are subservient to nature, humbles us |
|
|
Term
|
Definition
| John Constable, The Hay Wain, 1821- landscape, english countryside in london, 4 by 6 ft, familiar scene, landscape for the people, fresh and unexpected with loose and active brush stroke, emphasizes robustness and depths of greens, light, momentary, emphasis on action, portraits of nature where viewer is slightly elevated (spectacle)- invested in what nature provides- sky and clouds= big, fresh texture of atmosphere, here and now enviro |
|
|
Term
| paris 19th century salons |
|
Definition
| official exhibitions, evaluated prestiege, crafted taste, take a broad cultural appeal in 1820/30- visitors from different classes, increased sensitivity to public sentiment, people arent just collecting for themselves, art institutions are being established |
|
|
Term
|
Definition
| Eugène Delacroix, Death of Sardanapalus, 1827- romanticism, huge, 13 by 16ft, scene is from literary source of poem of lord biron that then becomes a play, delacroix is very trained, imaginative art about a mostrouous syrian king that orders everyone commit suicide with him when they lose a battle- high passion moment iconic of romanticism, high passions, sensuous reds (death, blood, violence) and gold (wealth)- flesh (sensual), dramatic poses of anguish, fear, many triangles, highlighted elements with specific lighting, arrogance of king and lack of remorse, hard to know where to look, heightens emotions, near eastern material, decadence, near east opulence, showing that this is a culture of abusive power |
|
|
Term
|
Definition
| Eugène Delacroix, The Massacre at Chios, 1824- romanticism, inspired by contemporary event, massacre on island of aegean sea that caused public outrage- scene from greek war of independence 1822- 50,000 deaths of greeks by ottoman empire, chased them even though they were fleeing, chaotic foreground, lamentation of male body, various skintones of otherness, sensational/heightened emotions, pure color and reds that pop, harm to bodies, horse reering up=foreshadowing, showing a scene of modern, lived history |
|
|
Term
|
Definition
| Eugene Delacroix, Liberty Leading the People, 1830- romanticism, huge work, making comments about july revolution of 1830- trying to overthrow king charles X, all levels of society involved, contemporary, immediate subject of cultural change, notre dame in background=urban scene, leader=allegorical lady liberty- red flag grabs our eye and then extends down- monumental, blue and red sprinkled about to tie painting together, various social classes, toll on people's lives, various social classes obvious through dress, hostility of classes, emphasizes the needs/goals of the state |
|
|
Term
|
Definition
| Jacques-Louis David, Napoleon Crossing the Alps, 1801-05- History painting, dead center of napoleon glorifies him (many reproductions of this painting)- from 1800 may when he is leading the troops across the alps to fight austria and win it for france- his body ascends into the mountains to show his rise, his power, his importance, his awesomeness, single focus on him and there's a focus on preciseness, prominent form and line with looser brushstrokes, no misinterpretation- follows grand roman equestrian painting style |
|
|
Term
|
Definition
| same time of romanticism- late 18th and early 18th century- revival of classical antiquity (based on greek and roman investments in idealized forms)- precedes romanticism- enlightenment revival of classical antiquity- focus on reason, noble concepts- highly staged works |
|
|
Term
|
Definition
| Paul Delaroche, Napoleon Crossing the Alps, ca. 1848- stead is a mule, not glorified/elegant, realistic, everyday garb, slouching, somber enviro, greys overwhelm, message of struggle and weary traveler, lacks masculine idealism, treacherous landscape, not assured that he's got this, Napoleon is just a common man, not invincible, instead of following propaganda of David, it creates a conflicting narrative that confuses audience |
|
|
Term
|
Definition
| Antoine-Jean Gros, Bonaparte Visiting Plague Victims in Jaffa, 1804- between romanticism and neoclassicism, Ottoman empire scene in Israel, shows event from 1799- propoganda art, showing Napoleon invincible, going to conquer sickness and visit the sick ppl to raise morale, red pepers the work to move the eye around, Napoleon shows no fear of disease- doesnt recoil, invincible, touches the sick (jesus)- bodies litter the foreground=death, focus is on Napoleon but there are many ways/places to engage the work, damage control of napoleon ordering the killing of sick ppl, drama |
|
|
Term
|
Definition
| Theodore Gericault, The Raft of the Medusa, 1819- romanticism- huge- 16 by 24 ft- he is a well trained artist who thinks art should be invested in public and contemporary, stakes arent that big in terms of national history, epic painting, in every historical book, contemporary painting from media- french passenger ship ran aground off coast of africa and they jerry-rigged a life raft to stay alive but only 15 survived after 13 days out there- starvation, cannibalism, inept captain and the french govt that appointed him, romanticism w realism, figures in desparation, off-centered triangle that puts figure with the cloth on top- tight and contained scene where we feel invovled in the drama, many places for eye to go, single moment of rescue, naturalism!! not idealism, chaos, grim pallete, different stages of survival, gesture to blood w red, scandal bc seemed to blame captain |
|
|
Term
|
Definition
| Joseph M. W. Turner, The Slave Ship, 1840- romanticism, 3 by 4 ft, throwing over dead and alive slaves, zong massacre of 1780s- an issue of slaves being treated as cargo and tossed overboard, slave ship goes to ct and loses case (no $)- violence, hands and hooks in water, where's humanity? vibrant sunset- colors and brushstrokes give a sense of urgency, we are left in the foreground with the bodies as the viewer (sympathize) and the ship leaves us as it heads into the background, fast and fluid brushstroke, drama, vibrant, violence is mirrored through painting style- choppy, epic nature (typhoon), all consuming, water looks like it's on fire, contest of man and nature, pro-abolition image- supporting british abolishing slave trade, images of carnage and shackles |
|
|
Term
|
Definition
| Francisco de Goya, Los Caprichos #43 (The Dream of Reason Produces Monsters), 1799- romanticism?- drawings and etches that are printed in books- interested in the foolishness of spanish society, superstition, we see what is coming from his mind- visual depiction of a nightmare- spirit realm? dark imagination- print shows up in pop culture- imagination v reason- old visualizations of spirit realm- not really fitting in the enlightenment movement- complex/questioning |
|
|
Term
|
Definition
| age of reason 18th and early 19th century, using reason to explain world, celebrates the significance of human knowledge, scientific methodologies, delibaret action, egalitarianism?, challening institutions? (like goya) |
|
|
Term
|
Definition
| Francisco de Goya, The Family of Charles IV, 1799- romanticism? goya is going against institutions- opposite of classical french art? supposed to be propoganda, but instead it is critical- he is on an easle in the background, royal fam is just standing there idlely and not performing their job- absurdity in the leisure of their class status- goya wants to draw attention to the observability of nobleness- dumb that you are automatically born royal- a lot of religious scenes in background- someone who sleeps w daughter when drunk? exemplifying yet another behavior that is not okay- goya exposes reality of myths through naturalism/charicature |
|
|
Term
|
Definition
| Francisco de Goya, The 3rd of May, 1808, 1814- romanticism- image of napoleonic war- dramatic scene- reminscent of christ's crucifixion- the way he stands- issues of monarchy- image of political mayrtrdom, defiance- his body is white/angelic/jesus-like, firing squad, blood, gore, regular people are paying with their lives- creates a violent stage, momentary quality, naturalism, gives us enough visual background of village, actuality of the scene is what we think- it feels unedited and instantaneous |
|
|
Term
|
Definition
| middle of 19th century to late 19th century |
|
|
Term
|
Definition
| Alexander Gardner, Death of a Rebel Sniper, 1863- civil war photo- clarity to give us a sense of emotional clearness over the issue, gives us a sense of a clear reason to fight, the body is sad and emotional when you find it, but it takes a second bc it is camouflaged, scene is staged but it looks real, sense of everyday exepreince, staged but feels momentary |
|
|
Term
|
Definition
| Timothy O’Sullivan, Incidents of the War. A Harvest of Death, Gettysburg, 1863- very little to break up your eye, just bodies, death, shallow background, faded, makes ppl seem human as we can picture ourselves amongst those bodies, connects you to personal, looks like these guys captured a natural scene, documenting battle of gettysburg, harvest of death, allegorical gesture of dead people to dead crops, high focus in foreground and then fades back, negative hasnt been manipulated (straight photography), clarity makes work seem real, immediate, day to day war, not the grandeur |
|
|
Term
|
Definition
| John Krimmel, Fourth of July in Centre Square, Philadelphia, 1812- interested in British/dutch genre art, sometimes second-tier artists, invested in humerous moments of daily life but with a moralizing undercurrent, pump house in the photo is the first since ancient rome, structure of pride- celebrating america and technology/progress- focus on/emulate richer people in the bright light- higher forms of life- and be critical of poorer people in the dark- drinking gabling and prostitution, no order/control over the kids- diversity of age, telling you who you are supposed to be like, open public/anonymous figures scene |
|
|
Term
|
Definition
| David Wilkie, The Blind Fiddler, 1806- british- academic painting/salon, british art, kicks up sentimental and less nationalistic than american art, genre art- low life art- smaller canvas, takes on a modern, moral subject, most prominent genre image in England, driving napoleonic wars, principal painter of british crown, shows at royal academy (like paris salon)- family being entertained in a humble setting, simplicity in enviro, no adornment, humility in mundane pallete- browns, provides dark background for well lit scene, conveys activity and class status, sense of goodness, sense of entertainment for pleasure (not $)- quaint, not judging the space, joyous kind of music, looking and listening, gestures and expressions are prominent, centered on mother child, interior scene |
|
|
Term
|
Definition
| David Wilkie, Reading the Will, 1820- British- academic painting, salon, following the marketplace, art is where $ is, highly professionalized, you need a financial base, urban/cosmetic enviro, multi figural work, shows up immediately, based on print, chaotic scene of activity for your eye to jump around, figures looking in diff directions, immediacy, lack of decorum, dramatic scene, images of access, regular folk in a scandalous moment- drama of common ppl everyday drama, committed to naturalistic color- pretty ordinary scene, neutral background so you can focus n foreground |
|
|
Term
|
Definition
| Alexandre Cabanel, Albaydé, 1848- classic academy art- predictable, he's the preferred painter of napoleon III, based on victor hugo poem from the romantic period, no translation of romanticism into painting, portrait but unknown to us, literary figure, object of desire, cortizan of near east, gentle nudes towards orient, crisp style, tight painting, but chill scene, naturalistic color, sensuous figure, youthful innocence, setting of ripe growth |
|
|
Term
|
Definition
| Alexandre Cabanel, The Birth of Venus, 1863- shown in salon, french academic, alluring presentation, goddess emerging from the water but there's a human element to her, provocative, voluptuous body, rushed form, nude, angle babies (putti), creamy colors, natural body, ideal and romanticized, rhythmic qualities, movement, less scandalous that she is nude bc she's a mythological character |
|
|
Term
|
Definition
| William-Adolphe Bouguereau, Dante and Virgil, 1850- academic/salon- famous artist, from dante's inferno, dante is guided through hell by virgil, feels frozen with no movement, highly staged, emphasizing form and line, takes up majority of canvas, strategic lighting, artist uses color in background to set mood, mysterious, emphasis on musculature, and twisted bodies, phsyiological perfection of the body, moody setting, controlled activity, serious work, requires knowledge, typical salon work |
|
|
Term
|
Definition
| Thomas Couture, Romans of the Decadence, 1847- famous trainers/teachers, sort of rebelling against salon but still an academic painting, academic art that isnt showing romans in a good light, took 3 years to complete, neoclassical focus, right subject matter but weird moral statement, crazy drunk party, feasting drinking, debauchery, nudity up against noble statues, not promoting splendor and glory, showing a corrupt society, stage-like setting, naturalistic color, statement of govt's abuse of power?, creatively criticizing govt, do they deserve to rule?, artist that looks to buck the system, people pushing against each other, pushes against salon |
|
|
Term
|
Definition
| for ppl rejected from salons, exhibition coordinated by the artists who were denied entry into official salon, operating outside mainstream |
|
|
Term
|
Definition
| Edouard Manet, Luncheon on the Grass, 1862-3- modernity/modernism- "affront to decency"- why is she naked in a contemporary setting? scandalous, wife and a model, bathing, nude gives you a direct stare- she's proud, she's aware that you are looking at her, work that lacks an academic finish, painting style is crude with big brush strokes, lack of depth/shadows, intentionally unrealistic/controversial |
|
|
Term
|
Definition
| Edouard Manet, Luncheon on the Grass, 1862-3- modernity/modernism- "affront to decency"- why is she naked in a contemporary setting? scandalous, wife and a model, bathing, nude gives you a direct stare- she's proud, she's aware that you are looking at her, work that lacks an academic finish, painting style is crude with big brush strokes, lack of depth/shadows, intentionally unrealistic/controversial |
|
|
Term
|
Definition
| James McNeil Whistler, Symphony in White, No 1, The White Girl, 1862- modernism- big work, whistler's mistress, very aware of paint application, studying the gradiations of white, no context, eyes are drawn to color and surface, clutching a pure lily- standing on a bear rug, seduction scene, bear=bare naked? focus on formal elements bc you dont know why youre there, weird perspective- awk floor makes you unstable, art for art's sake, thinks subject isnt as important as techniique/formal elements, pushes against academy |
|
|
Term
|
Definition
| big trend in the 19th century- collection of images, paintings, scultpures that imagine near east as subject matter, a world not like the western world, "other", unfamiliar, mirrors textile/ceramic pots, tied to imperialism and travel, exploiting these lands for soveneirs, shows east as weak, barbaric and lazy to justify our counquering- regional and racial archeatypes, promoting racial stereotypes, fantasies of power- dark scenes, erotic, exotic, danger |
|
|
Term
|
Definition
| Horace Vernet, The Arab Tale-Teller, 1833- orientalism- part genre/part landscape, tied to the land, burning animals, quiet scene of gathering ritual, ease in enviro, natural palette, control over brush, sort of same neoclassical attention to line/form, water bearer- reference to renissance and classical art, carefully constructed work to appeal to senses/sensibility of affluent viewers, critics think this is too picturesque |
|
|
Term
|
Definition
| J. A. D. Ingres, Odalisque with Female Slave, 1842- orientalism- many oriental paintings have female subjects, small, stronger neoclassical feel- linear, neoclassical, no hand, deep and rich colors, well lit but neoclassical paintings usually dont have naked ppl, this person is a prostitute, fantasy image, many diff skin colors, surrounded by oriental items, heightens erotic assosciations of nude, whiter=better- completely silenced bodies, no agency given to females, sexualized, just for visual consumption of western male eyes, sexualized, tries to make it look authentic even though he's never been there |
|
|
Term
|
Definition
| Jean-Léon Gérôme, The Carpet Merchant, 1887- epitome of oriental work, he's an academy paitner who went to egypt, high resolution collage, paints scenes from his mind, constructions of cairo egypt, fine level of detail to provide visual truth- image that fits and locks representation of orient, pristine, timeless works, vertical orientation to emphasize length of the carpet, figures surrounded by his virtoisuty of patterns, seems static which hints at the possibility of there being no progress in these near east places (v west)- tight frame, pristine, timeless and frozen, a lot of eastern achitecture |
|
|
Term
|
Definition
| Joseph Wright, Philosopher Giving a Lecture on the Orrery, ca. 1768- enlightenment, human's awesome mind, philosopher with a heightened sense of drama in science, pyramid shape, john whitehurst is the main character- prominent instrument maker, children express wander and excitement, pictoral focus, chiarascoro= dramatic differences in light and dark that creates hard edges around forms, light is a metaphor for mental brilliance and bright future of knowledge ahead- intellectual drama, techniquues from baroque period of art- dramatic light emphasizes the importance of the scene, light is from the center which is atypical- light emphasizes their contepmorary dress |
|
|
Term
|
Definition
| Joseph Wright, The Alchemist Discovering Phosphorus, 1771- enlightenment- phosphorus is a longevitiy material- dramatic science with witness, clean and crisp, alchemy=early chemistry, in the moment of experiment/drama, phosphorus glows from the center of the work- his apinting is based on research adn the latest discoveries- architectural setting is a church/cathedral- reverence to science-location matters- hard to tell the type of painting |
|
|
Term
|
Definition
| Georges Cuvier, “The Hottentot Venus,” 1815- she was stolen from africa and poked and prauded and became an image of difference- she was in advertisements, not salons, it was the intersection of race and science- cuvier, instead of properly burying her once she died of alcoholism, her body was cut up and they made a cast of her- meant to be propoganda for white supremacy and imperialism, trying to make non whites seem uncivilized, beginning of racial stereotypes, focus on physical differences, her body is reserved for popular press and only the print medium, can be reproduced and distributed easily to spread his message, items that can travel in mass production, moving away from realism- rendered contemporary and in the moment |
|
|
Term
|
Definition
| William Heath, “The Three Graces,” 1810- intersection of race and science- btwn enlightenment and orientalism- black body in conversation w women around her, visual comparrison of what is beauty in a female- pale skin is idealized and the hottentot is naked and crude and unacceptable brownness- only one ideal woman- progression of looks to the best white look |
|
|
Term
|
Definition
| William Hogarth, Harlot’s Progress (Plate 2), 1732- social commentary and moralizing print- prolific figure in print production, social critic, apprentices as an engraver, lots of political commentary- allows you to transmit messages about status and gender- represents society scarred by commercialism and money-making, 6 panels that focus on prosititution, we see her descend into prositution and then her demise- she is making a "go" at the man, has an african servant, sense of disorder, off-kilter dishevelment, disarray, flaunting the code of virtue when you become a prostitute, cast as an urban indecency, sattire- criticizes her and the ppl who hire prostitutes- evoke amusement and contempt, who is the villian? drama in the scene and you call tell opulence from the background too, youth beauty and attractiveness |
|
|
Term
|
Definition
| William Hogarth, The Tête à Tête from Marriage à la Mode (Scene #2), 1743-45- poor nobleman's son and rich merchants daughter- now he is criticizing the rich- drunk guy that comes home late but she's uniterested bc she had her own affair while he was gone- fallen chair suggests a cheater fled- slouching=not an upstanding individual- accesbile, realistic, interior setting, recalls genre and sattire painting, sense of their wealth and privledge, sense of wealth and privledge but they engage in morally corrupt behavior, he took hits for going after upper-crust |
|
|
Term
|
Definition
| Honore Daumier, Gargantua, 1831- caricature- print -took some heat for this- biting political commentar- louis Phillippe is being criticized and honore ends up getting thrown in jail for criticizing the king- offensive bc he plays w notions of scale- engorged monarch is surrounded by small, measly workers- difference in power and wealth, workers swallowed by king and he's useless and he is defacating in his throne (toilet)- saying politicians just eat and poop- haves and have nots are getting taken advantage of- the gargantua character is from french folklore- audience is the working and middle class and they have to understand the reference, shown in caricature shop |
|
|
Term
|
Definition
| Honore Daumier, Rue Transnonain, 1834- tightly framed drawing/print- murder- commentary against police and its engagement w the general public- they killed everyone in the room without enough evidence- tragic scene, we are on the floor w the bodies to sympathize w them, 3 generations dead, 4 dead ppl, invasion of domestic space and overarching police force, criticizing power structure, realism in caricature, careful decision to use print, spontaneous quality, feels sketchy- suffered from censorship from police, as a lot of print works often do |
|
|
Term
|
Definition
| Thomas Gainsborough, Mr. and Mrs. Andrews, ca. 1750- famous landscape painter and portrait artist- british portraiture, expression of gentility, reflection of sunlight, quality of clothes, full land- demonstrating his craft- we dont see labor- not invested in labor, gentle placement of hands=feminine, distinct manicured british landscape, suggests leisure and stresses a national identity/art- light infused, idealistic style, suggests they have taste and money |
|
|
Term
|
Definition
| Thomas Gainsborough, Conversation in a Park, 1745- british portraiture, small work, fancy paintings, functions outside of hierarchies of art, outlier- everyday life w element of the imagination- often bucolic/fancy settings- dream like a presentation- light and fresh composition- spreading gown in a gentle garden w pond- playful interaction btwn figures, youthful, young woman and gentlemen, quiet celebration of status, fancy paintings are also sold in reproduction (many british artists dont like this title) |
|
|
Term
|
Definition
| Joshua Reynolds, Commodore Augustus Keppel, 1752- rise of british portraiture- going after fancy painting- he thinks artists should be held in higher esteeem than other artisans, soft brushwork- dramatically placed in a dramatic/moody setting- portrait- british naval officer in 7 yrs war- he was part of a shipwreck that was chasing a french vessel so he commissioend the heroic presentation of himself to reframe himself- he seems unaffected by the forces of nature around him- following popular style of representation of british men- sense of movement and purpose, based off body shape of famous sculpture apollo belvedere from the 4th century- makes his art seem like high british art, wants to idealize figures to mimic that style, introduces a grand style of painting in england- he loves italy |
|
|
Term
|
Definition
| late 18th century early 19th century, lots of traveling and tourism to learn more about art, sense of mobility and amusement, understanding why western culture is what it is, completion/climax of one's formal training, visit key sites in italy- improves your sense of taste |
|
|
Term
|
Definition
| Giovanni Paolo Pannini, Modern Rome, 1759- grand tour, collection of items seemingly aquired by someone who has participated in the grand tour- whimsical presentation of gallery-wildly famous paintings, salon style of tightly hung paintings- seems like souveneirs, bordered by red drapery to show grandeur/opulence, museums dont exist at this time so it is a gallery that seems like soemone is showing off their collection of souveneirs, divorced from origins- popular in grand tour, allows ppl to have a memory of a place- meant to differentiate culture- brits v italians |
|
|
Term
|
Definition
| Canaletto, The Arch of Constantine with the Colosseum in the Background, ca. 1742-45- grand tour- 3 by 4 ft- meticulous work/rendition of a specific landscape right near arch of constantine- landmarks from the center of rome- meticulous- combo of real and imaginary, uses a camera obscura to get precise articulation of perspective, known for his work in italy, he started off in landscape painting so he puts a high focus on outdoor details- all about enjoyment of viewer- idealized- attention to line and visual elemnts- calm tans, gold and grays- tranquility, harmony of soft colors, grand statement about italy- great moments- public identity of italy/lure of antiquity- easily transportable sized paintings |
|
|
Term
|
Definition
| Canaletto, The Grand Canal at the Salute Church, 1730- grand tour- bright work, roman catholic church in venice but it doesnt dominate the composition, frees your eyes to look at rest of scene- idealized image of venice- political- analyzes strength of anglo italian relations/ways in which brits and italians come together- cultural focus, meant to make upper classes feel good about alliance with italy, not a naturalistic realm- very idealized instead, balance of visual elements, making foreign consumable by putting italy all over british art but there is still a sense of thrill and romanticism bc italy is still somewhat foreign- intersection btwn european countires |
|
|
Term
|
Definition
| Awol Erizku, Girl with a Bamboo Earring, 2009- big photo- dark body agaisnt black background- instagram, this is a girl he met on the subway, no context so timeless, bamboo earring is a mark of the middle class- based on girl w a pearl earring 1665 vermeer- studying subtletly and nuances of light- harmounious color and using a highly commercialized work- addressing the lack of color in history of art and he is challeging a white body w a black body- dramatic, wants convos amongst general public, blending of contemporary with black body and vernacular coupled w timeless reference |
|
|
Term
|
Definition
| Morimura Yasumasa, To My Little Sister, for Cindy Sherman, 1998- likes it bc all about identity and asian race- and gender an dchallenging authority of identity and perception, interested in craft of art- celebrates it and copies cindy sherman very precisely- playing w race and gender- asian identlty divorced from pop culture- why is this? reimagning a work that is already analyzing the constructed nature of pop culture images |
|
|
