1. German
2. Nude self-portrait by a woman
3. Intentionally primitive and abstract style
4. Influence of Tribal ARts
5. Continuation of characteristics of Romanticism and expressionism into the 20th Century

1. Fauvism
   1. 'wild beasts'
2. French
3. Joyful subject matter
   1. Nude figure in landscape --> Greek art
4. Abstract style
5. intense arbitrary colors
6. influence of tribal arts.

1. Russian-born
2. nonrepresentational style
   1. intentionally not giving recognizable reality. Only color, line, shape...NEW reality.
   2. One of the first nonrepresentational artists
      
3. Idealistic
   1. Positively impact 20th century progress
4. viewer creates meaning through free association with colors
5. Linear and spatial flow
6. influence of musical composition
   
   1. modern composers
   2. composer gives something we haven't heard before
      

1. Spanish-born
2. working in France
3. Analytic early phase of cubism à analytical deconstruction of objects
4. Cubism hugely influential after this
5. Abstract style
   1. Remained abstract artist his entire career
6. geometric structure using arcs, anddlges and flat planes
7. multiple viewpoints in space
   1. not linear perspective
   2. no more static world

1. deconstruction of from and space
2. influence of tribal arts

Picasso, “Guitar, Sheet Music and Wine Glass” Cubism

1. Spanish-born
2. invention of Collage
   1. new technique of pasting 2-dimensional materials in juxtapositions on a 2-dimensional surface
3. Invention of Assemblage
   1. combining 3-dimensional “found objects” to form a work of sculptural art.
4. Great influence on all art forms, including film, design, architecture

Boccioni, “Unique Forms…” Futurism

1. Italian
2. ‘Futurists’ : chose name to modernize culture
3. Influence of Cubism
   1. Fragmentation of figures
4. abstract style showing movement of form through space

El Lissitzky, “Proun Space” Constructivism

1. Russian. Support Russian revolution
2. nonrepresentational style
3. Influence of Cubism = Subject Matter
   1. arrangement and movement of geometrical forms in space
4. interested in pure design and functional applications such as Posters
5. Installation Art
   1. Temporary experience for viewer.
   2. Idea-driven
6. “P.R.O.U.N.” – project for affirmation of the new

DuChamp, “Bicycle Wheel” Dada

1. French
2. response to absurdity and chaos of WWI
3. influence of Cubist painting, collage, and assemblage
4. His term: “Ready-Made” = selection and use of pre-existing objects (APPROPRIATION)
5. stressed importance of ideas and process in art
6. Function = stimulate ideas about role of art / role of artist in the modern world
7. Conceptual art = art about ideas
8. About Ideas & Process:
   1. Idea --> physical form. Entire Process
   2. Part of the work of art
   3. àlife after creation, viewer’s dialogue = Art
9. Dysfunctinoality – Europe killing each other = bike wheel on a stool

Mondrian, “Composition with Red, Blue, and Yellow” De Stijl

1. Dutch
2. influence of Cubism
   1. fragmentation and geometrical shapes
3. universal language of nonrepresentational style – reduction to essential elements
   1. Transcend politics and nations
4. Subject Matter: perfect harmony of opposites – dynamic equilibrium
   1. Horizontal and vertical
   2. black and white
5. geometric, rational (unlike Kandinsky)
6. Balance that maintains energy and dynamism

Gropiuis, “Bauhaus Building” International Style

1. German
2. International Style
3. government-sponsored school of art and design
   1. taught theories/principles (aesthetics) and practice/prototypes for mass production
   2. materials: reinforced concrete, glass, steel
   3. style: no applied design (no decorative elements), streamlined, geometrical, rectilinear
4. Influence of Cubism

Wright, “Fallingwater” or “Kaufmann House”

1. American
2. influence of Cubism and International Style
3. plus eclectic personal style
4. use of natural site/materials (natural stones)
5. cantilever technique
   1. horizontal projection with no support at the end of the projecting element
6. patron: Kaufmann

1. Spanish
2. Veristic surrealism = realistic
   1. Agenda: heal society & Arrest viewer
3. Freudian theory
4. subconscious images
5. style: “hand done color photography”
6. influence of collage juxtaposition of elements

1. Spanish
2. Technique: Automatic Drawing
   1. not guided by reason
   2. subconscious dictates drawing = Subject Matter
3. influence of collage
   1. Sprinkle torn shapes randomly and use passage for painting
4. influence of Freudian theory
5. subconscious images

1. German-Mexican living in Mexico
2. psychological self-portraits
3. Self-taught
4. A ‘natural’ surrealist (didn’t know about Surrealism)

1. American
2. 1^st  Avant-Garde style innovated in US
3. Abstract Expressionism
   1. passed down torch from Europe to US
   2. Tragic and Heroic
4. Action painting
5. large scale unconventional techniques and materials
   1. poured paint on raw, unstretched canvas
   2. difficult to control flow of paint
6. Autographic process (only he can do it) and
   1. Subject Matter = literal record of Artist’s emotion, energy, psyche, movement
7. eclectic influences
   1. Kandinsky
   2. surrealism
   3. Zen brush painting (Japan)
   4. Navajo sand painting
8. Risking very existence in every painting
   1. it either worked or failed
9. nonrepresentational style
10. “I don’t paint nature—I am nature”

1. American
2. 2^nd generation of Abstract expressionist artist
3. soaked paint into large raw canvas
4. abstract style

1. Mies - German. Johnson - American
2. steel cage construction
3. “curtain wall”
4. geometricl simplicity (Bauhaus)
5. no applied design (Bauhaus)
6. Function:
   1. corporate Headquarters
   2. corporate symbol of modernism and efficiency

1. American
2. use of commercial art texhniques in fine art
3. appropriation of already-existing images
4. influence of DuChamp
   1. Appropriation
5. 1^st avant-garde art popular immediately
6. stressed relationship of art, mass media, popular culture
7. trained as commercial designer, not fine artist
8. what is fine art/commercial art? Why?
9. strategies of advertisement
   1. blitz
   2. isolation
10. Diptych
    1. religious 2-part altar piece
11. not claiming originality of image

1. American
2. Reduction of art to essential form
3. nonrepresentational style
4. no intended symbolic subject matter
5. questioned role of artist in age of mass media
6. consumer culture and commercial art system.
7. wiping slate clean
8. influenced by Mondrian
   1. reduction to essentials
   2. nonrepresentational
   3. BUT Mondrian had intended symbolic meaning
9. Conceptual art
10. Progress
    1. he dematerializes objects…steam pieces…earthwork…art objects no longer for sale

1. American
2. Worked outside gallery system
3. mostly self-funded projects
4. reconnect to great themes of ancient art linking human culture, nature/environment, myth
5. Great Salt Lake, UT 1 mile long earth

1. American
2. Influence of feminism
3. collaborative process
4. self-funded projects
5. use of mass media to inform and educate public about art and social issues
6. use of multimedia including ceramics, embroidery, weaving.
7. Subject Matter
   1. homage to contribution of women in Western Culture
   2. 39 names at table 999 on floor
8. Fusion of vagina, flower, butterfly
   1. beauty, power, ownership

1. American
2. Subject Matter: alternative history of California
3. collaborative process
4. technique: acrylic paint
5. Patron: public funding and Army Corps of Engineers

1. Bulgarian
2. Temporary placement of materials
3. site-specific
4. self-funded projects
5. artists take responsibility for total life-cycle of art piece

1. German
2. visual artist participating in artwork
3. element of real time
4. influence of assemblage to include a variety of unconventional materials, processes and techniques
   1. Assemblage of events. Cubism, movement
   2. Shaman – ritual leaders who tap into tribes spiritual realm
5. Performance art
   1. sometimes collaborative, sometimes not
   2. involves objects and people in real time and real space
   3. by Visual artists, usually sculptors
6. Subject Matter: Healing (Cultural, personal worlds) and Coexistence.

1. American
2. initially controversial for challenging traditional ideas of heroic sculpture
3. influence of minimal art
4. subject matter: names of American military casualties in Vietnam War
5. patron: private funding?

1. Korean
2. influence of information/image generating technologies
3. element of real time (video and performance)
4. influence of assemblage to include a variety of unconventional materials and techniques (like Performance art)

1. Canadian
2. Bilbao, Spain
3. uses aspects of International Style
   1. but expands into eclectic/personal approach to design, techniques and materials
4. Patron (very unlikely combination)
   1. Guggenheim Foundation (private, American)
   2. City of Bilbao (public city money)
5. Function: Museum, urban renewal project
6. Subject Matter: symbol of culture, but also of shipbuilding
7. Material: steel glass and reinforced concrete (international style) Limestone blocks, titanium
8. Every technique

                                                               i.      Paleolithic (Old Stone Age) 40,000-8,000 BCE

1.        Lascaux Cave Painting

b.       Present Location: France

c.        Techniques: drawing. Brushing. (Reed, spray through bone). Treaded wall so pigment would stay.

d.       Materials: Anything found in nature.

e.        Subject Matter: Mostly Animals. Meaning + symbolism. Fertility. Reenactment of the hunt.

f.         Function: NOT living space or burial space. Ritual Function.

g.       Style: Abstraction. Line. Color. Simulation of texture. Shape.

h.       Artist: Poor hunters. Women. ?

i.         Patrons: Shamanic leaders?

1.        Ziggurat (& Temple) at Ur

1. Mesopotamian Art 3,500-330 BCE

a. Sumerian       

b.       Materials: earth mound, solid, reinforced w/ mud brick walls. Major Temple. Dialogue w/ god who was housed in temple.

c.        patron: King of city-state

d.       Function: Place of worship. Courts were held here. Education of Nobility.

e.        Subject Matter: Symbolizes power of kings & gods, connection between them.

                                                               i.      Old Kingdom 2,700-2,200 BCE

1.        Great Pyramids

a.       

b.       Patrons: 3 Pharaohs

c.        Location: Giza, Northern Egypt

d.       Function: royal sacred tombs for royal sacred kings

e.        Style: Perfect geometrical symmetry

f.         Material: blocks of stone, no mortar

g.       Artists: freemen & slaves

h.       Subject matter: sacred mountain symbolism

                                                               i.      Snake Goddess

1.       Minoan 2,000 - 1,400 BCE 

2.        subject matter: fertility goddess. Holding snakes (fertility & transformation). Cat on her head. Influenced by Mesopotamian. Perfection of beauty.

3.        location: palace of Minos, shrine room

5.        Material: ceramic, decorated w/ glaze before firing.

6.        Artist: male or female

7.        Patron: rulers

8.        Function: fertility rituals

9.        Possible migration from Neolithic Catal Huyuk to Crete à equal statues of men & women.

10.     Minoans declined rapidly & inexplicably.

                                                               i.      Spear Bearer by Polykleitos

1.        Innovations of Style—contrapposto / perfect set of proportions 1:7 / no more Archaic Smile

2.        [image]Subject Matter—perfect warrior/athlete

3.        Artist—Polykleitos. Most famous sculptor & theorist

4.        Material—

a.        original—Bronze metal

b.       copy—Carved marble (by Roman)

5.        Set out to embody perfection in sculpture

6.        Frontal/plain presentation

7.        Observation & Idealization

8.        Not a portrait à idealized

                                                               i.      [image]Parthenon by Kallicrates & Iktinos

1.        Architecture ßset global standard & influence

2.        Innovations/Refinements—

a.        2^nd row of Columns

b.       no straight lines à diagonal & curved base

                                                                                                                                       i.      looks more animated, not sagging

c.        corner columns closer together = greater strength

d.       columns lean inward

3.        Style-- Doric order--

4.        Patron—Pericles ßelected leader of Athens

5.        Material--marble

6.        Technique—post & lintel

7.        Location—Athens, on top of Acropolis

8.        Pefect symmetry, balance, stability, perfection

9.        Doric Order

a.        Simple, masculine top of column

                                                               i.      Roman with Busts of Ancestors

1.        Subject Matter—portrait holding portraits of male ancestors

2.        Functions—honor ancestors & display them in home

3.        Style—individualism. Realism. àportrait

4.        Patron—the man holding busts. Patrician

5.        Material—carved stone

1.  
   1. St. John Manuscript Page

                                                               i.      Subject Matter—

1.        St. John, gospel author

2.        Dove = holy spirit from hand of God àinspiring John

3.        Eagle w/ halo = St. John

                                                              ii.      Functions—page of codex. Prayer book

                                                            iii.      Style—Abstract. Flat. Linear

                                                            iv.      Patron—head monk of monastery (guy on the right)

1.        this would be his prayer book à providing ink for pen

                                                             v.      Material—paint on parchment

1.  
   1. [image]Chartres Cathedral West Façade

                                                               i.      Vertical spance and Colored light (Christian Mysticism) à Stained glass

                                                              ii.      Physical light to spiritual light.

                                                            iii.      Engineering and geometrical harmony

                                                            iv.      Subject Matter—symbolic theoryàmonasticism

                                                             v.      Functions—place of worship/ place to view relics

                                                            vi.      Style—pilgrimage plan

                                                          vii.      Artist--

                                                         viii.      Patron—combination of church and state

                                                             ix.      Material—cut stone

                                                              x.      Technique—vault construction

                                                             xi.      Location—Chartres, France

1.  
   1. Jan van Eyck, “Arnolfini Portrait” Genre

                                                               i.     

                                                              ii.      Technique and Materials (invention of oil painting technique). Oil on panel

                                                            iii.      Subject Matter (“hidden symbolism”).

                                                            iv.      Patron.

                                                             v.      Style.

                                                            vi.      Artist and Nationality. Flemish

1.  
   1. Leonardo da Vinci, “The Last Supper” History

                                                               i.     

                                                              ii.      Location. Florence, Italy

                                                            iii.      Artist/Nationality. Engineer, scientist. Direct Observation. Perfection in Painting. Italian.

                                                            iv.      Innovation of Subject Matter. Christ surrounded by apostles. Idealism and perfection. Innovation: Judas on the same side of table, isolate him much more subtly. No halos à Christ has daylight behind him.

                                                             v.      Technique. Experimented w/ unstable painting technique: Oil paint & Tempura on Dry Wall.

                                                            vi.      Style (use of linear perspective). Rafters. Continues from actual room

                                                          vii.      Function. Decorate dining room of monastery in Milan

                                                         viii.      Patron. Royal (*Not Middle Class*) DUKE of Milan.

1.  
   1. Michelangelo, “David” History

                                                               i.     

                                                              ii.      Location. Public building in Florence

                                                            iii.      Artist/Nationality. Sculptor, architect, painter, engineer, poet. Italian

                                                            iv.      Innovation of Subject matter. Religious: King David before killing Goliath. David had been traditionally portrayed after killing Goliath.

                                                             v.      Function. public work of art. Symbolism à Florence as an independent Republic.

                                                            vi.      size. 17ft

                                                          vii.      technique and materials. carved marble. (one block)

                                                         viii.      patron. Middle class. Civic Group in Florence

                                                             ix.      Style. influenced by classical Greek nude, but greater Realism and emotional power

                                                              x.      Neo-Platonism: Prominent Renaissance philosophy à The Divine is revealed through the beauty of Nature.

1.  
   1. Rembrandt, “Return of the Prodigal Son” History

                                                               i.     

                                                              ii.      Artist/Nationality. over 100 self-portraits. Also a printmaker (Etching). Style changes over time=Warmer, softer, dramatic highlights

                                                            iii.      Technique. oil on canvas.

                                                            iv.      Subject matter. New testament parable.

                                                             v.      Style. warm, soft, dramatic, light and shade.

                                                            vi.      Patron. NONE! never for sale => self-expression.

                                                          vii.      Artist is also known for printmaking technique of ETCHING. Not engraving (Durer). Done on metal plate with needle. Acid bath.

1.  
   1. Delacroix, “Liberty Leading the People”                          Romanticism/Genre

                                                               i.     

                                                              ii.      Artist/Nationality. French.

                                                            iii.      Subject Matter. NOT history. Contemporary event happening during life of artist PLUS symbolic figure from the past. Oust French King.

                                                            iv.      No Patron.

                                                             v.      Painterly Style. Opposite of Neoclassicism. Unclear, ambiguous, suggestive, blurred details à give viewer room for emotion/imagination

                                                            vi.      Technique. oil paint

                                                          vii.      Romanticism: Emotion, not reason. Imagination. Intuition. Search for Personal truth. LANDSCAPE as subject Matter

1.  
   1. Courbet, “A Burial at Ornans”                                           Realism/Genre

                                                               i.     

                                                              ii.      Artist/nationality. French Self-taught. Technical skill is not necessarily criterion for ARTIST/ART. Would draw and paint from paintings he admired.

1.        His works were rejected from French Royal Academy Exhibitions.

                                                            iii.      Subject matter. Genre (Ordinary life) Burial of Courbet’s own grandfather.

                                                            iv.      Technique. Oil painting 10’ x 21’ => intentional challenge of what constitutes good painting/rules

1.        (ex. big painting better be of important people) Challenge Status Quo

                                                             v.      Style. Crude, unrefined. Crude subject matter.

                                                            vi.      Independent exhibitions. set up art in a tent, publicize, people came

1.        “Show me an angel, and I’ll paint one.” The essence of realism. Personal experience documenting life.

2.        “The heroism of modern life”

3.        “To be of one’s time” ß Notion of the MODERN

                                                               i.      No patron. Not painting to make a living, but to make a statement. A statement about ART and SOCIETY

4.        Rural men had just received right to vote

1. Later 19^th Century Art in Europe and the U.S. 1870-1900

1.  
   1. Manet, “Luncheon on the Grass”                                     Impressionism/Genre

                                                               i.     

                                                              ii.      Innovations of subject matter. Genre. Turns classical female Nude and turns her into Genre

                                                            iii.      Artist/nationality. French. Goals: nothing less than to modernize the art of painting. Very well-educated. Upper middle class. Realism morphs into Impressionism. Manet is bridge. Realist/Impressionist

                                                            iv.      Style.

                                                             v.      changes of patronage & function of art. SELF EXPRESSION / comment on modern life

                                                            vi.      avant-garde: the advanced guard. Military term. First line of soldiers.  

                                                          vii.      academic art: following rules and conventions and retaining tradition.

                                                         viii.      Technique. Left the canvas white. Artists had typically put brown wash to tone it down.

                                                             ix.      Influences of his art from

1.        Photography. Photograph flattens, so he did this in his painting. Trying to display how light actually works and how we perceive it.

2.        Japanese Prints. Ink on paper. No background space. No linear perspective. Flat background and No Shading.

                                                              x.      Art is an independent reality

                                                             xi.      art cannot be evaluated based on any other assumption

                                                           xii.      Impressionism is a style of art that is interested in the process of seeing and the process of painting. What is light doing, etc.

1. Later 19^th Century Art in Europe and the U.S. 1870-1900

1.  
   1. Monet, “Bridge at Argenteuil”                                          Impressionism

                                                               i.     

                                                              ii.      Artist/nationality. acknowledged leader of impressionists

1.        Group of French painters. 12-15 artists.

2.        Avant-Garde. Experimental, challenging the rules.

3.        Their work was disliked intensely à Not a lot of opportunities à independent exhibitions.

4.        1^st group of artists who would paint outdoors from beginning to end of a painting.

5.        Process of seeing à process of painting that captures process of seeing,

6.        Favorite SM was water and sky

                                                            iii.      innovations of style. Painterly, loose, open, irregular brush strokes.

                                                            iv.      Innovations of technique. broken brush work

                                                             v.      Subject Matter. Light effects on objects. Water, bridge, trees = excuses for what light is doing.

                                                            vi.      Primary and secondary colors. colors on the color wheel. (Monet solely used these)

1.        Primary: Red, Blue, Yellow

2.        Secondary: Green, Orange, Violet

1. Later 19^th Century Art in Europe and the U.S. 1870-1900

1.  
   1. Van Gogh, “The Starry Night”   Dutch                             Post-Impressionism

                                                               i.     

                                                              ii.      Expressionism Style.

                                                            iii.      Worked predominantly from nature filtered through personal emotions.

                                                            iv.      Expressive arbitrary and symbolic color.

                                                             v.      Artist. Grew up in family of art dealers and preachers. Starry night done from window of sanitarium.

1. Later 19^th Century Art in Europe and the U.S. 1870-1900

1.  
   1. Gaugin, “Day of the God” French                                    Post-Impressionism

                                                               i.     

                                                              ii.      Expressionism style. intentionally changing the appearance of things to express strong emotions.

1.        Gaugin and Van Gogh Comparison

a.        both disillusioned with modern life

b.       Both from wealthy middle class

c.        both had goal of expressing feelings about modern industrial life and their relationship to it. This led to skepticism.

d.       Both self-taught

                                                                                                                                       i.      Gaugin worked from memory à simplified, symbols

                                                                                                                                      ii.      Van Gogh worked from nature

                                                            iii.      Worked from memory.

                                                            iv.      Abstract style.

                                                             v.      Expressive arbitrary color. whatever the artist feels it needs to be.

                                                            vi.      Intentionally “primitive” Style.

                                                          vii.      Goal and function. Self Expression. Search for personal truth (like Romantics)