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Heinrich Kuehn. Portrait of Alfred Stieglitz. 1900 -shown as intellectual |
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Alfred Stieglitz. Spring Showers. 1900 -pictorialism -interested in shape, soft focus, -comparable to george inness |
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Alfred Stieglitz. The Steerage. 1905 -its his most important -its where the poor people go, associated with immigration -But really he just found the figures underneath interesting, a study of form and shape |
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Alfred Stieglitz. Equivalent. 1930 -part of a series -clouds and gradiations of gray, black, white |
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Arthur Dove. The Lobster. 1910 -part of the circle -distills what he sees -influenced by post impressionist artists like Pablo Picasso -Steglitsz thought it was too much of a Europpean copy |
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Arthur Dove. Nature Symbolized #2. 1915 -abstract -pastel -similar to Kandinsky |
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Marsden Hartley. Portrait of a German Officer. 1915 -symbolism -was his lover, a love letter to him -filled with military symbols and german symbols -1914 WWI -avante garde/abstract |
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Georgia O'Keefe. Black Iris. 1930 -very close up flowers -pormoted as woman artist but didnt want that she was mad about it -she did not mean for them to be sexual |
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John Marin. Lower Manhatten (Composition Derived from Top of Woolworth Building) 1920 -water color -challenging -growth of the city -big and new -amazing that man could create something so big |
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Max Weber. Rush Hour. New York. 1915 -cubo-futurist -distinctly cubist color palette, browns, earth tones -ultimately moves away from avant garde |
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