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Art History 102 Final Emory
Art History 102 Final Emory
94
Art History
Undergraduate 1
03/18/2009

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Cards

Term
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ROMANTICISM/USA. George Caleb Bingham, Fur Traders Descending the Missouri, 1845.
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ROMANTICISM/USA. Frederic E. Church, Twilight in the Wilderness, 1860.

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HUDSON RIVER SCHOOL/USA. Thomas Cole, View from Mount Holyoke (The Oxbow), 1836.

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COLONIAL/USA. John Singleton Copley, Paul Revere, 1768.

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REALISM,USA. Thomas Eakins, The Gross Clinic, 1875. (1870)

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REALISM/USA. Winslow Homer, Veteran in a New Field, 1865.(1870)

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COLONIAL/USA. Gilbert Stuart, George Washington (Lansdowne Portrait), 1796.
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REALISM/USA. John Singer Sargent, Madame X, 1883-4.

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REGIONALISM/USA. Grant Wood, American Gothic, 1930.
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MODERNISM/USA. Georgia O’Keeffe, City Night, 1926.

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MODERNISM/USA. Marsden Hartley, Portrait of a German Officer, 1914.

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PRECISIONISM/USA. Charles Sheeler, American Landscape, 1930.
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ASHCAN SCHOOL/USA. George Bellows, Stag at Sharkey's, 1907.
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PHOTOGRAPHY/USA. Edward Steichen, The Flatiron, 1914.
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IMPRESSIONISM/USA. James McNeill Whistler, Arrangement in Grey and Black: Portrait of the Painter’s Mother, 1875

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CUBO-FUTURISM/USA. Charles Demuth, I Saw the Figure Five in Gold, 1928. (1925)
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KENTE/USA. "Ghanian (sic) Barbie" by Mattel, 1998. (2000)
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AFRICAN/Nigeria. Skin-covered (antelope) skull with human hair, shell inset eyes, basketry base, Cross River, c. 1910. (1915)
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AFRICAN/Nigeria. Ekoi skin-covered carved head with embroidered headdress and goat hair, tied yarn, Cross River, c. 1920.(1915)
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AFRICAN/Nigeria. Overmodelled skull on basketry headdress, Cross River, Nigeria-Cameroon borderland, c. 1900.
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AFRICAN/Ghana. Asantehene (king) Prempeh I wearing kente with Oyokomen pattern after return from exile, 1926. (1930)
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AFRICAN/Ghana. Queen Mother of Fante wearing Oyokoman kente, 1975. (1980)
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AFRICAN/Ghana. President Kwame Nkrumah of Ghana wearing kente, Independence Day, March 6, 1957.(1955)
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AFRICAN/Ghana. Oyokoman (Asantehene's clan) kente: red/yellow/green warp stripe alternating with "knives" weft pattern .
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AFRICAN/Nigeria. "18", young men's entertainment masquerade, Ejor, 1989.(1990)

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AFRICAN/Ghana. Gold kente, weft-dominant pattern at one end, no warp pattern visible.

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AFRICAN/Nigeria. Idoma youths performing the war dance, Ejor village, Nigeria, 1989.(1990)
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GHANA/Akan. Akan Christian couple with groom wearing kente, early 20th c. photograph.

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SOUTH AFRICA/Resistance Art. Willie Bester, Semekazi (The Story of a Migrant Worker), 1993.(1990)

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SOUTH AFRICA/Resistance Art. Jane Alexander, Pastoral Scene (life casts, mixed media), 1995.(1990)

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HARLEM RENAISSANCE. Meta Warrick Fuller, Ethiopia Awakening, 1920-21.(1919)
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HARLEM RENAISSANCE. Sargent Johnson, Forever Free, 1935
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SOUTH AFRICA/Resistance Art. William Kentridge, Untitled (landscape with billboard), n.d..

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SOUTH AFRICA/Resistance Art. M.K. Malefane, Nelson Mandela, c. 1983 (now destroyed). (1980)
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SOUTH AFRICA/Resistance Art. Kendell Geer, Mandela Mask (performance piece), 1996.(2000)

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SOUTH AFRICA/Post-Resistance Art. Clive Van den Berg, Men Loving (installation), 1996. (2000)

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HARLEM RENAISSANCE. Archibald J. Motley, Jr., Mending Socks, 1924.(1925)
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SOUTH AFRICA/Resistance Art. Alfred Thoba, Race Riots, 1977.

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HARLEM RENAISSANCE. Aaron Douglas, Aspects of Negro Life: From Slavery Through Reconstruction, 1936. (1935)

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LATE 19th C./African-American. Henry O. Tanner, The Banjo Lesson, 1893.(1898)
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SOUTH AFRICA/Zulu Transitional Art. Mavis Mchunu, White Women Playing Tennis (soft sculpture), 1980s.

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HARLEM RENAISSANCE. James Van Der Zee, Portrait of a Couple with Raccoon Coats and Stylish Car, 1932. (1935)
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ARCHAEOLOGICAL ACCESSIBILITY./USA: Thomas Jefferson, Monticello, Charlottesville, VA, 1769-1809.
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GOTHIC PROBITY/England. Charles Barry and A.W.N. Pugin, Houses of Parliament, London, England, 1836-60
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GOTHIC PROBITY/USA. A.J. Davis, Rotch House, New Bedford, MA, 1845.
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LATE 20th c/USA. Norman Lewis, Play Four, 1966. (1964)
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AFRICAN AMERICAN. David Hammons, Injustice Case, 1970.

Term
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AFRICAN AMERICAN. Various artists, Wall of Respect, Chicago, 1967. (1968)
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ROMANTIC ECLECTICISM/USA: Thomas Cole, The Architect's Dream, oil painting, 1840.
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STRUCTURAL RATIONALISM. Joseph Paxton, illustration of the Crystal Palace, London, England, 1851.
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AFRICAN AMERICAN. John Biggers, Shotguns, 1987.
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AFRICAN AMERICAN. Betye Saar, The Liberation of Aunt Jemima, 1972.

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LATE 20th c/USA. Martin Puryear, Confessional, 1996-2000.

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GREEK REVIVAL/USA. William Strickland, 2nd Bank of the United States, Philadelphia, PA, 1818-24.(1818)

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ROMANTIC ECLECTICISM/England: John Nash, The Royal Pavilion, Brighton, England, 1815-18. (1818)

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POST WORLD WAR II MODERNISM/France. Le Corbusier, exterior of Notre Dame du Haut, Ronchamp, France, 1950-55. (1950)

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POSTMODERN ARCHITECTURE/Canada (nationality of architect). Frank Gehry, east facade of Gehry House, Santa Monica, CA, 1978-79. (1980)

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POSTMODERN ARCHITECTURE. Richard Rogers (England) and Renzo Piano (Italy), Georges Pompidou National Center of Art and Culture ("The Beaubourg"), Paris, France, 1977.

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POSTMODERN ARCHITECTURE/Canada. Frank Gehry, Guggenheim Museum, Bilbao, Spain, 1997.(2000)
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INTERNATIONAL STYLE/France. Le Corbusier (Charles-Edouard Jeanneret), Villa Savoye, Poissy-sur-Seine, France, 1929.

Term
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Definition
THE BAUHAUS/Germany. Walter Gropius, The Bauhaus, Dessau, Germany, 1925-26. (1929)
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L'ART NOUVEAU/Belgium. Hector Guimard, Paris Metro (subway) entrance, Paris, France, 1900. BOTTOM: detail of scarab-like iron decoration.
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DE STIJL/Holland. Gerrit Rietveld, Schroder House, Utrecht, Holland, 1924.

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POST WW II MODERNISM. Mies van der Rohe (Germany) and Philip Johnson (USA), Seagram Building, NYC, 1956-58.(1960)
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"ORGANIC ARCHITECTURE"/USA. Frank Lloyd Wright, Kaufmann House ("Falling Water"), Bear Run, PA, 1936-39. (1935)
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ART NOUVEAU/Spain (Catalonia). Antonio Gaudi, Casa Mila, Barcelona, Spain (Catalonia), 1905-09.(1900)

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INTERNATIONAL STYLE/Germany (country of architect). Ludwig Mies van der Rohe, exterior of the Barcelona Pavilion (also called the German Pavilion, International Exposition), Barcelona, Spain (Catalonia), 1929).

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Definition

 

POST WW II MODERNISM/USA. Frank Lloyd Wright, exterior of Guggenheim Museum, NYC, NY, 1943-59. TOP: exterior. Bottom: interior. (1960)

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NEO-DADA/USA: Jasper Johns, Three Flags, 1958. (1963)

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NEO-DADA/USA: Robert Rauschenberg, Bed, 1955.

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COLOR FIELD/USA. Barnett Newman, Onement I, 1948. (1951)

Term
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POP/USA. Andy Warhol, Brillo Box, 1964 (1965)
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POP/USA. Claes Oldenburg, Floor Burger, 1962. (1968)

Term
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NEO-DADA/USA: Robert Rauschenberg, Erased De Kooning, 1953.(1955)
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NEO DADA/USA. Robert Rauschenberg, Factum I and II, 1957. (1960)

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SYNTHETIC CUBISM/USA. Arshile Gorky, Aviation Mural, Newark Airport, 1935-36. (1940)

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ABSTRACT EXPRESSIONISM/USA. Willem de Kooning, Excavation, 1950.

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ABSTRACT EXPRESSIONISM/USA. Jackson Pollock, Lucifer, 1947. (1951)

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COLOR FIELD ABSTRACT EXPRESSIONISM/USA. Barnett Newman, Vir Heroicus Sublimis, 1950-51.

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POP/USA: Claes Oldenburg, Green Gallery show (including works from THE STORE and first large-scale "soft" sculptures), 1962. (1965)
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ABSTRACT EXPRESSIONISM/USA. Jackson Pollock, Number 1, 1948. (1951)
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ABSTRACT EXPRESSIONISM/USA. Mark Rothko, Homage to Matisse, 1953.(1950)

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ABSTRACT EXPRESSIONISM/USA. Arshile Gorky, Garden in Sochi, 1943. (1940)

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NEO-DADA/USA: Allan Kaprow, A Spring Happening, 1961.(1960)

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POP/USA: Andy Warhol, Marilyn Diptych, 1962.
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ABSTRACT EXPRESSIONISM/USA. Willem de Kooning, Woman I, 1950-52. BOTTOM: six stages of Woman I. (1951)
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MINIMALISM/USA. Donald Judd, Untitled, 1965. Pink Plexiglass box, stainless steel, wire.

Term
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POST-MINIMALISM/USA. Eva Hesse, Hang Up, 1965-66. (1966)
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MINIMALISM/USA. Frank Stella, Die Fahne Hoch, 1959. (1960)

Term
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ABSTRACT EXPRESSIONISM/USA. David Smith, Cubi XIX, 1964. (1965)
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POST-MINIMALISM/USA. Eva Hesse, Accession II, 1967. (1965)

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POST-MINIMALISM/USA. Sol LeWitt, Serial Project Number 1 (ABCD), 1966. NOTE: This is the original plan, sent out as an invitation to the exhibition.(1965)

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MINIMALISM/USA: Donald Judd, Untitled, 1968 (1965)

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20th C/African-American. Jacob Lawrence, Migration of the Negro, 1937-38.(1941)

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