Term
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Jacopo da Pontormo, Entombment of Christ
Mannerism [1520-1600]
Figures compressed in shallow, undefined space, no strong indicators of who/what it is, tiny heads big bodies, *intimate interruption
Pointed toes, created based on other art, Christ at same level as everyone else, vibrant colors
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Parmigianino, Madonna with the Long Neck
Mannerism [1520-1600]
Disproportionate body parts (unstructured fingers, small head), Christ is huge, not symmetrical (artist looked at preceding art to make this --> unproportionate, "inbred")
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Bronzino, Portrait of a Young Man
Mannerism [1520-1600]
Intimate moment, highly affected, compressed space (not all lines are shown), wandering eye (follows the viewer)
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Gianlorenzo Bernini, Cornaro Chapel, Santa Maria della Vittoria, Rome, Italy
Baroque Art [1600-1700]
bel composto- unifies painting, sculpture, and architecture
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Gianlorenzo Bernini, Ecstasy of St. Teresa, Cornaro Chapel
Baroque Art [1600-1700]
Drapery mimicks drama, dramatic poise-head tilted back, diagonal composition, angels gestures point outside scene, theatrical-staged |
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Annibale Carracci, Loves of the Gods, Palazzo Farnese, Rome, Italy
Baroque Art [1600-1700] |
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Caravaggio, Conversion of Saint Paul
Baroque Art [1600-1700]
Tenebrism: drama (very bright characters, very dark space) |
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Caravaggio, Entombment
Baroque Art [1600-1700]
Jesus radiates light to act as focal point
Projecting stone involves viewer, as does heaviness of body (falling out of the painting)
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Artemisia Gentileschi, Judith Slaying Holofernes
Baroque Ar [1600-1700] |
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Peter Paul Rubens, Elevation of the Cross
Baroque Art [1600-1700]
Twisted figures, dramatic lighting, michelangelo style of bodies, heavy figures, viewer feels more connected to Christ, breakdown of time, comparable to Laoocon & Sistine Chapel, muscular, agitated form |
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Peter Paul Rubens, Arrival of Marie de’ Medici at Marseilles
Baroque Art [1600-1700] |
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Frans Hals, Archers of Saint Hadrian
Baroque Art [1600-1700]
Fraternal order of men, horizontal table is organizing element, not staged, Baroque elements: rich gold, dark background, time is frozen, |
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Frans Hals, The Women Regents of the Old Men’s Home at Haarlem
Baroque Art [1600-1700]
Palette kept at black and white, arranged and ready, close look: fleshy depiction of skin, faces aren't idealized, patches of highlights, time is frozen |
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Rembrandt van Rijn, Anatomy Lesson of Dr. Tulp
Baroque Art [1600-1700]
Dissecting a cadaver, students intrigued, secular work (no religious scene), viewer included in scene, pyramidal composition |
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Rembrandt van Rijn, Self-Portrait
Baroque Art [1600-1700]
Captures mood/ human condition, different gradations of light and color, undertones in skin, not dressed in fancy clothes (painted himself as he thought he was), frumpy, desperate, unkempt |
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Willem Kalf, Still Life with Late Ming Ginger Jar
Baroque Art [1600-1700]
Focal piece is pushed off to right side- diagonal composition, casual arrangement- Baroque (cloth bunched up, lemon peel strewn on table) |
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Rachel Ruysch, Flower Still Life
Baroque Art [1600-1700]
Meaning applied to casual objects, Baroque diagonal, *Vanitas- still life, relates to element of transcience of life, insects have begun to land, snail shells are included along with other insects |
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Nicolas Poussin, Et in Arcadia Ego
Baroque Art [1600-1700]
Men stumble upon tomb, perplexed, woman can be seen as allegory of death- reminds sheperds that death is present (introduction of idea that paintings can be used as tools to teach) |
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Nicolas Poussin, Burial of Phocion
Baroque Art [1600-1700]
Most of painting is given up to manicured landscape, classicised manner, appeals to educated viewer, antiquity, classicism, idealism |
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Hyacinthe Rigaud, Louis XIV
Baroque Art [1600-1700] |
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Aerial view (looking west) of the palace and gardens, Versailles, France
Baroque Art [1600-1700] |
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Jules Hardouin-Mansart and Charles LeBrun, Galerie des Glaces (Hall of Mirrors), Versailles, France
Baroque Art [1600-1700]
Mirrors: confusion, expansion of space, brightness (Louis thought he was Apollo)
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Germain Boffrand, Salon de la Princesse, Hôtel de Soubise, Paris, France
Rococco [1700-1800] |
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Antoine Watteau, Pilgrimage to Cythera
Rococco [1700-1800]
Gender ambiguous, pastel colors |
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Henry Fuseli, The Nightmare
Romanticism [1800-1870]
Incubus calling erotic virgin to have romantic nightmare.
Horse hidden in background: "mare" (pun) |
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Francisco Goya, The Sleep of Reason Produces Monsters
Romanticism [1800-1870]
Freudian themes (importance of subconscious)
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Théodore Géricault, Insane Woman
Romanticism [1800-1870] |
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Edouard Manet, Le Déjeuner sur l’Herbe (Luncheon on the Grass)
Realism [1800-1870]
Provocativeness of scene, naked woman- figures around her are clothed, everyday scene (ambiguity of what is going on), nakedness-in your face, viewer is interrupting scene
Two-dimensionality
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Edouard Manet, Olympia
Realism [1800-1870]
Naked, not classy in covering herself, prostitute with a black woman (low class), flat scene, heavier line, aggressive
**takes work from Renaissance (venus) and perverts the perspective to reject it** |
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Claude Monet, Rouen Cathedral: the Portrait (in Sun)
Impressionism [1870-1900]
Dabs of color to get general picture |
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Edgar Degas, The Tub
Impressionism [1870-1900] |
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Vincent van Gogh, Night Café
Post-Impressionism [1870-1900]
Ordinary cafe, interpretation makes cafe seem creepy/scary, not concerned with representing true perspective |
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Vincent van Gogh, Starry Night
Post-Impressionism [1870-1900]
View from mental assylum, subjetive experience |
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Paul Cézanne, Mont Sainte-Victoire
Post-Impressionism [1870-1900] |
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Paul Cézanne, Basket of Apples
Post-Impressionism [1870-1900]
Uses color to control modeling, depth, etc. 2D & 3D simultaneously |
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Pablo Picasso, Gertrude Stein
20th century Picasso [1881-1973] |
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Pablo Picasso, Les Desmoiselles d’Avignon
20th century Picasso [1881-1973]
Geometric bodies, giant eyes & african masks
Animalization of prostitutes–offensive
Inspired by Iberian statue
The audience plays the role of the men in the brothel (intimidation–Olympia)
Aggressive sexuality
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Marcel Duchamp, Fountain
20th Century Surrealism [1920-1945] |
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Salvador Dalí, The Persistence of Memory
20th Century Surrealism [1920-1945]
Part of individual surpressed by everyday lifestyle: subconscious
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Meret Oppenheim, Object (Le Déjeuner en fourrure)
20th Century Surrealism [1920-1945] |
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Jackson Pollock, Number 1, 1950 (Lavender Mist)
20th Century Abstract Expressionism & Pop [1945-1980]
Exploration of unconscious: Automatism (actions without thoughts)
Gesturalism/action painting (life of its own) |
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Willem de Kooning, Woman I
20th Century Abstract Expressionism & Pop [1945-1980]
Construction/cancellation (addition/subtraction of pigment)
Defacement of beautiful woman
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Mark Rothko, No. 14
20th Century Abstract Expressionism & Pop [1945-1980] |
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Andy Warhol, Marilyn Diptych
20th Century Abstract Expressionism & Pop [1945-1980] |
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Carolee Schneeman, Meat Joy
20th Century Feminist & Performance Art [1970-present]
eight partially nude figures dancing and playing with various objects and substances including wet paint, sausage, raw fish, scraps of paper, and raw chickens
She described the piece as an "erotic rite" and an indulgent Dionysian "celebration of flesh as material." |
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| Mannerism Characteristics |
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Definition
[1520-1600]
Looks at art rather than nature for models--> Artificial elegant style --> comes off as distorted
clashing colors, disquieting figures with abnormally elongated limbs, emotion and bizarre themes |
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| Baroque Art Characteristics |
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Definition
[1600-1700]
Curvilinear, Diagonal Composition, Rich Colors, Dark Background, Theatrical
Tenebrism: pronounced chiaroscuro with violent contrasts of light and dark--> darkness is dominating
Viewer is participant in work of art, empathy
Time is momentary
**collapsing of time- one moment, breaking down of picture plane- implies that action is going beyond scene in picture |
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Definition
[1700-1800]
Happy, theatrical, dainty, airy, repetitive, frilly, relaxing, bright, florid, playful |
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| Romanticism Characteristics |
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Definition
[1800-1870]
Human subconscious, directly addresses viewer (as opposed to being in moment), feel empathy, visual pun (ex: night+mare) |
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Definition
[1800-1870]
Lower class/everyday people, discard theatrical drama for commonplace themes, asserts 2D, naked v. nude, provocative, projecting of intellectual painting, quotidian events not historical (Enlightenment) |
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| Impressionism Characteristics |
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Definition
[1870-1900]
Color instead of line, short & fuzzy brush strokes, light, paint as you see it, non-naturalist, visible brush strokes, landscapes
Renoir, Monet, Degas |
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| Post-Impressionism Characteristics |
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Definition
[1870-1900]
Shape is more important than realism, modeled with color intensity, everyday object- still life, more realistic colors, more detailed, heavy line, light > shape, dark next to light, Japanese perspective, 2D & 3D space, flatness, exploits colors/forms to get emotional message across to viewers
Van Gogh, Cezanne |
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| 20th Century Picasso Characteristics |
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Definition
[1881-1973]
Cubism: sharp, angular, abstracted space, flatness, direct, multiple viewpoints, the gaze, aggressive
Primitivism: Mysogyny, japonisme |
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| 20th Century Surrealism Characteristics |
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Definition
[1920-1945]
Interest in subconscious, Freudian theories led to rise, imaginative/surprising images
Dada: against traditional forms of art, ready mades, irrationality, psycho analysis (subconscious), artist does not equal skill/execution, |
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| 20th Century Abstract Expressionism & Pop Characteristics |
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Definition
[1945-1980]
Abstract Expressionism: Took 3 major trends happening in Europe, Investigate emotional content of expressionism movement, Studied formal qualities of cubism, Spontaneity of surrealism, turned inwards- introspective, understand and deal with what's happening in the world, Viewer should understand and take it in in a “free state”- cultural values, societal standing, just get into work of art, look at formal anesthetic qualities, immerse yourself beyond formalness and create interior dialogue between yourself and work
Pop: Post-war mood of anxiety and trauma, fields of color and abstract form, gestural expressionism, shaped by legacy of surrealism, interest in unconscious and mundane things |
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| 20th Century Feminist and Performance Art Characteristics |
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[1970-present]
Utilizes disturbing images, sounds, and smells in art |
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| Romanticism Bracket Dates |
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| Impressionism Bracket Dates |
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| Post-Impressionism Bracket Dates |
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| 20th Century Picasso Bracket Dates |
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| 20th Century Surrealism Bracket Dates |
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| 20th Century Abstract Expressionism & Pop Bracket Dates |
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| 20th Century Feminist & Performance Art Bracket Dates |
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