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Vilhelm Hammershoi: Amalienborg Square, 1896, Denmark - unusually large for this time, 5 by 5 ft. -statue stands out from the background/palace due to the light streaming in from the side
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Vilhelm Hammershoi: Dust Motes Dance in the Sunbeams Strandgade 30, 1900, Denmark -strong vertical and horizontas of windows and doors appealled to his geometric style of painting -light was another fascination of his -the light creates a lively counterpart to the horizontal lines of the room -captures a precise moment in time
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Vilhelm Hammershoi: Five Portraits, 1902, Denmark -figures are life-size in scale -situates the figures at the painters home -figures push the boundaries on top and both sides of painting creating crowding -people do not let the viewer feel welcome
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Vilhelm Hammershoi: Interior with a Piano and a Woman in Black, Strandgade 30, 1901, Denmark -use of his common motif of a woman with her back turned to us -woman provides an organic piece to the otherwise domestic picture -graced with natural light and high ceilings
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Vilhelm Hammershoi: Open Doors, 1905, Denmark -makes use of the solid geometric base of doors -emptiness and feeling of a persons' recent leaving -swung open doors give a feeling of mystery, not knowing what's behind
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Vilhelm Hammershoi: Portrait of a Young Girl (Ida Ilsted), 1890, Denmark -eventually married the sitter -figure is static and monumentalized -background is simplified as a backdrop of muted color -used a past photograph
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Laurits Andersen Ring: Evening. The Old Woman and Death, 1887, Denmark -combines naturalism and symbolism -old peasant woman has stopped to rest on road and it is implied that she will die -painting was worked up in his studio from a posed skeleton
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Laurits Andersen Ring: The Lineman, 1884, Denmark -can be read as a summary of effects of industrialization on rural life. -the rural farm laborer is now a lineman, his clogs still connect him back to the land -utter sense of peace and stillness but will be shattered by loud train
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Laurits Andersen Ring: Young Girl Looking Out of a Window, 1885, Denmark -partial view and radical cropping means he knew of Japanese influences -can sense misty chill in air -captures a moment frozen in time-Naturalism
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Stephan Abel Sinding: Mother Earth, 1900, Denmark
-done in marble -weighed about 18 tons -mother earth barely comes out of sculpture
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Stephan Abel Sinding: The Oldest of the Line, 1897-8, Denmark
-carved in wood -carries gothic overtones -wood was worked so that it looks tight over her joints and loose otherparts, so as to look like her old skin
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Gustav Vigeland: Angry Little Boy Crying, 1930, Norway
-made of bronze -prime example of fleeting moment in time -infant proclaims his distinct personality -in the scultpture park in Oslo
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Gustav Vigeland: Camilla Collett, 1909, Norway
-was a Norwegian feminist and novelist -Vigeland did more than 120 sketches for this work -depicts Camilla as an old woman long after her battles have been fought
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Gustav Vigeland: Man and Woman with Little Child, 1917, Norway
-one of the first examples of young adults with a young child -forms are very massive and simplified -circles the Monolith
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Gustav Vigeland: N.H. Abel, 1902-5, Norway
-in front of the royal palace in Oslo -was a mathematician -central idealized male symbolizes genius itself -worked on for 25 months
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Gustav Vigeland: Old Woman in the Arms of an Old Man, 1919, Norway
-shows that tenderness remains even in old age -made of granite -circles the Monolith
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Gustav Vigeland: The Monolith, 1917-1943, Norway -made of granite -was inspired by his previous resurrection relief -represents struggle and yearning for the Devine -finished the year he died -was erected on site
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Gustav Vigeland: Tree Groups from the Fountain at Frogner Park, beg. 1914, Norway
-project is result of 40 years of design and execution -the tree shape is like the form of the fountain -tree is symbol of life -entangles figures of varying ages within the tree branches-babies to skeletons
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Gustav Vigeland: Hell, 1894, Norway -influenced by Rodan's gates of hell -Satan sits in the front center of piece -was his central piece of his first lone exhibition
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