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Jacques Louis David
Death of Horatii
1784
Neoclassicism/Elightenment
Masculine/heroic theme, defending country. Space is very logical, geometric, linear. Father and sons (patriarchy) protects. Idea that science would save humanity. |
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Francisco Goya
The Third of May, 1808
1814
Romanticism
Suppression of human nature leads to violence. French trying to spread culture to Spain, Spain seen as less enlightened. Depicts result of clash between Spanish peasants and French army. Allusion to Christ, Spanish man illuminated. Represents simple life in contrast to imposed Enlightenment. |
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Theodore Gericault
The Raft of the Medusa
1819
Romanticism
Tale of ship captain insisting on sailing in shallow waters, ship leadership took life rafts and left others to die/cannibalism. Embrace of horror, documentation of reality. |
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Gericault
Insane Woman
1822-1823
Romanticism
Interested in mental illness, idea of insane is someone that sees world differently (altered states of mind). |
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Eugene Delacroix
Death of Sardanapalus
1827
Romanticism
Potential for violence = intensity of experience. Based on poem by Lord Byron, shows chaos, violence, massacre, seething mass of violence. Fetishizes non-Western culture. Work was banned from one of the most famous salons. Compositionally swirling vortex, shocking. |
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Caspar David Friedrich
Monk by the Sea
1809
Romanticism
Nature being completely uncontrolled, untamed. Figure of monk (not usually depicted) is insignificant compared to vastness of the composition. |
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Joseph MW Turner
Snowstorm— Steam Boat off a Harbor's Mouth
1844
Romanticism
Nature triumphs over technology/industrialization. Artist tied himself on the mast of the ship to capture scene. |
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Jean-Louis Gerome
The Snake Charmer
1880-85
Orientalism
Orient presented in mystery of tradition, through enlightened perspective. Highly sexualized child holding snake. |
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Gustave Courbet
Burial at Ornans
1849-1850
Realism
Dramatic, idealized subject of death. Clear hierarchy in composition of people. Popular art of everyday lived experience rejects values of fine arts before. Hinted towards priest w/ alcoholism or possible STD. |
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Monet
Rouen Cathedral
1893
Impressionism
Cathedral could be anything, not saying anything through subject matter. Shifting ephemeral qualities with contrast. |
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Edouard Manet
Olympia
1863
Modernism
Stripped away pretensions of nudeness. Woman is naked, not 'nude', famous prostitute in real life. Men would rather not talk about it, confrontational gaze. Looks like wealthy prostitute taking ownership of her body. Riff off Titian's 'Venus of Urbino', 1532. Level of form, no sense of deep space behind figure; spacially flat; emphasis that the painting is just a 2D image. |
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Edgar Degas
The Rehearsal
1874
Impressionism
Sense of disorient, cropping. Capturing moment of ballet rehearsal, not necessarily important. Subjects engaging with experience of modernity. |
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Manet
Bar at the Folie Bergere
1881
Impressionism
Woman is also on display for visual consumption, she herself is a commodity. Detached expression on her face, viewer can see through mirror reflection that the painting is a male perspective. |
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Mary Cassatt
In the Loge
1878
Impressionism
Gives woman the power of the gaze with her binoculars. Man in the background is looking at her, she cannot escape the male gaze. |
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Edouard Vuillard
The Album
1895
Symbolism
Rejection of modernity/industrialization. Preference for the handmade, emphasis on the decorative and fine arts. |
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Josef Hoffman
Dining Room
Stoclet Palace, Brussels
1905-1911
Art Nouveau |
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Gustav Klimt
Stoclet Frieze The Knight
Stoclet Palace, Brussels
1909
Art Nouveau |
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Paula Modersohn-Becker
Poorhouse Woman in the Garden
1906
Anti-modernism
Elevation of gender equality in countryside, artistic colony outside modern urban space. Giving representation to someone left out of modernity. |
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Paul Gaugin
Where do we come from? What are we? Where are we going?
1889
Primitivism
Gaugin left his wife and children to go explore Tahiti. Poor treatment of women enters his work as he uses women as a symbol of nature. Sexual exploitation fo Tahitian teenage women, indulging in sexual taboos (what he calls liberation). |
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Henri Matisse
Le Bonheur de Vivre
1906
French Impressionism/Fauvism
Beginning of arts fo arts sake movement, art needs no purpose , but should be an aesthetic comfort. Naked bodies lounging, evoke emotion and elation in viewer. Use of color for expression. |
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Ernst Ludwig Kirchner
Street in Dresden
1908
German Expressionism
Ghoulish, monsterish figures are product of strict society, pessimistic reaction to modern life. Expressionism faced criticism of escapist view, didn't confront any social/political problems. |
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Kandinsky
First Abstract Watercolor
1910
German Expressionism/Abstraction
Interests in forms, colors for themselves, stripped from the material world. Where does new meaning come from if art is stripped from the world?— higher truth from emotional response. Kandinsky had aesthenisthesia (blending of senses). |
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Georges Braque
Violin and Palette
1909
Analytic Cubism
Reveal that renaissance, organized space is not how the world is seen. Illumination of space, multiple points of view. Nail at the top is the only thing that follows natural sense of space. |
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Mondrian
Composition with Red Yellow, Blue and Black
1920
Neoplasticism/De Stijl
Seeking perfect order, underlying form of lived experience. Produced in very intuitive way, not planned and produced. Seems detached from the spiritual, but actually complex. |
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Kasimir Malevich
Black Square
1915
Russian Suprematism
New supreme reality— destruction of old, birth of the new (inspired by WWI). |
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Picasso
Glass and Bottle of Suze
1912
Synthetic Cubism
Brings textiles into painting, newspaper clippings reveal what's happening in the world (Balkan war and socialist uprising). |
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Vladimir Tatlin
Model for Monument to the Third International
1920
Russian Constructivism
Wanted abstract monument that alluded to modern industry. Was never actually built due to lack of funds. |
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Gerrit Rietveld
Red and Blue Chair
1918-23
De Stijl ('The Style' in Dutch)
Melting of fine arts and decorative arts. Located in Schroder House, paint shows planes. |
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Josef Hartwig
Chess Set
1924
Bauhaus
Strips away from traditional chess pieces, shapes correspond to movement of pieces, intuitive— form dictates function of pieces. |
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Herbert Bayer
Universal Typeface
1925
Bauhaus
Removal of hierarchy, no capital letters. 'Universal'— for everyone to use, no gothic German nationality association. Reaction to WWI. |
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Marcel Breuer & Gunta Stolzl
B3 Club Chair/ "Wassily Chair"
1925
Bauhaus/Modernism
Gunta Stolzl didn't get credit for textile developed for chair, which was innovative and incorporated metal element for durability. |
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Marianne Brandt
Teapot
1924
Bauhaus/Modernism
One of only designs actually produced, designed to look like they were mass produced, but actually handmade. Brandt was one of only women in metalworking Bauhaus department, became the head or 'master'. |
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First International Dada Fair
Berlin
1920
Dada
Berlin was at center of WWI, artists became radicalized, failed communist revolution. Using art as a lense of social critique. Embrace of collectivity. Use of text, embrace of mass media. |
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Hannah Hoch
Cut with the Kitchen Knife
1919
Dada
Imagery from media/magazines. Expressive of chaos of modern world. Sense of violence from mainstream experience. 'Kitchen Knife'— social injustice and oppression of women. |
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Duchamp
Fountain
1917
Dada
Duchamp trying to say that art itself is defined by the social relations of art, not the art itself. Art has no inherent qualities that make it art, but the level of attention and weight given by institutions lend them authority. Readymade object. |
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Andre Masson
Battle of the Fishes
1926
Surrealism
Interpreted automatic drawing as oceanic imagery. Colors and textures (sand) add to sensorial experience. Automatic drawing used to reveal unconscious. |
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Meret Oppenheim
Object - Breakfast of Fur
1936
Surrealism
Blending of senses, breaking of borders of structure of reality. |
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Man Ray
Anatomies
1930
Surrealism
Transformation of body into penis, framing of the neck in photo. Example of abstract photography playing with the real world. |
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Claude Cahun
Self Portraits
1928
Surrealism
Self identified lesbian at the time, rare at that moment. Wore male attire, rejected aesthetics of female gender. Argued that gender is a performance and social construction. Profound insight for her time. |
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Wilfredo Lam
The Jungle
1943
Surrealism
Surrealism critique of colonialism. Cuban artist working in Paris, reversal of primitivism and returning of appropriated forms. Metaphor of the unconscious (jungle). |
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Diego Rivera
History of Mexico
National Palace, 1929-35
Mexican Muralism
Rejecting bourgoise model of art, explicit purpose. Broad sweep of historical events in Mexico. Highlighting exploitations of colonial past. Also highlighting exploitation of the workers before colonialism, saying Mexico has always worked on a class structure. |
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David Alfaro Siqueiros
Portrait of the Bourgeoisie
Mexican Electricians Union, Mexico City, 1939-1940
Mexican Muralism
Allegorical, surreal depiction of exploitation. Work produced collectively. Individual artistic genius conflicted with collective workers. |
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James van der Zee
Couple with Car
1932
Harlem Renaissance
Radical counter image of stereotype of blacks, lending new cultural identity. Paradox of highlighting cultural elements while also reinforcing stereotypes. |
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Lois Mailou Jones
Ascent of Ethiopia
1932
Harlem Renaissance
Identifying with pre-columbian past, back to African cultural traditions. African American identity has deeper roots than modern American identity. |
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