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| During the Rococo era, these rooms were ornate and used to entertain people of all social strata. |
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| A poet who gave artists the responsibility and duty to carry out the sprawling metropolis that was the urban boom. |
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| The influence of Japanese culture in the arts in the western world in the 19th century. Had a lot of influence on Art Noveau. |
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| An early pioneering trend in photography; small snapshots of people. |
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| A direct method of early photography, which copied light screens onto silver plates. |
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| The introduction of primitive decor into western art in the world |
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| small, applied dots of various and bold color to create an image from far away. |
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| Allowing the hand to move randomly across the paper. |
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| A cultural boom in NYC for African Americans in the 1920s |
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| the broader, more in touch form of cubism. |
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Courbet, Stonebreakers
Realism |
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| 1850. A painting of two miners, gritty texture, and the redundancy that is every day life. Courbet attempts to show realism in his painting, but stops halfway through that process to illustrate the poetic nature differently. Social realism begins around here. |
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Courbet, Burial at Ornans
Realism |
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| 1850. A painting that depicts Courbet's actual Uncle getting buried, this painting was done in such an elegant manner with the medium, yet depicted a group of faces in an unpleasant manner. |
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| 1850. The strange dichotomy of a peasant being painted in a classical, regal manner sparked a controversy within the french culture. |
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Manet, The Luncheon on the Grass
Realism |
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| 1850. A naked woman with two men, in a setting that definitely insists that it was not painted in an actual scenery, but in a studio (harsh lighting). Highlights the rampant height of prosititution in the 19th century |
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| 1850. Based on Venus of Urbino, this piece highlights prostitution in France, and it was rejected from the salon. |
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Cameron, Portrait of Thomas Carlyle
Early Photo |
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| 1850. Carlyle's face is cast in deep shadow. The dramatic lighting, which both illuminates and obscures his face, gives the portrait an emotional intensity. Carlyle was an intellectual hero to Cameron. Believing she had successfully captured him in a heroic posture, Cameron inscribed some prints of this image with the caption: "Carlyle like a rough block of Michelangelo's sculpture." This powerful, head-on view reveals a strength and intensity of character that mirrors the straightforward, sometimes antagonistic discourses in his writing. |
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Rejlander, The Two ways of Life
Early Photo |
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| 1850. It depicts a philosopher, or a sage, or perhaps a father leading two young men towards manhood. One (to the left) looks towards vice; gambling, wine and prostitution, and the other, with perhaps less enthusiasm,1 looks towards virtue; religion, industry and family. |
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O'Sullivan, A harvest of death, Gettysburg, Pennsylvania, july 1863
Early Photo |
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| 1850. This paragraph opens the text that Alexander Gardner wrote to accompany this photograph in Gardner's Photographic Sketch Book of the War. Both text and image eloquently capture the war's toll of death and destruction, especially apparent after the Battle of Gettysburg, which took place from July 1 to July 3, 1863. |
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Monet, Impression, Sunrise
Impressionism |
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| 1850. One of the first impressions, Monet titled this "Impression" which sparked anger. Note the vibrance in the red. |
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Monet, Boulevard des Capuncines
Impressionism |
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| 1850. Worked on this in the impressionism manner (elaborate on that) |
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Renoir, Ball at the Moulin de la Galette
Impressionism |
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| 1850. Old windmills dotted the landscape, and the Moulin de la Galette, a lively beer garden, attracted young clientele. In The Ball at the Moulin de la Galette's view of the café, Pierre-Auguste Renoir expresses the sensuous pleasure of drinking, dancing, and flirtation in the open air, with sunlight filtering through the trees on a warm summer day. |
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Morisot, Summer's Day
Impressionism |
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| 1850. In this, perhaps her most famous painting, Berthe Morisot captures two apparently middle-class ladies in a moment of quiet thought. (The women have not been identified and probably are models who posed for Morisot.) They float lazily in a boat on the lake in the Bois de Boulogne, a large, wooded park on the edge of Paris. Morisot painted them as if she were sitting next to them, and well she might since the fashion- able Bois was not far from her home. It was con- sidered safe and accept- able for a woman of Morisot’s social class to stroll, picnic, and even paint here. Unlike her male counterparts who could set up an easel in city streets and café-concerts, Morisot stayed close to home and painted real-life moments from her immediate world - elegant women getting out of bed, relaxing in the garden, or dressing in their boudoir for a night at the opera. |
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Cassatt, Maternal Caress
Impressionism |
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| 1850. The models may be friends of the artist, as Cassatt frequently included her friends' and relatives' children in her paintings, drawings, and prints. The artist does not idealize the children's poses; rather, the awkward hugs and the chubby bodies reflect her ability to portray intimate moments seriously and without sentimentality. |
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Degas, Rehearsal of the Ballet on Stage
Impressionism |
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| 1850. Dancers on stage, discuss their movement... |
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Cezanne, Mont Sainte-Victore
Post Impressionism |
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| 1900. Uses different types of color for analysis |
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| Seurat, A Sunday Afternoon on the Island of La Grande Jatte |
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Definition
| 1900. THIS PAINTING. The Office picture is depicted, Ferris Bueller's day off... everything is referenced with this. Get your shit together Kate |
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| Toulouse-Lautrec, At the Moulin Rouge |
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| 1900. The Moulin Rouge was very sensationalized and he's in the painting. |
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| 1900. "At last I have a landscape with olive trees, and also a new study of a starry sky. ... It’s not a return to the romantic or to religious ideas, no. However, by going the way of Delacroix, more than it seems, by color and a more determined drawing than trompe-l’oeil precision, one might express a country nature that is purer than the suburbs, the bars of Paris." |
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Matisse, The Joy of Life
Fauvism |
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| 1900. Very erotic, played a lot with color vibrations |
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| Matisse, The Woman with the Hat |
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| 1900. MATISSE USES A LOT OF COLOR TO CREATE VIBRATION. |
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Picasso, Demoiselles d'Avignon
Cubism |
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| 1900. Picasso drew each figure differently. The woman pulling the curtain on the far right has heavy paint application throughout. Her head is the most cubist of all five, featuring sharp geometric shapes. The curtain seems to blend partially into her body. The cubist head of the crouching figure underwent at least two revisions from an Iberian figure to its current state. She also seems to have been drawn from two different perspectives at once, creating a confusing, twisted figure. The woman above her is rather manly, with a dark face and square chest. The whole picture is in a two-dimensional style, with an abandoned perspective. |
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| Braque, Houses at L'Estaque |
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| 1900. Begins Cubism... talk about perspective and shit. |
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Sheeler, American Landscape
American |
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Lange, Migrant Mother
American |
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Douglas, Aspects of Negro Life
American |
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VanDerZee, Couple wearing a racoon coats, with a cadillac
American |
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| 1900. The fur-shrouded black couple in front of a shiny Cadillac are the embodiments of style, prosperity, and class. The faces and places that populate VanDerZee's body of work constitute a virtual lexicon of New Negro identity as it developed during the Harlem Renaissance. |
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Mondrian, Composition with Red, Blue, Yellow
De Stijl |
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Hugo Ball Reciting the sound poem Karawane
Dada |
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Duchamp, The Fountain
Dada |
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| 1900. A urinal. Began a new wave of object sculpture |
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Dali, The Persistence of Memory
Surrealism |
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| 1900. Using dreams to elaborate what happens in his life. It epitomizes Dalí's theory of "softness" and "hardness", which was central to his thinking at the time. |
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Frida Kahlo, Two Fridas
Mexico |
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| 1900. Created at the same time as her to divorce to Diego Rivera, The Two Fridas is Kahlo’s largest painting. It is believed to be a painting depicting her deep hurt at losing her husband. One Frida sits on the left of the painting; this sis the Frida that was rejected by Rivera, Her blouse is ripped open, exposing her broken and bleeding heart. The Frida to the right, the one that Rivera still loves, has a heart that is still whole. She holds a small portrait of Rivera in her hand. After her death, this small portrait of Rivera was found amongst Kahlo’s belongings, and is now on display at the Museo Frida Kahlo in Mexico. |
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