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ART 200 Test 3 Ferree MSU-WP
Terms in this set (68)
Jacques-Louis David. The Oath of the Horatii. 1784.Oil on canvas. 10' 10" × 14'.Musée du Louvre, Paris, France. RMN-Grand Palais/Gérard Blot/Christian Jean. [Fig. 21-1]
Francisco Goya. The Third of May, 1808. 1814. Oil on canvas. 8' 9" × 3' 4".Museo Nacional del Prado, Madrid. © Museo Nacional del Prado/Oronoz. [Fig. 21-4]
Gustave Courbet. The Stone Breakers. 1849 (destroyed in 1945). Oil on canvas. 5' 5" × 7' 10".Galerie Neue Meister, Dresden, Germany. Photograph: © Staatliche Kunstsammlungen Dresden/The Bridgeman Art Library. [Fig. 21-11]
Rosa Bonheur. The Horse Fair. 1853-1855. Oil on canvas. 96-1⁄4" × 199-1⁄2".The Metropolitan Museum of Art, New York. Inscribed: Signed and dated (lower right): Rosa Bonheur 1853.5. Gift of Cornelius Vanderbilt, 1887. Acc.n.: 87.25. Image copyright The MoMA/Art Resource, NY/Scala, Florence. [Fig. 21-12]
Edouard Manet. Le Déjeuner sur l'herbe (Luncheon on the Grass). 1863. Oil on canvas. 7' × 8' 10".Musée d'Orsay, Paris. RMN/Hervé Lewandowski. [Fig. 21-19]
Claude Monet. Impression: Sunrise. 1872. Oil on canvas. 19-1⁄2" × 25-1⁄2".Musée Marmottan Monet, Paris. Photograph: Giraudon/The Bridgeman Art Library.[Fig. 21-21]
Pierre-Auguste Renoir. Le Moulin de la Galette. 1876.Oil on canvas. 51-1⁄2" × 68-7⁄8".Musée d'Orsay, Paris. Photograph: RMN Reunion des Musées Nationaux. [Fig. 21-22]
Vincent van Gogh. The Starry Night. 1889. Oil on canvas. 29" × 361⁄4".The Museum of Modern Art, New York. Acquired through the Lillie P. Bliss Bequest (472.1941). Digital image, The MoMA, New York/Scala, Florence. [Fig. 21-30]
Henry Ossawa Tanner. The Banjo Lesson. 1893.Oil on canvas. 49" × 35-1⁄2".Hampton University Museum, Virginia. [Fig. 21-15]
Mary Cassatt. The Boating Party. 1893-1894.Oil on canvas. 35-7⁄16" × 46-3⁄16".National Gallery of Art, Washington, D.C. 1963.10.94 Chester Dale Collection.[Fig. 21-24]
Henri de Toulouse-Lautrec. At the Moulin Rouge. 1893-1895.Oil on canvas. 48-3⁄8" × 55-1⁄4".© The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection, 1928.610.[Fig. 21-33]
Paul Cézanne. Mont Sainte-Victoire. 1902-1904. Oil on canvas. 27-1⁄2" × 35-1⁄4".Philadelphia Museum of Art. The George W. Elkins Collection, 1936. Photograph: Art Resource/Scala, Florence. [Fig. 21-27]
Alfred Stieglitz. The Steerage from Camera Work. 1907; No. 34, published October 1911.Photogravure. 12-5⁄8" × 10-3⁄16".Digital image, The Museum of Modern Art, New York/Scala, Florence. © 2013 Georgia O'Keeffe Museum/Artists Rights Society (ARS), New York. [Fig. 22-24]
Henri Matisse. Harmony in Red (The Red Room). 1948.Oil on canvas. 70-7⁄8" × 86-5⁄8".The State Hermitage Museum, St. Petersburg. © 2013 Succession H. Matisse/Artists Rights Society (ARS), New York. [Fig. 22-1]
Auguste Rodin. The Thinker. c.1910. Bronze. Life-size.Photograph: Christie's Images Ltd./Superstock. [Fig. 21-25]
Wassily Kandinsky. Composition IV. 1911. Oil on canvas. 62-13⁄16" × 98-5⁄8".Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Photograph: Walter Klein, Düsseldorf. Peter Willi/The Bridgeman Art Library. © 2013 Artists Rights Society (ARS), New York/ADAGP, Paris. [Fig. 22-7]
Pablo Picasso. Violin, Fruit and Wineglass. 1913.Charcoal colored papers, gouache, and painted paper collage. 25-1⁄4" × 19-1⁄2".Philadelphia Museum of Art; A.E. Gallatin Collection, 1952-61-106. © 2013 Photo Art Resource/Scala, Florence. RMN-Grand Palais/Béatrice Hatala. [Fig. 22-17]
Sonia Delaunay-Terk. Le Bal Bullier. 1913. Oil on mattress ticking. 3' 2-3⁄16" × 12' 9-1⁄2".Musée National d'Art Moderne, Centre Pompidou. White Images/Scala, Florence.© Pracusa 2013020. [Fig. 22-30]
Georgia O'Keeffe. Evening Star No. VI. 1917.Watercolor on paper. 8-7⁄8" × 12".The Georgia O'Keeffe Museum, Santa Fe. Gift of the Burnett Foundation 1997.18.03. Photo: Malcolm Varon 2001. Art Resource/Scala, Florence. © 2013 Artists Rights Society (ARS), New York. [Fig. 22-25]
Hannah Höch. The Multi-Millionaire. 1923.Photomontage. 14" × 12".2013 Artists Rights Society (ars), New York/VG Bild-Kunst, Bonn. [Fig. 23-3]
Max Ernst. The Horde. 1927.Oil on canvas. 44-7⁄8" × 57-1⁄2".Stedelijk Museum, Amsterdam. [Fig. 23-4]
René Magritte. The Lovers. 1928. Oil on canvas. 21-3⁄8" × 28-7⁄8". Museum of Modern Art, (MoMA). Gift of Richard S. Zeisler. Acc. n.: 530.1998. © 2013 Digital Image the Museum of Modern Art, New York/Scala, Florence. © 2013 C. Herscovici, London/Artists Rights Society (ARS), New York. [Fig. 23-7]
Constantin Brancusi. Bird in Space. 1928.Bronze (unique cast). 54" × 8-1⁄2" × 6-1⁄2".The Museum of Modern Art (MoMA) Given anonymously. 153.1934.© 2013 Artists Rights Society (ARS), New York /ADAGP, Paris. [Fig. 22-23]
Ai Weiwei. Circle of Animals/Zodiac Heads. 2010.Bronze. 12 units, average height 10'. Grand Army Plaza, New York City. Private Collection. Images courtesy of the artist and AW Asia. Photograph: Adam Reich. [Fig. 25-30]
Banksy. Stone Age Waiter. 2006. Spray paint and stencils. Height 5' 6". Outdoor location, Los Angeles. Photograph: Patrick Frank. [Fig. 25-25]
Anselm Kiefer. Osiris and Isis. 1985-1987. Oil, acrylic, emulsion, clay, porcelain, lead, copper wire, and circuit board on canvas. 150" × 229-1⁄2" × 6-1⁄2".Purchased through a gift of Jean Stein, by exchange, the Mrs. Paul L. Wattis Fund,and the Doris and Donald Fisher Fund. Photograph by Ben Blackwell. © Anselm Kiefer. San Francisco Museum of Modern Art. [Fig. 25-5]
Cindy Sherman. Untitled Film Still #48. 1979.Black-and-white photograph.Courtesy of the artist and Metro Pictures. [Fig. 25-9]
Judy Chicago. The Dinner Party. 1979.Mixed media. 48' × 42' × 3'. Triangular table on white tile floor.Collection of the Brooklyn Museum of Art, Gift of the Elizabeth A. Sackler Foundation. Photograph © Donald Woodman/Through the Flower. © 2013 Judy Chicago/Artists Rights Society (ARS), New York. [Fig. 24-36]
Donald Judd. Untitled. 1967. Stainless steel and plexiglass, ten units. 191-5⁄8" × 40" × 31".Collection of the Modern Art Museum of Fort Worth, Museum Purchase, the Benjamin J. Tillar Memorial Trust. Art © Judd Foundation. Licensed by VAGA, New York, NY. [Fig. 24-27]
Claes Oldenburg. Two Cheeseburgers with Everything (Dual Hamburgers). 1962. Burlap soaked in plaster, painted with enamel. 7" × 14-3⁄4" × 8-5⁄8".The Museum of Modern Art (MoMA) Philip Johnson Fund. 233.1962.Digital Image, The MoMA, New York/Scala, Florence. © Claes Oldenburg. [Fig. 24-26]
Robert Rauschenberg. Tracer. 1963.Oil and silkscreen on canvas. 84-1⁄8" × 60".The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation, F84-70. Photo: Jamison Miller © Robert Rauschenberg Foundation/Licensed by VAGA, New York, NY. [Fig. 24-12]
Andy Warhol. Marilyn Diptych. 1962.Synthetic polymer paint and silkscreen ink on canvas. 6' 10" × 57".© Tate, London 2013 Marilyn Monroe LLC Under License Authorized by CMGWorldwide Inc., Indianapolis, IN © 2013 the Andy Warhol Foundation for theVisual Arts, Inc./Artists Rights Society (ARS), New York. [Fig. 24-21]
Mark Rothko. Blue, Orange, Red. 1961.Oil on canvas. 90-1⁄4" × 81-1⁄4".Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Gift ofthe Joseph H. Hirshhorn Foundation, 1966. HMsG 66.4420. Photograph: Lee Stalsworth © 1998 Kate Rothko Prizel & Christopher Rothko/Artists Rights Society (ARS), New York. [Fig. 24-5]
Richard Hamilton.Just What Is It That Makes Today's Homes So Different, So Appealing? 1956. Collage. 10-1⁄4" × 9-3⁄4".Kunsthalle, Tubingen, Germany/The Bridgeman Art Library © R. Hamilton. All rights reserved, DACS 2013. [Fig. 24-19]
Jasper Johns. Target with Four Faces. 1955.Encaustic on newspaper and collage on canvas with objects, surmounted by four tinted plaster faces in wood box with hinged front. Box open: 33-5⁄8" × 26" × 3".Museum of Modern Art (MoMa). Gift of Mr. and Mrs. Robert C. Scull. Digital image: The MoMA, New York/Scala, Florence. © Jasper Johns/Licensed by VAGA, New York, NY.[Fig. 24-14]
Jackson Pollock. Autumn Rhythm (Number 30). 1950. Oil on canvas. 105" × 207".The Metropolitan Museum of Art George A. Hearn Fund, 1957. Acc.n.: 57.92. Image copyright The MoMA/Art Resource/ Scala, Florence. © 2013 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York. [Fig. 24-2]
Frida Kahlo. The Two Fridas. 1939.Oil on canvas. 5'8-1⁄2" × 5'8-1⁄2".Museo de Arte Moderno, Instituto Nacional de Bellas Artes, Mexico City. Photo Art Resource/Bob Schalkwijk/Scala, Florence© 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York. [Fig. 23-26]
Henry Moore. Recumbent Figure. 1938.Green Hornton stone. 35" × 52-1⁄4" × 29".© Tate, London 2013. Reproduced by Permission of the Henry Moore Foundation. © The Henry Moore Foundation. All Rights Reserved, DACS 2013/www.henry-moore.org.[Fig. 23-34]
Barbara Hepworth. Forms in Echelon. 1938.Wood. Height 42-1⁄2".© Tate, London 2013. Presented by the artist 1964. © Bowness, Hepworth Estate.[Fig. 23-33]
Archibald Motley Jr. Barbeque. 1934.Oil on canvas. 36-1⁄4" × 40-1⁄8".Chicago History Museum and Valerie Gerrard Browne. [Fig. 23-32]
Sargent Johnson. Forever Free. 1933.Wood with lacquer on cloth. 36" × 11-1⁄2" × 9-1⁄2".San Francisco Museum of Modern Art. Gift of Mrs. E. D. Lederman. 52.4695. Photograph: Phillip Galgiani. [Fig. 23-30]
Dorothea Lange. White Angel Bread Line, San Francisco. 1933.Photograph. 4-1⁄4" × 3-1⁄4".The Oakland Museum of California, City of Oakland. © The Dorothea Lange Collection. Gift of Paul S. Taylor. a67.137.33001.1. [Fig. 23-19]
Diego Rivera. The Liberation of the Peon. 1931.Fresco. 73" × 94-1⁄4".Philadelphia Museum of Art. Gift of Mr. and Mrs. Herbert Cameron Morris. 1943-46-1. Photograph: The Philadelphia Museum of Art/Art Resource/Scala, Florence. © 2013 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York. [Fig. 23-18]
Tarsila do Amaral. Abaporu. 1928.Oil on canvas. 34" × 29".Museo de Arte Latinoamericano, Buenos Aires (Malba). Courtesy of Guilherme Augusto do Amaral. [Fig. 23-23]
Gerrit Rietveld. Schröder House. 1924.Image © Collection Centraal Museum, Utrecht. © 2013 Artists Rights Society (ARS), New York/ c/o Pictoright Amsterdam. [Fig. 23-14]
Piet Mondrian. Tableau 2 with Yellow, Black, Blue, Red, and Gray. 1922. Oil on canvas. 21-7⁄8" × 21-1⁄8".Solomon R. Guggenheim Museum, New York 51.1309. © 2013 Mondrian/Holtzman Trust c/o HCR International USA. [Fig. 23-13]
Thomas Hart Benton. Palisades from the series American Historical Epic. c.1919-1924. Oil on cotton duck on aluminum honeycomb panel. 66-1⁄8" × 72".The Nelson-Atkins Museum of Art, Kansas City, Missouri. Bequest of theartist, F75-21/2. Photograph: Jamison Miller © T.H. Benton and R.P. BentonTestamentary Trusts/UMB Bank Trustee/Licensed by VAGA, New York, NY. [Fig. 23-29]
describes a broad movement that developed in the mid- to late 20th century across philosophy, the arts, architecture and criticism which marked a departure from modernism.
was an artistic movement that began in France in the 1850s, after the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. IT revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement.
sometimes simply called conceptualism, is art in which the concept(s) or idea(s) involved in the work take precedence over traditional aesthetic, technical, and material concerns.
is an early-20th-century art movement which brought European painting and sculpture historically forward toward 20th century Modern art. Cubism in its various forms inspired related movements in literature and architecture.
is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings.
t is the opposite of linear, plastic or formal linear design. An oil painting is painterly when there are visible brushstrokes, the result of applying paint in a less than completely controlled manner, generally without closely following carefully drawn lines.
is an art movement that emerged in Britain and the United States during the mid- to late-1950s. The movement presented a challenge to traditions of fine art by including imagery from popular and mass culture, such as advertising, comic books and mundane cultural objects.
is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
In visual arts, music, and other mediums, it is a style that uses pared-down design elements. It began in post-World War II Western art, most strongly with American visual arts in the 1960s and early 1970s.
was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire (circa 1916); New York Dada began circa 1915, and after 1920 Dada flourished in Paris.
is a post-World War II art movement in American painting, developed in New York in the 1940s. It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris.
Surrealist ________________ is a method of art making in which the artist suppresses conscious control over the making process, allowing the unconscious mind to have great sway.
Optical Color Mixture
is a phenomenon that happens when a viewer perceives color in an image as a result of two or more colors that are positioned next to, or near each other. The perceived color is not actually on the surface.
a movement in the arts and literature that originated in the late 18th century, emphasizing inspiration, subjectivity, and the primacy of the individual.
or academicism or academism, is a style of painting, sculpture, and architecture produced under the influence of European academies of art.
is a performance presented to an audience within a fine art context, traditionally interdisciplinary. Performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation.
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