Key Works Exam #2

title: The Great Pyramid and The Great Sphinx
artist: Francis Frith (British)
year: 1858
medium: albumen print from collodion wet plate glass negative
genre:

statement:
- this medium sits on top of the paper
- new medium allows for pictures printed in books (solidifying standards views of a place) - intertwined with imperial aspirations
- a sense that Egypt is about the past and not the present -- a theme in Orientalism
- angle shows no signs of civilization and a sense of abandonment (a place out of time)
- An example of Francois Argo's idea that the world (and hence other cultures) are ripe for the taking with photography. Excerpt from his announcement to the French Academies of Arts and Sciences on August 19, 1839.
- Edward Said, Orientalism (1978): The East/Orient is not a place as much as it is an invention of the West, a half-imaginary setting that since antiquity has been rendered "a place of romance, exotic beings, haunting memories and landscapes, and remarkable experiences."
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title: The Great Pyramid and The Great Sphinx
artist: Francis Frith (British)
year: 1858
medium: albumen print from collodion wet plate glass negative
genre:

statement:
- this medium sits on top of the paper
- new medium allows for pictures printed in books (solidifying standards views of a place) - intertwined with imperial aspirations
- a sense that Egypt is about the past and not the present -- a theme in Orientalism
- angle shows no signs of civilization and a sense of abandonment (a place out of time)
- An example of Francois Argo's idea that the world (and hence other cultures) are ripe for the taking with photography. Excerpt from his announcement to the French Academies of Arts and Sciences on August 19, 1839.
- Edward Said, Orientalism (1978): The East/Orient is not a place as much as it is an invention of the West, a half-imaginary setting that since antiquity has been rendered "a place of romance, exotic beings, haunting memories and landscapes, and remarkable experiences."
Image: title: The Great Pyramid and The Great Sphinx artist: Francis Frith (British) year: 1858 medium: albumen print from collodion wet plate glass negative genre: statement: - this medium sits on top of the paper - new medium allows for pictures printed in books (solidifying standards views of a place) - intertwined with imperial aspirations - a sense that Egypt is about the past and not the present -- a theme in Orientalism - angle shows no signs of civilization and a sense of abandonment (a place out of time) - An example of Francois Argo's idea that the world (and hence other cultures) are ripe for the taking with photography. Excerpt from his announcement to the French Academies of Arts and Sciences on August 19, 1839. - Edward Said, Orientalism (1978): The East/Orient is not a place as much as it is an invention of the West, a half-imaginary setting that since antiquity has been rendered "a place of romance, exotic beings, haunting memories and landscapes, and remarkable experiences."
title: photograph of General Bosquet and Captain Dampierre taken in the Crimea
artist: Roger Fenton
year: 1855
medium: I would assume Silver ablumen (dont need this detail)
genre: reproduced in the Illustrated London News same year (do need this detail)

statement:
- a photograph from the first "livingroom war"
- the press and images in conjunction connect the people to the front lines of battle
Image: title: photograph of General Bosquet and Captain Dampierre taken in the Crimea artist: Roger Fenton year: 1855 medium: I would assume Silver ablumen (dont need this detail) genre: reproduced in the Illustrated London News same year (do need this detail) statement: - a photograph from the first "livingroom war" - the press and images in conjunction connect the people to the front lines of battle
title: The Wailing Wall
artist: Jean-Léon Gérome
year: 1880
medium: oil on canvas
genre:

statement:
- visual creation of orientalism
- portrays a stereotypical Jewish person and reinforces the stereotype Jews are doomed to suffer due to the rejection of Christianity
- Placing the stereotypical Jewish person in the Orientalist context reinforces their place as "other" in European society. Exotic beings.
- Extreme surface naturalism in a time when other artists are moving away from this style (supported by the French academy)
- using european academic conventions to portay the east as frozen in time
- ethnographic types of Jewish people (ancient garb)
Image: title: The Wailing Wall artist: Jean-Léon Gérome year: 1880 medium: oil on canvas genre: statement: - visual creation of orientalism - portrays a stereotypical Jewish person and reinforces the stereotype Jews are doomed to suffer due to the rejection of Christianity - Placing the stereotypical Jewish person in the Orientalist context reinforces their place as "other" in European society. Exotic beings. - Extreme surface naturalism in a time when other artists are moving away from this style (supported by the French academy) - using european academic conventions to portay the east as frozen in time - ethnographic types of Jewish people (ancient garb)
title: Self-Portrait with Bandaged Ear
artist: Vincent Van Gogh
year: 1888
medium: oil on canvas
genre:

statement:
- The idea that art is about inner turmoil and the genius of madness
Thematizes a critique of modernity (Van Gogh as a symbol of someone who was driven to madness my modernity - others readings of his insanity)
- Example of globalization from the Japanese print in the background
- Deep stylization of the brush strokes show how he learned to paint, from wood block print techniques. In a canonical biographical mode, the brush strokes are expressive and evidence of feeling, emotion,
- Does art come from within or from outside? We cannot fully understand the visual culture of print making in Europe. A combination of prints and woodblock from Japan.

Van Gogh background:
Prolific artist who taught himself how to paint later in life
900 paintings the 10 years before he died
Self-taught by copying prints and drawing manuals
Highly influenced by the line and aesthetic of the wood cut / the prints he taught himself to draw with

primitivism?:
-
Image: title: Self-Portrait with Bandaged Ear artist: Vincent Van Gogh year: 1888 medium: oil on canvas genre: statement: - The idea that art is about inner turmoil and the genius of madness Thematizes a critique of modernity (Van Gogh as a symbol of someone who was driven to madness my modernity - others readings of his insanity) - Example of globalization from the Japanese print in the background - Deep stylization of the brush strokes show how he learned to paint, from wood block print techniques. In a canonical biographical mode, the brush strokes are expressive and evidence of feeling, emotion, - Does art come from within or from outside? We cannot fully understand the visual culture of print making in Europe. A combination of prints and woodblock from Japan. Van Gogh background: Prolific artist who taught himself how to paint later in life 900 paintings the 10 years before he died Self-taught by copying prints and drawing manuals Highly influenced by the line and aesthetic of the wood cut / the prints he taught himself to draw with primitivism?: -
title: Starry Night
artist: Vincent Van Gogh
year: 1889
medium: oil on canvas
genre:

statement:
- Painted while he was institutionalized
- Looking out the window and seeing a starry sky outside of his cell and also depicted from memory
- Landscape painting typically has surface naturalism, but Van Gogh (like Paul Cezanne) subverts this tradition
- Thematizing his own alienation

Compared to: Katsushika Hokusai, The Great Wave off Kanagawa, c. 1830, woodblock print
- Van Gogh loved the movement of the boats in the wave
- Part of a book that some call the flaneur's stroll through nature
- one of the most commercially produced images of all time (indicative of a larger cultural fad called Japanesima)
Image: title: Starry Night artist: Vincent Van Gogh year: 1889 medium: oil on canvas genre: statement: - Painted while he was institutionalized - Looking out the window and seeing a starry sky outside of his cell and also depicted from memory - Landscape painting typically has surface naturalism, but Van Gogh (like Paul Cezanne) subverts this tradition - Thematizing his own alienation Compared to: Katsushika Hokusai, The Great Wave off Kanagawa, c. 1830, woodblock print - Van Gogh loved the movement of the boats in the wave - Part of a book that some call the flaneur's stroll through nature - one of the most commercially produced images of all time (indicative of a larger cultural fad called Japanesima)
title: The Great Wave off Kanagawa
artist: Katsushika Hokusai
year: c. 1830
medium: wood block print

statement:
- thought to have inspired (in part) Van Gogh's starry night
- Van Gogh loved the movement of the boats in the wave
- Part of a book that some call the flaneur's stroll through nature
- one of the most commercially produced images of all time (indicative of a larger cultural fad called Japanesima)
- Manet and Degas also interested in Japanese print culture (use of color, perspective, composition)
- Modern representations of Japan are not interested in modern views of Japan, they're more interested in the oriental features
Image: title: The Great Wave off Kanagawa artist: Katsushika Hokusai year: c. 1830 medium: wood block print statement: - thought to have inspired (in part) Van Gogh's starry night - Van Gogh loved the movement of the boats in the wave - Part of a book that some call the flaneur's stroll through nature - one of the most commercially produced images of all time (indicative of a larger cultural fad called Japanesima) - Manet and Degas also interested in Japanese print culture (use of color, perspective, composition) - Modern representations of Japan are not interested in modern views of Japan, they're more interested in the oriental features
title: Cinématographe Lumiere
artist: Marcellin Auzolle
year: 1896
medium: chromolithograph

statement:
- Showed scenes from everyday French life
- Early cinema as a viewing experience
- Group of spectators that is actively engaging with the show
- A documentation of everyday life (real-life in motion) and turned that experience of viewing into a commercial enterprise
- not a precursor to today's film, but rather how the medium was enjoyed in a time when modern life was becoming spectacularized
- comedic and lighthearted. A communal event where people would get together and react to these shows. Does not have narrative in early film. Similar to the news paper and wax museum which is staging everyday life. A medium of slapstick comedy and about what cinema can do.
- movement is on the screen and is contained within the screen.
mobility of the subject. You previously had to be out in the city (flaneur), but now you can be a flaneur just sitting there.
Image: title: Cinématographe Lumiere artist: Marcellin Auzolle year: 1896 medium: chromolithograph statement: - Showed scenes from everyday French life - Early cinema as a viewing experience - Group of spectators that is actively engaging with the show - A documentation of everyday life (real-life in motion) and turned that experience of viewing into a commercial enterprise - not a precursor to today's film, but rather how the medium was enjoyed in a time when modern life was becoming spectacularized - comedic and lighthearted. A communal event where people would get together and react to these shows. Does not have narrative in early film. Similar to the news paper and wax museum which is staging everyday life. A medium of slapstick comedy and about what cinema can do. - movement is on the screen and is contained within the screen. mobility of the subject. You previously had to be out in the city (flaneur), but now you can be a flaneur just sitting there.
title: Vision After the Sermon (Jacob Wrestling with the Angel)
artist: Paul Gauguin
year: 1888
medium: oil on canvas

statement:
- depicts a scene from the bible in which Jacob wrestles an angel
- In Brittany, France
- The simplified style is highly influenced by Japanese prints. Large flat landscapes that would also work well in a printing format. In doing so he creates a non-naturalistic landscape.
- moving away from naturalism toward more abstract ways of painting.
- Economically, Gauguin's perception that Brittany is a fantasy land is skewed. They're well off economically and the quilts the people are wearing are made available because of new transport systems.
Image: title: Vision After the Sermon (Jacob Wrestling with the Angel) artist: Paul Gauguin year: 1888 medium: oil on canvas statement: - depicts a scene from the bible in which Jacob wrestles an angel - In Brittany, France - The simplified style is highly influenced by Japanese prints. Large flat landscapes that would also work well in a printing format. In doing so he creates a non-naturalistic landscape. - moving away from naturalism toward more abstract ways of painting. - Economically, Gauguin's perception that Brittany is a fantasy land is skewed. They're well off economically and the quilts the people are wearing are made available because of new transport systems.
title: The Spirit of the Dead Watching (Manao Tupapau)
artist: Paul Gauguin
year: 1892
medium: oil on burlap mounted on canvas

statement:
- In the interest of distancing himself from society altogether he moves to Tahiti (annexed as a French colony in 1881
A lot of print culture (creole women) before he gets there and photography that creates an idea of the place, the world exhibition in Paris (Gaugin saw the exhibit).

- Example of primitivism, the idea that there is a better way of making art and living found among people that lack civilization. At one with nature and truly alive

- Contrast to Olympia by Manet
The idea of the primitive and that these women are more pure
The woman has little agency, hands and placement, 14 year old subject, a look of fear
Image: title: The Spirit of the Dead Watching (Manao Tupapau) artist: Paul Gauguin year: 1892 medium: oil on burlap mounted on canvas statement: - In the interest of distancing himself from society altogether he moves to Tahiti (annexed as a French colony in 1881 A lot of print culture (creole women) before he gets there and photography that creates an idea of the place, the world exhibition in Paris (Gaugin saw the exhibit). - Example of primitivism, the idea that there is a better way of making art and living found among people that lack civilization. At one with nature and truly alive - Contrast to Olympia by Manet The idea of the primitive and that these women are more pure The woman has little agency, hands and placement, 14 year old subject, a look of fear
title: Les Demoiselles d' Avignon
artist: Pablo Picasso
year: 1907
medium: oil on canvas

statement:
- shows a street in Barcelona that was famous for its brothels (Connection to Olympia)
- Creator of cubism and an inventor of abstraction
- Makes a radical break from composition and perspective
- Use of intensely jagged lines to show the sheets and curtains like shards
- Picaso was interested in Iberian masks from Spain and Portugal that influenced the design of these faces
- Picasso's response to the Joy of Life by Matisse
what was pleasure and color becomes aprehension
- The masks inspiring the faces (pulling from African sculpture as a method of primitivism)

Both works are compared to / Build-upon well known Neoclassical forms:
- Jean Auguste Dominique Ingres, The Source, 1856
Image: title: Les Demoiselles d' Avignon artist: Pablo Picasso year: 1907 medium: oil on canvas statement: - shows a street in Barcelona that was famous for its brothels (Connection to Olympia) - Creator of cubism and an inventor of abstraction - Makes a radical break from composition and perspective - Use of intensely jagged lines to show the sheets and curtains like shards - Picaso was interested in Iberian masks from Spain and Portugal that influenced the design of these faces - Picasso's response to the Joy of Life by Matisse what was pleasure and color becomes aprehension - The masks inspiring the faces (pulling from African sculpture as a method of primitivism) Both works are compared to / Build-upon well known Neoclassical forms: - Jean Auguste Dominique Ingres, The Source, 1856
title: Daniel-Henry Kahnweiler artist: Pablo Picasso year: 1910 medium: oil on canvas statement: - Form of analytical cubism (breaking down an object into fragments representing different points of view) - - compared to Paul Cezanne - Kahnweiler is Picasso's dealer during the Cubist period - Experimentation of breaking apart the human face and formtitle: Dynamism of a Cyclist artist: Unberto Boccioni year: 1913 medium: oil on canvas statement: - example of a futurist work because of the mechanical nature - the painting is an example of the dynamism of the bicycle (material objects exist in a continual state of flux)title: Composition V artist: Vasily Kandinsky year: 1911 medium: oil on canvas statement: - Pure abstraction and pure color - No longer held to a physical form like Picasso and Matisse. Getting away from capitalist and contemporary themes in Picasso and Matisse's work. - Art that expresses emotions that cannot be put into words - compared to Dynamism of a Cyclist - Use of synesthesia - the crossing of modes of sensory response (e.g. hearing a color) - as sign of an evolved soul - his interest in synthesthesia - the title is a reference to the relationship between color and music - "the tristan chord" inspiration of his work. How color creates an emotional response. Suggesting one should hear the painting and experience movement in the work. The spiritual in art where he discusses the spiritual and emotional side of art expressing an internal state; how do colors stimulate emotion? - one issue: assumes a universal reaction. An aspiration and shortcoming of the theory. - exhibited at "the blue writer" that Kandinsky foundedtitle: Nude Descending a Staircase artist: Marcel Duchamp year: 1912 medium: oil on canvas statement: - Exhibited at the 1913 Armory show -- First major American encounter with modern European works - Americans took the work as literal and the piece became an key stone for a spirit of mockery around French arttitle: The Fountain artist: Marcel Duchamp year: 1917 medium: photograph by Alfred Stieglitz statement: - Readymade - Transatlantic modernism (modern art) - asks the question: what is art? -- art about intention not execution - Duchamp believed there is beauty in plumbing, skyscrapers, modernity, modern industry - 291 gallery showing contemporary photographs. The owner of the gallaryBringing European art to American audiences. Harsden Hartley, The Warriors, 1913, Oil on copper - role of transatlantic art networkstitle: Black Square artist: Kazimir Malevich year: 1915 medium: oil on canvas statement: - suprematism - work that was liberated from the world of objects in a new language that explores the language of art itself - Escapes the vanishing point of art, the "circle of things," and art's narrative quality - Calls for other artists to move beyond cubism to get at the basic and artistic quality of arttitle: Beat the Whites with the Red Wedge artist: El Lissitsky year: 1920 medium: lithographic poster statement: - constructivism - Builds on the suprematist style to use it better as a propaganda medium for the red party. This introduces color and text. - Naturalism and European painting is associated with the bourgeois - The square becomes the embodiment of a revolutionary ideology after the October revolution --> which built into this style. War fought between the Red Russians (peasants and the bolsheviks) and the White Russians (remaining nobility and the ruling class)title: Varvara Stepanova Drawing with Compass artist: Aleksandr Rodchenko year: 1924 medium: ? statement: - The beauty and art of mechanized things (she works through the mechanical object) - interest in geometric shapes - futurist work in how mechanical it istitle: Designs for sports clothes artist: Varvara Stepanova year: 1923 medium: ? statement: - constructivism - She becomes interested in less feminine works. More boxy and more about the fabric. - Designed for specific utilitarian functions. Revolutionary in this way (no place for painting) - Thinking about how clothing itself can go beyond gender hierarchy, which is considered bougeriouse - Not about creating an individual outfit, but more about a collective presence and performance - Regimented in the same way that the geometric patterns aretitle: The Electrification of the Entire Country artist: Gustav Klutsis year: 1920 medium: photomontage maquette statement: - A statewide push from Lenin to learn more for agriculturists and engineers. He said that until the country has been electrified, it will remain a small agrarian country. - "Lenin's bulb" was a way to get peasants to adapt to life with electricity. A way of supporting the communist party - Also a rapid literacy campaign - Lenin's large presence in the work Notes: - maquette means an artists small preliminary model (as of a sculpture or a building) - For anyone living in Russia, this figure would be recognizable as Lenin, the leader of the Bolshevik revolution. - Connection to new economic policy (catching up to the rest of Europe)title: Tables Turned on the Gardener artist: Lumiére date: 1895 Statement:title: The Hilarious Posters artist: George Mélies date: 1906 Statement:title: Picturesque Japan artist: Pathé date: 1907

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