DOCSLIB.ORG

Questions for History of Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

www.YoYoBrain.com - Accelerators for Memory and Learning Questions for History of Art Category: Default - (976 questions) Untitled (Freestanding Bed) - 1992 Rachel Whiteread Ghost - 1990 Rachel Whiteread Bath - 1990 Rachel Whiteread House - 2013 Rachel Whiteread Night Portrait Lucian Freud  Girl With a White Dog Lucian Freud Standing By The Rags Lucian Freud Naked Man with His Friend Lucian Freud If Not, Not R.B. Kitaj The Wedding R.B. Kitaj Cecil Court, London WC2 R.B. Kitaj Little Slum Picture R.B. Kitaj Study After Pope Innocent X By Velàzquez Francis Bacon Three Studies for Figures at the Base of a Crucifixion Francis Bacon Francis BaconPortrait of Isabel Rawsthorne Standing in a Street in Shoho The Resurrection with the Raising of Jairus' Daughter Sir Stanley Spencer St. Francis and the Birds Sir Stanley Spencer Travoys Arriving with Wounded at a Dressing Station at Smol, Macedonia Sir Stanley Spencer Resurrection of the Soldiers Sir Stanley Spencer Self-Portrait with Patricia PreeceSir Stanley Spencer Chop Suey Edward Hopper Room in New York Edward Hopper Night Windows Edward Hopper Cape Cod Evening Edward Hopper Popples - Jeff Koons Puppy - Jeff Koons Michael Jackson with Bubbles - Jeff Koons   Rabbit - Jeff Koons Sycamore Leaves Andy Goldsworthy Maple Leaf Lines Andy Goldsworthy Bamboo Leaves Edging a Rock Andy Goldsworthy Dome of Sticks Andy Goldsworthy The Board and Diver David Hockney Mr. and Mrs Clark and Percy David Hockney A Bigger Splash David Hockney Man in Shower in Beverly Hills David Hockney Campbell's Soup Andy Warhol Triple Elvis Andy Warhol   Marilyn Triptych Andy Warhol Green Coca-cola Bottles Andy Warhol Sleep for Yvonne Rainier Robert Rauschenberg Canyon Robert Rauschenberg The Red Painting Robert Rauschenberg Reservoir Robert Rauschenberg In The Car Roy Lichtenstein Whaam! Roy Lichtenstein M-Maybe (A Girl's Picture) Roy Lichtenstein Big Painting No 6 Roy Lichtenstein Richard Hamilton Just What is It That Makes Today's Home So Different, So Appealing Richard Hamilton I'm Dreaming of a Black Christmas Richard Hamilton Interior II Richard Hamilton Portrait of Derek Jarman Damien Hirst The Physical Impossibility of Death in the Mind of Someone Living Damien Hirst Mother and Calf Damien Hirst This Little Piggy Went to Market, This Little Piggy Stayed Home Damien Hirst A Thousand Years Jean-Michael Basquiat Untitled Jean-Michael Basquiat Untitled (1986) Jean-Michael Basquiat Untitled (1987) Jean-Michael Basquiat Tabac Cindy Sherman Untitled Cindy Sherman Untitled No. 122 Cindy Sherman Untitled Film Still No 15 Cindy Sherman Untitled No. 96 Donald Judd Untitled (copper, enamel, and aluminum) Donald Judd Untitled 1969 Donald Judd Untitled 1973 Donald Judd Untitled Joseph Beuys We Can't Do It Without The Rose Joseph Beuys Tallow Joseph Beuys Queen Bee Joseph Beuys Felt Suit Frank Stella Agbatana II Frank Stella Kastura Frank Stella Harewa Frank Stella Six Mile Bottom Jasper Johns Figure Five Jasper Johns White Flag Jasper Johns Three Flags Jasper Johns Field Painting Barnett Newman Be I Barnett Newman Adam Barnett Newman Onement VI Barnett Newman Canto VIII Mark Rothko Blue Penumbra Mark Rothko Untitled Mark Rothko Red on Maroon Mark Rothko Number 10 Willem de Kooning Marilyn Monroe   Willem de Kooning The Visit Willem de Kooning Woman I Willem de Kooning Door to the River Jackson Pollock Yellow, Gray, Black Jackson Pollock Going West Jackson Pollock Full Fathom Five Jackson Pollock Yellow Island Arshile Gorky - One Year the Milkweed 1944 Arshile Gorky - The Waterfall 1943 Arshile Gorky - The Betrothal II Arshile Gorky - Untitled 1944 Constantin Brancusi - The Kiss 1916 Constantin Brancusi - Adam and Eve 1921 Constantin Brancusi - Sleeping Muse 1910 Constantin Brancusi - Bird in Space 1928 Piet Mondrian - Composition with Red, Black, Blue, and Yellow Piet Mondrian - The Red Tree 1908 Piet Mondrian - Broadway Boogie-Woogie Piet Mondrian - Still Life with Gingerpot II 1912 Wassily Kandinsky - The Blue Rider 1909 Wassily Kandinsky - Improvisation 26 1912 Wassily Kandinsky - Landscape With Church 1913 Wassily Kandinsky - Cossacks 1911 Jean Arp - Rising Up 1962 Jean Arp - Terrestrial Forms 1917 Jean Arp - Leaves and Navels 1930 Jean Arp - Little Sphinx 1942 Alberto Giacometti - Female Standing II 1956 Alberto Giacometti - Portrait of Jean Genet 1955 Alberto Giacometti - Bust of Diego 1955 Alberto Giacometti - The Man Pointing 1947 Frida Kahlo - Viva la Vida 1954 Frida Kahlo - Self Portrait with Thorn Necklace 1940 Frida Kahlo - What the Water Gave Me 1938 Frida Kahlo - Los Dos Fridas 1939 Lawrence Stephen Lowry - The Canal Bridge 1949 Lawrence Stephen Lowry - Coming From the Mill 1930 Lawrence Stephen Lowry - The Pond 1950 Lawrence Stephen Lowry - Industrial Landscape 1950 Dorothea Tanning - A Little Night Music 1943 Dorothea Tanning - Guardian Angels 1946 Dorothea Tanning - A Very Happy Picture 1947 Dorothea Tanning - The Birthday 1942 Man Ray - Imaginary Portrait of the Marquis de Sade 1970 Man Ray - The Enigma of Isidore Ducasse Man Ray - Yesterday, Today, Tomorrow 1924 Man Ray - Gift 1921 Pablo Picasso - Guernica 1937 Pablo Picasso - Night Fishing at Antibes 1939 Pablo Picasso - Weeping Woman 1937 Pablo Picasso - My Pretty 1911 Salvador Dali - Sleep 1937 Salvador Dali - Autumnal Cannabilism Salvador Dali - Persistence of Memory 1931 Salvador Dali - Raphaelesque Head Exploding 1951 Joan Miró - Woman and Bird by Moonlight 1949 Joan Miró - The Harlequin's Carnival 1924 Joan Miró - Person Throwing a Stone at a Bird 1926 Joan Miró - Figure, Dog, Birds 1946 René Magritte - The Human Condition II 1935 René Magritte - The Treachery of Images 1929 René Magritte - Golconda - 1953 René Magritte - Threatening Weather - 1929 Sir Henry Moore - Reclining Figure 1939 Sir Henry Moore - King and Queen 1952 Sir Henry Moore - The Recumbent Figure 1938 Sir Henry Moore - Mother and Child 1953 Max Ernst - The Forest 1927 Max Ernst - Men Shall Know Nothing of This 1923 Max Ernst - Oedipus Rex 1922 Max Ernst - Lust for Life 1936 Georgia O'Keeffe - Lake George 1922 Georgia O'Keeffe - Sky Above Clouds IV 1966 Georgia O'Keeffe - Black Iris 1926 Georgia O'Keeffe - Jack in the Pulpit IV 1930 Marcel Duchamp - The Bride Stripped Bare by Her Bachelors, Even 1920 Marcel Duchamp - Nude Descending a Staircase No. 2; 1912 Marcel Duchamp - The Fountain 1917 Marcel Duchamp - Bottle Rack 1914 Giorgio de Chirico - Piazza d'Italia Giorgio de Chirico - The Uncertainty of the Poet 1913 Giorgio de Chirico - The Rose Tower 1913 Giorgio de Chirico - Melancholy and Mystery of a Street 1914 Vanessa Bell - Studland Beach 1912 Vanessa Bell - The Tub 1917 Vanessa Bell - Mrs. St John Hutchinson 1915 Vanessa Bell - A Conversation 1916 Naum Gabo - Linear Construction No. 4 - 1962 Naum Gabo - Head No. 2 1916 Naum Gabo - Spheric Theme 1937 Naum Gabo - Head of a Woman 1920 László Moholy-Nagy - Kinectic Construction 1920 László Moholy-Nagy - Jealousy László Moholy-Nagy - CH B3; 1943 László Moholy-Nagy - Space Modulator 1943 Paul Klee - Ad Parnassum 1932 Paul Klee - Adventures of a Young Lady 1922 Paul Klee - Once Emerged From the Grey of Night 1918 Paul Klee - Castle Garden 1931 Fernand Léger - The Builders 1950 Fernand Léger - Nudes in the Forest - 1910 Fernand Léger - Marriage 1911 Fernand Léger - Great Parade 1910 Sir Jacob Epstein - Jacob and the Angel 1941 Sir Jacob Epstein - St Michael and the Devil 1958 Sir Jacob Epstein - Genesis 1929 Sir Jacob Epstein - Rock Drill 1915 Georges Braque - Wine and Grapes 1929 Georges Braque - Still Life with Ace of Clubs 1913 Georges Braque - Still Life: Le Jour 1910 Georges Braque - Still Life with Bottle and Fish 1912 Juan Gris - Guitar and Newspaper 1923 Juan Gris - Violin and Fruit Dish 1924 Juan Gris - Phantoms 1915 Juan Gris - Overlooking the Bay 1921 Francis Picabia - Love Parade 1917 Francis Picabia - Portrait of a Doctor 1938 Francis Picabia - Conversation I, 1922 Francis Picabia - Here, This is Steiglitz Here 1915 Raoul Dufy - The Paddock at Chantilly 1939 Raoul Dufy - Sailing Boats in the Port of Deauville 1938 Raoul Dufy - Posters at Trouville 1906 Raoul Dufy - Old Houses on the Dock at Honfleur 1920 Maurice de Vlaminck - Sailboats at Chatou 1905 Maurice de Vlaminck - The Seine at Chatou 1906 Maurice de Vlaminck - Landscape with Red Trees Chatou 1907 Maurice de Vlaminck - The Bar Counter 1900 Henri Matisse - The Dance 1910 Henri Matisse - Madame Matisse 1913 Henri Matisse - Portrait with a Green Stripe 1905 Henri Matisse - Luxe, Calme et Voltupé 1904 André Derain - Charing Cross Bridge 1906 André Derain - The Bridge at Le Pecq 1905 André Derain - Lady in a Chemise 1906 André Derain - The Pool of London 1906 Pierre Bonnard - The Open Window 1921 Pierre Bonnard - Mirror on the Washstand 1908 Pierre Bonnard - Nude in the Bathroom 1927 Pierre Bonnard - The Table 1925 Édouard Vuillard - Two Girls Walking 1903 Édouard Vuillard - Woman Reading in the Evening 1903 Édouard Vuillard - Mother and Child 1900 Édouard Vuillard - Mother and Sister in the Studio 1893 Charles Rennie Mackintosh - Part Seen, Imagined Part 1896 Charles Rennie Mackintosh - Blue and Pink Tobacco Flowers 1895 Charles Rennie Mackintosh - The Wassail 1900 Charles Rennie Mackintosh - Coullioure 1924 Oskar Kokoschka - What Are We Fighting For? 1943 Oskar Kokoschka - Bride of the Wind 1914 Oskar Kokoschka - Auguste Forel
Recommended publications
  • LUCA PACIOLI La Vita E Le Opere

    LUCA PACIOLI La Vita E Le Opere

    Biblioteca del Centro Studi “Mario Pancrazi” Quaderni 14 Argante Ciocci LUCA PACIOLI La Vita e le Opere Versione in lingua inglese a cura di Karen Pennau Fronduti Biblioteca del Centro Studi “Mario Pancrazi” In collaborazione e con il contributo di Quaderno n.14 della Serie “R&D” – Ricerca e Didattica – pubblicata dal Centro Studi “Mario Pancrazi” di Sansepolcro e diretta da Francesca Giovagnoli. Autorizzazione n. 6/10 del Tribunale di Arezzo Biblioteca Centro Studi “Mario Pancrazi” www.centrostudimariopancrazi.it facebook /centrostudimariopancrazi In redazione Matteo Martelli, Gabriella Rossi ISBN 978-88-97646-31-0 2017 © University Book di Digital Editor srl Finito di stampare nel mese di giugno 2017 dalla Digital Editor srl, Umbertide Progetto grafico Eva Giacchè - Digital Editor srl, Umbertide In copertina Luca Pacioli (busto) nell’interpretazione di Filippo Lombezzi (Istituto Tecnico Economico, Via Piero della Francesca, 43, Sansepolcro). In quarta di copertina: Dal Compendium de divina proportione, 1498, il Rombicubottaedro (Leonardo da Vinci). Dal De Divina Proprtione, 1509, le Lettere Capitali (Luca Pacioli). La versione inglese è stata curata da Karen Pennau Fronduti Per le riproduzioni fotografiche, grafiche e citazioni giornalistiche appartenenti alla proprietà di terzi, inserite in quest’opera, l’editore è a disposizione degli aventi diritti non potuti reperire. É vietata la riproduzione, anche parziale e ad uso interno didattico, con qualsiasi mezzo, non autorizzato. «Luca Pacioli – nonostante non abbia mai disdegnato l’insegnamento dell’aritmetica commerciale – è stato tra le menti più illuminate e feconde se non la più illuminata e feconda – dell’alta matematica tra la fine del XV e l’inizio del XVI secolo» (Esteban Hernández-Esteve) L’Autore/The Author Argante Ciocci, dopo aver conseguito la Laurea in Filosofia a Perugia (1993) e una seconda Laurea in Lettere (1995), è diventato dottore di ri- cerca in Storia della Scienza con una tesi su Luca Pacioli.
  • Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext

    Art 150: Introduction to the Visual Arts David Mccarthy Rhodes College, Spring 2003 414 Clough, Ext

    Art 150: Introduction to the Visual Arts David McCarthy Rhodes College, Spring 2003 414 Clough, Ext. 3663 417 Clough, MWF 11:30-12:30 Office Hours: MWF 2:00- 4:00, and by appointment. COURSE OBJECTIVES AND DESCRIPTION The objectives of the course are as follows: (1) to provide students with a comprehensive, theoretical introduction to the visual arts; (2) to develop skills of visual analysis; (3) to examine various media used by artists; (4) to introduce students to methods of interpretation; and (5) to develop skills in writing about art. Throughout the course we will keep in mind the following two statements: Pierre Auguste Renoir’s reminder that, “to practice an art, you must begin with the ABCs of that art;” and E.H. Gombrich’s insight that, “the form of representation cannot be divorced from its purpose and the requirements of the society in which the given language gains currency.” Among the themes and issues we will examine are the following: balance, shape and form, space, color, conventions, signs and symbols, representation, reception, and interpretation. To do this we will look at many different types of art produced in several historical epochs and conceived in a variety of media. Whenever possible we will examine original art objects. Art 150 is a foundation course that serves as an introduction for further work in studio art and art history. A three-hour course, Art 150 satisfies the fine arts requirement. Enrollment is limited to first- and second-year students who are not expected to have had any previous experience with either studio or art history.
  • Pablo Picasso (1881-1973) Picasso and Cubism

    Pablo Picasso (1881-1973) Picasso and Cubism

    Module: Art Theory and History for Senior Students Course Code: AVI 4M Artists like Henri Matisse and a group known as the Fauves pushed the use of brilliant colour and impasto texture further than van Gogh had dared and Pablo Picasso took Cezanne's experiments with perspective to the next level. The early twentieth century was a turbulent time of industrialization and violent political upheaval and PICASSO AND CUBISM the art of this era was suitably adventurous. We will Post Impressionists like van Gogh and Cezanne begin our look at this time with the development of set the stage for a new generation of artists to push cubism through the work of Pablo Picasso. the boundaries of art even further. Young artists were inspired by the bold approach of these artists but wanted to go even further in the use of expressive colour, and in the flattening of the pictorial space of painting. Man Ray (1890-1976) © ARS, NY Pablo Picasso. 1933. Gelatin silver print. 35.2 x 27.9 cm (13 7/8 x 11 in.). The Metropolitan Museum of Art, Ford Motor Company Collection, Gift of Ford Motor Company and John C. Waddell, 1987 (1987.1100.18). Copy Photograph © The Metropolitan Museum of Art Location :The Metropolitan Three Musicians. 1921. 6’7””x7”33/4”. oil on canvas. Museum of Art, New York, NY, U.S.A. Photo Credit : The Museum of Modern Art, New York. Image copyright © The Metropolitan Museum of Art / Art Resource, NY PABLO PICASSO (1881-1973) Picasso was the child prodigy son of Jose Picasso first visited Paris in 1900, and alter- Ruiz Blasco, a drawing master of Malaga Spain, nated between Paris and Barcelona from 1900-1904.
  • Value and Symbolic Practices: Exch

    Value and Symbolic Practices: Exch

    NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 371-433 This reproduction is the best copy available. Value and Symbolic Practices: Objects, Exchanges, and Associations in the Italian Courts (1450-1500) Leah Ruth Clark Department of Art History and Communication Studies McGill University, Montreal February 2009 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Doctor of Philosophy Copyright 2009 by Clark, Leah Ruth All rights reserved. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN:978-0-494-61903-2 Our file Notre référence ISBN: 978-0-494-61903-2 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L’auteur conserve la propriété du droit d’auteur ownership and moral rights in this et des droits moraux qui protège cette thèse.
  • "Woman on a Rose Divan": Matisse in the Helen Birch Bartlett Memorial Collection Author(S): Catherine C

    "Woman on a Rose Divan": Matisse in the Helen Birch Bartlett Memorial Collection Author(S): Catherine C

    The Art Institute of Chicago "Woman before an Aquarium" and "Woman on a Rose Divan": Matisse in the Helen Birch Bartlett Memorial Collection Author(s): Catherine C. Bock and Matisse Source: Art Institute of Chicago Museum Studies, Vol. 12, No. 2, The Helen Birch Bartlett Memorial Collection (1986), pp. 200-221 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4115942 Accessed: 27-04-2017 14:41 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies This content downloaded from 198.40.29.65 on Thu, 27 Apr 2017 14:41:26 UTC All use subject to http://about.jstor.org/terms Woman Before an Aquarium and Woman on a Rose Divan: Matisse in the Helen Birch Bartlett Memorial Collection C A T H E R I N E C. B 0 C K, Professor, Department of Art History and Criticism, The School of The Art Institute of Chicago There are so many things in art, beginning with art itself that one doesn't understand. A painter doesn't see everything he has put in his painting.
  • Impressionism Post-Impressionism and Fauvism

    Impressionism Post-Impressionism and Fauvism

    • This lecture provides a quick introduction to Impressionism, the Post- Impressionists, particularly Paul Cézanne, Divisionism/Pointillism, the Fauves and Matisse • The lecture ends with the exhibition held by Roger Fry in 1910 called Manet and the Post-Impressionists. This is regarded as a turning point and the time when developments that had taken place in France over the previous 20 years were seen in England. Although made fun of by the critics it changed the way many artists worked. Notes • The following are not covered as they were covered in the course last year. • Introduce the influence on England Whistler, English Impressionists • New English Art Club • Camille Pissarro (1830-1903) is the only artist to have shown his work at all eight Paris Impressionist exhibitions, from 1874 to 1886. He ‘acted as a father figure not only to the Impressionists’ but to all four of the major Post-Impressionists, including Georges Seurat (1859-1891), Paul Cézanne (1839-1906), Vincent van Gogh (1853-1890, died aged 37)) and Paul Gauguin (1848-1903). • Roger Fry 1 • Created the name Post-Impressionist, started the Omega Workshop (Fitzroy Square), curator Metropolitan Museum, ‘discovered’ Paul Cezanne, Slade Professor • Wrote An Essay in Aesthetics • Organised the 1910 ‘Manet and the Post-Impressionists’ Exhibition, Grafton Galleries. ‘On or about December 1910 human character changed’ Vanessa Bell. • Organised the 1912 ‘Second Post-Impressionist Exhibition’. References • The main sources of information are the Tate website, Wikipedia, The Art Story and the Oxford Dictionary of National Biography. Verbatim quotations are enclosed in quotation marks. If it is not one of the references just mentioned then it is listed at the bottom of the relevant page.
  • THE EARLY RENAISSANCE Part Two

    THE EARLY RENAISSANCE Part Two

    THE EARLY RENAISSANCE part two Fra Angelico (1395 – 1455) was described by Vasari in his Lives of the Artists as having "a rare and perfect talent", and that "it is impossible to bestow too much praise on this holy father, who was so humble and modest in all that he did and said and whose pictures were painted with such facility and piety." He earned his reputation primarily with the series of frescoes he made for his own friary, San Marco, in Florence. The San Marco Altarpiece (1438-43) is known as one of the best early Renaissance paintings for its employment of metaphor and perspective, trompe l'oeil, and the intertwining of Dominican religious themes and symbols with contemporary, political messages. In contrast to earlier 'heavenly' repres- entations of the enthroned Virgin and Child surr- ounded by Angels and Saints, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. The series of frescoes that Fra Angelico painted for the cells of the Dominican friars at San Marcos realise the advancements made by Masaccio and carry them further. This Annunciation, is one of only three paintings outside of the monks cells and is Fra Angelico's most well known painting. Situated at the top of the stairs it was intended as a daily reminder for the monks to pray. This painting in particular is said to have "achieved heights of singular elegance''. Set within a loggia in a garden the structure of pillars and arches, mathematically constructed according to the new rules of linear perspective, frames the figures of Mary and the Angel Gabriel, placing them into separate 'cells' or worlds.
  • Favorite Paintings.Xlsx

    Favorite Paintings.Xlsx

    FAVORITE PAINTINGS - VOTING BRACKETS First Round Second Round Third Round Fourth Round Sweet Sixteen Elite Eight Final Four Championship Final Four Elite Eight Sweet Sixteen Fourth Round Third Round Second Round First Round Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Votes Altamira Cave Paintings Pilgrimage to Cythera - Antoine Watteau The Avenue at Middelharnis - Meyndert Hobbema Wagon Crossing a Drift - Thomas Baines The Sistine Chapel Ceiling - Michelangelo Ophelia - John Everett Millais The Triumph of Galatea - Raphael The Great Day of His Wrath - John Martin The Annunciation - Fra Angelico The Grand Odalisque - Jean Auguste Dominique Ingres Salome with the Head of John the Baptist - Caravaggio Elephants Charging over Quartos Country - Thomas Baines St. George and the Dragon - Paolo Uccello The Third of May 1808 - Francisco Goya The Conversion of St. Paul - Caravaggio Indian Council - Seth Eastman Emperor Taizong Receiving the Tibetan Envoy - Yan Liben The Oath of Horatii - Jacques-Louis David The Surrender of Breda - Diego Velázquez Impression, Sunrise - Claude Monet Self-Portrait at 28 - Albrecht Dürer Fort Vimieux - Joseph Mallord William Turner The Tower of Babel - Pieter Bruegel the Elder Olympia - Édouard Manet The Mona Lisa - Leonardo da Vinci The Great Wave off Kanagawa - Katsushika Hokusai Landscape with the Fall of Icarus - Pieter Bruegel the Elder Luncheon on the Grass - Édouard Manet Battle of Nubia - Egyptian Temple Self-Portrait with Straw Hat - Élisabeth Louise Vigée Le
  • Post-Impressionism: How a Group of Misfits Changed the Rules for Painting in the Modern Era

    Post-Impressionism: How a Group of Misfits Changed the Rules for Painting in the Modern Era

    Post-Impressionism: How a Group of Misfits Changed the Rules for Painting in the Modern Era By Dr. Susan Frank The Phillips Collection Georges Seurat Paul Gauguin (1859-1891) (1848-1903) Paul Cézanne (1839-1906) Paul Signac Vincent van Gogh (1972-1935) (1853-1890) Pierre-Auguste Renoir, Luncheon of the Boating Party, 1880-81, The Phillips Collection Georges Seurat, A Sunday on La Grande Jatte, 1884-86, The Art Institute of Chicago Georges Seurat, Seascape at Port-en- Georges Seurat, Le Chahut, 1889-90, Bassin, Normandy, 1888, National Kröller-Müller Museum, Otterlo Gallery of Art Paul Signac, Antibes Harbor, c. 1896 Paul Signac, Women at the Well, Private collection 1892, Musée d’Orsay, Paris Henri Matisse, Luxe, Calme et Volupté, 1904-05, Musée d’Orsay Henri Matisse, Open Window, Collioure, 1905, National Gallery of Art Robert Delaunay, Window on the City, Robert Delaunay, Simultaneous No. 4, 1910-11, 1912 Windows (2nd Motif, 1st Part), 1912 Formerly collection of Sonia Delaunay, Solomon R. Guggenheim Museum Solomon R. Guggenheim Museum Paul Gauguin, Self-Portrait Dedicated to Vincent van Gogh (Les Misérables), 1888, Van Gogh Museum, Amsterdam Vincent van Gogh, 1889, National Gallery of Art Paul Gauguin, Vision After the Sermon, 1888, National Gallery of Scotland Vincent van Gogh, The Sower (with Setting Sun), 1888, Kröller-Müller Museum, Otterlo, The Netherlands Vincent van Gogh, Entrance to the Public Garden at Arles, 1888 The Phillips Collection Paul Gauguin, Les Arlésiennes (Mistral), 1888, The Art Institute of Chicago Paul Gauguin,
  • In the Trenches with § 104A: an Evaluation of the Parties’ Arguments in Golan V

    In the Trenches with § 104A: an Evaluation of the Parties’ Arguments in Golan V

    TownsendGard_PAGE.docx (Do Not Delete) 10/3/11 12:10 PM In the Trenches with § 104A: An Evaluation of the Parties’ Arguments in Golan v. Holder as It Heads to the Supreme Court Elizabeth Townsend Gard* I. INTRODUCTION .................................................................... 199 II. BASIC FLAWS IN THE GOVERNMENT’S ARGUMENT: § 104A ANALYZED ................................................................ 202 A. The Government’s International-Obligations Arguments ................................................................ 203 B. The Importance of the Rule of the Shorter Term and International Norms ......................................... 209 C. Americans Abroad and at Home .............................. 211 III. SUPPORT FOR THE PETITIONERS’ TRADITIONAL-CONTOURS ARGUMENT: § 104A ANALYZED ............................................ 214 IV. CONCLUSION ........................................................................ 220 I. INTRODUCTION At Tulane University Law School, I have been directing the Durationator® Experiment, an online tool used to determine the copyright status of a work—any kind of work, including poetry, music, photographs, magazine articles, books, films, and folklore.1 I want to * Associate Professor, Tulane University Law School. Thank you to Diane Zimmerman, Graeme Dinwoodie, Kenneth Crews, David Levine, Justin Levy, Keith Werhan, Daniel Gervais, and Jancy Hoeffel for comments in the drafting stages. A special thanks to Zachary Christiansen and Evan Dicharry, who have worked so hard on § 104A and
  • The Museum and the Art Teacher. By- Hausman, Jerome J

    The Museum and the Art Teacher. By- Hausman, Jerome J

    REPORT RESUMES ED 010 193 24 THE MUSEUM AND THE ART TEACHER. BY- HAUSMAN, JEROME J. GEORGE WASHINGTON UNIV., WASHINGTON, D.C. REPORT NUMBER BR-6-2078 PUB DATE DEC 66 CONTRACT OEC- 2- 6- 062078 -0754 ERRS PRICE MF-$0.18 HC -$3.68 92P. DESCRIPTORS- *MUSEUMS, *ART EDUCATION, *INSERVICE TEACHER EDUCATION, SECONDARY SCHOOL TEACHERS, COOPERATIVE PROGRAMS, *INSTITUTE TYPE COURSES, TEACHER GUIDANCE, *EDUCATIONAL RESOURCES, DISTRICT OF COLUMBIA A COOPERATIVE, 6-WEEK SUMMER INSTITUTE WAS CONDUCTED AT THE NATIONAL GALLERY OF ART TO DEMONSTRATE SOME OF THE SPECIFIC WAYS THAT MUSEUM RESOURCES COULD BE USED TO IMPROVE THE TEACHING OF ART IN SECONDARY SCHOOLS. THE PROGRAM CONSISTED OF A COURSE IN THE HISTORY OF ART AND WORKSHOPS IN (1) MATERIALS AND TECHNIQUES OF PAINTING,(2) TECHNIQUES IN DEVELOPING AUDIOVISUAL INSTRUCTIONAL AIDS, AND (3) METHODS OF CONDUCTING GALLERY TOURS. THIRTY-NINE PARTICIPATING ART TEACHERS DEVELOPED TEACHING PLANS AND MATERIALS THAT WERE THEN UTILIZED IN THEIR RESPECTIVE SCHOOL SYSTEMS. THESE PLANS CONSTITUTED MODELS OF HOW A PARTICULAR GROUP OF TEACHERS WERE ,ABLE TO EXPAND THE CONTENT OF THEIR TEACHING. THE EVALUATION OF THE PROGRAM HAD IMPLICATIONS FOR FUTURE EFFORTS INVOLVING MUSEUM AND ART EDUCATION PERSONNEL. THE REPORT CALLED ATTENTION TO SUCH FACTORS AS THE SELECTION AND ORIENTATION OF PARTICIPANTS, THE IDENTIFICATION AND ORGANIZATION OF PROGRAM CONTENT, AND THE NEED FOR CONTINUED INVOLVEMENT OF MUSEUMS IN EDUCATIONAL PROBLEMS OF ART INSTRUCTION. RECOMMENDATIONS DEALT WITH THE NEED TO ESTABLISH COGNITIVE LEARNING PROCESSES THAT WILL ENHANCE CAPACITIES TO UNDERSTAND AND APPRECIATE WORKS OF ART.(JH) PIN AND WELFARE U. S. DEPARTMENT OFHEALTH, EDUCATION 441 01;:;:e of Educat;en from the .4' This document has beenr:.vrodticed exactly as received opinions --mt person or °To:111.nd=orioinating it.

  • The Use of Color in Art Objectively, Color Is the Element of Art That Is Produced When Light, Striking an Object, Is Reflected Back to the Eye

    The Use of Color in Art Objectively, color is the element of art that is produced when light, striking an object, is reflected back to the eye. The British physicist and mathematician Isaac Newton (1642-1727) determined that clear light is made up of seven visible colors – what we call ROYGBIV – red, orange, yellow, green, blue, indigo, violet. Subjectively, color is a sensation, a human reaction to a hue arising in part from the optic nerve. Colors are also symbols or codes that artists use to convey emotions. From time immemorial, color has been “Light is a thing that cannot be reproduced, but perhaps the most important tool artists must be represented by something else – by color.” can use to express themselves, to Paul Cézanne (French, 1839 – 1906) convey a message, and transform Mont Sainte-Victoire with Large Pine, ca. 1885-87 viewers intellectually and emotionally. Courtauld Institute of Art, London When we examine color through the yes of the artist, their belief in the power of color comes to the fore. So let’s start at the beginning, more than 40,000 years ago. Ochre Pit, Yantruwanta Country, South Australia The use of red ochre, the most common red pigment in the world, has been used for thousands of years. Red and yellow ochre are found where the ground is full of iron. These were pulverized and then mixed with plant resins, orchid sap, egg, blood, saliva, animal fat, or honey applied with sticks or fingers, or brushes made from animal hair, or blown from the prehistoric artists’ mouths, or using a blowpipe.