DOCSLIB.ORG

Art Movements Bingo Myfreebingocards.Com

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Movements Bingo Myfreebingocards.Com Art Movements Bingo myfreebingocards.com Safety First! Before you print all your bingo cards, please print a test page to check they come out the right size and color. Your bingo cards start on Page 3 of this PDF. If your bingo cards have words then please check the spelling carefully. If you need to make any changes go to mfbc.us/e/qw9kb5 Play Once you've checked they are printing correctly, print off your bingo cards and start playing! On the next page you will find the "Bingo Caller's Card" - this is used to call the bingo and keep track of which words have been called. Your bingo cards start on Page 3. Virtual Bingo Please do not try to split this PDF into individual bingo cards to send out to players. We have tools on our site to send out links to individual bingo cards. For help go to myfreebingocards.com/virtual-bingo. Help If you're having trouble printing your bingo cards or using the bingo card generator then please go to https://myfreebingocards.com/faq where you will find solutions to most common problems. Share Pin these bingo cards on Pinterest, share on Facebook, or post this link: mfbc.us/s/qw9kb5 Edit and Create To add more words or make changes to this set of bingo cards go to mfbc.us/e/qw9kb5 Go to myfreebingocards.com/bingo-card-generator to create a new set of bingo cards. Legal The terms of use for these printable bingo cards can be found at myfreebingocards.com/terms. Have Fun! If you have any feedback or suggestions, drop us an email on [email protected]. Bingo Caller's Card Use your Bingo Caller's Card to call the bingo and keep track of which words you have already called. Print two copies of the caller's card. Cut one copy up, fold the squares in half, and put them in a hat. To call the bingo, pull a square out of the hat, unfold it and read it out. When you have called a word/number, tick it off on the second copy of the caller's card. You can use the second copy of the caller's card to check if a player has a winning card during a game. abstract expressionism impressionism cubism romanticism op art post surrealism modernism photorealism art deco modernism minimalism contemporary primitive Baroque Art Nouveau Bingo Card ID 001 Bingo Card ID 002 Art Movements Art Movements post primitive minimalism op art expressionism abstract cubism modernism surrealism op art romanticism contemporary Baroque cubism art deco modernism Baroque expressionism minimalism Art Nouveau photorealism abstract contemporary photorealism Art Nouveau impressionism post surrealism romanticism impressionism modernism art deco primitive modernism Bingo Card ID 003 Bingo Card ID 004 Art Movements Art Movements romanticism modernism photorealism cubism post modernism contemporary primitive Baroque abstract expressionism primitive Baroque romanticism surrealism expressionism art deco impressionism Art Nouveau minimalism surrealism cubism minimalism modernism op art post modernism art deco contemporary op art abstract Art Nouveau photorealism impressionism Bingo Card ID 005 Bingo Card ID 006 Art Movements Art Movements post contemporary Art Nouveau expressionism post abstract art deco cubism modernism modernism minimalism Baroque abstract op art expressionism primitive romanticism Art Nouveau photorealism art deco cubism modernism photorealism surrealism minimalism contemporary romanticism impressionism primitive surrealism modernism op art Baroque impressionism Bingo Card ID 007 Bingo Card ID 008 Art Movements Art Movements art deco surrealism impressionism cubism op art minimalism Art Nouveau art deco photorealism Baroque expressionism op art Baroque post contemporary romanticism modernism post romanticism modernism modernism primitive abstract cubism expressionism photorealism Art Nouveau abstract contemporary minimalism surrealism impressionism modernism primitive Bingo Card ID 009 Bingo Card ID 010 Art Movements Art Movements minimalism modernism primitive Baroque surrealism abstract art deco impressionism post expressionism Baroque Art Nouveau primitive contemporary cubism photorealism modernism post romanticism expressionism impressionism art deco modernism photorealism modernism contemporary surrealism op art Art Nouveau abstract op art cubism minimalism romanticism Bingo Card ID 011 Bingo Card ID 012 Art Movements Art Movements abstract Baroque cubism romanticism romanticism impressionism expressionism abstract post minimalism impressionism modernism primitive modernism primitive op art cubism photorealism surrealism art deco Art Nouveau photorealism Baroque post Art Nouveau modernism contemporary expressionism op art modernism art deco minimalism contemporary surrealism Bingo Card ID 013 Bingo Card ID 014 Art Movements Art Movements minimalism contemporary modernism primitive modernism contemporary photorealism art deco art deco cubism romanticism expressionism primitive op art romanticism expressionism post impressionism Art Nouveau Baroque surrealism Art Nouveau modernism surrealism Baroque post abstract op art photorealism modernism cubism abstract impressionism minimalism Bingo Card ID 015 Bingo Card ID 016 Art Movements Art Movements impressionism minimalism post abstract Baroque photorealism romanticism expressionism modernism post primitive Baroque cubism romanticism primitive Art Nouveau surrealism modernism contemporary op art expressionism Art Nouveau modernism op art minimalism contemporary art deco modernism photorealism surrealism abstract impressionism art deco cubism Bingo Card ID 017 Bingo Card ID 018 Art Movements Art Movements post romanticism modernism contemporary cubism abstract photorealism Art Nouveau contemporary abstract impressionism minimalism modernism post primitive romanticism surrealism modernism Art Nouveau op art primitive photorealism minimalism modernism op art expressionism art deco surrealism Baroque expressionism cubism impressionism art deco Baroque Bingo Card ID 019 Bingo Card ID 020 Art Movements Art Movements op art expressionism art deco modernism expressionism primitive romanticism Art Nouveau post photorealism minimalism contemporary primitive impressionism surrealism abstract modernism surrealism cubism Baroque impressionism minimalism op art photorealism art deco Art Nouveau post romanticism abstract modernism Baroque cubism contemporary modernism Bingo Card ID 021 Bingo Card ID 022 Art Movements Art Movements post surrealism romanticism impressionism modernism photorealism Art Nouveau contemporary modernism Baroque contemporary art deco cubism post surrealism abstract Baroque modernism modernism Art Nouveau abstract expressionism minimalism op art art deco primitive photorealism primitive op art minimalism cubism impressionism romanticism expressionism Bingo Card ID 023 Bingo Card ID 024 Art Movements Art Movements op art modernism Art Nouveau art deco expressionism abstract op art romanticism post minimalism photorealism expressionism impressionism surrealism modernism contemporary impressionism primitive surrealism contemporary romanticism primitive minimalism photorealism Art Nouveau post cubism Baroque abstract modernism art deco cubism modernism Baroque Bingo Card ID 025 Bingo Card ID 026 Art Movements Art Movements primitive contemporary art deco minimalism Art Nouveau impressionism modernism expressionism photorealism Art Nouveau modernism op art Baroque photorealism op art contemporary post romanticism abstract cubism impressionism art deco modernism surrealism primitive post modernism surrealism Baroque expressionism romanticism abstract minimalism cubism Bingo Card ID 027 Bingo Card ID 028 Art Movements Art Movements post modernism impressionism primitive Art Nouveau op art expressionism Art Nouveau art deco Baroque contemporary photorealism art deco romanticism abstract contemporary minimalism minimalism romanticism surrealism modernism modernism cubism impressionism primitive post op art abstract cubism expressionism Baroque photorealism surrealism modernism Bingo Card ID 029 Bingo Card ID 030 Art Movements Art Movements op art abstract Art Nouveau contemporary impressionism surrealism Baroque expressionism impressionism Baroque art deco photorealism cubism romanticism op art contemporary post minimalism primitive romanticism expressionism modernism primitive abstract photorealism post cubism surrealism modernism modernism art deco modernism Art Nouveau minimalism.
Load more

Recommended publications
  • Flexible Film: Interactive Cubist-Style Rendering
    Flexible Film: Interactive Cubist-style Rendering M. Spindler† and N. Röber and A. Malyszczyk and T. Strothotte Department of Simulation and Graphics School of Computing Science Otto-von-Guericke University Magdeburg, Germany Abstract This work describes a new approach of rendering multiple perspective images inspired by cubist art. Our imple- mentation uses a novel technique which not only allows an easy integration in existing frameworks, but also to generate these images at interactive rates. We further describe a cubist-style camera model that is capable of em- bedding additional information, which is derived from the scene. Distant objects can be put in relation to express their interconnections and possible dependencies. This requires an intelligent camera model, which is one of our main motivations. Possible applications are manifold and range from scientific visualization to storytelling and computer games. Our implementation utilizes cubemaps and a NURBS based camera surface to compute the final image. All pro- cessing is accomplished in realtime on the GPU using fragment shaders. We demonstrate the possibilities of this new approach using artificial renditions as well as real photographs. The work presented is work in progress and currently under development. To illustrate the usability of the method we suggest several application domains, including filming, for which this technique offers new ways of expression and camera work. 1. Introduction The familiar representation of objects in our environment is that they usually face us with one side only, except they are viewed from odd angles or mirrored in reflective surfaces. An often expressed desire of artists and scientist throughout the centuries was the combination of different viewpoints of objects and scenes into a single image.
    [Show full text]
  • Explorations of the Painted Real
    EXPLORATIONS OF THE PAINTED REAL: TECHNOLOGICAL MEDIATION IN THE WORK OF FOUR ARTISTS. By Gina Margareta Heyer Thesis presented inpartial fulfilment of the requirements for the degree of Masters of Arts in Visual Arts at the University of Stellenbosch Supervisor: Dr. Stella Viljoen (thesis) Co-supervisor: Mr. Vivian H. van der Merwe (practical) March 2011 Declaration By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. 2 March 2011 Copyright © 2011 Stellenbosch University All rights reserved i Abstract This thesis is an investigation into the relationship between photorealistic painting and specific devices used to aid the artist in mediating the real. The term 'reality' is negotiated and a hybrid theoretical approach to photorealism, including mimesis and semiotics, is suggested. Through careful analysis of Vermeer's suspected use of the camera obscura, I argue that camera vision already started in the 17th century, thus signalling the dramatic shift from the classical Cartesian perspective scopic regime to the model of vision offered by the camera long before the advent of photography. I suggest that contemporary photorealist painters do not just merely and objectively copy, but use photographic source material with a sophisticated awareness in response to a rapidly changing world. Through an examination of the way in which the camera obscura and photographic camera are used in the works of four artists, I suggest that a symbiotic relationship of subtle tensions between painting and photographic technology emerges.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Goings Ralph
    LOUIS K. MEISEL GALLERY RALPH GOINGS Biography Updated: 2/14/20 BORN 1928 Corning, CA EDUCATION 1965 Sacramento State College, Sacramento, CA; M.F.A. 1953 California College of Arts and Crafts, Oakland, CA; B.F.A. SOLO EXHIBITIONS 2005 Great Goings: Vintage Pick-up Trucks and Diner Paintings, Louis K. Meisel Gallery, New York, NY 2004 Ralph Goings: Four Decades of Realism, The Butler Institute of American Art, Youngstown, OH 2003 Ralph Goings: Paintings & Watercolors, Vintage & Current Works, Bernarducci Meisel Gallery, New York, NY 1997 Ralph Goings: Photorealism, Solomon Dubnick Gallery, Sacramento, CA 1996 O.K. Harris Works of Art, New York, NY 1994 Ralph Goings, A Retrospective View of Watercolors: 1972-1994, Jason McCoy Inc., New York, NY 1991 O.K. Harris Works of Art, New York, NY 1988 O.K. Harris Works of Art, New York, NY 1985 O.K. Harris Works of Art, New York, NY 1983 O.K. Harris Works of Art, New York, NY 1980 O.K. Harris Works of Art, New York, NY 1977 O.K. Harris Works of Art, New York, NY 1973 O.K. Harris Works of Art, New York, NY 141 Prince Street, New York, NY 10012 | T: 212 677 1340 | F: 212 533 7340 | E: [email protected] LOUIS K. MEISEL GALLERY 1970 O.K. Harris Works of Art, New York, NY 1968 Artists CooperatiVe Gallery, Sacramento, CA 1962 Artists CooperatiVe Gallery, Sacramento, CA 1960 Artists CooperatiVe Gallery, Sacramento, CA GROUP EXHIBITIONS 2019 Reality Check: Photorealist Watercolors, Herbert F. Johnson Museum, Cornell UniVersity, Ithaca, NY, April 27 – July 28 50 Years of Realism, Centro Cultural Center Bank of Brazil, Rio de Janeiro, May 22 – July 29 2017-18 From Lens to Eye to Hand: Photorealism 1969 to Today, traVeling exhibition: Parrish Art Museum, Water Mill, NY August 6, 2017 – Jan.
    [Show full text]
  • Modern Painting Cui Ning Ri-Iodes University
    FORMS AND TECHNIQUEs O}~ MODERN PAINTING CUI NING MASTER OF FINE ART AT RI-IODES UNIVERSITY NOVEMBER 1998 ACKNOWLEDGEMENTS I would like to express my gratitude to my supervisor, Professor Mark Haywood, for the encouragement and guidance he provided me. I would also like to thank The Department of Fine Arts, Rhodes University, its lecturers and students for their help and encouragement during my practical work and the writing of my thesis. Thank you to Miss Allen for helping me to translate this thesis. I am grateful to my family for their generosity and financial support. CONTENTS PREFACE ACKNOWLEDGEMENT CHAPTER 1 The History of Techniques and Innovations in Painting 1. Byzantine Painting * Foils and Metal 2. The Invention of Oil Paint * Oil Paint and Painting supports * Canvas * Panels * Fresco 3. Colour * The impact of synthetic pigments * Pointillism 4. Watercolour * Plein air painting * Oriental art 5. Oriental influence * Oriental prints * The Realists CHAPTER 2 The Innovations and Techniques Developed in Modern Painting 1. Innovative Approaches 2. Cubist Collage * Surrealist Frottage and Grattage 3. Abstract Expressionism * Abstract Art of Wassily Kadinsky * Andre Masson and Oriental Influence 4. Hard Edge Abstraction and Pop Art CHAPTER 3 The Techniques and Innovations Developed in Post Modern Art 1. Post-Modernism 2. Use of Colour (Pigment) 3. Rise of Altenmtive Materials and Space 4. Traditional Painting 5. Materials used for specific Reasons (Symboiic,Metaphysical and Alchemical) CONCLUSION BIBLIOGRAPHY PREI?ACE When I arrived at Rhodes University in 1995 to do advanced studies, I have noticed that many lecturers and students here were enthusiastic about modern painting and the techniques involved in its creation.
    [Show full text]
  • History of Modern Art Painting Sculpture Architecture Photography
    HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION LK024_P0001EDarmason_HoMA_FM_Combined.indd i 14/09/2012 15:49 LK024_P0001EDarmason_HoMA_FM_Combined.indd ii 14/09/2012 15:49 HISTORY OF MODERN ART PAINTING SCULPTURE ARCHITECTURE PHOTOGRAPHY SEVENTH EDITION H.H. ARNASON ELIZABETH C. MANSFIELD National Humanities Center Boston Columbus Indianapolis New York San Francisco Upper Saddle River Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montréal Toronto Delhi Mexico City São Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo LK024_P0001EDarmason_HoMA_FM_Combined.indd iii 14/09/2012 15:49 Editorial Director: Craig Campanella This book was designed and produced by Editor-in-Chief: Sarah Touborg Laurence King Publishing Ltd, London Senior Sponsoring Editor: Helen Ronan www.laurenceking.com Editorial Assistant: Victoria Engros Production Manager: Simon Walsh Vice President, Director of Marketing: Brandy Dawson Page Design: Robin Farrow Executive Marketing Manager: Kate Mitchell Photo Researcher: Emma Brown Editorial Project Manager: David Nitti Copy Editor: Lis Ingles Production Liaison: Barbara Cappuccio Managing Editor: Melissa Feimer Senior Operations Supervisor: Mary Fischer Operations Specialist: Diane Peirano Senior Digital Media Editor: David Alick Media Project Manager: Rich Barnes Cover photo: Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 (detail). Oil on canvas, 58 ϫ 35” (147.3 ϫ 88.9 cm). Philadelphia Museum of Art. page 2: Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–86 (detail). 1 1 Oil on canvas, 6’ 9 ∕2” ϫ 10’ 1 ∕4” (2.1 ϫ 3.1 m). The Art Institute of Chicago. Credits and acknowledgments borrowed from other sources and reproduced, with permission, in this textbook appear on the appropriate page within text or in the picture credits on pages 809–16.
    [Show full text]
  • Embodying Art and Art History: an Experiment with a Class Video Happening for the Series Access Denied
    International Journal of Education & the Arts Editors Christine Marmé Thompson S. Alex Ruthmann Pennsylvania State University New York University Eeva Anttila William J. Doan Theatre Academy Helsinki Pennsylvania State University http://www.ijea.org/ ISSN: 1529-8094 Volume 14 Number 9 June 20, 2013 Embodying Art and Art History: An Experiment with a Class Video Happening for the Series Access Denied Leda Cempellin South Dakota State University, U.S.A. Citation: Cempellin, L. (2013). Embodying art and art history: An experiment with a class video happening for the series Access Denied. International Journal of Education & the Arts, 14(9). Retrieved [date] from http://www.ijea.org/v14n9/. Abstract A book written in a foreign language and migrated to the US along with its author, an art historian, finds a new communicative dimension by becoming a ready-made for art making purposes. Starting with an introduction explaining the genesis of the collaborative project Access Denied, this article focuses on one of the series’ artworks, namely a video-happening, by exploring its genesis, development, and outcomes. Staged during the day of finals in an advanced art history seminar, the experiment provided an embodied artistic experience and some reflections on art history course content in the debate that followed. The video happening became a basis for further reflection in this essay on the role of performance in stimulating arts-based research at the interstices between biography and scholarly inquiry, between art and art history, between modernism and postmodernism, between object and action, and between creation and destruction as the two opposite poles in modern creativity.
    [Show full text]
  • Hold Still: Looking at Photorealism RICHARD KALINA
    Hold Still: Looking at Photorealism RICHARD KALINA 11 From Lens to Eye to Hand: Photorealism 1969 to Today presents nearly fifty years of paintings and watercolors by key Photorealist taken care of by projecting and tracing a photograph on the canvas, and the actual painting consists of varying degrees (depending artists, and provides an opportunity to reexamine the movement’s methodology and underlying structure. Although Photorealism on the artist) of standard under- and overpainting, using the photograph as a color reference. The abundance of detail and incident, can certainly be seen in connection to the history, style, and semiotics of modern representational painting (and to a lesser extent while reinforcing the impression of demanding skill, actually makes things easier for the artist. Lots of small things yield interesting late-twentieth-century art photography), it is worth noting that those ties are scarcely referred to in the work itself. Photorealism is textures—details reinforce neighboring details and cancel out technical problems. It is the larger, less inflected areas (like skies) that contained, compressed, and seamless, intent on the creation of an ostensibly logical, self-evident reality, a visual text that relates are more trouble, and where the most skilled practitioners shine. almost entirely to its own premises: the stressed interplay between the depiction of a slice of unremarkable three-dimensional reality While the majority of Photorealist paintings look extremely dense and seem similarly constructed from the ground up, that similarity is and the meticulous hand-painted reproduction of a two-dimensional photograph. Each Photorealist painting is a single, unambiguous, most evident either at a normal viewing distance, where the image snaps together, or in the reducing glass of photographic reproduction.
    [Show full text]
  • Styleless Style? What Photorealism Can Tell Us About “The Sixties”
    Boise State University ScholarWorks Art Faculty Publications and Presentations Department of Art 8-1-2013 Styleless Style? What Photorealism Can Tell Us About “The iS xties” Craig J. Peariso Boise State University This document was originally published by Cambridge University Press in Journal of American Studies. Copyright restrictions may apply. DOI: 10.1017/S0021875812002071. Journal of American Studies, (), , – © Cambridge University Press doi:./S First published online February Styleless Style? What Photorealism Can Tell Us about “the Sixties” CRAIG J. PEARISO This essay reads s “photorealist” painting and its critical reception against two sets of contemporary social analyses. First, it places these artistic and critical works next to Pierre Bourdieu’s text Photography: A Middle-Brow Art, demonstrating that, although the critical literature surrounding “photorealism” tended to assume that its involvement with photography grew out of a desire for an objective realism, contemporary thought on photography was anything but convinced of the medium’s transparency. Second, it looks to cultural critics like Susan Sontag and Jacob Brackman to propose that, rather than seeing the art of this period in opposition to the heated political battles of “the sixties,” the presumably “styleless” works of artists like Robert Bechtle and Ralph Goings may lead us to reconsider the forms of those battles themselves. In his essay “Photographic Guilt: The Painter and the Camera,” Jonathan Weinberg suggests that the difference between Robert Bechtle’s paintings and the documentary photographs of Robert Frank lies primarily in Bechtle’s evasiveness. “Bechtle’s covered cars are far more difficult to read,” Weinberg writes. They do not take a clear moral position.
    [Show full text]
  • 1 Life Between Two Panels Soviet Nonconformism in the Cold War Era
    Life Between Two Panels Soviet Nonconformism in the Cold War Era DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Clinton J. Buhler, M.A. Graduate Program in History of Art * * * * * The Ohio State University 2013 Dissertation Committee: Dr. Myroslava M. Mudrak, Advisor Dr. Kris Paulsen Dr. Jessie Labov Dr. Aron Vinegar 1 Copyright by Clinton J. Buhler 2013 2 Abstract Beneath the façade of total conformity in the Soviet Union, a dynamic underground community of artists and intellectuals worked in forced isolation. Rejecting the mandates of state-sanctioned Socialist Realist art, these dissident artists pursued diverse creative directions in their private practice. When they attempted to display their work publicly in 1974, the carefully crafted façade of Soviet society cracked, and the West became aware of a politically subversive undercurrent in Soviet cultural life. Responding to the international condemnation of the censorship, Soviet officials allowed and encouraged the emigration of the nonconformist artists to the West. This dissertation analyzes the foundation and growth of the nonconformist artistic movement in the Soviet Union, focusing on a key group of artists who reached artistic maturity in the Brezhnev era and began forging connections in the West. The first two chapters of the dissertation center on works that were, by and large, produced before emigration to the West. In particular, I explore the growing awareness of artists like Oleg Vassiliev of their native artistic heritage, especially the work of Russian avant-garde artists like Kazimir Malevich. I look at how Vassiliev, in a search for an alternative form of expression to the mandated form of art, took up the legacy of nineteenth-century Realism, avant-garde abstraction, and Socialist Realism.
    [Show full text]
  • Resource Guide
    JANUARY 24 - APRIL 21, 2013 RESOURCE GUIDE The exhibition is produced by International Arts.® Hubert DeLartigue (French, b.1963). OMG!, 2009. OKLAHOMA CITY MUSEUM OF ART Acrylic on canvas, 38 in. diameter (96.5 cm). Courtesy of Bernarducci.Meisel.Gallery © Courtesy International Arts® 415 Couch Drive | Oklahoma City, OK 73102 | (405) 236-3100 | okcmoa.com JANUARY 24 - APRIL 21, 2013 Photorealism—the first modern movement to assert reliance on photography as a crucial part of the artistic process—has been an influential force on the art scene since the late 1960s. Though the original Photorealists were initially denounced for using photography, their work eventually gained recognition, becoming part of a resurgent interest in both painting and realism that flourished in the 1970s and has continued into the post-millennium years. Photorealism Revisited explores the historical roots of this quintessentially American style and its evolution on the international stage. Robert Bechtle (American, b.1932) EXHIBITION DETAILS '68 Cadillac, 1970 Oil on canvas, 22 x 24 in. • Organized by International Arts ® Private Collection, Louis K. Meisel Gallery, • 63 works, including paintings and prints New York. © Courtesy International Arts® • 35 artists Considered one of the first Photorealist • Works created between 1970 and 2012 painters, Robert Bechtle combined familiar American icons with his own personal style, resulting in the BEFORE VIEWING poetic sensibility seen in ’68 Cadillac. Bechtle’s use of a subdued color • Review realism in the visual arts palette was inspired by the soft light of California’s Bay Area and highlights • How does photorealism compare and contrast to previous an American car parked outside of a tendencies towards realism in the visual arts? California stucco building.
    [Show full text]
  • Oral History Interview with Louis K. Meisel, 2009 Apr. 28-May 6
    Oral history interview with Louis K. Meisel, 2009 Apr. 28-May 6 Funding for this interview was provided by the Widgeon Point Charitable Foundation. Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Louis K. Meisel on April 28 and May 6, 2009. The interview took place in New York City, and was conducted by James McElhinney for the Archives of American Art, Smithsonian Institution. This interview is part of the Archives of American Art. Louis K. Meisel reviewed the transcript in 2019 and has made corrections and emendations. Selected corrections and emendations appear below in brackets with initials. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview [TRACK AAA_meisel09_5506_r is a test track.] JAMES MCELHINNEY: This is James McElhinney speaking with Louis Meisel at 141 Prince Street in New York City, on Tuesday, the 28th of April 2009. Good morning. LOUIS K. MEISEL: Good morning. JAMES MCELHINNEY: What was your earliest encounter with a work of art? LOUIS K. MEISEL: On September 4, 1956, which was my 14th birthday, my parents allowed me to go into New York City from Tenafly, New Jersey, which is right across the bridge, with a friend of mine, Larry Schreiber.
    [Show full text]