Art 3 Final Exam Study Guide Name______Image Identification

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Art 3 Final Exam Study Guide Name_______________________________________ Image Identification Title: The Gleaners Title: The Stonebreakers Artist: Jean Francois Millet Artist: Gustav Courbet Art Period: Realism Art Period: Realism Starry Night The Bedroom Table, Napkin and Fruit Vincent van Gogh Vincent van Gogh Paul Cezanne Post-Impressionism Post-Impressionism Post-Impressionism Tahitian Women on the Beach Sunday Afternoon on the Island of La Grand Jatte The Sleeping Gypsy Paul Gauguin Georges Seurat Henri Rousseau Post-Impressionism Post-Impressionism Post-Impressionism Ad Parnassum The Scream Street, Berlin Paul Klee Edvard Munch Ernst Ludwig Kirchner Expressionism Expressionism Expressionism Yellow Cow Composition VIII Franz Marc Wassily Kandinsky Expressionism Expressionism Factory, Horta de Ebbo Violin and Jug Weeping Woman Pablo Picasso Georges Braque Pablo Picasso Cubism Cubism Cubism The Son of Man The Persistence of Memory Metamorphosis of Narcissus Rene Magritte Salvador Dali Salvador Dali Surrealism Surrealism Surrealism The Red Tower Giorgio de Chirico Surrealism Campbell’s Soup Cans Twenty-five Colored Marilyns Queen Elizabeth II Andy Warhol Andy Warhol Andy Warhol Pop Art Pop Art Pop Art Drowning Girl Hopeless Varoom Roy Lichtenstein Roy Lichtenstein Roy Lichtenstein Pop Art Pop Art Pop Art Clothespin Flag Retroactive I Claes Oldenburg Jasper Johns Robert Rauschenberg Pop Art Pop Art Pop Art Characteristics of Post-Impressionism -symbolic personal images -abstract form -application of paint in organized pattern (Van Gogh/Seurat) Characteristics of Expressionism - Has emotional character - Drew inspiration from ‘primitive art’ - Was associated with Northern Europe 3 things that influenced Expressionism - Fauvism, African art, German Gothic art Expressionism is mostly associated with Germany. The TWO main groups of German Expressionism were Der Blaue Reiter (The Blue Rider) and Die Brucke (The Bridge) - Cubism focused on 2 main things: 1. Form fragmentation 2. Showing one object from multiple viewpoints at the same time. - Pablo Picasso and Georges Braque are given credit as jointly starting Cubism - Paul Cezanne was a post-impressionist artist that GREATLY influenced Cubism - The Surrealist Manifesto, published in 1924, described the movement as Pure Psychic Automatism - Automatism is a group of techniques designed to release art from conscious control - Salvador Dali used his nightmares for the imagery in his paintings - Sigmund Freud’s theory of the unconscious viewed the human mind as engaged in battle between the rational conscious mind and the irrational urges of the unconscious Andy Warhol used repeating images in his work, such as Marilyn Monroe or Campbell’s Soup cans. Roy Lichtenstein enlarged small areas of comic strips to create his paintings. Robert Rauschenberg was a Pop Artist in the sense that he took everyday imagery from newspapers and magazines to create collages. Claus Oldenburg created large sculptures of everyday objects and placed the sculptures in large cities. .

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16 Exhibition on Screen
Exhibition on Screen - The Impressionists – And the Man Who Made Them 2015, Run Time 97 minutes An eagerly anticipated exhibition travelling from the Musee d'Orsay Paris to the National Gallery London and on to the Philadelphia Museum of Art is the focus of the most comprehensive film ever made about the Impressionists. The exhibition brings together Impressionist art accumulated by Paul Durand-Ruel, the 19th century Parisian art collector. Degas, Manet, Monet, Pissarro, Renoir, and Sisley, are among the artists that he helped to establish through his galleries in London, New York and Paris. The exhibition, bringing together Durand-Ruel's treasures, is the focus of the film, which also interweaves the story of Impressionism and a look at highlights from Impressionist collections in several prominent American galleries. Paintings: Rosa Bonheur: Ploughing in Nevers, 1849 Constant Troyon: Oxen Ploughing, Morning Effect, 1855 Théodore Rousseau: An Avenue in the Forest of L’Isle-Adam, 1849 (Barbizon School) Jean-François Millet: The Gleaners, 1857 (Barbizon School) Jean-François Millet: The Angelus, c. 1857-1859 (Barbizon School) Charles-François Daubigny: The Grape Harvest in Burgundy, 1863 (Barbizon School) Jean-François Millet: Spring, 1868-1873 (Barbizon School) Jean-Baptiste Camille Corot: Ruins of the Château of Pierrefonds, c. 1830-1835 Théodore Rousseau: View of Mont Blanc, Seen from La Faucille, c. 1863-1867 Eugène Delecroix: Interior of a Dominican Convent in Madrid, 1831 Édouard Manet: Olympia, 1863 Pierre Auguste Renoir: The Swing, 1876 16 Alfred Sisley: Gateway to Argenteuil, 1872 Édouard Manet: Luncheon on the Grass, 1863 Edgar Degas: Ballet Rehearsal on Stage, 1874 Pierre Auguste Renoir: Ball at the Moulin de la Galette, 1876 Pierre Auguste Renoir: Portrait of Mademoiselle Legrand, 1875 Alexandre Cabanel: The Birth of Venus, 1863 Édouard Manet: The Fife Player, 1866 Édouard Manet: The Tragic Actor (Rouvière as Hamlet), 1866 Henri Fantin-Latour: A Studio in the Batingnolles, 1870 Claude Monet: The Thames below Westminster, c.
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Pop Art Slides
Pop Art slides: Performance: Joseph Beuys (1921-1986) “thinking forms” How to Explain Pictures to a Dead Hare, Performance, (1965) Coyote: I Like America and America Likes Me (1974) Pop art: Richard Hamilton (1922- ) Just What is it that Makes Today’s Homes so Different, so Appealing? collage, 26x25cm (1956) Roy Lichtenstein (1923-1997) Takka, Takka, magna on canvas, 173x143 cm (1962) Maybe (1963) Blam, oil on canvas, 68”x80” (1962) Hopeless, oil on canvas, 3’8”x3’8” (1963) Drowning Girl, oil on canvas, 5’7”x5’6” (1963) Oh…. Alright, oil and magna on canvas, 91x97cm (1964) Still Life with Goldfish Bowl and painting of a Golf Ball, oil on canvas, 52”x42” (1972) Stretcher Frame revealed Beneath Painting of a Stretcher Frame, oil and magna on canvas, 91x116cm (1973) Yellow and Green Brushstrokes, oil and magna on canvas, 214x458 cm (1966) Robert Indiana (1928- ) The Big Eight, acrylic on canvas, 220x220 cm (1961) Mel Ramos (1935- ) Velveeta, oil on canvas, 152x178 cm (1965) Andy Warhol (1928-1987) Green Coca-Cola Bottles, oil on canvas, 6’10”x4’9” (1962) Marilyn Monroe, acrylic and silkscreen, 6’9”x5’6” (1962) Marilyn Diptych, oil, acrylic and silkscreen, 6’8”x4’9” (each panel) (1962) Campbell’s Soup Can 1, acrylic/silk screen, 92x61 cm (1962) 200 Campbell’s Soup Cans, oil on canvas, 6’x8’4” (1962) Liz Taylor, lithograph, 21x21” (1964) Environmental or Earth Art: Robert Smithson (1938-1973) Spiral Jetty, Salt Lake, Utah, 1500’x15’x3½‘ (1970) Christo and Jeanne-Claude (both b.1935, she d.2009)) – “Empaquetages” Wrapped Coast, Little Bay, Sydney Australia, one million sq.ft.
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Postmodern and Pop.Prs
Postmodern and Pop.prs From Modernism to Post-Modernism Abstract Expressionism: the art work becomes an environment; the presence of the artist is central as the artist "lives" in the process of making the art work minimalism: the art work enters the real world even as it maintains its Pop art: real life enters the art work; the art work enters real life difference; the art work challenges space and the spectator and denies the a confusion of reality and illusion/fantasy presence of inner content ImagePage 1 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs A postmodern paradigm: Neo-Dada of the Sixties? art as a commitment to the unknowable or uncertainty inconstancy of form-->formlessness: The Pop Art confusion of boundaries of media, of real and unreal, Tendency of the original and the copy the disguised or fragmented human body Richard Hamilton: Just what is it E. Paolozzi: I Was a Rich Man's about today's homes that makes Plaything, 1947 them so appealing? (1956) Rosenquist: President Elect, 1960 (oil on fiberboard, 84 x 146") ImagePage 2 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes. Postmodern and Pop.prs Wesselmann: Still Life #20, 1962 (collage, assemblage, wood, bulb, sink, 46 x 48") Bathtub Collage #3, 1963 (84 x 106 x Still Life #31, 1963 (oil, collage, 20") working t.v., 48 x 60" Great American Nude #6, 1961 (48 x 48") Great American Nude #28, 1962 (48 x 66") Smoker #9, 1973 (83 x 89"; Robert Venturi and Denise Scott Brown: oil on canvas) Learning from Las Vegas, or is there such a thing as Pop Architecture? ImagePage 3 of 6 This image and the text corresponding to this image may only be used for noncommercial, educational, and scholarly purposes.
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The Barbizon School of Painters Were Part of an Art Movement Towards Realism in Art, Which Arose in the Context of the Dominant Romantic Movement of the Time
Barbizon School The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 until 1870. It takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of this school are its tonal qualities, colour, loose brushwork, and softness of form. In 1824 the Salon de Paris exhibited works of John Constable. His rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events. During the Revolutions of 1848 artists gathered at Barbizon to follow Constable's ideas, making nature the subject of their paintings. The French landscape became a major theme of the Barbizon painters. The leaders of the Barbizon school were Théodore Rousseau, Jean-François Millet, and Charles-François Daubigny. Rousseau, Thunderstorms mood in the level of Montmartre 1845-48 Rousseau, Avenue of Chestnut Treees Rousseau, Avenue of Chestnut Treees 1837 watercolour Théodore Rousseau (1812 – 1867) was born in Paris, France in a bourgeois family. Although at first his father regretted his decision to persue a carreer as an artist he became reconciled to his son forsaking business, and throughout the artist's career (for he survived his son) was a sympathizer with him in all his conflicts with the Paris Salon authorities.
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Wallsjasper Johns and Roy Lichtenstein
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Jean Francois Millet
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Van Gogh, Nature, and Spirituality
Rollins College Rollins Scholarship Online Art and Art History Honors in the Major Theses Spring 2021 Van Gogh, Nature, and Spirituality Emma Krall [email protected] Follow this and additional works at: https://scholarship.rollins.edu/honors-in-the-major-art Recommended Citation Krall, Emma, "Van Gogh, Nature, and Spirituality" (2021). Art and Art History. 2. https://scholarship.rollins.edu/honors-in-the-major-art/2 This Thesis is brought to you for free and open access by the Honors in the Major Theses at Rollins Scholarship Online. It has been accepted for inclusion in Art and Art History by an authorized administrator of Rollins Scholarship Online. For more information, please contact [email protected]. VAN GOGH, NATURE, AND SPIRITUALITY APRIL 1, 2021 EMMA KRALL Honors in the Major Thesis Advisor- Dr. Susan Libby 1 Table of Contents List of Figures ................................................................................................ 2 Introduction .................................................................................................... 3 Chapter 1- Religion and Family ..................................................................... 7 Chapter 2- The Beginnings of Life as An Artist .......................................... 13 Chapter 3- Turning Towards Nature ............................................................ 21 Chapter 4- Wheat Fields ............................................................................... 26 Chapter 5- Millet and The Sower .................................................................
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CLASS and SOCIETY
CLASS and SOCIETY: NINETEENTH-CENTURY FRENCH REALISM: FOCUS (Honoré Daumier and Gustave Courbet) CLASS and SOCIETY: NINETEENTH-CENTURY FRENCH REALISM: SELECTED TEXT (Honoré Daumier and Gustave Courbet) REALISM: GUSTAVE COURBET and HONORE DAUMIER Online Links: Gustave Courbet – Wikipedia Courbet's Burial at Ornans – Smarthistory The Stonebreakers – Smarthistory Why Gustave Courbet Still has the Power to Shock - The Independent Honore Daumier – Wikipedia Courbet's The Artist's Studio - Smarthistory Aestheticism versus Realism The concept of “art for art’s sake”, without any moral, social, political or any other didactic purpose, was at the center of much 19th century thought though as often attacked as commended. Its origin can be traced by to Immanuel Kant who, in his Critique of Judgment of 1790, broke with traditional aesthetics by analyzing the previously unified notions of the good, the tree and the beautiful as discrete categories. Appreciation of beauty is, he argued, subjective and disinterested – unaffected by an object’s purpose. Gustave Courbet. The Stone Breakers, 1849 , oil on canvas (destroyed) Realism 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. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, and not avoiding unpleasant or sordid aspects of life. Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes wrought by the Industrial Revolution.
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Artist Rooms Roy Lichtenstein in Focus Tate Liverpool
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The Shapes Arise: Realism
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Art of the Sixties and Seventies Minimalism
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ROY LICHTENSTEIN: Girls
G A G O S I A N G A L L E R Y April 23, 2008 PRESS RELEASE GAGOSIAN GALLERY 980 MADISON AVENUE T. 212.744.2313 NEW YORK NY 10021 F. 212.772.7962 GALLERY HOURS: Tue - Sat 10:00am - 6:00pm ROY LICHTENSTEIN: Girls Monday, May 12 – Saturday, June 28, 2008 “[The kind of girls I painted were] really made up of black lines and red dots. I see it that abstractly, that it's very hard to fall for one of these creatures, to me, because they're not really reality to me. However, that doesn't mean that I don't have a clichéd ideal, a fantasy ideal, of a woman that I would be interested in. But I think I have in mind what they should look like for other people.” Roy Lichtenstein Gagosian Gallery is pleased to present “Girls,” a seminal group of paintings by Roy Lichtenstein. In the summer of 1961 Lichtenstein embarked on a series of iconic images of women, taken directly from newspaper clippings and the romance comic books so prevalent in post-war America. The anonymity of the mass-produced, cheap comic book helped him to capture specific impressions of real things, while maintaining the necessary degree of aesthetic distance afforded by what he understood to be the “high restrictive quality of art.” He scrutinized his female subjects, editing and re-presenting the crux of their trials and tribulations in paint on canvas on a greatly enlarged scale. The “Girl” paintings, together with the war images (or “Boy” paintings) established him as a major protagonist of the American Pop Art movement.
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