Learning to Look MODERN
Total Page:16
File Type:pdf, Size:1020Kb

Load more
Recommended publications
-
The Total Work of Art in European Modernism Series Editor: Peter Uwe Hohendahl, Cornell University
The Total Work of Art in European Modernism Series editor: Peter Uwe Hohendahl, Cornell University Signale: Modern German Letters, Cultures, and Thought publishes new English- language books in literary studies, criticism, cultural studies, and intellectual history pertaining to the German-speaking world, as well as translations of im- portant German-language works. Signale construes “modern” in the broadest terms: the series covers topics ranging from the early modern period to the present. Signale books are published under a joint imprint of Cornell University Press and Cornell University Library in electronic and print formats. Please see http://signale.cornell.edu/. The Total Work of Art in European Modernism David Roberts A Signale Book Cornell University Press and Cornell University Library Ithaca, New York Cornell University Press and Cornell University Library gratefully acknowledge the support of The Andrew W. Mellon Foundation for the publication of this volume. Copyright © 2011 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writ- ing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. First published 2011 by Cornell University Press and Cornell University Library Printed in the United States of America Library of Congress Cataloging-in-Publication Data Roberts, David, 1937– The total work of art in European modernism / David Roberts. p. cm. — (Signale : modern German letters, cultures, and thought) Includes bibliographical references and index. ISBN 978-0-8014-5023-5 (pbk. : alk. paper) 1. Modernism (Aesthetics) 2. -
Perceptions on the Starry Night
Kay Sohini Kumar To the Stars and Beyond: Perceptions on The Starry Night “The earliest experience of art must have been that it was incantatory, magical; art was an instrument of ritual. The earliest theory of art, that of Greek philosophers, proposed that art was mimesis, imitation of reality...even in the modern times, when most artists and critics have discarded the theory of art as representation of an outer reality in favor of theory of art as subjective expression, the main feature of the mimetic theory persists” (Sontag 3-4) What is it like to see the painting, in the flesh, that you have been worshipping and emulating for years? I somehow always assumed that it was bigger. The gilded frame enclosing The Starry Night at the Museum of Modern Art occupies less than a quarter of the wall it is hung upon. I had also assumed that there would be a bench from across the painting, where I could sit and gaze at the painting intently till I lost track of time and space. What I did not figure was how the painting would only occupy a tiny portion of the wall, or that there would be this many people1, that some of those people would stare at me strangely (albeit for a fraction of a second, or maybe I imagined it) for standing in front of The Starry Night awkwardly, with a notepad, scribbling away, for so long that it became conspicuous. I also did not expect how different the actual painting would be from the reproductions of it that I was used to. -
What Is Art? Defining Art Through Visual Texts Exploring the Use of Fine Art Visual Images for Appreciation and Analysis P I C a S S O
What is Art? Defining Art through Visual Texts Exploring the use of fine art visual images for appreciation and analysis P I C A S S O : M A N / H A T , 1 9 3 8 / T h e G r a n g e r C o l l e c t i o n / U n i v e r s a l I m a g e s G r o u p . E n c y c l o p æ d i a B r i t a n n i c a , 2 5 M a y 2 0 1 6 . Defining Art through Visual Texts Why is Visual Literacy Important? Visual literacy is the way students make When examining visual texts with your meaning from still or moving visual students, there are a few texts. It involves the use of considerations: photographs, posters, artworks, film and other visual texts in learning. Visual text is the new language we use today to communicate and learn. Since Examine the Visual it was founded in October 2010, more than 50 billion photos have been Text as a Whole uploaded to Instagram alone*. By asking a range of questions you can determine the context for a Visual literacy not only improves visual text and examine it as a whole. creative and critical thinking skills, but What is the purpose of the visual text? also nurtures our ability to empathise Where does this visual text come from? E.g. Part of a sequence with others and understand technology. -
The Centenary of Independence Two Young Peasant Women
The Centenary of Independence by Henri Rousseau Painted in 1892, this depicts the celebration of the French independence of 1792. There are peasants dancing the farandole under a liberty tree. Serious and dignified republican leaders look on at the happy people of France. The bright colors and solid figures are allegorical of the radiant and strong state of France under its good government. Two Young Peasant Women by Camille Pissaro This was painted in 1891. The artist had a desire to “educate the people” by depicting scenes of people working on farms and in rural settings. He made an effort to be realist rather than idealistic. He wanted to depict people as they really were not in order to make allegorical statements or send political messages. Exotic Landscape by Henri Rousseau This was painted in 1908 and is part of a series of jungle scenes by this artist. He purposely painted in a naive or primitive style. Though the painting looks simplistic the lay- ers of paint are built up layer by meticulous layer to give the depth of color and vibrancy that the artist desired. He didn’t even begin painting until he was in his forties, but by the age of 49 he was able to quit his regular job and paint full time. He was self taught. When Will You Marry? by Paul Gauguin The artist moved to Tahiti from his native France, looking for a simpler life. He was disappointed to find Tahiti colonized and most of the traditional lifestyle gone. His most famous paintings are all of Tahitian scenes. -
Vincent Van Gogh the Starry Night
Richard Thomson Vincent van Gogh The Starry Night the museum of modern art, new york The Starry Night without doubt, vincent van gogh’s painting the starry night (fig. 1) is an iconic image of modern culture. One of the beacons of The Museum of Modern Art, every day it draws thousands of visitors who want to gaze at it, be instructed about it, or be photographed in front of it. The picture has a far-flung and flexible identity in our collective musée imaginaire, whether in material form decorating a tie or T-shirt, as a visual quotation in a book cover or caricature, or as a ubiquitously understood allusion to anguish in a sentimental popular song. Starry Night belongs in the front rank of the modern cultural vernacular. This is rather a surprising status to have been achieved by a painting that was executed with neither fanfare nor much explanation in Van Gogh’s own correspondence, that on reflection the artist found did not satisfy him, and that displeased his crucial supporter and primary critic, his brother Theo. Starry Night was painted in June 1889, at a period of great complexity in Vincent’s life. Living at the asylum of Saint-Rémy in the south of France, a Dutchman in Provence, he was cut off from his country, family, and fellow artists. His isolation was enhanced by his state of health, psychologically fragile and erratic. Yet for all these taxing disadvantages, Van Gogh was determined to fulfill himself as an artist, the road that he had taken in 1880. -
A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee
University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations December 2014 The ubiC st's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912 Geoffrey David Schwartz University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Schwartz, Geoffrey David, "The ubC ist's View of Montmartre: A Stylistic and Contextual Analysis of Juan Gris' Cityscape Imagery, 1911-1912" (2014). Theses and Dissertations. 584. https://dc.uwm.edu/etd/584 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. THE CUBIST’S VIEW OF MONTMARTRE: A STYISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912. by Geoffrey David Schwartz A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee December 2014 ABSTRACT THE CUBIST’S VIEW OF MONTMARTE: A STYLISTIC AND CONTEXTUAL ANALYSIS OF JUAN GRIS’ CITYSCAPE IMAGERY, 1911-1912 by Geoffrey David Schwartz The University of Wisconsin-Milwaukee, 2014 Under the Supervision of Professor Kenneth Bendiner This thesis examines the stylistic and contextual significance of five Cubist cityscape pictures by Juan Gris from 1911 to 1912. These drawn and painted cityscapes depict specific views near Gris’ Bateau-Lavoir residence in Place Ravignan. Place Ravignan was a small square located off of rue Ravignan that became a central gathering space for local artists and laborers living in neighboring tenements. -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest -
Sfoglia L'arte Alla Scoperta Dell'arte, in Tutte Le Sue Forme, Degli Artisti E Delle Loro Opere
SISTEMA BIBLIOTECARIO DI MONTE CLARO Mostra Bibliografica Sfoglia l'arte alla scoperta dell'arte, in tutte le sue forme, degli artisti e delle loro opere Centro Regionale di Documentazione Biblioteche per Ragazzi 20 storie a regola d'arte / a cura di Marco Dallari e Alessandra Francucci. - [Bologna] : 1 Art'è, [2000?]. - 87 p. : ill. ; 21x26 cm.(Art'è ragazzi) 3D : la scultura contemporanea: luoghi, spazi, materiali / a cura di Maura Pozzati. - 2 Bologna : Art'è, 2002. - 55 p. : ill. ; 22x27 cm.(Art'è ragazzi) A passeggio con Monet / Julie Merberg e Suzanne Bober. - San Dorligo della Valle : 3 EL, [2003!. - 1 v. : cartone, ill. ; 14x14 cm. ((Tit. della cop. A scuola col museo : guida alla didattica artistica / Renate Eco ; in collaborazione con 4 Renato Giovannoli. - Milano : Gruppo editoriale Fabbri-Bompiani-Sonzogno-ETAS, 1986. - X, 216 p. : ill. ; 19x19 cm.(Strumenti Bompiani) A scuola di arte / Mick Manning & Brita Granstrom. - Trieste : Editoriale scienza, 2000. 5 - 47 p. : ill. ; 28 cm. ((Traduzione di Laura Servidei. ABC d'arte : lettere nascoste nei quadri / Anne Guery, Olivier Dussutour. - Modena : 6 Franco Cosimo Panini, 2011. - [64] p. : in gran parte ill. ; 26x26 cm. ((Traduzione di Federica Previata.(Libri ad arte) Alberi : segni, parole, scienza e altro per un gioco ad arte / ideato e curato da Maria Flora Giubilei e Simonetta Maione ; collaborazione ai testi di Gianni Franzone ; racconto di Pia Pera ; illustrazioni di Michele Ferri ; esperto di alberi Libereso Guglielmi ; quaderno-laboratorio di Paola Ciarcià, Libereso Guglielmi e Simonetta Maione ; DVD 7 voce narrante di Pia Pera ; a cura di Enrico Pierini. - Bazzano : Artebambini, 2010. -
Open Posey Kyle 105Decisiveworks.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMPARATIVE LITERATURE 105 DECISIVE WORKS OF OCCIDENTAL ART BY MICHEL BUTOR (TRANSLATION OF FINAL 50 PAGES) KYLE ANTHONY POSEY SPRING 2019 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Comparative Literature and Art History with honors in Comparative Literature Reviewed and approved* by the following: Dr. Eric Hayot Distinguished Professor of Comparative Literature and Asian Studies Honors Advisor/Thesis Supervisor Dr. Christopher Reed Distinguished Professor of English, Visual Culture, and Women’s, Gender, and Sexuality Studies Faculty Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT This honors thesis is a translation from French to English of the writer Michel Butor’s art historical survey titled 105 Oeuvres Décisives de la Peinture Occidentale. I have translated the final fifty pages, which roughly covers modern art, beginning with Post-Impressionism. The introduction covers the background to the book, problems of translation, and a note about word- image relationships and what this thesis represents to me. ii TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................... iii ACKNOWLEDGEMENTS ......................................................................................... v Introduction .................................................................................................................. 1 Chapter -
Vincent Van Gogh
Vincent Van Gogh (1853 – 1890) 19th century Netherlands and France Post-Impressionist Painter Vincent Van Gogh (Vin-CENT Van-GOKT??? [see page 2]) Post-Impressionist Painter Post-Impressionism Period/Style of Art B: 30 March 1853, Zundert, Netherlands D 29 July, 1890. Auvers-sur-Oise, France Van Gogh was the oldest surviving son born into a family of preacher and art dealers. When Vincent was young, he went to school, but, unhappy with the quality of education he received, his parents hired a governess for all six of their children. Scotswoman Anna Birnie was the daughter of an artist and was likely Van Gogh’s first formal art tutor. Some of our earliest sketches of Van Gogh’s come from this time. After school, Vincent wanted to be a preacher, like his father and grandfather. He studied for seminary with an uncle, Reverend Stricker, but failed the entrance exam. Later, he also proposed marriage to Uncle Stricker’s daughter…she refused (“No, nay, never!”) Next, as a missionary, Van Gogh was sent to a mining community, where he was appalled at the desperate condition these families lived in. He gave away most of the things he owned (including food and most of his clothes) to help them. His bosses said he was “over-zealous” for doing this, and ultimately fired him because he was not eloquent enough when he preached! Then, he tried being an art dealer under another uncle, Uncle Vincent (known as “Cent” in the family.) Vincent worked in Uncle Cent’s dealership for four years, until he seemed to lose interest, and left. -
Whatismodernart.Pdf
Many artists explored dreams, symbolism, and personal iconography as ways to depict their experiences. • Cézanne captures a sense of emotional ambiguity or uncertainty in The Bather that could be considered typical of the modern experience. 3a. Look at the figure. What do you notice about his stance and gaze? 3b. Do you think Cézanne painted from real life or from a photograph? (another modern technique) Paul Cézanne. The Bather. c. 1885. Modern artists also experimented with the expressive use of color, non-traditional materials, and new techniques and mediums. 4a. What do you notice about the figures and the setting? Do the fractured planes make the setting difficult to identify? 4b.What else do you think is ‘modern’ about this picture? 4c.What do you see in this work. 4d.Describe the figures’ body lfilidlanguage, facial expressions, and relationships to each other. Pablo Picasso . Les Demoiselles d'Avignon . Paris, June-July 1907 Modern artists also expressed the symbolic, by depicting scenes and places that evoked an inner mood rather than a realistic landscape. Van Gogh’s landscape might be considered Symbolist because its imagery is evoking an inner mood rather than a realistic landscape. (Symbolism rejects traditional iconography and replaces it with subjects that express ideas beyond the literal objects depicted.) 5a. What might the shimmering stdiliihttars, moon, and swirling night air symbolize to Van Gogh? 5b. What mood or feelinggy do you think van Gogh was trying to convey? Vincent van Gogh. The Starry Night. June 1889 The invention of photography in the 1830’s introduced a new method for depicting and reinterpreting the world. -
Painting and Sculpture at the Museum of Modern Art
Painting and Sculpture at The Museum of Modern Art Ann Temkin The Museum of Modern Art, New York Produced by the Department of Publications The Museum of Modern Art, New York Christopher Hudson, Publisher Chul R. Kim, Associate Publisher David Frankel, Editorial Director Marc Sapir, Production Director Edited by Sarah Resnick Designed by Miko McGinty Production by Marc Sapir Printed and bound by OGI/1010 Printing Group Ltd., China This book is typeset in Fakt. The paper is 157gsm Kinmari Matt. contents © 2015 The Museum of Modern Art, New York Certain illustrations are covered by claim to copyright cited on page 247 of this volume. Foreword 7 Glenn D. Lowry All rights reserved. Library of Congress Control Number: 2015930565 Introduction 9 ISBN: 978-0-87070-967-8 Ann Temkin Published by The Museum of Modern Art 11 West 53 Street Plates 20 New York, New York 10019 www.moma.org Index of Plates 245 Distributed in the United States and Canada by ARTBOOK | D.A.P. 155 Sixth Avenue New York, New York 10013 www.artbook.com Distributed outside the United States and Canada by Thames & Hudson Ltd. 181A High Holborn London, WC1V 7QX www.thamesandhudson.com Front cover: Vincent van Gogh. The Starry Night. 1889. See p. 23. Back cover: Yayoi Kusama. Accumulation No. 1. 1962. See p. 139. Title page: Isa Genzken (German, born 1948). Rose II. 2007. Stainless steel, aluminum, and lacquer, 36' x 9' 6'' x 42" (1,097.3 x 289.6 x 106.7 cm). Gift of Alfred H. Barr, Jr., and gift of the Advisory Committee (both by exchange), 2014 Printed in China Foreword It is with great pleasure that we present this new volume surveying the paintings and sculptures housed in The Museum of Modern Art.