1St Edition Kindergarten - 5Th Grade
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Rise of Modernism
AP History of Art Unit Ten: RISE OF MODERNISM Prepared by: D. Darracott Plano West Senior High School 1 Unit TEN: Rise of Modernism STUDENT NOTES IMPRESSIONISM Edouard Manet. Luncheon on the Grass, 1863, oil on canvas Edouard Manet shocking display of Realism rejection of academic principles development of the avant garde at the Salon des Refuses inclusion of a still life a “vulgar” nude for the bourgeois public Edouard Manet. Olympia, 1863, oil on canvas Victorine Meurent Manet’s ties to tradition attributes of a prostitute Emile Zola a servant with flowers strong, emphatic outlines Manet’s use of black Edouard Manet. Bar at the Folies Bergere, 1882, oil on canvas a barmaid named Suzon Gaston Latouche Folies Bergere love of illusion and reflections champagne and beer Gustave Caillebotte. A Rainy Day, 1877, oil on canvas Gustave Caillebotte great avenues of a modern Paris 2 Unit TEN: Rise of Modernism STUDENT NOTES informal and asymmetrical composition with cropped figures Edgar Degas. The Bellelli Family, 1858-60, oil on canvas Edgar Degas admiration for Ingres cold, austere atmosphere beheaded dog vertical line as a physical and psychological division Edgar Degas. Rehearsal in the Foyer of the Opera, 1872, oil on canvas Degas’ fascination with the ballet use of empty (negative) space informal poses along diagonal lines influence of Japanese woodblock prints strong verticals of the architecture and the dancing master chair in the foreground Edgar Degas. The Morning Bath, c. 1883, pastel on paper advantages of pastels voyeurism Mary Cassatt. The Bath, c. 1892, oil on canvas Mary Cassatt mother and child in flattened space genre scene lacking sentimentality 3 Unit TEN: Rise of Modernism STUDENT NOTES Claude Monet. -
I Dream of Painting, and Then I Paint My Dream: Post-Impressionism
ART HISTORY Journey Through a Thousand Years “I Dream of Painting, and Then I Paint My Dream” Week Thirteen: Post-Impressionism Introduction to Neo-Impressionisn – Vincent Van Goh – The Starry Night – A Letter from Vincent to Theo – Paul Gaugin - Gauguin and Laval in Martinique - Paul Cézanne, Turning Road at Montgeroult - Paul Cézanne, The Basket of Apples - Edvard Munch, The Scream – How to Identify Symbolist Art - Arnold Bocklin: Self Portrait With Death - Fernand Khnopff, I Lock my Door Upon Myself Der Blaue Reiter, Artist: Wassily Kandinsky Dr. Charles Cramer and Dr. Kim Grant: "Introduction to Neo-Impressionism” smARThistory (2020) Just a dozen years after the debut of Impressionism, the art critic Félix Fénéon christened Georges Seurat as the leader of a new group of “Neo-Impressionists.” He did not mean to suggest the revival of a defunct style — Impressionism was still going strong in the mid- 1880s — but rather a significant modification of Impressionist techniques that demanded a new label. Fénéon identified greater scientific rigor as the key difference between Neo-Impressionism and its predecessor. Where the Impressionists were “arbitrary” in their techniques, the Neo- Impressionists had developed a “conscious and scientific” method through a careful study of contemporary color theorists such as Michel Chevreul and Ogden Rood. [1] A scientific method Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876, oil on canvas, 131 x 175 cm (Musée d’Orsay) This greater scientific rigor is immediately visible if we compare Seurat’s Neo- Impressionist Grande Jatte with Renoir’s Impressionist Moulin de la Galette. The subject matter is similar: an outdoor scene of people at leisure, lounging in a park by a river or dancing and drinking on a café terrace. -
Impressionist Still Life 2001
Impressionist Still Life 2001- 2002 Finding Aid The Phillips Collection Library and Archives 1600 21st Street NW Washington D.C. 20009 www.phillipscollection.org CURATORIAL RECORDS IN THE PHILLIPS COLLECTION ARCHIVES INTRODUCTORY INFORMATION Collection Title: Impressionist Still Life; exhibition records Author/Creator: The Phillips Collection Curatorial Department. Eliza E. Rathbone, Chief Curator Size: 8 linear feet; 19 document boxes Bulk Dates: 1950-2001 Inclusive Dates: 1888-2002 (portions are photocopies) Repository: The Phillips Collection Archives INFORMATION FOR USERS OF THE COLLECTION Restrictions: The collection contains restricted materials. Please contact Karen Schneider, Librarian, with any questions regarding access. Handling Requirements: Preferred Citation: The Phillips Collection Archives, Washington, D.C. Publication and Reproduction Rights: See Karen Schneider, Librarian, for further information and to obtain required forms. ABSTRACT Impressionist Still Life (2001 - 2002) exhibition records contain materials created and collected by the Curatorial Department, The Phillips Collection, during the course of organizing the exhibition. Included are research, catalogue, and exhibition planning files. HISTORICAL NOTE In May 1992, the Trustees of The Phillips Collection named noted curator and art historian Charles S. Moffett to the directorship of the museum. Moffett, a specialist in the field of painting of late-nineteenth-century France, was directly involved with the presentation of a series of exhibitions during his tenure as director (1992-98). Impressionist Still Life (2001-2002) became the third in an extraordinary series of Impressionist exhibitions organized by Moffett at The Phillips Collection, originating with Impressionists on the Seine: A Celebration of Renoir‟s Luncheon of the Boating Party in 1996, followed by the nationally touring Impressionists in Winter: Effets de Neige, on view at the Phillips in 1998. -
Thematic Tours
THEMATIC TOURS Food In addition to being an essential source of nourishment, food is also an ORIGINAL IDEA BY Blanca Ugarte object used in cult worship, a sign of wealth, a social ritual and a source ADAPTED BY Teresa de la Vega of shared pleasure that involves all the senses and feeds the spirit. Given that, as the well known saying has it, “we eat more with our eyes than with our mouths”, the art of cookery, which involves creativity and colour in a way comparable to painting, has enormous visual appeal. As in an alchemist’s laboratory and surrounded by flasks, jars, paintbrushes and spatulas, both the cook and the artist transform their primary materials — saffron, berries, walnut and linseed oil, casein, fish tail, vinegar and egg white — into a creation that marks the transition from nature to culture through the opposition of the raw and the cooked. Through this gastronomic survey the Thyssen-Bornemisza Collection aims to satisfy visitors’ appetites, tempting your palate and feasting your eye. [CENTRAL HALL] our gastronomic survey begins picnics, take part in a range of festivities with a view of the junction between the and celebrations and exchange news. JAN VAN KESSEL III (attributed to) Carrera de San Jerónimo and the Paseo Fountains and water sellers were com- Amberes, 1654–Madrid, 1708 del Prado, which is the location of the mon sights on Madrid’s streets before View of the Carrera de Museo Nacional Thyssen-Bornemisza houses had individual water supplies. San Jerónimo and the Paseo del today. The view of this part of Madrid According to a Treatise on Water of 1637 Prado with a line of Carriages, reflects the way it looked during the “one of the great virtues of the Spanish is 1686 reign of Charles II. -
Brooks I Apostle of Post-Impressionism: Virginia Woolf
Brooks i Apostle of Post-Impressionism: Virginia Woolf and the British Embrace of the French Avant-Garde By Reanna Brooks Honors Thesis Department of English and Comparative Literature University of North Carolina-Chapel Hill 2020 Approved: Dr. David Ross Brooks ii Table of Contents: INTRODUCTION: THE BEGINNINGS OF BRITISH POST-IMPRESSIONISM ................................... 1 CHAPTER 1: CÉZANNE AND WOOLF. ...................................................................................... 17 CHAPTER 2: MATISSE AND WOOLF ........................................................................................ 41 CONCLUSION: BLOOMSBURY INFLUENCE .............................................................................. 73 BIBLIOGRAPHY ...................................................................................................................... 77 Brooks 1 Introduction: The Beginnings of British Post-Impressionism “The mind of an artist, in order to achieve the prodigious effort of freeing whole and entire the work that is in him, must be incandescent... there must be no obstacle in it, no foreign matter unconsumed” –Virginia Woolf London, 1910. A classically bleak British scene. Georgian architecture suspended under dark gray skies. Frosted windows traced with droplets of rain. The narrow cobbled streets are empty except for occasional stragglers making their way swiftly against the bitter winter wind. At first glance, it appears to be an ordinary day in Mayfair. Careful examination reveals something unusual. Discarded pamphlets -
Paul Cezanne the Mind; Each of Them Should Aid the Other.”
metries of the objects intersect or overlap; the same object belongs then to different groups. The resulting The Metropolitan rivalry of axes gives a secret life to the otherwise static whole. Museum of Art The color is beautifully mellow and rich within its narrow range. In the long passage from light to shade, different in every object, each color unfolds its scale of values in visible steps. How solid the forms emerging in atmosphere, deep shadow, and light through subtle shifts of color from transparent tones to luminous pig- ment of a wonderful density and force! Indifferent to the textures of objects, Cezanne recre- ates the more palpable texture of paint the degrees of materiality: the opaque, the transparent, the atmo- spheric, and the surface existence of the pictorial itself in the ornament on the papered wall - the shadow of a shadow, an echo of his own art. “There are two things in the painter, the eye and Paul Cezanne the mind; each of them should aid the other.” The House with the Cracked Walls Rideau, Cruchon et Compotier, 1893 marks the ma- turity of great still lifes of Cezanne’s middle and late periods. Beside the others, it seems a return to tradi- tion in its studied outlines and great depth of shadow. It seems also one of the most obviously formal in the so- ber pairing and centering of objects, from the fruits on the cloth to the foliate pattern on the wall. But through the color, which has its own pairing of spots, the sym- Bathers (1894–1905), Paul Cezanne The Metropolitan Museum of Art “We live in a rainbow of chaos” Your The Card Players The Basket of Apples Mont Sainte-Victoire This painting is a series of oil This painting is a still life oil painting This painting is of the landscape from Cezanne’s home in Aix-en- paintings by the French artist Paul by French artist Paul Cézanne. -
IN LIVING COLOR and Picasso-Like Perspectives Now Valued in the Millions of Dollars
ARTIST PROFILE Interior with Blue Terrace and Garden, 2017, acrylic on canvas, 48 x 96 inches, one of the artist’s dazzling renderings of his home in the Hollywood Hills. Octogenarian DAVID HOCKNEY splashed onto the 1960s art scene as a flashy student and launched a six-decade-long career known for kaleidoscopic swimming pool scenes IN LIVING COLOR and Picasso-like perspectives now valued in the millions of dollars. by Jason Edward Kaufman © David Hockney Schmidt Richard Photo Credit: 222 Spring 2018 Spring 2018 223 t the November opening of his 60-year retrospective at The Metropolitan Museum of Art in New York, British-born artist David Hockney sported a navy blazer over a light Agreen cardigan, accented by a red tie, checked pocket square, and matching cap. He looked every bit the English gentleman, belying the fact that for most of the last half-century he has lived and worked in Los Angeles. When the retrospective showed at the Tate Britain last year, the exhibition attracted 478,000 visitors, making it the most popular show of a living artist in the museum’s history, surpassing Damien Hirst (2012) and approaching Henri Matisse: The Cut- Outs (2014), which drew more than half a million. His colorful paintings have sold for seven-figure sums—including in 2016 when his landscape Woldgate Woods went for a record-breaking $11.7 million at auction. At 80, Hockney remains energetic, acutely alert, and boundlessly productive. Though grayed and hearing-impaired since his 40s (he wears aids in both ears), he still smokes— indeed, he is an ardent pro-smoking advocate—and his sense of style is fully intact. -
The Helen Birch Bartlett Memorial Collection Source: Art Institute of Chicago Museum Studies, Vol
The Art Institute of Chicago The Helen Birch Bartlett Memorial Collection Source: Art Institute of Chicago Museum Studies, Vol. 12, No. 2, The Helen Birch Bartlett Memorial Collection (1986), pp. 222-234 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4115943 Accessed: 22-05-2017 15:48 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 Mon, 22 May 2017 15:48:04 UTC All use subject to http://about.jstor.org/terms The Helen Birch Bartlett Memorial Collection PAUL CEZANNE (French, 1839-1906) No. 1 The Basket of Apples, c. 1895. Oil on canvas; 65 x 80 cm (1926.252). ANDRE DERAIN (French, 1880-1954) No. 2 The Fountain, 1920/25. Oil on panel; 27.3 x 34.6 cm (1926.350). No. 3 Grapes, 1920/25. Oil on canvas; 24.8 x 44.1 cm (1926.191). No. 4 Landscape, 1920/25. Oil on panel; 59.5 x 72.9 cm (1926.190). ANDRE DUNOYER DE SEGONZAC (French, 1884-1974) No. -
Catalog Essay
On Not Cutting Corners Lawrence Weschler fig. 1 For starters, he’s emphatically not cutting corners, as the wags would have it. Or Red Pots in the Garden, 2000 oil on canvas, 60 x 76" so David Hockney likes to insist these days, adamantly. If anything, he says, he’s multiplying them, and opening fresh vantages in the process. Garden with Blue Terrace, 2015 acrylic on canvas, 48 x 72" A good place to have gotten a sense of what he’s been getting at, recently, was Garden #3, 2016 acrylic on canvas, 36 x 48" in the last room of the last iteration of his 2016–18 world-traveling retrospective (the one that started at the Tate in London, moved on to the Centre Pompidou in Paris, and concluded this past winter at the Metropolitan Museum of Art in New York, closing just a month before the opening of this current show of new work, sixty blocks south, here at Pace). That room at the Met consisted largely of a series of variations on the blue deck overlooking the garden and pool at the back of his Hollywood Hills home, one of his favorite subjects over the past several decades. (Indeed, not long after he moved into the home in 1979, he first painted it, from memory, while back in London on a visit; disap- pointed, upon his return to Los Angeles, at the way that the vibrant colors of his London recollection didn’t quite match the house, he took to repainting the house itself, its interiors and decks and brick walls and pool, in much more vivid hues, the very colors that came to infuse his subsequent domestic studies.) But the way the relatively recent blue-deck paintings were laid out in that last room at the Met retrospective, you could see that he seemed to be wrestling with a problem: how to convey the capacious spaciousness of the vantage in question (or, perhaps phrased a bit more technically, how to wrestle free of the confining strictures of tapering, camera-like, one-point perspective) [fig. -
Art Through the Ages the Western Perspective, Thirteenth Edition
8-D189D Gardner’s Art through the Ages The Western Perspective, Thirteenth Edition Book D: Modern Europe and America Fred S. Kleiner Supplemental Image Set Chapter 21 Europe and America, 1700 to 1800 Rococo: Architecture 1. Johann Michael Fischer (1692-1766 Germany) Interior of Abbey Church, Zweifalten, 1738-1742 Photo © Davis Art Images 6147 Rococo: Architecture 2. Dominikus Zimmermann (1685-1766 Germany) Interior of Die Wies Pilgrimage Church, near Steingaden, 1746-1754 Photo © Davis Art Images 6115 Rococo: Architecture 3. Josef Effner (1687-1745 Germany) Pagodenburg, Nymphenburg, Munich, 1716 Photo © Davis Art Images 6101 Rococo: Architecture 4./21-4 Balthasar Neumann (1687-1753 Germany) Interior of Vierzehnheiligen, vicinity of Bamberg, 1743-1772 Photo © Davis Art Images 6134 Painting and Sculpture 5. Jean-Antoine Watteau (1684-1721 France) View Through the Trees in the Park of Pierre Crozat, c1715, oil on canvas, 46.7 x 55.3 cm © Museum of Fine Arts, Boston MFAB-74 Painting and Sculpture 6. François Boucher (1703-1770 France) Venus Consoling Love, 1751, oil on canvas, 107 x 84.8 cm © National Gallery of Art, Washington NGA-P0051 Painting and Sculpture 7. Giovanni Battista Tiepolo (1696-1770 Italy) Young Lady in a Tricorn Hat, c1755/1760, oil on canvas, 62.2 x 49.3 cm © National Gallery of Art, Washington NGA-P0754 Painting and Sculpture 8. Franz Ignaz Günther (1725-1775 Germany) Male Figure, c1760, linden wood, 95.2 x 65.4 x 31.8 cm © Cleveland Museum of Art CL-304 8-D189D Kleiner The Enlightenment: Philosophy and Science 9. William Pether (1731-1795 England) after Joseph Wright, of Derby (1734- 1797 England) Academy Students Drawing After an Antique Sculpture, 1772, mezzotint, 58 x 46 cm © Philadelphia Museum of Art PMA-2025 The Enlightenment: Philosophy and Science 10./21-11 Thomas Pritchard (1723-1777 England) and Abraham Darby III (1750-1789 England) Severn River Bridge, Coalbrookdale, 1776-1779 The Englightenment: “Natural” Art 11. -
ONLINE LEARNING INTERMEDIATE SCOPE and SEQUENCES: 1St Edition 6Th - 8Th Grades
ONLINE LEARNING INTERMEDIATE SCOPE AND SEQUENCES: 1st Edition 6th - 8th Grades What is FLEX Curriculum? FLEX Curriculum is designed as a rigorous, relevant, and flexible set of curriculum resources art teachers can curate for their classrooms. Teachers can utilize scope and sequences, units, and learning experiences based on their unique needs and environments. Copyright © The Art of Education University, LLC theartofeducation.edu HOW TO UNDERSTAND THESE SCOPE AND SEQUENCES TABLE OF CONTENTS The following FLEX Curriculum to create, connect, present, and K-12 scope and sequences were respond through process and 6th Grade ...................... Page 3 designed for art educators to use projects. Concepts and skills in the as inspiration and as a guide to lesson plans spiral and build upon 7th Grade ...................... Page 4 drive teaching specifically in an one another increasing complexity 8th Grade ...................... Page 5 online environment. The FLEX and depth. Curriculum contents selected at each level are based on three Grade level units are organized grade level priority National Core by an element, principle or Arts Standards (at the top of each media (first column on the left). page) represented in the content While the following scope and driving ‘Essential Questions’ sequences are written to be (second column from left). Each linear with spiraling concepts, lesson was selected also for the modifications may need to use of minimal materials. be made to meet district or student goals and needs. If all The National Core Arts Standards units are taught in sequential are the foundation of each order, students will be exposed grade level scope and sequence. to a variety of skills, standards, Priority standards selected ensure concepts, media and learning students will have opportunities experiences. -
David Hockney: a Bigger Splash in California Steven Miller 28/29 June, 2017
Art Appreciation Lecture Series 2017 Site Specific: The power of place David Hockney: a bigger splash in California Steven Miller 28/29 June, 2017 Lecture summary: We shall not cease from our exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time These verses from the last of T. S. Eliot’s Four Quartets could be used to describe David Hockney’s journey as a painter of the landscape. Born in the north of England, he moved to California in his mid-twenties and made it his base for the next 50 years. The images he painted there, particularly in the 1960s and 1970s, are regarded as some of his most successful and distinctive works, ‘the extraordinary achievement’, as one critic wrote, of the ‘provincial Englishman who has created a widely accepted image of Los Angeles and has made southern Californians look with new eyes at their own environment.’ However, in recent years Hockney has become one of the most lyrical painters of his native Yorkshire landscape; a part of the world that he could not escape from quickly enough as a young artist. This lecture will focus on Hockney’s ‘splash and pool years’, where he captured the bright, modern and affluent world of Los Angeles, and explore how the works he created at this time have laid the ground for this return to his roots and the remarkable works that are making him the greatest painter of the Yorkshire landscape since Turner. Slide list: 1.