February Break Assignment Assignment: Please read through the following pages of my notes about the AP College Board 250 piece numbers 119-152 (this covers through the end of Content Area 4, Later Europe and Americas). While you read through the notes, your assignment is to write down a piece of art that can be considered the context for each piece (you may want to write down a small explanation of a word or two explaining why the compare/contrast). Note: YOU WILL NOT BE REQURIED TO RE-WRITE ALL OF THESE NOTES (although it is recommended). You will hand in the following two pages with written out contexts on February 27th. Enjoy your extra long February Break! Due Date: 02.27.17 List of Works: 119. The Burghers of Calais, Auguste Rodin _______________________________________________________________________________________________________________ 120. The Starry Night, Vincent van Gogh _______________________________________________________________________________________________________________ 121. The Coiffure, Mary Cassatt _______________________________________________________________________________________________________________ 122. The Scream, Edvard Munch _______________________________________________________________________________________________________________ 123. Where do we come from? What are we? Where are we going?, Paul Gauguin _______________________________________________________________________________________________________________ 124. Carson, Pirie, Scott and Company Building, Louis Sullivan _______________________________________________________________________________________________________________ 125. Mont Sainte-Victoire, Paul Cézanne _______________________________________________________________________________________________________________ 126. Les Demoiselles d'Avignon, Pablo Picasso _______________________________________________________________________________________________________________ 127. The Steerage, Alfred Stieglitz _______________________________________________________________________________________________________________ 128. The Kiss, Gustav Klimt _______________________________________________________________________________________________________________ 129. The Kiss, Constantin Brancusi _______________________________________________________________________________________________________________ 130. The Portuguese, Georges Braque _______________________________________________________________________________________________________________ 131. The Goldfish, Henri Matisse _______________________________________________________________________________________________________________ 132. Improvisation 28 (second version), Vasily Kandinsky _______________________________________________________________________________________________________________ 133. Self-Portrait as a Soldier, Ernst Ludwig Kirchner _______________________________________________________________________________________________________________ 134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz _______________________________________________________________________________________________________________ 135. Villa Savoye, Le Corbusier _______________________________________________________________________________________________________________ 136. Composition with Red, Blue and Yellow, Piet Mondrian _______________________________________________________________________________________________________________ 137. Illustration from The Results of the First Five-Year Plan, Varvara Stepanova _______________________________________________________________________________________________________________ 138. Object (Le Déjeuner en fourrure), Meret Oppenheim _______________________________________________________________________________________________________________ 139. Fallingwater, Frank Lloyd Wright _______________________________________________________________________________________________________________ 140. The Two Fridas, Frida Kahlo _______________________________________________________________________________________________________________ 141. The Migration of the Negro, Panel no. 49, Jacob Lawrence _______________________________________________________________________________________________________________ 142. The Jungle, Wilfredo Lam _______________________________________________________________________________________________________________ 143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera _______________________________________________________________________________________________________________ 144. Fountain, Marcel Duchamp _______________________________________________________________________________________________________________ 145. Woman I, Willem de Kooning _______________________________________________________________________________________________________________ 146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson _______________________________________________________________________________________________________________ 147. Marilyn Diptych, Andy Warhol _______________________________________________________________________________________________________________ 148. Narcissus garden, Yayoi Kusama _______________________________________________________________________________________________________________ 149. The Bay, Helen Frankenthaler _______________________________________________________________________________________________________________ 150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg _______________________________________________________________________________________________________________ 151. Spiral Jetty, Robert Smithson _______________________________________________________________________________________________________________ 152. House in New Castle County, Robert Ventura, John Rausch and Denise Scott Brown _______________________________________________________________________________________________________________ 1800-1850 Romanticism 1850-Present Realism 1870-1970 Modern Art 1886-1940 Symbolism 1880s-1890s Naturalism 1869-1890 Impressionism 1884 Neo-Impressionism (Pointilism) 1885-1900 Post-Imporessionism 1890-1910 Art Nouveau 1900-1930 Classical Revival in Modern Art 1900-Present Expressionism Art History 1920s Primitivism/Primitive Art 1908-1914 Cubism 1909-1915 Futurism 1916-1930 Dada 1917-1921 Constructivism 1917-1931 De Stijl 1920s-1903s Social Realism 1920s Surrealism 1870 to 1980 19402-1950s Abstract Expressionism 1870 to 1980 1960s Pop Art 1970-Present Post-Moderism Movements: 1870 to 1930 Constuctivism Fauvism Futurism De Social Realism Stijl Suprematism 1870 1880 1890 1920 1930 1900 1910 Impressionism Symbolism Art Nouveau Cubism Dada Surrealism Post-Impressionism Expressionism `Bauhaus Movements: 1940 to 1980 Conceptual Art Photorealism Kinetic and Earth Art Color Field Painting Op Art 1940 1960 1970 1980 1950 Post- Abstract Expressionism Neo-Dada Pop Art Minimalism Post-Modernism Minimalism Neo-Expresionism Performance Art Feminist Art depict the incidental, momentary ImpressionismImpressionism and passing aspects of reality 1 The Saint-Lazare Station Claude Monet, 1877, oil on canvas, 2.5’x3.5’ - a very contemporary and urban scene - part of 12 other inked paintings (although the fact of being a series is debated), 6-8 of which was a part of the 3rd Impressionist Exhibition - convveys the energy and vitality of Paris’ modern transportation system - themes: play of light filtered through smoke, billowing steam & locomotives - paint application reflects the energy of urban life at the time - captures all of the senses of the audience, smell, sight, sound & emotion The Burghers of Calais Auguste Rodin, 1884-1895, bronze, 6.6’x6.7’x6.4’ - commissioned by the French city of Calais to commemorate the heroism of Eustache de Saint-Pierre - Rodin followed the story as written down by Jean Froissart, a 14th c. French chronicler - the story goes... during the 100 Year’s War, King Edward III of England made a deal with Calais that if they wanted to save themselves and their city, they were to give up the keys to the city and six prominent members of the city council - then men are, Eustache (the leader), Jean de-Aires (carrying the giant set of keys), Andrieu de’Andres, Jean de Fiennes, and Pierre and Jacques de Wissant - the artist decided to represent the moment as they were about to leave the city to surrender their lives (which were all spared, little did they know!) - the patrosn were unhappy with the final result... they only wanted Eustache and in a glorified, triumphant pose - Rodin’s detail in the clothing of the men and it’s weighty-ness and connection to the ground reflects their struggle with wanted to live but also wanting to save their city - Rodin also created the men about lifesize and on a level that which the viewers could connect with the piece emotionally - patron unhappy and placed on a pedestal so the sculpture could be viewed heroically - artist took many risks!!! The Coiffure Mary Cassat, 1890-1891, drypoint and aquatint on paper, 1.4’x1’ - inspired by the École des Beaux-Arts’s (School of Fine Arts in Paris) showcas of an exhibition of Japanese woodblock prints - this piece was oen of hundreds that she made - the phrase “la coiffure” evokes the image of a wealthy woman going through the rituals of grooming, dressing, and preparing one’s hair - a bit of a voyeuristic approached that can be compared to La Grand Odalisque - desired