ARTH Study Guide ARTH 102 PDF

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Renaissance to Contemporary: Introduction to Western Art, 1400 to the Present Final Exam Study Guide : ARTH 102 ...

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Final Exam Study Guide: ARTH 102

Shimizu The Kano studio had a familial structure but was flexible. The artists carried down motifs and styles through the lineage, and was often called a        

The Kano studio had a familial structure Workshop was located in an area inhabited by artists Most money went to the head of the studio Oda Nobunaga  Azuchi Castle Framework was traditional but still a little flexible Used motifs from others in the lineage Styles could differ Eitoku did not emphasize the background nearly as much as other artists o This brought him attention as an independent artist

Elliot   

Qianlong held the longest reign  very large influence Requested artworks to represent his military victories Created engravings to spread the images

Hiromitsu  

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Several Jesuit artists worked in the Qing court Castiglione o At court  caused a shift in influence o Qianlong’s official portrait painter Kangxi’s interest in western science brought in missionaries Suzhou prints o Colorful, large

Brand   

Taj Mahal is a significant pop culture icon Used a Persian/Afghani/local aesthetic to show power that related to the locals Proper burial was a status/power symbol

Akbarnama

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Known to record historical events Shows the relationship between politics and art in India

Coaldrake  

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Age of castles 1576-1639 Great national unifiers o Oda Nobunaga o Toyotomi Hideyoshi o Tokugawa Ieyasu Castles represented military and political power Served as the seat of the government Used “commanding height” o The higher you go vertically, the more important the person must be Artwork in the castle o Gold = power o Supernatural beasts = realm of mystical associations o Interior supervised by Kano Eitoku

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Tsutaya Juzaburo More than a publisher  influencer Publishers did a wide range of jobs and managed many pieces Innovated guide books The government eventually started to create laws to control publishing

Screech  

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Perspective was introduced by Jesuit schools “Floating pictures” = ukiyo-e o East = innovation o West = discovery Early ukiyo-e were associated with the world of townspeople’s relaxation Prints advertised plays, prostitutes, famous places

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Artists wish to imitate ancestors/ancient people Charging admissions for painting viewing is not a new idea or practice Exhibitions support the artist

Grigsby   

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Primitive narrative o About paranoia and being eaten About a relatively recent event rather than a history There were a lot of problems with the boat o Run by a bunch of elites who did not know how to sail o Going to set up a colony in Africa o Left behind the people who were not important to build a raft Pyramidal structure Use of symbolism and violence

Duranty     

The artists depiction of contemporary subject matter in a suitably innovative style as a revolution in painting The exhibiting collective avoided choosing a title that would imply a unified movement or school Their work is mark by modernity, its rejection of established styles, the incorporation of new technology and ideas, the depiction of modern life Paintings from Ecole des Beaux Arts were traditional, unoriginal, and unrealistic Impressionism is “the only art that…imitates, depicts, and sums up life.”

Mallarme 

Establishes Manet as the head of the Impressionist movement, even though he doesn’t participate in independent exhibitions

Castagnary   

Exhibitions independent of the Salon were not unusual by 1874 Critics did not want to accept new styles Impressionist = render not a landscape but the sensation produced by a landscape o Does not constitute a real revolution  Form are unchanged and feel superficial

Leroy  

Painted landscapes; a known critic to Manet Supported impressionists

Volk   

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Worried that the introduction of Western art would diminish the importance of Japanese art and style Japan wanted to join the international community Japanese artists went abroad to study western art o Generally traditional teachings, sometimes Impressionism o Specifically, French art Established European art schools in Japan

Fischer   

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American Fenollosa encouraged education in Japan and America Meiji o Sent students abroad and brought in western teachers Fenollosa started collecting Japanese art o Created national treasury of arts o Favored the Kano school and Sesshu Became an imperial commissioner employed by the ministry of education Worked on spreading knowledge and influence in America

Andrews   

Woodcut art was the official art of the communist party Used art to spread knowledge through the public Woodcuts were usually anti-government, anti-Japanese, or overly socialist

Malevich    

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Should escape the academic painting scene Should depict truth not sincerity Copying nature is not creative o Must construct things yourself Cubism o More than on viewpoint o Made of simple geometric shapes Futurism o Artistic and social movement o Emphasized speed, technology, youth, violence o Objects Suprematism o Basic geometric forms = circles, squares, etc. o Painted in a limited range of colors

Benjamin    

Art has always been reproducible Mechanical reproduction of art  the photograph The original is the only authentic piece All things have an aura

Duchamp 

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Two poles of creation o The artist o The spectator Bad art is still art Personal art coefficient o The difference between what the artist attended to realize and what the artist did realize The creative act is performed by both the artist and the spectator “ready mades” lack uniqueness o Every piece of art is essentially made of ready mades o Paint is a ready made

Kaprow 

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Pollock did not paint in the traditional sense o Planned but with less control of where the paint went o A disconnect between the artist and the canvas Enormous paintings

Tiampo    

Leader was Yoshihara Gutai = correctness Work is about the experience, confrontation, the materiality Put on crazy exhibitions

Groom     

Monoha = school of things Exploring physical, bodily engagement of things The thingness of things How you can change objects by putting them into another position Challenging the gallery system

Benewick     

Even the most authoritarian image can take on new uses and meanings, ones unintended by the original producers Mao  Chinese communist leader Cult image Mao wanted to use art to influence the people Realism to show power

Krauss   

Postwar America o The definitions of painting and sculpture had been twisted and challenged The definition of sculpture became more vague Modernist sculpture o Crosses the threshold of the logic of the movement o Functionally placeless and largely self-referential o The negative condition of the movement o Not landscape; not architecture

Weisenfeld  

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There are no overarching trends for contemporary Asian artists Tradition is not static o Notions of tradition are important because they are attached to authenticity and national identity Flat aesthetic lineage in Japan o Tracked back to Edo period o Japanese culture lacks depth  not a lot of political commentary Japanization Erotica is often misogynistic, exploitative, and pedophilic Popular artists do not capture the whole country o Very Tokyo-centered

Lecture Notes (Relevant to the Chosen Art)

3/13/19 Momoyama Arts   

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Importance of expressing power through architecture Period: 1575-1615 Nobunaga o Azuchi Castle o Interior decorated by Kano Eitoku and studio outside the city Daimyo Castles o Firearms arrived via Portuguese trade in 1542 o New defensive forms Castles serve as a defensive and political location Kano lineage o Develops a practice of techniques and subjects o Becomes a preferred style, little variety within the studio Father Francis Xaviar o Nobunaga welcomes Christian influence to offset power of Buddhist temples o Jesuit schools teach painting Toyotomi Hideyoshi o Also has Kano school decorate and paint Chinese Lions o Symbol of immense power, mythical omens o “curls” = liveliness, extraordinary o Backgrounds used to symbolize power and wealth

3/20/19 The Great Qing Dynasty 

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Portrait of the Kangxi Emperor o 1661-1722 o Scholar garment, with brush o Surrounding objects represent power and rule o Wanted power; did inspection tours Shitao o Become monk and sold paintings  Wanted to break away from traditional life Northern School o Traditional Southern School o Literati Kangxi brought Jesuits into court o First use of copperplate

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Guiseppe Castiglione o Italian brought into court Qianlong Emperor o Largest colletion of art o Large western influence o Had a lot of his life events illustrated

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3/27/19 Tokugawa Rulership: The City of Edo, Nijo Castle, and Nikko   

Rulers associate themselves with the sun Kyoto = capital city Edo (now Tokyo) o Grows rapidly o Had successful people move in o Deliberately leaves out detail of center in maps accessed by public o Spiral design  closer to the center = more important

3/29/19 Ukiyo-e and the Urban Experience     

Many artists and rich people enjoyed collecting prints Ukiyo-e = pictures of the floating world Prints advertised plays, prostitutes, and famous places Publishers were limited under shogunate restrictions Collaborative practice

4/3/19 Art in the Age of Revolutions 

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Shift of portrayal from Monarchal court paintings o Simple background and dressing o Self-conception o French revolution Jacques-Louis David o Academic, Neo-classical painting o The Oath of Horatii  Academic and crisp lines  Pits two side against each other  Tribe vs family, Romans vs Albans o Painter of the Revolution  Religious festivals, costumes, director of the school o Death of Marat

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Carried ahead of funeral to the Pantheon Marat emulates Christ = political martyr Shows he was writing a revolutionary bill to give to a widow Shows the note from the woman who murdered him Painted as though he is still alive Idealized skin and body  Had skin condition where his skin would not absorb moisture

Classical o Shows ancient history as a lesson for modern politics Large paintings = meant for the public The Salon o Important academic exhibition France timeline o 1789  Asks for constitutional monarchy o 1792  National Convention = First Republic o 1793-94  “terror” = beheadings of royalty  Republic is founded on brutality o 1793 = The New Calendar (1793 = yr 1)  New playing cards = no kings or queens  Erasing religion from power Sense of preservation during the destruction of Monarchy o Preserved for the quality, not the ideology Portrait of Jean-Baptiste Belley o Mirrors white bust o One of the first portraits depicting an African person of power o Haitian revolution  First slave overthrow

4/5/19 Romanticism to Impressionism 

Napoleon falls in 1815 o Bourbon Monarchy  Regressing politically 1815-30  1830  Constitutional monarchy  1848  Working class revolution  1850s-60s  Another Napoleon empire  1870-71  Franco-Prussian War  1871

 Commune of Paris France establishes the most strict academic painting university  Idealist vs Surrealist Romanticism o The Raft of the Medusa  Emphasizes decompostition, bodies that are living, darker  Post Napoleon  Theodore Gericault got severed limbs from morgue to study dead skin for this painting  New modern history Realism o Large-scale history, every day history o Burial at Ornans  Social bodies, no clear hierarchy  Chooses a moment that is not dramatic, happens several times  Wealthy person being buried Impressionism o Manet  Paintings of modern life  Dejeuner sur l’herbe  Modern people in nature  Dissects urbanite condition, psychology, community of modernity  Three figures seem to be borrowed from Raimondi print o Modern artists go through the city, depict fashionable women o Monet  The Beach at Trouville  New wife Camille, on honeymoon  Modern life subject matter = leisure, tourism  Little to no composition  Broad brushstrokes  Sand on surface = painted at the beach o

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4/10/19 Meiji-Taisho Modernisms 

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Emperor now instead of shogunate in japan o Cautious to open ports o Worried about becoming imperialized Send out groups of people to learn from the West Emulating European styles = modern emperor = power o Rapid push for modernism, things were removed quickly without thought Oiran o Tries to capture her face accurately  Not a usual practice o Number of hairpins shows high ranking o Highest ranking prostitute

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Fenollosa o Need to preserve Japanese painting o Promote the Kano school o Kano Hogai = new subjects and formats  Old style remade Kuroda Seiki o Most important oil painter of Meiji o Goes to Paris and trains with traditional o Influenced by Impressionism o Turns to Japanese subject matter o Teaches oil painting at Tokyo Fine Arts

4/12/19 Early 20th Century Chinese Art   

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1911 o Qing overthrown 1912 o Provincial Republic 1919 o May 4th Movement o Students attacking feudalism 1937-45 o War of Resistance against Japan 1945-49 o War of Liberation/Communist Revolution Differences between pre-modern and modern o Training, material, study, patrons o Tension between traditional and oil painting Premodern o Apprenticeships, studying, landscape, bird/flower, stories, traditional materials o Patronage = direct commissions, exchange, markets Modern o Art academics, training abroad, curriculum, less emphasis on copying, individual style, broad subject matter o Patronage = gallery, direct commissions, museums, development of art journals Qi Baishi o Traditional, studied Qing individualists o Cicada  Imitating Zhu Da Xu Beihong o Famous artist o Teacher in Beijing o Learns in Europe, studies with traditional academic painters o Brings back skills and paints Asian subject matter o Blends in some Impressionism

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o Lots of horse paintings Woodcut o Thinking about German prints Li Hua o Studied and taught during Japanese invasion o Leftist images

4/17/19 Abstraction  

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More emphasis on how the artist shows you Paul Cezanne o Post-impressionism o Very good at showing the viewer the image how he wants it to be shown o Mont-Sainte Victoire with Pine  Complicated spacing , branches mirror the shape of the mountain  Collapse fo distance  Representation falls away from implementation  Created a constructive stroke/parallel strokes  Uniforms how he produces  Emphasizes the artificiality of colors and representation The power of the European institution is diminishing o Anti-academic painting o Modern art dealing begins = market supports artists and allows them to create more of what they want “Avant Gard gambits” o Individual living o Van Gogh cutting off his ear Vincent Van Gogh o Night Café  Space is tempered with, linear perspective is disregarded  Brush strokes are performative  Colored world in a primary way; primary contrast  Colors are trumping what you show  A description of the world that is psychological Artists no longer responsive to Renaissance spacing o Expressive brush marks o Disregard that the world has specific colors Henri Matisse o Takes the disregard of correct color to the extreme o Blue Nude  Orientalist = Europeans exploring places, painting stereotypically and to resell  Flattened view of color Independent Salons  Fauvist painters Pablo Picasso o Cubism, muted colors

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o Focuses on spatial arrangement, simplified into mangled blocks Analytic cubism o A world dissected into shapes and into a flat space/form Synthetic cubism o Using outside things to create

4/19/19 Mechanical Reproduction, Found Objects, and Collage     

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Internal = procedures Outward = material showing of the world Influenced by the industrial revolution Synthesis cubism = putting together industrial objects Daguerreotype camera o First commercially available o Emergence of photography = mass mechanical reproduction o New culture of self love o Original status is undermined by the spread of images Hannah Hoech o Industrial Germany 1920s o Using imagery from her own culture; disorder o Can create an argument or messge about the world using assemblages Picasso makes 3D images of the 2D cubist images Marcel Duchamp o “Ready Mades” o The art is choosing the objects and putting them together o Objects are “translated” “transmuted” o Fountain  Buy urinal, turn it on its side on a pedastel; submit to an “open” show; gets rejected; exposes the hypocrisy; signs it as someone who does not exist  Questions who made it, what makes it original  Questioned what an artist is  Turning something can be an act of creation o Man can never start from scratch = even paint is a ready made Years of first World War o 1914-17 o Affects art Jean Arp o Drops things o Art is no longer chosen = chance dictates DADA o Name comes from childish resonances o Many artists do this in Switzerland  Escaping the war o Nonsense as strategy; debating what it means to create beauty and pleasure o Die Kunst ist tot

4/24/19 Guernica and Art Around WWII 

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Rene Magritte o The Treachery of Images  Images are aesthetic fabrications  What is “ceci” referring to  Questioning the nature of art Picasso o Guernica  Very large  Woman with dead child, man with severed arm, female consumed by flames  Electric bulb = bombilla = bomb  Cubism  shattering the world into shards and reassembling  Wife took photos of progression  Painting was made for a World’s Fair in Paris (for Spain)  1937 Spanish civil war; Guernica is bombed by Nazi and Italian forces  Directional menace from above  Made abstract and political commentary one Degenerate Art Exhibition in Munich o The Nazis wanted to spread “German Art”  Trying to erase German Expressionism o David Scherman and Lee Miller, In Hitler’s Bathtub  Photographers created some of their best photographers inside Hitler’s Berlin apartment  The act is important  sarcastic response, reversal of the power structure Many moved to America through the Holocaust o Felt that art and poetry were dead Jackson Pollock o Autumn Rhythm  Large scale  Lies the canvas on the ground, drips paint  Dictated by chance  Establishes a distance between the artist and the canvas  Complicated surface = no beginning or end  Picture of collective consciousness Helen Frankenthaler o Mountains and Sea  Soaking thinned paint into the canvas  Similar idea to Pollock Robert Rauschenberg o Nihilistic

4/26/19 Revolutionary Consciousness: Gutai, Monoha, and Socialist Realism

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Gutai and Monoha in Japan Massacre at Nanking, 1937 Government saw art as something to harness o ...