Mordern Art Quiz Terms 1-5 PDF

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Modern Art Vocabulary Beauchamp...

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Modern Art, FALL 2020 University of Tampa Prof. Beauchamp-Byrd QUIZ REVIEW TERMS Chapter 1 James McNeil Whistler: ● Painter ● Painted Nocture in Back and Gold: The Falling Rocket ● Believed that true art served no social purpose John Ruskin: ● Victorian English art critic ● Believed art had the power to improve society o Arts ability to represent nature Art for Art’s Sake ● Supporters: Beauty was simply the measure of a work’s ability to stimulate a pleasing aesthetic sensation ● The trial between Whistler v Ruskin provided a forum for the debate between those who looked to art as essential to social progress and those who insisted that art transcended social concerns ● A doctrine ● Whister believed in Art for Art’s Sake Neoclassicism ● Laid foundation for Modern Art ● Neo: New, Classicism: Classic art ● Inspiration from Classical Art + Culture of Ancient Greece and Rome ● Coincided with the enlightenment era ● Early-mid 18th century into the early 19th century ● Jacques-Louis David o Many pupils, strongest influence in French art, especially academic salon painting

● ● Jacques-Louis David, The Oath of Horatii, 1784; oil on canvas

Romanticism ● Laid foundation for Modern Art ● William Blake (British painter and printmaker) ● Late 18th century and early 19th century ● Emphasized inspiration, subjectivity, and the primacy of the individual ● Individuals will to create, rather than a product of particular cultural ● To be a romantic artist, they had to resist academic emulation and create from their imagination ● Favorite theme: Nobility of animals in the face of unpitying nature (see Gericault)

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William Blake, Nebuchadnessar, 1795; ink, watercolor, paper o Hubris, Old Testament Babylonian King

Salons ● Art was originally only viewed by nobility and wealthy collectors o Only religious art was regularly viewed by the public ● The Paris Salon (1748-189), originally held at the Lourve (Salon Carré/square parlor) ● Considered the greatest annual or biennial art event in the Western world ● Feature hundreds of artworks o Mainly by members of France’s Royal Academy of Painting and Sculture ● Open to everyone; the rest of Europe followed Genre ● Type of subject represented in a painting ● Five main genres o History ▪ Biblical, mythological, historical o Landscape o Portrait o Still Life o Genre Painting ▪ Scenes of everyday life

Lithography

● Etchings ● Romantic Artists ● Process of printing from a flat surface treated so as to repel the ink except where it is required for printing

● ● Théodore Géricault, Horse Devoured by a Lion, 1820-21, Lithography ● Lithography lines and Géricault’s manipulation of tone gives drama History painting ● The French Royal Academy founded in 1648 ● At this time, they believed that History Painting was the greatest achievement of its time ● Historical subjects wanted to be painted in the best way with the best technical skills from the best painters. ● Required thorough knowledge of important literary and historical texts ● Present one or more heroic figures, often nude o Nude painting required skill and education with anatomy and life drawing ● Set in real or imagined towns, battlefields, or other landscapes ● Mix of different genres

Barbizon School ● Mid 19th century school of French Landscape painters who reacted against

classical conventions and based their art on direct study of nature French Romantic landscape movement Village in the heart of the forest of Fontainebleau, southeast of Paris 17th century Dutch +England landscape tradition Inspired by Bonington and Constable Emphasis on unified, tonal painting o Not free and direct color ● Led by Théodore Rousseau o Group included Charles Daubigny and Jean-François Millet ● Théodore Rousseau o Turned to French landscape for his subjects o Pure landscapes

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● ● Théodore Rousseau, Edge of the Forest of Fontainebleau, sunset, 1850. Oil on canvas

● ● Jean-François Millet, The Angelus, 1857-58. Oil on Canvas

Chapter 2 th

Realism in 19 c. ● Literary and visual style ● Emphatic return to Enlightenment rationality ● General attempt to depict subjects truthfully in different forms of art ● Reaction to romanticism and history painting ● Common laborers, ordinary people, ordinary surroundings, real activities ● Cultural response to Positivism France Positivism ● Philosophy that rejects abstract thoughts in favor of ordinary approach to understanding all forms of human experience ● Feeds craving for certainty; scientific, moral, economic, or political ● Information derived from sensory experience, through reason and logic, forms the exclusive source of all certain knowledge Camera obscura ● Dark Chamber, small aperture, projects external scenes onto the opposite wall ● Used for photography with photosensitive paper made with silver salts. ● Original camera Daguerreotype ● Photograph taken by an early photographic process using an iodine-sensitized silvered plate and mercury vapor. Long exposure. ● Publicly demonstrated by Louis-Jacques-Mandé Daguerre

● ● Louis-Jacques-Mandé Daguerre, Boulevard du Temple, 1838. Daguerreotype.

calotype ● William Henry Fox Talbot ● Light-reflected image on silver-treated surface of a paper ● Created negatives ● Greek word “Kalos” meaning beautiful ● Claims of earliest calotype in 1835, before daguerreotype ● Negative could be recreated infinite amount of times ● Painting-conscious photographers could assemble elaborate, multifigure compositions in stage-like settings o Pieced total image together from a variety of negatives o Oscar G. Rejlander

● ● Oscar G. Rejlander, The Two Ways of Life, 1857. Combination albumen print cyanotype ● Immediacy ● Anna Atkins was the pioneer o Circulated in volumes of British Algae, first publication to be composed and printed photographically o Accurate yet ghostly record of plant forms; point to aesthetic and documentary styles of photography ● Photographic blueprint

Combination prints ● Photographic technique of using two or more negatives together to create a single image (see The Two Ways of Life) ● Create more of a fine art in photography and more idealized images ● Henry Peach Robinson pioneered this method, joined on debates of legitimacy of art photography

● ● Henry Peach Robinson, Sketch for Carolling and the actual Carolling, 1886-87, 1887; pencil on paper and combination albumen print Ethnographic images ● England: Julia Margaret Cameron ● France: Nadar (Gaspard-Félix Tournachon) o First great successes in photography. Powerful personalities gave them access to many illustrious people of the age and the vision to render these with unforgettable penetration ● Cameron o liked to dress up her friends and family and reenact scenes from The Bible and Tennyson’s Idylls of the Kings ▪ Idylls of the Kings: Series of poems based on the legends of King Arthur o Approach with intensity that swept away all staginess o Focused on drama of the character and chiaroscuro ▪ Chiaroscuro: The treatment of light and shade in drawing and painting o Cameron also focused on ethnographic images o Photography coincided with the expansion of colonialism by European countries, esp. Britain and France Orientalism ● Imperialism: Extending countries power to other countries (expansion of Colonialism). Manifested itself in Orientalism. ● Style, artefacts, or traits considered characteristic of the peoples/cultures of Asia and North Africa, Mid-19 th century ● Ethnography developed in response to national interests for a better understanding of the new cultures under colonial rule ● Representation of Asia in a stereotyped way, embodying a colonialist attitude

“the other” ● Other cultures under colonial rule that Europe wanted to understand better ● Viewed as exotic, backward, uncivilized, and sometimes dangerous ● An individual who is perceived by the group as not belonging, being different, in a fundamental way. ● The group sees itself as the norm (white Europe) and judges those who do not meet the norm (Arab and North Africa)

● ● Julia Margaret Cameron, Unknown Girl, Ceylon, 1875-79. Albumen Print Caricature ● Satirical comment on life and politics, which became a standard feature of journals and newspapers ● A picture, description, or imitation of a person in which certain striking characteristics are exaggerated in order to create a comic or grotesque effect ● Gentle amusement to biting satire to vicious attack became commonplace in Europe and America ● Cheaply disseminated through popular medium, lithography ● Honoré Daumier: greatest satirical artist, known for 4,000+ lithographic drawings o La Caricature and La Charivari o Important sculptor and painter ● Daumier created small caricatural busts from 1830 1832 o Sometimes so bad that they were censored o Imprisoned for six months for a caricature of the French king

● ● Honoré Daumier, Rue Transnonian, April 15, 1835. Lithograph.

Avant-garde

● New and unusual or experimental ideas; unorthodox. Aesthetic innovation and initial unacceptability ● Gustave Courbet: French painter, traits from romantic predecessors. Produced erotic subjects that border academicism o Academicism: adherence to formal or conventional rules/traditions o Created unsentimentral records of contemporary life. o Lead the Realism movement o Painting in itself is a reality

● ● Gustave Courbet, A Burial at Ornans, 1849-50. Oil on Canvas. o Denial of illusionistic depth, lack of formal composition, approach to matter so radical that it was seen as an insult to everything the French Academy stood for ● Salons were taken over by venues for groundbreaking art En plein air ● French word for outside, in the open air ● Truth to nature ● Painting outside with the artists subject in full view Charles Baudelaire ● Great poet and art critic ● Encourages artists to paint scenes from modern life and invent contemporary contexts for old subjects, such as nude ● Accompanied Édouard Manet on daily sketching trips and met with him socially o Encouraged Manet to strike his own path and not succumb to criticism o When Manet painted “Olympia”, he received heavy criticism. Baudelaire supported Manet Flaneur ● Passante; a stroller, lounger, saunterer, loafer ● Walter Banjamin drew on the poetry of Charles Baudelaire to make this figure the object of scholarly interest in 20th century ● Archtype of urban, modern experience. Full possession of individuality ● Person who walks in the city to experience it Japonisme ● Japanese Culture as an inspiration for European art.

o Steep, sharp-angled views o Bold snapshot-like cropping, near-far juxtapositions o Flat-pattern design of brilliant, solid colors o Purest contour drawing ● Influence of Japanese art and design in western Europe in the 19th century ● Emulation of patterns and forms observed in Japanese prints, textiles, ceramics, and screens

● ● Mary Cassat, Woman Bathing, 1890-91. Drypoint and aquatint, printed in color.

● ● Andō Hiroshige, Moon Pine at Ueno, 1857. Color woodcut.

● ● Édouard Manet, Olympia, 1863. Oil on canvas.

● ● Édouard Manet, Déjeuner sur l’herbe (Luncheon on the Grass), 1863. Oil on canvas.

● ● Édouard Manet, Portrait of Émile Zola, 1868. Oil on canvas.

● ● James McNeil Whistler, Symphony in White No. II: The Little White Girl, 1864.

Impressionism ● Style or movement in painting originating in France in the 1860’s, characterized by a concern with depicting the visual impression of the movement, especially in terms of the shifting effect of light and color ● En plein air ● Landscape is not static and fixed

● ● Claude Monet, Impression, Sunrise, 1872. Oil on canvas.

● ● Claude Monet, The Bridge at Argenteuil, 1874. Oil on Canvas. o More classic version of developed Impressionism Hudson River School ● Mid 19th century American art movement ● Group of landscape painters whose aesthetic vision was influenced by romanticism ● Depict the Hudson River Valley, Catskill, Adirondack, and White Mountains ● Style had gone out of favor after the plein-air Barbizon School ● Discovery, exploration, settlement

Other important paintings from Chapter Two

● ● Thomas Eakins, The Champion Single Sculls (Max Schmitt in a Single Scull), 1871. Oil on Canvas

● ● Thomas Eakins, The Gross Clinic, 1875. Oil on Canvas.

Chapter 3 Post-Impressionism ● Sought to discover, or recover, a new and more complete reality, one that would encompass the inner world of mind and spirit as well as the outer world of physical substance and sensation ● Violation of academic principles and polished illusionism ● The work or style of a varied group of late 19th century and early 20th century artists ● Van Gogh, Gaugin, Cézanne ● Reacted against the naturalism of the impressionists to explore color, line, and form, and the emotional response of the artist, a concern that led to the development of expressionism Pointillism ● A technique of neo-impressionist painting using tiny dots of various pure colors, which became blended in the viewer’s eye. Developed by Georges Seurat, with the aim of producing a greater degree of luminosity and brilliance of color ● Georges Suerat ● Each color will impose its own complimentary on its neighbor o If red is next to blue, it will cast a green tint on the blue

● ● Georges Seurat, Sunday Afternoon on the Island of La Grande Jatte, 1884-86 Divisionism ● Another name for Pointillism Formalism ● The study of art by analyzing and comparing form and style. Discussion include the way objects are made and their purely visual or material aspects ● Everything necessary to comprehend the painting is in the composition

● ● Paul Signac, Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Félix Fénéon in 1890, 1890. Oil on Canvas

Old Masters ● A great artist of former times, especially the 13 th-17th century in Europe o Veronese, Poussin Symbolism ● Popular, if, radical, movement of the late 19th century ● Direct descendant of Romanticism ● Response to the popularization of Art for Arts Sake ● The use of symbols to represent ideas or qualities ● An artistic and poetic movement or style using symbolic images and indirect suggestion to express mystical ideas, emotions, and states of mind. ● Late 19th century France and Belgium ● Charles Baudelaire, Gérard de Nerval o Mallarmé, Maeterlinck, Verlaine, Rimbaud, and Redon ● Search for new forms, antinaturalistic if necessary, to express a new content based on emotion, intuition, the idea beyond appearance

● ● Gustave Moreau, The Apparition, c. 1876. Oil on Canvas

● ● Pierre Puvis de Chavannes, Summer, 1891. Oil on canvas.

● ● Henri Rousseau, The Sleeping Gypsy, 1897. Oil on Canvas

● ● Auguste Rodin, The Burghers of Calais, 1886. Bronze.

● ● Camille Claudel, Chatting Women, 1897. Onyx and Bronze. Primitivism ● Paul Gauguin- most influential in symbolism movement o Tahitian motifs in painting and ceramics ● Mode off aesthetic idealization that either emulates or aspires to recreate “primitive” experience. Typically borrowed from non-Western or prehistoric people. ● Critiqued for reproducing the racist stereotype about non-European peoples used by Europeans to justify colonial conquest ● Sense of immediacy and authenticity that is generally absent in academic art Synthetism ● Synthesis of a subject and idea with form and color, so that his paintings are given their mystery, their visionary quality, by their abstract color patterns ● Anti-realist ● Post-impressionist artists, like Gaugin, to distinguish their work from Impressionism ● Connected to Cloisonnism and Symbolism

● ● Paul Gauguin, Vision after the Sermon, 1888. Oil on Canvas

Neo-Impressionism ● A late 19 th century movement in French painting that sought to improve on impressionism through systematic approach to form and color, particularly using pointillist technique. The movement’s leading figures included Georges Seurat, Paul Signac, and Camille Pissarro ● Coined by Félix Fénéon in 1886 to describe Seurat’s movement ● A Sunday Afternoon on the Island of La Grande Jatte marked the start of this movement Nabis ● Les Nabis; a group of young French artists active in Paris from 1888 to 1900 ● Played a large part in the transition from impressionism and academic art to abstract art, symbolism, and the other early movements of modernism ● Founded by Paul Sérusier ● Symbolist, cult-like group ● Grew from the work of Paul Gauguin, specifically the idea that color and shape could represent experience ● Ruler of Sparta from 207 BC to 192 BC during the first and second Macedonian Wars and the “War against Nabis”

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● Édouard Vuillard, Woman in Blue with Child, c. 1899. Oil on Cardboard.

● ● Pierre Bonnard, Nu à contre jour (Nude against the light), 1908. Oil on canvas.

● ● Pierre Bonnard, Promenade of the Nursemaids, Frieze of Fiacres, 1899. Color Lithograph on four panels

Cloisonnisme ● A style of post-impressionist painting with bold and flat forms separated by dark contours ● A style based on medieval enamel and stained-glass techniques ● Arbitrary, nondescriptive color, flat areas of color bounded by dark, emphatic contours, the denial of depth and sculptural modeling were all influential to the Nabis o All stated in Gaugins Vision after the Sermon

● Odalisque ● A female slave or concubine in a harem, especially one in the seraglio of the sultan of Turkey ● A pose of a woman laying down, one that belongs in a brothel; a prostitute. Typically, naked. See Olympia by Manet. ● Intimisme

● ● Suzanne Valadon, Blue Room, 1923. Oil on canvas.

Chapter 4 American Classicism William Morris ● Romantic, progressive 19th century thinker and artist ● Friend of John Ruskin ● Collaborator of the Pre-Raphaelites o Group who consciously sought to emulate the simplicity and sincerity of the work of Italian artists before the time of Rafael o Characterized by strong line and color, naturalistic detail. And often biblical or literary subjects ● Morris fought against commercial vulgarization ● Believed the industrial worker was alienated from the customer and the craft itself was held hostage to the dictates of fashion and profit ● Believed society was dictated by its arts and arts contribute to values of society ● Against factory production because they lacked quality and integrity o As a result, created Morris and Co., which created household furnishings of the highest quality Arts and Crafts Movement ● An English decorative art movement of the second half of the 19th century that sought to revive the ideal of craftsmanship in an age of increasing mechanization and mass production ● Arose in Britain, then went to North America where industrialization was transforming society ● Draw selectively on older styles without resorting to academic pastiche (imitating of other artists) ● Using the past to create something new for the present Glasgow School of Art ● Glasgow: One of the most remarkable centers of architectural experiment at the end of the 19th century; Scotland; 1896 ● Charles Rennie Mackintosh: Created the Glasgow School of Art ● Simplicity, clarity, monumentality, and an organization of interior space that is functional and highly expressive of its function ● Rectangular heaviness of walls softened by occasional curved masonry ● Details of fantasy, esp. in ironwork, that show relationship to Art Nouveau ● Damaged in 2018 by a fire; going to be rebuilt Art Nouveau ● New Art ● Inward-turning, fantastical experiments of Symbolism, exotic forms of Japonisme, and innovative experiments with industrial materials o Paxton, Labrouste, and Eiffel ● Definable style that emerged from the experiments of painters, architects, craftspeople, and designers ● Permeated painting, sculpture, and architecture; graphic design, magazine, book illustration, fu...