Art-his 23: Modernism, Week 3 Lectures
Art-his 23: Modernism, Week 3 Lectures Art His 23
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Art His 23
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This 5 page Class Notes was uploaded by Sarah Doberneck on Sunday January 24, 2016. The Class Notes belongs to Art His 23 at University of California - Los Angeles taught by Dr. George Baker in Winter 2016. Since its upload, it has received 65 views. For similar materials see Modernism in Art History at University of California - Los Angeles.
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Date Created: 01/24/16
January 19 2016 Manet The Exocution of Maximillian 1867 He was attempting to paint something he knew would be censored Unfinished looks like a sketch Endless repetition in the painting Form itself is in progress much like the public knowledge of this event The third Version Switches to a sturdy border with everything in its place Leaves a place in the painting for the viewer seen by the shadow on the ground The painting is read from right to left opposed to traditional left to right of history painting with the viewer placed toward the right side Very at shallow There are viewers on the back wall 0 Some excited others inscrutable One prisoner seems to be in between life and death the other two are waiting to be shot The contradictions and unfinished aspects show that modernism isn t going ot be monumental or stable It will habe political and social lessons The sketch and unfinished becomes the essence of modernism Poussin the Israelites Gathering Manna 16378 Debatedin the French academy as how a history painting should tell stores Previously before modernis the idea was that your painting was based in texts and illustrated those characters Ut pictora oasis O in painting as in poetry in poetry as in painting 0 Poetry and painting are one paintings were meant to be read just like a story Claude Monet Impression Sunrise 1872 No varnishes or depth Thinness in painting About subjective relationships to the world as opposed to objective views Manet Woman in a Garden 1867 Figure painting is in crisis Four figures landscape of nature created by man and culturally made place Same individual each time Fleeing into space into the medium Not something he paints indoors on large scales based on what he remembers as was the academic tradition 0 he rejects the space of the studio and uses outdoor light Monet Monet Monet Monet O O O O eventually the large canvases are done away with and small scale canvases much quicker paiting is needed The woman in the Green Dress 1866 Le dejeuner sur l herbe 186566 uses his wife as a model often shows leisure 0 Terrace at SainteAdresse 1867 paintvisual brushstrokes are usedseen secne about everyday life and leisure the sean seems to be unbounded and purely optical depicts the act of looking and gazing the horizon line is 23 up the painting which puts the viewer up and makes them seem to be oating up above the scene three zones that hug the 2 dimensional aspect and vancas of the painting 0 terrace sea sky looks outside the European tradition to japan and borrows their devices Boulevard des Capucines 1872 painted through the window of one of Monet s friends apartments His friend NAdar was one of the most famous photographers of the time 0 He rented out his space to the new group of antitraditional artists so they could meet and exhibit their works Boulevarda and avenues were large and constructed for more functionality and made transportation easier New apartments that had to be uniform lined the streets There is dead lifeless nature in the center Anticlassicism organized against symmetry and balance Pieter bruegal Hunters in the Snow 1565 0 Landscape organized towards a point that s not in the center January 21 2016 Bruegal Children s Games 1560 Terms Birds eye view is used to show the social aspect of the scene No center point of interest instead the vanishing point is in the far right of the canvas following the road Everything is unfixed There is mayhem and its disharmonious The body is everywhere in motion Painted as part of a series of worls that show the world turned upside down Chiaroscuro refers to shading shadows used to give dimension with black paint This was absent for most of impressionism Plein air painting out of doors outside the studio Meant you had to paint quicker using smaller canvases Facture unfinished painting visible brush strokes You can see the way paint is applied to the canvas In academic practice you didn t see this Impasto built up thickness almost a crust of paint Monet Regatta at Argenteuil 1872 0 Employed facture and impasto 0 He didn t water his paint down as traditional artists would Degas Place de la Concorde 1875 0 Cityscape social square of a city The high raised horizon line contributes to the atness of the work The center has yellow thick paint which then makes the rest of the figures radiate from that point He paints his friend who was also an aristocrat with his daughters The metaphor is figures walkingmoving through a public space 0 Empty gazes and a lot of empty space 0 Everyone is distracted no one is paying attention to one another Anticlassical form open center figures are cut off offtilt walking is echoed in the subjects as they are isolated although physically together Degas Young Spartans Exercising 1860 0 Degas began as a history painter and was more traditional 0 His painting does have a sense of classical nature but he falls short of achieving the desired effect Gustave Cailebotte Young man at his Window 1875 Man at his bath 1884 0 Consistant tactic of oblique lines that place all figures into motion and instability 0 Looking at them from the back 0 One of the few male nudes 0 Possibly used to habe viewers normally males compare the bodies to their own and be connected with the painting in that way Cailebotte Paris Street Rainy Day 1877 0 Most famous impressionist painting in the US 0 Light pole enhances the center focus 0 Re ected light on the street from the rain 0 Dillenation of umbrellas givel all views of figures but then very obvious open spaces that provide depth Cailebotte Le Pont de l Europe 187677 0 Characters all to one side 0 We are deprived of the infinite depth by the X of the bridge 0 We don t know what the figures are looking at 0 Same level as the figures allows the viewer to participate Flaneur 0 Wanderer figure that Caillebotte speaks about 0 They are in the crowd but above it Not included in the masses 0 Aspect of mobilitymovement 0 Impressionist painters used these figures and echoed them 0 Figures seen visually but not engaged with the events Degas Absinthe 1876 amp Manet The Plum 1878 0 Oblique lines in motion 0 Bodies separated from the viewer off center and solitary PierreAuguste Renoir Le Moulin de la Gallette 1876 0 Painting in the area where workers and common people met and socialized Renoir the Swing 1876 0 Painting in the area where workers and common people met and socialized Monet La Grenouillere 1869 0 Broken down dissolved brush strokes 0 Repression of linetradition Caillebotte Calf s Head and OX Tongue 1882 0 As if he s trying to paint esh itself 0 Play w forms reinvents what you paint and how Monet Gare St Lazarre 1877 0 Goes to the train stations of paris 0 Miststeam dissolve the lines and solidity of objects Monet Unloading Coal 1872 0 Working class blackness and omnimity Monet The Poplans 1891 0 Disassociating his painting from the viewer can be upside down and is still readable