Week 4 Notes
Week 4 Notes Art His 23
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Art His 23
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This 4 page Class Notes was uploaded by Sarah Doberneck on Sunday January 31, 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 101 views. For similar materials see Modernism in Art History at University of California - Los Angeles.
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Date Created: 01/31/16
Janurary 26, 2016 Monet, Water Lillies, 1903 and 1915 Monet was blind when he died He painted this painting multiple times Dematerialixed optial space of light and water Sky above, water beneath all at once Groundless floating optical space that surrounds the viewer Modernist painting orientates itself toward physical sight more than any other sense Emploration of purely optical properties, based on an experience of separation from narrative story telling/history painting and became more about painting itself Freedom and autonomy Women in Impressionism Mary Cassatt and Borthe Morisot were two women of the impressionish group. The challenging of traditional painting allowed painting to be opened more to women and the working class like Renoir Cassatt, In the Loge, 1879 Woman watching an opera/show, there is a man in the background clearly watching her Self criticality or reflexivity The logic of looking/the gaze Geneder specifity of the time period o Woman looking at a cultural event o Man (society) looking at her as an object Cassatt, The Family, 1892 Themes and subjects of femail social roles and domesticity o Seems to underline the ways that women were suppressed in society Cassatt, Baby’s First Caress, 1890 & Mother About to Wash Her Sleepy Child, 1880 Naked babies, based on traditional paintings of the Virgin Mary with baby Jesus Exploration of the visual ecperience of maternity. The viewer is pressed up close to the relationship Cassatt, Mother and CHid, 1889 & Maternal Caress, 1896 Broken brush strokes, full of color Still focused on physical qualities, contact between bodies Berthe Morisot, Psyche, 1876 & The Wet Nurse Angele Feeding Julie Manet, 1860 Painting her own wet nurse, subject matter of maternity o Kind of labor, working class body forking for her o Two bodies pressed together What is being given to be seen is also being erased at the same time Cassatt, AL Toilette, 1891 & Mother’s Kiss, 1891 Not just the labor and work of maternity, but the physical connection of the subjects MAnet, A Bar at the FOlies BErgeres, 1882 Modernist/impressionist engagements with looking Mirror in the back stops our gaze, yet also extends it behind her Experience of a worker and isolation in her facial expression where she is disengaged with the viewer Post Impressionism Georges Seurat, Bathers Asnieres, 188384 o Rejected form the salon of academic ainting, goes to the salon of independents o Subjects impressionism to intense criticism Outdoor scene, summer time suburban leisure, signs of work (factories, clothing) Broken brush strokes are miniaturized, deliberate, and evenly distributed o Rushes back harmony, line drawing, symmetry o Painted in a studio the academic way o Classicism returns with the boy calling out like a river god in Rafael’s Gallata o Goes back to the Egyptians with the immobilization of bodies and rigidity of form o Progress of 3 main figures’ legs Is he going back or moving forward to the advancements in film and cinema that captures movement individually Thomas Eakins, The Swimming Hole, 188485 o Language of French realism, not broken strokes o Partakes in none of the shifts in painting o Brings back the pastoral, the language of the nude o Given in stages of an action scene o Basing male nudes on classical subjects Shares this with Seurat, who wanted to confront the formlessness of impressionism Seurat, Bed du Hoc at Grandcamp, 1885 o Centers the cliff in the painting, which is antiimpressionist o Broken brush strokes, starts with longer cross hatches then goes to points that are all equal in size (pointalism, chromalism) Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1889 o Critical of the fluidity of impressionism o Working class and bourgeouse together in a space o Again, stone like and rigid like Egyptian art o Chromoluminerism, divisionism, paintilism o Anti expressive type of painting o Things don’t add up in this work Oblique lines, rigid bodies, the vanishing point is on the very far left o Seems to be the completion of the painting with the bathing boys o Attempts to engage with a scene of leisure o Not utopian, instead there is a sense of melancholy and isolation This view is missing the point that this is meant to be an anarchic painting Casting down of all hierarchies January 28, 2016 Seurat, Le Chahut, 1889 & Les Poseuses, 1886 o Wants to paint like a machine o Borrows from mass culture o Comparing the ambitions of large scale painting to advertisements o He puts painting before of the lawn inside his new one o Internal look at the practice of art o Repetition and rigidity of body o Almost mechanic, speaks to how he wants to engage in modern mass culture Pierre Puvis de Chavannes, Summer, 1873 o Strangely generalized classicism o Old genre of the pastoral o Are they dreams of a utopian culture o Illustrations of a timelessness and a reconciliation between nature and man Gauguin, Where do we come from? What are we? Where are we going?,1897 o Exagerations of color that seem to break from the science of color o Formal trandformation of the color form the modernists Gauguin, The Vision After the Sermon, 1888 & The Yellow Christ, 1889 o The artist had been a broker, but left that to pursue his hobby in art o Not formed by entering the academy then later rejecting those teachings. Instead he is the first artist to have been formed by modernism o Wants to move to northern france to paint the peasants and folklore there instead of urban life o The vision o No horizon line, no perspectural space o Devoted to female bodies o Returns to black lines, to drawing Outlinean form ends up being named Its like they are regressing, going back in time o Cloisonisme: named after the dark lead paint in medieval stained glass windows. The word for the dark outlines seen in this painting o Yellow Christ Given to the viewer as visionary and unrealistic Hes painting the spiritual and the sacred Gustave Moreau. The Apparition, 1876 o Not necessarily classic or modern o Given to us in the of the female figure, who is evil or fatal Odilon Redon, Cyclops, 18951900 o Deeply antinaturalistic Manet, Portrait of Zola, 1867 o Emile Zola was a literary man o There are tokens from different cultures throughout the painting
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