Week 6 Notes
Week 6 Notes Art His 23
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Art His 23
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This 3 page Class Notes was uploaded by Sarah Doberneck on Tuesday February 9, 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 31 views. For similar materials see Modernism in Art History at University of California - Los Angeles.
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Date Created: 02/09/16
February 9, 2016 Cezanne, Uncle Dominique, 1866 & The Abduction, 1867 Oldest of the impressionist painters. He was technically in the generation of Manet but wasn’t involved in the movement until later with Seurat In his earliest paintings, you can see how he is very odd. He wants to be close to the realism that characterized Courbet He has put down his brushes and is using a spatula sort of tool that smears the paint and lays it down thick Scenes of fantasy, return to various mythological metaphors No one accepted it or knew what to do with these paintings o Uses an erotic and sexual metaphor for his work Cezanne, House of the Hanged Man, 187273 & The Bridge at Maincy, 187980 This is the Cezanne that associates himself with the impressionists Didn’t have to worry about selling his paintings and could just focus on his art Drawn to the techniques of impressionism o Painting en plein air, divided brush strokes, contrasting colors In House… the setting is in the suburbs outside Paris Exiles human life form the scene o Associates this painting with an abstractive theme o Was the hung man murdered or was it suicide? Techniques against impressionism o Uses black linear paint, as though he wants to bring back this classical technique or isn’t able to give up the drawing aspect that impressionism ends o Spreads his paint, causing solidarity o Uses the traditional positioning of a tree to provide depth and push the surface toward the viewer Motif of the bridge at the center, more or less geometric assembly o Non modern techniques o He wanted to search for the cylinder in nature and find geometric shapes o Unideal forms of shapes Cezanne, Chateau de Medan, 1880 Seurat Vs. Cezanne o Close geographically and biographically o Constructive brush stroke was the same o Seurat’s mechanic way of painting was similar to Cézanne’s systematic pattern Cezanne, Gulf of Marseille Seen from L’Estaque, 1886 and The Basket of Apples, 189094 Landscape and still life The landscape has very complex forms o Breaks with the realist trend in modernism o Naturalism is not at play in terms of light and color o Doesn’t have the 3 planes of landseasky o The sea pushes to you, looks closer than the buildings o Deep perspectival ambiguity as he rethinks the geometric forms The still life o Void of the human body and figure o Painting that finds solidity of things and go away from political themes o Wedding between classicism and modernism as said by some art historians o Space begins to fragment, the wine bottle is slightly oblique/not symmetrical Cezanne, Still Life with Plaster Cast, 1894 Instead of centered and stable, everything is in a volatile state It’s as if the ground rises up in the air Geometry is the classicist law of form that brought order and thought, bit modernism wanted to cast this down o This is why Cezanne being presented as a classicist presents problems Cezanne, Mount Ste. Victoire…, 1882 & Pines and Rocks. 1895 An attempt to portray the structure of the world Didn’t go to landscape and still life as a retreat from political painting but rather he wanted to find answers and experience subjectivity Is the world’s structure uniform? Is it truly geometric as the classicists tried to make it appear? Cezanne, Apples. 187778 See the constructive stroke building the forms The very shape/evocation of the circle Become a kind of poem on the eternal nature and nonsolidity of form Denies that anything is truly in a geometric form Shapes are made by what the eye perceives Cezanne, Idyll. 1870 & Temptation of St. Anthony, 1870 Body was in crisis He is painted as a pensive person Bodies will not conform Cezanne, A Modern Olympia, 187374 & 186970 The body aligns itself with the body that we see and is more maternal Cezanne, Bather with Outstretched Arms, 1877 & The Large Bather, 1885 A space at the edge of the world The world is something to be looked at but also to be engaged with His feet get giant and are blood red The painting is more about how one feels about themselves and their perception of their body
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