CA4

Rococo, Enlightenment, Romanticism

Content Area 4 Later Europe and Americas 1750-1980 C.E.

97. Spaniard and Indian Produce a Mestizo,

attributed to Juan Rodríguez Juárez

Artist: Juan Rodríguez Juárez

Date: c. 1715 C.E.

Location: Mexico

Materials: Oil on Canvas

Vocabulary: pinturas de castas,

Investigating Identity

belongs to a larger series of works that seek to document the inter-ethnic mixing occurring in New Spain among Europeans, indigenous peoples, Africans, and the existing mixed-race population
pinturas de castas, or caste paintings, attempts to capture reality, yet they are largely fictions.
Who Commissioned these works??

casta paintings display a mother, father, and a child Holy Trinity
Casta paintings convey the perception that the more European you are, the closer to the top of the social and racial hierarchy you belong
Casta paintings from the second half of the eighteenth century in particular focus more on families living in less ideal conditions as they become more racially mixed. Earlier series, like Rodríguez Juáre’s, often display all families wearing more fanciful attire.

98. The Tête à Tête, from Marriage a la Mode,

Artist: William Hogarth

Date: c. 1743 C.E.

Location: England

Materials: Oil on Canvas (prints)

Class and Society

VIDEO

Prints not Paintings
Art for Middle Class not Royalty, Church
Artist Entrepreneur
Squanderfields
Marriage of the Day
Tete a tete = Face to Face

99. Portrait of Sor Juana Inés de la Cruz

ARTIST: Miguel Cabrera

DATE: c. 1750 C.E.

LOCATION:

MATERIALS: Oil on canvas

VOCAB: St. Jerome, Jeronymite order, The Answer, escudo de monja, rosary

THEME: Investigating Identity

(essay, additional resources)

ENLIGHTENMENT

Content Area 4

Later Europe and Americas 1750-1980 C.E.

100. A Philosopher Giving a Lecture on the Orrery

ARTIST: Joseph Wright of Derby

DATE: c. 1763-1765 C.E.

LOCATION:

MATERIALS: Oil on canvas

VOCAB: Enlightenment, Lunar Society, orrery, Industrial Revolution

THEME: Class and Society

(essay, image, additional resources)

The embodiment of the ENLIGHTENMENT

Enlightenment—that empirical observation grounded in science and reason could best advance society

ART=1650 to 1800, promoting science, reason, and intellectual exchange.

philosophical shift

ARTIST-DARBY = HOW SCIENTISTES WERE PERCIEVED= oseph Wright of Derby became the unofficial artist of the Enlightenment, depicting scientists and philosophers in ways previously reserved for Biblical heroes and Greek gods.

Wright was the most prominent English painter of the eighteenth century to spend the majority of his career outside of London.

Erasmus Darwin (grandfather of Charles) and other members of the Lunar Society of Birmingham, an informal learned society which met to discuss scientific topics of the day.

KNOWN FOR: contrasts between light and dark, also known as chiaroscuro, and his unflinching portrayal of the true personalities of his subjects. This trait caused his downfall when he attempted to work as a portraitist—few wanted a portrait, warts and all.

French academies of art, the highest genre of painting was history painting, which depicted Biblical or classical subjects to demonstrate a moral lesson

WRIGHT- contemporary subject in A Philosopher Lecturing at the Orrery. Rather than a moral of leadership or heroism

most tempting theory is that his face is modeled on that of Sir Isaac Newton

Rococo READING

The Enlightenment

Jesus beckoning to Matthew (detail), Caravaggio, Calling of Saint Matthew, c. 1599-1600, oil on canvas

101. The Swing

ARTIST: Jean-Honoré Fragonard

DATE: c. 1767 C.E.

LOCATION: France (Rococo

MATERIALS: Oil on canvas

VOCAB:

THEME:Gender Roles & Relation

103. The Oath of the Horatii

ARTIST: Jacques-Louis David

DATE: c. 1784 C.E.

LOCATION:

MATERIALS: Oil on canvas

VOCAB: Neoclassicism, French Revolution, Louis XVI, Jacobins, Frech Academy

THEME: Class and Society

(video, essay, images, additionalresources)

105. Self-Portrait

ARTIST: Elisabeth Louise Vigée-LeBrun

DATE: c. 1790 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB: Marie Antoinette

THEME: Gender Roles and Relationships

(essay, image, additional resources)

Queen Marie-Antoinette’s official court painter.
PARENTS: Louis Vigée a minor portraitist and Jeanne Maissin in Paris.Father encouraged her art AUTOBIOGRAPHY: Souvenirs
Created soon after her swift departure from France at the onset of the French Revolution, NOW LOCATED Galleria degli Uffizi in Florence, is one of her best-known pictures. It is a LATE ROCOCO STYLE: fashionable ideal, perpetual youth was libertine and pleasure-loving
The artist, like her royal patron, was extremely conservative in her politics.
Painted in Rome during her decade-long exile from France. CONTENT: The artist sits in a relaxed pose at her easel and is positioned slightly off center. She wears a white turban and a dark dress—in the free-flowing style that Marie-Antoinette had made popular at the French court—with a soft, white, ruffled collar of the same material as her headdress. Her belt is a wide red ribbon. Vigée-LeBrun holds a brush to a partially finished work; the subject is probably Marie-Antoinette—perhaps intended as a tribute to her favorite sitter. Slightly used brushes are at the ready along with a palette, she has everything cradled in her arm close to the viewer.
CONTEXT: The painting expresses an alert intelligence, vibrancy, and freedom from care. As she painted this portrait, her Queen was being driven from power by revolutionaries who hated the profligate lifestyle of the nobility and would later execute both Marie-Antoinette and her husband, King Louis XVI. Given these circumstances, Vigée-LeBrun—a working painter, wife, and mother—displays an extraordinarily sanguine persona.
Essay by Dr. April Renée Lynch

102. Monticello

ARTIST: Thomas Jefferson

DATE: c. 1770-1806 C.E.

LOCATION: Charlottesville, Virginia

MATERIALS: Brick, Glass, Stone, Wood

VOCAB:

THEME: Humanism and the Classical Tradition

A gentleman architect

Here was buried Thomas Jefferson Author of the Declaration of American Independenceof the Statute of Virginia for religious freedom, Father of the University of Virginia“because by these, as testimonials that I have lived, I wish most to be remembered.” To be certain, there are important achievements Jefferson neglected. He was also the Governor of Virginia, American minister to France, the first Secretary of State, the third president of the United States, and one of the most accomplished gentleman architects in American history. neoclassical architecture in the United States. Jefferson believed art was a powerful tool; it could elicit social change, could inspire the public to seek education, and could bring about a general sense of enlightenment for the American public. never formally trained as an architect, expressed dissatisfaction with architecture Wren-Baroque aesthetic was too British.
Monticello (Italian for "little mountain") atop a solitary hill just outside Charlottesville, Virginia.Secretary of State: This time abroad had an enormous effect on Jefferson’s architectural designs. The Virginia State Capitol (1785-1789) is a modified version of the Maison Carrée (16 B.C.E.), a Roman temple Jefferson saw during a visit to Nîmes, France. Pantheon (125 C.E.) had over his Rotunda (begun 1817) at the University of Virginia is so evident it hardly need be mentioned.
later construction period
If the early construction gave the impression of a Palladian two-story pavilion later remodeling, based in part on the Hôtel de Salm (1782-87) in Paris, gives the impression of a symmetrical single-story brick home under an austere Doric entablature.
The west garden façade—the view that is once again featured on the American nickel—shows Monticello’s most recognized architectural features. The two-column deep extended portico contains Doric columns that support a triangular pediment that is decorated by a semicircular window. Although the short octagonal drum and shallow dome provide Monticello a sense of verticality, the wooden balustrade that circles the roofline provides a powerful sense of horizontality.
Jefferson intended to reinforce the ideals behind the classical past: democracy, education, rationality, civic responsibility through neoclassical architecture. Essay by Dr. Bryan Zygmont

104. George Washington

ARTIST: Jean-Antoine Houdon

DATE: c. 1788-1792C.E.

LOCATION: Virginia State Capitol

MATERIALS: Carrara Marble

VOCAB: fasces

THEME: Humanism and the Classical Tradition

(essay, image,

additional resources 1, 2)

After American Revolutionary War, many state governments turned to public art to commemorate this momentous occasion. Virginia desired a statue of George Washington for display in a public space.

1784. Jean-Antoine Houdon

SELECTED BY JEFFERSON— Francophile sympathies, lack of artistic talent then available in US.= Through basic necessity,

Jean-Antoine Houdon. Trained at the Académie Royale de Peinture et de Sculpture and winner of the prestigious Prix de Rome in 1761 when only twenty years of age, Houdon was, by the middle of the 1780s, the most famous and accomplished neoclassical sculptor at work in France.
Houdon hoped to cast a larger than life-sized bronze statue of General Washington on horseback, a format appropriate for a victorious field commander.
Evidence suggests that Houdon was to remain in Paris and sculpt Washington from a likeness Charles Willson Peale had drawn. Dissatisfied, with carving in three dimensions what Peale had rendered in two - visit Washington in person. Took detailed measurements of Washington’s body and sculpted a life mask of the future president’s face.

Contemporary clothing (and not a toga)

slightly idealized and classicized bust portrait of the future first president.Washington disliked this classicized aesthetic and insisted on being shown wearing contemporary attire rather than the garments of a hero.
CONTEXT: perfectly captured Washington’s likeness. This statue of George Washington has become one of the most recognized and copied of images of the first president of the United States.
CONTENT: Washington stands and looks slightly to his left; his facial expression could best be described as fatherly. His stance mimics that of the contraposto seen in Polykleitos’ Doryphoros.
His right arm hangs by his side and rests atop a gentleman’s walking stick. His left arm—bent at the elbow—rests atop a fasces, a bundle of thirteen rods that symbolizes not only the power of a ruler but also the strength found through unity. This visually represents the concept of E Pluribus Unum—Out of Many, One—a congressionally approved motto of the United States from 1782 until 1956.
Rather than hold his officer’s sword, a symbol of military might and authority, it instead benignly hangs on the outside of the fasces, just beyond Washington’s immediate grasp. This surrendering of military power is further reinforced by the presence of the plow behind Washington. This refers to the story of Cincinnatus, better to be subtly compared to Cincinnatus than to be overtly linked to Caesar.

Washington as soldier and private citizen

a near perfect representation of the first president of the United States of America. Houdon captured Washingtons look, but more importantly, who Washington was, both as a soldier and as a private citizen.To compare Houdon’s statue to Horatio Greenough’s 1840 statue of Washington only makes this salient point more clear. With the sitter’s urging, Houdon opted for subtlety whereas Greenough decided two generations later to fully embrace a neoclassical aesthetic. As a result, Houdon’s statue celebrates Washington the man, whereas Greenough deified Washington as a god.

Horatio Greenough, George Washington, 1840, marble, 136 x 102 inches, National Museum of American History

Romanticism: Goya, Gericault and Delacroix (106 108)

Man and the Natural World Turner and Constable 111 American Cole & Velasco 109 118

Realism 113 107 115

ROMANTICISM

It was partly a reaction to the Industrial Revolution,[1] the aristocratic social and political norms of the Age of Enlightenment, and the scientific rationalization of nature - all components of modernity.[2] It was embodied most strongly in the visual arts, music, and literature, but had a major impact on historiography,[3] education,[4] and the natural sciences.[5] It had a significant and complex effect on politics, and while for much of the Romantic period it was associated with liberalism and radicalism, its long-term effect on the growth of nationalism was perhaps more significant.
French artists in early nineteenth century The "Neoclassically" trained Poussinists (French baroque painter Nicolas Poussin). LINE
The Rubenists (named in honor of the Flemish master Peter Paul Rubens) COLOR. By the time Delacroix was in his mid-20s—that is, by 1823—he was one of the leaders of the ascending French romantic movement.
Talented formal art education in the studio of Pierre Guérin,Prix de Rome (Rome Prize) whose Parisian studio was considered a particular hotbed for romantic aesthetics. Rather than look to the examples of the classical past for a narrative, Delacroix used tcontemporary world events for his subject. This "ripped from the headlines" approach was common for many romantic painters.
Comparing David’s Oath of the Horatii (above, left) with Francisco Goya’s The Third of May, 1808 (above, right) is instructive. Whereas David mined a story from more than 2,500 years ago, Goya instead completed a history painting from the recent past. This chronological immediacy only increased the pathos of Goya’s painting. Romanticism= The subject was topical and exotic, and the artist used color and brushwork to elicit an emotional response from the viewer.

106. Y no hai remedio (And There's Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15

ARTIST: , Francesco de Goya

DATE: c. 1770-1806 C.E.

LOCATION: Spain

MATERIALS: Drypoint Ethching

VOCAB: Peninsular War (1807-1814), etching and drypoint, stylus, Esto es peor (This is Worse), Belvedere Torso

THEME: Humanism and the Classical Tradition

READ CONTENT: A man, blind-folded, head downcast, stands bound to a wooden pole. His white clothes, despite tears and rips, seem to emit light; although the man’s off-kilter posture signifies defeat, he is yet heroic, an Alter Christus—another Christ. On the ground in front of him is a corpse, contorted, the spine twisted, arms and legs sprawled in opposite directions. His grotesque face looks out at us through obscured eyes as blood and brain matter ooze out of his skull and pool around his head. Seconds ago this man was alive. Further off, to our hero’s left, other men, doubled-over and on their knees, are similarly secured to wooden stakes. To his right we see the cause of the carnage: a neat line of soldiers aim rifles at the men, the muzzle of their weapons disappearing behind our hero’s hip. But the rest of the gun is not left to our imagination. Suddenly—and in such an obvious position that we wonder how we did not see them before—the barrel of three rifles appear from the right edge of the picture, aimed at our messianic hero. Not only is he about to die, but his executioners are everywhere. As the caption of the picture tells us, “Y no hay remedio” (And there's nothing to be done).
Francisco Goya created the aquatint series The Disasters of War from 1810 to 1820. The eighty-two images add up to a visual indictment of and protest against the French occupation of Spain by Napoleon Bonaparte. TGoya worked as a court artist for Joseph Bonaparte, though he would later deny any involvement with the French “intruder king.”Processetching and drypoint allowed Goya to create nuanced shades of light and dark that capture the powerful emotional intensity of the horrific scenes.Copper plate, wax aciddrypoint Here Goya scratched directly into plate the earliest prints in a series are generally more highly valued.Moist Paper, inkWar as disasterThe first group of prints = sobering consequences of conflict between French troops and Spanish civilians. The second group documents the effects of a famine that hit Spain in 1811-1812, The final set of pictures depicts the disappointment and demoralization of the Spanish rebels, who, after finally defeating the French, found that their reinstated monarchy would not accept any political reforms. Although they had expelled Bonaparte, the throne of Spain was still occupied by a tyrant. And this time, they had fought to put him there.
The Disasters of War were Goya’s second series, Los Caprichos. This set of images was also a critique of the contemporary world, satirizing the socio-economic system in Spain that caused most people to live in poverty and forced them to act immorally just to survive.
Goya created his masterpiece The Third of May, 1808 which portrays the ramifications of the initial uprising of Spanish against the French, right after Napoleon’s takeover. Sometimes called “The first modern painting,” ithe inexorable cruelty of one group of people towards another—was a preoccupation of the artist, whose imagery would only become darker as he became older. Not the most gruesome. This honor may belong to the print " Esto es peor (This is Worse)," which captures the real-life massacre of Spanish civilians by the French army in 1808. In the macabre image, Goya copied a famous Hellenistic Greek fragment, the Belvedere Torso (left), to create the body of the dead victim.Goya’s Disasters of War series was not printed until thirty-five years after the artist’s death, when it was finally safe for the artist's political views to be known. The images remain shocking today, and even influenced the novel of famous American author Ernest Hemingway, For Whom the Bell Tolls, a book about the violence and inhumanity in the Spanish Civil War (1936-1939). Hemingway shared Goya’s belief, expressed in The Disasters of War, that war, even if justified, brings out the inhumane in man, and causes us to act like beasts. And for both artists, the consumer, who examines the dismembered corpses of the aquatints or reads the gruesome descriptions of murder but does nothing to stop the assassin, is complicit in the violence with the murderer.Essay by Christine Zappella

108. Liberty Leading the People

ARTIST: Eugène Delacroix

DATE: c. 1830 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB: Poussinists, Rubenists, romantic movement

THEME: Humanism and the Classical Tradition

(video, essay, images, additionalresources)

Liberty Leading the Peoplecompleted this painting during same year in which the event occurred, it is, at its core, a history painting. Indeed, Delacroix depicts an event from the July Revolution of 1830, This uprising of 1830 was the historical prelude to the June Rebellion of 1832, an event featured in Victor Hugo’s famous novel, Les Misérables (1862),
CONTENT READ: at first seems to be overpowered by chaos, but on closer inspection, it is a composition filled with subtle order. The first thing a viewer may notice is the monumental—and nude to the waist—female figure. Her yellow dress has fallen from her shoulders, as she holds a bayonetted musket in her left hand and raises the tricolor—the French national flag—with her right. This red, white, and blue arrangement of the flag is mimicked by the attire worn by the man looking up at her. She powerfully strides forward and looks back over her right shoulder as if to ensure those who she leads are following. Her head is shown in profile—like a ruler on a classical coin—and she wears atop her head a Phrygian cap, a classical signifier of freedom. This is an important bit of costuming—in ancient Rome, freed slaves were given one to wear to indicate their newly liberated status, and this headwear became a symbol of freedom and liberty on both sides of the Atlantic Ocean during the eighteenth and nineteenth centuries.
NOT a specific individual, d, she serves as an allegory—in this instance, a pictorial device intended to reveal a moral or political idea—of Liberty. AN IDEALA revolution for everyoneSoldier, factory worker, children
A modern subject Notre Dame, perhaps the defining architectural monument of Paris can be clearly seen on the right side of the painting. Importantly, Delacroix signed and dated his painting immediately underneath this monument.
Essay by Dr. Bryan Zygmont

111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On)

ARTIST: Joseph Mallord William Turner

DATE: c. 1840. C.E.

LOCATION: U.S.

MATERIALS: Oil on Canvas

VOCAB: abolitionists, impasto, Zong

THEME: Man and the Natural World

(video, images, additional resources)

Juxposition in CONTENT- Beauty and HorrorRuebenist or Poussinist Style?Comarison to Goy, the dark side of human natureTurner- SUNSETSPunishment by Nature, Indifference of NatureOwner byAbolisionist

HUDSON RIVER SCHOOL

The Hudson River School was a mid-19th century American art movement embodied by a group of landscape painters whose aesthetic vision was influenced by romanticism. The paintings for which the movement is named depict the Hudson River Valley and the surrounding area, including the Catskill, Adirondack, and the White Mountains; eventually works by the second generation of artists associated with the school expanded to include other locales in New England, the Maritimes, the American West, and South America.

Kindred Spirits, 1849, by Asher B. Durand (1796–1886). (Crystal Bridges Museum of American Art)

Albert Bierstadt, Among the Sierra Nevada Mountains, California, 1868, Smithsonian American Art Museum, Washington, DC.

109. View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm—The Oxbow

ARTIST: Thomas Cole

DATE: c. 1836. C.E.

LOCATION: U.S.

MATERIALS: Oil on Canvas

VOCAB: Hudson River School, manifest Destiny, Trancendentalists, vinniettes

THEME: Man and the Natural World

(video, essay, images, additional resources)

The Course of Empire is a series of five paintings created by Thomas Cole in the years 1833–1836. It is notable in part for reflecting popular American sentiments of the times, when many saw pastoralism as the ideal phase of human civilization, fearing that empire would lead to gluttony and inevitable decay. The theme of cycles is one that Cole returned to frequently, such as in his The Voyage of Life series. The Course of Empire comprises the following works: The Course of Empire – The Savage State; The Arcadian or Pastoral State; The Consummation of Empire; Destruction; and Desolation.

The Course of Empire

The Savage State

The Arcadian or Pastoral State

The Consummation of Empire

Destruction

Desolation

118. The Valley of Mexico from the Hillside of Santa Isabel

ARTIST: José María Velasco

DATE: c. 1882. C.E.

LOCATION:

MATERIALS: Oil on Canvas

VOCAB: Lake Texcoco, 1821 War of Independence, Lopexz de Santa Anna

THEME: Man and the Natural World

(video, essay, photos)

Valle de Mexico 1877

107. La Grande Odalisque

ARTIST: Jean-Auguste-Dominique Ingres

DATE: 1814 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB: Odalisque

THEME: Gender Roles & Relationships

(video, essay, images, additional resources)

Titian - Venus of Urbino 1538

115. Olympia

ARTIST: Édouard Manet

DATE: 1863 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB:

THEME: Gender Roles & Relationships

(video, image, additional resources)

113. The Stonebreakers,

ARTIST: Gustave Courbet

DATE: 1849 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB: Realism

THEME: Class and Society

(essay, image, additional resources 1, 2)

116. The Saint-Lazare Station

ARTIST: Claude Monet

DATE: 1877 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB: Modern

THEME: Challenging Tradition

Claude Monet (video, image, additional resources

110. Still Life in Studio

ARTIST: Louis-Jacques-Mandé Daguerre

DATE: 1837 C.E.

LOCATION: France

MATERIALS: daguerreotype

VOCAB: Niepce

THEME: Innovation & Experimentation

(essay, image, additional resources)

View from the Window at Gras (1826)

William Henry Fox Talbot, The Open Door, 1844

114. Nadar elevating Photography to Art

ARTIST: Honoré Daumier

DATE: 1862 C.E.

LOCATION: France

MATERIALS: Lithograph

VOCAB:

THEME: Innovation & Experimentation

(essay, image, additionalresources)

117. The Horse in Motion

ARTIST: Eadweard Muybridge

DATE: 1878 C.E.

LOCATION:

MATERIALS: Albumen Print

VOCAB:

THEME: Innovation & Experimentation

(essay, image, additional resources)

127. The Steerage

ARTIST: Alfred Stieglitz

DATE: 1907 C.E.

LOCATION: France

MATERIALS: Oil on Canvas

VOCAB:

THEME: Innovation & Experimentation

(essay, image, additional resources)

120. The Starry Night

ARTIST: Vincent van Gogh

DATE: 1889 C.E.

LOCATION: Netherlands

MATERIALS: Oil on Canvas

VOCAB: EXPRESSIONISM

THEME: Death and the Afterlife

(essay, image, additional resources)

121. The Coiffure

ARTIST: Mary Cassatt

DATE: 1890-1891 C.E.

LOCATION: France

MATERIALS: Drypoint & Aquaint

VOCAB:

THEME: Domestic Life and Surroundings

(essay, image, additional resources)

123. Where do we come from? What are we? Where are we going?

ARTIST: Paul Gauguin

DATE: 1897-1898 C.E.

LOCATION: France/Tahiti

MATERIALS: Oil on Canvas

VOCAB:

THEME: Innovation & Experimentation

(essay, images, additional resources)

122. The Scream

ARTIST: Edvard Munch

DATE: 1893 C.E.

LOCATION: Norway

MATERIALS: Tempera & Pastel on Cardboard

VOCAB:

THEME: Art and Human Psychology

(essay, image, additional resources)

112. Palace of Westminster (Houses of Parliament), Charles Barry, A.W.N. Pugin (video, images, additional resources)

119. The Burghers of Calais, Auguste Rodin (essay, image, 3D image, additional resources)

124. Carson, Pirie, Scott and Company Building, Louis Sullivan (essay, images, additionalresources)

125. Mont Sainte-Victoire_, Paul Cézanne (essay, image, additional resources

126. Les Demoiselles d'Avignon_, Pablo Picasso (video, images, additional resources

128. The Kiss, Gustav Klimt (video, image, additional resources)

129. The Kiss, Constantin Brancusi (video, images, additional resources)

130. The Portuguese, Georges Braque (essay, images, additional resources)

131. The Goldfish, Henri Matisse (essay, image, additional resources)

132. Improvisation 28 (second version), Vasily Kandinsky (video, photo, additional resources

133. Self-Portrait as a Soldier, Ernst Ludwig Kirchner (essay, image, additional resources

134. Memorial Sheet of Karl Liebknecht, Käthe Kollwitz (essay, image, additional resources)

135. Villa Savoye, Le Corbusier (essay, images, additional resources)

136. Composition with Red, Blue and Yellow, Piet Mondrian (essay, image, additional resources)

137. Illustration from The Results of the First Five-Year Plan, VarvaraStepanova (essay, image, additional resources)

138. Object (Le Déjeuner en fourrure), Meret Oppenheim (essay, quiz, image, additional resources 139. Fallingwater, Frank Lloyd Wright (essay, plans and elevations, images, additionalresources)

140. The Two Fridas, Frida Kahlo (essay, image, additional resources)

141. The Migration of the Negro, Panel no. 49, Jacob Lawrence (video-short version, video-long version, photo, additional resources)

142. The Jungle, Wilfredo Lam (essay, image, additional resources)

143. Dream of a Sunday Afternoon in Alameda Central Park, Diego Rivera (essay, image, additional resources)

144. Fountain, Marcel Duchamp (video, images, additional resources)

145. Woman I, Willem de Kooning (video, images, additional resources)

146. Seagram Building, Ludwig Mies van der Rohe, Philip Johnson (video,images, additional resources)

147. Marilyn Diptych, Andy Warhol (essay, image, additional resources)

148. Narcissus garden, Yayoi Kusama (essay, image, additional resources)

149. The Bay, Helen Frankenthaler (essay, quiz, image, additional resources)

150. Lipstick (Ascending) on Caterpillar Tracks, Claes Oldenburg (essay, photo, additional resoures)

151. Spiral Jetty, Robert Smithson (video, images, additional resources)

152. House in New Castle County, Robert Ventura, John Rausch and Denise Scott Brown (essay, photos, additional resources)

USE OF LANDSCAPE - Transformation, AmericaFounder of Landscape paintings in America

AMERICANS comsumers Views

LARGE Painting - Cole gave importance landscape

ONE SIDE: Left, Storm, broken Tree, Birds, lightning = SUBLIME- wild, untamed, AWESOME

AMERICA AS A NEW EDEN

RIGHT SIDE: plaots of land, ordained by God

Manefest Destiny - Hebrew letters. Shadi=Almighty

Viniettes ART: Sublime to pastoral in landscape

Cole is in the CANVAS - Cross-Christian Context, Bag acts as signing - ENTERTAIN for COMNSUMERS

The History of the land - Mexico City

Light and shadow- zig-zag to the city - How we ge there

Artist- Study of clouds atmosphere, plants, geography

Viniettes- family- GREAT MOMENTS IN MEXICAN HISTORY - Hill of Tepeach- Guadalupe- Spiritual, Aztec causway, industrialization, receeding lake

FORM- PEAKS balanced by clouds

19th century - ROMANTICISM influence

MORE SCIENTIFIC- EXACT AS POSSIBLE- tranition away from Romanticism

Mexican National Identity

Neoclassicism

DISTANCE The peacock fan, the turban, the enormous pearls, the hookah (a pipe for hashish or perhaps opium), and of course, the title of the painting, all refer us to the French conception of the Orient.

because of the subject's geographic distance.

Monet’s painting, The Gare Saint-Lazare,

LIGHT - the play of light filtered through the smoke of the train shed, the billowing clouds of steam, and the locomotives that dominate the site. Of these twelve linked paintings, Monet exhibited between six and eight of them at the third Impressionist exhibition of 1877,

. He depicts not just the steam and light—which fill the canvas—but also their effect on the site

Monet shows the locomotives as the main subject, rather than as background elements. He shows them unapologetically, in their natural element, among the steam, workers and activity of the bustling train station

serial painting or an exploration of subtle changes only evident in repeated views

The MODERN

Frequently using traditional methods of composition and marrying these with innovative techniques, photographers created a new vision of the material world

is it an art or a science?

camera obscura

l the invention of a light sensitive surface by Frenchman Joseph Nicéphore Niépce that the basic principle of photography was born.

Long Exposure

daguerrotype in 1839, which significantly reduced exposure time and created a lasting result, but only produced a single image.

calotype method, patented in February 1841. Talbot’s innovations included the creation of a paper negative, and new technology that involved the transformation of the negative to a positive image, allowing for more that one copy of the picture

Both the difficulties of the method and uncertain but growing status of photography were lampooned by Honoré Daumier in his Nadar Elevating Photography to the Height of Art (1862). Nadar, one of the most prominent photographers in Paris at the time, was known for capturing the first aerial photographs from the basket of a hot air balloon.

MAYBRIDGE In 1878, new advances decreased the exposure time to 1/25th of a second, allowing moving objects to be photographed and lessening the need for a tripod.

early instantaneous exposure

PHOTOGRAPHY AS DOCUMENTARY

In this essay, written 35 years after he took the photograph, Stieglitz describes how The Steerage encapsulated his career’s mission to elevate photography to the status of fine art by engaging the same dialogues around abstraction that preoccupied European avant-garde painters:

The Steerage suggests that photographs have more than just a “documentary” voice that speaks to the truth-to-appearance of subjects in a field of space within narrowly defined slice of time.

The Steerage calls for a more complex, layered view of photography’s essence that can accommodate and convey abstraction.

Finally in 1888 George Eastman developed the dry gelatin roll film, making it easier for film to be carried. Eastman also produced the first small inexpensive cameras, allowing more people access to the technology

The Steerage is not only about the “significant form” of shapes, forms and textures, but it also conveys a message about its subjects, immigrants who were rejected at Ellis Island, or who were returning to their old country to see relatives and perhaps to encourage others to return to the United States with them.

Stieglitz’s father had come to America in 1849, during a historic migration of 1,120,000 Germans to the United States between 1845 and 1855. His father became a wool trader and was so successful that he retired by age 48. By all accounts, Stieglitz’s father exemplified the “American dream”

Moreover, investigative reporter Kellogg Durland traveled undercover as steerage in 1906 and wrote of it: “I can, and did, more than once, eat my plate of macaroni after I had picked out the worms, the water bugs, and on one occasion, a hairpin. But why should these things ever be found in the food served to passengers who are paying $36.00 for their passage?”

Stieglitz was conflicted about the issue of immigration. While he was sympathetic to the plight of aspiring new arrivals, Stieglitz was opposed to admitting the uneducated and marginal to the United States of America—despite his claims of sentiment for the downtrodden. Perhaps this may explain his preference to avoid addressing the subject of The Steerage, and to see in this photograph not a political statement, but a place for arguing the value of photography as a fine art.

Report abuse