Claude Monet Waterloo Bridge, Sunlight Effect, ca. 1900 (dated 1903). Oil on canvas. Milwaukee Art Museum, Bequest of Mrs. Albert T. Friedmann.
The Farm at Les Collettes, Cagnes, 1908–14 Pierre-Auguste Renoir (French, 1841–1919)
Mary Cassatt Portrait of the Artist, 1878 gouache on wove laid paper down to buff-colored wood pulp paper, 23 5/8 x 16 3/16 inches (60.1 x 41.2 cm) Metropolitan Museum of Art, NY
Mary Cassatt Mother about to Wash Her Sleepy Baby 1880 oil on canvas 39 3/8 x 25 7/8 inches (100 x 65.7 cm), Los Angeles County Museum of Art.
Renoir, Pierre-Auguste Renoir, Pierre-Auguste A Girl With a Watering Can 1876 Oil on canvas 39 1/2 x 28 3/4 in. (100 x 73 cm) The National Gallery of Art, Washington
Cypresses, 1889 Vincent van Gogh (Dutch, 1853–1890)
Vincent van Gogh. The Starry Night. 1889. Oil on canvas, 29 x 36 1/4" (73.7 x 92.1 cm). (The view from his barred window in the asylum.)
Vincent Van Gogh 1853-1890 Born (1853) on the day of his brother’s death one year prior— given his brother’s name 1877 begins studying to become a minister. After becoming a minister, he gives away all of his belongings due to his overly- caring nature for the down-and-out and needy, and he ends up homeless; when the elders of his church find him dirty, unkempt, etc. they fire him. 1880 becomes aware of his love of art and pursues it. Van Gogh’s personality: in addition to being extremely caring, he was high-strung, manic, extremely intelligent, and multilingual; he was also addicted to Absinth, an extremely hallucinogenic drug in the liquor people drank at the time w/ sugar cubes and water.
Vincent Van Gogh 1853-1890 “Ear Story”: while high on absinth, he thought he heard people saying, “lend us your ear, give us your ear” so he cuts off his lobe, puts it in an envelope and gives it to Rachel, an extremely down and out prostitute whom he took in and cared for. Gougan, who influenced Van Gogh to paint from his imagination instead of solely from a model, was at first accused of killing VG since they had been drinking together all day; the two friends never saw each other again. Van Gogh signed his works with first name only because he wanted people to be his friend—loneliness marks his life, due in large part to his mental illness, depression and mania. Yellow, representing love, family, life, etc. becomes his “hallmark” color because he used it so often.
Vincent Van Gogh 1853-1890 1889 mental illness causes him to enter an asylum, where he desperately tries to get the staff to help the other 10 inmates. Highly addicted to Absinth upon entering the asylum, VG suffers tremendously; he is not allowed to paint or smoke. Eventually he’s allowed to paint again, so he self-medicates by eating his own paint to ease his withdrawal. He paints Starry Night while in the asylum a year before his suicide. 1890: while affected by Absinth, he shoots himself and dies (at age 37) in his brother Theo’s arms. His brother never recovers from the loss and dies six months later. Only one of his paintings sold in his life time for $10.00. His sister-in-law found all he had given away and sold them.
Vincent van Gogh Self-Portrait Oil on artist's board mounted on cradled panel, 1886/87; 41 x 32.5 cm Joseph Winterbotham Collection, 1954.326
Vincent van Gogh. The Potato-Eaters. April 1885. Oil on canvas. Vincent van Gogh Foundation, Rijksmuseum Vincent van Gogh, Amsterdam, the Netherlands.
The Scream (or The Cry) Edvard Munch 1893; 150 Kb; Casein/waxed crayon and tempera on paper (cardboard), 91 x 73.5 cm (35 7/8 x 29"); Nasjonalgalleriet (National Gallery), Oslo
Pablo Picasso The Old Guitarist, 1903/04 Oil on panel 122.9 x 82.6 cm Spanish, 1881-1973; worked in France starting in 1904 The Art Institute of Chicago
Max Beckmann 1884-1950 Born into middle-class family in Germany Transformed by traumatic experiences of WWI (in which he served as a medic) and the German Revolution at the end of the war His art changed from “academically correct” depictions to a distortion of both figure and space, revealing his altered vision of himself and humanity A true “painter-thinker,” he strove to find the hidden spiritual dimensions in his subjects
Max Beckmann 1884-1950 Popular in the 1920s but fired in 1933 by Nazi government from his teaching position at the Art School, due to Hitler’s dislike of modern art Many of his paintings express the agonies of Europe in the first half of the 20 th century; those from the 30s on contain references to the brutalities of the Nazis. Beyond those immediate concerns, his subjects and symbols assume a larger meaning, voicing universal themes of terror, redemption, and the mysteries of eternity and fate Beckmann spent the end of his life in the United States teaching in Washington and New York.
Max Beckmann The Night August 1918-March 1919 Oil on canvas 52 3/8 x 601/4 in.
Cubism (1907-1935) Analytical and Synthetic Cubism are phases of a painting style created by Pablo Picasso and George Braque. Throughout their time together, Braque and Picasso were searching for themselves, a reaction to the culture of the day. There were questions about God, the subconscious, and life on the planet that all played a role in creating this new art.
Analytical broke refers to the “analysis” or “breaking down” of form and space. Surfaces are broken down into sharply defined planes but are not complexly fragmented. Forms still retain an illusion of volume, and perspective, and though dramatically shortened, is not obliterated. Analytical Cubism visually laid out what the artist thought was important about the subject rather then just mimicking it. Body parts and objects within the picture were broken down into geometric shape. At its inception, cubists employed only a limited range of colors, such as ochres, browns, greens, grays and blacks. “Analytic Cubism” Developed from 1907-1912
“Synthetic Cubism” Developed from 1912-1914 Later, the “analysis” of objects was abandoned and replaced by “constructing” or “synthesizing” them through the overlapping of larger, more discrete forms that seemed as if they might have been cut and pasted to the canvas. Picasso and Braque replaced parts of the pictures of real things with abstract signs and symbols. Paper would be applied over canvas, pencil and charcoal combined with paint to create yet another way of putting objects in a painting. Fragmentation of the surfaces in the paintings permitted a more thorough exploration of form. This new form of cubism became popular in the ’30s, featured brighter colors, ornamental patterns, undulating lines, and ragged as well as jagged shapes.
Georges Braque May 13, 1882 – August 31, 1963 He began painting while working for his father, a house decorator. He moved to Paris in 1900 to study and later met Picasso, a meeting that marked a huge turning point in Braque's development; together they evolved as leaders of Cubism. In establishing the principle that a work of art should be autonomous and not merely imitate nature, Cubism redefined art in the twentieth century. Braque's large compositions incorporated the Cubist aim of representing the world as seen from a number of different viewpoints. He wanted to convey a feeling of being able to move around within the painting.
He described "objects shattered into fragments… [as] a way of getting closest to the object…Fragmentation helped me to establish space and movement in space”.  He adopted a monochromatic and neutral color palette in the belief that such a palette would work simultaneously with the form, instead of interfering with the viewer's conception of space; and would focus, rather than distract, the viewer from the subject matter of the painting.  monochromatic He described "objects shattered into fragments… [as] a way of getting closest to the object…Fragmentation helped me to establish space and movement in space”. He adopted a monochromatic and neutral color palette in the belief that such a palette would work simultaneously with the form, instead of the interfering with the viewer's conception of space; and would focus, rather than distract, the viewer from the subject matter of painting. Braque's loyalty to a Cubist approach of painting long after Cubism ultimately hindered his career as a notable avant- garde artist. In relation to Picasso, who continuously innovated and reinvented his approach to painting to adapt with future avant-garde movements, such as Surrealism, Braque was considered mundane and of the past.
Still Life with Budda 2 - Everett Spruill Still Life with Budda 2 Painting recommend Artwork: #11 of 62 by Everett SpruillEverett Spruill Previous Previous Next View All Next View All Still Life with Budda 2 Everett Spruill Painting - Mixed Media On Canvas 2009
Umberto Boccioni (Italian, 1882– 1916.) Dynamism of a Soccer Player [Dinamismo di un footballer]. (1913) Oil on canvas, 6' 4 1/8" x 6' 7 1/8" (193.2 x 201 cm) The Museum of Modern Art, New York. The Sidney and Harriet Janis Collection
Born: 1881, Campbell County, Virginia, United States of America Died: 1936, New York, New York, United States of America Peinture 1917–18 Oil and graphite on canvas Image: 10 1/16 x 12 5/8 in. (25.6 x 32.1 cm) Frame: 12 3/4 x 15 5/16 in. (32.4 x 38.9 cm) Terra Foundation for American Art, Daniel J. Terra Collection, 1999.21 Patrick Henry Bruce
Pablo Picasso 1881-1973 Imitation Blue Period—1901 (expressions of human misery) Rose Period—1904 (circus people dominant) Nude Boys & Horses--1906 Cubism—1907 Collage—1912 Realism / Surrealism--1914 Classical—1921-27 (ie. Roman / Greek sculptures) 1930s—Picasso’s love often depicted 1930s (late)—death a common subject
Picasso: "Guernica" Guernica, depicting the bombing of Guernica, Basque Country, during Spanish Civil War, 1937, shows the tragedies of war and the suffering it inflicts upon individuals, particularly innocent civilians. This work serves as a reminder of the tragedies of war, an anti-war symbol, and an embodiment of peace.
Surrealism 1920-1950 Surrealism grew out of the despair caused by WWI as artists lost faith in humanity and rational thought. Though born out of Dadaism, Surrealism is a positive expressive art form, rather than art aimed at negation like Dada art. Surrealists felt that the outside world had failed them, so they turned to the subconscious mind for inspiration. Freud’s theories about the human mind and his writings on the interpretations of dreams strongly influenced their work. Dreams, fantasy and the element of chance played an important role in their work. The main themes underlying much of surrealist work include eroticism, socialism, dreams and the subconscious, atheism and symbolism.
Joan Miró. The Beautiful Bird Revealing the Unknown to a Pair of Lovers. 1941 Gouache, pencil, and oil wash on paper, 18 x 15" (46 x 38 cm).
René Magritte, The Future of Statues, 1937 Painted plaster relief, 33.0 x 16.5 x 20.3 cm, Tate Gallery, London.
Yves Tanguy (French-American, 1900- 1955), Reply to Red, 1943 Oil on Canvas, Minneapolis Institute of Arts
Peter Blume (American, born Russia, 1906- 1992), South of Scranton, 1931, Oil on canvas, 56 x 66 inches (142.2 x 167 cm), Metropolitan Museum of Art, NY.
Nude (Study), Sad Young Man on a Train Marcel Duchamp 1911–12. Oil on cardboard, 100 x 73 cm.
Salvador Dalí. The Persistence of Memory. 1931. Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm).
Salvador Dalí Spanish (1904 - 1989) Oedipus Complex, 1930 24 1/8 in. x 19 3/4 in. (61.28 cm x 50.17 cm)pastel on paperCollection
René Magritte, The Reckless Sleeper, 1928, Oil on Canva, 116.0 x 81.0 x 2.0 cm, Tate Gallery, London.
Salvador Dali Soft Construction with Boiled Beans: Premonition of Civil War 1936 Oil on canvas 39 3/8 x 39 in. Philadelphia Museum of Art
Marc Chagall (French, born Belarus. 1887–1985. Over Vitebsk [Au dessus de Vitebsk]. 1915–20 (after a painting of 1914) Oil on canvas, 26 3/8 x 36 1/2" (67 x 92.7 cm) The Museum of Modern Art, New York.
Mid-Unit Check 1. Name the Art Movement represented by each of the following works. 2. Provide the artist’s name for 3 of the works.
Pollack, Jackson Autumn Rhythm 1950 (207” wide) “Drip painting” technique. In this piece, thinned paint was applied to unprimed canvas that lay flat on the floor (not propped on an easel). Paint was poured, dribbled, dripped, flicked, and splattered onto the canvas. Pollock also used trowels, sticks, knives—anything to build up the dense, lyrical composition. He worked with the canvas on the floor and continually moved around it, applying paint from all sides.
Pollack, Jackson Greyed Rainbow, 1953 Oil on canvas 182.9 x 244.2 cm Gift of the Society for Contemporary American Art, 1955.494
Jackson Pollock, Number 1, 1950 (Lavender Mist),1950, National Gallery of Art, Ailsa Mellon Bruce Fund, 1976.37.1
"It is impossible to make a forgery of Jackson Pollock's work," Time magazine critic Robert Hughes claimed in 1982. “Pollock used the patterns caused by the separation and marbling of one enamel wet in another, the tiny black striations in the dusty pink, to produce an infinity of tones." It is what his imitators could never do, and why there are no successful Pollock forgeries: they always end up looking like...spaghetti, whereas Pollock--in his best work--had an almost preternatural control over the total effect of those skeins and receding depths of paint. In them, the light is always right. Nor are they absolutely spontaneous; he would often retouch the drip with a brush. In all of his works, layered skeins of paint generate beauty out of seemingly random gestures. Pollock's daring abstract work legitimized the convergence and mastery of chance, intuition, and control. Toward the end of his life (he died in a car accident in 1956), Pollock said, “I’m very representational some of the time, and a little all of the time. But when you’re working out of your unconscious, figures are bound to emerge…Painting is a state of being…Painting is self-discovery. Every good artist paints what he is.”
Willem de Kooning, Woman IV 1952/53 Netherlands (1904-1997)
Willem de Kooning Composition, 1955 Oil, enamel, and charcoal on canvas 79 1/8 x 69 1/8 inches. Foundation/ Artists Rights Society (ARS), New York.
Hans Hofmann, American (born in Germany), 1880– 1966 Integration (about 1944) Mixed media on gessoed plywood. 76.2 x 60.96 cm (30 x 24 in.) Note: Hans Hofmann was actually one of the first to develop the “drip” painting technique that Pollock made famous after his first creation in 1947.
Thomas, Alma Starry Night with Astronauts, 1972 Acrylic on canvas 152.4 x 137.2 cm
POP ART 1960-1970’S “Everything is beautiful. Pop is everything.” ~ Andy Warhol
Brooklyn-based artist Heidi Cody frequently uses consumer products, packaging, and logos in her work. The letters shown here are part of American Alphabet, all 26 letters of which she took from corporate logos. So far Cody has not had any legal troubles. Ad agencies have even purchased parts of the Alphabet. Heidi Cody American Alphabet Installation, 2000
A – All laundry detergent B – Bubblicious gum C – Campbells’s soup D – Dawn diswashing liquid E – Eggo waffles F – Fritos G – Gatorade H – Hebrew National I – Ice J – Jello (blue background = sugar-free version) K – Kool Aid L – Lysol M – M&Ms N – Nilla Wafers O – Oreo P – Pez Q – Q-Tips R – Reese’s S – Starburst T – Tide detergent U – Uncle Ben’s rice V – V8 W – Wisk X – Xtra laundry detergent Y – York Peppermint Patties Z – Zest soap
Product Slogans (2010) 1.Taste the Rainbow10. Melts in Your Mouth, 2.Just Do ItNot in Your Hands 3.Obey Your Thirst11. Eat Fresh 4.Like a Rock12. Grab Life by the Horns 5.Mmmm Mmmm Good13. Where a Kid Can Be a 6.You’re in Good HandsKid 7.Head for the Border14. I’m a Big Kid Now 8.You’ve Got Questions 15. Play. Laugh. Learn. We’ve Got Answers 9.You Can Do It; We Can Help
Product Slogans (2010) 1.Skittles10. M & Ms 2.Nike11. Subway 3.Sprite12. Dodge 4.Chevy13. Chucky Cheese 5.Campbell’s Soup14. Huggies 6.Allstate Ins.15. Fisher Price 7.Taco Bell 8.Radio Shack 9.Home Depot
Jasper Johns Flag. 1954–55 Encaustic, oil, and collage on fabric mounted on plywood (three panels) 42 1/4 x 60 5/8" (107.3 x 154 cm) The Museum of Modern Art, New York
Lichtenstein, Roy Crying Girl 1964 Enamel on steel 46 1/8 x 46 1/8 in.
Roy Lichtenstein Blam 1962 Oil on canvas 68 x 80 in Yale University Art Gallery, New Haven
Roy Lichtenstein In the Car 1963 Magna on canvas 172 x 203.5 cm (67 5/8 x 80 1/8 in.)
Roy Lichtenstein Still Life with Glass and Peeled Lemon 1972 Oil and Magna on canvas 42 x 48 in
Keith HaringUntitled 1982 Vinyl paint on vinyl tarpaulin 144 x 144 in Private collection
Yellowheart and a Devil ARTIST: Jim Dine WORK DATE: 1987 CATEGORY: Mixed Media MATERIALS: Etching / hand painting
Street Crossing ARTIST: George Segal WORK DATE: 1992 CATEGORY: Sculptures MATERIALS: Bronze with white patina
Man on Bench ARTIST: George Segal WORK DATE: 1985 CATEGORY: Sculptures MATERIALS: Bronze with white patina and metal bench
Claes Oldenburg and Coosje van Bruggen Ordinary objects are the starting points for independent sculptures on a monumental scale, which create a dynamic interchange with their surroundings and redefine the relation between art and architecture.
Mistos (Match Cover), 1992 Steel, aluminum, fiber-reinforced plastic; painted with polyurethane enamel Overall: 68 ft. x 33 ft. x 43 ft. 4 in. (20.7 x 10.1 x 13.2 m) Vall d'Hebron, Barcelona
Clothespin, 1976 Cor-Ten and stainless steels 45 ft. x 12 ft. 3 in. x 4 ft. 6 in. (13.7 x 3.7 x 1.4 m) Centre Square Plaza, Fifteenth and Market streets, Philadelphia
Aluminum and fiber-reinforced plastic painted with polyurethane enamel Four shuttlecocks, each 17 ft. 11 in. (5.5 m) high x 15 ft. 1 in. (4.6 m) crown diameter and 4 ft. (1.2 m) nose diameter, sited in different positions on the grounds of the museum The Nelson-Atkins Museum of Art, Kansas City, Missouri Shuttlecocks, 1994
Christo and Jeanne-Claude's "The Gates" was on view in Central Park from Feb. 12-28, 2005.
Christo and Jeanne-Claude The Pont Neuf Wrapped, Paris 1975-85
More Fun Pop Art Stuff Michael Kalish : License Plate Art Called by some critics, “the present day Andy Warhol” ** Play: CBS News piece on Michael Kalish license plate art Dan Dunn Paint Jam : Art & Entertainment **Play on YouTube