notebook
Wednesday, April 07, 2004
Friday, March 19, 2004
VIS 22 Final Slide Quiz
1. Ernst Ludwig Kirchner, Self-Portrait with Model, c.1910
2. Jackson Pollock, Number 1, 1948, 1948
3. El Lissitzky, Proun R.V.N.2, 1923
4. John Heartfield, Ten Years Later: Fathers and Sons, 1924
5. George Grosz, Pillars of Society, 1926
6. Diego Rivera, Workers of the Revolution, 1929
7. Andy Warhol, Marilyn Monroe, 1962
8. Alexander Rodchenko, Photomontages for Pro Eto, 1923
9. Georges Braque, Violin and Palette, 1909-1910
10. Kasimir Malevich, Supermatist Painting (Large Cross on White), after 1920
11. Marcel Duchamp, Fountain, 1917
12. Pablo Picasso, Still Life with Chair Caning, 1912
13. Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
14. John Latham, Art and Culture, 1966-69
15. Laszlo Moholy-Nagy, Light-Space Modulator, 1923-30
16. Piet Mondrian, Composition in Red, Yellow and Blue, 1920
17. Robert Rauschenberg, Bed, 1955
18. David Smith, Cubi XIX, 1964
19. Henri Matisse, Madame Matisse: the Green Line, 1905
20. Vladimir Tatlin, Model of the Monument to the Third International, 1919
21. Lyubov Popova, Set for The Magnanimous Cuckold, 1922
22. Meret Oppenheim, Object, 1936
23. Giorgio de Chirico, The Philosophers Conquest, 1914
24. Salvador Dali, The Birth of Liquid Desire, 1932
25. Willem de Kooning, Woman 1, 1950-52
26. Vasily Kandinksy, Improvisation 13, 1910
27. Umberto Boccioni, States of Mind: The Farewells, 1911
28. Roy Lichtenstein, As I Opened Fire, 1964
29. Mark Rothko, No. 8, 1952
1. Ernst Ludwig Kirchner, Self-Portrait with Model, c.1910
2. Jackson Pollock, Number 1, 1948, 1948
3. El Lissitzky, Proun R.V.N.2, 1923
4. John Heartfield, Ten Years Later: Fathers and Sons, 1924
5. George Grosz, Pillars of Society, 1926
6. Diego Rivera, Workers of the Revolution, 1929
7. Andy Warhol, Marilyn Monroe, 1962
8. Alexander Rodchenko, Photomontages for Pro Eto, 1923
9. Georges Braque, Violin and Palette, 1909-1910
10. Kasimir Malevich, Supermatist Painting (Large Cross on White), after 1920
11. Marcel Duchamp, Fountain, 1917
12. Pablo Picasso, Still Life with Chair Caning, 1912
13. Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
14. John Latham, Art and Culture, 1966-69
15. Laszlo Moholy-Nagy, Light-Space Modulator, 1923-30
16. Piet Mondrian, Composition in Red, Yellow and Blue, 1920
17. Robert Rauschenberg, Bed, 1955
18. David Smith, Cubi XIX, 1964
19. Henri Matisse, Madame Matisse: the Green Line, 1905
20. Vladimir Tatlin, Model of the Monument to the Third International, 1919
21. Lyubov Popova, Set for The Magnanimous Cuckold, 1922
22. Meret Oppenheim, Object, 1936
23. Giorgio de Chirico, The Philosophers Conquest, 1914
24. Salvador Dali, The Birth of Liquid Desire, 1932
25. Willem de Kooning, Woman 1, 1950-52
26. Vasily Kandinksy, Improvisation 13, 1910
27. Umberto Boccioni, States of Mind: The Farewells, 1911
28. Roy Lichtenstein, As I Opened Fire, 1964
29. Mark Rothko, No. 8, 1952
Thursday, March 18, 2004
VIS 22 Possible Questions:
1. Describe 4 factors that led to the emergence of Impressionist painting in late 19th century
2. Compare/contrast women in Cassatt & Degas’ paintings? How were paintings affected by their gender?
3. Discuss 3 key aspects of avant-garde
4. How did cubists seek to encourage a critical consciousness in viewer?
5. Compare/contrast work & methods of Rivera and David Alferos
6. Compare/contrast New York & German Dada. How did Ready-made challenge existing definitions and previous avant-garde movements?
1. Describe 4 factors that led to the emergence of Impressionist painting in late 19th century
2. Compare/contrast women in Cassatt & Degas’ paintings? How were paintings affected by their gender?
3. Discuss 3 key aspects of avant-garde
4. How did cubists seek to encourage a critical consciousness in viewer?
5. Compare/contrast work & methods of Rivera and David Alferos
6. Compare/contrast New York & German Dada. How did Ready-made challenge existing definitions and previous avant-garde movements?
VIS 22 Final Slides (CONT.!)
16. Giorgio de Chirico, The Philosophers Conquest, 1914
17. George Grosz, Pillars of Society, 1926
18. Diego Rivera, Workers of the Revolution, 1929
19. Salvador Dali, The Birth of Liquid Desire, 1932
20. Meret Oppenheim, Object, 1936
21. Jackson Pollock, Number 1, 1948, 1948
22. Willem de Kooning, Woman 1, 1950-52
23. Mark Rothko, No. 8, 1952
24. David Smith, Cubi XIX, 1964
25. Robert Rauschenberg, Bed, 1955
26. Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
27. Roy Lichtenstein, As I Opened Fire, 1964
28. Andy Warhol, Marilyn Monroe, 1962
29. John Latham, Art and Culture, 1966-69
16. Giorgio de Chirico, The Philosophers Conquest, 1914
17. George Grosz, Pillars of Society, 1926
18. Diego Rivera, Workers of the Revolution, 1929
19. Salvador Dali, The Birth of Liquid Desire, 1932
20. Meret Oppenheim, Object, 1936
21. Jackson Pollock, Number 1, 1948, 1948
22. Willem de Kooning, Woman 1, 1950-52
23. Mark Rothko, No. 8, 1952
24. David Smith, Cubi XIX, 1964
25. Robert Rauschenberg, Bed, 1955
26. Richard Hamilton, Just what is it that makes today's homes so different, so appealing?, 1956
27. Roy Lichtenstein, As I Opened Fire, 1964
28. Andy Warhol, Marilyn Monroe, 1962
29. John Latham, Art and Culture, 1966-69
Wednesday, March 17, 2004
Finals Time!
VIS 22 Final Slides:
1. Henri Matisse, Madame Matisse: The Green Line, 1905
2. Ernst Ludwig Kirchner, Self-Portrait with Model, 1910
3. Georges Braque, Violin and Palette, 1909-1910
4. Pablo Picasso, Still Life with Chair Caning, 1912
5. Piet Mondrian, Composition in Red, Yellow and Blue, 1920
6. Vasily Kandinsky, Improvisation 13, 1910
7. Umberto Boccioni, States of Mind: The Farewells, 1911
8. Kasimir Malevich, Supermatist Painting (Large Cross on White), after 1920
9. Vladimir Tatlin, Model of the Monument to the Third International, 1919
10. Lyubov Popova, Set for The Magnanimous Cuckold, 1922
11. El Lissitzy, Proun R.V.N.2, 1923
12. Laszlo Moholy-Nagy, Time-Space Modulator, 1923-30
13. Marcel Duchamp, Fountain, 1917
14. John Heartfield, Ten Years Later: Fathers and Sons, 1924
15. Alexander Rodchenko, Photomontages for Pro Eto, 1923
VIS 22 Final Slides:
1. Henri Matisse, Madame Matisse: The Green Line, 1905
2. Ernst Ludwig Kirchner, Self-Portrait with Model, 1910
3. Georges Braque, Violin and Palette, 1909-1910
4. Pablo Picasso, Still Life with Chair Caning, 1912
5. Piet Mondrian, Composition in Red, Yellow and Blue, 1920
6. Vasily Kandinsky, Improvisation 13, 1910
7. Umberto Boccioni, States of Mind: The Farewells, 1911
8. Kasimir Malevich, Supermatist Painting (Large Cross on White), after 1920
9. Vladimir Tatlin, Model of the Monument to the Third International, 1919
10. Lyubov Popova, Set for The Magnanimous Cuckold, 1922
11. El Lissitzy, Proun R.V.N.2, 1923
12. Laszlo Moholy-Nagy, Time-Space Modulator, 1923-30
13. Marcel Duchamp, Fountain, 1917
14. John Heartfield, Ten Years Later: Fathers and Sons, 1924
15. Alexander Rodchenko, Photomontages for Pro Eto, 1923
Tuesday, February 03, 2004
Potential Exam Questions...
1. How did changes in patronage during the 18th and 19th centuries change the identity and social role of the artist, and lead to the emergence of an "avant-garde" sensibility?
2. Describe four factors that lead to the emergence of Neo-Classical Art.
3. How did J.L. David's images of ancient Greece and Rome relate to contemporary (18th century) social and political changes in France? What role did gender play in these ages?
4. Compare and contrast Rococo painting and Neo-classical painting in France.
5. Compare and contrast Romantic painting (Delacroix, etc.) with Neoclassical painting in France. WHy were the Romantic painters drawn to images from North Africa and the Middle East?
6. Avant-Garde: Give an Example.
7. Arts & Crafts: reflect & challenge.
8. Example of Neoclassicism & Romanticism: how lines are blurred between the two.
9. How Pre Raphaelites depict women vs. mainstream agenda?
10. What was the role of light with Goya? (allegory)
1. How did changes in patronage during the 18th and 19th centuries change the identity and social role of the artist, and lead to the emergence of an "avant-garde" sensibility?
2. Describe four factors that lead to the emergence of Neo-Classical Art.
3. How did J.L. David's images of ancient Greece and Rome relate to contemporary (18th century) social and political changes in France? What role did gender play in these ages?
4. Compare and contrast Rococo painting and Neo-classical painting in France.
5. Compare and contrast Romantic painting (Delacroix, etc.) with Neoclassical painting in France. WHy were the Romantic painters drawn to images from North Africa and the Middle East?
6. Avant-Garde: Give an Example.
7. Arts & Crafts: reflect & challenge.
8. Example of Neoclassicism & Romanticism: how lines are blurred between the two.
9. How Pre Raphaelites depict women vs. mainstream agenda?
10. What was the role of light with Goya? (allegory)