1. EXAM 3 - REVIEW
REALISM
Édouard Manet OLYMPIA,1863
• Subject's eye contact with viewer
• Realistic and unidealized representation of the woman
• Story and narrative created within work
• Play on history of art (reference to the female nude)
• Visible brushstrokes/no attempt to hide technique
IMPRESSIONISM
Claude Monet IMPRESSION: SUNRISE, 1872
• Nature as subject and studio
• Snapshot quality - changing of conditions & movement of time
• Importance of light
• Impressionism as alternative to Salon established styles
POST IMPRESSIONISM
Paul Gauguin, Mahana no atua (Day of the God) 1894
• 'Exotic' subject matter - 'Primitive art'
• Use of bright color
• Avoiding simple in favor of complicated representations
• Play on depth throughout work- especially in pool
• Importance of symbolism
FAUVISM
Henri Matisse LE BONHEUR DE VIVRE (THE JOY OF LIFE), 1905-19
• Bright and vivid colors as expression
• Spatial distortion
• Not representative of the realities of nature
• Wildly sensual
• Reference to the history of art in many ways - formal academic art of Titian, for one
GERMAN EXPRESSIONISM
Ernst Ludwig Kirchner STREET, BERLIN, 1913
• Symbol of modern city through prostitutes
• Visible brushstrokes
• Bright colors used to create harshness
• Meant to elicit emotional response of anxiety and lonelins
• Politically motivated commentary on modern life
POST-CUBISM:DE STIJL
Piet Mondrian COMPOSITION WITH YELLOW, RED, AND BLUE 1927
• Neoplasticism as non-representational form
• Introduction of primary colors after neutral colors of Cubism
• More ordered than Cubist analytical forms
• Work without a curve - importance of the line
• Representative of universal truth - precursor to abstract expressionism
DADA
Marcel Duchamp FOUNTAIN 1917

2. • Introduction of the nonsensical in light of WWI
• Art as the intention of the artist
• Conception vs. Perception
• Use of everyday objects made something else
• Gender as flipped
Vocab: readymade/ assisted readymade
SURREALISM
Joan Miró COMPOSITION 1933
• Representative of both dream and automatic surrealism
• Recognizable forms
• Destruction of reality of space
• Random drawing - importance of psychology
• Recurring motifs of birds, eyes, moon
MEXICAN MURALS
Diego Rivera, MAN CONTROLLER OF THE UNIVERSE, 1934
• Fresco mural meant for ground floor of Rockefeller Center
• Politically motivated by Communist ideals
• Depiction of Lenin and Soviet Russian festivities
• Depiction of contemporary culture
• Lenses in corners of work called 'elongated ellipses'
• Murals as important for Communist revolutions at the time - intersection of art and politics
ABSTRACT EXPRESSIONISM
Mark Rothko LAVENDER AND MULBERRY 1959
• Color field painting
• Use of depth
• Light as illuminating painting
• Meant to express human nature and emotion
• Meditative quality
BEAT GENERATION
Robert Rauschenberg, CANYON, 1959
• Introduction of craft into fine art
• Hybrid work ('combine') with elements of collage, paint, sculpture, found objects
• Importance of the artist's own life (with the inclusion of his own son's picture in the combine)
POP ART
Andy Warhol MARILYN DIPTYCH 1962
• Silver canvases with silkscreened photograph
• Importance of reproduction element of work
• Factory made, assistant helped make work
• Reference to Christian painting as invitation to worship Marilyn
• Demands attention due to scale of painting
• Disappearing as image fades - repetition drains her life
MINIMALISM
Donald Judd UNTITLED 1969

3. • Use of industrial materials
• Repetition of shape
• Use of area around work - the wall in this case
• Artist never actually touched this work - Conception as important
POST MINIMALISM
Bruce Nauman SELF-PORTRAIT AS A FOUNTAIN 1966-1967
• Body art - pushing boundaries of the human body
• Importance as artist as own subject
• Questioning traditional role of artist
• Functions of language in title
• Reference to Duchamp's Fountain