AP Art History Unit 4 Late Europe and Americas

AP Art History Course Study Guide Unit 4: Late Europe and Americas 99. Portrait of Sor Juana Ines de la Cruz (Miguel Cabrera 1750 C.E Oil on Canvas) a. Context: i. Neoclassical art ii. Sor Juana is labeled as the first Feminist in the Americas because she pursued her owned interest to become a nun iii. Often engaged in debate with philosophers and scientist iv. Drew concern from the church for outspokenness about the rights of the women v. She was forced to sign an agreement that she would no longer pursue intellectual interest vi. Died of a disease b. Content: i. Portrait of a catholic nun and sister of jeronimite order in New Spain ii. Red curtains were common in paintings of the elite iii. Wore religious garments - showed devotion to religion and god iv. Books beside her to show her intellectual interest c. Form: i. Oil on canvas d. Function: i. Was just a portrait of Sor Juana 100. A philosopher giving a Lecture on the Orrery (Joseph Wright of Debrey 17631765 Oil on Canvas) a. Context: i. Made during the enlightenment movement ii. Joseph wright became the unofficial artist of that time period iii. He is known for use of chiaroscuro iv. Made in england AP Art History Course Study Guide b. Content: i. Shows a scientist, a note-taker, and children around a central Orrery ii. Orrery- a mechanical model of the solar system iii. Meant to be real people but we do not know their names iv. The scientist in red is giving a lecture about, what is believed to be,a model to had inspiration by Issac Newton’s Lunar society of Burnigham v. Strong internal light source(the sun model)- also symbolizes the enlightenment rational thinking vi. Painting also has women and children in the background c. Form: i. Naturalistic ii. Red coat - suggest great influence iii. Heavy contrast between light and dark d. Function: i. Show cased the scientific improvements during the enlightenment movement ii. Show the curiosity and knowledge gained 101. The Swing (Jean-Honore Fragonard. 1767 C.E. Oil on Canvas) a. Context: i. Wealthy and lavish living ii. Women were major patrons of the arts 1. Art became exclusive to the rich b. Content: i. Depicts a lady on a swing above her lover and a s bishop AP Art History Course Study Guide 102. ii. Nature scene = dense garden with flowers and cupid status c. Form: i. Epitome of Rococo 1. Realism and Naturalism 2. Use of soft colors 3. Ornate details 4. Lighting = woman bathed in sunlight d. Function: i. For ownership of the rich Monticello (Virginia, US. Thomas Jefferson [architect] 1768-1809 C.E.) a. Context: i. Thomas Jefferson hated British architecture and loved french architecture ii. He studied at William and Mary but had no formal training to become an architect iii. Made in virginia b. Content: i. Basilica plan ii. Used inspiration from classical and neoclassical french art iii. Remodeled the two- story pavilion based on Hotel de Salm iv. To a symmetrical one story brick home under an austere Doric entablature v. West garden 1. A deep two column portico with doric columns that support a triangular pediment which is decorated with a semicircle window vi. Has colonnades vii. Has pediment viii. Has dome ix. Perisan windows x. transept xi. Steps xii. gardens= french inspiration c. Form: i. Greek marble looking portico ii. Marble fencing iii. Long, rectangular windows AP Art History Course Study Guide d. 103. a. b. c. d. 104. a. b. c. iv. Symmetrical around central axis v. Made out of brick, glass, stone and wood Function: i. Meant to be a home The Oath of the Horatii (Jacques-Louis David. 1784 C.E. Oil on Canvas) Context: i. The patron: the French royals ii. Made in France iii. French Neoclassical iv. Legend Horatti ( conflict between Rome and the city of Alba) 1. Instead of battles they sent the 3 horatii to Alba to settle dispute v. France was on the edge of the revolution during this time Content: i. Deception of a Roman myth ii. Three sons swearing their swords to their father iii. Women sitting in to right grieving iv. People were placed in a column Form: i. Simplistic and symbolic ii. Organized and structured iii. Men- geometrical shapes iv. Women - organic shapes Function George Washington. (Jean-Antoine Houdon. 1788–1792 C.E. Marble) Context: i. Made after the American Revolution ii. It was a popular time to commission iii. Statue ordered = Virginia Governor iv. Sculpted = French Artist Content: i. Marble sculpture of George Washington Form: i. Neoclassicism ii. White marble iii. Contrapposto iv. Symbolic details v. Form 1. Symbolized power and authority as holds his sword AP Art History Course Study Guide d. Function: i. Sculpture 105. Self-Portrait. (Elisabeth Louise Vigée Le Brun. 1790 C.E. Oil on canvas) a. Context: i. During Rococo movement ii. Not a lot of female painters during the time iii. Le Brun worked for the crown of France specifically Marie Antionette iv. Le Brun became very rich due to her job v. Close to the French Revolution vi. She had to leave France because she worked for the crown b. Content i. Self portrait of Elisabeth Louise Vigee le brun ii. She is wearing a traditional black dress with a red sash iii. She is painting something in the painting iv. Painting in the painting might be Marie Antionette c. Form: i. Naturalism ii. Oil on canvas iii. Elisabeth in a natural position d. Function: i. Shows freedom, intelligence and greatness of the artist 106. Y no hai remedio (And There’s Nothing to Be Done), from Los Desastres de la Guerra (The Disasters of War), plate 15. (Francisco de Goya. 1810–1823 C.E. (published 1863). Etching, drypoint, burin, and burnishing) a. Context: i. Goya was a painter for the French and Spain royalty ii. His work was often labeled as controversial iii. Went deaf and went recluse iv. The french were pushed out after the Peninsular war v. Apart of the 82 paintings that was used to protest against The French occupation by Napoleon Barnaparte 1. Napoleon tricked the king of Spain into letting his troops cross the border which led him to upsurge the king and his brother from the throne AP Art History Course Study Guide b. Content: i. Man wearing light-colored/white tied to a pole by his hands behind his back(Alter Christus) ii. He is blindfolded iii. Landscape shows depth and the scene is dark iv. A firing squad is behind the central figure facing similarly bounded v. On the central figure’s right side, contorted,bloody, grotesque dead on the floor vi. Rifle barrels pointed at the central figure , the people holding it are occluded vii. Alter Christus - other Christ viii. First plate - effect of conflict ix. Second plate- effect of famine x. Last plate- disappointment and demoralization of Spaniard c. Form: i. Etched plates- cover the metal plate with wax, carve out the shapes, dip in acid, melt off the wax and the incisions remain ii. Black and white iii. Drypoint - scratch lines on the surface with a stylus iv. Artist then pours ink on plate and wipes it off only remains where the acid burned or the etched v. Put a moist paper on the plate when running through the press d. Function i. Protest against French occupation 107. La Grande Odalisque. (Jean-Auguste- Dominique Ingres. 1814 C.E. Oil on canvas.) a. Context: i. French ii. Eroticisim and nudist paiting b. Content: i. Peacock fan ii. Turban iii. Enormous pearls iv. A hookah v. Wearing Kente Cloth 1. Interwoven silk and cotton fabric 2. Ghanan 3. Various dates and artists c. Form: AP Art History Course Study Guide i. Oil on canvas d. Function: i. Used in an oriental style to stay within the eye of the public 108. Liberty Leading the People. (Eugène Delacroix. 1830 C.E. Oil on canvas.) a. Context: i. Romanticism ii. Based on July Revolution of 1830 b. Content: i. Personification of Liberty (central figure) 1. Marching over dead bodies 2. Leading the way to freedom 3. Carrying flag of revolution and a musket in her hands ii. Boy holding two pistols 1. Represents sacrifice iii. Upper-class gentleman in a top hat, holding a rifle 1. Represents the rich inability to stay out of the war c. Form: i. Realistic but with dramatic lighting ii. Soft, rounded lines iii. Depth and foreground but little to no background d. Function: i. Glorification of everyday people ii. Acknowledgment of sacrifices 109. The Oxbow (View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm). (Thomas Cole. 1836 C.E. Oil on canvas.) a. Context: i. Untouched land ii. Artist: Thomas Cole b. Content: i. View from Mount Holyoke, Northampton, Massachusetts ii. Untouched nature iii. Hudson river iv. Tree bent over ( nature being at mercy of its own self) v. River and clouds(stormy) in the foreground vi. References the bend in the Connecticut river vii. White and clear sky in background which is enhanced by the stormy clouds AP Art History Course Study Guide c. Form: i. ii. iii. iv. v. vi. Realistic but cartoon ( exaggerated) Warm hues for nature Cool hues for weather 130.8 x 193 cm Oil on canvas The diagonal line the artist used from lower right to upper left to divide the composition d. Function: i. humanity’ s insignificance in the grand scheme of things compared to nature ii. Westward expansion 110. Still Life in Studio. (Louis- Jacques-Mandé Daguerre. 1837 C.E. Daguerreotype) a. Context: i. Daguerreotype accompanied the invention of photography ii. Less than 25 of his picture survived a fire in 1839 b. Content: i. Autonomy of Daguerreotype ii. A handful of still- lifes , parisian views, and portraits iii. Also has sculptures, paintings and photography c. Form: i. Silver plated sheets of copper ii. The sheets were sensitized with iodine vapors, exposed in a large camera box iii. Very detailed iv. The sheets were then developed in mercury fumes v. And stabilized with salt water d. Function: i. Duality and artistic expression 111. Slave Ship (Slavers Throwing Overboard the Dead and Dying, Typhoon Coming On). (Joseph Mallord William Turner. 1840 C.E. Oil on canvas) a. Context: i. Made by Joseph Mallord William Turner ii. Trans -atlantic slave trade iii. Twenty + years before the impressionist movement b. Content: i. A slave ship going into a storm abandoning the slaves that were thrown overboard AP Art History Course Study Guide ii. iii. iv. Fiery sunset, writhing foam and waves Fish chopping at the slave chained limbs A wall of water and grey clouds( as punishment and vengeance for throwing the slaves overboard to die) c. Form: i. Abstract ii. Fabricated quality d. Function: i. Wanted to protest slavery ii. Wanted to prevent slavery from becoming a new normal iii. Purpose was to shock the audience and make them question why they support such an immoral act 112. Palace of Westminster (Houses of Parliament). London, England. Charles Barry and Augustus W. N. Pugin (architects). 1840–1870 C.E. Limestone masonry and glass. a. Context: i. Gothic style ii. Created by Charles Barry and Agustus Pugin iii. Built during early victorian era b. Content: i. Across the river Thames ii. Among the houses of parliament in London iii. Interior designs iv. stained glass c. Form: i. In the style of Late Medieval d. Function: i. Serves as a House of Parliament 1. To reinforce traditional values ii. Today as the seat of government 113. The Stone Breakers. (Gustave Courbet. 1849 C.E. (destroyed in 1945). Oil on canvas) a. Context: i. Painted one year after the published Communist Manifesto ii. Went against normal french techniques which was refined during this time b. Content: i. Two figure(one very old and one very young) breaking stone with different tools ii. Breaking stone for rubble to be used as pavement iii. Both wear tattered clothing( symbol of poverty ) AP Art History Course Study Guide c. Form: i. Rough brushwork ii. The artist did not worry too much about the accuracy of the human figures iii. Lacks aerial perspective d. Function i. Symbol of the deprivation of the agriculture french people 114. Nadar Raising Photography to the Height of Art. (Honoré Daumier. 1862 C.E. Lithograph) a. Context: i. Nadar was famous for taking aerial photos of Paris ii. By Honore Daumier b. Content: i. Ironic artwork ( held to the same status of high art) ii. Nadar taking an aerial picture of paris c. Form: i. Lithograph- the process of printing from a flat surface treated so that it repeals ink except where it is wanted ii. realism d. Function: i. Used to mock Nadar ii. Tried to show how ridiculous and dangerous Nadar art was 115. Olympia. (Édouard Manet. 1863 C.E. Oil on canvas) a. Context: i. A salon painting or a academic painting ii. During the time of the industrialization iii. Received backlash from it because a naked white woman and a black maid were seen as animalistic sexaulity and inferior( was seen as disrespectful) iv. He recreated the Venus of Urbino with this painting v. Model (white naked lady) :Victorian Meurent vi. Olynpia was a common name for prostitutes vii. Manet was considered the father of impressionism b. Content: i. a nude white woman (prostitute) sitting on a chaise lounge with a black cat at her feet 1. Stares at viewer coldly and indifferently ii. Black woman servant behind her giving her a gift sent from a client AP Art History Course Study Guide iii. c. d. 116. a. b. c. d. 117. a. b. c. Stark contrast against the black woman’s dark skin and the white woman’s white skin Depicts the world of Parisan prostitution iv. Form: i. Flat tones ii. Not a lot of depth Function: i. Commentary on racial divisions ii. Depicted harsh realities of Parisian life The Saint-Lazare Station. (Claude Monet. 1877 C.E. Oil on canvas) Context: i. Impressionism ii. Monet wanted to be remembered as painter of the modern world iii. He lived in rural Paris iv. Content: i. Train station ii. A locomotive train pulling up into the station iii. Trees frame the center of the painting iv. Diagonal lines from the roof recede backwards into the painting Form: i. Oil on canvas Function: i. Wanted to show industrialization and modernization of Paris ii. To show the beauty in the busy , urban life in Paris The Horse in Motion. (Eadweard Muybridge. 1878 C.E. Albumen print) Context: i. Taken at a horse racing track Content: i. Running horse and a jockey ii. 4 by 4 column and rows of photos iii. 16 photos in the series iv. They are in profile v. A lot of movement Form: i. Realism ii. Used a zoopraxiscope iii. Photograph AP Art History Course Study Guide iv. Series of photographs d. Function: i. Motion study of a running horse and a jockey ii. Wanted to establish expressiveness 118. The Valley of Mexico from the Hillside of Santa Isabel (El Valle de México desde el Cerro de Santa Isabel). (Jose María Velasco. 1882 C.E. Oil on canvas) a. Context: i. Velasco was a astamed landscape painter b. Content: i. Mountains,lakes, trees, clouds, waterfalls, blue skies and tiny human figures ii. All seen from a point on the mountain top that overlooks the valley of Mexico and the village c. Form: i. Oil on canvas ii. Realism iii. Atmospheric perspective iv. Viewer stands above the mountains d. Function: i. Wanted to show the beauty of Mexico 119. The Burghers of Calais. Auguste Rodin. 1884–1895 C.E. Bronze a. Context: i. The town council of Calais rejected the statue because they wanted a statue of one symbolic man b. Content: i. 6 burghers(middle class people) that are from the burgh/village ii. Burghers promised their life to the English king( so that the king will save their village from occupation during the Hundred years’ war) iii. The english king made them wera sacks and carry a key to Calais iv. All of them are weak v. Central character- Eustache de Saint- Pierre 1. Swollen hands with a noose around his neck 2. Ready for execution c. Form: i. Bronze ii. All figures are individualized AP Art History Course Study Guide iii. d. 120. a. b. c. d. 121. a. b. c. Details were reduced by Roden to emphasized the depravity of the 6 burghers Function: i. Symbolizes the severity of the Hundred Years’ war and French occupation The Starry Night. Vincent van Gogh. 1889 C.E. Oil on canvas. Context: i. Created by Vincent Van Gogh ii. Had a various amount of mental illnesses iii. Painted a lot during his time at the mental hospital (st. Remy) iv. Painting followed a mental breakdown which had damaged his ear Content: i. Landscape view from artist point of view( the hospital room in St.Remy) ii. Mountains in the distance iii. Sleepless exaggerated in the moon iv. Wave like-movements flow left to right v. Cypress trees are a symbol of death of eternal life and it is reaching up into the sky vi. It is of the night sky Form: i. Oil on canvas ii. Composite landscape iii. Short, thick brushstrokes iv. Parts of the canvas can be seen through the paint Function: i. Landscape study or night sky study ii. Expression of the artist mental illness The Coiffure. Mary Cassatt. 1890–1891 C.E. Drypoint and aquatint. Context: i. De- eroticizes nakedness ii. Global influences iii. Created by Mary Cassatt iv. Europe was fascinated by Japan Content: i. Naked woman sitting in a chair facing a mirror ii. Fixing her hair iii. Asian influence in background( decorative prints) iv. Shows what is considered a femine moment Form: AP Art History Course Study Guide i. In the style of japanese prints ii. Light brushstrokes iii. 2-Dimensional iv. Sketch v. Reproducible print d. Function: 122. The Scream. Edvard Munch. 1893 C.E. Tempera and pastels on cardboard. a. Context: i. Shows synthesia 1. Synthesia is the synthesis of the senses a. Ex. relating a associating a color with a smell 2. The Scream’s swirls reflects understanding of synthesis b. Content: i. Adrogynous and elongated figure screams with hands on both sides of their face ii. Two figures seem to be walking on the bridge iii. Sea blends into the sky c. Form: i. Vibrant color contrast ii. Skewed proportions (everything swirls into itself) iii. Movements of uncertainty d. Function: i. Semi-autobiographical 1. Refers to an experience or event that Munch had with friends ii. Usage of different mediums 1. Part a study in a series called “The Frieze of Life” 2. To test out different techniques and mediums to create the art piece 123. Where Do We Come From? What Are We? Where Are We Going? (Paul Gauguin. 1897–1898 C.E. Oil on canvas) a. Context: i. Symbolism 1. Colors play an important role 2. 2-dimensional 3. Expressive, nonnaturalistic ii. r b. Content: i. Tahitian natives depicting scenes of the stages of life (birth,adulthood,etc) ii. Figures are partially clothed AP Art History Course Study Guide c. Form: i. Continuous narrative (friezes) ii. Multi-perspective view in the background d. Function: i. Multiple interpretations (enigmatic) ii. A private work for Gaugin 124. Carson, Pirie, Scott and Company Building. (Chicago, Illinois, U.S. Louis Sullivan (architect). 1899–1903 C.E. Iron, steel, glass, and terra cotta) a. Context: i. Diverging from a traditional vertical effect when depicting a skyscraper ii. Art Nouveau 1. Industrial materials reflect organic forms b. Content: i. Tripartite 1. Open and accessible ground level 2. Infinite number of levels 3. Distinct attic line 4. Highlights the ground floor 5. Ground floor has large windows to emphasize space c. Form: i. Steel-frame skyscraper ii. Art Nouveau decorative program 1. Cast-iron ornamentation covers the entryway and ground level 2. floral , intricate designs d. Function: i. Department store ii. Highlights the ground level entryway to entice shoppers into the building 125. Mont Sainte-Victoire. (Paul Cézanne. 1902–1904 C.E. Oil on canvas) a. Context: i. A part of a series ii. Adopted impressionism iii. Paul Cezanne bought a few arces on the hill of Les Lauves b. Content i. Has a limestone mountain (1011 meter high) ii. The hometown of Paul Cezanne down below iii. Heightened lyricism iv. View point from the hill of Les Lauves which is located north of the Aix v. Divides painting into three horizontal parts AP Art History Course Study Guide c. d. 126. a. b. c. d. 127. a. vi. Form: i. Rough patches yellow, emerald, and viridian green ii. In contrast blues, violets, grey iii. Did subtle adjustments iv. Has flatness and depth Function: i. Wanted to capture the beauty of the mountain from close to where he lived Les Demoiselles d’Avignon. (Pablo Picasso. 1907 C.E. Oil on canvas) Context: i. Often called a creative vacuum - cleaner because he used inspiration from many arts styles ii. Made during the twentieth century iii. Mask inspired by african mask worn by women iv. Had a fear of disease(especially syphilis ) Content: i. Naked women with stiff postures ii. Geometric shapes iii. Sees women in an analytical sense and sees them as an object of desire iv. Women looking outwards v. Two masked figures ( refers to Picasso’s fear of disease) vi. The middle figure relates to Matisse’s canvas vii. The still fruit is a symbol of sexaulity viii. Supposed to be from the male gaze Form: i. Oil on canvas Function i. Expression of his desire and fear The Steerage. (Alfred Stieglitz. 1907 C.E. Photogravure) Context: i. Photograph was just becoming its own art form AP Art History Course Study Guide 128. a. b. c. d. 129. a. ii. Emphasized clarity and realism iii. Focused on the composition rather than the subjects in the piece iv. Influences by cubist artists b. Content: i. Diagonals and framing effects of ladders,pipes, frames etc. ii. Depicts the poorer travelers on the ship from the US to Europe iii. Steerage = reserved for passengers with the cheapest tickets c. Form: i. Photograph d. Function: i. To show the social divisions between the upper class,middle class, and lower class ii. Showcase photography as an art form The Kiss. (Gustav Klimt. 1907–1908 C.E. Oil and gold leaf on canvas) Context: i. Art Nouveau 1. To eliminate separation of mediums and combine them all into one 2. Floral patterns and complex designs ii. During Modernization of the city of Vienna Content: i. A kissing couple 1. Her face is calm and passive 2. His bowed neck shows a sense of desire and passion ii. Big intricate patterns on the clothing iii. Male is rectangular while the women is more circular iv. Reminds the viewer of religious symbolism and byzantine art because of the excess gold Form: i. Oil on canvas with gold leaf Function: i. To show all consuming love and passion The Kiss. (Constantin Brancusi. Original 1907–1908 C.E. Stone) Context: i. Cubism- breaking down the human form into angles and shapes ii. Brancusi was a romanian born french sculptures iii. Romania had a long tradition of stone/wood carving AP Art History Course Study Guide d. 130. a. b. c. d. 131. a. b. b. Content: i. Intertwined figures ii. Woman on the right 1. Slightly thinner 2. Eyes slightly smaller 3. Bulge suggest breast iii. Two eyes become one iv. Raw surface and archaic v. Intimate moment c. Form: i. Primitive form ii. Rejected the academy iii. Limestone Function: i. To Express a subject in its pure form The Portuguese. (Georges Braque. 1911 C.E. Oil on canvas) Context: i. Analytical cubism ii. First phrase of cubism iii. Highly experimental iv. Worked with Picasso Content i. Fractured form ii. Nearly monochrome iii. Exploration of shapes iv. Not portrait of portuguese musician Form: i. Jagged edges ii. Sharp and multifaceted lines Function: i. Experimental art ii. Non-naturalistic Goldfish. (Henri Matisse. 1912 C.E. Oil on canvas) Context: i. Fauvism ii. Famous for expressive forms and bold color iii. One of the biggest artist during his time Content: i. Still life painting of goldfish in a tank ii. Goldfish - symbol for paradise list AP Art History Course Study Guide c. d. 132. a. b. c. d. 133. a. iii. Decorative style Form: i. Used vibrant colors ii. Violent contrast colors iii. Thinly applied color iv. Energetic brushstrokes Function: i. Contemplative exaltation for the viewer Improvisation 28 (second version). (Vassily Kandinsky. 1912 C.E. Oil on canvas) Context: i. Expressionism inspired by Fauve movement ii. Big part of Der Blaue Reiter iii. He is Russian iv. One of the first non- objective paintings Content: i. Abstract painting of music composition ii. Inspired by Der Blaue reiter Form: i. Strong balck lines ii. Colors shade around lines iii. abstract Function i. Non- objective ii. Wanted the viewer to respond to the painting the way they would respond to a composition of music Self-Portrait as a Soldier. (Ernst Ludwig Kirchner. 1915 C.E. Oil on canvas) Context: i. Found German expressionist group called Die Brucke ( the Bridge) ii. Used influences of african and central asian and and primitive iii. The group disbanded in 1913 iv. Kirchner volunteered as a driver in the military AP Art History Course Study Guide v. Soon declared unfit for service b. Content: i. Masterpiece of psychological drama ii. Severed hand is a metaphor ( injury to his identity as an artist) iii. Kirchner dressed in a uniform standing in a studio with an amputated arm and a nude model next to him iv. Complicated coming of age story v. Suggest sexual relationship with model c. Form: i. Oil on canvas d. Function: i. Representation of injury as an artist 134. Memorial Sheet for Karl Liebknecht. (Käthe Kollwitz. 1919–1920 C.E. Woodcut) a. Context: i. The artist does ot depict people often ii. Made after the end of World war iii. During communist uprising in Germany iv. Liked Liebknecht charisma but thought the SPD ( societal democrat ic party of Germany)would have been better leaders b. Content: i. Three horizontal sections ii. Space of the print is compressed iii. Multiple people coming to pay their respects to the deceased person iv. A man has his hand on Liebknecht’s chest ( the deceased person) v. The body of martyr revolutionary ( Liebknecht) vi. Women and child leaning over ( Kollwitz often focused on women and children) c. Form: i. printmaking d. Function: i. Memorial piece for Liebknecht, a german communist 135. Villa Savoye. (Poissy-sur-Seine, France. Le Corbusier (architect). 1929 C.E. Steel and reinforced concrete) a. Context: AP Art History Course Study Guide i. ii. Developed theories on modern architecture Sought to isolate type forms( universal elements of design that can work together) b. Content: i. Represents the cumulation of modern architecture ii. Located outside of Paris iii. Apart of a series of housesf iv. Free facade v. Ribbon windows vi. Ribbon terraces vii. Ground floor painted green viii. Ramp winds from entrance up to a salon ix. Integration of indoor and outdoor spaces c. Form: i. Usedsteel and reinforced d. Function: i. Offered an escape from the city for wealthy patrons ii. Both a functional house and a architectural sculpture 136. Composition with Red, Blue and Yellow. (Piet Mondrian. 1930 C.E. Oil on canvas) a. Context: i. Neo-plasticism ii. Plastic used to describe paintings on canvas, sculptures, 3 dimensional forms iii. Used abstraction in his art often iv. Studied art academics in Hague and Amsterdam v. Lived in the Netherlands vi. Was inspired by cubism and Picasso vii. Loved to experiment with abstract forms viii. Multiple perspectives b. Content i. Consist of red, yellow, blu, white and black ii. Rectilinear forms iii. Horizontal and vertical lines c. Form: i. Consist of red, blue yellow, white and black ii. Oil on canvas d. Function AP Art History Course Study Guide i. Wanted to depict the underlying structure of reality ii. Wanted to experiment with abstract forms 137. Illustration from The Results of the First Five-Year Plan. (Varvara Stepanova. 1932 C.E. Photomontage.) a. Context i. Communism was rising during this time ii. Russia became communist Soviet Union and created five year plans for the economy iii. Stepanova considered herself as a constructivist and focused on portraying the ideals of the Soviet Union iv. Well know for her contributions to the USSR in Construction magazine b. Content i. On the left, it has public speaker on a platform with the number 5 ( this symbolizes the five year plan) ii. Has place cards showing the CCCP and the USSR iii. Has a portrait of Lenin, the founder of the Soviet Union, speaking iv. Has wires that go to an electrical transmission tower v. Red for the soviet union flag vi. Large crowd that shows the popularity of Sralins beliefs c. Form i. Photomontage - a montage from constructed photographic images ii. Used sepia photographs alternating between white and black d. Function i. To commemorate the ideals of Soviet Union 138. Object (Le Déjeuner en fourrure). (Meret Oppenheim. 1936 C.E. Fur-covered cup, saucer, and spoon): a. Context: i. She was at lunch with picasso and Dora Maar ii. Picasso and Dora Maar marveled at Oppenheim’s fur bracelet and said almost anything can be covered in fur iii. Then as a joke Oppenheim asked the waiter for more fur ( menat keep my tea warm) b. Content i. A cup , saucer and spoon wrapped in gazelle fur c. Form i. Surrealism ii. Made out drinking items and fur d. Function AP Art History Course Study Guide i. She pesses that you can actually feel the fur on your lips as if you were drinking from the cup ii. Preferred a non- objective title for this work iii. Many people tried to push a sexual meaning on the piece of work but Oppenheim most likely did not mean it to be sexual 139. Fallingwater. Pennsylvania, U.S. (Frank Lloyd Wright (architect). 1936–1939 C.E. Reinforced concrete, sandstone, steel, and glass.) a. Context i. In the forest of Southwest pennsylvania ii. Two architects opened a Modern Architecture: international exhibit iii. To help the turmoils of architects during the Great Depression and afterwards iv. Alot of catalougues condemned Wright for his creations saying it wasn’t innovative v. Wright made an apprenticeship called the fellowship vi. Criticism changed after this house b. Content i. House perched on a rocky hillside above a mountain cataract ii. With water flowing down from the bottom of the house c. Form i. Reinforced concrete, sandstone, steel and glass d. Function i. Was a personal milestone for the architect ii. Was a weekend home for Kaufmann 140. The Two Fridas. (Frida Kahlo. 1939 C.E. Oil on canvas) a. Context i. Surrealism ii. Abstract traditions of biomorphic forms iii. Vertistic tradition of using reality based subjects put together in unusual forms iv. Kahlo rejected the surrealism label AP Art History Course Study Guide v. Rivera often cheated on Kahlo and Kahlo cheated on him but Kahhlo wanted to be together and stop cheating vi. Was getting a divorce from Rivera b. Content i. Juxtaposition of two self portraits ii. A spanish lady in white lace - on the left iii. A mexican woman that is a peasant on the right iv. Two hearts are intertwined by viens that is cut by scissors by the end v. The viens led to a portrait of her husband and artist Rivera vi. Infetile land in the background vii. Vein= umbilical cord viii. Blood in lap suggest the many miscarriages and abortions in her life c. Form i. Oil on canvas d. Function i. Used to express her pain during that time 141. The Migration of the Negro, Panel no. 49. (Jacob Lawrence. 1940–1941 C.E. Casein tempera on hardboard) a. Context i. The harlem renaissance ii. The great migration iii. Apart of a series depicting the great migration b. Content i. A public restaurant in the north that was heavily segregated shown by the yellow pole splitting the black people from the white people c. Form i. Flat colors ii. Flat simple shapes iii. Geometric forms iv. Forms hover in large spaces v. Tempera on hardboard d. Function i. Aimed to depict the great migration form the rural south to the north 142. The Jungle. (Wifredo Lam. 1943 C.E. Gouache on paper mounted on canvas) a. Context i. Lam is a famous refined artist from Cuba AP Art History Course Study Guide ii. Around the time where a revolutio happened in Cuba that overthrew Cuba’s leader iii. In 1920s- 1930s Lam lived in Europe then left because of the war and went back to his home country iv. Influenced by Afro- Carribean culture and surrealism v. Sugarcane was Cuba’s equivalent to Cotton in America b. Content i. Clusters of enigmatic faces, limbs, and sugarcane ii. Kind of a game of perception iii. Willowy arms and legs iv. Seems not the have enough feet and legs for each figure c. Form i. Diapproniate bodys and figures ii. Dense at the top and open at the bottom iii. Gouache on paper mounted on canvas d. Function i. Intended to communicate a psychic state 143. Dream of a Sunday Afternoon in the Alameda Park. (Diego Rivera. 1947–1948 C.E. Fresco.) a. Context i. Deigo Rivera famous painter from Mexico who was married to Kahlo ii. Surrealism iii. Never official joined the surrealist iv. Afterwards the overthrown dictator of Mexico b. Content i. Depicts over 400 characters from Mexican history walking together through a garden ii. Lighthearted elements- colorful balloon and bright flowers and plants iii. Darker elements- conflict between police and indigenous family and smiling skeleton iv. Middle highlights the life of the Mexican elite v. In contrast to the improvertish life of mexicans vi. Shows the genocide and oppression vii. The dream of democracy viii. Religious idealism and religious intolerance ix. Frida Kahlo holding yin and yang ( represents their relationship) x. Shows his love for Kahlo and her declining health AP Art History Course Study Guide xi. xii. Woman in european clothes Feather boa on Catrina’s neck = Quetzalcoatl ( mesoamerican serpent god) c. Form i. Figures overlap ii. In the form of a mural or fresco iii. Mecxican muralism d. Function i. Commemorate Mexiacn history ii. Critique of the upper class in Mexico 144. Fountain (second version). (Marcel Duchamp. 1950 C.E. (original 1917). Readymade glazed sanitary china with black paint) a. Context i. Apart of the dada movement ( criticism of what is considered and what can be art) ii. Dada translates to hobby horse or nonsense iii. Dadaist abandoned conventional art and art techniques b. Content i. Upside down urinal with a signature c. Form i. Ready made sculpture d. Function i. irony 145. Woman, I. (Willem de Kooning. 1950–1952 C.E. Oil on canvas) a. Context i. Abstract expressionism ii. First American avant-garde art movement iii. Action painting iv. Inspired by neolithic goddess and pin up girls v. A part of a series vi. Created by Willem de Kooning b. Content i. Angry woman baring her teeth ii. Large eyes iii. Exaggerated breast iv. Blank stare and frozen grin c. Form AP Art History Course Study Guide i. Slashing paints ii. Jagged lines iii. Vague background iv. Thick black lines d. Function i. It represents the quote from the artist “Beauty becomes petulant to me. I like the grotesque” 146. Seagram Building. (New York City, U.S. Ludwig Mies van der Rohe and Philip Johnson (architects). 1954–1958 C.E. Steel frame with glass curtain wall and bronze) a. Context i. International style of architecture ii. Thought a house should be a “machine for the living” iii. modern b. Content i. Minimalistic ii. Vertical and horizontal lines c. Form i. Steel frame with glass walls and bronze ii. Set back from a plaza iii. Bronze veneer - giving monolithic iv. Modelo f a skyscraper d. Function i. wanted structural items to be evident 147. Marilyn Diptych. (Andy Warhol. 1962 C.E. Oil, acrylic, and silkscreen enamel on canvas) a. Context i. Pop art ii. Marilyn Monroe was very famous iii. She died of overdose in her house b. Content i. Marilyn Monroe’ s face repeated many times ii. Right- black and white(marilyn’s death ) iii. Left- in color( marilyn’s life c. Form i. Rectangular screen- printed photographic images ii. Film from Nigara was used iii. Repetition AP Art History Course Study Guide d. Function i. Mocks the cult of celebrity ( people’s obsession with celebrities ii. Fights the idea that art has to be solely unique 148. Narcissus Garden. (Yayoi Kusama. Original installation and performance 1966. Mirror balls) a. Context i. She volunteered to live in a mental health facility ii. Has a long history of mental illness iii. Uses the story of Narcissus ( Narcissist) inspo iv. Recreation of Narcissus garden in mythology b. Content i. Many ( 1,500)plastic, mirror balls ii. Balls were tightly arranged iii. Reflection repeated and distorted c. Form i. Mirror balls d. Function i. Makes people confort vanity and ego ii. Protest against commercialized art 149. The Bay. (Helen Frankenthaler. 1963 C.E. Acrylic on canvas) a. Context i. Abstract expressionist b. Content i. A bay in Michigan c. Form i. Painted unprimed canvas(canvas soaked up a lot of the paint) ii. Runny paint iii. Very 2 dimensional iv. Atmospheric painting v. Violet to indigo d. Function i. Just for art 150. Lipstick (Ascending) on Caterpillar Tracks. (Claes Oldenburg. 1969–1974 C.E. Cor-Ten steel, steel, aluminum, and cast resin; painted with polyurethane enamel) a. Context AP Art History Course Study Guide i. Pop art ii. Made during the time students were protesting the Vietnam War iii. Made in collaboration with yale students iv. Experimented with lipstick forms v. b. Content i. A tube of lipstick sprouting from military vehicle ii. Lipstick was seen as bullet and phallic shaped iii. Combined feminie(lipstick) and masculine (war) c. Form i. 24 feet high d. Function i. Anti-war ii. U.S consumption and beauty was a distraction from the Vietnam war and what is actually happening in the world 151. Spiral Jetty. (Great Salt Lake, Utah, U.S. Robert Smithson. 1970 C.E. Earthwork: mud, precipitated salt crystals, rocks, and water coil.) a. Context i. Artist was interested in the blood like waters of the lake ii. Example of site art sometimes called Earth art b. Content i. A spiral jetty in the middle in the great salt lake c. Form i. Mud, rocks, crystals, water coil ii. Earthwork iii. Used a tractor with native stones iv. An extremely remote area d. Function i. Jetties are supposed to be piers AP Art History Course Study Guide 152. House in New Castle County. (Delaware, U.S. Robert Venturi, John Rauch, and Denise Scott Brown (architects). 1978–1983 C.E. Wood frame and stucco) a. Context i. Post modern architecture( developed in late 70s - early 80s) b. Content i. Surrounded by hills and forest ii. Wife is a musician = has a well stocked music room iii. Husband is a bird watcher=large windows iv. Post modern looks with historic looks v. Front facade = floating arch vi. Rear facade= prominent arch vii. Doric colonnades viii. Grand whimsical interior ix. Chandeliers c. Form i. A geometric shapes d. Function i. Designed for a family of three