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ISMS - Modernism - and Beyond

6/6/2016

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Orientalism
Realism
Impressionism
Post-Impressionism
Symbolism
Art Nouveau
Fauvism
​Cubism
Primitivism
Suprematism
Dada
Modernism
Constructivism
De Stijl
Bauhaus
Surrealism
Harlem Renaissance
Abstract Expressionism
Color Field Painting
Assemblage
Happenings/Performance
Pop
Minimalism
Process
Feminism
Earthworks
Post-Modernism
Globalism
​
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Chapter 31: Mid- to Late 19th Century Art in Europe and the United States

5/23/2016

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  • 31.1 Understand and evaluate the role played by academic art and architecture, as well as the emergence of various movements that arose in opposition to its principles, in the late nineteenth century.
  • 31.2 Investigate the interest in subjects drawn from modern life, as well as the development of new symbolic themes, in Realist, Impressionist, and Post-Impressionist art.
  • 31.3 Analyze the ways in which the movement toward realism in art reflected the social and political concerns of the nineteenth century.
  • 31.4 Examine the early experiments that led to the emergence of photography as a new art form.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)​:

31-7 Louis Daguerre
31-12 Gustave Courbet
31-17 Edouard Manet
31-21 Thomas Eakins
31-28 Claude Monet
31-33 Edgar Degas
31-37 Georges Seurat
31-39 Vincent van Gogh
31-42 Edvard Munch
31-49 Henri de Toulouse-Lautrec
31- 57 Paul Cézanne

​You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY TO KNOW

Historicism
​Realism
Impressionism
Post Impressionism
Pointillism
Symbolism
Orientalism
Daguerreotype
Avant-garde
Salon des Refusés
En plein air
Japonisme
Art Nouveau
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Chapter 30: 18th and Early 19th Century Art in Europe and N. America

5/9/2016

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  • 30.1 Investigate the origins and understand the characteristics of the stylistic movements art historians label Rococo, Neoclassicism, and Romanticism.
  • 30.2 Explore the many subjects of Romanticism, from the sublime in nature to the cruelty of the slave trade, with a common interest in emotion and feeling.
  • 30.3 Trace the relationships between the complex mix of artistic styles in this period and the complex political climate of Europe and America.
  • 30.4 Discover Neoclassicism’s relationship with Enlightenment values and its roots in the study of Classical antiquity in Rome.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)​:

30-4 Jean-Antoine Watteau
30-6 Jean-Honoré Fragonard
30-24 Joseph Wright of Derby
30-26 Angelica Kauffmann
30-37 Jacques-Louis David
30-41 Jean-Antoine Houdon
30-42, 44 Francisco Goya
30-50 Théodore Géricault
30-54 Eugène Delacroix
30-56 Jean-Auguste-Dominique Ingres
30-58 Honoré  Daumier
30-60 John Constable
30-62 J. M. W. Turner
30-63 Thomas Cole
30-69 Thomas Jefferson

​You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • Rococo
  • Rocaille
  • Salon
  • Royal Academy (see p. 926)
  • Grand Tour
  • Veduta
  • Capriccio
  • Neoclassicism
  • Odalisque
  • Fête galante
  • Picturesque  
  • History Painting
  • Romanticism
  • Sublime
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Chapter 23: 17th Century Art in Europe

4/25/2016

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  • 23.1 Explore how the work of Bernini and Caravaggio established a new dramatic intensity, technical virtuosity, and unvarnished naturalism that blossomed into a style we call Baroque that spread across Europe during the seventeenth century.
  • 23.3 Analyze the way that seventeenth-century artists created works that embodied the power and prestige of the monarchy as well as works that furthered the Counter-Reformation agenda of the Roman Catholic Church.
  • 23.2 Examine the development of portraiture, still life, landscape, and genre scenes as major subjects for painting, especially within the prosperous art market of the Netherlands.
  • 23.4 Assess the resurgence of Classicism, especially in the work of seventeenth-century French artists and architects.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)​:
​
23-1 St. Teresa of Ávila in Ecstasy
23-2 St. Peter's Basilica and Pizazza
23-3 David
23-11 Calling of St. Matthew
23-12 Conversion of St. Paul
23-13 Judith Beheading Holofernes
23-21 Las Meninas 
23-26 Raising of the Cross
23-34 The Anatomy Lesson of Dr. Nicolaes Tulp
23-35 The Company of Captain Frans Banning Cocq (The Night Watch)
23-40 Woman Holding a Balance
23-45 Still Life with Tazza
23-47 Flower Still Life
23-59 Façade of St. Paul's Cathedral

​You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • Baroque - "barroco"
  • Counter Reformation
  • spiritual transport
  • quadro riportato
  • quadratura
  • baldachin
  • genre painting
  • group portrait
  • still life
  • vanitas
  • parterres (see p. 761)
  • Rubenistes
  • Poussinistes
  • Caravaggisti
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Making Connections: Printmaking

4/20/2016

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In the spirit of Big Art History and your Semester 2 project, here is an example of a way to make connections between past, present, and contemporary art....
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Chapter 22: Sixteenth Century Art in N. Europe and the Iberian Peninsula

3/28/2016

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  • 22.1 Explore the impact of Italian art and ideas on the work and persona of German artist Albrecht Durer. Choose one of his works from the chapter, and discuss its Italianate features and the ways in which it departs from and draws on earlier northern European traditions.
  • 22.2 Discuss the impact of the Protestant Reformation on the visual arts in northern Europe, focusing your discussion on types of subject matter that patrons sought.
  • 22.3 Choose one European court that employed artists working in a “foreign” tradition from another part of Europe and assess how this internationalism fostered the breaking down of regional and national boundaries in European art. Be sure to ground your discussion in the work of specific artists.
  • 22.4 Choose a work of art discussed in this chapter that displays extraordinary technical skill in more than one medium. How was its virtuosity achieved, and how is it highlighted as an important factor in the work’s significance?
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)​

22- 5  Isenheim Altarpiece (closed)
22- 6  Isenheim Altarpiece (open)
22-7 The Four Horsemen of the Apocalypse
22-8 Adam and Eve
22-19 Burial of Count Orgaz
22-20 Garden of Earthly Delights (open)
22-21 Garden of Earthly Delights (closed)
22-25 Return of the Hunters
22-26 The Harvesters
p. 706 The French Ambassadors

​You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • Memento mori
  • Anamorphic
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Chapter 19: Fifteenth Century Art in Northern Europe 

3/27/2016

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  • 19-1 Analyze how Flemish painters gave scrupulous attention to describing the textures and luminosity of objects in the natural world and in domestic interiors, as well as having an extraordinary interest in evoking human likeness in portraits.
  • 19-2 Uncover the complex symbolic meanings that saturated both settings and subjects of northern European paintings.
  • 19-3 Explore the ways in which northern European paintings of the fifteenth century captured in concrete form the spiritual visions of their meditating donors.
  • 19-4 Investigate the emergence of printing as a major pictorial medium.

IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)

19-1 Double Portrait of Giovanni Arnolfini and his Wife (see also 19-13)
19-06 February
19-07 January
19-12 Man in Red Turban
19-10 Mérode Alatarpiece (Triptych of the Annunciation) (open)
19- 14 Ghent Altarpiece (closed)
19-15 Ghent Altarpiece (open)
19-27 The Buxheim St. Christopher
19-28 The Temptations of St. Anthony
p. 592 - Woodcuts and Engravings on Metal
19-29 The City of Nuremberg

You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • diptych
  • triptych
  • polyptych
  • altar
  • predella
  • horizon line
  • picture plane
  • oil painting (glazes)
  • woodblock/woodcut 
  • engraving
  • relief vs. intaglio
  • graphic arts
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Chapter 21: Sixteenth Century Art in Italy

3/11/2016

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  • 21.1 Compare the emphasis on drawing and clearly structured compositions in the work of Roman and Florentine painters with their Venetian counterparts’ exploration of the expressive potential of color and dynamic figural arrangements.
  • 21.2 Examine the architectural creativity lavished on the design of both grand churches and pleasurable retreats to embody themes of wealth and power in sixteenth-century Italy.
  • 21.3 Trace the shift in the artistic center of Italy from Florence to Rome, and recognize the efforts of Pope Julius II to create a new “golden age.”
  • 21.4 Explore the international subversion of Classical style and decorum in the work of Mannerist artists.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)

21-1 Raphael's "School of Athens" (see also p. 642)
21-5 da Vinci's "Mona Lisa"
21-6 da Vinci's "Vitruvian Man"
21-9 Michelangelo's "Pieta"
21-10 Michelangelo's "David"
21-11 Interior, Sistine Chapel
21-19 Bramante, Il Tempieto
21-23 de'Rossi's "Joseph and the Potiphar's Wife"
21-28 Titian's "Venus of Urbino"
21-33 Bronzino's "Allegory with Venus and Cupid"
21-38 Michelangelo's "Last Judgment"
21-39 St. Peter's Basilica, Vatican
21-40 Il Gesu, Rome, plan and facade
​
You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY:
  • cinquecento
  • ​chiaroscuro
  • sfumato
  • intonaco
  • pendant
  • stanza
  • cartoon
  • pieta
  • pilaster
  • putti
  • sibyl
  • ignudi
  • spandrel
  • lunette
  • maniera 
  • refectory
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Chapter 20: Renaissance Art in Fifteenth-Century Italy

3/10/2016

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  • 20.1 Examine how sculptors were instrumental in the early development of the Italian Renaissance by increasing the lifelike qualities of human figures and drawing inspiration from ancient Roman sculpture.
  • 20.2 Explore how an interest in scientific investigation blossomed into the development and use of linear perspective throughout fifteenth-century Italian painting.
  • 20.3 Assess the role of wealthy merchants and condottieri in driving the development of Renaissance art and architecture.
  • 20.4 Consider how the new focus on artistic competition and individual achievement created a climate for innovative and ambitious works.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)

20-2 Florence Cathedral
20-5 Ospidale degli Innocenti
20-6 Infant in Swaddling Clothes
P. 603: 20-9 & 20-10 Competition panels for the doors of the Florence Baptistery
20-14 Donatello's "David"
"Gates of Paradise": 20-16 & 20-17
20-19 Masaccio's "Trinity"
20-22 Masaccio's "The Tribute Money"
20-24 Paolo Uccello's "The Battle of San Romano" (see also, detail 20-1)
20-34 del Verrocchio's "David"
20-40 Botticelli's "The Birth of Venus" (see also, p. 628 "Primavera)

You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
VOCABULARY TO KNOW
  • ​quattrocento
  • p. 610 - Renaissance Perspective
  • linear perspective
  • atmospheric perspective
  • horizon line
  • vanishing point
  • orthogonal lines
  • diminution
  • sgrafitto
  • giornata
  • trompe l'oeil
  • allegory
  • in situ
  • quatrefoil/barbed quatrefoil
  • di sotto in su
  • loggia
  • chiaroscuro
  • camera picta
  • foreshortening
  • sacra conversazione
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Chapter 18: 14th Century Art

2/29/2016

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  • 18.1 Compare and contrast the Florentine and Sienese styles of narrative painting as exemplified by Giotto and Duccio
  • 18.2 Investigate the Bible stories that were the subject of fourteenth-century sacred art, as well as the personal and political themes highlighted in secular art.
  • 18.3 Assess the close connections between works of art and their patrons in fourteenth-century Europe.
  • 18.4 Explore the production of small-scale works, often made of precious materials and highlighting extraordinary technical virtuosity, that continues from the earlier Gothic period.
IMAGES (be able to identify these images by title, general time period, medium, and culture of origin)
18-2 Piazza Della Signoria with Palazzo Della Signoria (and Loggia of the Lancers)
18-5 Cimabue, Virgin and the Child Enthroned
18-6 Giotto, Virgin and the Child Enthroned
18-7 interior, Scrovengi (Arena) Chapel
18-8 Giotto, four scenes from the painting program in the Scrovengi (Arena) Chapel
18-10 Duccio, Maestá Altarpiece
18-11 Duccio, Raising of Lazarus
18-15 Lorenzetti, the Effects of Good Government in the City and in the Country
You should be familiar enough with other images presented in the text and lectures, so as to be able to support explanations of attribution and physical, formal, iconographical, and contextual analysis.
 VOCABULARY:
  • trecento
  • chiaroscuro
  • maniera greca
  • tempera (egg)
  • sinopia (see p. 539)
  • gesso (see p. 546)
  • buon fresco
  • fresco secco
  • giornata
  • grisaille
  • predella
  • signoria ​
  • loggia
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