Final Exam Slide ID Images

Seurat A Sunday Afternoon on the Island of La Grande Jatte 1884-1886 

Robert Smithson Spiral Jetty 1970

Jackson Pollock Autumn Rhythm: Number 30 1950

Manet Olympia 1863

Marcel Duchamp The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) 1915 -1923

Piet Mondrian Broadway Boogie Woogie 1942-43

Fragonard The Swing Date 1766 

Gustave Courbet The Stone Breakers 1849

Caravaggio Doubting Thomas 1602-1603

Henri Matisse The Red Studio 1911

RembrandtThe Nightwatch 1642 

Eva Hesse Untitled (Rope Piece) 1970

Jacques-Louis David Oath of the Horatii 1784 

Peter Paul Rubens The Disembarkment of Marie de Medici at Port of Marseilles, 3 Nov1600 1622 -1626 

Velazquez Las Meninas (Maids of Honor) 1656

Pablo Picasso Les Demoiselles d’Avignon 1907

Theodore Gericault The Raft of the Medusa 1818-1819

GoyaThe Third of May,1808 The Execution of the Defenders of Madrid 1814 

Oskar Kokoschka The Bride of the Wind 1914

Meret Oppenheim Object (Luncheon in Fur) 1936

Rodin The Gates of Hell 1880-1900

Paul Cezanne Mont Sainte-Victorie with Large Pine c.1887

Constantin Brancusi Bird in Space 1928

Carolee Schneemann Eye Body: 36 Transformative Actions 1963

Willem de Kooning Woman I. 1950-52

EXAM CLARIFICATION

Yes, to clear up the confusion - the exam is on Wednesday the 21st at the normal class time.

If you would like to take the slide ID portion early, you must come to the class room at 4:30 

next wednesday December 7th. You may then email me a longer version of your essay questions 

before the 21st, which I will go over with you at next week. Otherwise, just take it all in class on the 21st.

by Kianna Jones

1) Primavera by Botticelli

I found this painting very interesting because it reminded me of a particular scene I saw on one of my favorite shows, True Blood.  To me, this painting looks like a fairy land with magic fruit and mystical, graceful people.  It looks like the the people aren't human, but nymphs, fairies and other magical creatures just trying to live life freely.  There is also a dark forest which seems forbidden in some way.  

This painting reminds me of True Blood because there is a scene in one of the episodes where there are fairies in this beautiful place giving out magic fruit to people.  However, all is not what it seems, and the fruit is actually the magic used to to make people see what really isn't there.  The people see beautiful faries, but what is really there is a forbidden forest and hideous creatures.  This scene from True Blood emulates the painting in that there are faries, fruit, a forbidden forest and creatures, and all is not what it seems.

 

2) Judith Slaying Holofernes by Artemisia Gentileschi  

I really admire this particular painting because of the graphicness.  This one captured scene is so dynamic because the viewer can actually feel the emotions within it.  You can clearly see Judith's hatred and fury for Holofernes as she slits his throat.  The viewer can see the pain registered on his face as he is dying.  Everything about this painting is so epic.  The painter could've chosen any moment to paint, the before or the after, but since she chose the climax, it is much more powerful. 

The Artist's Signature by Ebby Cheung

An artist’s identity is important according to the modern art world. This importance of recognizing an artist’s identity didn’t exist until the Northern Renaissance. I believe the mind set for artists for artist to recognize him/herself is crucial in making their art valuable in history. Furthermore, it makes the artist the one who is worth to be written in the History of Art but not just the artwork itself.

Artists worked for nobilities, aristocrats and for pure religious purpose in the very beginning. Most of the early art works have no artist’s signatures on it because the artist didn’t fully recognize him/herself as a creator but merely a craftsman. Today, artists strive to make art out of their unique way in order for their names to be remembered in the Art world. One of the earliest example who have self-recognition of his own worth and value in the History of Art making was Jan van Eyck. He was among the first artists who literally put his name on his painting. 

As we have discussed in class, he has written “Jan van Eyck was here” on the wall in the background. He has recognized himself as the creator of this painting. This is not merely about craftsmanship anymore but the value of the artist.

Another artist who has used his signature in his work was Vincent van Gogh. Not to mention his determination of being a painter at the age of mid-30s, he was also a firm believer of his role. He believed in himself when the world didn’t recognize his genius before. On most of his works, he signed his first name “Vincent” instead of “Van Gogh”, his last name, to tell people that HE is the creator of his works. Also, he has used different colors to sign his names as part of his paintings. Here is one of the great examples of how he USED his signature.

Sorry for the size of the image but you can see that on this blue palette painting, he signed his name on the bottom left corner in bright red to create intensity of color use.

Not only signatures, but also brushstroke can be a different kind of signature of an artist. Like Van Gogh’s famous impasto, Modern artist Jackson Pollock and contemporary artist Cy Twombly also have their own significant brushstrokes that can be seen as their unique signatures.

Franz Hals by Ayala Magder

With his breathtaking brushwork and exquisite color palette, Frans Hals dazzled the Dutch elite, making his mark on art’s history and our class syllabus. When the Metropolitan Museum of Art made his remarkable paintings available to the public just a few weeks ago, I could not let the opportunity pass. The exhibition contained thirteen of Hals’ paintings, including two lent from private collectors. Each phenomenal piece left me enchanted. And Hals’ personal history, which was revealed as I dug deeper, left me fascinated. 

Born in 1582 in the Flemish city of Antwerp, Frans Hals and his family were forced to flee the city when it was lost to Spain after a siege in 1585. Because his father was a clothworker, the family moved to Haarlem, a thriving textile center. There, Hals worked as an apprentice for the Mannerist painter Karel van Mander and joined Haarlem’s painters’ guild in 1610. Serving in Haarlem’s Saint George civic guard from 1612 to 1624 inspired a collection of Hals originals. Hals painted ten large group portraits for public institutions. This collection was displayed for many years in Haarlem, attracting later artists like Manet, Courbet, Monet, Van Gogh, Whistler, Sargent, and Chase. 

In August 1616, Hals returned to his birthplace where he witnessed a proliferation of artwork from Flemish artists like Sir Peter Paul Rubens and a very young Van Dyck, amongst many others. Hals painted “Merrymakers at Shrovetide” in 1616. With its rich coloring and crowded composition, the piece resembles Jacob Jordeans’ work. 

The painting is nearly absent of negative space, and its coloring reflects a shift in Hals’ style from the somber hues of his earlier collection. But a somber time in Hals’ life did arrive shortly after. In November of 1616, his wife and two small children passed away. Months later he married a woman from Haarlem. Giving birth to their first nine days after their marriage, the woman bore Hals eleven children. 

Hals remained in Haarlem for the next 50 years. The newly rich lined up at his studio door to have their portraits painted and their egos glorified. Although each subject is distinguishable from the next, every one of them seems to impart an air of happy-go-lucky bliss. Even Hals’ portrayals of rural life and lower-class subjects appear to be drunk with lightheartedness. In “The Fisher Girl” (circa 1630-32), Hals depicts a pretty, young, commoner selling her fish to an unseen customer. Hals’ loose brushstrokes paint her rudy cheeks and cheerful smile. The painting confirms Hals’ sustained theme; everyone in Haarlem is happy! 

Hals continued to paint a whirlwind of portraits with his signature bright colors and rapid, loose strokes. His paintings carry a vitality and confidence that he continued to develop and portray. Hals painted with increasing freedom well into his middle age. Between 1630 and 1650, he painted more than 100 single portraits and 6 group and family portraits. By 1649, Hals had even painted the philosopher René Descartes.

In his old age, Hals’ portrayals took a more somber turn. Many critics agree that the hardships Hals faced in his last decades, due to poverty and family circumstances, is evident in his later paintings. But no matter the decade, Hals’ work is an exquisite depiction and window to his world. It is no wonder why his art is and inspiration to artists in all generations.

Death of Marat by Liming Liang

Death of Marat

This art work call Marat’s dead, is David painted at 1793. Marat is close friend with David, Marat was kill in he’s own house. In this image, David us black background to make Marat pope out more in the art work because of Marat is painted with light color. Marat is the main character in this art work, it has baroque art style on this art work because David pained Marat with light color with black color around. That black color represent that evil person who murder him, in this art Marat was taking shower, he has skin problem, so he need to sit on water bath for a long time. He use a board put one top as a table to do he’s work. He uses a big piece of wood to hold he’s paper and ink, David was craft he’s name on this wood. Marat is writing a letter to a woman and try to send some money to help her. There was a butter knife on the floor, that murder woman attract Marat and use this knife to kill him. Blood are still flowing in the bath, blood drop on it and make the white sheet red. David use spark light effect on this paint, there is a shoot of light shot on Marat to show he is a most important figure is this paint. I like David’s painting, David is my favor painter in art history.        

Herry Fuseli by Josue Bustillo

HERRY FUSELI

THE NIGHT MARE AND TATIANA AND BOTTOM

The nightmare painting is a picture about lost of control, about an escape or journey to another dream, about lost of rationality. On the other hand, Tatiana and Bottom is a composition about a woman who wakes up after a night dream an falls in love with a man that has a donkey’s head. This particular painting was inspired by Michelangelo’s chapel painting and it depicts night time fantasy. On the Nightmare, the woman dress for bed, the furniture, and the interior of the room, tells us that is a contemporary scene. The extreme dark and light on both pictures suggest that the compositions are Baroque, but they are actually Romantic because they depict night time which is more sublime than day time. Tatiana and Bottom was made for the Shakespeare’s gallery while the Nightmare was exhibited at the royal academy, and although no well received by Fuseli’s peer, it clearly struck a chord with the public. Both compositions are related in terms of night time fantasy, and they are both very sublime surrounded by estrange figures.