art 110 3.8 & 4.5 nq

Chapter 3.8

Twentieth and Twenty-First Centuries:The Age of Global Art

PART 3HISTORY AND CONTEXT

Copyright © 2011 Thames & Hudson

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields


Chapter 3.8 Twentieth and Twenty-First Centuries: The Age of Global Art

Introduction• The twentieth century

– History:• Technological inventions

– Aircraft, automobile, radio, telephone, global communication

• Scientific expansion– Psychology, physics

• Societal changes– Large cities, world wars, ideologies, feminism, Civil Rights Movement,

multiculturalism

– Art:• Experimentation using both representation and abstraction• Many styles and approaches• Formal elements and/or concepts and ideas• Modern period (c. 1860–1960)• Contemporary period (c. 1960–present)




The Revolution of Color and Form

• Pioneers of Modernism:– Henri Matisse (1869–1954)– Pablo Picasso (1881–1973)

• Friendly rivalry– Each contributed to the expansion of artistic

possibilities– Matisse: color and form– Picasso: form and shape




Henri Matisse

• Key figure in the development of Modern art

• French artist (1869–1954)

• Explored the expressive nature of color and form

• Influential and unique style– Expressive forms– Decorative style– Bold use of color

3.180 Henri Matisse, Joy of Life, 1905–6. Oil on canvas, 5’9⅛” × 7’10⅞”. Barnes Foundation, Merion, Pennsylvania

Henri Matisse, Joy of Life

• Color:– Not naturalistic

• Matisse was not interested in copying nature

– A way to express emotions

– Bold rather than subdued

• Matisse said, “I did not create a woman, I made a picture.”

3.181 Henri Matisse, The Red Studio, 1911. Oil on canvas, 5’11¼” × 7’2¼”. MOMA, New York

Henri Matisse, The Red Studio

• Close observation – Artworks in the studio– But what Matisse leaves

out is as important as what he leaves in

• Color intensifies experience of the space– Filled with an intense red– Flattens out the picture

plane

3.183 Henri Matisse in his studio, 1953

3.182 Henri Matisse, Icarus, from Jazz, 1943–7. Page size 16⅞ × 12⅞”. MOMA, New York


Gateway to Art:



Matisse, Icarus Cutouts as Finished Art

• Artist confined to a wheelchair after treatment for cancer

• Used cutouts to design tapestries, interiors, stained-glass windows

• Began to present cutouts as completed works of art

– “Drawing” with scissors• Icarus

– Originally designed using cutouts

– Stencil print

– Contour lines and bold primary colors




Picasso, Braque, and Cubism

• Pablo Picasso (1869–1954)– Spanish artist– Left behind his academic training in representational

art• Explored experimental approaches• Radical handling of form and shape

• Georges Braque (1882–1963)– French artist– Worked with Picasso to develop Cubism

• Cubism– 1908–1914– Emphasized geometry instead of illusionism

3.184 Pablo Picasso, Les Demoiselles d’Avignon, 1907. Oil on canvas, 8’ × 7’8”. MOMA, New York

Pablo Picasso, Les Demoiselles d’Avignon

• Revolutionary experimentation with the human figure

– Simplified forms into abstract planes

– Blue planes of the background clash with area of the figures

• Female figures

– Two in the center: simplified features

– Two standing to left and right: heads are African masks

– Seated figure in bottom right: most abstracted

• Face with one eye seen in profile and one from the front

– Although abstracted, the figures are still recognizable as people

3.185 Georges Braque, Houses at L’Estaque, 1908. Oil on canvas, 28¾ × 23½”. Kunstmuseum Bern, Switzerland

Georges Braque, Houses at L’Estaque

• Early Cubist painting– Houses become stacked

golden cubes and pyramids– Trees and shrubs

recognizable but abstracted– Houses all the same color – Focus on underlying shapes

and overall pattern

• Photographs of the same view indicate that placement and configuration of houses are accurate– Houses at L’Estaque is an

abstraction based on nature

3.186 Pablo Picasso, Glass and Bottle of Suze, 1912. Pasted paper, gouache, and charcoal, 25¾ × 19¾”. Mildred Lane Kemper Art Museum, St. Louis, Missouri

Pablo Picasso, Glass and Bottle of Suze

• Later phase of Cubism

• Collage – Cut-and-pasted papers on a

support– A radical new technique at the

time– Invented by Picasso and

Braque in the early twentieth century

• Glass and Bottle of Suze– Shapes relate to a still life

composition on a table– Collage features an actual bottle

label

3.187 Pablo Picasso, Portrait of Gertrude Stein, 1906. Oil on canvas, 39⅜ × 32”. Metropolitan Museum of Art, New York

Gertrude Stein as an Art Patron• Gertrude and Leo Stein

– Art collectors– Among the first patrons of

progressive modern artists– Gertrude held weekly salons in

her studio apartment in Paris– Introduced Picasso and Matisse to

one another• Portrait of Gertrude Stein

– Gertrude posed up to 90 times for this portrait by Picasso

– He replaced her facial features with those of Iberian sculptures

– Personal vision and style over direct observation

– This work was crucial to the development of Cubism




Expressionism

• c. 1905–1920

• Expressionists explored ways of portraying emotions to their fullest intensity– Exaggerating and emphasizing colors and shapes– Departing from direct representation– Focusing on inner states of being– Depicting what they felt rather than what they saw

• Self-portraits were a way to explore the greatest variety and intensity of emotions

3.188 Paula Modersohn-Becker, Self-portrait with Camellia, 1906–7. Oil on canvas, 24¼ × 12”. Museum Folkwang, Essen, Germany

Paula Modersohn-Becker, Self-portrait with Camellia

• Paula Modersohn-Becker– German Expressionist– One of the first women to

make nude self-portraits

• Self-portrait with Camellia– Style:

• Flattened forms, reduced details

• Heavy outlines, solid geometry

– Influenced by Paul Cézanne and Paul Gauguin (see ch. 3.7)

– Balances subtleties in gesture and mood with physical presence

3.189 Vasily Kandinsky, Improvisation #30 (Cannons), 1913. Oil on canvas, 43¾ × 43¼”. Art Institute of Chicago

Vasily Kandinsky, Improvisation #30 (Cannons)

• Vasily Kandinsky– Russian Expressionist– Pioneer of non-objective art

• Improvisation #30 (Cannons)– Inspired by talk of war in

1913• Reflects turmoil of the time,

but not a specific event– Made spontaneously without

plan for final outcome– Later artworks avoid

recognizable objects• Instead express inner spiritual

necessity

3.190 Ernst Ludwig Kirchner, Street Berlin, 1913. Oil on canvas, 47½ × 35⅞”. MOMA, New York

Ernst Ludwig Kirchner, Street Berlin

• Ernst Ludwig Kirchner– German Expressionist– Part of group called Die

Brücke (“The Bridge”)– Kirchner’s style:

• Flat planes, intense color, rough/aggressive brushwork

• Street Berlin– Reflects Kirchner’s belief

that art should come from direct experience

– Comment on the decadence of modern society




Dada

• 1916: movement started in Zurich, Switzerland– Reaction to World War I

• Protested “rational” thought that had led to war

• Name “Dada” was chosen at random from the dictionary– Anti-art and refused to be called a movement– Spread to the U.S., Berlin, Cologne, Paris, Russia, eastern Europe,

and Japan

• Dada works:– Sculptural objects– Performances and events– Publications, posters, and pamphlets

• Critical and playful

• Focus on individuality, irrationality, chance, and imagination

3.191 Hugo Ball, Performance of “Karawane” at Cabaret Voltaire, Zürich, Switzerland, 1916

Hugo Ball, Performance of “Karawane”

• Hugo Ball– German actor and

anarchist– Opened Cabaret Voltaire

with Emmy Hennings– Gathering place for artists

and writers– Performances were lively

and theatrical

• “Karawane”– Experimental sound poem– Made of nonsense words

and sounds

3.192 Marcel Duchamp, Bicycle Wheel, 1913. Metal wheel mounted on painted wood stool, 50½ × 25½ × 16⅝”. MOMA, New York

Marcel Duchamp, Bicycle Wheel

• Marcel Duchamp– French artist– Key figure in New York branch

of Dada– Responsible for three major

twentieth-century art innovations: readymades, kinetic sculpture, conceptual art

• Bicycle Wheel– 1913 (spirit of Dada predates

the war)– Assemblage of found objects

• Resembles a traditional sculpture with a base and main subject

– Made because Duchamp “enjoyed looking at it”

– Original lost, remade twice• Subverts the institution and

originality of art

3.193 John Heartfield, Have No Fear, He’s a Vegetarian, published in Regards, no. 121 (153), Paris, May 7, 1936. Stiftung Archiv der Akademie der Künste, Berlin, Germany

John Heartfield, Have No Fear, He’s a Vegetarian

• John Heartfield– Member of Berlin Dada

– His photomontages made political statements

– Bold anti-Nazi statements in posters and magazines

• Forced him to flee Germany

• Have No Fear, He’s A Vegetarian– Foreshadows many of the disasters

of World War II

• Genocide, mass starvation

• Comment on Hitler’s cruelty and vegetarianism

• Invasion of France four years later




Surrealism

• Movement began in 1917 in Paris– Opposed rationality and convention (like Dada)

• Based on ideas of Austrian psychoanalyst Sigmund Freud– Psychoanalysis– Unconscious mind– Dreams

• Surrealists aimed to challenge the idea of objective reality

3.194 Giorgio De Chirico, The Melancholy and Mystery of the Street, 1914. Oil on canvas, 34¼ × 28⅛”. Private collection

Giorgio De Chirico, The Melancholy and Mystery of the Street

• Giorgio De Chirico– Greek-born Italian artist– Developed his style before

Surrealism existed– Intuitive and irrational

approach to painting

• The Melancholy and Mystery of the Street– Narrative remains unclear– Dreamlike environment– Vague sense of threat

3.195 Max Ernst, Le Surréalisme et la Peinture (Surrealism and Painting), 1942. Oil on canvas, 6’5” × 7’8”. The Menil Collection, Houston, Texas

Max Ernst, Surréalisme et la Peinture

• Max Ernst– German-born artist– Dadaist then a Surrealist– Held in highest esteem the

process of making art• Collage, rubbing, scraping• Wanted to reduce conscious

control over the work and liberate the human imagination

• Surréalisme et la Peinture (Surrealism and Painting)– Shows the imagination

wandering in the mysterious realm of creativity

– Vaguely cosmic abstractions

3.196 Joan Miró, Object, 1936. Assemblage: stuffed parrot on wood perch, stuffed silk stocking with velvet garter and doll’s paper shoe suspended in hollow wood frame, derby hat, hanging cork ball, celluloid fish, and engraved map, 31⅞ × 11⅞ × 10¼”. MOMA, New York

Joan Miró, Object

• Joan Miró– Spanish Surrealist

• Object– Assemblage

• The three-dimensional equivalent of collage

– Collection of objects• Whimsical• Mysterious• Nonsensical




The Influence of Cubism

• Huge impact throughout Europe– Some artists adopted Cubist style– Others explored new approaches not possible

before Cubism

• Some movements influenced by Cubism:– Futurism– Abstraction– Suprematism– De Stijl




Futurism• Originated in Italy

• From 1909 to the late 1920s

• Influenced by Cubism– Clashing planes and geometry

• Departures from Cubism:– Celebrated dynamic movement, progress, and modern

technology– Aligned with political beliefs (that were later to become known as

Fascist)– Expressed contempt for the past

3.197 Umberto Boccioni, Unique Forms of Continuity in Space, 1913 (cast 1931). Bronze, 49¾ × 35 × 16”. Private collection

Umberto Boccioni, Unique Forms of Continuity in Space

• Umberto Boccioni– Italian Futurist

• Unique Forms of Continuity in Space– Figure forcefully striding– Originally made in plaster;

cast in bronze after Boccioni’s death

– Embodies the words of Futurist founder Filippo Marinetti:

• “War is beautiful because it inaugurates the long dreamt-of metallization of the human body”

3.198 Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912. Oil on canvas, 57⅞ × 35⅛”. Philadelphia Museum of Art

Marcel Duchamp, Nude Descending a Staircase, No. 2

• Marcel Duchamp– French artist (later a New York

Dadaist)

• Nude Descending a Staircase, No. 2– Combines Cubism’s geometry

with Futurism’s emphasis on movement

– Shown at the Armory Show, New York, in 1913

• Introduced Modern art to the United States

• Scandalous, shocked audiences • People considered it dangerous,

threatening, criminal




Abstraction

• Continuation of Cubist experimentation– Cubist artists still had an external reference– Abstract artists moved into the realm of complete

non-objectivity• Lines, shapes, colors

• Examples of abstract movements and approaches:– Suprematism– De Stijl

3.199 Kazimir Malevich, Suprematist Painting (Eight Red Rectangles), 1915. Oil on canvas, 22½ × 18⅞”. Stedelijk Museum, Amsterdam, Netherlands

Kasimir Malevich, Suprematist Painting (Eight Red Rectangles)

• Kasimir Malevich– Russian artist– Developed Suprematism

• Intended to free the viewer from the burden of the recognizable object

• Considered this movement superior to what had been done in the past

• Suprematist Painting (Eight Red Rectangles)– Reduced color palette to white

and red– Reduced shapes used to

rectangles– Tilted rectangles suggest

movement

3.200 Theo van Doesburg, Counter-Composition V, 1924. Oil on canvas, 39⅜ × 39⅜”. Stedelijk Museum, Amsterdam, Netherlands

Theo van Doesburg, Counter-Composition V

• Theo van Doesburg– Dutch painter– Founder of the De Stijl

movement (with Piet Mondrian)

– Concentrated on non-representational works

• Intersecting lines, diagonals, primary-colored planes

• Counter-Composition V– Based on mathematical

principles– Aspires to a rational beauty

that appeals to the mind• Not a subjective beauty that

appeals to the senses

3.201 Constantin Brancusi, Bird in Space (L’Oiseau dans l’espace), c. 1941. Polished brass, 6’3⅜” high. Musée National d’Art Moderne. Centre Georges Pompidou, Paris, France

Constantin Brancusi, Bird in Space (L’Oiseau dans l’espace)

• Constantin Brancusi– Romanian-born French sculptor– Wanted to find the simplest way

to express the essence of his subject

• Bird in Space (L’Oiseau dans l’espace)– Abstract form that references:

• A bird’s body• A feather• Flight

– Considers carefully the base of the sculpture, too

3.202 Romare Bearden, Three Folk Musicians, 1967. Collage of various papers with paint and graphite on canvas, 50⅛ × 60”. Private collection

Romare Bearden, Three Folk Musicians

• Romare Bearden– African-American artist– Influenced by:

• Cubism• African masks• Harlem Renaissance

• Three Folk Musicians– Collage that brings together

different media and ideas• Including the artist’s

connections with literature and jazz

– Rhythmic interpretation of everyday scene




Abstract Expressionism

• First Modern art movement to originate in the U.S.– Evolved in the 1940s and 1950s– Sought to create a universal visual experience

• Artists include:– Jackson Pollock– Mark Rothko– Barnett Newman (see ch. 1.4)– Willem de Kooning (see ch. 4.9)

3.204 Jackson Pollock, Mural, 1943. Oil on canvas, 8’1¼” × 19’10”. University of Iowa Museum of Art

Jackson Pollock, Mural• Jackson Pollock

– American artist – His technique “action painting”

elevated the importance of the process of making art

– Used sticks as well as brushes to drip and pour paint onto the canvas

• Mural– Enormous scale– Non-objective– Rhythms and cross-rhythms

• Result of improvisational process

3.205 Mark Rothko, Untitled, 1949. Oil on canvas, 6’9⅜” × 5’6⅜”. National Gallery of Art, Washington, D.C.

Mark Rothko, Untitled• Mark Rothko

– Russian-born American artist– c. 1950–1970 style:

• Luminous rectangles floating in fields of color

• Untitled– Rothko chose not to give his

works narrative titles• Allows viewers to respond deeply

and individually

– Rothko said, “people who weep before my pictures are having the same religious experience I had when I painted them. And if you, as you say, are moved only by their color relationships, then you miss the point!”




Pop Art

• Began in the late 1950s

• Embraced recognizable subject matter and borrowed imagery from popular culture– Famous artworks and comic books– Commercial advertising and car design– Television and movies

• Pop artists bridged the division between fine art (part of “high” culture) and popular culture

• Artists include:– Andy Warhol, Roy Lichtenstein, and Claes Oldenburg

3.206 Andy Warhol, Thirty Are Better than One, 1963. Silkscreen ink on synthetic polymer paint on canvas, 9’2” × 7’10”. Private collection

Andy Warhol, Thirty Are Better Than One

• Andy Warhol– Professional illustrator and

graphic designer/Pop artist– First paintings were comic-book

heroes– Borrowed imagery from

advertising– Used silkscreen printing

technique to mass produce artworks

• Thirty Are Better Than One– Appropriated (borrowed)

imagery from famous artwork– “More is better” title of work

echoes the language of consumerism

– Challenges idea of valuing only “original” and unique art

3.207 Roy Lichtenstein, Girl with Mirror, 1964. Enamel on steel, 42 × 42”. Private collection

Roy Lichtenstein, Girl with Mirror

• Roy Lichtenstein– American Pop artist– Also made works based on

comics– Painting style based on dots

used in commercial printing

• Girl with Mirror– Black outlines – Bold primary colors– Gradations of color by using

dots (similar to pointillism)• Closer together: darker• Further apart: lighter

3.208 James Hampton, The Throne of the Third Heaven of the Nations’ Millennium General Assembly, 1950–64. Gold and silver aluminum foil, colored kraft paper, and plastic sheets over wood, paperboard, and glass, 180 pieces, 10½ × 27 × 14½’. Smithsonian American Art Museum, Washington, D.C.

Religion and Symbolism in The Throne

• Hampton was a janitor and visionary artist– Collected and arranged

found materials– Made The Throne in secret

in a rented garage space– The Throne is a religious

tableau• Hampton believed God

visited him and helped guide his art

• Includes references to the Old and New Testament, Judgment day, The Ten Commandments




Minimalism

• 1960s• Reaction against Abstract Expressionism and Pop

art• Characteristics:

– Non-representational– Neutral textures and flat colors– Geometric shapes– Mechanical construction– Strips away emotion and underlying meaning

• Artists include: – Donald Judd, Dan Flavin

3.209 Donald Judd, Untitled, 1967. Stainless steel and Plexiglass, 190⅛ × 40 × 31”. Modern Art Museum of Fort Worth, Texas

Donald Judd, Untitled• Donald Judd

– American Minimalist – Preferred the medium of

sculpture• Believed painting shows

something, but sculpture is something

– Commercially manufactured, industrial-looking sculptures

• Untitled– Ordered 10 boxes from a factory

• Installed the boxes to his specifications

– Downplayed traditional “fine” art• Limited role of artist as creator

3.210 Dan Flavin, Untitled, 1996. Installation of 4’ fixtures in two opposing banks for the east and west interior walls of Richmond Hall. Pink, yellow, green, blue, and ultraviolet fluorescent tubes and metal fixtures, two sections, each 8’ high, approx. 128’ wide. Menil Collection, Houston, Texas

Dan Flavin, Untitled

• Dan Flavin– American Minimalist

sculptor– Industrial materials (store-

bought light fixtures)– Clean geometry

• Untitled– Installation– Fluorescent lighting usually

used in offices, stores, and homes

– Glowing light transforms the space




Conceptual Art

• Began in the 1960s• Extension of some of the ideas of Minimalism

– Often eliminates the art object entirely– Focus on ideas more than outcomes

• Examples of conceptual art:– Documentation, sketches, instructions, performances, mail

art• Artists include:

– Joseph Kosuth, Ana Mendieta, Mel Chin, Joseph Beuys, Jenny Holzer

– See chapter 2.7 “Alternative Media and Processes” for more on conceptual art

3.211 Joseph Kosuth, One and Three Chairs, 1965. Mounted photograph of a chair, wooden folding chair, and photographic enlargement of a dictionary definition of “chair,” photographic panel 36 × 24⅛”, chair 32⅜ × 14⅞ × 20⅞”, text panel 24 × 24⅛”. MOMA, New York

Joseph Kosuth, One and Three Chairs

• Joseph Kosuth– American conceptual artist– Inspired by Duchamp’s

readymades (see also chapter 2.7 )

– Interested in art that appeals to the mind rather than the senses

• One and Three Chairs– Presents three things a chair

could be:• Photograph of a chair• Actual chair• Dictionary definition of the

word “chair”– Questions raised about

knowledge, language, understanding

3.212 Ana Mendieta, Imagen de Yagul, 1973, from the series Silueta Works in Mexico 1973–1977. Color photograph from 35mm slide, 20 × 16”

Ana Mendieta, Imagen de Yagul• Ana Mendieta

– Cuban-born conceptual, earthwork, performance artist

– Her body is her medium

• Imagen de Yagul from the Silueta series– Silueta series:

• Situated her body in various natural environments

• Symbolic of powerful connection between a woman’s body and nature

– Imagen de Yagul • Mendieta’s body camouflaged by

mud and flowers




Postmodernism, Identity, and Multiculturalism

• Contemporary period: c. 1960–present

• Postmodernism– Complex and sometimes ambiguous– Visual references to past artworks, ideas, or issues

• Identity an important theme– Artists draw on personal and cultural history

• Multiculturalism– By the 1980s, artists and institutions recognized the need to

consider a whole range of cultural experiences




Modern and Postmodern Architecture

• Modernism– Late nineteenth century to the 1960s

– Straight lines, geometric shapes

• Postmodernism– Beginning in the 1960s

– Critique of Modernism: too idealistic and inaccessible

– Often combines styles from different time periods

3.214 Gerrit Rietveld, Schröder House, 1924–5, Utrecht, Netherlands


• Gerrit Rietveld– Dutch De Stijl artist

• Emphasis on geometric shapes

• Black, white, primary colors

• Schröder House, 1924–5– International Style

Modernism: functional, minimal aesthetic

– Lower floor: traditional kitchen, dining, living areas

– Upstairs bedrooms: innovative use of moveable partitions

– Asymmetrical balance of exterior design

3.215 Michael Graves, Portland Public Services Building, 1980, Portland, Oregon


• Michael Graves– American Postmodernist

architect – Line of household products

sold at Target stores• Portland Public Services

Building, 1980– Postmodernist design

• Integrates diverse ideas– Brightly colored exterior– Small square windows– Classical architectural

elements• Exaggerated column

capitals

3.213 Xenobia Bailey, (Re)Possessed (installation view, John Michael Kohler Arts center), 1999–2009; mixed media environment; dimensions variable. Photo courtesy of John Michael Kohler Arts center © the artist and Stefan Stux Gallery, New York. Components include the following: Xenobia Bailey, Mandalas, 1999-2009 and Sistah Paradise’s Great Walls of Fire Revival Tent, 1993; Doughba H. Caranda-Martin, Teas, 2008; Barbara Garnes, Tea Service, 2006.

Xenobia Bailey, (Re)Possessed

• Xenobia Bailey– African-American artist– Crocheted hats used as

props in television shows and movies

– Makes costumes, wall hangings, and museum installations

• (Re)Possessed – Inspired by

• African hairdos, architecture, headdresses

• Hindu religious figures• Chinese opera pieces

3.216 Carrie Mae Weems, You Became a Scientific Profile & A Photographic Subject, from the series From Here I Saw What Happened and I Cried, 1995. Chromogenic color prints with sand-blasted text on glass, 25⅝ × 22¾”. MOMA, New York

Carrie Mae Weems, You Became a Scientific Profile &

A Photographic Subject• Carrie Mae Weems

– American artist– Themes explored in her works:

• Folklore, history, African-American experience

• Personal and cultural identity

• You Became a Scientific Profile & A Photographic Subject– Original photos taken in the

nineteenth century– Subjects were African slaves

• Studied “scientifically”

– Weems re-presents and changes the focus of the images, restoring the sitters’ humanity

3.217 Jolene Rickard, Corn Blue Room, 1998. Mixed-media installation, Denver Art Museum, Colorado

Jolene Rickard, Corn Blue Room

• Jolene Rickard– Tuscarora Native American

– Explores cultural identity

• Corn Blue Room– Installation that explores the

importance of home in identity formation

– References to the past: • Ears of corn, dances, songs,

kinship

– References to the present:• Photographs, CD-ROM,

hydroelectric plant

3.218a Shirin Neshat, Rapture, 1999. Production still3.218b Shirin Neshat, Rapture series, 1999. Gelatin silver print, 42½ × 67½”

Shirin Neshat, Rapture• Shirin Neshat

– Iranian-born artist– Explores identity of women in

Iran• From the perspective of a woman

living outside Iran

– Makes art to process her feelings of exile and loss

• Rapture– Film with no dialog– Men and women in separate

realms • Shown on separate screens

– Mysterious actions of the women

• Several leave in a boat

3.219 Pipilotti Rist, Ever Is Over All, 1997. Video installation with two monitors, dimensions variable. MOMA, New York

Pipilotti Rist, Ever Is Over All

• Pipilotti Rist– Swiss artist

• Ever Is Over All– Two-part multi-sensory

video installation projected into the corner of a room

– Field of torch lilies on one wall

– Woman in a princess dress smashing car windows with a torch lily on the other

– Maintains or restores a sense of beauty in the world

3.221 Matthew Ritchie, Proposition Player, 2003. Mixed-media installation. Installation view at the Contemporary Arts Museum, Houston, Texas

Matthew Ritchie, Proposition Player

• Matthew Ritchie– British artist working in New

York

• Proposition Player– Translates drawings into

three-dimensional sculptures– Combines abstraction and

figuration– Multitude of media and

styles– Visual and conceptual

elements tell a story about the “infinite possibilities available in the universe”




Discussion Question

1.Abstraction has offered many different possibilities to artists in the twentieth and twenty-first centuries. In this chapter, find three artworks that illustrate the artists’ use of abstraction. Consider the intentions of the artists as well as the formal appearance of the artworks and then compare their similarities and differences. Possible works to consider are: 3.184, 3.185, 3.186, 3.189, 3.197, 3.199, 3.201.




Discussion Question

2.Choose an artwork from this chapter by Henri Matisse, Pablo Picasso, or Marcel Duchamp. Find an artwork in the chapter that was influenced or inspired by the work you have chosen. Discuss the way that the progression of ideas from one artist to another can be seen in your chosen examples.




Discussion Question

3.Choose two artworks from this chapter in which an artist has incorporated imagery from the media and popular culture or modern technology. Discuss the relationship between form and content in these examples.




Discussion Question

4.Find two artworks from the period studied in this chapter in which the artists approach the same subject in different ways. Compare your artworks in terms of formal appearance, the artists’ intentions, and how you respond to their different approaches. You might choose one work from another chapter in the textbook, for example: 1.153 and 4.162, or 4.70 and 4.169.




Discussion Question

5.Select two artworks that address questions relating to identity. Compare the media used by the artists and explain which artwork most impressed you and why. You might choose one work from another chapter in the textbook, for example: 1.169, 2.109, 2.125, 3.26, 3.105, 4.71.

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This concludes the PowerPoint slide set for Chapter 3.8

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields





3.180 The Barnes Foundation, Merion, PA. © Succession H. Matisse/DACS 2011 3.181 Museum of Modern Art, New York, Mrs. Simon Guggenheim Fund, 8.1949. Photo 2011, Museum of Modern

Art, New York/Scala, Florence. © Succession H. Matisse/DACS 20113.182 Teriade Editeur, Paris, 1947. Printer Edmond Vairel, Paris. Edition 250. Museum of Modern Art, New York,

The Louis E. Stern Collection, 930.1964.8. Photo 2011, Museum of Modern Art, New York/Scala, Florence. © Succession H. Matisse/DACS 2011

3.183 Photograph by Hélène Adant/RAPHO/GAMMA, Camera Press, London 3.184 Museum of Modern Art, New York, acquired through the Lillie P. Bliss Bequest, 333.1939. Photo 2011,

Museum of Modern Art, New York/Scala, Florence. © Succession Picasso/DACS, London 2011 3.185 Kunstmuseum, Bern 3.186 Mildred Lane Kemper Art Museum, St. Louis, University purchase, Kende Sale Fund, 1946. © Succession

Picasso/DACS, London 20113.187 Metropolitan Museum of Art, Bequest of Gertrude Stein, 1946, Acc. no. 47.106. Photo Metropolitan Museum

of Art/Art Resource/Scala, Florence. © Succession Picasso/DACS, London 20113.188 Museum Folkwang, Essen3.189 Art Institute of Chicago, Arthur Jerome Eddy Memorial Collection, 1931.511. © ADAGP, Paris and DACS,

London 20113.190 Museum of Modern Art, New York, Purchase, 274.1939. Photo 2011, Museum of Modern Art, New

York/Scala, Florence3.192 Museum of Modern Art, New York, The Sidney and Harriet Janis Collection, 595.1967 a-b. Photo 2011,

Museum of Modern Art, New York/Scala, Florence. © ADAGP, Paris and DACS, London 20113.193 © The Heartfield Community of Heirs/VG Bild-kunst, Bonn and DACS, London 20113.194 © DACS 20113.195 Photo Hickey-Robertson, Houston. The Menil Collection, Houston. © ADAGP, Paris and DACS, London

2011

Picture Credits for Chapter 3.8




3.196 Museum of Modern Art, New York, Gift of Mr. and Mrs. Pierre Matisse, 940.1965.a-c. Photo 2011, Museum of Modern Art, New York/Scala, Florence. © Succession Miro/ADAGP, Paris and DACS, London 2011

3.197 Photo Francis Carr © Thames & Hudson Ltd, London 3.198 Philadelphia Museum of Art, The Louise and Walter Arensberg Collection. © ADAGP, Paris and DACS,

London 20113.199, 3.200 Stedelijk Museum, Amsterdam 3.201 © ADAGP, Paris and DACS, London 20113.202 © Romare Bearden Foundation/DACS, London/VAGA, New York 2011 3.203 Please note that this image is not available for digital use but can be found on page 437 of the textbook.3.204 The University of Iowa Museum of Art, Iowa City, Gift of Peggy Guggenheim, OT 102. © The Pollock-

Krasner Foundation ARS, NY and DACS, London 2011 3.205 National Gallery of Art, Washington, D.C., Gift of the Mark Rothko Foundation, Inc., 1986.43.13. © 1998

Kate Rothko Prizel & Christopher Rothko ARS, NY and DACS, London, 20113.206 © The Andy Warhol Foundation for the Visual Arts/Artists Rights Society (ARS), New York/DACS, London

20113.207 © The Estate of Roy Lichtenstein/DACS 20113.208 Photo Smithsonian American Art Museum/Art Resource/Scala, Florence

3.208 (artwork) Ralph Larmann3.209 Collection of the Modern Art Museum of Fort Worth, Museum purchase, The Benjamin J. Tillar Memorial

Trust. Acquired in 1970. © Judd Foundation. Licensed by VAGA, New York/DACS, London 20113.210 Photo Hickey-Robertson, Houston. The Menil Collection, Houston. © ARS, NY and DACS, London 2011 3.211 Museum of Modern Art, New York, Larry Aldrich Foundation Fund, 393.1970.a-c. Photo 2011, Museum of

Modern Art, New York/Scala, Florence. © ARS, NY and DACS, London 20113.212 © The Estate of Ana Mendieta. Courtesy Galerie Lelong, New York 3.213 Photo courtesy John Michael Kohler Arts Center © the artist and Stefan Stux Gallery, NY





3.214 © EggImages/Alamy3.215 Photo courtesy Michael Graves & Associates3.216 (left) Museum of Modern Art, New York, Gift on behalf of The Friends of Education of The Museum of

Modern Art, Acc. no. 70.1997.2. Photo 2011, Museum of Modern Art, New York/Scala, Florence. Courtesy the artist and Jack Shainman Gallery, New York

3.216 (right) Museum of Modern Art, New York, Gift on behalf of The Friends of Education of The Museum of Modern Art, Acc. no. 70.1997.5. Photo 2011, Museum of Modern Art, New York/Scala, Florence. Courtesy the artist and Jack Shainman Gallery, New York

3.217 William Sr. and Dorothy Harmsen Collection, by exchange, 2007.47. Denver Art Museum. All Rights Reserved

3.218a, 3.218b Courtesy Gladstone Gallery, New York. © Shirin Neshat 3.219 Museum of Modern Art, New York, Fractional gift offered by Donald L. Bryant, Jr., Acc. no. 241.2000.b.

Photo 2011, Museum of Modern Art, New York/Scala, Florence. © 1997 Pipilotti Rist. Image courtesy the artist, Luhring Augustine, New York and Hauser & Wirth

3.220 Courtesy Gladstone Gallery, New York. Photo Michael James O’Brien. © 1997 Matthew Barney 3.221 Contemporary Arts Museum, Houston. Photo Hester + Hardaway. Courtesy Andrea Rosen Gallery, NY


1. The colors of Henri Matisse’s Joy

of Life were intended to:◦ a. express emotion.◦ b. confuse the viewer.◦ c. make a political

statement.◦ d. appear random and

chaotic.◦ e. look exactly like

nature.

2. The forms in Pablo Picasso’s Les Demoiselles d’Avignon are simplified into:

◦ a. little cubes.◦ b. flattened boxes.◦ c. abstract planes.◦ d. folded paper.◦ e. The forms in this

artwork are not simplified.

3. The artist Vasily Kandinsky wanted to ______ in artworks like Improvisation #30.

◦ a. make music◦ b. fight poverty◦ c. include direct

quotations from conversations about war in 1913

◦ d. show visible content that the viewer can clearly see

◦ e. express inner spiritual qualities

4. Marcel Duchamp’s Bicycle Wheel was constructed using:

◦ a. symbolic furniture.◦ b. found objects.◦ c. various items from

his aunt’s house.◦ d. his brother’s bicycle.◦ e. old fast food

containers.

5. What common characteristic does the artwork influenced by the movement of Cubism share?

◦ a. It has many abstract shapes.

◦ b. It is all made using photography.

◦ c. It is all bright and shiny.

◦ d. It has very detailed realistic forms.

◦ e. There were no artworks influenced by Cubism.

6. Mark Rothko’s Untitled is intentionally without a specific title so that viewers will:

◦ a. have to search the Internet to find the title.

◦ b. appreciate the enigmatic nature of the work.

◦ c. not ask questions.◦ d. respond individually.◦ e. have one definite

answer about what the artwork means.

6. Mark Rothko’s Untitled is intentionally without a specific title so that viewers will:

◦ a. have to search the Internet to find the title.

◦ b. appreciate the enigmatic nature of the work.

◦ c. not ask questions.◦ d. respond

individually.◦ e. have one definite

answer about what the artwork means.

7. Although it looks like a comic-book illustration, parts of Roy Lichtenstein’s Girl With Mirror recall a Post-Impressionist technique. The use of ______ is seen both in this painting and also in the technique called

______.

◦ a. newspaper clippings … collage

◦ b. value and shading … chiaroscuro

◦ c. arbitrary brush application … Zen landscapes

◦ d. drips … action painting

◦ e. dots … pointillism

8. The commercially produced items in Dan Flavin’s Untitled were intended to:

◦ a. allow us to see them in new ways.

◦ b. degrade the beauty of nature.

◦ c. comment on the rising cost of being an artist.

◦ d. transform space and time.

◦ e. tell the story of his childhood.

9. When comparing Ana Mendieta’s Imagen de Yagul (a) and Pipilotti Rist’s Ever is Over All (b)an important difference

between the two pieces is that ______.

◦ a. only Ever is Over All was made in color

◦ b. only Imagen de Yagul includes flowers

◦ c. Ever is Over All is a video installation

◦ d. only Mendieta appears in her own artwork

◦ e. the two artworks are exactly the same

a.

b.

10. Multicultural considerations are included in which of the following artworks?

◦ a. Jolene Rickard, Corn Blue Room

◦ b. Carrie Mae Weems, You Became a Scientific Profile and A Photographic Subject

◦ c. Shirin Neshat, Rapture◦ d. Xenobia Bailey,

(Re)Possessed• e. All of the other

answers

a. b.

c. d.

Chapter 4.5

Art and Illusion

PART 4THEMES



PART 4THEMES

Chapter 4.5 Art and Illusion

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PART 4THEMES


Introduction• Artists throughout history have tried to make artworks that,

instead of appearing to be art, look like real spaces or objects• Trompe l’oeil (“fool the eye”) is the French term for two-

dimensional artworks that convincingly appear to be three-dimensional objects

• One of the earliest stories about the importance of illusion to ancient Greek and Roman artists comes from Pliny the Elder– Competition between Zeuxis and Parrhasius to create the most

convincingly illusionistic artwork– Zeuxis painted grapes that looked so real birds tried to eat them– Parrhasius painted a curtain, which Zeuxis tried to open


PART 4THEMES


Art as an Illusionistic Window

• Painters and artists of other two-dimensional artworks often try to create the illusion of three-dimensionality

• “Illusionistic window” – Leon Battista Alberti used this term in his treatise

called On Painting– Reveals the desire of Renaissance artists to

create the illusion of looking into a separate room or out of a window and thereby perceive a new reality

4.74 Cubiculum from the Villa of Publius Fannius Synistor, Boscoreale, Italy, c. 50–40 BCE. Fresco, room size 8’8½” × 10’11” × 19’7⅛”. Metropolitan Museum of Art, New York

Cubiculum from the Villa of Publius Fannius Synistor

• Few wall paintings survive from Ancient Greece and Rome outside of those found under the ashes of Mount Vesuvius, which erupted in 79 CE

• In this interior view, there are actually only three flat walls

• Through illusionistic techniques, the artist has created what appear to be architectural features (columns, pediments) and views of landscapes and buildings out illusionistic windows

4.75 Raphael, Stanza della Segnatura, Vatican City, 1509–11

Raphael, The School of AthensArchitectural Illusion

• Raphael’s famous painting is one wall of an elaborate artistic program that covers four walls, a ceiling, and a floor in Pope Julius II’s library– The four walls represent:

Philosophy (The School of Athens), Poetry, Theology, and Justice

– The library originally had shelves below these paintings, which were filled with books relating to the corresponding theme

4.76 Andrea Mantegna, Detail of central oculus, ceiling of the Camera degli Sposi. Fresco, 8’9” diameter. Ducal Palace, Mantua, Italy

Andrea Mantegna, detail of central oculus, ceiling of the Camera degli Sposi

• Part of a whole room the artist painted from 1466 to 1475

• This painted ceiling gives the illusion that there is an oculus open to the sky

• Room of the Newlyweds in the palace of Ludovico Gonzaga, Duke of Milan– Room for greeting

government officials and also a bedroom

– Andrea Mantegna painted much of the Duke’s palace

4.77 Parmigianino, Self-portrait in a Convex Mirror, c. 1524. Oil on wood, 9½” diameter. Kunsthistorisches Museum, Vienna, Austria

ParmigianinoSelf-portrait in a Convex Mirror

• Self-portrait of the artist painted on a convex piece of wood

• Made by the artist to show his ability to create convincing illusions

• Given by the artist as a gift to Pope Clement VII, which led to future commissions

• Do you think the artist is right-handed or left-handed?

4.78 William M. Harnett, The Old Violin, 1886. Oil on canvas, 38 × 23⅝”. National Gallery of Art, Washington, D.C.

William M. HarnettThe Old Violin

• William Harnett created such convincing illusions that:– During exhibitions his works

are guarded to prevent visitors from reaching out and touching them

– He was investigated for counterfeiting

• Everything in The Old Violin is painted on a flat surface except for the blue envelope, which is real and contains the artist’s signature

4.79 Shigeo Fukuda, Encore, 1976. Wood, 19½ × 19½ × 11¾”. Private collection

Shigeo FukudaEncore

• Shigeo Fukuda– His home in Tokyo had trick

doorways and secret passageways

– Known for optical illusions that change depending on viewer’s position

• Encore– Artwork subject changes

when viewed from different angles:

• Piano and player• Violinist

– Title has multiple meanings• An encore is when musicians

are asked to play more• Similarly, the viewer wants to

look at this artwork again and again


PART 4THEMES


Illusionism as Trickery

• At times illusionistic techniques are meant not only to disarm, but also to confuse the viewer and convince him or her of something that is actually not real

• Pygmalion– Classical myth about illusion in a three-dimensional

artwork– Artist created a sculpture so beautiful that he fell in

love with it– Venus brought the sculpture to life because

Pygmalion was so successful at illusionism

4.80 Ron Mueck, Mask II, 2001–2. Mixed media, 30⅜ × 46½ × 33½”. Private collection

Ron MueckMask II

• Ron Mueck– Creates very convincing

and detailed sculptures of people

– Sculptures are so believable except that they are always unrealistically large or small

• Mask II– Self-portrait– Illusionism:

• Hair, whiskers, coloring• Face squished believably

where it presses against the surface

– One knows it is not real because

• Of its size (much larger than in real life)

• It is disembodied

4.81a Kallikrates and Iktinos, Parthenon, 447–432 BCE, Acropolis, Athens, Greece

4.81b–d Diagram showing the optical illusions utilized in the Parthenon

The Parthenon and optical illusion

• Parthenon appears perfectly proportioned and straight, but in fact much of this is an optical illusion

• Base– Is raised more in the center– Would appear to sag if it

were actually straight• Columns

– Swell at mid-height (entasis)– Not perfectly vertical but tops

are titled slightly toward center of temple

– They are not spaced equidistantly but are set closer together the closer they are to the corners of the temple

4.82 Giulio Romano, Palazzo del Tè, exterior, 1527–34, Mantua, Italy

Giulio Romano, Palazzo del Tèexterior

• Giulio Romano– Student of Raphael– Artist and architect– Worked on much of the

architecture and interior decoration for the Palazzo del Tè for the Gonzaga family

• Illusion of Palazzo del Tè exterior– Dates from 1527 to 1534– Romano created illusion of

building falling apart• Architraves too narrow• Triglyphs appear to be slipping

– Appears to be marble or stone, but is actually stucco-covered brick

4.83 Giulio Romano, Fall of the Giants, 1526–35. Fresco, Sale dei Giganti, Palazzo del Tè, Mantua, Italy

Giulio Romano, Fall of the Giants

• Fall of the Giants (interior of Palazzo del Tè)– Illusion created that the

inside of the building is falling down

– Giants in battle below, gods above are safe

– Columns broken and falling

– Archway showing blue sky is sliding down in pieces

– Trained by Raphael

4.84a Julian Beever, Woman in Pool, drawn in Brussels, Belgium, 1992. Colored chalks, 14’9¼” × 13’1½ ” (correct viewing point)

4.84b Julian Beever, Woman in Pool, drawn in Glasgow, Scotland, 1994. Colored chalks, 14’9¼” × 13’1½” (incorrect viewing point)

Julian Beever, Woman in PoolCompare the two views of the same image

• Julian Beever– Born 1960– Makes artworks on the

sidewalk using chalk– Uses anamorphism – Uses foreshortening

• Woman in Pool– Two views show how illusion

works only when viewer stands in correct position

– Slippers and cola bottle are not real

– The actual artist pretends to dip his foot in the pool


PART 4THEMES


Illusion and the Transformation of Ideas

• Illusion in art can be used to suggest that the viewer should think of something in a new way, and that things are not always what they appear

4.85 Chuck Close, Fanny/Fingerpainting, 1985. Oil on canvas, 8’6” × 7’. National Gallery of Art, Washington, D.C.

Chuck CloseFanny/Fingerpainting

• Chuck Close– Likes to trick friends and

family, and did so even as a kid

– As an adult much of his artwork is of his family and friends

• Fanny/Fingerpainting– Took photograph of his

wife’s grandmother– Made a grid over the

photograph so that he could enlarge the composition onto an 8 and a half by 7 foot canvas

– Painted this artwork to look like the photograph

– Painted the texture by using his fingerprints

4.86 Édouard Manet, A Bar at the Folies-Bergère, 1882. Oil on canvas, 37⅞ × 51¼”. Courtauld Gallery, London

Édouard ManetA Bar at the Folies-Bergère

• Folies-Bergère– Bar and club in nineteenth-

century Paris– Male clientele, while many of

the workers were prostitutes• Edouard Manet’s painting A

Bar at the Folies-Bergère– Shows barmaid listening to

client (who is reflected on the right in mirror)

– The reflection is not accurate• Bottles do not line up• Barmaid’s pose is different

– Possible meanings of visual ambiguities

• Representative of the barmaid’s state of mind

• Fantasy of the artist

4.87 William Hogarth, False Perspective. Engraving from Dr. Brook Taylor’s Method of Perspective Made Easy, Both In Theory and Practice, 1754

Satirizing Illusionism: Hogarth’s False Perspective

• Satire on traditional ways in which artists create the illusion of depth

• See how the artist misuses these techniques:– Linear perspective– Decrease in size of objects

that recede into the distance

– Texture and shading to suggest mass and volume

4.88 René Magritte, The Human Condition, 1933. Oil on canvas, 39⅜ × 31⅞× ⅝”. National Gallery of Art, Washington, D.C.

René Magritte, The Human Condition

• René Magritte– Wanted painting to be seen as a

way to communicate ideas– Saw objects in art as symbols of

meaning

• The Human Condition– Layers of illusion

• Actual canvas• Canvas on easel• Window behind easel (refers to

“illusionistic window”)– Message is that he rejects that

the purpose of painting should be only to create illusion – it can be a powerful mode for expressing complex ideas


PART 4THEMES


Discussion Question

1. Look at artworks by René Magritte (for example, The Human Condition in this chapter (4.88) and The Treachery of Images on p.76 (fig. 1.47) of the textbook). Write a short essay of two or three paragraphs explaining what Magritte was saying about the Renaissance idea of the “illusionistic window.”


PART 4THEMES


Discussion Question

2.Select one of the artists in this chapter and study other works by him or her. Does the artist use illusionism frequently? What do you think is his or her motivation for doing so?


PART 4THEMES


Discussion Question

3.Study Hogarth’s False Perspective. Now draw a scene from your imagination and include in it at least three examples of altered visual reality like those included in Hogarth’s print.


PART 4THEMES


This concludes the PowerPoint slide set for Chapter 4.5

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields



PART 4THEMES


4.74 Metropolitan Museum of Art, Rogers Fund, 1903. Inv. 03.14.13a-g. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

4.75 Photo Scala, Florence

4.76 Photo Scala, Florence, courtesy Ministero Beni e Att. Culturali

4.77 Kunsthistorisches Museum, Vienna;

4.78 National Gallery of Art, Washington, D.C. Gift of Mr. & Mrs. Richard Mellon Scaife in honour of Paul Mellon, 1993.15.1

4.79 Courtesy Miran Fukuda

4.80 Photo Anthony d’Offay, London

4.81a James Green/Robert Harding

4.81b, 4.81c, 4.81d Ralph Larmann

4.82 Gianni Dagli Orti/Palazzo del Tè Mantua/The Art Archive

4.83 Pietro Baguzzi/akg-images;

4.84a, 4.84b Courtesy the artist

4.85 National Gallery of Art, Washington, D.C., Gift of Lila Acheson Wallace, 1987.2.1. Photo Ellen Page Wilson, courtesy The Pace Gallery. © Chuck Close, The Pace Gallery

4.86 Courtauld Gallery, London

4.87 from Kirby, J., Dr Brook Taylor’s Method of Perspective Made Easy, 1754

4.88 National Gallery of Art, Washington, D.C., Gift of the Collectors Committee, 1987.55.1. © ADAGP, Paris and DACS, London 2011


1. Which ancient Greek artist won a contest to create the most convincing painted illusion?

◦ a. Athena◦ b. Zeuxis◦ c. Aros◦ d. Parrhasius◦ e. Apollo

2. The School of Athens, an architectural illusion created by Raphael, was painted for the library of

________.

◦ a. Pope John Paul◦ b. Pope Julius II◦ c. Zeuxis◦ d. Apollo◦ e. Aristotle

3. Which two philosophers, included in the center of The School of Athens, highlight the development of learning in the

ancient world?

◦ a. Plato and Aristotle◦ b. Aristotle and Zeus◦ c. Parnassus and Pliny◦ d. Plato and Julius◦ e. Raphael and Aristotle

4. What was William M. Harnett investigated for due to the trickery and illusion created in his

paintings?

◦ a. bribery◦ b. forgery◦ c. counterfeiting◦ d. theft◦ e. vandalism

5. Which artwork features a silhouette of a piano and pianist that transforms into a violinist when

viewed from a different angle?

◦ a. Mask II◦ b. Encore◦ c. The Old Violin◦ d. Cubiculum◦ e. Play It Again

6. What term describes the optical trick of swelling columns at midpoint, which was used in the design of

the Parthenon?

◦ a. Silhouette◦ b. Stylobate◦ c. Visual illusion◦ d. Form◦ e. Entasis

7. Giulio Romano was trained by this artist, who influenced his painting Fall of the Giants:

◦ a. Leonardo da Vinci.◦ b. Shigeo Fukuda.◦ c. Raphael.◦ d. Ron Mueck.◦ e. Andrea Mantegna.

8. Chuck Close painted with ________ to create portraits of friends and family.

◦ a. fingerprints◦ b. nails◦ c. brushes◦ d. eyelashes◦ e. footprints

9. What elements does Hogarth depict with accurate perspective in his engraving published in 1754, based on the

teaching of such methods?

◦ a. A woman handing a candle to a man outside her window

◦ b. Sheep lined up and walking away

◦ c. A bird perched on a tree◦ d. A sign showing the

moon hanging from the building

◦ e. None of these are depicted accurately using the techniques of perspective.

10. Which artist, in his painting The Human Condition, challenged the Renaissance notion of the "illusionistic

window"?

◦ a. William Hogarth◦ b. René Magritte◦ c. Édouard Manet◦ d. Raphael• e. Chuck Close

art 110 3.8 & 4.5 nq

Education

age of global art matisse

age of global art picasso

multiculturalism art

representational art

art drawing

age of global art introduction

form picasso

finished art artist