How do we TALK
about ART ?????
Phyllis Doherty- Halifax High School 1
Discuss the SUBJECT
People,
Still Life,
Landscape,
Abstract
2
DISCUSS the STYLE
Abstract Expressionism
Contemporary Realism
Cubism
Expressionism
Futurism
Impressionism
Op Art
POP art
Realism
Surrealism
3
ABSTRACT EXPRESSIONISM
•
•
“Abstract Expressionism is a
type of art in which the
artist expresses himself
purely through the use of
form and color.
It is non-representational,
or non-objective, art, which
means that there are no
actual objects represented.”
Jackson Pollock (American, 1912–1956)
War, 1947
Pen and ink, and colored pencils on paper; 20 5/8 x 26 in.
4
ACTION PAINTING or “drip” painting
•
Jackson Pollock (artist)
American, 1912 – 1956 Number 1, 1950 (Lavender Mist), 1950
oil, enamel and aluminum on canvas Overall: 221 x 299.7 cm (87 x 118 in.) National
5
Gallery of Art
COLOR FIELD PAINTING
Mark Rothko (painter)
American, born Russia, 1903 - 1970
Untitled, 1949
oil on canvas
overall: 206.7 x 168.6 cm (81 3/8 x 66 3/8 in.) National Gallery of Art
6
CUBISM
• “A twentieth century art
movement developed
mainly by Picasso and
Braque in which the
subject matter is broken
up, analyzed and
reassembled in an
abstract form,
emphasizing geometric
shapes.”
Pablo Picasso
Carafe, Jug and Fruit Bowl, Horta de Ebro,
Summer 1909. Oil on canvas, 28 1/4 x 25 3/8
inches. Solomon R. Guggenheim Museum
7
EXPRESSIONISM
• “An art movement developed at
the end of the nineteenth and
the beginning of the twentieth
century in Germany. This style
emphasized the expression of the
artist’s emotions through the use
of strong color, exploitation of
media and the use of suggestive
and symbolic imagery.”
Berlin Street, 1931
George Grosz (American, born Germany, 1893–1959)
Oil on canvas; 32 x 23 5/8 in. (81.3 x 60 cm) MET MUSEUM8
FAUVISM
• “An early twentieth century
style of painting developed in
France. The artists, led by
Matisse, used brilliant and
explosive color to express the
inner quality of their subjects
rather than how they
appeared in nature.
• They were called Fauves, or
“Wild Beasts” because critics
thought they used colors in a
violent uncontrolled way.”
Henri Matisse. (French, 1869-1954). Interior with a Young Girl
(Girl Reading). Paris 1905-06. Oil on canvas, 28 5/8 x 23 1/2"
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FAUVISM
•
Henri Matisse (painter)
French, 1869 - 1954
Open Window, Collioure,
1905 oil on canvas
Overall: 55.3 x 46 cm (21
3/4 x 18 1/8 in.) National
Gallery of Art
10
FUTURISM
• “Futurism was a modernist
movement based in Italy
celebrating the
technological era.
• It was largely inspired by
the development of
Cubism.
• The core preoccupations of
Futurist thought and art
were machines and
motion.”
Umberto Boccioni A strada entra nella casa, 1911
The street enters the house Oil on canvas, 100 x 100.6 cm
Sprengel Museum,
11
FUTURISM
Umberto Boccioni (Italian, 1882–1916.) The Laugh [La risata]. (1911)
Oil on canvas, 43 3/8 x 57 1/4" (110.2 x 145.4 cm) The Museum of Modern Art
12
•
•
IMPRESSIONISM
“Centered in France, 1860's to
1880's
The hallmark of the style is the
attempt to capture the subjective
impression of light in a scene.
Impressionism is a light,
spontaneous manner of painting
which began in France as a
reaction against the restrictions
and conventions of the dominant
Academic art. Its naturalistic and
down-to-earth treatment of its
subject matter, most commonly
landscapes, has its roots in the
French Realism of Camille Corot
and others.
The movement's name was
derived from Monet's early work,
Impression: Sunrise, which was
singled out for criticism by Louis
Leroy upon its exhibition.”
Claude Monet's Impression Sunrise (18-7/8x
24-3/4 inches) is an oil on canvas housed at
the Musee Marmottan in Paris.
13
IMPRESSIONISM
•
Pierre-Auguste Renoir (1841-1919) Luncheon of the Boating Party,
1880-1881 Oil on canvas Acquired 1923 Phillips collection
14
Detail of the glasses
15
OPTICAL ART
•
“Optical Art is a mathematicallythemed form of Abstract art, which
uses repetition of simple forms and
colors to create vibrating effects,
moiré patterns, foregroundbackground confusion, an
exaggerated sense of depth, and
other visual effects.
In a sense, all painting is based on
tricks of visual perception:
manipulating rules of perspective to
give the illusion of threedimensional space, mixing colors to
create the impression of light and
shadow, and so on. With Optical
Art, the rules that the viewer's eye
uses to try to make sense of a visual
image are themselves the "subject"
of the artwork.”
Victor Vasarely 1967-1969
Painting tempera on hardboard
59.1 x 59.2cm board TATE, LONDON
16
OPTICAL
ART
•
Bridget Riley
Blaze 1964
Screenprint on
paper
image: 530 x 521
mm
on paper, print
17
POP ART
• “Pop Art is a style of art
which explores the
everyday imagery that is
so much a part of
contemporary consumer
culture.
• Common sources of
imagery include
advertisements, consumer
product packaging,
celebrity photographs,
and comic strips.”
Vegetarian Vegetable from Campbell's Soup II, 1969
Andy Warhol (American, 1928–1987)
Screenprint; 35 x 23 in. (88.9 x 58.4 cm) MET MUSEUM
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POP ART
Roy Lichtenstein. (American, 1923-1997). Drowning Girl. 1963.
Oil and synthetic polymer paint on canvas, 67 5/8 x 66 3/4"
19
REALISM
• “Realism is an
approach to art in
which subjects are
depicted in as
straightforward a
manner as possible,
without idealizing
them and without
following rules of
formal artistic
theory.”
Jean-François Millet (1814-1875)Gleaners, also
called, The Gleaners1857 Oil on canvasH. 83.5; W.
110 cmParis, Musée d'Orsay
20
Study for “Gleaners”
British Museum
21
Joan of Arc, 1879
Jules Bastien-Lepage (French, 1848–1884)
Oil on canvas; 100 x 110 in. (254 x 279.4 cm) METROPOLITAN MUSEUM OF ART
22
CONTEMPORARY REALISM
• “Contemporary
Realism is the
straightforward
realistic approach
to representation
which continues
to be widely
practiced in this
post-abstract
era.”
Andrew Wyeth. (American, born 1917). Christina's World.
1948. Tempera on gessoed panel, 32 1/4 x 47 3/4" MOMA
23
• William Bailey. (American, born 1930). Mercatale
Still Life. 1981. Oil and wax on canvas, 30 x 40“
MOMA
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SURREALISM
“Surrealism is a style in which
fantastical visual imagery from
the subconscious mind is used
with no intention of making the
work logically
comprehensible..”
René Magritte (artist) Belgian, 1898 - 1967
La condition humaine, 1933 oil on canvas
Overall: 100 x 81 x 1.6 cm (39 3/8 x 31 7/8 x 5/8 in.) NGA
25
SURREALISM
Salvador Dalí. (Spanish, 1904-1989). The Persistence of Memory. 1931.
Oil on canvas, 9 1/2 x 13" (24.1 x 33 cm). MOMA
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STILL LIFE, PEOPLE, LANDSCAPE, ABSTRACT