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Art 1301 Test 4
| Question | Answer |
|---|---|
| Nkisi nokonde | (Africa: hunter figure)ward off enemies with nails in wooden fetish figures to get help from the gods. wrongdoers will suffer pain. figures human forms or animals connected to ancestral spirits. |
| Ancestral Couple, Mali | (Africa: Dogan)highly stylized, rigid and elongated figure with geometric patterns made of wood. removes from contemporary reality. rep mythical ancestors of the human race (adam and eve) |
| Easter Island Figures | (Polynesia-known for figural sculptures) stone, 600 heads and half-length figures and some 60ft. tall. massiveness and compactness, carved jutting, monolithic forms abstract quality, same noose and chin pursed lips and overbearing brow |
| Ancestral Poles, New Guinea | (Melanesia)colorful painted, mixed media of wood, paint, and fiber. poles are carved and adorned with palm leaves. elongated bodies rep ancestors, openwork banners are phallic symbols (give courage) |
| Colossal Head | (Mexico: Olmec Culture)12 feet high great heads in ceremonial centers. hard basalt and jadeite carved. tight fitting helmets, broad nose, full lips and wide cheeks |
| Temple of Quetzalcoatl, Teotihuacan | (Mexico)smaller temple of Q.. the god Q was feathered serpent. high relief head of Q projects repeatedly from terraced sculptural panels of the temple, alternating with the square-brimmed geometric abstractions of Tlaloc, the rain god. |
| Statue of Coatlicue | (Mexico: Aztec, Toltec) mother of gods assoc. earth and cycle of birth, death and rebirth. compact stone effigy is goddess as symbol of creation and destruction. wears skirt of carved snakes rep. fertility, necklace of severed hands, hearts and skulls. |
| Ceramic portrait jar | (Peru)terra cotta with paint, mochica culture, flat bottom and stirrup-shaped spout. man face |
| Sanctuary of the Mosque at Cordoba | (Islamic) interior system of arches that spans the distances b/t columns in the hypostyle system. vaults supported by piers, overspreads the arches. not spacious, mosaics inside |
| Taj Mahal | (Islamic)mausoleum by Shah Jahan in memory of wife. contrast to plainness of islamic architecture of that time, treelined pools, 3/4 sphere of dome. open archways, slender minarets, and spires. marble. |
| Yakshi bracket figure, from the east gate of the Great Stupa | (Indian)pre buddhist goddess who was believed to embody forces of nature. wears a diaphanous garment. breasts and sex organs symbolize productive powers. voluptuous. stone |
| Nataraja: Shiva as King of Dance | (Indian) hindu god of creation and destruction or lord or lords. one foot on demon of ignorance. bronze. limbs are erotic, small figure to right of head is Ganga river goddess. dance destroys the universe then reborn. human spirit reborn after death. |
| Fan K'uan, Travelers among Mountains and Streams | (China)ink on hanging silk scroll. escape to imaginary landscapes. Monumental style. rocks in foreground visual barrier so not drawn suddenly into painting. rounded forms rise in orderly, rhythmic.. sharp brushstrokes. |
| The Sage Kuya Invoking the Amida Buddha | (Japanese)Kamakura, 13th century CE; older, and realism, medium: wood, 6 small buddhas (syllables of prayer) out of mouth. balance b/t earthly and spiritual |
| Jacques-Louis David, The Oath of the Horatii | (19th..Neoclassicism)1784; highly finished, historical subject matter. Family's war against one another before french revolution. purpose woman engaged to be married to curatii family (Sets of 3) Roman dress, peaceful emotion-ordered. oil on canvas |
| Theodore Gericualt, Raft of the Medusa | (19 Century Modern Art: Romanticism)based off of shipwreck off of coast of africa dramatic- fate dead bodies, rescue ship barely visible human vs. nature also to call attention to french gov't. oil on canvas |
| Francisco Goya, The Third of May, 1808 | (19 Century Modern Art: Romanticism)oil on canvas. 1808. baroque tenebrism and chiaroscuro, execute a peasant in madrid after city fell to french, turbulence. brusqueness of application of pigment |
| Edouard Manet, Luncheon on the Grass | (19 Century Modern Art: Realism)french middle class. pyramidal structure. men clothed and women are not, one man is his friend and other is his brother. very crude for its time |
| Claude Monet, Impression Sunrise | (19 Century Modern Art: Impressionism)fishing vessels sail from port toward morning sun. oil on canvas. separation of light. |
| Vincent van Gough, Starry Night | (19 Century Modern Art: post-impressionism)intense brushstrokes alot of paint, expressionism, tortured in a crazy house. when die go to a planet. the town rep. a town he seen before. |
| Edvard Munch, The Scream | (19 Century Modern Art: Expressionism)partly abstract b/c of swirls of paint. subjective color, saw sunset emotions swirling sky and water run together, could be self-portrait. casein on paper |
| Auguste Rodin, The Burghers of Calais | (19 Century Modern Art: birth of modern sculpture)bronze hirshorn sculpture garden, washington dc, Burghers=city council, holding key, traded own lives so town wouldn't be lost, expressionistic, real humans trudging to death, heavy feet and hands. |
| Antoni Gaudi, Casa Mila Apartment House | (19 Century Modern Art: Art Nouveau)art new style foliate design (scrolly vines plants) organic architecture-breathing buildings. cut in stone. rhythmic roof, no straight lines |
| Henri Matisse, Red Room: Harmony in Red | (Early 20th Century Modern Art: one of the fauves)cropped views, trying to do like japanese with flat plains of color, oil on canvas, outside window, lines and shapes. same print on wall and on table, flatness and 3D |
| Wassily Kandinsky, Sketch I for Composition VII | (Early 20th Century Modern Art: one of The Blue Rider artists)1st artist to do pure abstracts, oil on canvas, art spiritual, celebrating color line and paint |
| Georges Bracque, The Portuguese | (Early 20th Century Modern Art: Cubism) analytical cubism. Bracque and picasso invented it, black/white little color, oil on canvas, poor man playing in a bar and form is broken apart |
| Pablo Picasso, Guernica | (Early 20th Century Modern Art)oil on canvas, huge mural, black and white and gray tones, angular forms, shows atrocity with light bulb in mural= burning spain |
| Umberto Boccioni, Unique Forms of Continuity in Space | (Early 20th Century Modern Art: Italian Futurism)unique forms of continuity in space, maleness, dynamism and speed, sculpture bronze, masculine form pushing through space |
| Georgia O'Keefe, White Iris | (Early 20th Century Modern Art: Early Abstraction in U.S)oil on canvas, cropped picture because wanted to look like photography soft colors. |
| Piet Mondrian, Composition with Red, Blue and Yellow | (Early 20th Century Modern Art: Abstraction in Europe)oil on canvas "the style" or justil. wanted to go back and study pure elements of art like line and color |
| Salvador Dali, The Persistence of Memory | (Early 20th Century Modern Art: Surrealism)dreamsacpes, end of time, limp watches, dead space, middle ameoba form is self portrait, oil on canvas |
| Ludwig Mies Vander Rohe, Model of a glass skyscraper | (Early 20th Century Modern Art)same idea as Walter Gropius School for artists, skeleton is steel and floors concrete and skin is glass, middle towers for elevator |
| Jackson Pollock, One | (20th Century Post-War to Postmodern Modern Art: Abstract Expressionism) drip painting, oil and enamel on canvas, action painting, even stroke when dripping paint |
| Mark Rothko, Blue, Orange, Red | (20th Century Post-War to Postmodern Modern Art: Focus on the Color Field)oil on canvas, famous color field paintin or pulsating fields of color. floating on canvas. warm colors-projects and cool colors-recedes but looks like opposite |
| Jasper Johns, Painted Bronze | (20th Century Post-War to Postmodern Modern Art: Ale Cans, Pop Art)casted in brone and painted on labels |
| Andy Warhol, Green Coca Cola Bottles | (20th Century Post-War to Postmodern Modern Art: Pop Art)oil on canvas, bottles are all different, |
| Audrey Flack, World War II | (20th Century Post-War to Postmodern Modern Art: Vanitas)oil over acrylic on canvas, still life, superrealism modern still life, photo in it is after holocaust camp photo |
| Henry Moore, Reclining Figure, Lincoln Center | (20th Century Post-War to Postmodern Modern Art)bronze, expressionism, biomorphic shapes, |
| Nkisi | medicine |
| nkondi | plain carved figure to which packets of materials are added to empower it. |
| Imam | a prayer leader in a mosque; a religious and temporal ruler of a muslim community or state |
| hypostyle | in architecture, a structure with a roof supported by rows of piers our columns |
| mihrab | a niche in the wall of a mosque that faces Mecca and thus provides a focus of worship |
| minaret | a tall, slender tower of a mosque from which muslims are called to prayer |
| Shiva | the hindu god of destruction and regeneration |
| Yakshi | A yakshini is the female counterpart of the male yaksha. the Hindu god of wealth. They both look after treasure hidden in the earth and resemble that of fairies. beautiful and voluptuous, with wide hips, narrow waists, broad shoulders |
| Hanging scroll | They are usually used to display calligraphy or sumi-e (shaded ink painting) and are often hung in an alcove called a tokonoma for display. |
| Hand scroll | a painting or text on silk or paper that is either displayed on a wall (hanging scroll) or held by the viewer (hand scroll) and is rolled up when not in use. |
| Haniwa | a hollow ceramic figure placed at ancient Japanese burial plots |
| history paintings | term used to denote those paintings that include figures in any kind of historical, mythological or biblical narrative; considered from the Renaissance until the 20th century as the noblest form of art. |
| Prix de Rome | three to five year scholarship awarded to the top students in painting and sculpture graduating from the French Academy’s art school. |
| Salons | Exhibitions of painting and sculpture which began in 1664 for displaying to the public the works of the students at the royal academies. In 1791 the jury system was abolished and the Salon was democratically opened to all students. |
| Salons3 | In 1816 under the monarchy following Napoleon, it was renamed Académie des Beaux Arts. |
| Salons2 | In 1793 all the royal academies were disbanded but reconstituted in 1795 as the Institut de France to administer the École des Beaux Arts. |
| Neoclassicism | (neo means “new”); presents classical subject matter – mythological or historical – in a style derived from classical Greek and Roman sources. |
| Grand Manner | elevated style of painting popular in the Neoclassical period of the 18th century in which the artist looked to the ancients and Renaissance for inspiration; |
| Grand Manner2 | for portraits as well as history painting, the artist would adopt the poses, compositions, and attitudes of Renaissance and antique models. |
| Romanticism | a style and attitude chiefly concerned with the imagination and emotions; a reaction to the Enlightenment focus on rationality. |
| plein-aire painting | outdoor painting, particularly as it relates to the art of the impressionists |
| odalisque | the Turkish term of a woman in a harem; usually represented as a reclining female nude shown among the accoutrements of an exotic, luxurious environment by nineteenth and twentieth century artists |
| Abstract art | any art that does not represent observable aspects of nature or transforms visible forms into a pattern resembling the original model. |
| Nonobjective art | art that does not attempt to reproduce the appearance of objects, figures, or scenes in the natural world; also called non-representational. |
| Fauves; Fauvism | “wild beasts”; term that captured the work of artists who used explosive colors and impulsive brushwork that characterized their pictures |
| Cubism | a 20th century art style created by Picasso and Braque, that emphasizes the two dimensionality of the canvas, characterized by multiple views of an art object and the reduction of form to cube like essentials |
| Analytical cubism | a move toward abstraction in painting as an arrangement of form and color on a two-dimensional surface; objects broken into parts as though to analyze them. |
| Futurism | an early 20th century art style which portrayed modern machines and the dynamic character of modern life and science. |
| Assemblage | a technique giving sculptors the option not only of carving or modeling, but also of constructing their works out of found objects and unconventional materials |
| Postmodernism | a contemporary style that rose as a reaction to modernism, and that returns to ornamentation drawn from classical and historical sources. |
| Temple of Quetzalcoatl, Teotihuacan 2 | bas-relief of abstracted serpent scales and feathers follow paths on the panels in between. Mayan |
| Fan K'uan, Travelers among Mountains and Streams 2 | waterfall balance right by cleft in left. high contrast in values. no vanishing point. perspective shifts. |
| Eugene Delacroix, Death of Sardanapalus | (19 Century Modern Art: romanticism)oil on canvas 1826. suiced of Assyrian king chaotic, exotic, enemy coming ask servants bring belongings and women and destroys them all by lighting fire to himself and them. |
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santaulariaj
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