LBCC Study Guide – Final Exam Spring 2012 1 of 5

LBCC Study Guide Final Exam – Chapters 17-21 READING

Chapter 17: pages 409-415 Chapter 18: pages 430-435, and 439-441 Chapter 19: pages 451-460, and 469-476 Chapter 20: pages 477-497 Chapter 21: pages 498-524

QUESTIONS TO CONSIDER:

• Review your notes on composition, focal point, color, and Role of artists • Which works of art contain self-portraits of the artists? • Which work of art is the first life-size nude sculpture since antiquity, and who created it? • Who invented linear perspective in the Renaissance? • Understand the difference between Romanticism and Realism and be able to identify works from

each movement. • Know the 4 characteristics of Impressionism (from class lecture)

o 1.Focused on a single moment. o 2.Incorporated the qualities of sketches—abbreviation, speed, and spontaneity. o 3.Clearly evident brush strokes. o 4.Acknowledged the paint and the canvas surface.

• Which work of art is considered the first Impressionist painting? • Who was the only American included in the group of Impressionists?

The following pages contain vocabulary, and the image list you are required to memorize; and two additional images with appropriate text.

LBCC Study Guide – Final Exam Spring 2012 2 of 5

VOCABULARY MOVEMENTS/ TERMS

DEFINITION

Baroque A style of art that is theatrical and dramatic– used by the Papacy in Rome during the counter-reformation. The main concerns of Baroque philosophers , scientists and artists was the depiction of space , motion and time .

Combine A term developed by Robert Rauschenberg to designate his high-relief collage works

Cubism Pioneered by Picasso & Braque; geometry of forms, fragmentation of object, and increasing abstraction

Dada Championed senselessness, noise, illogical; against traditional art

Expressionism Art that stresses psychological and emotional content Ie. German Expressionism: 2 groups The Bridge, The Blue Rider

Fauves French for “wild beasts”; artists whose work is characterized by bold arbitrary (random) color

Futurism Celebrates the movement and speed of modern industrial life (Italy)

Humanism the exploration of individual potential and a desire to excel, and a commitment to civic responsibility and moral duty.

Illuminated Manuscript

Handmade books from the Medieval period; contained text and images for the purpose of prayer

Impressionism

19th century, France; use of discontinuous strokes of color meant to reproduce the effects of light.

Mannerism A style of art that is highly individualistic, imaginative, and/or consciously artificial usually with bizarre effects such as elongated figures.

Neoclassicism

Late 18th, early 19th centuries; influenced by Greek Classical style, often employed Classical themes in subject matter

Paleolithic Art produced by the peoples of the Old Stone Age; found in Africa and Western Europe

Pop Art 1960s content comes from American popular culture

Post-Impressionism

Late 19th century, France; various artists working in various styles, whose work strayed away from Impressionism

Postmodernism Simultaneous presence of diverse traditions in a single work

Realism

Art which renders facts, the desire to describe the world unadulterated (not modified) by imaginative and idealist tendencies

Renaissance Rebirth in Italian, a style of art that revived the interest in the arts and sciences and stressed the importance of Humanism, a philosophy that embraced the unique value of each person.

Rococo Early 18th century, France; characterized by curvilinear forms, pastel colors, and often light, frivolous subject matter

Romanticism Early 19th century; dramatic, emotional, and subjective art with idealist tendencies

Surrealism Dream imagery, chance operations, rapid thoughtless forms of notation that expressed the unconscious mind

LBCC Study Guide – Final Exam Spring 2012 3 of 5

WORKS OF ART:

Artist , Title , Art Period or Movement , and subject matter/content, focal point and the Role of the artist in the work; recognizing any formal elements such as particular types of lines, color used, texture etc.; and medium. CHAPTER 17 PREHISTORY Venus Of Willendorf EGYPTIAN Palette of King Narmer

CHAPTER 18 BYZANTINE Theodora and Her Attendants EARLY CHRISTIAN St. Matthew from the Lindisfarne Gospels

CHAPTER 19 RENAISSANCE Donatello, David

Raphael, The School of Athens Titian, Venus of Urbino

BAROQUE Caravaggio, The Calling of St. Matthew Gentileschi, Judith Slaying Holofernes (image on page 4)

CHAPTER 20 NEOCLASSICISM David, The Death of Marat

Ingres, Grande Odalisque ROMANTICISM Gericault, The Raft of the Medusa

Delacroix, Liberty Leading the People (book labels this as Realism, however the work contains Romanticist tendencies)

REALISM Manet, Olympia IMPRESSIONISM Monet, Impression-Sunrise

Renior, La Moulin de la Galette POST-IMPRESSIONISM Toulouse-Lautrec, At the Moulin Rouge (image on page 5)

Cezanne, Still Life with Cherries and Peaches

CHAPTER 21 CUBISM George Braque, Houses at l’Estaque

Picasso, Guernica FAUVES Matisse, The Green Line FUTURISM Balla, Dynamism of a Dog on a Leash DADA Duchamp, The Fountain SURREALISM De Chirico, Melancholy and Mystery of a Street

AMERICAN MODERNISM Edward Hopper, Nighthawks

ABSTRACT EXPRESSIONISM Willem de Kooning, Woman and Bicycle

POP ART Robert Rauschanberg, Odalisk Roy Lichtenstein, Whaam!

POSTMODERNISM Yasumasu Morimura, Portrait (Twins)

LBCC Study Guide – Final Exam Spring 2012 4 of 5

Artemisia Gentileschi Judith Slaying Holofernes, c. 1614-1820 Oil on canvas, 6’6” x 5’4” Baroque Period

Context: Artemisia Gentileschi was trained by her painter father, Orazio, in the art of painting. She was the most renowned woman painter in Europe during the earth 17th century and the 1st woman ever admitted to membership in Florence’s Academy del Disegno. Her work presents another example of the Italian artist creating works, which support the teachings of the Church and also could suggest alternate explanations as well. It has been suggested that Artemisia used this triumphant theme, not only to represent the Book of Judith, but also to work as catharsis in her personal life, through sheer strength of will as a cleansing to bring closure to a personal crisis. A fellow student had raped her. The drama of the Judith theme could stand as an attempt to understand and confront the drama in her personal life as well as a document in support of Church writings. Content: In this work she details in graphic fashion the biblical event. Judith along with her maidservant entices Holofernes, an Assyrian general, and vanquishes him. Judith vigorously decapitates Holofernes; The blood spurts from the neck of Holofernes and Judith continues with the strength of purpose to finish the assassination, no matter the struggles of Holofernes. Style: Baroque; strongly influenced by Caravaggio; strong use of chiaroscuro; open composition; realistic Role of Artist: To give visible or tangible form to ideas, philosophies or feelings. In this case, religious philosophy, and her personal feelings.

LBCC Study Guide – Final Exam Spring 2012 5 of 5

Henri de Toulouse-Lautrec At the Moulin Rouge, 1892-1895 Oil on canvas, 48 3/8 x 55 ¼ inches Post Impressionism

Context: Henri de Toulouse-Lautrec has become a legend, and his biography is as intriguing as his art. Because of childhood injuries that left his legs crippled, Toulouse-Lautrec often felt left out of the aristocratic world into which he had been born and lived at times on the margins of society. He chose to immerse himself in an aspect of modern life far removed from the healthy, outdoor scenes of the Impressionists, the spirited nightlife of Montmartre. He frequented numerous dance halls, nightclubs, cafes, and bordellos in search of subject matter such as the Moulin Rouge, a famous Parisian nightclub named for the red windmill on its roof; here, he depicted many of his friends and favorite entertainers. Content: In At the Moulin Rouge, he focused on a group of friends, clientele and employees of Paris's most famous dance hall (the artist included himself in the background). The composition, with its oblique perspective, acid palette, bizarre artificial lighting, and mask-like faces, is a haunting and unforgettable image of the dissolute Bohemian life of turn-of-the-century Paris. Style: He was inspired by Degas, but based his most characteristic imagery on Parisian nightlife His technique is loose sketchy brushwork that contained clearly defined color areas; this contributes to a sense of dynamic motion in his paintings. Toulouse-Lautrec’s Postimpressionist style is a highly personal combination of the Impressionists’ interest in contemporary subject matter and his own expressionistic color and line. The eerie green light of the interior evokes an unhealthy atmosphere. The artist then added to the visual drama by utilizing different lines, such as the curving silhouette of La Goulue fixing her hair, the collar of Jane Avril’s coat, and the outline of Milton’s sleeve. These lines contrast with the strong diagonals of the banister and the floorboards, which rush forward toward the viewer, enhancing the lively mood of the decidedly worldly setting. We can point out three influences seen in Toulouse-Lautrec's work, and the features that reflect each influence.

Degas: Oblique and asymmetrical composition. Japanese prints: spatial diagonals. Photography: Figures cut off at the frame’s edge.

Role of Artist: To record the world, make a visual record of people, places and events