HA 261 Week 10

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  1. Abstract Expressionism
    • New York School (1st generation)
    • deeply affected by surrealists (biomorphic) and idea of chance
    • interested in liberating technique to lead to an exploration of new forms
    • abstract painting that express artist's state of mind while also striking an emotional chord in the viewer
    • ABSTRACT: devoid of recognizable figures
    • EXPRESSIONISM: strives to communicate emotion by distorting color, shape, space in a personal style
  2. Harold Rosenberg and Clement Greenberg
    • supporters of Abstract Expressionism
    • opinions were extremely influential
    • arts ability to connect with human experience could exist independently of any literal representation
    • developed terminology
  3. Action Painting
    • concerned with unique touch of artist (like handwriting)
    • event goes on canvas, not a picture
  4. Color Field Painting
    • large, unified color or shape or area
    • universal timeless scenes
    • convey tragedy, ecstasy, doom
  5. Carl Jung (archetypes)
    • art brings to consciousness the collective past
    • wanted patients to create through drift rather than consciousness
    • Freud = individual while Jung = universal
  6. Zip Paintings
    This is the first time the artist used a vertical band to define the spatial structure of his work. This band, later dubbed a "zip," became Newman's signature mark. The artist applied the light cadmium red zip atop a strip of masking tape with a palette knife. This thick, irregular band on the smooth field of Indian Red simultaneously divides and unites the composition.
    • Woman I
    • de Kooning
    • 1950-52
    • retains figuration
    • deconstructed mammoth female figure
    • angry or intense brushwork, complex, worked over application and erase process
    • frenzied, brutal; vivid colors
    • mask-like face
    • tension between figuration and abstraction
    • act of making painting and idea behind it are just as important as art itself
    • was he a mysoganist?
    • fertility goddess - movie star - woman can mean a lot of things
    • Number 1
    • Jackson Pollock
    • 1950
    • drip painting
    • New York School/Ab Ex
    • oil, enamel, aluminum, paint on unprimed canvas
    • gestural abstraction - composed of rhythmic drips/patterns
    • paints with canvas on floor
    • lack of compositional focus
    • lines divorced from descriptive function
    • balance of thin/thick
    • movement
    • balances color, space, voids
    • process is as important as finished work
    • thought/skill involved - not just spontaneity
    • responded to image as he created it
    • paint becomes record of artist's movement
    • texture elements
    • expresses feelings rather than illustrating them
    • Onement I
    • Newman
    • 1948
    • zip - the vertical band that defines and structures the work
    • irregularly hand-brushed
    • divide and unites the canvas
    • smooth field/base with zip down the middle
    • the zip is a visual accent; it adds energy and shows the scale
    • Vir Heroicus Sublimis
    • Newman
    • 1950-1
    • "Man-Heroic-Sublime"
    • the sublime is now
    • multiple linear zips - break up space and form a perfect square in the center third of the painting
    • color relationships explored
    • meant to overwhelm the sense - color is so intense and painting is so large, it should envelope viewer
    • supposed to be a personal painting - relationship with viewer BUT critics thought it was too impersonal/simple
    • Elegy to the Spanish Republic, No. 34
    • Motherwell
    • 1953
    • ab ex
    • abstract meditations on life and death
    • act of creation is evident
    • compression/distortion of black ovals
    • universal tragedy: black = death white = life
    • "to paint not the thing but the effect it provides"
    • No. 61 Brown, Blue, Brown On Blue
    • Rothko
    • 1953
    • ab ex
    • color field painting
    • modern person = divided person
    • color fields separate, irregular, none dominate
    • unclear what viewer's eye should be drawn to first
    • not everything is a perfect rectangle
    • Mahoning
    • Kline
    • 1956
    • ab ex
    • action painting
    • straight, girder like strokes
    • paints on wall
    • unstretched canvas and house paint used to make painting more democratic
    • rugged yet controlled strokes - ragged on edges that transform into architectural structures and reference industrial landscape
    • texture
    • additive/reductive process
    • The Seasons
    • Krasner
    • 1957
    • ab ex
    • action painting
    • wife of Pollock (but still an independent artist)
    • hybridity, balance between horizontal and vertical
    • gestural, bold, dynamic; reduced palette
    • sense of structure - tension with spontaneity
    • sweeping curves, grandness of lines - long, thick lines
    • Rothko Chapel
    • Rothko
    • 1965
    • Houston, TX
    • ab ex/color field painting
    • shimmering veils of luminescent color that float
    • disembodied fields of color
    • creating optical experience; meditative
    • designed for experience
    • 14 panels around entire room - sense of being enveloped
    • non-denominational
    • skylight
    • creates window into the beyond/the indefinite
    • Cubi XVIII
    • Smith
    • 1964
    • ab ex - constructed sculpture, assemblage
    • welded iron/steel
    • precariously balanced/counterbalanced; weightless
    • extend into surroundings
    • Dolores James
    • Chamberlin
    • 1962
    • ab ex, assemblage
    • parts of old cars, scrap metal, highly polished covered in enamel
    • spontaneous method of creation
    • no welding - pieces interlock of their own accord
    • abstract, no meaning
    • explores potential of medium
    • Kouros
    • Noguchi
    • 1944
    • influenced by Brancusi Bird in Space
    • organic shapes and how they could evoke figure associated
    • marble or stone
    • evokes a human
    • assembled like a puzzle of slabs - no welding or glue holds it together
  7. Assemblage
    • An artwork composed of three-dimensional objects, either natural or manufactured, often junk.
    • Dolores James by Chamberlain (1962)

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HA 261 Week 10
2011-11-08 16:47:08
modern art history

hell no
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