978-0134479262 Part 7 | Course Paper

111

CHAPTER THIRTY

EUROPEAN AND AMERICAN ART, 1715–1840

Chapter-at-a-Glance

• Industrial, Intellectual, and Political Revolutions |

• Rococo | Rococo Salons | Painting | Sculpture and Architecture

• The Grand Tour and Neoclassicism in Italy |

Grand Tour Portraits and Views | Neoclassicism in Rome

• Neoclassicism and Early Romanticism in Britain |

The Classical Revival in Architecture and Design |

The Gothic Revival in Architecture and Design | Iron as a Building Material |

Trends in British Painting

A Closer Look: Georgian Silver

• Later Eighteenth–Century Art in France | Architecture | Painting |

Sculpture

• Spain and Spanish America | Goya | Art of the Americas under Spain

• The Development of Neoclassicism and Romanticism into the

Nineteenth Century | Developments in France |

Romantic Landscape Painting | British and American Architecture

Technique: Lithography

Learning Objectives

By the end of this chapter, the student will be able to:

30.a Identify the visual hallmarks of eighteenth– and early nineteenth–century

30

112

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Interior, Church of the

Vierzehnheiligen (Fig. 30–9)

Interior, Church of the

Vierzehnheiligen (Fig. 30–9)

Charles Sackville, 2nd Duke of

Dorset (Fig. 30–10)

Gustavus Hamilton, 2nd Viscount

Boyne (Fig. 30–10)

Pauline Borghese as Venus (Fig. 30–

14)

Cupid and Psyche (Fig. 30–14)

The Park at Stourhead (Fig. 30–16)

Pantheon (Church of Sainte–

Genevieve), Paris (Fig. 30–32)

Pantheon (Church of Sainte–

Genevieve), Paris (Fig. 30–33)

The Governess (Fig. 30–34)

Saying Grace (Fig. 30–35)

Mission San Xavier Del Bac (Fig. 30–

47)

Mission San Xavier Del Bac (Fig. 30–

48)

Houses of Parliament, London (Fig.

30–65)

Houses of Parliament, London (Fig.

30–66)

Discussion Topics and Critical Thinking Questions

1. John Singleton Copley’s portrait of Thomas Mifflin and Sarah Morris (Mr. and Mrs.

Mifflin) (Fig. 30–1) represents the American politician and his wife. The painting is

considered to be a political statement in the years leading up to the American

Revolution. What about this work can be interpreted as a political message? Do

you think it is effective in its symbolism?

2. Jean–Antoine Watteau and his fête galante paintings are representative of Rococo

6. Théodore Géricault’s The Raft of the Medusa (Fig. 30–51) was inspired by

contemporary events. To create his monumental and controversial canvas,

Géricault combined traditional elements of his academic training with new ways

of collecting information and portraying a narrative. How does Géricault’s

preliminary work for this piece remain part of the academic tradition? How does

it depart from that tradition?

7. Jean–Auguste–Dominique Ingres’s Large Odalisque (Fig. 30–57) brings together

elements of the Neoclassical and the Romantic. How does it combine these two

movements? Do you feel this painting is better classified as Neoclassical or

Romantic?

Key Terms

114

CHAPTER THIRTY–ONE

MID– TO LATE NINETEENTH–CENTURY ART

IN EUROPE AND THE UNITED STATES

Chapter-at-a-Glance

• Europe and the United States in the Mid to Late Nineteenth Century

• French Academic Architecture and Art | Architecture |

Painting and Sculpture

Art and Its Contexts: Orientalism

Art and Its Contexts: The Mass Dissemination of Art

• Early Photography in Europe and the United States |

Alexander Gardner and Julia Margaret Cameron

Technique: The Photographic Process

• Realism and the Avant–Garde | Realism and Revolution |

Manet: “The Painter of Modern Life” | Responses to Realism Beyond France

Art and Its Contexts: Art on Trial in 1877

• Impressionism | Landscape and Leisure | Modern Life | Japonisme

• The Late Nineteenth Century | Post–Impressionism | Symbolism |

French Sculpture | Art Nouveau

A Closer Look: Mahana no atua (Day of the God)

• The Beginnings of Modernism | European Architecture:

Technology and Structure | The Chicago School | The City Park | Cézanne

Learning Objectives

By the end of this chapter, the student will be able to:

31

115

Transition Guide

Images Removed from

5th Edition

Images Added to the 6th Edition

Eiffel Tower, Paris (Fig. 31–1)

Grand Staircase, Opéra (Fig. 31–3)

Grand Staircase, Opéra (Fig. 31–4)

Plum Orchard, Kameido (Fig. 31–38)

Young Woman Looking at a Pot of

Pinks (Fig. 31-37)

Japonisme: Flowering Plum Tree

(Fig. 31–39)

Woman Bathing (Fig. 31–38)

The Crystal Palace (Fig. 31-50)

The Crystal Palace (Fig. 31–51)

Discussion Topics and Critical Thinking Questions

1. Although it has become a beloved icon of Paris, when the Eiffel Tower (Fig. 31–1)

was first constructed, its reception was mixed. While some applauded it as a

symbol of modernity, others viewed its materials and lack of traditional ornament

to be more industrial than artistic. Which side do you agree with?

7. We often associate Impressionism with a loose brushstroke, but not every

Impressionist artist was bound to that manner of working. Impressionist painter

Gustave Caillebotte was considered part of the group because of his interest in

depicting the modern city. Examine his Paris Street, Rainy Day (Fig. 31–36). How

does this painting present modern life? What is modern about this work?

Key Terms

117

CHAPTER THIRTY–TWO

MODERN ART IN EUROPE AND

THE AMERICAS, 1900–1950

Chapter-at-a-Glance

• Europe and America in the Early Twentieth Century

• Early Modern Art and Architecture in Europe |

The Fauves: Wild Beasts of Color |

Picasso, “Primitivism,” and the Coming of Cubism |

Die Brücke and Primitivism | Independent Expressionists |

Spiritualism of Der Blaue Reiter

• Extending Cubism and Questioning Art Itself |

Toward Abstraction in Sculpture | Dada: Questioning Art Itself |

Modernist Tendencies in America | Early Modern Architecture |

A Closer Look: Portrait of a German Officer

Elements of Architecture: The Skyscraper

• Art Between the Wars in Europe | Utilitarian Art Forms in Russia |

De Stijl in the Netherlands | The Bauhaus in Germany |

Surrealism and the Mind | Unit One in England | Picasso’s Guernica

• Art Between the Wars in the Americas | The Harlem Renaissance |

Rural America | Canada | Mexico, Brazil, and Cuba

• Postwar Art in Europe and the Americas |

Figural Responses and Art Informel in Europe |

Experiments in Latin America | Abstract Expressionism in New York

Learning Objectives

By the end of this chapter, the student will be able to:

32.a Identify the visual hallmarks of modern European and American art and

32

118

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Self–Portrait with an Amber

Necklace (Fig. 32–15)

Reclining Mother and Child (Fig. 32–

15)

Corner Counter Relief (Fig. 32–26)

Jack-in-the–Pulpit, No IV (Fig. 32–37)

Red Canna (Fig. 32–37)

Two Callas (Fig. 32–38)

Succulent (Fig. 32–38)

Frederick C. Robie House, Chicago

(Fig. 32–41)

Frederick C. Robie House, Chicago

(Fig. 32–41)

Model for the Monument to the Third

International (Fig. 32–46)

Bauhaus Building, Dessau (Fig. 32–

52)

Bauhaus Building, Dessau (Fig. 32–

53)

The Jack Pine (Fig. 32–70)

The West Wind (Fig. 32–71)

Jackson Pollock (Fig. 32–82)

Jackson Pollock Painting (Fig. 32–83)

Lavender and Mulberry (Fig. 32–88)

Untitled (Rothko Number 5068.49)

(Fig. 32–89)

Discussion Topics and Critical Thinking Questions

1. “Primitive” art was a source of inspiration for artists as they moved from purely

representational art toward abstraction. Two artists who were heavily influenced

by “primitive” art were Pablo Picasso and Emil Nolde. How did each artist use this

influence in his work? What was similar about their interest in “primitivism” and

what was different?

119

5. Grant Wood’s American Gothic (Fig. 32-69) presents an image of the American

Midwest. We know that this was not a portrait but that Wood posed models for

each of the figures. Critics and art historians have been divided whether this

image celebrates this Midwest culture or whether Wood’s intention was to satirize

their conservative ways. What do you think? What details in the painting

influenced your decision?

6. Although Diego Rivera studied in Europe and was well versed in modern art,

when he returned to Mexico, he wanted to create murals for the Mexican people.

Examine his The Great City of Tenochtitlan (Fig. 32–73). How did Rivera combine

European and Mexican influences in this painting?

7. Abstract Expressionism developed in the United States after World War II. Part of

the inspiration for action painting came from Surrealist painters who came to

New York to escape the war. How do the paintings of Arshile Gorky and Jackson

Pollock reflect the influence of Surrealism?

Key Terms

primitivism

domino construction

grattage

photomontage

curtain walls

Formalist

assemblage

installation art

action painting

automatism

Active Learning Assignments

1. Cubism has been divided into two major phases: analytic and synthetic. Create a

chart that shows comparisons between these two styles and maps the differences

between them. Your work should help someone be able to classify a Cubist

painting into one of these two styles.

120

CHAPTER THIRTY–THREE

THE INTERNATIONAL SCENE SINCE

THE 1950s

Chapter-at-a-Glance

• The World since the 1950s | The History of Art since the 1950s

• The Expanding Art World | Finding New Forms | New Forms Abroad |

Happenings and Fluxus | Pop Art | Minimalism

• The Dematerialization of Art | Conceptual Art and Language | New Media

| Process and Materials | Earthworks

• Feminist Art | Chicago and Schapiro

• Architecture: Mid–Century Modernism to Postmodernism |

Mid–Century Modernist Architecture | Postmodern Architecture

• Postmodernism | Neo–Expressionism | Appropriation, Identify, and Critique

| Identity Politics and the Culture Wars |

Controversies Over Funding in the Arts | Public Art

• High Tech and Deconstructivist Architecture | High Tech Architecture |

Deconstructivist Architecture

• Contemporary Art in an Expanding World |

Globalization and the Art World | The Body in Contemporary Art |

New Approaches to Painting and Photography | The New Formalism |

Activist Strategies and Participatory Art | The Future of New Media

Learning Objectives

By the end of this chapter, the student will be able to:

33

121

Transition Guide

Images Removed from the

5th Edition

Images Added to the 6th Edition

Leap into the Void (Fig. 33–6)

Anthropométries of the Blue Period

(Fig. 33–4)

Trolley, New Orleans (Fig. 33–8)

Three Aqueous Events (Fig. 33–8)

Child with a Toy Hand Grenade in

Central Park, New York (Fig. 33–9)

Cut Piece (Fig. 33–9)

Standard Station, Amarillo, Texas

(Fig. 33–13)

TV Bra for Living Sculpture (Fig. 33–

10)

Lipstick (Ascending) on Caterpillar

Tracks (Fig. 33–15)

Duets on Ice (Fig. 33–20)

Burnt Piece (Fig. 33–22)

Pin–Blue–Pink (Fig. 33–24)

Model of the AT&T Corporate

Headquarters, New York (Fig. 33–

32)

Post–Partum Document (Fig. 33–30)

The Division of the Barrios (Fig. 33–

41)

AT&T Corporate Headquarters, New

York (Fig. 33-35)

Green Painting IV (Fig. 33–56)

After Walker Evans: 4 (Fig. 33–39)

Untitled, From Color Me Series (Fig.

33–57)

The AIDS Memorial Quilt (Fig. 33–57)

The Sun (Fig. 33–63)

Stadia II (Fig. 33–64)

Multiplexed (Fig. 33-65)

History of the Main Complaint (Fig.

33–67)

VB35 Performance (Fig. 33–67)

Myein (Fig. 33–68)

How to Blow up Two Heads at Once

(Ladies) (Fig. 33–70)

The Weather Project (Fig. 33–70)

133 People Paid to Have Their Hair

Dyed Blond (Fig. 33–71)

Shrine for Girls (Fig. 33–73)

Chandelier Mori (Fig. 33–72)

Flower (Fig. 33–74)

Discussion Topics and Critical Thinking Questions

1. Pop art elevated commonplace objects and images to the realm of fine art. Roy

Lichtenstein adopted comic book imagery as his source material, selecting

frames, isolating them from the rest of the story, and enlarging them to fill a

canvas. Consider his Oh Jeff… I love you, too… but… (Fig. 33–15). What changes

about this image when Lichtenstein enlarges it? How does the scale of the work

change its meaning?

3. Christo and Jeanne–Claude created large–scale but temporary installations, often

working with landscape and fabric. Their recent work in New York, The Gates,

Central Park, New York, 1979–2005 (Fig. 33–26) lasted only 16 days. The title of

the work, however, lists its dates as 1979–2005. Discuss how you feel about the

idea of temperance. How does the idea of time relate to the composition?

4. In her “Untitled Film Stills” series, Cindy Sherman examines the ways women’s

roles are constructed by society. In each piece, such as her Untitled Film Still

#21 (Fig. 33–42), she plays the part of a different cliché of femininity. The

images are always self–portraits. Read the interview with Cindy Sherman. How

does posing for her own photographs contribute to the meaning of this series?

5. In the 1990s, architects began using high–tech materials to approach building

from a more theoretical point of view. The result, the Deconstructivist style,

questioned traditional assumptions about architecture. Examine Zaha Hadid’s

Vitra Fire Station (Fig. 33–51). How does this building challenge our notions of

architecture? How is it a good example of this Deconstructivist style?

6. Although Jeff Wall uses modern photography to create large–scale

transparencies, his working method draws a great deal from traditional

approaches to fine art. Examine his After “Invisible Man” by Ralph Ellison, The

Preface (Fig. 33–62). What about his process is traditional? How does this

approach affect the meaning of his artwork?

7. Kara Walker’s images, such as Darkytown Rebellion (Fig. 33–69), present the

viewer with difficult and uncomfortable depictions of racism and violence. She

creates these large–scale installations using only silhouetted figures. Watch the

Art 21 video on Walker (http://www.pbs.org/art21/watch–now/segment–kara–

walker–in–stories) and discuss the impact of this choice of medium on her work.

Why would she choose to work with silhouettes?

Key Terms

123

2. Architects have the opportunity to make grand statements with the design and

construction of skyscrapers. A corporate tower is often used to create an image

for a company and to reflect its modernity. The Seagram Building (Fig. 33–31)

and the AT&T Corporate Headquarters (Fig. 33–35) are located only blocks from

each other in Manhattan. Each was built in the most up–to–date style of its time.

Compare the International style of the Seagram Building with the Postmodernist

approach of the AT&T building. What elements do they share? Is one more

appropriate as a corporate headquarters?

3. In contemporary art, many artists create works as a means of activism and

protest. Select one artwork from this section of the chapter. Describe how the

work was intended to influence public opinion. Do you think the work is effective

in making its point? Do you think that art is an effective way to inspire change?