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Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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
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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)
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
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115
Transition Guide
Images Removed from
5th Edition
Images Added to the 6th Edition
Eiffel Tower, Paris (Fig. 31-1)
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
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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
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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?
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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.
Copyright © 2018, 2014, 2011 Pearson Education, Inc. All rights reserved.
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
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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
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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?
