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12 Cards in this Set
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Les Demoiselles d'Avignon - Pablo Picasso. 1907. Avignon prostitution district in Barcelona, rejection of legibility/narrative, commentary on earlier conventions of female nude and perspective, shocking b/c lack of volume and form |
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The Portuguese - Georges Braque. 1911. Analytic cubism interested in form only, forms broken into shapes, monochromatic |
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Guitar, Sheet Music, and Wine Glass - Picasso. 1912. Synthetic cubism, collage, more self-conscious than analytic, playful, engaging with past (musicians as subjects, still life) |
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Suprematist Composition: Airplane Flying - Kazimir Malevich. 1915. Titles more important, forms refer to airplane, mostly interested in feeling of flying, suprematism: feeling is supreme, purity of form for universal feeling |
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Sketch I for Composition VII - Vasily Kandinsky. 1913. Abstraction but interest in color, Kandinsky viewed painting as evocative of spiritual experience, paintings as musical composition, wanted to bring viewer closer to workings of universe |
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Bride Stripped Bare By Her Bachelors, Even (Large Glass) - Marcel Duchamp.1915-23. Dada response to WWI and industrialization, nihilism, absurdity, attacked bourgeois complacency |
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Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany - Hannah Hoch. ca. 1919. Illegible, all faces likely recognizable by original viewers, challenging and confusing, machines growing out of figures' heads, Dada artists and communists growing out of Raoul Haussman's head, anti-Dada attached to head of Kaiser Wilhelm and dancers replaced mustache w/ unemployed on shoulder, Hoch self-portrait over map of women's suffrage in Europe |
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Glass of Absinthe - Picasso. 1911. Illegible, same shapes from different perspectives, intellectual exercise for viewer, shadows not for volume |
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The Persistence of Memory - Salvador Dali. 1931. Dreamlike imagery, mystical background like Renaissance art, surrealists wanted to challenge bourgeois values, Freud: unconscious expressed in dreams |
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Autumn Rhythm: Number 30 - Jackson Pollock. 1950. Record of gestures and psychological/physical self, all-over painting, interest in surface, Pollock interested in Existentialism (subjective experience), gestural abstraction, materiality, displayed without frame - remove disconnect between viewer and painting |
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Untitled - Mark Rothko. 1965-66. Color field, Rothko Chapel (integration of painting and architecture), careful display, psychological circumstances as important as physical, Rothko viewed paintings as religious, painting turns out rather than in |
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Box in a Valise - Marcel Duchamp. 1966-7. Bride Stripped Bare as centerpiece, copies of own work as readymade, art as commodity, playful |
