UC Irvine Chapter 3 Avant Garde & High Italian Renaissance Questions

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Part #1 Answering the following questions with short response each. Each responses should be 3-5 sentences long and written in clear, complete and coherent sentences. You are to only refer to artworks, periods, and artists that are covered in the attached file. When providing examples of artworks, please provide both the title and the artist.

  • Describe how one-point perspective is emblematic of the culture of the High Italian Renaissance?
  • In Modern art we discuss the flattening of the picture plane or image. What does this mean and why is it happening? Provide two examples and explain.
  • Select two examples of artworks from Module 2 (in the artwork list attachment) that functioned as political propaganda. Briefly explain the message found within each of these works and how it can be read/understood.
  • Define the term "avant-garde". Use two artworks as examples and explain why they belong to the avant-garde.
  • During 19th and 20th centuries, the physical act of producing an art object became an integral part of the work. Provide two examples of this and explain the artist’s process.
  • Provide examples of two artworks that engaged with advancements in technology. Explain how the artists/artworks engage this new technology. (You may not use one-point perspective.)

Part #2 Please answer the following two questions by writing short essay responses. The response should be written in clear, complete and coherent sentences. Each response should be at least 2-3 full paragraphs but may be longer if necessary. Each paragraph is 4-5 sentences. You are to only refer to artworks, periods, and artists that are covered in the attached file. When providing examples of artworks, please provide both the title and the artist.

  • Please select three images as examples and explain how the notion of the ideal human body has changed throughout art history. Your examples do not need to be in chronological order. Each image needs to exemplify a different understanding of what the ideal body was. You must select works from both module 1 and 2. (the file in the attachment.)
  • Read the Chapter 3 of Ways of Seeing (in the attachment) John Berger says:

"One might simplify this by saying: men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of women in herself is male: the surveyed female. Thus she turns herself into an object—and most particularly an object of vision: a sight."

First, explain the relationship that Berger discusses here and provide one artwork (from the artwork list in the attachment ) that exemplifies/supports this relationship. Next, provide one artwork (from Module 2) that challenges the role of women in the surveyor vs. surveyed relationship and explain how this is achieved.

DON NOT DIRECTLY COPY AND PASTE ANY DEFINITION ONLINE, PLEASE USE YOUR OWN WORD IN DESCRIBING ANY TERMS, and if you use any references please cite them!!

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Available Artwork Examples Italian Renaissance • • • • • • • • • • • • • • • • • Cimabue, Virgin and Child Enthroned, c 1280. Tempera and gold on wood, 12 ½ ft x 7 ½ ft Giotto di Bondone, Virgin and Child Enthroned, c 1310. Tempera and gold on wood, 10 ½ ft x 7 ¾ ft. Giotto, Lamentation, 1305 Fresco, 7ft 7in x 6ft 6in Masaccio, Trinity, 1425-1426. Fresco, 22 ft x 10 ft Donatello, David, c 1430. Bronze, 5 ft 2 in tall. Leonardo “Renaissance Man” Leonardo, Last Supper, c 1497. Fresco (dry), 15 ft x 28 ft. Leonardo, Mona Lisa, c 1503-1506. Oil on wood, 30 x 21 in. Michelangelo, Pieta, 1498-1499. Marble, 5 ¾ ft x 6 ½ ft. Michelangelo, David, 1501-1504. Marble, 14 ft 2 in tall. Laocoon discovered in Rome in 1506 – Michelangelo called to excavation site as expert Michelangelo, Sistine Chapel (Vatican City), Ceiling Fresco: 1508-1512; Last Judgment Fresco: 1534-1541. 133 x 46 ft. Raphael, Stanza della Segnatura, Vatican City, 1509-1511. Raphael, School of Athens, 1510-1511. Fresco, 16 ½ x 25 ft. Raphael, Transfiguration, 1517 Oil on Panel, 15ft 11.5in d 9ft 1.5in Michelangelo, Sistine Chapel (Vatican City), Last Judgment Fresco: 1534-1541, 45 x 40 ft. Titian, Venus of Urbino, 1538 3ft 11in x 5ft 5ins, Oil in Canvas Northern Renaissance • Luther’s Opponents (Thomas Murneras cat, Jerome (Hieronymus) Emser as billygoat, Pope Leo X as lion and antichrist, Johann Eck as pig, Jakob Lempas dog), Woodcut, ca 1520. • Hans Brosamer, Seven-Headed Luther, Engraving, 1529. Doctor, saint, unfaithful, priest, fanatic, Church supervisor, Barrabas • Jan van Eyck, Man in a Turban (Self Portrait), 1433. Oil on panel, 10 x 7 ½ in. • Jan van Eyck, Arnolfini Portrait, 1434. Oil on panel, 32 ½ x 23 ½ in. • Jan van Eyck, Ghent Altarpiece, 1430-1432. Oil on panels, 11 ½ x 7 ½ ft. • Matthias Grünewald, IsenheimAltarpiece, 1510-1515. Oil on panels, 15 x 11 ft. • Albrecht Dürer, Self Portrait, 1493. Oil on vellum, 22 x 18 in. • Albrecht Dürer, Self Portrait, 1498. Oil on panel, 20 ½ x 16 in. • Albrecht Dürer, Self Portrait, 1500. Oil on panel, 26 x 19 in. • Albrecht Dürer, Young Hare, 1502. Watercolor, 10 x 9 in. • Albrecht Dürer, Study for the Heller Altarpiece, 1508 Pen and ink drawing, 11 ½ x 7 ¾ in • Albrecht Dürer, Four Horsemen (ApocalypseSeries), 1498. Woodcut, 15 ¼ x 11 ½ in. • Albrecht Dürer, Samson Rending the Lion, 1497-14988. Woodcut, 16 x 12 in. • Albrecht Dürer, St Michael and the Dragon (ApocalypseSeries), 1498. Woodcut, 15 ¼ x 11 ½ in. • Albrecht Dürer, Lamentation (Large PassionSeries), 1497-1500. Woodcut, 17 ½ x 12 in. • Albrecht Dürer, Deposition (Small PassionSeries), 1508-1511. Woodcut, 5 x 4 in. • Albrecht Dürer, Knight, Death, and the Devil, 1513. Engraving, 9 ½ x 7 ½ in. Art of China • • • • • • • • • • • • Buddha carved into stone cliff caves in Yangqu County in Shanxi province; Ming Dynasty (13681644). Confucius, Ming Dynasty, by QiuYing (c. 1494–1552) Statue of Lao Zi, Song Dynasty (960-1279), 18.5 ft tall. Mount Qingyuan, Fujian Province. Funerary Banner of Lady Dai, c 200 - 100 BCE, Painted Silk, 6ft Tomb of Lady Dai (c 110 - 163 BCE) excavated in 1972 Terracotta Army, c 210 BCE: First Emperor of unified China, Qin Shi Huang 8,000 warriors, 600 horses, 130 chariots Wang Meng, Ge ZhichuanMoving his Dwelling, c 1360. Scroll Painting, ink on paper, 55 in x 23 in. Zhao Mengfu, Autumn Colors on the Que and Hua Mountains, c 1279-1322. Scroll Painting, ink on paper, 36 in x 11 in. Zhang Zeduan, Spring Festival on the River, 12th century. Scroll Painting, ink on paper, 454 in (~38 ft) x 14 in Cai Guo-Qiang, Homeland, 2013. Gunpowder drawing, 8ft x 24 ft. Cai Guo-Qiang, Crocodile and Sun, 2007. Gunpowder drawing, 7.6 ft x 15.2 ft. Cai Guo-Qiang, Black Ceremony, 2011. Explosion Event. Cai Guo-Qiang, Sky Ladder, 2015. Explosion Event. Art of Japan • Great Buddha, 1252, Kamakura (Japan) Bronze, 44 ft tall • Torii Gates at Fushimi Inari-Taisha in Kyoto, Japan Founded 711, dedicated to Inari (God of rice & commerce) • Kitagawa Utamaro, Okitaof the NaniwayaTeahouse, 1793, Colored Woodcut • Kitagawa Utamaro, Two Women, c 1790, Colored Woodcut • Kitagawa Utamaro, The Artist Relaxing at a Party, 1790s, Colored Woodcut • Katsushika Hokusai, “The Great Wave off Shore at Kanagawa”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut • Katsushika Hokusai, “Red Fuji”, Thirty-Six Views of Mount Fuji Series, 1826-1833. Colored Woodcut • Katsushika Hokusai, “InumePass in KoshuProvince”, Thirty-Six Views of Mount Fuji Series, 18261833, Colored Woodcut • Katsushika Hokusai, “Cranes at UmezawaManor in Sagami Province”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut • Katsushika Hokusai, “Sea Route at KazusaProvince”, Thirty-Six Views of Mount Fuji Series, 18261833, Colored Woodcut • Katsushika Hokusai, “Mannenbridge in Fukagawa”, Thirty-Six Views of Mount Fuji Series, 18261833, Colored Woodcut • Katsushika Hokusai, “Koishikawain Snow”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut • Katsushika Hokusai, “Sekiya near the Sumida river”, Thirty-Six Views of Mount Fuji Series, 18261833, Colored Woodcut • • • • • • • • Katsushika Hokusai, “Surugadai”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut Katsushika Hokusai, “Fujimi-ga-hara”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut Katsushika Hokusai, “Waterwheel at Onden”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut Katsushika Hokusai, “NobotoBay”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut Katsushika Hokusai, “Carpenters at Work in Totomi Province”, Thirty-Six Views of Mount Fuji Series, 1826-1833, Colored Woodcut Yayoi Kusama, with all my love for the tulips, I pray forever (2011) Yayoi Kusama, The Souls of Millions of Light Years Away, 2013 Yayoi Kusama, All the Eternal Love I Have for the Pumpkins, 2016 Mannerism, Baroque, Rococo • Jacopo da Pontormo, Deposition, 1528 Oil on wood, 10 ft 3 in x 6 ft 4 in. • Correggio, Assumption of the Virgin, 1526-1530 Fresco • Parmigianino, Madonna with the Long Neck, c. 1535. Oil on panel, 7ft 1in x4ft 4 in • GianlorenzoBernini, David, 1623. Marble, 5 ft 7 in tall. • Donatello, c 1430. Bronze, 5 ft 2 in tall. • Michelangelo, 1501-1504. Marble, 14 ft 3 in tall. • GianlorenzoBernini, 1623. Marble, 5 ft 7 in tall. • Bernini, The Rape of Proserpina, 1621-1622, Marble, 7 1/2 ft. • Caravaggio, Medusa, c 1597. Oil on canvas, ~2 ft diameter. • Caravaggio, Conversion of St. Paul, c. 1601 Oil on canvas, 7ft 6.5in x 5ft 9in • Caravaggio, Judith Beheading Holofernes, 1598-1599. Oil on canvas, 4 ¾ ft x 6 ½ ft. • Artemisia Gentileschi, Self Portrait as the Allegory of Painting, c 1638-1639. Oil on canvas, 3 ft x 2 ½ ft. • Artemisia Gentileschi, Judith Decapitating Holofernes, c 1620. Oil on canvas, 6 ½ ft x 5 ½ ft. • Peter Paul Rubens, Raising of the Cross, 1610-1611. Oil on panel, 15 ft x 11 ft. • Peter Paul Rubens, Three Graces, 1630-1635. Oil on panel, 7 ¼ ft x 6 ft. • Rembrandt, Self Portrait, 1630. Etching, 2 in x 2 in. • Rembrandt, Self Portrait, 1639. Etching, 10 ½ in x 6 ½ in • Rembrandt, Anatomy Lesson of Dr. Tulp, 1632. Oil on canvas, 5 ½ ft x 7 ft. • Rembrandt, The Night Watch, 1642 Oil on canvas, 12ft 2in x 14ft 7in • Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas, 9 ft x 6 ½ ft. • Johann Balthasar Neuman, Basilica of Vierzehnheiligen, 1743-1772. Bamberg (Germany) • Jean HonoreFragonard, The Swing, 1766. Oil on canvas, 32 in x 25 in. Neoclassicism, Romanticism • Pietro Antonio Martini, The Salon, 1785. Etching, 14 in x 21 in. • Jacques-Louis David, The Oath of the Horatii, 1784. Oil on canvas, 11 ft x 14 ft. • Hyacinthe Rigaud, Louis XIV, 1701. Oil on canvas, 9 ft x 6 ½ ft. • • • • • • • • • • • • • • Jacques-Louis David, Death of Marat, 1793. Oil on canvas, 5 ½ ft x 4 ft. Jacques-Louis David, Napoleon Crossing the Alps, 1801 Oil on canvas, 8 ½ ft x 6 3/4 ft. Jacques-Louis David, Coronation of Napoleon, 1805-07, Oil on canvas, 20ft 4in x 32ft 1in Theodore Gericault, Raft of the Medusa, 1819. Oil on canvas, 12 ft x 18 ft. J.M.W. Turner, The Slave Ship, 1840. Oil on canvas, 3 ft x 4 ft. Francisco Goya, Third of May, 1808, 1814. Oil on canvas, 8 ½ ft x 11 ½ ft. Francisco Goya, “15: And there is no remedy,” Disasters of WarSeries, c 1810 (published posthumously, 1863). Etching, 5 ½ in x 6 ½ in. Francisco Goya, “15: And there is no remedy,” Disasters of WarSeries, c 1810 (published 1863). Etching, 5 ½ in x 6 ½ in. Francisco Goya, Third of May, 1808, 1814. Oil on canvas, 8 ½ ft x 11 ½ ft. Francisco Goya, “39: A heroic feat! With dead men!” Disasters of WarSeries, c 1810 (published 1863). Etching, 6 in x 8 in. Francisco Goya, “37: This is worse,” Disasters of WarSeries, c 1810 (published 1863). Etching, 6 in x 8 in. Francisco Goya, Saturn Devouring His Son, 1819-1823, Oil on canvas, 4 ½ ft x 1/2 ft. Eugene Delacroix, Liberty Leading the People, 1830. Oil on canvas, 8 ½ ft x 10 ½ ft. Thomas Cole, View from Mount Holyoke, Mass, after a Thunderstorm, 1836. Oil on canvas, 4 ½ ft x 6 ½ ft. Realism and Modernism • John Everett Millais, Ophelia, 1851-1852. Oil on canvas, 30 x 44 in. • John William Waterhouse, Lady of Shalott, 1888. Oil on canvas, 5 x 6 ½ ft. • Eugene Delacroix, Liberty Leading the People, 1830. Oil on canvas, 8 ½ ft x 10 ½ ft. • Horace Vernet, Barricade on the rue Soufflot, 1848 • Gustave Courbet, Self Portrait (The Desperate Man), 1843-1845. Oil on canvas, 17 ½ x 21 ¼ in. • Gustave Courbet, The Stonebreakers, 1849. Oil on canvas, 5 ½ x 7 ½ ft. • Gustave Courbet, A Burial at Ornans, 1849-50, Oil on canvas 10ft x 22ft • Henry OssawaTanner, The Banjo Lesson, 1893. Oil on canvas, 3 ft x 4 ft. • Alexander Cabanel, Birth of Venus, 1863. Oil on canvas, 4 ¼ ft x 7 ½ ft. Admitted to Salon. • Edouard Manet, Le Déjeuner sur l’Herbe, 1863. Oil on canvas, 7 ft x 8 ½ ft. • Giorgione, Sleeping Venus, 1510. Oil on canvas, 3 ½ x 5 ¾ ft. • Titian, Venus of Urbino, 1534. Oil on canvas, 4 x 5 ½ ft. • Edouard Manet, Le Déjeuner sur l’Herbe, 1863. Oil on canvas, 7 ft x 8 ½ ft. • Edouard Manet, Olympia, 1863. Oil on canvas, 4 ft x 6 ¼ ft. Impressionism and Post-Impressionism • Claude Monet, Impression, Sunrise, 1872. Oil on canvas, 19 ½ x 25 ½ in. • Claude Monet, Woman with a Parasol, facing Left, 1886. Oil on canvas, 51 ½ x 34 ½ in. • Monet’s Series (1890 -1891) 25 paintings of haystacks in different light, seasons, moods • Monet’s Series (1897 -1926) 250 paintings of waterlilies in different light, seasons, moods • Edgar Degas, Blue Dancers, c 1897. Pastel on paper, 25 ½ x 25 ½ in. • Edgar Degas, The Dance Class, 1874. Oil on canvas, 33 x 30 ½ in. • Pierre-Auguste Renoir, Bal du Moulin de la Galette, 1876. Oil on canvas, 51 ½ x 69 in. • • • • • • • • • • • • • • • Pierre-Auguste Renoir, Two Sisters (On the Terrace), 1881. Oil on canvas, 39 ½ x 32 in. Pierre-Auguste Renoir, Two Bathers, 1896. Oil on canvas, 13 ½ x 16 in. Paul Cezanne, Mont SainteVictoire, 1886-1888. Oil on canvas, 26 x 36 in. Georges Seurat,A Sunday Afternoon on the Island of La Grande Jatte, 1884–86, oil on canvas, 6.8ft x 10ft Vincent van Gogh, Worn Out, 1882. Pencil on paper, 20 x 12 ½ in. Vincent van Gogh, Head of a Skeleton with a Burning Cigarette, 1885-1886. Oil on canvas, 12 ½ x 9 ½ in. Vincent van Gogh, Night Cafe, 1888. Oil on canvas, 28 ½ x 36 in. Vincent van Gogh, Sunflowers, 1887. Oil on canvas, 17 x 24 in. Vincent van Gogh, Sunflowers (Third & Fourth Versions), 1888. Oil on canvas, 36 x 28 ½ in. Paul Gauguin, The Painter of Sunflowers, 1888. Oil on canvas, 29 x 36 in. Vincent van Gogh, Bedroom in Arles, 1888. Oil on canvas, 28 ½ x 36 in. Vincent van Gogh, Self Portrait with Bandaged Ear, 1889. Oil on canvas, 24 x 19 ½ in. Vincent van Gogh, Starry Night, 1889. Oil on canvas, 29 x 36 in. Vincent van Gogh, Sorrowing Old Man(At Eternity’s Gate), 1890. Oil on canvas, 32 x 25 ½ in. Vincent van Gogh, Wheatfield with Crows, 1890. Oil on canvas, 20 x 41 in. Art of Africa • Head of anOnior King. Ife culture, Nigeria, ca. 14th-15th century, copper alloy, 12-14 inches. • Crowned Heads. Ife culture, Nigeria, ca. 14th-15th century, copper alloy, 12-14 inches. • Heads of Kings or Obas. Edo culture. Benin, Nigeria, ca. 18th-19th century, copper alloy, 13-20 in. • Twin Figures (Ere Ibeji), 19th -20th century, 10 inches. • NkisiMangaaka, 19th century, 40-48 inches. • Maternity Figures (Phemba). Yombe culture. Kongo, ca. 19th-20th century, 10-20 in. • KanagaMasks, early 20th century, 40-45 inches. • KenteTextile (Ghana), 20th century, woven cotton, 100 x 55 inches. • Zigzag pattern (Nkyimkyim) – life is not a straight path • GonçaloMabunda, Masks, 2015-2018, Recycled weapons from Mozambique weapons exchange program • Gonçalo Mabunda, Soldier Returned Home, 2012 • Gonçalo Mabunda, The Throne of Intelligence,2016 • Gonçalo Mabunda, Untitled Throne,2014-2018 Cubism and Fauvism • Henri Matisse, Joy of Life, 1905-1906. Oil on canvas, 5’9” x 7’11” • Henri Matisse, Woman with a Hat, 1905 Oil on canvas, 31 ¼ in x 23 ½ in • Henri Matisse, Luxe, Calmeet Volupté, 1904, Oil on Canvas, 37 in x 46 in • Henri Matisse, The Parakeet and the Mermaid, 1952. Painted paper cutouts, 12 x 25 ft. • Pablo Picasso, Self Portrait at Age 15, 1896. Oil on canvas, 12.5 x 9.5 in. • Pablo Picasso, TheFirst Communion, 1896. • Pablo Picasso, Portrait of Aunt Pepa, 1896. • Pablo Picasso, The Old Guitarist, 19031904. Oil on panel, 48.4 x 32.5 in. • • • • • • • • • • Pablo Picasso, Les Demoiselles d’Avignon, 1907. Oil on canvas, 8 x 7.5 ft. Georges Braque, Houses at l’Estaque, 1908. Oil on canvas, 28 ½ x 23 ½ in. Paul Cezanne, Mont Sainte-Victoire, 1886-1888. Oil on canvas, 26 x 36 in. Georges Braque, Houses at l’Estaque, 1908. Oil on canvas, 28 ½ x 23 ½ in. Pablo Picasso, Composition with Violin, 1912. Newspaper, charcoal, and ink on white paper, 24 x 18 ½ in. Pablo Picasso, Violin Hanging on the Wall, 1913. Spackle, sand, enamel, and charcoal on canvas, 25 ½ x 18 in. Pablo Picasso, Girl before a Mirror, 1932. Oil on canvas, 5.5 x 4.25 ft. Pablo Picasso, Guernica, 1937. Oil on canvas, 11.5 x 25.5 ft. Pablo Picasso, Bulls, 1945. Series of Lithographs Pablo Picasso, Bull’s Head, 1942. Bicycle seat and handlebar Expressionism & Futurism • Edvard Munch, The Scream, 1890s. Right: Tempera and oil paint on cardboard, 36 x 29 in. • Käthe Kollwitz, Woman with Dead Child, 1903. Etching, 16.5 x 19 in. • After Käthe Kollwitz, Mother with her Dead Son, 1993. Neue WacheMemorial to Victims of War and Dictatorship, Berlin • After Käthe Kollwitz, Mother with her Dead Son, 1993. Neue WacheMemorial, Berlin • Ernst Ludwig Kircher, KG Brücke, 1910. Woodcut exhibition poster • Ernst Ludwig Kirchner, Programme, 1913. Woodcut on paper leaflet. • Emile Nolde, Prophet, 1912. Woodcut on paper, 12 ½ x 8 ¾ in. • Ernst Ludwig Kirchner, Street, Berlin, 1913. Oil on canvas, 47 x 36 in. • Wassily Kandinsky, Der BlaueReiter, 1912. Colored Woodcut. • VasilyKandinsky, Improvisation 30, 1913. Oil on canvas, 44 x 43 in. • VasilyKandinsky, Composition 8, 1923. Oil on canvas, 55 x 79 in. • Umberto Boccioni, Dinamismodi un Ciclista, 1913, Oil on Canvas, 70 x 95 cm • Umberto Boccioni, State of Mind 1: The Farewells, 1911 Oil on canvas • Edward Muybridge, The Horse in Motion, 1878, Print w/ Photographic Negatives • Giacomo Balla, Dynamism of a Dog on a Leash, 1912, Oil on canvas 89.8 x 109.8 cm • Umberto Boccioni, Unique Forms of Continuity in Space, 1913 Bronze, 3.6f ft. Dada & Surrealism • Marcel Duchamp, Fountain, 1917. Porcelain (Readymade), 14 x 19 x 24 in. • Hannah Höch, Cut with the Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919. Collage, 45 x 35 in. • Hannah Höch, Heads of State, 1918-1920. Collage, 6 ½ x 9 in. • Max Ernst, Triumph of Surrealism, 1937. Oil on Canvas, 45 x 57 ½ in. • René Magritte, Treachery of Images, 1929. Oil on Canvas, 23 ¾ x 32 in. • René Magritte, Son of Man, 1964. Oil on Canvas, 45 ½ x 35 in • Salvador Dali, Persistence of Memory, 1931. Oil on Canvas, 9 x 13 in. • Salvador Dali, Temptation of St Anthony, 1946. Oil on Canvas, 35 ½ x 47 in. • Frida Kahlo, The Little Deer, 1946. Oil on Masonite, 9 x 12 in. • Frida Kahlo, Self-Portrait with Thorn Necklace and Hummingbird, 1940. Oil on Canvas, 24 x 18 ½ in. Abstraction and Abstract-Expressionism • Kazimir Malevich, Dynamic Suprematism, 1915-1916. Oil on canvas, 31 ½ x 31 ½ in. • Kazimir Malevich, SuprematistComposition: White on White, 1918, Kazimir Malevich, Black Square, 1915 Oil on linen, 79.5 x79.5 cm Oil on canvas, 31 x 31 in. • Kazimir Malevich, Black Square, 1915 Oil on linen, 79.5 x79.5 cm • Piet Mondrian, Composition with Yellow and Blue, 1932. Oil on canvas, 21 ½ x 21 ½ in. Piet Mondrian, Broadway Boogie Woogie, 1942-1943. Oil on canvas, 50 x 50 in. • Constantin Brancusi, Bird in Space, 1928. Bronze, 54 in tall. • Jackson Pollock, Detail of Mural, 1943. Oil and enamel on canvas, 8 x 20 ft. • Jackson Pollock, Mural, 1943. Oil and enamel on canvas, 8 x 20 ft. • Jackson Pollock, Number 1A, 1948. Oil and enamel on canvas, 5’8 x 8’8. • Jackson Pollock, Number 11 (Blue Poles), 1952. Oil and enamel on canvas, 7 x 16 ft. • Mark Rothko, Orange and Yellow, 1956. Oil on canvas. 7 ½ x 6 ft. • Mark Rothko, Red on Maroon, 1959. Oil on canvas. 8 ¾ x 7 ¾ ft. • Mark Rothko, Black on Dark Sienna on Purple, 1960. Oil on canvas. 10 x 8 ¾ ft. Post-War Art • Jasper Johns, Flags, 1965. Oil on canvas, 6 x 4 ft. • Jasper Johns, ThreeFlags, 1958. Encaustic on canvas, 31 x 45 in. • Robert Rauschenberg, Retroactive I, 1964. Silkscreen print, 7 x 5 ft. • Andy Warhol, Campbell’s Soup Cans, 1962. Silkscreen print, 20 x 16 in each. • Robert Mapplethorpe, Andy Warhol, 1986. Photograph (Silver gelatin), 20x 24 in. • Andy Warhol, Four Marilyns, 1962. Silkscreen print, 29 x 21 ½ in. • Andy Warhol, Three Coke Bottles, 1962. Silkscreen print, 20 x 16 in. • Roy Lichtenstein, Masterpiece, 1962. Oil and acrylic, 4 ½ x 4 ½ ft. • Roy Lichtenstein, Drowning Girl, 1963. Oil and acrylic, 26 x 26 in. • Roy Lichtenstein, Bedroom at Arles, 1992. Oil and acrylic, 10 ½ x 13 ½ ft. • Frank Stella (born 1936), Zambezi, 1959. Enamel paint on canvas, 7 ½ x 6 ½ ft. • Frank Stella, Firuzabad, 1970. Synthetic polymer paint on canvas, 10 x 15 ft. • Donald Judd (1928-1994), Untitled, 1970. Stainless steel and plexiglass, 40 x 31 x 9 in each. • Dan Flavin (1933-1996), Untitled, 1996. Installation of fluorescent light bulbs. • James Turrell (born 1943), AMRTA, 2011. Ganzfeld light installation. • Marina Abramović, Rhythm 0, 1974 Performance • Yoko Ohno, Cut Piece, 1964, Performance Earthworks • Robert Smithson (1938-1973), Spiral Jetty, 1969-1970. 6,550 tons of rocks, Great Salt Lake, 160 ft diameter • Great Serpent Mound, Mississippian People, c 800 BCE –100 CE. • Robert Smithson (1938-1973), Spiral Jetty, 1969-1970. 6,550 tons of rocks, Great Salt Lake, 160 ft diameter. • • • • • Water de Maria, Lightning Field, Catron County, NM, 1977. Andy Goldsworthy (born 1956), Japanese Maple Leaves, 1987. Andy Goldsworthy, Rowan Leaves around a Hole, 1987. Andy Goldsworthy, CapenocheTree, 1998. Featured in Rivers and Tides (2001) Andy Goldsworthy, Sycamore Leaves Lining a Sycamore Tree, 2013. Modern & Postmodern architecture • Gustave Eiffel, Eiffel Tower, 1887-1889. Paris, France, 1,063 ft tall. • AlphonsMucha, FlowersSeries (Iris, Rose, Lily), 1898. • Louis Sullivan, Wainwright Building, 1890-1891. St Louis, 135 ft tall (10 stories). • Gerrit Rietveld, Schroder House, 1925 Utrecht, Netherlands • Piet Mondrian, Composition with Yellow & Blue, 1932. Oil on canvas, 21 ½ x 21 ½ in. • Le Corbusier, Villa Savoye, 1928-1931 Poissy, France. • Ludwig Miesvan der Roheand Lilly Reich, Barcelona Pavilion 1929 (Rebuilt 1986) • Miesvan der Rohe, Neue Nationalgallerie, 1968 Berlin, Germany • Frank Lloyd Wright, Fallingwater, 1939 Bear Run, Pennsylvania. • Michael Graves, Humana Building, 1985. Louisville, Kentucky. • Frank Gehry, Guggenheim Museum, 1997. Bilbao, Spain. • Konrad Kloster& James Rizzi, “Happy RizziHouse,” 1999-2001. Braunschweig, Germany. • Aaron Smith & Bill Baker, Burj Khalifa, 2009. Dubai (UAE), 2,722 ft tall (163 stories).
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Attached.

Running head: ART HISTORY

1

Art History
Student’s Name
Institutional Affiliation

ART HISTORY

2
Part 1

i.

How one point perspective is emblematic of culture of High Italian Renaissance
In the Early Renaissance era, artists rejected previously used Byzantine style which used

religious strove and paintings in creation of realism in their view of space and human form. New
art work started employing one point perspective with the center of interest or focus facing the
viewer. This perspective demonstrated their high knowledge and education in art. In the High
Renaissance period, the new artistic method of figures with realistic representation in a credible
motion and decorative manner became the emblematic of Italian culture.
ii.

What is flattening of picture plane or image and why does it happen?
Flattening of image refers to visual representation of surface section through

enhancement of image surface part visualization in a single planar image. It induces angular and
metric distortions (Saroul, 2006). Flattening of picture is used since surface projections fail to
allow correct distance estimation and ability of texted surface measurements. An example of
image flattening is representation of, Burj Khalifa, the tallest building in Dubai (UAE), 2,722 ft
tall (163 stories) in 2009 by Aaron Smith and Bill Baker. The curved 3D surfaces are
geometrically presented to enhance visualization of the whole building in a one volume image.
Another example is sycamore leaves lining in...

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