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- Sixth Avenue and 30th Street
- Artist: Sloan
- Era: TransAtlantic Artistic Dialogues
- Techniques:
- visual and social realities of American urban life after the turn of the century
- lived in low part of town
- bustling intersection
- people bracketed by subway tracks and shops - two defining things of urban life that converge in the background
- three women in foreground
- one in white, drunkard
- being stared at by 2 well dressed prostitutes
- men watching prostitutes
- street walkers were victims of unfair social restrictions
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- Installation Photo of the Armory Show
- Era: TransAtlantic Artistic Dialogues
- Techniques:European artistic developments shared with US
- brought together European and us artists
- "universal anarchists"
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- The Steerage
- Artist: Stieglitz
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Techniques:
- first class but walked to steerage blocked by bar of people denied entrance to US
- shapes related to human feeling
- figures are trapped by lines to ship
- play of shape with round hat
- black and white photo create a unique division
- alludes to softness and emotions of Rembrandt
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- Nude
- Artist: Weston
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Techniques:
- focus on simplicity
- smallest segment of human body
- lyrical photo of dark and light and seem to suggest a landscape at first glance
- torso and leg
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- Monolith, the Face of Half Dome
- Artist: Adams
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Location: Yosemite Valley, California
- Techniques:
- yellow filter on camera darkens sky*
- most dramatic angle
- brooding cliff with oppressing dark sky
- snowy peak in background
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- Lackarbeiter
- Artist: Sander
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Techniques:
- quiet dignity and self confidence of the man
- Nazi's didn't like it because it shows individuality
- holding varnish in one hand - pride in one's profession
- set against vast dark rectangle of open space
- openness of composition gives individual more power
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- Seville, Spain
- Artist: Cariter-Bresson
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Techniques:
- figures don't alter their behavior even though they acknowledge the photographer
- figures framed by blasted hole in the wall
- supposed to be able to tell was happened before and after
- a civil war
- rubble in the streets
- gathering tensions going into this crisis
- allusion to resilience on human spirit with kids playing
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- Portrait of a German Officer
- Artist: Hartley
- Era: TransAltlantic Artistic Dialogues
- Techniques:
- array of military related images
- his friend was killed in battle before he painted this so his initials are in bottom left
- died at 24
- 4th regiment
- flattened planes
- somber black background
- colorful stripes and patches casts a funeral like atmosphere over the piece
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- Breaker Boys
- Artist: Hine
- Era: TransAtlantic Artistic Dialogues, 20th century Photography
- Techniques:
- small space captured as grimy youngsters
- most died very young
- magnesium powder flashes to illuminate the scene but still kept it dark
- shallow space to see the horrible conditions
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- Lucky Strike
- Artist: Davis
- Era: TransAtlantic Artistic Dialogues
- Techniques:
- tobacco still life
- evidence of urban life
- progressiveness of American culture
- fragmented angles
- illusionistically painted
- interlocking planes creating dynamism and rhythm of American life
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- Future Expectations
- Artist: Van Der Zee
- Era: Harlem Renaissance
- Techniques:
- young bridal couple sitting before a painted backdrop
- backdrop shows a gracious fireplace and sitting area with back garden
- backdrop alludes to a home they hope to have one day in their future
- at their feet sits a daughter that they have dream of having
- daughter has double exposure - ghostly figure
- soft light sets mood
- crisp focus records every detail
- off-center pyramid composition - allusion to Holy Family
- allusion and harmony of shapes
- subtle patterns and rich emotions
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- Noah's Ark
- Artist: Douglas
- Era: Harlem Renaissance
- Techniques:
- one of 7 paintings based on a book of poems by James Weldon Johnson called "God's Trombones, Seven Negro Sermons in Verse"
- flat planes evoke a sense of mystical space and miraculous happenings - (also resembles synthetic cubism)
- unmodulated color shapes create patterns - cancels out 3-dimensional shapes
- diagonal criss-crossing rays of light
- sunlight crosses with divine light from above- wavy lines are sea and sky
- triangles and rectangles make up ark
- flattens space but suggests space by differenciating the size of the figures
- no recession into space
- people are flat sections of color because they have no individual identities *when he paints negroes
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- My Egypt
- Artist: Demuth
- Era: Precisionism
- Techniques:
- John Eshelman and Sons grain elevators
- reducing elevators to geometric forms - but are still reckognizeable and forcefully solid
- painting is disrupted by beams of transparent planes and diagonal forced lines that threaten to destabalize the image - like Cubist fragmented space
- flattened space=no light
- alludes to the effects of expanding technology
- ambiguous title - favorable comparison to Egyptian works - grain elevators become cultural icons
- negative comments on limitations of American culture -critics
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- The Upper Deck
- Artist: Sheeler
- Era: Precisionism
- Techniques:
- takes the photo and creates a painting but tries to eliminate any sense of it being a painting
- trying to accomplish sleek froms of machinery
- simplified details in photograph and modified shadows
- creates patterns of a symphony of tawny rosy whites
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- New York, Night
- Artist: O'Keefe
- Era: Precisionism
- Techniques:
- soaring skyscrapers that dominate city life that represent the fast-paced lifestyle in urban cities and that everything si as sharp and precise as a machine
- flat planes
- puncuates the larger rectuangles with small rectanglular windows which add rhythm and energy to the piece
- trying to counteract the monolithic darkness of the looming building
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- Jack-in-the-Pulpit
- Artist: O'Keefe
- Era: Precisionism
- Techniques:
- generally abstract
- blowing up a flower so that it's almost pushed outside the frame
- can't recognize it as a flower just abstract sections of color
- not as angular and Precisionism
- colors, shapes, textures, and rhythms
- natural flow of curved planes and contours
- almost complete abstractiong
- fluid planes unfold, like undulating petal from a central axis
- slow controlled motion of growing life
- graceful poetry, quiet, reveals organic reality of object, and in striking contrasts to rest of Precisionsim
- very sexual
- considered feminist
- white jet like streak in middle creates a slow controlled motion of growing life
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- Light Coming on the Plains II
- Artist: O'Keefe
- Era: Precisionism
- Techniques:
- watercolor
- uses the color to intensify the quality of life
- light is different from cities to the desert
- sunrise in southwest
- light pushes out the darkness
- light is a reoccuring theme
- few strokes on a dampened paper
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- No. 49 from the Migration of the Negro
- Artist: Lawrence
- Era: Harlem Renaissance
- Techniques:
- uniting the colors throughout all of his pieces in the series - green, blue, orange, yellow, and grayish-brown
- rope barrier
- zig-zag- flattened space
- white people have place mat settings
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