African, Post-Imp/Symbol,

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    • Yoruba, Ere Ibeji (Twin Figures), 20th c
    • Specfic to the Yoruba - largest culture group, belief that twins hold a special power mediator between dead and living worlds, twins are very fragile, if one dies figures are made to house the spirit of the dead twin, carried arond as if still alive, treated as a human, hugh sheen means it was cared for alot by rubbing in oils, plating on the head represents cultural hair braiding, indentions represent self-scarring/scarification patterns
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    • Baule, Blolo Bla (Spirit Spouse), early 20th c
    • female verison totem to call forth a perfect mate/spouce, used when can't find a mate after adulthood, highly treasured - high goss and accessories
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    • Kongo, Nkisi Nkonde (Power Figure), 19th c
    • activated by bilongo/organic material that is placed in the belly button or on top of the head, afterwards it is an activated spirit that can do harm or good, used for an agreement, nails at the figure to peck it's attention for the spirit to watch over agreement, thus if broken figure/spirit would release punishment on the offender, pakalala pose, calori shells used as spirit objects and for money
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    • Olowe of Ise, Door from Isee Palace, Nigeria, c 1925
    • Olowe was a master wood craver, historical, tasks to carve out imperial images, shows Ise coming into contacts with European people, Ise side of the door, King Arinjale facing the Euro people offering goods, womens' breasts and gunpowered, human scarfice? to please the spirits as a message to set forth of good relations but Euro's see it as barbaric, on the side the faces of ancestorical spirits or of their dead enemies?, very brightly colored, large, high relief, not meant to contain spirits just representational
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    • Bwa, Masks in Performance, 1984
    • initation cermony to become adult, kidnapped and taught ritual and how to make masks, male ritual, scarification, prove adulthood by masking, huge 7 feet tall masks, causes body to release chemically to enter trans-like state, all patterns have meanings, read as a program of images, craved from bark
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    • Sande, Nowo Masquerade, 1980
    • female ritual, wear heavy mask with black hair, black = spirit tradition, hair plating, rings for the neck - express ferility and something emerging out of the cersilite (shell), mask passed down heritaliy
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    • Ashanti, Kente Cloth, 20th c
    • complicated pattern tells a seris of historical events, tells/shows about the maker and their set of values, cloth weaver outside of the family but works closely with family, worn by the most astrocrated Ashanti people, not everday cloth, perious, only used on speical assoications, men and women worked on
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    • El Anatsui, Flag for a New World Power,
    • scarp metal create massive cloth that rests on the wall, shows geneology of people
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    • Paul Cezanne, Mont Sainte-Victoire, oil/canvas. 1885-87
    • scene depicted in hundrends of drawings and 30 oil paintings, mountain rising above Arc Valley, handle paint deliberate and controlled, short brushwork, flat color, tree in foreground - repoussoir "something that pushes back" helps bring the eye into the background, atmosopheric perspective, harmony, human vantage point, tree responsive to mountain frames the mountains, all the same strokes the same size, plays with perspective, flat stroking of paint - abstraction, looks to manet, picasso and matisse looks to Cezanne, leds to modernist movement, technique innovative but traditional subject matter
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    • Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, oil/canvas. 1884-86
    • exhibited at the 8th and final Impressionist Salon 1806, demonstration piece, contains 11 colors mixed with b/w, represents a range of lower-middle class types: boulevardier (critified dandy), cocotte (single woman demi-monde), canotier (working class oarsman), master of color theroy, chromoluminarism/pointilism/divisionism, activating color set colors next to each other eye will mix colors to create colors in the real world, forms all blockly based on lunar shapes, frame inside of frame
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    • Vincent Van Gogh, The Starry Night, oil/canvas. 1889
    • painted from careful observation and the artist's imgination, "we take death to reach a star," cypress tree symbol of both death and eternal life, brightest star is the planet Venus = love, impasto, tallest building the church reference to spiritually, flat strokes, life affirming paintings
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    • Gustave Moreau, The Apparition, Watercolor on paper, 1874-76
    • biblical Salome, the young Judaean princess who preformed an erotic dance before her stepfather, Herod, and demanded as a reward the head of John the Bapist, exhibitied in 1876 Salon, liner detail, jewel like color, academic style technique but new subject matter
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    • Gauguin, Manao Tupapau
    • thickly outlined, androgynous nude figure, spirit of the deah watches over the figure, represents a scene from Tahitian religion (not really), evokes a mood rather than realism, shows 19th c desire to get away from the oppressive life of teh city and get back to the primative culture
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    • Dante Gabriel Rossetti, La Pia Detolomei
    • scene from Dante's Purgatory where La Pia wrongly accused of infidelity and locked up by her husband is dying, rosary and prayerbook = her piety, sundial and ravens = passage of time and her impending death, continuing love for her husband from his letters, fig leaves = shame she is sucked into them, Jane Burden is his model and lover but the wife of his friend, she twist her wedding ring in the painting
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    • Edvard Munch, The Scream
    • harsh swirling colors and lines throws the viewer all around the painting, clouds are actual blood, horror of nature, vanish point just slightly off the canvas, alienation
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    • Rodin, Burghers of Calais
    • won competition to create, confirmed self as sculptor 1884, commissioned to commenorate an event from the Hundrend Years War, shows 6 volunteers going to death, not shown as heroes put at eye level, shows anguish and despair, unidealized, awkward figures, restless, agaited, and distressed, exaggerated expressions, lengthened arms, enlarged hands and feet, heavy cloaks emphaises their burden
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    • Toulouse-Lautrec, Jane Avril
    • performing can-can, bold forshortening and placement of the instrument related to Degas, emphasizes Avril's sexuality, outlines forms, flatten space, suppressing modeling to accomodate the cheap colored lithographic painting he used, only could afford 3/4 colors, curving lines and hand drawn letters = art nouvea
Card Set
African, Post-Imp/Symbol,
Campbell Exam 3 part 1