Claude Monet, Impressionism, Sunrise,1872,Oil on
Canvas, 1’7 ½”X 2’ 1 ½”, Musee Marmottan, Paris
D: Boats sailing into the docks located close to factories.
A: Sketchy Quality of the image and clearly evident brush
strokes.
I: Concern with acknowledgement of paint and canvas
and adherence to impressionistic conventions
J: A hostile critic applied the derogatory term “
Impressionism” to this painting because of its sketchy
quality and clearly visible brush strokes.
Claude Monet, Rouen Cathedral: The Portal(In
Sun),1894; Oil on Canvas; 3’3 ¼ “X 2’1 7/8 “ ;
Metropolitan Museum of Art, New York
D: A wrought iron lattice tower
A: Has a unique appearance and debatable function
I: Eiffel jolted the world with the exposed iron skeleton of his
tower.
J: New materials and technologies and the modernist aesthetic
fueled radically new architectural designs in the late 19th
century.
D: A view of the Rouen Cathedral
A: Church is depicted in full light. Creation of an
unparallel record of the passing time as seen in
the movement of light over identical forms.
I: Most intensive study of light and color
J: Critics accused Monet and his companions of
destroying form ad order for fleeting
atmospheric effects.
Alexandre-Gustave Eiffel, Eiffel Tower,Paris,France,1889
Edgar Degas; The Rehearsal;1874; Oil on Canvas; 1’11”X2’9”;
Glasgow Art Galleries and Museum,Glasgow
D: A classical ballet rehearsal
A: The arbitrary cut off figures, the patterns of light
splotches, and blurry images in this work reveal Degas’s
interest in reproducing fleeting moments, as well as
fascination with photography
I: Used several devices to bring the observer into the
pictorial space
J: The cunning spatial projection in Degas’s painting derived
in part from Japanese prints.
D: On the left a women is bathing in a tub. On the
right is what seems to be a Japanese women bathing
in her tub.
A: Outlining of the major objects in the painting- the
woman, the tub, and the pitchers- and covered all
surfaces with linear hatch marks.
I: Continuation of the modernist exploration of the
premises of painting by acknowledging the artwork’s
surface.
J: Inspired by other various Japanese prints.
D: People gathered in a popular Parisian dance hall
A: Dappled the whole scene with sunlight and shade, artfully
blurred into the figures to produce just with the effect of
floating and fleeting light the Impressionists so cultivated.
I: Attempted to depict the opposite of traditional classical art
which expressed timeless and universal qualities.
J: So lively is the atmosphere that the viewer can virtually hear
the sounds of music, laughter, and tinkling glasses.
Left: Edgar Degas; The Tub;1886;Pastel; 1’11 ½”X2’*
3/8 “; Musee d’ Orsay ,Paris Right: Torii Kiyonaga;
Detail of Two Women at the Bath; ca.1780; Color
Woodblock; full print; 10 ½ “X 7 ½ “
Pierre Auguste Renoir; Le Moulin de la Galette;1876;Oil on
Canvas; 4’3”X5’8”; Musee d’ Orsay, Paris
Vincent Van Gogh; The Starry Night; 1889; Oil on Canvas;
2’5”X 3’ ¼” Museum of Modern Art, New York
D: The night sky over a large village
A: Abstract expression of color, shape, and line
I: Expression of feelings toward electrifying the vastness of
the universe
J: Extremely famous for expression through brush strokes
D: Matisse’s wife in an extravagant hat
A: Arbitrary colors immediately startle the
viewer, as the sketchiness of the forms.
I: Admiration of his beautiful wife
J: High merit due to the production of a
reaction in the viewer
D: A scene in a night café
A: Expressive values of color and development of
corresponding expressiveness in the paint application.
I: Exploration of the abilities of colors and distorted forms to
express emotions.
J: The thickness, shape, and direction of his brush strokes
create a tactile counterpart to the intense colors
Henri Matisse; Woman with the Hat,1905; Oil
on Canvas, 2’7 ¼” X 1’ 1 ½ “ San Francisco
Museum of Modern Art
Mary Cassatt; The Bath ; ca. 1892; Oil on Canvas; 3’3”X 2’2”l Gustav Klimt; The Kiss; 1907-1908; Oil on
Art Institute of Chicago, Chicago
Canvas; Osterreichische Galerie Belvedere,
Vienna
D: A mother helping her child wash her feet in the tub
A: Visual solidity of mother and child contrasts with the
D: A couple locked in an embrace
flattened patterning of the wallpaper and rug.
A: All that is visible of the couple is a small
I: Much inspiration from Japanese Prints
segment of each body while the rest is an
J: has its own strength and originality
extravagant flat patterning.
I: Manifestation of fin-de-siecle spirit
Vincent Van Gogh; Night Café;1888;Oil on Canvas; 2’4 ½”X 3’; J: Patterning clearly ties to Art Noveau and to
the Arts and Crafts Movement
Yale University Art Gallery, New Haven
Henri Matisse; Red Room,1908-1909; Oil on Canvas;
State Hermitage Museum, Saint Petersburg
Pablo Picasso; les Demoiselles d’ Avigon,1907; Oil on
Canvas; Museum of Modern Art, New York
D: A woman that seems to be a housemaid setting
the table of a red dining room
A: The table and wall seem to merge because they
are the same color and have identical patterning
I: Believed painters should choose compositions and
colors that express their feelings
J: Low merit because Matisse didn’t feel he attained
the feeling of harmony through the red room.
D: Two males mingling with two females in a
reception room of a brothel on Avigon St.(Barcelona)
A: Portraying the figures inconsistently.
I: Influenced by ancient Iberian sculpture and the late
paintings of Cezanne.
J: Opened the door to a radically new method of
representing forms in space
Umberto Boccioni; Unique Forms of Continuity in
Space,1913; Bronze; Museum of Modern Art, New
York
D: A running figure
A: So expanded that it almost disappears behind
the blur of the movement
I: Search for sculptural means for expressing
dynamic action
J: Efforts to reach Futurist style
Marcel Duchamp; Fountain,1950; Readymade glazed
sanitary china with black paint; 1’ high’ Philadelphia
Museum of Art, Philadelphia
D: A porcelain urinal
A: Conferring the status of its aesthetic qualities
I: Rectified by modifying their substance
J: Made in mass consumption and forced people to
see it in anew light
Paul Gaugin; Where Do We Come From?...,1897;
Oil on Canvas; Museum of Fine Arts, Boston
D: The perception that we started in Tahiti
A: South Pacific attraction and offering of a better
life
I: This is the answer the question of the painting
title
J: Medium Merit
Paul Cezanne; Mount Saint-Victoire,1902-1904;Oil on
Canvas; Philadelphia Museum of Art
D: A mountain rising over all the forest
A: Replacement of transitory visual effects of changing
atmospheric conditions
I: The clarity of forest and natural landscape
J: High Merit
Edward Munch; The Scream,1893; Tempera and Pastels
on cardboard, National Gallery, Olso
D:
A: Munch used color , line , and figural distortion to
evoke a strong emotional response from the viewer.
I: The fear of failure
J: Departs significantly from visual reality