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VIS 22 Midterm Notes

VIS 22 Midterm Notes - Introduction Assumptions of modern...

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Introduction Assumptions of modern art transgressive, shocking, or critical A change from portraying authority/religion to becoming critical Pre-modern veneration/awe To uncertainty, anger, confusion Marie Antoinette a symbol of the callous indifference/decadence of French upper-class Portrait by Vigee-LeBrun ex. of painting as a device for characterization Reinforcing images/propaganda In ~100 years, artists role to idealize & embellish authority/power changes To John Harfield (for ex.) cutting head off police chief in his painting Vincent van Gogh, Potato Eaters (1885) showing toil of lower classes not idealizing royalty paying respect to the simple or poor Earlier: faithful representations of reality & the technical skills to achieve realism (changes in the 19 th century) Reversed & critiqued in modern art: Piscasso (dissidence/interruption) Changes in: Authority -Celebrate rich to a critique/attack of power in society Viewer -Shift in relationship to viewer obeisance/awe to shock Other Cultural Forms -Art’s relationship to other cultural modes mass/popular culture (usually oppositional relationship) Defined by principle of negation A foil to consumer/political culture (Something modern art has competition/is threatened by) Changes of patronage of modern art How it was supported/paid for originally, patronage by noblemen directly Emergence of “art market” arts are bought/sold like commodities “frees” the artist creates a notion of “autonomy” Chadderton by Henry Wallace ex. of dilemma of artist beginnings of tension between public & artist (John Chamberlain quote) From Veneration to Dissidence Pleasing, worship-inducing paintings for patrons artists as a “transmitter & idealizer” This changes in the modern period Van Gogh celebrated the poor & downtrodden who he painted for is not clear From Hyancinth Rigand, Portrait of Louis XIV (17 th Century) to a shift to an aggressive style of art
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Who is supporting? Bought/sold on art market The rich/powerful are still buying art up to the end of this transition, but the relationship of painting to buyer + market changes Desire to express what’s within the public might not appreciate it Comfortable relationship w/ patron (“intimate”) To being ‘lost’ Where is my audience/Who wants my work (Chadderton) First Movements: Neo-classicism & Romanticism However; before these was Baroque Painting (1720s-1760s) Ex. of traditional patronage -Francois Boucher, Diana Bathing (1742) -Jean-Antoine Watteau -Jean-Honore Fragonard, Swarms of Cupids -“soft” + pastel colors, rounded flesh (no straining bodies) relaxed poses not trying to ‘shock’ Wagon in the Mud most abject thing displayed beautifully; everything round/monumental -low saturation colors softened hues Tonality across painting is not extreme/ does not abruptly change; soft Aristocrats at play Fragonard, The Swing (1766) Ex. The Progress of Love
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