Test 10 minutes .


24 views
Uploaded on:
Description
Quiz 10 minutes. Please put away all information and take out a pen and paper. Write your name, Art 111, and today’s date on the paper.
Transcripts
Slide 1

Test 10 minutes Please set away all data and take out a pen and paper. Compose your name, Art 111, and today\'s date on the paper.

Slide 2

Identify : craftsman\'s full name, craftsman\'s nationality, title of work, medium, development. Compose as much as you can about the work\'s craft verifiable criticalness. Incorporate however many realities as could be expected under the circumstances, for example, different works by this craftsman, different craftsmen connected with this development, titles and writers of related readings.

Slide 3

Tarsila do Amaral, Abaporu , oil, 1928, 33/29" present to spouse Oswald de Andrade who named it "man who eats" in the Tupi-Guarani Indian dialect. It propelled Andrade\'s "Anthropophagite pronouncement," human flesh consumption as the illustration for Brazil\'s absorption of European culture Influence of School of Paris present day craftsmanship

Slide 4

The Mexican Mural Movement Los tres grandes : Diego Rivera, David Siquieros, José Orozco

Slide 5

Mexican Revolution 1910-1920 Jose Vasconcelos Soldiers Emiliano Zapata (1887-1919) Pancho Villa (1877-1923)

Slide 6

Diego Rivera ,(Mexican 1886-1957) The Architect, 1914 Compare Pablo Picasso , Three Musicians , 1921 "Investigative Cubism"

Slide 7

Diego Rivera , Woman at the Well , 1913

Slide 8

Diego Rivera, Zapatista Landscape – The Guerilla , 1915

Slide 9

Rivera, Creation , 1922-23, encaustic (utilized blow burn) & gold leaf, National Preparatory School, Mexico City.

Slide 12

Courtyard of the Ministry of Education, Mexico City

Slide 13

Rivera at the Education Ministry with one of his paintings, 1924

Slide 14

Rivera , Wall Street Banquet and Night of the Rich , frescos, Ministry of Education, Mexico City, 1927-8

Slide 15

Rivera, Liberation of the Peon, 1931, fresco on board, Philadelphia MA

Slide 16

Rivera , (left) with Frida Kahlo, 1930 The Protest 1928, fresco, detail, west divider yard Mexico City Ministry of Education

Slide 17

Compare Rivera , Protest , fresco, Mexico City, 1923 and Giotto , Mourning of Christ, c. 1305, fresco, Cappella dell\'Arena, Padua

Slide 18

"Giotto was a disseminator of the soul of Christianity, the weapon of the Franciscan friars of his time against medieval abuse, Bruegel [Flemish Northern Renaissance Painter, C.1525-1569] was an advocate of the battle of the Dutch artisan insignificant bourgeoisie against primitive persecution. Each craftsman who has been worth anything has been a disseminator. . . I need to be an advocate of Communism and I need to be it in all that I can think, in all that I can talk, in all that I can compose, and in all that I can paint. I need to utilize my craft as a weapon. . ." The Revolutionary Spirit in Modern Art , Diego Rivera, 1932

Slide 19

Rivera , May Day Moscow , 1928, watercolor

Slide 20

Rivera , May Day Moscow , 1928, watercolor

Slide 21

Rivera , The History of Cuernavaca and Morelos , fresco, 1929-30, Cortez Palace, Cuernavaca, Mexico

Slide 22

Rivera , The History of Cuernavaca and Morelos , fresco, detail, 1929-30, Cortez Palace, Cuernavaca, Mexico

Slide 23

Rivera, Detroit Industry, fresco, 1933, Detroit Institute of Arts, north divider

Slide 24

Detroit Industry south divider

Slide 25

Rivera , Man at the Crossroads , focal area, fresco, 1934 – Palace of Fine Arts, Mexico City

Slide 27

Rivera , The Making of a Fresco Showing the Building of a City , 1931, San Francisco Art Institute

Slide 29

Rivera , Pan-American Unity: The Marriage of the Artistic Expression of the North and South of this Continent , City College of San Francisco, 1940

Slide 30

SF City College fresco detail

Slide 31

David Alfaro Siqueiros (Mexican, 1896-1974) at work on Tropical America, Oliveras Street, Los Angeles, 1932, fresco connected with compressed air firearm on bond, 19.7 ft x 98.4 ft

Slide 32

Siqueiros, Tropical America, committed October 9, 1932 and whitewashed not exactly a year later. Overlooked for quite a long time and rediscovered in the late 1960s when the whitewash started to peel off. To begin with open air painting and model for muralism of the 1960s.

Slide 33

David Alfaro Siquieros , Zapata , 1966, pyroxylin on masonite, Mexico City contrasted and Rivera , Agrarian Leader, Zapata, fresco, 7\'9" x 6\'2" NYC MoMA

Slide 34

Siqueiros, Revolutionary on a Horse , 1957 Fresco, Museo Nacional de Historia, Mexico City

Slide 35

Siqueiros , Don Porfirio & His Courtesans , 1957, fresco, Museo Nacional de Historia, Mexico City (INAH)

Slide 36

Siqueiros , Echo of a Scream , 1937, lacquer on wood, 48/36" NYC MoMA

Slide 37

Siqueiros , Ethnography , 1939, finish on arrangement board, 122/82 cm. NYC MoMA

Slide 38

Jose Clemente Orozco (Mexican, 1883-1949) The Trench , 1926-7 fresco, National Prep. School, Mexico City

Slide 39

Jose Clemente Orozco , The Franciscan , 1930, lithograph, NYC MoMA

Slide 40

Jose Clemente Orozco, Zapatistas , 1931, 45/55" o/c, NYC MoMA

Slide 41

Jose Clemente Orozco , Prometheus, 1930, gum based paint on masonite 61 cm, Museo de Arte Moderno, Mexico City. A rendition of the wall painting painted that year for Pomona College, California

Slide 42

Orozco , Prometheus painting , Pomona College, 1930

Slide 43

Orozco, two boards from Dartmouth College fresco, (left) Ancient Human Sacrifice and (right) Gods of the Modern World , 1932

Slide 44

Orozco , Hispanoamerica & Angloamerica , boards of American Civilization fresco, 1932-4, Dartmouth College, New Hampshire

Slide 45

Orozco , The Expulsion of Quetzalcoatl (detail), American Civilization Fresco, Dartmouth College Baker Library, New Hampshire 1932-4

Recommended
View more...