The landscape painters in Flanders painted in more of a neo-classicism style. They used symbolic elements in their paintings to dramaticize their art. "The Abduction of Europa" by Rembrandt is an example of symbolism used in painting
Thursday, February 26, 2009
exhibition
Corot's landscape painting, "Ville d' Avray" would be classified as an realist painting, however it does have some neo-classicism and impressionistic elements. Corot painted in the neo-classicism tradition earlier in his career, but evolved into the realist and impressionist style. Courbet is another French realist painter. His painting "Plage de Normandie" reflects his approach to painting. He uses harsh brushstrokes to symbolize the harshness of life and the harshness and irregularities in nature.
The landscape painters in Flanders painted in more of a neo-classicism style. They used symbolic elements in their paintings to dramaticize their art. "The Abduction of Europa" by Rembrandt is an example of symbolism used in painting
The landscape painters in Flanders painted in more of a neo-classicism style. They used symbolic elements in their paintings to dramaticize their art. "The Abduction of Europa" by Rembrandt is an example of symbolism used in painting
Tuesday, February 24, 2009
Modernism
1. Please choose three works by Mies and compare / contrast them to three works by Michael Graves.
The Seagram Building by Meis Van der Rohe exemplifies his simplistic view of architecture and the International Style. No extra “fluff” was added to the structure, it followed Mies’ opinion that “form follows function”. Michael Graves’ Portland Public Service Building goes in completely different direction than the Seagram’s building. The Portland building is much less sleeker than the Seagram building and it has unnecessary features, such as the maroon, black and purple decoration running up the middle whereas the Seagram building is basically a wall of glass. The Seagram building’s “wall of glass” structure made of steel, copper, and glass contrasts to the concrete structure with individual window holes of the Portland building. However, both buildings show a break in traditional architecture and exhibit original and new ways of thinking that would continue to influence future architects to come.
Both Mies and Graves made furniture. Mies’s Barcelona chair exhibits all of his stylistic beliefs. The chair is simple, but made from the best materials he could find so that the chair would last as long as possible. Graves’ chair is curved and uses more materials than needed.
2. Please choose five examples to show how Phillip Johnson's acrhitecture moved from Modernism to Post-modernism. You must cite the Glass House and the AT&T Building.
Johnson’s “Glass House” exemplifies the Modern style that he learned from his mentor, van der Rohe. The “Glass House” is literally made of all glass with steel posts, the only room not visible from the outside is the bathroom. It has a flat ceiling and the post and lintel form that was essential to the Modernism architecture.
His Chapel of St. Basil shows the beginning of his experimentation with the Modernist style. He doesn’t use the glass curtain effect for the walls, but the simplistic post and lintel theme is definitely present.
The Puerta de Europa in Madrid, Spain shows a big shift in Johnson’s style. The building does use the glass curtain effect, but the structure itself is inclined at a 15 degree angle. That inclination goes against the Modernist idea that “form follows function” because the building does not need to be inclined to fulfill its function.
_06.jpg)
The PPG Palace in Pittsburgh also utilizes the glass curtain for its exterior to advertise the product of the company that uses the building, the Pittsburgh Plate Glass Company. However, the structure features decorative glass spires on the roof. The word “decorative” would never be used in describing a building done in the Modernist style.
The AT&T building is considered post-modern because of its use of decorative elements, such as the 7 story arching entryway and the decorative open pediment top.
4. Please identify works by and give a brief synopsis for each: Renzo Piano, Mario Botta (must be SFMoMA), Peter Eisenman, Zaha Hadid (must be The Firehouse), Daniel Liebskind (must be the Jewish Museum in Berlin).
Renzo is best known for his work in the Pompidou Centre. The Centre is one of the most original and unorthodox approaches to architecture that the world has ever seen. It is considered to be built in the high-tech style. (see question number 3)
Mario Botta designed the San Francisco Museum of Modern Art. It is built in the post-modern style. It is a red brick building that features a black and white cylinder that protrudes from the middle, forming an atrium.
Peter Eisenman designed the Memorial to the Murdered Jews of Europe in Berlin. It consists of 2,711 concrete slabs covering a 4.7 acre plot with an information room located underground. The slabs are meant to create a feeling of unrest and confusion, while the entire project follows a pattern and is ordered, but gives off an inhuman air.
Zaha Hadid is considered a deconstructionist architect. She designed the Vitra Firehouse. The structure is basically made of steel enforced concrete slabs resembling monoliths.
Daniel Liebskind designed the Jewish Museum in Berlin. It is a zig-zagging structure that looks like a warped Star of David. On the interior it has a “void” or empty black space is present above throughout the entire structure. An irregular pattern of windows can be seen best from the exterior.
The Seagram Building by Meis Van der Rohe exemplifies his simplistic view of architecture and the International Style. No extra “fluff” was added to the structure, it followed Mies’ opinion that “form follows function”. Michael Graves’ Portland Public Service Building goes in completely different direction than the Seagram’s building. The Portland building is much less sleeker than the Seagram building and it has unnecessary features, such as the maroon, black and purple decoration running up the middle whereas the Seagram building is basically a wall of glass. The Seagram building’s “wall of glass” structure made of steel, copper, and glass contrasts to the concrete structure with individual window holes of the Portland building. However, both buildings show a break in traditional architecture and exhibit original and new ways of thinking that would continue to influence future architects to come.
Both Mies and Graves made furniture. Mies’s Barcelona chair exhibits all of his stylistic beliefs. The chair is simple, but made from the best materials he could find so that the chair would last as long as possible. Graves’ chair is curved and uses more materials than needed.
2. Please choose five examples to show how Phillip Johnson's acrhitecture moved from Modernism to Post-modernism. You must cite the Glass House and the AT&T Building.
Johnson’s “Glass House” exemplifies the Modern style that he learned from his mentor, van der Rohe. The “Glass House” is literally made of all glass with steel posts, the only room not visible from the outside is the bathroom. It has a flat ceiling and the post and lintel form that was essential to the Modernism architecture.
His Chapel of St. Basil shows the beginning of his experimentation with the Modernist style. He doesn’t use the glass curtain effect for the walls, but the simplistic post and lintel theme is definitely present.
The Puerta de Europa in Madrid, Spain shows a big shift in Johnson’s style. The building does use the glass curtain effect, but the structure itself is inclined at a 15 degree angle. That inclination goes against the Modernist idea that “form follows function” because the building does not need to be inclined to fulfill its function.
_06.jpg)
The PPG Palace in Pittsburgh also utilizes the glass curtain for its exterior to advertise the product of the company that uses the building, the Pittsburgh Plate Glass Company. However, the structure features decorative glass spires on the roof. The word “decorative” would never be used in describing a building done in the Modernist style.
The AT&T building is considered post-modern because of its use of decorative elements, such as the 7 story arching entryway and the decorative open pediment top.
3. Please describe the architecture of the Pompidou Centre.
The Pompidou centre is classified as post-modern or high-tech architecture. It is a steel structure reinforced with concrete floors.4. Please identify works by and give a brief synopsis for each: Renzo Piano, Mario Botta (must be SFMoMA), Peter Eisenman, Zaha Hadid (must be The Firehouse), Daniel Liebskind (must be the Jewish Museum in Berlin).
Renzo is best known for his work in the Pompidou Centre. The Centre is one of the most original and unorthodox approaches to architecture that the world has ever seen. It is considered to be built in the high-tech style. (see question number 3)
Mario Botta designed the San Francisco Museum of Modern Art. It is built in the post-modern style. It is a red brick building that features a black and white cylinder that protrudes from the middle, forming an atrium.
Peter Eisenman designed the Memorial to the Murdered Jews of Europe in Berlin. It consists of 2,711 concrete slabs covering a 4.7 acre plot with an information room located underground. The slabs are meant to create a feeling of unrest and confusion, while the entire project follows a pattern and is ordered, but gives off an inhuman air.
Zaha Hadid is considered a deconstructionist architect. She designed the Vitra Firehouse. The structure is basically made of steel enforced concrete slabs resembling monoliths.
Daniel Liebskind designed the Jewish Museum in Berlin. It is a zig-zagging structure that looks like a warped Star of David. On the interior it has a “void” or empty black space is present above throughout the entire structure. An irregular pattern of windows can be seen best from the exterior.
Sunday, February 22, 2009
Francey Pants
1. Compare a portrait by David and a portrait by Delacroix.
David is known for his propaganda paintings of the French Revolution. In the portrait of Napoleon that I chose to compare to Delacroix's self portrait, he shows the militant leader as fearless and all- powerful. He glorifies war and portrays Napoleon's conquest as being glamorous. However, one cannot deny the impressive skill that David exhibits in his portraits. They are so life-like, they almost look as though they are a picture. He also uses light expertly, often using it as a device to convey a meaning. Such as in "The Death of Marat". He shines a beam of light over the letter that Marat holds in his lifeless hand, symbolizing hope.
Delacroix was a romantic who represented the beginnings of the impressionist style. He was less of a political propagandist painter than David was, painting historical scenes of the past (instead of paintings of current political leaders and events during the time of the French Revolution). However (and I know it is not a portrait but it expresses my point better), his painting, "Liberty Leading the People", captures a different side of the French Revolution than any of David's works. He captured the spirit of the people, the ones who fueled the revolution. He gave the people of France the credit for the success of it, instead some power- hungry man on a horse or a stuffy nobleman. Which goes back the word "romantic" that he has been labeled. He paints with passionate brushstrokes, but his finished product is far from the flawless works of David. Maybe there's something to that. David's portrait of Napoleon is far from realistic because it would be impossible to look so relaxed and in control while the horse that you are on is rearing up. The portrait portrays Napoleon to his people and the world as a godlike man who could control the world. He glorified the man who would come to name himself Emperor of France, completely contradicting everything that the revolution was about. He saw the upheaval in the French government as his chance to become absolute ruler of France instead of the French public's opportunity to have a say in the government that presides over them. Delacroix painted the spirit of the people during the revolution; the spirit of liberty. His brushstrokes are looser. He also uses light as an instrument to highlight something in the painting. In this case it's lady liberty bearing the French flag. They represent the ideals of liberty: truth and freedom. David's brushstrokes are clean. They represent past ways of thinking in that the portrait shows one man in control of not only people, but animals and nature. David's portrait of Napoleon is a piece of propaganda while Delacroix's painting of Lady Liberty and the people of France is a painting of the true spirit of passion and desire of justice that the people of France displayed during their revolt against the monarchical government that ruled them.
2. Compare Ingres vs. Delacroix's use of line
Ingres' line is virtually perfect. He was a student and follower of David and aspired to be a historical painter. His career was during Napoleon's conquests of Europe, which gave him the opportunity to study and borrow techniques
of the old masters so that he could perfect them. Delacroix's line was nowhere near the photograph-like quality of Ingres. Delacroix was sowing the seeds of the impressionist movement in painting with his style. Ingres painted with such a precision and relentless attention to detail. Delacroix was not interested in simply portraying
a highly realistic picture of someone posing, he was interested in expressing a certain emotion or idea with his passionate brushstrokes. He represented the future, while Ingres represented the past.
3. Research 'French Academy Painting', esp the work of Jerome and explain 1) how it continues French Neoclassical tradition and 2) How the Impressionists rebelled against it.
French Academy Painting is in the tradition of neo-classical painting. The work of David, Ingres, and Jerome can be classified as "French Academy Painting". It was focused on perfecting the techniques and style of the past. Romantics like Delacroix began the movement known as impressionism. His followers would be artists such as Monet, Manet, and Degas. They disregarded rules of line, form, and technique. They represented the future, while neo-classicism represented the past.
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