Surrealist Techniques: Subversive Realism.Hannah Höch, Cut with the Kitchen Knife Dada Through the Last Weimar Beer Belly Cultural Epoch of Germany.Dada’s “Aproximate Man”: A Portrait of Tristan Tzara (1919) by Marcel Janco.Raoul Hausmann, Spirit of the Age: Mechanical Head.Max Ernst, Two Children Are Threatened by a Nightingale.The Bride Stripped Bare by Her Bachelors, Even (The Large Glass).Art as concept: In Advance of the Broken Arm.Giorgio de Chirico, The Soothsayer’s Recompense.Carlo Carrà, Funeral of the Anarchist Galli.Gino Severini, Dynamic Hieroglyph of the Bal Tabarin.Umberto Boccioni, Unique Forms of Continuity in Space.De Stijl, Part III: The Total De Stijl Environment.De Stijl, Part II: Near-Abstraction and Pure Abstraction.Henri Cartier-Bresson, Behind the Gare Saint-Lazare.Amedeo Modigliani, Young Woman in a Shirt.Varvara Stepanova, The Results of the First Five-Year Plan.Kazimir Malevich, Suprematist Composition: White on White.Russian Neo-Primitivism: Natalia Goncharova and Mikhail Larionov.Robert Delaunay, Simultaneous Contrasts: Sun and Moon.The Cubist City – Robert Delaunay and Fernand Léger.Georges Braque and Pablo Picasso: Two Cubist Musicians.Le Viaduc à L’Estaque, (The Viaduct at L’Estaque).The Old Guitarist, and the question of beauty.
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Paula Modersohn-Becker, Self-Portrait Nude with Amber Necklace, Half-Length I.Women in the Interior I Museums Without Borders.Art and context: Monet’s Cliff Walk at Pourville and Malevich’s White on White.Representation and abstraction: looking at Millais and Newman.An Introduction to photography in the early 20th century.Elena FitzPatrick Sifford on casta paintingsīIPOC Reader: Teaching Practices and Strategies with… Reframing Art History, a new kind of textbook.Not your grandfather’s art history: a BIPOC Reader.With 503 contributors from 201 colleges, universities, museums, and researchĬenters, Smarthistory is the most-visited art history resource in the world.
We believe that the brilliant histories of art belong to everyone, no matter their background. Thank you for watching.At Smarthistory, the Center for Public Art History, we believe art has the power to transform lives and to build understanding across cultures. But have you ever really taken the time to investigate the flag up close? I had the opportunity to do so and I realized my context was evolving and being reframed, and thus it has altered my experience of how I look at the flag. This is a familiar symbol to us, one that needs no explanation. We encounter the American flag daily, whether on the subway or hanging from a flagpole. The following year, in '59, Hawaii and Alaska were voted in to the United States, making it a total of 50–despite this, Johns consistently continued painting only 48 stars in his works. In 1958 when it was painted the American flag only contained 48 stars. This also creates layers of texture in the piece, highlighting the contrasts between the depicted image of the flag, which is flat and geometric and its textured, rippling surface.Īn interesting fact about this piece is that it contains only 48 stars, not 50. Using this mixture, one cannot paint in a leisurely fashion–rather a quick process of rapid brush strokes is required before the mixture hardens. To create this work, Johns used a traditional technique known as encaustic painting, which involves mixing colorful pigments with warm wax. He created a sketch for a painting layering three flags of different sizes. Three years later, Johns was still focusing on the flag motif, and felt he needed to do something more with it. Johns pondered this image and one year later he painted his first American flag.
One night in 1954, Johns had a dream, a vision in which he saw the American flag with its stars and stripes. Upon examination, it is no longer readable as the letter A but has become something else, something more purely formal.
He stretched and changed its form and placed it in a repeating pattern. An example of Johns' approach can be observed in his use of the letter A. Take, for example, the letter A.we come in contact with the letter A on a daily basis in its printed form. His focus on these icons is not personal–he examines how they are seen in the external world, rather than engaging in personal expression or dialogue. Jasper Johns is an American painter who typically makes use of pre-existing symbols and icons in his work, such as flags, maps, targets, numbers and letters.
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