ART HIST 2A03: Lecture Images

The following are key images used in lecture. I am providing them here for your reference (as you prepare for the final exam). For information on the final please see my previous post of June 15th.

Jean Simeon Chardin, Soap Bubbles, ca. 1733-34 (oil on canvas)

Robert Rauschenberg, White Painting (Seven Panel), 1951 (oil on canvas)

Jean-Leon Gerome, Pygmalion and Galatea, ca., 1890 (oil on canvas)

still from David Cronenberg's film, Videodrome (1983)

Cornelius Krieghoff, Bilking the Toll, ca. 1859-1861 (oil on canvas)

Paul Kane, Assiniboine Hunting Buffalo, ca., 1851-1856 (oil on canvas)

Cornelius Krieghoff, The Passing Storm, Saint-Ferreol, 1854 (oil on canvas)

Frederick Edwin Church, Twilight in the Wilderness, 1860 (oil on canvas)

Unknown, postcard, (nd)

Edward S. Curtis, Little Plume and His Son, Yellow Kidney, ca. 1910 (photograph), original version

Edward S. Curtis, Little Plume and His Son, Yellow Kidney, ca. 1910 (photograph), modified version

Edward Hopper, Nighthawks, 1942 (oil on canvas)

Edward Hopper, Gas, 1940 (oil on canvas)

Ansel Adams, Moonrise, Hernandez, New Mexico, 1941 (photograph)

Kazimir Malevich, Black Square, 1915, (oil on canvas)

Robert Frank, Parade - Hoboken, NJ, 1955 (photograph, from The Americans)

Robert Frank, U.S. 90, En Route to Del Rio, Texas, 1955 (photograph, from The Americans)

Robert Frank, Santa Fe, New Mexico, 1955-1956 (photograph, from The Americans)

Nicolas Poussin, Et in Arcadia ego, 1637-1638 (oil on canvas)

Gian Lorenzo Bernini, Caricature of Scipione Borghese, 17th C. (pen and ink)

Gian Lorenzo Bernini, Caricature of Pope Innocent XI, 1676 (pen and ink)

Gian Lorenzo Bernini, Portrait Bust of Cardinal Scipione Borghese, 1632 (marble, original version)

Original and restored Ecce Homo, Sanctuary of Mercy church, Borja, Spain

Original by Elias Garcia Martinez (fresco, ca. 1930); restoration by Cecilia Gimenez (fresco, 2012)

ART HIST 2A03: FINAL EXAM INFO

Our next class (Monday June 16) will focus upon preparations for the final exam.We will continue to explore the theme of desire ('What do Pictures Want?') addressed during the last class, while revisiting the concept of iconoclash. The exam will be designed to test your understanding of these concepts and your critical thoughts on their value. In this respect it is not only important to know what Mitchell is saying to us, but also why he is drawing it to our attention. So too is it important for you to draw your own conclusions on the usefulness of his observations and, in turn, articulate your thoughts.

For the moment, then, I will leave you with a few general questions to consider before we meet:

Why does Mitchell pose the question 'What do Pictures Want?'
(What does he want us to take from this question?)

Are his observations, in response to this question, useful? If so, why? If not... why not?

What does iconoclash mean?

How does the idea of iconoclash fit into the larger theme of the book?
(Does the idea of iconoclash connect with the general theme of  'desire'? If so, why? If not... why not?)

I will be posting a number of key images from the last few lectures later this evening. The final exam will nonetheless leave you to select your own images to include in your response. These can come from the lectures, readings or other sources of your own choosing.

GD