Exquisite Corpse activity

Exquisite corpse, also known as exquisite cadaver (from the original French term cadavre exquis) or rotating corpse, is a method by which a collection of words or images is collectively assembled. Each collaborator adds to a composition in sequence after being allowed to see only the end of what the previous person contributed.

The technique was invented by Surrealists and is similar to an old parlour game called Consequenes in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution. Surrealism principal founder André Breton reported that it started in fun, but became playful and eventually enriching.

Later the game was adapted to drawing and collage, producing a result similar to children's books in which the pages were cut into thirds, the top third pages showing the head of a person or animal, the middle third the torso, and the bottom third the legs, with children having the ability to "mix and match" by turning pages. The game has also been played with the usual orientation of foldings and four or fewer people, and there have been examples with the game played with only two people and the paper being folded widthwise and breadthwise, resulting in quarters. It has been played by mailing a drawing or collage—in progressive stages of completion—to the players, and this variation is known as "Exquisite Corpse by mail".

The name is derived from a phrase that resulted when Surrealists first played the game, "Le cadavre exquis boira le vin nouveau." ("The exquisite corpse shall drink the new wine.")^[ André Breton writes that the game developed at the residence of friends in an old house at 54 rue du Chateau (no longer existing). In the beginning were Yves Tanguy, Marcel Duchamp, Jacques Prévert, Benjamin Péret, Pierre Reverdy, and André Breton. Other participants probably included Max Morise, Joan Miró, Man Ray, Simone Collinet, Tristan Tzara, Georges Hugnet, René Char, Paul, and Nusch Éluard.
Henry Miller often partook of the game to pass time in French cafés during the 1930s.

Cancelled Field Trip

Hello All,

    I just wanted to remind you that the field trip for tomorrow is cancelled and we will meet in class for test review and to look at the beginning of the next chapter.

 

Let me know if you have any questions.

 

205-310-1783

 

Prf. Livingston

Extra Credit Possibilities

You may earn up to 30 extra credit points per week. This is a great opportunity to keep up or improve your grade. Here are some possibilities:

Note: I am adding one requirement for the extra credit option. Extra credit should not replace the regular assignments, so you will not be able to receive your extra credit points at the end of the session unless you have handed in all written assignments and taken all tests.

• Create a study guide on the course website for a given day’s class work. It can include class notes and/or supplementary materials from the web. (Let me know if you want to do this on a particular day. I will try to give an opportunity to everyone who wants to try this.) Up to 20 points. Score depends on thoroughness and accuracy.

• Create a page on the website on a topic, individual artist, or work of art that we have not covered in class. Up to 20 points. Score depends on thoroughness and accuracy.

• Create a photo essay on the website out of your own photographs. Include text that interprets art-related photographs that you have taken. Up to 20 points. Score depends on thoroughness and accuracy.
Examples:

Take pictures of architectural details in your neighborhood and research the names and origins or these architectural features.
Post photos from a trip you took (in or out of the Bay Area), and describe your first-person experience of the art or architecture.

• Write an additional paper that expands or deepens your knowledge of the subjects we are studying. Up to 30 points…10 points per beautifully written, thoughtful page.

• Create a work of art in response to the work of another artist. Include a statement that describes your creative process and your engagement with the other artist’s work.
Score depends on the substantiveness of your response to the artwork—on the evidence that you have learned something through this process, and not on an aesthetic judgment of your work. You may bring in the artwork itself or send.
Up to 25 points. 5 additional points for posting a page on the website about the work or for making a 5-minute presentation to the class.

• Keep a multi-media journal or scrapbook with creative responses to artworks you are studying. Include drawings, scribblings, magazine cuttings, printed out images, altered images, bits of art materials, questions, comments, emotions, whatever. Up to 5 points per substantive, thoughtful, energetic page.
Here are some examples of what an art history scrapbook or journal page might look like:
Example 1
Example 2
Example 3
Example 4
Example 5
Example 6
Example 7
Example 8
Example 9
Example 10
If you have another idea for an extra credit project, let me know. I am open to ideas that further your learning or that of the class as a whole.

Chapter 13 Review

Chapter 13: Impressionism, Post-Impressionism, and Symbolism, 1870 to 1900

 

Preview: The period from 1870 to 1900 saw intense artistic experimentation and development, particularly in France. The Impressionists, a group that included Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Berthe Morisot and others, held their first group exhibition in 1874, showing many works that had been painted en plein air (outdoors) and that captured scenes of contemporary urban life. “Post-Impressionism” is term extended to artists such as Georges Seurat, Vincent van Gogh, Paul Gauguin, and Paul Cézenne, who developed beyond the sketch-like quality of Impressionism and explored the structure of painted form or the emotions wrought by color. French Symbolists, including Gustave Moreau, Odilon Redon, and Henri Rousseau, painted subjective scenes that transcended the everyday world and were often dreamlike and sensuous. The leading sculptor of this era was Auguste Rodin, who explored the representation of movement and energy in bronze and marble. Rodin often sculpted fragmented forms that had immense influence on later modern sculptors. Architectural developments in this period varied: the Arts and Crafts and Art Nouveau movements opposed modern mass production and embraced natural forms; the Eiffel Tower’s exposed iron skeleton represented the possibilities for new architectural expressions; and in the U.S., Louis Sullivan integrated organic form and the metal frame to become a pioneer in skyscraper design.

 

Key Figures: Karl Marx, Charles Darwin, Napoleon III, John Ruskin, Michel-Eugéne Chevreul,

Key Cultural Terms & Events: Salon, independent art exhibitions, modernism, Salon des Refusés, Impressionism, Post-Impressionism, Ecole des Beaux-Arts, Royal Academy of Painting and Sculpture in France, Japonisme, Aesthetic Movement, Pointillism, Divisionism, Art Nouveau

Key Art Terms:  local color, en plein air

 

Chapter 12 Review

Chapter 12: Romanticism, Realism, and Photography, 1800 to 1870

 

Preview: Napoleon Bonaparte was an important patron of the arts in France at the turn of the 19^th century, appointing the Neoclassicist Jacques-Louis David as First Painter of the Empire. But early in the 19^th century, Neoclassicism gave way to Romanticism as the dominant art form in Europe. Delacroix and Gericault became the leading Romantic painters in France, favoring exotic subject matter and employing bold, loose brushstrokes and vibrant color. In England, Germany, and America, Romantic landscape painters took on transcendental themes. Photography was invented simultaneously in France and England, and by the middle of the century it was a burgeoning new artistic and documentary medium. The American Civil War was one of the first major conflicts to be thoroughly documented in photographs. In the mid-19^th century, Realism emerged as the dominant painting style, with artists such as Gustave Courbet in France and Thomas Eakins rejecting revivalist styles and historical themes in favor of depicting the people and events of their own times. Edouard Manet’s shocking contemporary subject matter and nonillusionistic painting style established the terms of early Modern art.

 

Key Figures: Napoleon, Sir Edmund Burke

Key Cultural Terms & Events: transcendentalism, Romanticism, empiricism, positivism, Realism, Saint-Simonianism, Pre-Raphaelite Brotherhood, Neo-Gothic

Key Art Terms: lithography, Beaux-Arts style, daguerreotype, wet-plate photography

Chapter 13--Impressionism, Post-Impressionism and Symbolism

MARY CASSATT, The Bath, ca. 1892

 

 

  PAUL CÉZANNE, Mont Sainte-Victoire, 1902–1904

       EDGAR DEGAS, Ballet Rehearsal, 1874

ALEXANDRE-GUSTAVE EIFFEL, Eiffel Tower, 1889

 

PAUL GAUGUIN, Spirit of the Dead Watching, 1892
 

 

GUSTAV KLIMT, The Kiss, 1907–1908

 

 

 HENRI DE TOULOUSE-LAUTREC, At the Moulin Rouge, 1892–1895

                CLAUDE MONET, Impression: Sunrise, 1872

EDVARD MUNCH, The Scream, 1893

 

 PIERRE-AUGUSTE RENOIR, Le Moulin de la Galette, 1876

 GEORGES SEURAT, A Sunday on La Grande Jatte, 1884–1886

                    VINCENT VAN GOGH, Starry Night, 1889

JAMES McNEILL WHISTLER, Arrangement in Grey and Black No.1 (aka-Whistler’s Mother), 1871

Chapter 12 --Romanticism and Realism

 THOMAS COLE, The Oxbow, 1836



 THÉODORE GÉRICAULT, Raft of the Medusa, 1818–1819



 JEAN-AUGUSTE-DOMINIQUE INGRES, Grande Odalisque, 1814

 EUGÈNE DELACROIX, Liberty Leading the People, 1830

 JOSEPH MALLORD WILLIAM TURNER, The Slave Ship, 1840

 

 CASPAR DAVID FRIEDRICH, Wanderer Above a Sea of Fog, 1817-18

FRANCISCO GOYA, The Sleep of Reason Produces Monsters, from Los Caprichos, ca. 1798

 
 

 
 
 

Francisco Goya,

Saturn Devouring His Son, c. 1819–1823

 

 

 

WINSLOW HOMER, The Gulf Stream, 1899

 ÉDOUARD MANET, Olympia, 1863

 

ÉDOUARD MANET,

Le Déjeuner sur l’Herbe (Luncheon on the Grass), 1863





 THOMAS EAKINS, The Gross Clinic, 1875





 
 
 

 

William Holden Hunt, The Awakening Conscience, 1853

 JOHN EVERETT MILLAIS, Ophelia, 1852

 

Dante Gabriel Rossetti, Beata Beatrix, ca. 1863-1870

Topics for Research Papers ARH 311

* The Symbolism used in Van Eyck’s, “Giovanni Arnolfini and his

     wife.”

 * Women artists in the Renaissance.

 * Alchemy and painting

 * Little people in art

 * Rembrandt’s self portraits

 * “The Abduction of the Sabine Women” and, ‘Lacoon and His     

     Sons.” Compare and contrast.

 * The symbolism used in Bosch’s, “The Garden of Earthly

     Delights.”

 * Social rules of the Renaissance and their portrayal in art.

 * Caravaggio’s self portraits

 * Female painters of the 1600’s

 * Genteleschi-paintings from a female perspective

 * Photography vs. Painting

* The Sublime and the Grotesque in art

 * The Pre-Raphaelite Brotherhood

 * Mary Cassatt- female perspective on painting

 * Degas’s ballerinas

 * Lautrec’s dancing girls

 * Why didn’t Van Gogh sell?

 * Gauguin in Tahiti

 * The Baroness von Freytag-Loringhoven and Dada

 * African art and Picasso

 * Duchamp’s “Fountain.” Is it art?

 * Magritte and “The Treachery (or Perfidy) of Images.”

 * Mondrian and Neo Plasticism

 * Calder and mobile/stabile

 * Frida Kahlo, “The Two Fridas.”

 * Francis Bacon. What is with all the meat and cages?

 * Pollock. Why his splatters and drips are considered art.

 * Louise Bougeois and confessional art.

 * Claes Oldenburg and oversized objects

 * Feminist art of the 1970s.

 * Environmental art the 70s and now.

 * Basquiat and street art.

 * Kiki Smith and the human body.

 * Is Jeff Koons selling out?

 * Patricia Piccinini and Bio-Engineering

 * Folkert De Jong and material choice.