Impressionism was called “The New Painting” and just what did the nineteenth-century artistic world mean by that? The painting includes a river (the St. Lawrence), a dock with a building, horses, people, a ferry crossing the river coming to the dock, a headland with boats and buildings in the distance. Large wet snowflakes fall from the overcast sky. Smoke spirals from the ferry. The picture is an impression rather than a realistic representation of a scene. Goodrich, John. Meandering through Time” (The Museum of Modern Art exhibition review). New York Sun, 29 November 2007: 17, 26. Princeton University Art Museum, Princeton, NJ. Princeton Alumni Collections: Works on Paper. 26 April – 21 June 1981. Catalogue with text by Allen Rosenbaum. Pablo Picasso, one of the most famous artists of the 1900s, is best-known for co-founding cubism with Georges Braque. This still life incorporates the cubist aim of representing the world from multiple viewpoints. While the image initially appears to be an abstract mixture of colors and shapes, one can come to understand the image—and other Cubist works—by breaking it down and analyzing its parts. Davidson, Marshall B. The American Heritage History of the Artists’ America. New York: American Heritage Publishing Company, 1973. Disorders in music and language provide another avenue to examine the resource-sharing hypothesis. Music-syntactic deficits have been observed in patients with lesions in typical language brain areas” (e.g., Patel et al., 2008; Sammler et al., 2011; but such disorders can also arise following damage to other regions, see Peretz, 1993 and Slevc et al., 2016), and in children with developmental language disorders (e.g., Jentschke et al., 2008). Language impairments have also been reported for some individuals with acquired amusia (e.g., Sarkamo et al., 2009). However, it is unclear whether individuals with developmental musical disorders exhibit deficits in both music- and language-syntactic processing. Neuburger, Susanne and Barbara Ruediger. Reflecting Fashion, Kunst und Mode seit der Moderne. Exh. cat. Vienna: Museum Moderner Kunst Stiftung Ludwig, 2012: 14-23, 42-43. Social Development Art reflects culture. Through art over time, students can see how attitudes and concerns of various societies change. The most influential movements of “modern art” are (1) Impressionism; (2) Fauvism; (3) Cubism; (4) Futurism; (5) Expressionism; (6) Dada; (7) Surrealism; (8) Abstract Expressionism; and (9) Pop Art. Here is a recording of Pollock describing his way of painting. It was taken from a movie the British Broadcasting Corporation made about the artist in nineteen ninety-nine. Pitch is an aspect of a sound that we can hear, reflecting whether one musical sound, note or tone is “higher” or “lower” than another musical sound, note or tone. We can talk about the highness or lowness of pitch in the more general sense, such as the way a listener hears a piercingly high piccolo note or whistling tone as higher in pitch than a deep thump of a bass drum We also talk about pitch in the precise sense associated with musical melodies , basslines and chords Precise pitch can only be determined in sounds that have a frequency that is clear and stable enough to distinguish from noise. For example, it is much easier for listeners to discern the pitch of a single note played on a piano than to try to discern the pitch of a crash cymbal that is struck.
The exterior edges show the wooden structure which underlies the quillwork. A variety of traditional design motifs including star patterns, circles, moose, flora, fauna, and waves cover the surface. The overall design is symmetrical. Colours are generally cool except for a few areas of earth tones. Forms: The repeated geometric forms are identical in size, shape, colour, and texture. The forms are dramatized by light which falls on them. Movement: The non-stable appearance of the forms, as if they were caught in a moment of incomplete action, creates tension. Rose, Barbara translated by Elisabeth Jappe. Ellsworth Kelly: Der scharf eingestellte Blick.” Ellsworth Kelly: Gemälde und Skulpturen 1966-1979. Exh. cat. Baden-Baden: Staatliche Kunsthalle Baden-Baden, 1980: 7-36. Metell, M., & Stige, B. (2015). Blind spots in music therapy. Toward a critical notion of participation in context of children with visual impairment. Nordic Journal of Music Therapy, Advance online publication. 1-19. Abstract Art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. The artist applied the paint fairly thinly (the canvas surface is evident in some places). She used very small brushes to create the fine detail. Painter. A German American, Hofmann was a leading Abstract Expressionist painter and was considered to be one of the greatest twentieth century teachers. He directed his own school in Munich and taught at both the University of California at Berkeley and his own school in New York. Hofmann’s talent was recognized in retrospectives at the Baltimore Museum of Art (1954), the Whitney Museum of Art (1957), and the Museum of Modern Art (1963). Halkin, Talya. Gallery-Going” (New York Studio School exhibition review). New York Sun, 23 January 2003: illustrated. Built in the early 1900s, this small building in Logan Square used to be a place where trolly riders could stop to rest during their journey. Logan Square Preservation took the building over in 2010, turning it into a community art space. Comfort Station regularly hosts art exhibitions, live music and film screenings while providing a public meeting place for neighborhood residents of all ages. Eaton, Nicole D., Sam Hunter and Joseph Ketner et al. A Conversation with Sam Hunter and Joseph D. Ketner.” A Defining Generation: Then and Now, 1961 and 2001. Waltham, Massachuetts: The Rose Art Museum, Brandeis University, 2001: 61-72. Examining how and why artists investigated the expressive capacities of line, color, and texture, Taking Shape highlights a number of abstract movements that developed in North Africa and West Asia, as well as the Arab diaspora. Across these regions, individual artists and artist collectives grappled with issues of authenticity, national and regional identity, and the decolonization of culture. Drawn from the collection of the Barjeel Art Foundation based in Sharjah, United Arab Emirates, the exhibition features nearly 90 works by a diverse group of artists such as Etel Adnan, Shakir Hassan Al Said, Kamal Boullata, Huguette Caland, Ahmed Cherkaoui, Saloua Raouda Choucair, Rachid Koraïchi, Mohamed Melehi, and Hassan Sharif, among others. On view are works produced by artists from countries including Algeria, Egypt, Iraq, Jordan, Kuwait, Lebanon, Morocco, Palestine, Qatar, Sudan, Syria, Tunisia, and United Arab Emirates. Curated and organized by Suheyla Takesh, Curator at the Barjeel Art Foundation, and Lynn Gumpert, Director of the Grey Art Gallery at New York University, the exhibition will be on view from January 14 through April 4, 2020.
